Page 24 Portland Obaarvar Section II February 28. 1981
preciation for and a knowledge o f ihe iraditional style
o f music.
’
W hile a teenager, he follow ed the well-developed
route that drifters had forged along ‘ ‘ The R ive r." He
settled in the St. Louis area in I89S f or a year-
organ./,ng and touring with a vocal group, continuing
to play rag and compose pieces with traditional notation
that did nol sell.
In 1896, he settled in Sedalia, Missouri and took ad
vanced courses in music while seriously composing.
A t the close o f the century ragtime was being ac
claimed so that Joplin was able to get his O rd in a l Run
published in 1899. W hile he was p erform in g at the
Maple Leaf C lub, he came to the attention o f John
lark a white music publisher who brought Jo p lin ’ s
piece Maple L ea f Ran for fifty dollars plus royalties.
Scott was under the illusion that he was on his way.
However the song did not immediately sell, but when it
did hundreds ot thousands o f copies were purchased.
Jo plin then began composing his serious (i e
' ^ l,lo n a l» '” US1C: ’ Guest o f H on or. .4 Runtime
, a n d ™ e ^unltme Dance the latter a ballad with
p ite d mC; S and Sl° W Jrag fCa,Ured- Th- — —
Scott continued to write music and aid young ragtime
composers whenever he could. He often allowed his
name to be used along with the name o f budding com
poser’ s in order to lend some credence to the
manuscript. Lherelore, many that may bear his name
along w ith another's were not always a true
collaboration.
LOUIS CHAUVIN (1883-1908) however, was a true
protege ot Joplin's and they collaborated on Helicopter
Bouquet - I S/ow Dran Two Step which was well
received. ( hauvin’ s deteriorating physical condition
caused by opium and syp hillis, created the need for
'W d o p W .
JAMES WELDON JOHNSON
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