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AN ANALYSIS OF ROBERT NATHANIEL DETT'S
IN THE BOTTOMS
THESIS
Presented to the Graduate Council of the
North Texas State University in Partial
Fulfillment of the Requirements
For the Degree of
MASTER OF MUSIC
By
Debra A. Miles, B.S.
Denton, Texas
December, 1983 @ 1984
DEBRA ANN MILES
All Rights Reserved
, Miles., Debra A. , R. Nathaniel Dett's "In the Bottoms" Piano Suite:
An Analysis with Historical Background. Master of Music (Music Theory),
December, 1983, 71 pp., 3 tables, 26 musical examples, bibliography, 24 titles.
The purpose of the thesis is to analyze formally, harmonically and melodically the five movements of the suite both as separate movements and inclusively as one cohesive unit.
The thesis will be written in three parts:
Part One will include a biographical sketch of the composer, a general discussion of his music, background information on the suite and Dett's antecedents and contemporaries influencing him.
Part Two will discuss the following: A) Form, B) Harmonic Analysis, and
C) Melodic Analysis and the influences of black folk idioms. Part Three will include the keyboard music of Dett's contemporaries as compared to his suite in terms of their contrasts and similarities.
----. w-- - TABLE OF CONTENTS
Page LIST OF TABLES...... r...... vi
LIST OF MUSICAL EXAMPLES ...... vii
FOREWORD ...... "...... 1 Chapter
I. "NIGHT" (The Prelude) ...... 6
II. "HIS SONG"...... a...... ". ...16
III. "HONEY" ...... 25
IV. "BARCAROLLE"...... 29
V. "DANCE" (Juba) ...... 34
CONCLUSIONS...... ".....".....e...... 39 APPENDIX.-.....-.-...... 45
BIBLIOGRAPHY- ...... -.-...... 70
Y
_ P*- LIST OF TABLES
Table Page I. "Barcarolle," Thematic and Tonal Diagram (mm. 1-70)...... 29 II. "Barcarolle," Thematic and Tonal Diagram (mm. 71-112)...... 30
III. "His Song": Breakdown of Motivic Fragments (mm. 1-16) ...... 0...... 49
vi
frr- - LIST OF MUSICAL EXAMPLES
Example Page
1. "Some Ancient Modes" From, "The Authenticity of the Spiritual" in The Dett Collection of Negro Spirituals (Third Group) ...... 2
2. Robert Nathaniel Dett, In the Bottoms, "Night," Theme A, mm. 1-19.... .6
3. "Night," mm. 49-56 (Theme B)...... 7
4. "Night," mm. 1-4 (motif a) ...... 9 5. "Night," m. 49 (motif.. .b). 9 ......
6. "Old Folk Song Scale" ...... 11
7. "Night," mm. 49-52 ...... 12 8. "Night," mm. 1-8 ...... 12
9. "Night," mm. 65-67 ...... 13
10. "Night," mm. 69-72 ...... 13 11. "His Song" (Theme A), mm. 1-16 ...... 16 12. "His Song," mm. 77-84 . . . 18
13. "His Song," mm. 61-76 . . . . 19
14. "His Song," mm. 1-2 (Motif cx) ...... 20
15. "His Song," mm. 3-4 (Motif cY) ...... 20 16. "His Song," mm. 49-60 ...... 22
17. "His Song," mm. 58-59 ...... 23 18. "His Song," mm. 100-101 ...... 23 19. "Honey," mm. 35-40...... 26
20. "Honey," mm. 41-48 ...... 26-27
vii LIST OF MUSICAL EXAMPLES (Continued)
Example Page
21. "Barcarolle," mm. 57-60...... 31
22. "Barcarolle," mm. 75-76..... 32 ......
23. "Juba," mm. 1-8...... (ThemeA) .35 . . . .
