Folk ragtime

Structure#

The writers of folk ragtime often mixed their themes together at random, in a structure loosely resembling the typical Classic Rag structure (IntroAABBACCDD). A good testament to this is the legendary multiple takes of Folk Rags by Sanford Brunson Campbell, recorded on acetate in 1947. They illustrate a performer who embellishes and improvises on basic themes, at times seeming as if he is making it all up as he goes along. In terms of melodic and harmonic content, Folk Rags have a distinct blues influence. In addition to themes based on 12-bar patterns, the non-blues-structured themes almost incorporate flatted ‘blue’ notes. Many themes in Folk rags are based on tonic-dominant chord relations, with forays into other simple chords. A typical chord progression in B major would go: B B E E B B F7 F7 B B E E B F7 B B : I I IV IV I I V7 V7 I I IV IV I V7 I I : At the center of the revival of folk ragtime has been historian, collector, and composer/pianist Trebor Jay Tichenor. His modern interpretations of Folk Ragtime, as well as his original compositions in the style, have set the standard for all folk ragtime pianists today. Some of his noted works are: “Hickory Smoked Rag” (1974), “Days Beyond Recall” (circa. 1960), and “Pierce City Rag” (circa. 1961), among many others.