The bouncy ragtime piano ragtime style was quickly adapted to the guitar, and was a complex style. Ragtime blues guitar songs, whose lyrics were often barely disguised sexual innuendo, were performed very successfully by some artists, notably Blind Blake (more about him in a later Lens), Reverend Gary Davis (who could play any style), Pink Anderson, Sam Chatmon, Blind Willie McTell, Hacksaw Harney and Blind Boy Fuller. Other artists, such as Big Bill Broonzy, touched on the ragtime feel, but had a much broader repertoire.

Often these songs were played in the keys of C, G and D, which lend themselves to the alternating bass picking pattern prevalent in this music. As you listen to a ragtime song, a couple of things might strike you. First of all, they tend to move at a good pace, which is often testimony to the skill and accuracy of the players. Secondly, there are common structural elements between songs in the same key, which is not too surprising.

One of these elements I call the 'turnaround' - that short progression of chords that is played between two verses. It provides breathing space between separate sets of lyrics, giving space, building tension and also providing an opportunity for the guitarist to showcase his skills.