Classic Rag
Encyclopedia
Classic Rag is a term used to describe the style of ragtime
composition pioneered by Scott Joplin
and the Missouri school of ragtime composers. The term "classic" was first applied to these compositions by Joplin's publisher, John Stark
, as a way to distinguish them from what he considered the "common" rags of other publishers, but today the term is often used to describe a particular structural form used in ragtime composition.
In the earliest days of ragtime, there was little consensus on how to print the syncopated
melodies of ragtime, so there was considerable variety in the formatting of sheet music. Pieces appeared in common meter
, in 4/4 time, and in 2/4 time, and often followed conventions of earlier musical forms such as the march. As the 20th century dawned most composers, arrangers, and publishers began to settle on a common set of notational and structural conventions, and since Scott Joplin was the best-selling ragtime composer in that era, it was his conventions that eventually predominated. The "classic rag" form can thus be considered the typical form of a ragtime piano composition, though it is by no means the only form.
This can be written more succinctly as: INTRO AA BB A CC DD.
Few classic rags follow this idealized form, which is only a generalization; there are a number of standard variations:
In the later years of ragtime, under the influence of Tin Pan Alley
, a shorter three-strain form (omitting the D strain) became common.
melodic theme, while the bass clef (the left-hand part) grounds this theme rhythmically with a regular, alternating pattern of eighth-notes (a walking bass).
The sixteen-bar strain is often structurally divided into 4 four-bar phrases, the third phrase repeating the first. There is considerable variation, though. Some composers (such as James Scott
) made frequent use of two-bar phrases and others (such as Joseph Lamb
) tended to employ eight-bar phrases.
Ragtime
Ragtime is an original musical genre which enjoyed its peak popularity between 1897 and 1918. Its main characteristic trait is its syncopated, or "ragged," rhythm. It began as dance music in the red-light districts of American cities such as St. Louis and New Orleans years before being published...
composition pioneered by Scott Joplin
Scott Joplin
Scott Joplin was an American composer and pianist. Joplin achieved fame for his ragtime compositions, and was later dubbed "The King of Ragtime". During his brief career, Joplin wrote 44 original ragtime pieces, one ragtime ballet, and two operas...
and the Missouri school of ragtime composers. The term "classic" was first applied to these compositions by Joplin's publisher, John Stark
John Stillwell Stark
John Stillwell Stark was a United States publisher of ragtime music. He is best known for publishing and promoting the music of Scott Joplin....
, as a way to distinguish them from what he considered the "common" rags of other publishers, but today the term is often used to describe a particular structural form used in ragtime composition.
In the earliest days of ragtime, there was little consensus on how to print the syncopated
Syncopation
In music, syncopation includes a variety of rhythms which are in some way unexpected in that they deviate from the strict succession of regularly spaced strong and weak but also powerful beats in a meter . These include a stress on a normally unstressed beat or a rest where one would normally be...
melodies of ragtime, so there was considerable variety in the formatting of sheet music. Pieces appeared in common meter
Time signature
The time signature is a notational convention used in Western musical notation to specify how many beats are in each measure and which note value constitutes one beat....
, in 4/4 time, and in 2/4 time, and often followed conventions of earlier musical forms such as the march. As the 20th century dawned most composers, arrangers, and publishers began to settle on a common set of notational and structural conventions, and since Scott Joplin was the best-selling ragtime composer in that era, it was his conventions that eventually predominated. The "classic rag" form can thus be considered the typical form of a ragtime piano composition, though it is by no means the only form.
Anatomy of the Classic Rag
In idealized form, the classic rag has the following structure:- It is set in 2/4 time.
- It starts with a four-bar introduction.
- It continues with a pair of 16-bar themes, in the following sequence:
- An initial theme (or A strain).
- A repeat of the A strain.
- A second theme (or B strain).
- A repeat of the B strain.
- A restatement of the A strain.
- It concludes with a pair of 16-bar themes in the subdominantSubdominantIn music, the subdominant is the technical name for the fourth tonal degree of the diatonic scale. It is so called because it is the same distance "below" the tonic as the dominant is above the tonic - in other words, the tonic is the dominant of the subdominant. It is also the note immediately...
key (the key with one additional flat, or one less sharp), commonly called the trioTrio (music)Trio is generally used in any of the following ways:* A group of three musicians playing the same or different musical instrument.* The performance of a piece of music by three people.* The contrasting section of a piece in ternary form...
, in the following sequence:- A third theme (or C strain).
- A repeat of the C strain.
- A fourth theme (or D strain).
- A repeat of the D strain.
This can be written more succinctly as: INTRO AA BB A CC DD.
Few classic rags follow this idealized form, which is only a generalization; there are a number of standard variations:
- The introduction may be longer or shorter than four bars, or may be omitted altogether.
- The C and D strains may continue in the original key rather than use the subdominant key.
- The D strain may return to the original key rather than stay in the subdominant key.
- The D strain may be omitted altogether, or replaced with a restatement of the A or B strain.
- Some repetitions of strains may be omitted, usually one of the repeats of the A strain.
- Brief transitional phrases may be inserted between strains.
In the later years of ragtime, under the influence of Tin Pan Alley
Tin Pan Alley
Tin Pan Alley is the name given to the collection of New York City music publishers and songwriters who dominated the popular music of the United States in the late 19th century and early 20th century...
, a shorter three-strain form (omitting the D strain) became common.
Anatomy of a Rag Strain
Rag strains themselves have considerable structure. The treble clef (played by the right hand) typically contains the syncopatedSyncopation
In music, syncopation includes a variety of rhythms which are in some way unexpected in that they deviate from the strict succession of regularly spaced strong and weak but also powerful beats in a meter . These include a stress on a normally unstressed beat or a rest where one would normally be...
melodic theme, while the bass clef (the left-hand part) grounds this theme rhythmically with a regular, alternating pattern of eighth-notes (a walking bass).
The sixteen-bar strain is often structurally divided into 4 four-bar phrases, the third phrase repeating the first. There is considerable variation, though. Some composers (such as James Scott
James Scott (musician)
James Sylvester Scott was an African-American ragtime composer, regarded as one of the three most important composers of classic ragtime, along with Scott Joplin and Joseph Lamb....
) made frequent use of two-bar phrases and others (such as Joseph Lamb
Joseph Lamb
Joseph Francis Lamb was a noted American composer of ragtime music. Lamb, of Irish descent, was the only non-African American of the "Big Three" composers of classical ragtime, the other two being Scott Joplin and James Scott.-Life and Career:Lamb was born in Montclair, New Jersey...
) tended to employ eight-bar phrases.