+RVgeeks Now that's an insult. He's no Joplin. He's a Keenlyside, and he might even be a greater composer than Joplin. With his own original style, Max writes Ragtime unlike any composer before him. His playing is darn good as well. This was a neat piece, and though the key choice comes as a quite a surprise, I think it works very well. Made my day for sure! : )
+RVgeeks +Ragtime95 : Surely you are both correct! Max himself has always striven for 'authenticity' - and by combining instinct and effort, he has learned how to draw from the same sources [cultural; musical; spiritual] that originally inspired Joplin and his contemporaries. Max also 'gets' the stylistic arrangement principles of the original period (often sadly under-emphasised) well enough not simply to emulate them - but to transcend them in his own distinctive style. For all of this - most of all for making his music available to distant admirers - much respect!
All of your words fill em with great pride and joy. Thanks for them. Respectfully, I must defer to Joplin, of course, without whom none of us would have the inspiration to even pay attention to the genre, let alone try to champion it. Thanks.
What a delightful piece! Great to see the well of Rag-inspiration flowing again - your UK fan-base has not forgotten you! (There should be a market for coffee-shop napkins printed with Grand Staff ... )
Thanks very much! Means a lot to me. I strongly encourage you to check out some of the stuff from contemporary ragtime composers -- too numerous to mention here without disservicing others by omission.
Excellent work, Max. One of these days, when I over come my fear of reading in sharps, I will attempt to learn this! Perhaps it will even sneak its way into one of Tom and I's sets!
A major (and its relative F# minor) is one of the friendliest keys of all for the hands, along with Eb major (C minor), due to the nearly even distribution of white and black keys to "grab", in my opinion. This is particularly so when fingering scales.
Interesting, I've never seen a rag written in E and A Major as most of them are in flat keys with the occasional G. More composers need to start writing Ragtime in sharp keys, good job Max!
There are a few in E major. Charley Straight's "Wild and Wooly" and David Thomas Roberts' "The Girl Who Moved Away" are both in that key. I think Tom Brier has written one in that key, as well, but not sure which one.
To beat my own drum, "This One's For Estee" (not on UA-cam yet) is in F# minor, A major, B minor and the trio goes into F major, but modulates a bit in the middle. Of course, I wasn't really thinking so much of the keys when I composed it, it just came out that way.
Thanks! Indeed, as Andrew points out, there are some great rags written in sharp keys. I I think Andrew inspired Vincent Johnson to start writing in them, who in turn inspired me. I was also influenced by my obsession with classical music, and more specifically that of Dvorak.
How can i imagine composing? Is it like just writing down notes with a melody in head how it could sound (which is of course hard because you need to know how every chord and note is sounding) or do you play a melody and write it down afterwards?
I'm certainly no trained 'expert' - but I offer a reply because these questions are very interesting to me also! Does it perhaps help you to imagine the more routine musical task of 'arranging' first of all? In the past, many 'composers' of popular songs would actually produce only the first ideas of Melody and Rhythm; and then another musician employed by a Producer or Publisher might select Chords, write the full Accompaniment, produce manuscript Notation, and so on. And after that, yet another person might Edit the printed score and check for possible 'mistakes'. All of these tasks require Ears and Eyes and Hands that work well together musically - but they are not yet the whole of 'Composition'. Certainly I'd guess that individual Composers might have a personal preference to begin with Melody, or Rhythm, or Chord-progression (or indeed to work in different ways at different times as the mood strikes them!). I've no doubt that people at Max's level can comfortably 'sight-hear' in their heads when reading almost any printed score; and (which is the reverse) easily write-down any musical idea that occurs to them using any available media (maybe in a personal 'shorthand' form). If a keyboard or notation-software is available, I think many musicians will naturally use that as a 'development' tool. Above and beyond the skills that can be taught and practised, however, I strongly suspect that the true genius of Composition is not so much to do with some mysterious 'inspiration' that appears 'by magic', but involves the developed ability to make selective judgements about whatever musical ideas 'do' occur to you. This is also about exploring all possibilities - particularly in use of Harmony - so as to decide what to 'keep and use' - and most importantly (!) - what ideas to discard, to deliberately throw-away ;-). This 'hidden' internalised stage of Composition surely becomes second-nature to experienced composers, so that when the time comes finally to write the piece 'on paper', that is now effectively a more-or-less 'mechanical' task ... ?