24. "Juba," mm. 39-48 (first ten measures of ...... 36 Theme B)...... 25. "Night," mm. 65-73 (score) and mm. 65-73 .(chart)...... 46 26. "His Song," m. 14 (score), m. 14 (chart) ...... 47
viii
. ;. , FOREWORD
The In the Bottom suite, subtitled by Dett as "a characteristic suite for the piano," depicts scenes and moods in the lives of Black Americans along the river bottoms of the Southern United States. The suite is comprised of five movements: the "Prelude" ("Night"), "His
Song," "Honey" ("Humoresque"), the "Barcarolle" ("Morning") and "Dance"
("Juba"). It was composed in 1913, during Dett's tenure at Lane College, and was published later that year by Clayton F. Summy. The suite was premiered in Chicago by Fanny Bloomfield-Zeisler, a distinguished concert pianist of the time. The performance of the suite by Percy Grainger on many programs helped it to achieve popularity. On June 3, 1914, in Chicago, the In the Bottoms suite (along with Dett's Magnolia suite) was performed by Dett in an "All Colored Composers' Concert." Also included in this concert were works by Samuel Coleridge-Taylor, Harry T.
Burleigh, J. Rosamond Johnson and Will Marion Cook. In the June 4, 1914, issue of the Chicago Evening Post, the Magnolia and In the Bottoms suites were given very favorable reviews, as was Dett's performance. The concert was one of two which contributed to Dett's standing as a composer and pianist. The other, in which he and Burleigh performed, was pre- sented at the Samuel Coleridge-Taylor Club, and included the Magnolia suite.
Having been inspired by Dvorak's inclusion of traditional folk melodies in larger forms, Dett, in In the Bottoms, made use of charac- teristics indigenous to Black folk music. (These characteristics will be discussed in ensuing paragraphs) (4, p. 11). Dett felt that not only
I
, . 2 were Black folk melodies worthy of being used in art music, but that
they themselves could be expanded to become larger forms. It was not,
however, until several years later that this concept clearly became his objective (4, p. 43). The most obvious and pervasive use of a Black folk idiom in the
suite is that of syncopation. The syncopated pattern (U),}), appearing
first in measure 37 of "Night" labeled as the head motif of the suite
(since it appears in three of the five movements), is a rhythm pattern which is characteristic of Ante-Bellum folk dances (2). It is used both melodically and accompanimentally. In "Night," it appears in Theme B as
shown above; in the "Barcarolle," it appears in Theme A in diminution; in "Honey," it is used both as an accompaniment to Theme A, and once in
the melody of Theme B. In addition to the usage of the syncopated head
motif, other syncopated patterns are an integral part of the first,
third, fourth and fifth movements.
Another characteristic of Black folk music employed in the suite
is the gapped or altered scale. Dett, in his collection of spirituals, lists seven scale patterns upon which most Black folk music is based,
noting that these scales are also the basis for most American Indian
folk songs (1).
Example 1. "Some Ancient Modes" from, "The Authenticity of The Spiritual" in The Dett Collection of Negro Spirituals (Third Group)
lentalomlfc a-Od Fok Song Sae 3,yzantne
4Iiungarian Gyjy d c iewih ii) tl i )ira dd
7.Aeolan (mod lx) 3
Supporting Dett's postulates concerning the use of gapped scales is
Krehbiel's research pertaining to the scale structure of Black folk melodies in which he catalogued 527 Afro-American folksongs. Of these,
111 were found to be built upon the pentatonic scale and 78 contained no seventh (3, p. 43). These figures and scale structures become signifi- cant when examining the various elements of the suite, and will be mentioned later, in discussions of the individual movements.
Stylistically, the suite is Romantic. Dett makes frequent use of ninth, augmented sixth and appoggiatura chords. His use of a head motif throughout the suite creates a cyclic effect, a very popular late-
Romantic technique. Also typical of the Romantic era is Dett's use of remote key modulations, sometimes to and from keys that are in a third relationship to one another. Pianistically, he uses full sonorities and a wide pianistic range. The consistent use by Dett of melodically, harmonically and pianistically Romantic techniques throughout the suite clearly makes In the Bottoms stylistically anachronistic, placing it more in a category with the works of Dett's Romantic predecessors than with those of his contemporaries.
With the exception of "His Song," which is more homophonic, all of the movements have a melody-with-accompaniment texture. "Honey" and
"Juba" are closely related to one another in mood in that they contain syncopated melodies, are in the same major key and have a light, bouncy quality. "Night" has an opening theme that is somber in mood, in contrast to the lyricism of the second theme. It thus serves a twofold purpose: to add an air of solemnity to the movement, and to balance the playful mood of "Honey" and "Juba." "His Song," an anomaly in the suite 4 because it is homophonic, contains no syncopation and begins in a minor key. In character, it is in direct contrast to the bounciness and gaeity of the last two movements. The "Barcarolle," although not an anomaly, is unique. It is written in the pianistic style of Chopin, but still has the head motif in the melody (Theme A). CHAPTER BIBLIOGRAPHY
1. Dett, R. Nathaniel. "The Authenticity of the Spiritual ," The Dett Collection of Negro Spirituals, third group, Chicago: Hall and McCreary, 1936.
