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73:. As the 20th century dawned, most composers, arrangers, and publishers began to settle on a common set of notational and structural conventions, and because Scott Joplin was the best-selling ragtime composer in that era, his conventions eventually predominated. The "classic rag" form can thus be considered a typical form of a ragtime piano composition, though it is by no means the only form.
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58:, as a way to distinguish them from what he considered the "common" rags of other publishers. Today, any composition fitting this particular ragtime structural form is considered classic rag.
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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
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melodic theme, while the bass clef (the left-hand part) grounds this theme rhythmically with a regular, alternating pattern of eighth-notes (a
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and the
Missouri school of ragtime composers. These compositions were first considered "classic" by Joplin's publisher,
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Few classic rags follow this idealized form, which is only a generalization; there are a number of standard variations:
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Rag strains themselves have considerable structure. The treble clef (played by the right hand) typically contains the
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melodies of ragtime, so there was considerable variety in the formatting of sheet music. Pieces appeared in common
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The D strain may be omitted altogether, or replaced with a restatement of the A or B strain.
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The C and D strains may continue in the original key rather than use the subdominant key.
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Some repetitions of strains may be omitted, usually one of the repeats of the A strain.
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The introduction may be longer or shorter than four bars, or may be omitted altogether.
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The D strain may return to the original key rather than stay in the subdominant key.
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In the earliest days of ragtime, there was little consensus on how to print the
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key (the key with one additional flat, or one less sharp), commonly called the
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It continues with a pair of 16-bar themes, in the following sequence:
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In idealized form, the classic rag has the following structure:
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This can be written more succinctly as: INTRO AA BB A CC DD.
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Brief transitional phrases may be inserted between strains.
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In the later years of ragtime, under the influence of
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111:It concludes with a pair of 16-bar themes in the
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204:Jasen, David A.; Tichenor, Trebor J. (1978).
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88:It starts with a four-bar introduction.
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208:Rags and Ragtime: A Musical History
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94:An initial theme (or A strain).
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128:A fourth theme (or D strain).
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100:A second theme (or B strain).
122:A third theme (or C strain).
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212:. New York: Seabury Press.
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279:20th-century music genres
131:A repeat of the D strain.
125:A repeat of the C strain.
103:A repeat of the B strain.
97:A repeat of the A strain.
50:composition pioneered by
171:Anatomy of a rag strain
35:'s "The Ragtime Dance"
85:It is set in 2/4 time.
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46:) is the style of
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219:978-0-8164-9341-8
44:classical ragtime
18:Classical ragtime
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52:Scott Joplin
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33:Scott Joplin
192:Joseph Lamb
188:James Scott
113:subdominant
42:(short for
40:Classic rag
273:Categories
177:syncopated
63:syncopated
56:John Stark
31:Cover of
284:Ragtime
237:Portals
228:3649875
77:Anatomy
48:ragtime
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71:march
67:meter
263:Jazz
224:OCLC
214:ISBN
117:trio
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