In the last third of the XIXth century, and due to a series of factors of social and economic type very similar to those who would give place to the birth of the jazz in New Orleans, a musical style developed in the city of San Luis, Missouri, usually considered as piano, that one knew like jig piano style and, later, from, ragtime, that is to say, broken rhythm or sincopado. Your consideration as music for piano derives from the scores published from, which were edited for this instrument, and of the fact from which, in an epoch in which recordings were still not realized, the pianola rolls were allowing to gather the piano interpretations.

But it was a question of a genre extensively used as music of band with regard to its role in the formation of the original jazz, is considered that like fundamental The piano style was usually characterized by the rigid and solid marking of the rhythm with the left hand, while the right was marking the melody, of very syncopated form, with influences of the rhythms of banjo of the plantations of the south of the States Unidos it was a question of a “compound” music, this is, not improvised, and it was nourished of classic forms like the minueto or the waltz, organized ones in several parts or sections of compases, whose melodic subject-matter could be completely independent This has led many authors to thinking that the ragtime is one of the first examples of music specially American.

The first ragtime score was published in and its author was the white musician William H. Krell, although already from much earlier they were touching rags in the minstrel spectacles, confused often with cakewalks. Although in some occasions the ragtime is included in the direct line of the jazz, like the first declaration of the same one, note the true thing is that «it was rather a complementary activity that ended up by being absorbed by the jazz according to both music were developing» The big figure of the rag was Scott Joplin, whose way of touching is known for having being moved profusely to pianola rolls, although it was touching often with bands. In addition to Joplin, pianists of ragtime outstanding figures were Tom Turpin, James Scott, Louis Chauvin or Eubie Blake.

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