2. . "In the Bottoms," The Collected Piano Works of R. Nathaniel Dett, Suites reproduced from the original edition published by C. F. Summy Co., J. Church Co., and Mills Music; Evanston, Illinois: Summy-Birchard Company, c. 1973.
3. Krehbiel, Henry Edward. Afro-American Folksongs - A Study in Racial and National Music, 4th ed., reprint of the 1914 edition published by G. Schirmer, New York; Portland, Maine: Longwood Press.
4. McBrier, Vivian Flagg. R. Nathaniel Dett: His Life and Works (1882-1943), Washington, D.C.: The Associated Publishers, Inc., 1977.
5
: , CHAPTER I
"NIGHT" (The Prelude) There exists just cause for labeling the form of the first movement ternary, but with some aberrations. The movement contains three sections, two of which contain themes in distinct contrast to one another.
Example 2. Robert Nathaniel Dett, In the Bottoms, "Night," Theme A, mm. 1-19
Adagio Sostenuto 54
D - -- E S,----
464
I4 .
. M i {4 i v "t
6
. 4 7
Example 3. Theme B mm. 49-56
.1 1dra~o " 1Ast
~Lpeggeriiiii
3ttU7
The end of Section A at measure 36 is clearly delineated by a perfect authentic cadence after which there is a 12-measure transition, the material of which forecasts the contrasting theme of Section B (which begins at measure 49). Note that until measure 19 the opening melodic motif and harmonic progression (labeled Aa) appear in both hands.
Beyond this point the motif appears in the left hand only and may be interpreted either as thematic with ornamental material above it, or accompanimental. Since, however, motif Aa appeared at the beginning of the movement it would more than likely be defined as thematic. Also, until measure 19, a tonal level has been established but the mode has been established only through harmonic progression and scale usage as there is no third present in any of these chords. It is at measure 19 that a cadence is arrived at for the first time, thus establishing more firmly the section's modality as well as its tonality. In Section A' (mm. 81-115) motif Aa appears in shorter segments as it was used both in the beginning of Section A (in both hands), and in the latter part of
Section A (in the left hand only). 8
Without further examination it would seem as though the form of this movement is most decidedly ternary, the two motivically and the- matically contrasting sections being cited as the determining factor.
However, the tonal scheme, which along with the contrasting themes would generally constitute ternary form does not exist here. Section B (mm. 49-80) also begins and ends on the tonic with a rather brief de-
parture to and return from the relative minor key in the middle of the section (mm. 68-72). Although the lack of contrasting keys is atypical of ternary form, the closed key scheme and the two strongly contrasting
themes are indicative of it. The resulting segmentation of the movement
into three distinct sections causes the argument to weight heavily in
favor of ternary form.
The closed harmonic structure of the three sections of the movement
is also illustrative of Berry's definition of compound ternary form, in
which each section is harmonically closed, (1, p. 82). Dett, in this
movement, has capitalized upon both binary and ternary form, in that
Section B (mm. 49-80) is in rounded binary form. The first part of the
section (mm. 49-64) is in the tonic key while the second part (mm. 65-72)
begins in the relative minor key (and progresses back to the tonic) and
is based upon the same thematic material as the first part of the section. The return to the tonic and to the original thematic material in the
third part of Section B constitutes the rounded part of the binary form.
The thematic structure of this section is binary while the tonal
structure is typical of incipient ternary forms - thus, within this microcosm of formal structure, Dett has incorporated the hybridization of the binary and ternary forms.
.. -T c-. . . 9
There are two motifs upon which the entire movement is based (Refer to appendices A-F for detailed motivic information):
Example 4. mm. 1-4 (motif a)
Adagio Sostenutu i 54
4n a"t.Ln i
Example 5. in. 49 (motif b)
Moderato d 76
,,qtrlegg4er ss
ale"p
The opening motif, labeled a_ is a rhythmically based motif.
