Aiwendil Posted Thursday at 11:29 PM Posted Thursday at 11:29 PM Another ragtime piece from me. This one I'd really love to hear any thoughts on; I'm not really sure about a few passages and transitions and I'm trying to decide whether to revise it. Are there moments that sound awkward (in a bad way) to you? MP3 Play / pause JavaScript is required. 0:00 0:00 volume > next menu Haunted Castle Rag > next PDF Haunted Castle Rag 2 Quote
PeterthePapercomPoser Posted yesterday at 04:12 AM Posted yesterday at 04:12 AM Hey @Aiwendil! Very nice and idiosyncratic rag! It does sound exactly like a haunted castle. I know that sometimes the titles of rags don't really have any distinguishing similarity to the actual music. But not so with this piece - I could even imagine it being played on the castle's church organ! Never thought that a rag would work well on a church organ. I think it would make it more creepy and characteristic. Regarding any awkward moments, perhaps you thought that measure 60 is too abrupt? To me it sounds find to go from C major back to A minor. For me, the middle section starting at measure 85 is perhaps too long and the retransition back to the main theme is a bit haphazard. Originally in the 1st ending to that section you end on a D minor chord, but the 2nd ending suddenly injects a F7 chord in place of the D minor (and directly after an A7). Perhaps you could make the 2nd ending include two measures instead of just one and replace the C# in the A chord with a C natural to more clearly prepare the listener to the retransition to A minor and recontextualizing that A chord as a pre-dominant (in essence with the same function as the D minor would have had in its place if the destination was A). That's my take on that. Btw - great intro and great conclusion! Definitely a strong piece here. Thanks for sharing! Quote
Aiwendil Posted 12 hours ago Author Posted 12 hours ago Thanks for the comments! Yeah, the retransition from D minor to A minor is one of the spots I was concerned about. I had originally written it with a B flat 7 instead of an F7 in the second ending. So, the A7 resolving by deceptive cadence to a B flat, which then gets reinterpreted as a Neapolitan chord to lead to the dominant in A minor. But the modulation sounded too quick and unconvincing to me, so I tried to the F7 (functioning as a German sixth) instead, but I worry that the logic of the A7 -> F7 is weak. I've listened to it a bunch and go back and forth on whether I think it works. I may try tinkering with it. Thanks for the suggestions! 1 Quote
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