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Extra info for Annual Review of Jazz Studies, Volume 14
Related formal models from this period are found in the mid-1920s vogue for novelty piano and orchestral novelty compositions. Because of the early 1920s WhitemanEllington association, it is likely that Ellington was keenly aware of Whiteman’s various concert work activities, even during Ellington’s early years at the Kentucky Club. The readily available published scores to Gershwin’s Rhapsody and Grofé’s Mississippi Suite were the most obvious “jazz rhapsody” models for the young Ellington to emulate in 1925–26.
Come Sunday” and “Light,” from Black (Black, Brown and Beige, 1935) “COME SUNDAY” mm section key form/function 1 Intro B + mod 12 Pre-Chorus 1 F 24 Interlude 1 F/Dmin 35 Vln Solo Strain (8 mm) Dmin 43 Pre-Chorus 2A (8 mm) Dmin 51 Dmin 67 Pre-Chorus 2B (8 mm) Interlude 2 (Train) Cadenza (pno) Preluding gestures built from fragmented, out-of-order statements of motives from Chorus. Variation on A phrase of Chorus. ” False start that gives way to Intro material. Violin solo over low reed background (Priestley/Cohen note this background is built on Ellington's 1920s “East St.
Piano solo (rhythm section out) End PART II PART III. Piano solo with references to Theme B. Tutti on melody w/ rhythm. 3 mm. of Theme B and segues into Thm A. Variation of Theme A in tutti texture D major. Clar solo. MOTIVIC. “Development” of Theme A materials Theme A breaks off after 4 bars → A major and trombone solo Brass w/ reeds on pedal. MOTIVIC. Brass on vamp chords Clar w/ tutti in chrom vamp variation Extends Theme A. Chromatic w/ sequential passages in brass accomp. A major. Clar trio w/ brass on vamp.