Ragtime Swing 44

10/17/2016

Image#

265

Style of Art

Hyperrealism

Reflective

Color & Form

Black

Jazz

Music

Sounds Of Heaven And Joy

Frame Style

Frame Color

Presidential

Aged Gold

Painting Details
Ragtime Swing 44

Shadows, Awning, Music, Sounds, Notes, Corner, Hat, Bass, Door, Wine, Table

Release Date

Category

Series

Collection

Season

Holiday

Ocassion

Primary Color

Main Element

Theme

Description

Elements

Additional 

Hyperrealism

Reflective

Color & Form

Black

Presidential

Aged Gold

Thoughts While Creating

Meet me at Ragtime Swing 44.

The rag was a modification of the march made popular by John Philip Sousa, with additional polyrhythms coming from African music. It was usually written in 2/4 or 4/4 time with a predominant left-hand pattern of bass notes on strong beats (beats 1 and 3) and chords on weak beats (beat 2 and 4) accompanying a syncopated melody in the right hand. According to some sources the name "ragtime" may come from the "ragged or syncopated rhythm" of the right hand.[2] A rag written in 3/4 time is a "ragtime waltz."

Ragtime is not a "time" (meter) in the same sense that march time is 2/4 meter and waltz time is 3/4 meter; it is rather a musical genre that uses an effect that can be applied to any meter. The defining characteristic of ragtime music is a specific type of syncopation in which melodic accents occur between metrical beats. This results in a melody that seems to be avoiding some metrical beats of the accompaniment by emphasizing notes that either anticipate or follow the beat ("a rhythmic base of metric affirmation, and a melody of metric denial. The ultimate (and intended) effect on the listener is actually to accentuate the beat, thereby inducing the listener to move to the music.

Scott Joplin, the composer/pianist known as the "King of Ragtime", called the effect "weird and intoxicating." He also used the term "swing" in describing how to play ragtime music: "Play slowly until you catch the swing.”

Credit: Wikipedia