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A private hour across the two Texarkanas runs about $50 to $90. Worth knowing: Texarkana College's community music school currently lists piano and organ and no voice at all, so the private market is thinner than the city's choral life suggests. Our first session is unbilled.
Consider what happened here in 1878. A boy whose mother cleaned houses practiced on other people's pianos, and a German tutor named Julius Weiss taught him for nothing. That boy was Scott Joplin. Teaching is what made the difference, not birthright.
Seven or so, in short lessons. Joplin had the banjo by that age and the piano not long after. Through the teenage change a trained ear nearby beats a year of waiting. Grown-ups need no permission and no particular moment.
Breath shifts within weeks. Tone you can lean on with people listening is nearer twelve months away. Weiss taught Joplin for roughly six years, which is a fair picture of what real study looks like.
They do. The job is two-directional - exact listening outward, a model returning - and a clean line does both without loss. It also saves working out which side of State Line Avenue your teacher parks on.
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Texarkana was born at a junction. On the eighth of December 1873 the first town lots were sold where the Cairo and Fulton railroad came down from the north and the Texas and Pacific came up from the south, and the settlement that grew there ended up straddling a state boundary. There are two Texarkanas, two mayors, two school systems, two counties and two states, and State Line Avenue is at once the main commercial street and the border. About thirty-six thousand people live on the Texas side and twenty-nine thousand on the Arkansas side, with a metropolitan area near a hundred and forty-six thousand. More than a hundred and twenty-five trains still pass through daily. The federal building at 500 North State Line has its foundation in Texas pink granite and its walls in Arkansas limestone; no other federal building in the country sits in two states, and locals call the spot Photographer's Island.
Because there is one serious adult choir and very little underneath it. The Texarkana Regional Chorale calls itself the premier large choral ensemble of the Ark-La-Tex, rehearses Tuesday evenings in the Music Hall of Texarkana College's Stilwell Humanities Building, and runs from classical masterworks through Broadway, gospel and patriotic repertoire; dues are a hundred and thirty dollars a year and college credit can be attached. It auditions new members before the first rehearsal of the season. Marc-Andre Bougie has directed it for more than twenty seasons while also teaching at Texarkana College and running sacred music at Sacred Heart. Below that the ladder is short: the symphony has no chorus of its own, Texas A&M University-Texarkana offers no music degree at all, and the college's own community music school currently advertises piano and organ but not voice.
So the town has an audition and almost nothing to prepare for it with. That is the gap a weekly hour fills.
Air first. Then intonation that holds at an audition table, a passage between registers that stays invisible, and something left in the tank for the final page. Weiss gave Joplin sight-reading, harmony and ear training in that order; the sequence has not changed much.
Somebody human weighs your repertoire before choosing who teaches it. The opening hour is on us, and the calendar stays yours.
One thing only is obliged to cross the gap, and it is sound; the engineering followed it. A locked jaw, an onset sitting beneath the pitch: each arrives undamaged and is dealt with mid-line.
Scott Joplin was not born here, whatever the internet says: he was born somewhere in northeast Texas in 1867 or 1868, and this city did not exist until 1873. What Texarkana can claim is the part that matters. His family arrived around 1875, his father played fiddle and his mother banjo, and he learned on pianos in the houses where she cleaned. Around eleven he began free lessons with Julius Weiss, a Saxon-born tutor brought over to teach a lumber family's children, who gave him sight-reading, harmony, ear training and a lasting appetite for opera. Joplin was still sending Weiss money from New York thirty years later. The school he attended, Orr School on Laurel Street, still stands - on the Arkansas side. A mural of him sixteen feet high and a hundred and fifteen feet wide has faced the Perot Theatre from Third and Main since 1984. The Perot itself opened in 1924 as the Saenger, an Emile Weil house of about sixteen hundred seats; it closed in 1977, the city bought it for nineteen thousand dollars, and Ross and Bette Perot gave eight hundred thousand toward the restoration in memory of their parents, which is whose name it carries. The town also produced Otis Williams, a founding Temptation, born here in 1941. One honest note: the Scott Joplin festival is in Sedalia, Missouri, not here.
Ours sign on from Pleasant Grove and Liberty-Eylau, from the Arkansas side off Beech Street, and from Wake Village and Nash.
Depot shifts, hospital rotations and a downtown where the state line decides half your logistics all argue against a fixed weekly slot elsewhere. One that opens where you are does not.
Take the unbilled hour. Sing the song you know best of all, then listen to the diagnosis.
A town where a free lesson turned a laborer's son into the King of Ragtime should not be short of teachers. Start at home, a few blocks off State Line.
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