Motif bH ("H" denoting the presence of the head motif) is melodi- cally and rhythmically based and its function is threefold. It serves a dual function in measures 37-44, acting first as an introductory passage by forecasting material in section B, and second, as transitional 10 material between sections A and B. Third, motif bH is used themati- cally, as part of Theme B.
Melodically, motifs a and bH are used quite differently. The variations of motif a are used exclusively as a theme in sections A and Al whereas motif bH, when it appears in Section B, has been expanded and therefore constitutes only part of a theme.
Dett uses open fifths as an important structural element in the movement, perhaps as a component of the Black folk idiom, the inclusion of which is a prime characteristic of his music. He observed that the spiritual is a unique type of song in that it was born already harmo- nized, and he is of the opinion "after much research" that there are more open fourths and fifths used in harmonizing spirituals than is evident in existing records. He observed also that these fourths and fifths are consistent with the harmony of the music of Africa (2, p. 4). The syncopation which gives motif bH its strong rhythmic character embodies the syncopated pattern ( whichh functions as the head motif of the entire suite (3, p. 33). This pattern, typically present in Ante-Bellum folk dances, was often "misused for purposes of cari- cature" instead of used as a characteristic idiom (3, p. 33). In keeping with the structural conventions of ternary form, motif a (used as Theme A) returns in Section A' whereas no element of motif b is restated later.
There is little real stepwise motion in the melodic structure of
Section A, making the scale construction less apparent, but, every degree of the D major scale is present. In Section B, however, it is quite easily ascertained that the basic structural element of the melody 11 therein is the D major scale. Upon further examination, however, one will notice that the seventh scale degree is not used. Dett has apparently chosen to alter the scale in the manner which he mentions in the foreword to his collection of Negro Spirituals in which he discusses various altered scales. He labels the major scale with no seventh as "The Old Folk Song Scale," which he says is often found in spirituals
(2, p. 33).
Example 6. "Old Folk Song Scale"
Henry Edward Krehbiel categorized a group of 527 spirituals from six collections according to scale content. Of this number, 78 were found not to contain a seventh scale step (4, p. 43).
Harmonically, the style of the movement is Romantic. Dett, in this melody-with-accompaniment texture makes frequent use in Section B of appoggiatura chords, favoring the use of the dominant ninth chord for this purpose.
- _ _ - . 12
Example 7. mm. 49-52
Moderato 176
p Ieggierissisno
Vs 0: S . j
Also, chords built upon the sixth scale degree seem to be a significant
point of departure in this movement. In Section A, the progression
I-IV-ii-iii-vi (the modes of the chords implied only in progression) is
repeated several times, with the vi chord agogically stressed each time.
Example 8. mm. 1-8
Adagio Sostenuto 54
L"~I *: Y IV 1It iii )
It is important to note that the mode of the vi chord is unspecified
until measure 22, at which time it is major (instead of the customary minor). It is possible that the vi chord used in the major mode fore- shadows Section A' in which chords built upon the sixth scale degree are used in various configurations at various levels as a point of departure
into remote key areas, a discussion of which will be pursued presently. 13
(This type of modal shifting and interchange is typical of compositions
of the Romantic era, which Dett's style parallels.) In the first part of Section B (ending with measure 64), the vi
chord (used in minor mode) is used only as an appoggiatura chord, but,
beginning at measure 65 its function is expanded so that it becomes an
entire key area.
Example 9. mm. 65-67
1-01 t s A t Ar
Iwo
D1ai Aw
6: iVol Y
Note also that the function of the iii chord (which appeared also in
the original progression with its mode unspecified) has also been
expanded to become a secondary key area.
Example 10. mm. 69-72
1 5
fir- to- , u I
-- ~- ___-- L &L~iIIF4__L
__ _ _ - _ _ _A-
IF' = - IIlipp - I -- J d:)-
b V ~: v ~3161-2 ~' I-
. -. ,..-.-.w-,,, - , 14
Mentioned earlier in the discussion was the use of chords built
upon the sixth scale degree as a point of departure into remote key
areas. In the climax of the movement which begins at measure 81, the
vi chord in measure 92 is used in its most altered form, functioning as a German augmented-6th chord leading to the E-flat major key area. Immediately following, in measure 93, the flatted sixth scale degree of D major becomes the bass of the I6 chord in E-flat major. In measure
95, the bVI chord in E-flat (enharmonically the VI chord in D major)
also functions enharmonically as the dominant of E major, which occurs
in measure 97. Note that the bass of the I chord which begins the E
major segment is also the sixth scale degree of D major. Referring back
to the augmented-sixth chord in measure 92 which served as the point of departure to E-flat major, note that it serves a double function.