John nailed it. It really comes down to training your musical instincts, and honing your ability to translate the ideas you have in your head to something tangible, on the piano, paper, or imaginary staff paper in your mind. When I compose, I draw on what I know of harmonic, melodic, and timbral functions; ideas are always formulated in the mind before touching paper, computer, or piano, even though they are usually refined and developed while being "taken down."
Sometimes a melody fragment pops into my head and I sit at the piano for hours and play around with it and develop it; other times I'm not thinking of anything and start playing and stuff comes out; usually it's junk; sometimes it's actually particularly good (this is how the first two themes of 'Fairview Rag" came out, readymade. The third theme wasn't started until I was commissioned to submit a piece for that folio and then it was a mad scramble to write a third theme in just a few months, and was able to repurpose a more recent standalone theme for the fourth theme there). Once in a great while an entire theme comes to me, complete or near-complete, and only requires me to figure it out on the piano (I can already hum or whistle the melody) and check the voicings etc. to get it down. This is how the first theme of "Ragtime Amanda" happened. I wasn't even near a piano when I thought of it. My composing takes forever because I want my pieces to sound original and not usually wear their influences so obviously on their sleeves. I cannot stand just slavishly copying something (especially something from a really well-known composer vs an obscure one), since so many others already do that to some degree, and I see no point in 'reinventing the wheel' unless said wheel is a very obscure one covered with vines and moss etc which could do with a tribute (besides reviving the original itself). However, at some point I 'gave up' and realized the fragment-source-identification process was taking too long and I was starting to destroy perfectly good phrases and even themes in this quest for perfection and originality; and so for some pieces (at least) I have chosen to just label the pertinent bars / phrases with the titles and composers of the pieces that influenced them (or which I have copied) and leave it up to the pianist(s) to get the music to those and compare to see the influence. "Fairview Rag" and "Cantering Along" both have this feature in the scores. However, luckily I have composed a few that are seemingly so original that even now, years later, I have no idea where the hell they came from! I guess that is what people call 'divine inspiration', or something. "Ragtime Amanda" is an example of this. What is interesting is that THOSE themes often came out all at once, or in a very short period (just a day or two), instead of being refined over long periods of time, like some of the copied ones were (although I've also polished totally original themes over long periods, which had certain chords or basslines that were 'not quite right' and bothered me. For example it took me 15 years to find ONE very important chord for Black Bear Rag, but I finally found it!). My musical knowledge is still nowhere where it needs to be to compose what I would like to compose (I have to study way more rock music, way more closely and precisely, than I am doing), but is better now than when I started.
I'm glad the music caught your attention! Thank you. I am in the middle of rebuilding my online store at maxpiano.ca; in the interim, this score is still available on my Shoptly profile, either as a solo, or in my most recent folio. shoptly.com/maxkeenlyside
As a fellow composer, it’s good to see that one negative comment on a video of one’s work. To me it makes all the other positive comments more real and less eerie. Your negative comment gives this entire piece the stamp of authenticity, so thanks for that!
![Lp. Сердце Вселенной #60 РОЖДЕНИЕ ЛОЛОЛОШКИ [Финал] • Майнкрафт](http://i.ytimg.com/vi/YoR0pAV9FVQ/mqdefault.jpg)
Absolutely beautiful! You are Scott Joplin reincarnated. Thanks so much for sharing, Max.
+RVgeeks Now that's an insult. He's no Joplin. He's a Keenlyside, and he might even be a greater composer than Joplin. With his own original style, Max writes Ragtime unlike any composer before him. His playing is darn good as well. This was a neat piece, and though the key choice comes as a quite a surprise, I think it works very well. Made my day for sure! : )
Joplin = innovative creator of sublime music. Keenlyside = same thing. Hardly an insult! I love them both. :)
+RVgeeks +Ragtime95 : Surely you are both correct! Max himself has always striven for 'authenticity' - and by combining instinct and effort, he has learned how to draw from the same sources [cultural; musical; spiritual] that originally inspired Joplin and his contemporaries. Max also 'gets' the stylistic arrangement principles of the original period (often sadly under-emphasised) well enough not simply to emulate them - but to transcend them in his own distinctive style. For all of this - most of all for making his music available to distant admirers - much respect!
