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December 20,1939:

lead sheet*,MOrtOn h010graph;TempO¨

Music Publishing


肝品 cf讐
鶴計棚 詈yPL∫麗
piano s01o;Gel

*December 14,1939:


>‘﹄O o〓ト



osed much earlier.
usic Research has discOvered that 7乃



tween 1910and 1915-OfcOurse alsO brings up the possibility that Olman's piece
is based on MOrton's rather than the reverse.


軸 鸞 聯 職 点職 椰 i繊囃

eis not a tunein this album that wasn't

y Roll MOnOrs Ncw
″ oneans McmOnも

■ ■

In detail.they are quite different:where Crθ ノRe′加g θ θ Craソ refers tonally back to the piece's second strain in FneaSures 13 to undisguised form p′た's first two Strainsネ Bcchet's piece merely states Egソ θ usesthe harmonic pattern ofC)lman's rlrst strain 7カθ Craν and OFnitS the third。 ― and a few similar melodic ― w h i c h d o e s n o t u s e t h e t a n g o o r hearba誦r h y t h m 一 gestures.for when〕 θCraッθhe did repeatthe second strain and then restate the gress recording of 7カ ing at the third。 irst before arr市 ) …main harmonic pattern. .partた darけ h the use of the“ S『amShlξ e導 1記 艦 Wiぎ bI論 よ especially tellingly placed because it is octave gesture native to the third strain itself.then proceeds to two original strains.introducing the beautiful and unexpected second half of the strain.(ThiS Single statement of the sccond strain and the absence of return of the first strain are apparently Иorton made his Library of Con― not a part ofthe piece's conception.even despite its beauty and texturalinterest.placement of breaks.however. i t r e f e r s t o D m i n o r )t。 Morton strongly recallsthe first strain not onlytonally butintexture and mel t00.動 I n m e a s u r e s 1 3 o 16 r e f e r s b a c k t o t h e i r s t s t r a i n ( t h a t i S . 弓〓oO ﹃”く0 tant strains.notably the stereotyped``Spanish"gesturein octaves which concludes the strain.with a new melody beginning in ineasure (フノRCring MOrton atthis point continued the melodic style set earli In Cttθ 17。 ―making this point the focus for everything as he docs here― in the piece.and in their two In outline… θCra″ and Cr∝ 〃 FeθJling resemble different halves一the third strains of 7カ (″ cach other.(Olman's and NIIorton's second Sぶ Tn胤 筆鷺ll胤 1∫ 懇袢 鳳電賜 よ ツ 説 霧リ The second‐strain tonality of F inaior and single statement in this perfor‐ '1欝 mance give it the quality of a rnere connective section between two rnore ilnpor‐ 馴 474 strains.not― that had happened previously in the piece.

148 1 OCopyright 1939 by Tempo‐ Music Publishing Company .The Crave 」=c.

′ i l l F く 、 J F I 、 476 弓すo O﹁”くo 1可 。SimultaneOus grace note θ .

477 o>“﹄O oこト °SilnultaneOus grace note .

ロ ͡ 弓すo O ﹃”くo .

͡ LH .



It is transcribed below。 slightly different light.with a unique left‐ from Library of Congress 482 ↓すo の ﹁●くo .覆 hiS Library of Congress Morton's repetition of the first strain as nIA21。 recording changes the shape of the piece but also shows the strain itself in a hand style.

13. 1 4 . A G ‖b e l o W t h e laolwseor SGO♯ 483 gher D aso sounふ ‖ 食 3il:職 語11::鷺 o>“﹄い︶o〓ト ∃ 一 .and hdd after the D is released. 7. An F a second bdow the upper(〕 also sounds.1. 4. An E is sounded with the l). 8。 T h e l o w e r n o t e i s a c t u a l l y F a b o v e m i d d l e C . 2. The upper note is actually A a second above the written higher G. 1 0 . ABl betWeenthe C's also sounds. unds. A G a s e c o n d b e l o w t h e l o w e r A a l s o s o′ unds. ACas∝ 3. ACas∝ ond below the higher A also sounds。 ond below the higher D also sounds. The upper note is actually B♭ 11. 5. 9. An E between the F's also sounds. A n E a s e c o n d b d o w t h e F a l s o s o u n d s . 6. a second above the higher A. 12.