Editing Jazz (section)

===Ragtime===
{{Main|Ragtime}}
[[File:Scott Joplin 19072.jpg|thumb|right|upright|[[Scott Joplin]] in 1903]]
The abolition of [[slavery]] in 1865 led to new opportunities for the education of freed African Americans. Although strict segregation limited employment opportunities for most blacks, many were able to find work in entertainment. Black musicians were able to provide entertainment in dances, [[minstrel show]]s, and in [[vaudeville]], during which time many marching bands were formed. Black pianists played in bars, clubs, and brothels, as [[ragtime]] developed.{{sfn|Cooke|1999|pp=28, 47}}<ref>{{cite web |url=http://cnx.org/content/m10878/latest |title=Ragtime |access-date=October 18, 2007 |author=Catherine Schmidt-Jones |date=2006 |publisher=Connexions}}</ref>

Ragtime appeared as sheet music, popularized by African-American musicians such as the entertainer [[Ernest Hogan]], whose hit songs appeared in 1895. Two years later, [[Vess Ossman]] recorded a medley of these songs as a [[banjo]] solo known as "Rag Time Medley".{{sfn|Cooke|1999|pp=28–29}}<ref>{{cite web |url=http://www.redhotjazz.com/firstragtimerecords.html |title=The First Ragtime Records (1897–1903) |access-date=October 18, 2007 |archive-date=December 1, 2010 |archive-url=https://web.archive.org/web/20101201055033/http://www.redhotjazz.com/firstragtimerecords.html }}</ref> Also in 1897, the white composer [[William Krell]] published his "[[Mississippi Rag]]" as the first written piano instrumental ragtime piece, and [[Tom Turpin]] published his "Harlem Rag", the first rag published by an African-American.

Classically trained pianist [[Scott Joplin]] produced his "[[Original Rags]]" in 1898 and, in 1899, had an international hit with "[[Maple Leaf Rag]]", a multi-[[strain (music)|strain]] ragtime [[march (music)|march]] with four parts that feature recurring themes and a bass line with copious [[seventh chord]]s. Its structure was the basis for many other rags, and the [[syncopation]]s in the right hand, especially in the transition between the first and second strain, were novel at the time.<ref name="TMG">{{cite book |last1=Tanner |first1=Paul |last2=Megill |first2=David W. |last3=Gerow |first3=Maurice |title=Jazz |date=2009 |publisher=McGraw-Hill |location=Boston |pages=328–331 |edition=11}}</ref> The last four measures of Scott Joplin's "Maple Leaf Rag" (1899) are shown below.

:<score override_audio="Maple Leaf Rag seventh chord resolution.mid"> {
   \new PianoStaff <<
      \new Staff <<
         \new Voice \relative c' {
             \clef treble \key aes \major \time 2/4
             <f aes>16 bes <f aes>8 <fes aes> <fes bes>16 <es aes>~
             <es aes> bes' <es, c'> aes bes <es, c'>8 <d aes'>16~
             <d aes'> bes' <d, c'> aes' r <des, bes'>8 es16
             <c aes'>8 <g' des' es> <aes c es aes>
             }
            >>
     \new Staff <<
         \relative c, {
             \clef bass \key aes \major \time 2/4
             <des des'>8 <des des'> <bes bes'> <d d'>
             <es es'> <es' aes c> <es, es'> <e e'>
             <f f'> <f f'> <g g'> <g g'> <aes aes'> <es es'> <aes, aes'> \bar "|."
             }
         >>
    >>
}
</score>

African-based rhythmic patterns such as [[Tresillo (rhythm)|tresillo]] and its variants, the habanera rhythm and [[cinquillo]], are heard in the ragtime compositions of Joplin and Turpin. Joplin's "[[Solace (Joplin)|Solace]]" (1909) is generally considered to be in the habanera genre:<ref name="ReferenceA">Manuel, Peter (2009: 69). ''Creolizing Contradance in the Caribbean''. Philadelphia: Temple University Press.</ref><ref>Matthiesen, Bill (2008: 8). ''Habaneras, Maxixies & Tangos The Syncopated Piano Music of Latin America''. Mel Bay. {{ISBN|0-7866-7635-3}}.</ref> both of the pianist's hands play in a syncopated fashion, completely abandoning any sense of a [[March (music)|march]] rhythm. [[Ned Sublette]] postulates that the tresillo/habanera rhythm "found its way into ragtime and the cakewalk,"<ref>Sublette, Ned (2008:155). ''Cuba and its Music; From the First Drums to the Mambo.'' Chicago: Chicago Review Press.</ref> whilst Roberts suggests that "the habanera influence may have been part of what freed black music from ragtime's European bass".<ref>Roberts, John Storm (1999: 40). ''The Latin Tinge''. Oxford University Press.</ref>