All of your words fill em with great pride and joy. Thanks for them. Respectfully, I must defer to Joplin, of course, without whom none of us would have the inspiration to even pay attention to the genre, let alone try to champion it. Thanks.
definitely my favourite composition of yours, that or "one for james scott"
Max, you might be the greatest ragtime composer! May you always be Blessed expressing your musical gifts.
He's one of the greatest living ones, that's for sure.
Amazing. I return often to your outstanding compositions!
There really is a lot going on in this one. Tons of subtleties.
Very nice! I thoroughly enjoyed it!
I really like it.
Brilliant piece.
What a delightful piece! Great to see the well of Rag-inspiration flowing again - your UK fan-base has not forgotten you! (There should be a market for coffee-shop napkins printed with Grand Staff ... )
Very well done, Max! :) Interesting key choice. Wonderful tune.
I dont know why, but i dont get tired of your compositions. So interesting. Listening to it is a must every day!
Love it. You even put in the effort to make such a tidy looking score. I want it, badly!
Really lovely
Glad to hear it. Keep up this great tradition you have a talent😋
great rag and love the unusual key :)
Absolutely stunning, beautiful! Thanks for sharing.
Thanks sir!
Excellent composition. True njoyme
True enjoyment.
A very different sound, but I like it! I like it a lot! Thank you for sharing it!
Another great one, Max!
Wow, this is really good! I honestly wasn't expecting such a gripping rag from a live composer.
Thanks very much! Means a lot to me. I strongly encourage you to check out some of the stuff from contemporary ragtime composers -- too numerous to mention here without disservicing others by omission.
That's beautiful!
Great song
This made my day!!
Wish I could play it in my piano graduation at the end of this year! =)
Beautiful!
Fantastisk
Excellent work, Max. One of these days, when I over come my fear of reading in sharps, I will attempt to learn this! Perhaps it will even sneak its way into one of Tom and I's sets!
A major (and its relative F# minor) is one of the friendliest keys of all for the hands, along with Eb major (C minor), due to the nearly even distribution of white and black keys to "grab", in my opinion. This is particularly so when fingering scales.
+Great Pianists Chopin, and my teacher taught B major first because its the easiest scale to play.
Interesting, I've never seen a rag written in E and A Major as most of them are in flat keys with the occasional G. More composers need to start writing Ragtime in sharp keys, good job Max!
There are a few in E major. Charley Straight's "Wild and Wooly" and David Thomas Roberts' "The Girl Who Moved Away" are both in that key. I think Tom Brier has written one in that key, as well, but not sure which one.
To beat my own drum, "This One's For Estee" (not on UA-cam yet) is in F# minor, A major, B minor and the trio goes into F major, but modulates a bit in the middle. Of course, I wasn't really thinking so much of the keys when I composed it, it just came out that way.
Thanks! Indeed, as Andrew points out, there are some great rags written in sharp keys. I I think Andrew inspired Vincent Johnson to start writing in them, who in turn inspired me. I was also influenced by my obsession with classical music, and more specifically that of Dvorak.
How can i imagine composing? Is it like just writing down notes with a melody in head how it could sound (which is of course hard because you need to know how every chord and note is sounding) or do you play a melody and write it down afterwards?
I'm certainly no trained 'expert' - but I offer a reply because these questions are very interesting to me also! Does it perhaps help you to imagine the more routine musical task of 'arranging' first of all? In the past, many 'composers' of popular songs would actually produce only the first ideas of Melody and Rhythm; and then another musician employed by a Producer or Publisher might select Chords, write the full Accompaniment, produce manuscript Notation, and so on. And after that, yet another person might Edit the printed score and check for possible 'mistakes'. All of these tasks require Ears and Eyes and Hands that work well together musically - but they are not yet the whole of 'Composition'.
Certainly I'd guess that individual Composers might have a personal preference to begin with Melody, or Rhythm, or Chord-progression (or indeed to work in different ways at different times as the mood strikes them!). I've no doubt that people at Max's level can comfortably 'sight-hear' in their heads when reading almost any printed score; and (which is the reverse) easily write-down any musical idea that occurs to them using any available media (maybe in a personal 'shorthand' form). If a keyboard or notation-software is available, I think many musicians will naturally use that as a 'development' tool.
