Thank you both for the responses. I'm glad that it sounds at least close to a rag piece.
Monarcheon- It's interesting that you point out the B natural in m. 3. When writing this piece, I actually thought to myself (and still do a bit) that m. 3 sounded a bit off. Glad to know that I'm not the only one. I'll take your comment about dominant 7th chords into consideration for my next piece; I certainly don't want all my pieces to sound like early 20th century rag pieces!
Well. Maybe? I love the Pines of Rome and the Rautavaara Piano Concerto. Perhaps I framed it incorrectly, but the rest of the piece isn't bad necessarily for liking a great moment in a certain movement. Once one begins to listen to music as chords and notes rather than an entire piece, how it operates both in and out of context is really important, I feel. I can't disagree that what came before or what comes after makes a difference, but analytically, I can't say it makes all the difference. That's how I was taught anyway.
That's exactly my sentiment. When I made my thread about the "top ten greatest movements ever composed", I already thought I was eliminating the context of the whole work without which an individual movement might lose much of its meaning. But talking about "moment" does this de-contextualization on a totally different - and to me rather unacceptable level. The concept sounds like some of the CD-s, perhaps aimed at popularizing classical music to new audiences, that are titled like "Beethoven's greatest hits". Or CD-s of excerpts from movements that come with classical music magazines.
However, having said all of the above, I think that the idea might still be valuable - if we don't isolate the "moments" from the context of the whole work in which they occur. However, the way you explain it:
It seems you are doing exactly that. A piece of music is expected to have coherence. If it lacks that, then a lot of its value would be lost. It would be reduced into a patchwork. Thus, the moments you mentioned above, do not inspire me to listen to them, if, as you are implying, the rest of the piece is relatively bad or totally unrelated to their greatness. It would be like trying to tempt someone with a bar of chocolate in which only one square was tasty and the rest tasted bland. But this material analogy does not even begin to do justice to the spiritual and intellectual realm in which (at least great) music resides and operates. A great moment in a piece would have to be great thanks to what has passed before, or at least in relation to it (music is composed in time). At least in the composer's mind it was like that. You cannot put into question the composer's judgement at one moment and yet celebrate it at the next!
Hehe, I used to collect these. I was going to do a score video but I never seemed to stop collecting them and it ended with me abandoning the idea. I don't know if I will ever do the video because I have come to the realization that moments are meaningless without the whole context. I find that people often will not understand what makes them great when you show them. Anyway, there's a lot of Bartók, as you can see.
This is probably my favorite moment from the quartets (I don't know why I didn't include it in the list below):
I'd rather not make a top 10 list because I would literally stay awake all night and would end up with a list that I didn't agree with. Too many moments out there!