“Ragtime 2: The Country”



from notes to “Ragtime 2: The Country” (Folkways RBF 18) by Samuel Charters:

Country ragtime in the 1920’s and 1930’s has some of the feel of an old farm house that was on the land for years, then was added-to and redone, until finally it wasn’t quite the old house any more – but it wasn’t quite a new house, either. It has some of the look of the old house and some of the look of the new house, and in some places it’s hard to tell where one leaves off and the other begins.

Ragtime seems to have been once a kind of style of playing that went on in the black slave cabins and the isolated country towns of the South. It had the melodic structure and the kind of harmonic patterns that characterized European dancing and march music, but it was different from it both in rhythm and scale.

Instead of the simple four beat or dotted accent of the European jigs and reels the ragtime melody was more subtly syncopated, perhaps as a reflection of some earlier time when African drums were still played surreptitiously along with the banjos and the violins.

The more complex, multi-layered, texture of African drumming could lead to a free-flowing sense of melody, which was more strictured in the European context. And some of the same scale patterns that characterize the blues also turn up in early ragtime – the ambiguous major-minor resolutions of James Scott’s rags, and the gapped scales in some of the strains of the early St. Louis rags.

“Lindy”  played by the Proximity String Quartet (from “Ragtime 2: The Country”):


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