Despite family problems, Strauss senior continued to tour frequently and was always prepared to write novelty pieces for numerous charitable organizations. His waltzes were gradually developed from a rustic peasant dance into one which posterity would recognize as the Viennese waltz. They were written in three-quarter time with a short introduction; often with little or no reference to the later chain of five two-part waltz structure; usually appended with a short coda and concluded in a stirring finish, although his son Johann Strauss II expanded the waltz structure and utilized more instruments than his father. While he did not possess a musical talent as rich as his eldest son's, nor a business mind as astute, he was among the handful of early waltz composers along with Joseph Lanner to actively write pieces with individual titles — with the view to boost sales of their sheet music — which enabled music enthusiasts to easily recognize those pieces. In fact, during his performances at the Sperl-Ballroom in Vienna, where he established his name, he actively pursued the concept of collecting a fixed entrance fee from the patrons of the ballroom instead of the old practice of passing around a collection plate where income was reliant on the goodwill of the patrons.
Despite family problems Strauss senior continued to tour frequently and was always prepared to write novelty pieces for numerous charitable organizations His waltzes were gradually developed from a rustic peasant dance into one which posterity would recognize as the Viennese waltz They were written in three-quarter time with a short introduction; often with little or no reference to the later chain of five two-part waltz structure; usually appended with a short coda and concluded in a stirring finish although his son Johann Strauss II expanded the waltz structure and utilized more instruments than his father While he did not possess a musical talent as rich as his eldest son's nor a business mind as astute he was among the handful of early waltz composers along with Joseph Lanner to actively write pieces with individual titles — with the view to boost sales of their sheet music — which enabled music enthusiasts to easily recognize those pieces In fact during his performances at the Sperl-Ballroom in Vienna where he established his name he actively pursued the concept of collecting a fixed entrance fee from the patrons of the ballroom instead of the old practice of passing around a collection plate where income was reliant on the goodwill of the patrons