Rag-Time Dance: 6 Clarinets Score & Parts

This arrangement transforms Joplin's iconic rag into an engaging six-clarinet piece where every player gets moments in the spotlight rather than doubling unison lines. Marlatt's addition of stylistically accurate counter melodies shows real craft; the new material feels like it belongs to Joplin's harmonic world rather than sitting on top of it. The alternating melodic and accompaniment roles keep rehearsals dynamic and every clarinet invested in the ensemble sound.

Bright, syncopated, and propulsive, with moments of genuine melodic beauty beneath the rhythmic zip. The piece swings with Joplin's characteristic ragtime strut, and Marlatt's counter melodies add textural richness that makes the ensemble sound fuller and more orchestral than six single-reed instruments typically do.

Intermediate clarinet ensembles seeking a substantial Joplin experience beyond the standard solo piano transcriptions. This works for high school or college non-majors ensembles, community bands with a clarinet section looking to stretch, and advanced middle school groups ready to tackle stylistic sophistication alongside technical demands.

• Lock the rhythmic feel before worrying about tempo. Ragtime lives in the space between the beat, so establish clear subdivision in your section and align how each clarinet interprets the syncopation.
• Balance the accompaniment parts so they support rather than obscure the melodic line. The idiomatic rag figures are essential to the style, but they're backgroundmusic, not soloists.
• Articulate the counter melodies with the same character as Joplin's original lines. These new parts should breathe and shape like they came from the same compositional voice.
• Pay attention to the printed dynamics and phrasing; ragtime arrangement can feel choppy if players ignore the score's architectural details in favor of a 'generic happy rag' sound.

This makes an excellent centerpiece for a ragtime or early jazz program, especially one that traces American music from classical roots. It also works as a standalone feature on a spring concert, offering audiences something familiar and joyful without relying on the novelty of seeing a "classical" ensemble play popular music.

• Syncopated rhythm reading and internal subdivision in ragtime idiom
• Part independence and role switching (transitioning from melody to accompaniment)
• Stylistically informed articulation and phrasing in early American music
• Ensemble blend when multiple lines occupy similar registers
• Listening to and supporting counter melodies while maintaining harmonic foundation