The rag opens with a bright, memorable strain or theme, followed by a similar theme, leading to a trio of marked lyrical character, with the structure concluded by a lyrical strain that parallels the rhythmic developments of the earlier themes. The classic formula for the piano rag disposes three to five themes in sixteen-bar strains, often organized with repeats. It arises from ragtime's following a well-defined form and obeying simple rules within that form. Ragtime's is not a mechanical precision, and it is not precision limited to the style of performance. For instance, Wilfred Mellers comments, "rags 'were transferred to the pianola roll and, even if not played by a machine, should be played like a machine, with meticulous precision." However, there is no reason to assume that ragtime is inherently mechanical simply because commercial manufacturers applied a mechanical recording method to ragtime, the only way to record pianos at that date. It has sometimes been charged that ragtime is mechanical. Composers like Scott Joplin and James Scott were in a sense collectors or musicologists, collecting dance and folk music in Black communities and consciously shaping it into brief suites or anthologies called piano rags. A strong analogy exists between European composers like Ralph Vaughan Williams, Edvard Grieg, and Anton Dvorak who combined folk tunes and their own original materials in larger compositions and the pioneer ragtime composers in the United States. Ragtime is a musical form that synthesizes folk melodies and musical techniques into a brief quadrille-like structure, designed to be played-exactly as Line written-on the piano.
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