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a
ragtime
piece:
1.
Duple
time.
Either
cut-common
(2/2)
or
2/4.
2.
The
chord
progression.
Simple,
mostly
primary
chords
with
some
secondary
and
a
possible
tri-tone
substitution
of
a
dominant
7th
chord,
or
a
enharmonic
chord.
Here
are
some
possibilities.
In
these
progressions
capitols
represent
major
chords
and
lower-case
are
minor
chords.
All
enharmonic
chords
(chords
form
other
keys)
such
as
bII7
&
bVI7
are
tri-tone
substitutions
of
dominant
7th
chords.
A
section:
I
;
V7
;
V7
;
I
;
IV
;
I
;
ii
;
V7
(repeat)
B
Section:
IV
;
I
;
bII7
;
I
;
IV
;
I
;
bVI7
;
V7
(repeat)
A
section
repeat
but
end
on
chord
I:
I
;
V7
;
V7
;
I
;
IV
;
I
;
ii
V7
;
I
A
section:
I
;
IV
;
I
;
V7
;
I
;
IV
;
V7
;
I
(repeat)
B
Section:
IV
;
I
;
V7
;
I
;
ii
;
vi
;
II7
;
V7
(repeat)
A
section
repeat
but
end
on
chord
I:
I
;
IV;
I
;
V7
;
I
;
IV
;
V7
;
I
Or,
(like
Joplin
again)
the
first
bass
note
is
the
root
of
the
chord,
but
the
second
one
is
a
semitone
lower
or
higher
than
the
root
of
the
next
chord.
So, by this point you should have a progression of chords that looks a bit like this.
Note
that
in
this
example
I
use
both
the
different
types
of
bass-chord
accompaniment
patterns.
Note
also
that
in
the
last
bar
the
bass
notes
move
by
step
from
the
D
(the
root
of
the
D
chord)
back
to
the
G
(the
first
note
of
the
first
bar),
you
dont
have
to
do
this.
It
is
just
what
I
chose
to
do.
4.
Create
a
melody.
To
write
a
ragtime
melody
you:
Now
place
this
syncopated
rhythm
into
the
melody
part
and
give
it
some
notes
from
the
chords.
Add
some
blues
and
or
pentatonic
notes
and
you
are
almost
there.