unexpected places, but in which the beat was never lost, produced a most curious effect. And, too, the player, the dexterity of his left hand in making rapid octave runs and jumps was little short of marvelous; and, with his right hand, he frequently swept half the keyboard with clean cut chromatics which he fitted in so nicely as never to fail to arouse in his listeners a sort of pleasant surprise at the accomplishment of the feat.
This was ragtime music, then a novelty in New York, and just growing to be a rage which has not yet subsided. It was originated in the questionable resorts about Memphis and St. Louis by Negro piano players, who knew no more of the theory of music than they did of the theory of the universe, but were guided by natural musical instinct and talent. It made its way to Chicago, where it was popular some time before it reached New York. These players often improvised crude and, at times, vulgar words to fit the melodies. This was the beginning of the ragtime song. Several of these improvisations were taken down by white men, the words slightly altered, and published under the names of the arrangers. They sprang into immediate popularity and earned small fortunes, of which the Negro originators got only a few dollars. But I have learned that since that time a number of colored men, of not only musical talent, but training, are writing out their own melodies and words and reaping the reward
