Milhaud's The Creation of the World (Op. 81a), written in 1923, is considered one of the earliest examples in music history to incorporate authentic jazz idioms into classical music. Three Rag-Caprices was written in the summer of the previous year (1922) at his family home in Aix, preceding The Creation of the World. It was dedicated to his friend Jean Wiéner and premiered by Wiéner himself at his concert on November 23, 1922. At the time, Wiéner earned a living as a bar pianist, while actively featuring works ranging from classical to avant-garde, jazz, and blues in his self-organized concert series, significantly influencing the activities of "Les Six" of that era.

This work reflects Wiéner's characteristic performance style. It is a lighthearted piece of music, following in the lineage of works such as Satie's Rag-Time du Paquebot (1917), Stravinsky's Ragtime for 11 Instruments (1917-18), and Piano-Rag-Music (1919). Unlike The Creation of the World, it does not feature elaborate counterpoint. The outer movements are characterized by sharp rhythms and speedy musical ideas, forming a strong contrast with the lyrical middle movement titled "Romance."

According to later confirmation by Milhaud's pupil, William Bolcom, Milhaud, despite his familiarity with jazz, surprisingly had little interest in authentic ragtime. Bolcom, who held an exceptionally deep reverence for his teacher and is a rare master of ragtime in both composition and performance, conveys a sense of frustration between the lines of his understated recollections. Nevertheless, it can be assumed that this work was titled casually by the young Milhaud, who was greatly amused by the popular music of the New World. An chamber orchestra version of this work also exists.

• I. Sec et musclé
  In a detached and energetic manner. 4/4 time. F-sharp major (no key signature).

• II. Romance (Tendrement)
  Gently. 4/4 time. F major (no key signature).

• III. Précis et nerveux
  Clearly and restlessly. 4/4 time. C major.