Above and beyond the skills that can be taught and practised, however, I strongly suspect that the true genius of Composition is not so much to do with some mysterious 'inspiration' that appears 'by magic', but involves the developed ability to make selective judgements about whatever musical ideas 'do' occur to you. This is also about exploring all possibilities - particularly in use of Harmony - so as to decide what to 'keep and use' - and most importantly (!) - what ideas to discard, to deliberately throw-away ;-). This 'hidden' internalised stage of Composition surely becomes second-nature to experienced composers, so that when the time comes finally to write the piece 'on paper', that is now effectively a more-or-less 'mechanical' task ... ?
John nailed it. It really comes down to training your musical instincts, and honing your ability to translate the ideas you have in your head to something tangible, on the piano, paper, or imaginary staff paper in your mind. When I compose, I draw on what I know of harmonic, melodic, and timbral functions; ideas are always formulated in the mind before touching paper, computer, or piano, even though they are usually refined and developed while being "taken down."
Max Keenlyside
Thanks for your answer! :)
Sometimes a melody fragment pops into my head and I sit at the piano for hours and play around with it and develop it; other times I'm not thinking of anything and start playing and stuff comes out;
usually it's junk; sometimes it's actually particularly good (this is how the first two themes of 'Fairview Rag" came out, readymade. The third theme wasn't started until I was commissioned to submit a piece for that folio and then it was a mad scramble to write a third theme in just a few months, and was able to repurpose a more recent standalone theme for the fourth theme there).
Once in a great while an entire theme comes to me, complete or near-complete, and only requires me to figure it out on the piano (I can already hum or whistle the melody) and check the voicings etc. to get it down. This is how the first theme of "Ragtime Amanda" happened. I wasn't even near a piano when I thought of it.
My composing takes forever because I want my pieces to sound original and not usually wear their influences so obviously on their sleeves. I cannot stand just slavishly copying something (especially something from a really well-known composer vs an obscure one), since so many others already do that to some degree,
and I see no point in 'reinventing the wheel' unless said wheel is a very obscure one covered with vines and moss etc which could do with a tribute (besides reviving the original itself).
However, at some point I 'gave up' and realized the fragment-source-identification process was taking too long and I was starting to destroy perfectly good phrases and even themes in this quest for perfection and originality;
and so for some pieces (at least) I have chosen to just label the pertinent bars / phrases with the titles and composers of the pieces that influenced them (or which I have copied) and leave it up to the pianist(s) to get the music to those and compare to see the influence.
"Fairview Rag" and "Cantering Along" both have this feature in the scores.
However, luckily I have composed a few that are seemingly so original that even now, years later, I have no idea where the hell they came from! I guess that is what people call 'divine inspiration', or something.
"Ragtime Amanda" is an example of this.
What is interesting is that THOSE themes often came out all at once, or in a very short period (just a day or two), instead of being refined over long periods of time, like some of the copied ones were (although I've also polished totally original themes over long periods, which had certain chords or basslines that were 'not quite right' and bothered me. For example it took me 15 years to find ONE very important chord for Black Bear Rag, but I finally found it!).
My musical knowledge is still nowhere where it needs to be to compose what I would like to compose (I have to study way more rock music, way more closely and precisely, than I am doing), but is better now than when I started.
@@andrewbarrett1537 thanks for these detailed insights!
Even after 5 years😁
That first strain was all I needed to hear. Sheet music, Mr. Keenlyside?
I'm glad the music caught your attention! Thank you. I am in the middle of rebuilding my online store at maxpiano.ca; in the interim, this score is still available on my Shoptly profile, either as a solo, or in my most recent folio. shoptly.com/maxkeenlyside
@@maxkeenlyside Thank you so much!
Nice! this is really good! do you share the score in a pdf at some point?
Love this! Do you have the music on your site for download?
Was this piece inspired by gladiolus rag ? It sounds so good
Sounds a bit more advanced than most of Joplin's rags, more involved chord progressions with a hint of Gershwin in there.
How did you get that font?
I made them all myself. :)
Well, at least you can the whole score on this one...
Love the piece, hate the key! :P
It took a long time to learn it. :P
Hated it
www.maxkeenlyside.ca/14.gif
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Max Keenlyside
😂😂
As a fellow composer, it’s good to see that one negative comment on a video of one’s work. To me it makes all the other positive comments more real and less eerie. Your negative comment gives this entire piece the stamp of authenticity, so thanks for that!
Beautiful!