Uploaded on Aug 18, 2016
One day, I thought, "What would a rag in sonata-allegro form sound like?"
Well, one possibility is that a rag in sonata-allegro form would sound like this.
The exposition's first theme group is the A strain. The exposition's second theme group is the B strain. The development is the C and D strains. The recapitulation's first theme group is the return of the A strain. The recapitulation's second theme group is the B' strain near the end.
I sometimes put rags in rarely used ragtime keys such as B major (here) and G flat major (I've heard Tom Brier's Elephant Tracks is in that key).
The A and B strains were easy to write. The C and D strains were the most difficult to write. I had to ensure that they used the A and B strains' material, they went to somewhat remote keys, their second repeats had to finish modulating to new keys, and their first repeats had to turn away from the modulations and go back to the previous key.
...Oh yeah, writing in A sharp minor (as in the C strain) is horrific and nearly unreadable, and I do not recommend it. Heck, even in a context where key signatures are filled with sharps, I encourage writing in B flat minor instead.
I wrote bars like Bar 22 with fewer ties than usual in order to make them sound right. It's hard to put working staccatos on tied-together 16th notes.
The tenth-spanning left hand chord in Bar 11 should be played without arpeggiation if possible. My hands only comfortably span an octave (I hit too many notes when I span a ninth), so I'm forced to make that chord an arpeggio.
|Key signature||5 sharps|
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