7/27/2019 Creepy Feeling - Jelly Roll Morton

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7/27/2019 Creepy Feeling - Jelly Roll Morton

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uses at this point in the thirdstrain gestures recalling the beginning of the secondstrain.) A further relationship is ihat the second and third strains end withsimilar harmonic patterns w$rr take up the last qu".tii .".t strainki;ngti;:However since the third strain is twice as long as e second, ihis pat;; i#;_portionally expanded in its second appearance to take twice as long to ue c_pleted.- .

Another organizational element is that Morton tends to play the second andthird strains, which of course are separated by an appeari.lr trr. first, withtwo simuJaneous right-hand lines and the firsi strain witt a singte tine, furttridifferentiating by texture the parts of the piece.Aside from the fact that this is an intresting piece, the performance of itshows the fineness and contror of Morton,s playrd ,noi".l.iv ana uigr*t"ilength than do others transcribed here. Mort"t to-u.t ir tigt t anA never forcedeven.when he plays accents. He plays several segments f particutar beautymerely from the pianislic_point of view, including.ur*o g of E-21anmeasures 25 to 28 of [C-2].This performance was recorded on two sides of a disc. The transcription ofthe first side ends at me3sure 17 of [c-l], omitting th.;r;;t the end of thefirst side. Measure l7 of [c-l] begini the anscript-ion of the iecona side, omit-ting the first sixteen measures in rder to join the two nan.r iine third strain.

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7/27/2019 Creepy Feeling - Jelly Roll Morton

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7/27/2019 Creepy Feeling - Jelly Roll Morton

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7/27/2019 Creepy Feeling - Jelly Roll Morton

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7/27/2019 Creepy Feeling - Jelly Roll Morton

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7/27/2019 Creepy Feeling - Jelly Roll Morton

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402

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7/27/2019 Creepy Feeling - Jelly Roll Morton

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7/27/2019 Creepy Feeling - Jelly Roll Morton

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7/27/2019 Creepy Feeling - Jelly Roll Morton

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410

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