473

THE CRAVE
COPYRIGHT:
December 20,1939:
Company

lead sheet*,MOrtOn h010graph;TempO

Music Publishing

RECORDINGS:

cf
yPL
piano s01o;Gel

*December 14,1939:

+M3

osed much earlier.

usic Research has discOvered that 7

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

rm

i1
"
i

eis not a tunein this album that wasn't

y Roll MOnOrs Ncw

oneans McmOn
c
5
,TR:
ttR
II
1l.11

in undisguised form
p's first two Strains
Bcchet's piece merely states Eg
usesthe harmonic pattern ofC)lman's rlrst strain
7 Cra
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 hearbar h y t h m
gestures,notably the stereotyped``Spanish"gesturein octaves which concludes
the strain,then proceeds to two original strains.(Olman's and NIIorton's second

S
Tn ll
1

The secondstrain tonality of F inaior and single statement in this perfor
'1
mance give it the quality of a rnere connective section between two rnore ilnpor

474

strains.

tant strains,even despite its beauty and texturalinterest.(ThiS Single statement

of the sccond strain and the absence of return of the first strain are apparently
orton made his Library of Con
not a part ofthe piece's conception,for when
Crahe did repeatthe second strain and then restate the
gress recording of 7
ing at the third
irst before arr
)
main harmonic pattern,placement of breaks,and in their two
In outline
Cra and Cr FeJling resemble
different halvesthe third strains of 7
(
cach other.In detail,however,they are quite different:where Cr Reg

Cra
refers tonally back to the piece's second strain in FneaSures 13 to
16,
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 , 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,part dar h the use of the SamShl e
1 Wi
bI
especially tellingly placed because it is
octave gesture native to the third strain itself,introducing the beautiful and
unexpected second half of the strain,with a new melody beginning in ineasure
(RCring MOrton atthis point continued the melodic style set earli
In Ctt
17
making this point the focus for everything
as he docs here
in the piece,not
that had happened previously in the piece.

The Crave
=c.148

OCopyright 1939 by Tempo Music Publishing Company

476

SimultaneOus grace note

477

SilnultaneOus grace note

LH

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.It is transcribed below
slightly different light,with a unique left
from Library of Congress

482

1. ACas ond below the higher A also sounds

ond below the higher D also sounds.
2. ACas
3. An E is sounded with the l),and hdd after the D is released.
4. 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 .
5. An F a second bdow the upper( also sounds.
6.
7. 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.
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 .
9. The upper note is actually A a second above the written higher G.
a second above the higher A.
1 0 . The upper note is actually B
11.
12.
13. An E between the F's also sounds.
1 4 . ABl betWeenthe C's also sounds.

unds.
A G b e l o W t h e laolwseor SGO

483

gher D aso soun

3il:
11::