Hey - this is pretty cool. I like it! It isn't quite ragtime - ragtime is characterized by the oom-pah bass. It's a creative mix of ragtime/swing melodies in some places with these rigid war-drum like chords in the bass. It's funny - I feel like the war - drum parts and the swingy parts have a cool interaction. Some stuff -
- The thirty-second grace note to an acciaccatura (that's the first grace note option in the grace note panel in musescore - it has the little slash through the stem)
- For the tempo text - a dotted quarter note doesn't really make sense - a regular quarter note would.
- Almost all the notes in the bass are staccato, so you can just write staccato as an expression mark instead of having a dot over every note.
- In bar 20, I'd have four eighth notes, the last one tied to make the rhythm easier to read.
- You don't often see double-dotted half notes - I really don't know much about them so I can't say either way if they're used well.
- I love bar 38 through where the coda starts - maybe a crescendo to ramp up the intensity?
- I'd think some more about bar 31 - it sounds more like a sea-shanty or Irish jig than the rest of the piece.
- How about a system break before the coda - that would be nice for the formatting.
- I love the coda/ending so much!
This is your first composition? Sweet!
(Sorry - I don't have any really theory - related composition tips - I just know that this sounds pretty good!)
- The thirty-second grace note to an acciaccatura (that's the first grace note option in the grace note panel in musescore - it has the little slash through the stem)
- For the tempo text - a dotted quarter note doesn't really make sense - a regular quarter note would.
- Almost all the notes in the bass are staccato, so you can just write staccato as an expression mark instead of having a dot over every note.
- In bar 20, I'd have four eighth notes, the last one tied to make the rhythm easier to read.
- You don't often see double-dotted half notes - I really don't know much about them so I can't say either way if they're used well.
- I love bar 38 through where the coda starts - maybe a crescendo to ramp up the intensity?
- I'd think some more about bar 31 - it sounds more like a sea-shanty or Irish jig than the rest of the piece.
- How about a system break before the coda - that would be nice for the formatting.
- I love the coda/ending so much!
This is your first composition? Sweet!
(Sorry - I don't have any really theory - related composition tips - I just know that this sounds pretty good!)