[Dixielandjazz] More on Panama
Stephen G Barbone
barbonestreet at earthlink.net
Wed Oct 7 13:11:54 PDT 2009
What I saw was a photocopy of the piano sheet music of Panama. It is
actually in the form of a Rag. (But Not to be confused with Panama
Rag) For folks who want to see an original arrangement for orchestra,
the following site, (Library of Congress) offers the below
information: (Sheik, you are close by the Library, go for it)
NOTE: If you surf the site, note the "parts views" on the left side of
the page. You can view the different instrumental parts by clicking
there. What I saw, was not as complicated as the piano part at the
Library of Congress.
"101 Rare Rags" American Ragtime Company, 12157 Paisley Drive, Loves
Park IL, 61111, (Compiled and Edited by Richard Zimmerman) includes
Panama Piano Music in simpler form. The book is available through the
Professor Bill Edwards website.
Go there, then scroll down about 1/5 of the way for a cover picture
and the below description:
William H. Tyers - 1911: A great many musical ideas and themes in
ragtime were derived from Spanish rhythms, largely due to the rising
popularity of the tango, but also because of a number of Mariachi
style musicians from Mexico who had infiltrated the New Orleans music
scene. This made sense, because the tango was actually born out of the
much older habañera, a rhythm export of seventeenth through nineteenth
century Africa utilized by Spanish settlers in Central and South
America. Both rhythms are prevalent throughout the works ofFerdinand
"Jelly Roll" Morton, and are even found in pieces by more traditional
composers, such as the habañera in Scott Joplin's Solace.Panama no
doubt capitalizes not only on the popularity of these "Spanish tinge"
pieces, but also on the public's fascination with the newly built
Panama Canal. Virginia-born Tyers was composing Spanish-tinged pieces
as early as 1896, this one being his best known. It has since become a
popular traditional jazz piece, but usually with the inherent tango
rhythm excised. The A and B sections compliment each other nicely in
both structure and progression. The C section starts a new rhythm, and
the pattern lends itself to a long crescendo into the D section. Here
we find a foundation for some delightful improvisations including many
very familiar Latin rhythms and melodic devices. The closing after the
repeat of A brings the dancers (or the listeners) to a very relaxed
Panama : A characteristic novelty / William H. Tyers [instrumental
Panama : A characteristic novelty [Instrumental parts]
Tyers, William H.
Place of Publication/Creation
Type of Material
36 p., 10 3/4 x 7 in.
Parts: piano, 1st violin (2), 2nd violin, viola, cello, bass, flute &
piccolo, oboe, bassoon, 1st clarinet in A, 2nd clarinet in A, horns in
F, 1st cornet in A, 2nd cornet in A, trombone, drums.
Copyright MCMXI by Leo Feist, 134 W.37th St., N.Y.
1 blank page. Most reverses are advertisements.
probably arranged by the composer
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