RagTime

The ragtime is a musical genre of American origin , extremely popular in the years 1900 - 1915. One finds in the Cakewalk and the musics of living room a primitive form of ragtime, but one generally locates the emergence of the traditional ragtime in 1897, year when several important compositions of ragtime were published (commonly called rags ).

The ragtime is generally regarded as one of the principal precursors of the Jazz (with the Blues). Starting from the Années 1920, the jazz quickly supplanted the ragtime, even if this one could continue to develop through derived such as the Novelty piano or the Stride. The ragtime thereafter knew an renewed interest in the Années 1950 and the Années 1970 (in particular with the music of the film Swindles It George Roy Hill, borrowed from Scott Joplin). The composition of ragtime, in a traditional or more elaborate form, continues still nowadays, and gave place to new forms such as the Terra Verde.

The ragtime is mainly associated with the Piano, but is also played with other instruments, such as the Guitare or the Banjo, and can be interpreted with a formation of the brass band type.

From the musical point of view, the ragtime is characterized mainly by the introduction of syncope into the melody: the Note S are sometimes played between the principal Temps of the rate/rhythm, creating an effect of shift. The piano, the left hand ensures a beat four times well marked (alternating low and agreements plated, movement called “to make pumps” in the musical Argot) which comes to syncopate the melody played by the right hand. It is this Ragged-time (time in scraps, jagged) which gave its name to the kind. From a stylistic point of view, the ragtimes are rather played binary, contrary to the jazz. Traditional structure AA/BB/A/CC/DD of the airs of ragtime seems to be adopted following the large success of Maple Leaf Rag of Scott Joplin, published in 1899.

One considers traditionally Scott Joplin, Joseph Lamb and James Scott like the three large type-setters of the traditional period of the ragtime. Actually, of many type-setters answered and nourished the passion caused by the ragtime at that time. Let us quote, inter alia, May Aufderheide, Zez Confrey, Ben Harney, Charles L. Johnson, Artie Matthews, Lucky Roberts, Paul Sarebresole, Wilber Sweatman, and Tom Turpin. Among the contemporary type-setters, one finds William Bolcom, David Thomas Roberts, and Trebor Tichenor. This music of American origin was quickly introduced in Europe and there was also a sharp success. Thus, several traditional type-setters were inspired some directly: with the image of Claude Debussy, Erik Satie, Darius Milhaud or Igor Stravinsky.

Among the very known airs of ragtime of the general public, one can quote:

Among the less known parts, one can quote:

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