How do you dance to ragtime music

Johnson, We're indebted to musicologist John Hasse for a xerox of the only known copy of this tune. Belgique Tango [audio sample] by Enrique Delfino, Flute and violin appeared together in most of the early tango combos, often with piano.

Tobasco Ragtime Waltz [audio sample] by Charles L. Johnson, Best remembered for "Dill Pickles Rag," Johnson was one of the white pioneers of ragtime and one of its most financially successful composers, writing hundreds of tunes. Champagne Tango [audio sample] by Manuel Aroztegui, Named for the special section of a noted cabaret, "Armenonville," which offered two guaranteed attractions to Buenos Aires' youth — champagne and tangos. Listen for the bubbles! Louis Blues by W.

Handy, A traveling musician with a phenomenal memory, Handy captured fragments of a new Afro-American musical genre — the blues. He then presented these to America in dozens of compositions. Initially swindled out of the rights to his first composition, "Memphis Blues," his next tune, "St. Louis Blues," became even more successful. Texas Fox Trot [audio sample] by David W.

Guion, Oh no! The cowboy's tied to the railroad tracks. Will the handsome heroine rescue him in time??? David Guion is often credited with composing the music to "Home on the Range". El Choclo Tango Argentino [audio sample] by A. Villoldo, The enduring epitome of the tango by one of the genre's earliest and most prolific composers. Angel Villoldo, a guitarist, pianist and singer, travelled to Paris in to make many of the first tango recordings. The St. Louis Rag by Tom Turpin, A good friend of Scott Joplin, self-taught Turpin's playing was the standard by which all others were judged during cutting contests.

Turpin's "Rosebud Cafe" was the rendezvous for pianists from across the country during the St. Louis World's Fair. Theirs was a sophisticated new style of dance — elegant, playful, and danceable. They were Vernon and Irene Castle photo above ; they arrived in and they took America by storm.

The Castles were everything the new middle class was waiting for — sophisticated, stylish, handsome, charismatic — perfect. Their dance was smooth, dignified, and graceful and everyone could look good doing it. As their fame spread, they toured the country, giving lessons and performances from Chicago to Miami to New York.

The Castles amassed — and spent — a tremendous fortune. Irene Castle set women's fashions for decades and caused major changes when she shortened both her skirt and her hair. Hundreds of thousands of women followed suit and, for the first time in modern history, women showed their ankles. Vernon immediately introduced the dance movement of backing the lady — something that could not be done in a floor-length skirt — and women have danced backward ever since.

The list of Ragtime dances created and introduced by the Castles is remarkable and many of them are still with us in one form or another. The One-Step, so-called because it takes one step on each beat, was the most popular, with an exhilarating, driving quick-tempo. The dance evolved into the Peabody in the Twenties and later into the modern Quick-Step. The sultry and "immoral" tango was polished by the Castles into a playful, flirtatious dance that was perfectly acceptable to the new dance world and it has evolved ever since into an important part of the American ballroom dance repertoire.

The polka likewise received a makeover by the Castles. Films of them performing the dance indicate a remarkable similarity to the so-called "Polish polka" as found in cities like Chicago and Detroit and Cleveland — but nowhere in Europe. The colorful Maxixe was to many the most interesting and challenging of all the Ragtime dances, in reality a Parisian adaptation of a Brazilian-Latinized version of a Bohemian polka.

Though its popularity was brief it came in with the Titanic and ended almost as soon , its rich repertoire of figures and Latin movement character eventually evolved in Brazil into the dance we know as "Samba. It quickly died. There were a number of ethnic dances and music created by composers who had no clue to the origins of their music and it showed: Persian, Chinese, Russian, Polish, Hungarian, and Turkish music were introduced to the Ragtime music scene — most of it bearing no resemblance to the real thing.

In spite of that, there were some very authentic ethnic dances introduced, though frequently misidentified. At least two well-known Polish dances were introduced as either Russian or Hungarian. Americans were getting cocky.