First, it functions as a #iv German augmented-sixth in the key of E-flat,
but it is spelled as an incomplete dominant seventh in the key of E
major, the final remote key destination before the return to the original key.
Dett compares Theme B to the "'tumming' of a banjo" and the open
fifths in Theme A to the "stillness of the night." Theme B, he says, is only "incidental to the gloom" (3, p. 33). Perhaps the reiteration and evolution of the vi chord is emphasizing the pervading gloom. CHAPTER BIBLIOGRAPHY
1. Dett, R. Nathaniel. "The Authenticity of the Spiritual," The Dett Collection of Negro Spirituals, third group, Chicago: Hall and McCreary Company, c. 1936.
2. . "In the Bottoms," The Collected Piano Works of R. Nathaniel Dett, suites reproduced from the original edition published by C. F. Summy Co., J. Church Co., and Mills Music; Evanston, Illinois: Summy--Birchard Company, c. 1973. 3. Krehbiel, Henry Edward. Afro-American Folkson s, A Study in Racial and National Music, 4th edit., Portland, Maine: Longwood Press, 1976.
15
- CHAPTER II
"HIS SONG"
Though there are deviations from what would be considered the
"normal" formal structure, "His Song" falls most decidedly within the constraints of binary form. The movement is monothematic (theme A' being based upon theme A) with each phrase constituting a phrase of the theme or a fragment derived from it.
Example 11. "His Song" (Theme A) mm. 1-16
J:120 Andante non troppo, ma pi6 patetico
-ri-ten - - to rid. accel. a Irmpo ss _--
ASP *5 r b . * . *
at i Ai('0 M Ye ~tvZ 7
-- ' 4 a
atetnpo-u-t r accept . ,~foo acl i Ltnut _ __+__ _ _
Amd= * taX: uo*,o d b
16
. .-.. 3 -. . :; 17
Because it is monothematic, this movement is not as much of a formal
enigma as the preceding movement though, melodically speaking, it is
divided into three sections. Overall, the form is an asymmetrical
(rounded) binary, Sections A' and A" combined (because of like key) being significantly longer than the first.
The key scheme follows that which is typcial of binary form in that the second section centers around the dominant. This is an occasional exception to binary pieces in' the minor mode in that it centers around the major dominant (1, p. 37) (A), and later crosses the relative major
(F). As is also the case in binary form the second section traverses several key areas (see Appendix C [chart]). The theme is restated in the major tonic in Section A" (measure 85) which constitutes the rounded part of the binary form. That this restatement, however, is separated from the second section by transitional material therefore creating a third section would seem unusual, but it is important for one to notice that the transitional material (being a fragment of the theme) is remini- scent of Sections A and A' as well as a forecaster of that which is about to follow. 18
Example 12. mm. 77-84
Another slight deviation from the norm is found at the end of Section A. This section is harmonically closed, and cadences on the tonic instead of the dominant.
Though only one section of the movement is labeled as transitional in the diagram, the passage from measures 61-76 performs a double function in that it serves as an extension of the last phrase in Section A' and is also harmonically transitional. 19
Example 13. mm. 61-76
Crvsc
C:.t t .G t (7V} .T I v e L
41
By examining both transitional passages (measures 61-76 and measures 77-84) one will notice that they are based respectively upon the last
two and first two measures of the first phrase of the theme. It is a very interesting thought that in treating each half of the phrase
separately, 'developing' each somewhat, perhaps Dett is hinting at the hybridization of the binary and sonata forms. Thus using a formal structure having its origins in a tripartite structure and applying it to a monothematic structure using the two halves of a phrase as separate entities. 20
The movement is built upon two motifs which constitute the first
and second halves of the first phrase (and third phrase, since it is the
same), respectively. Neither motif is treated separately until measure 61 as mentioned earlier.
Example 14. mm. 1-2 (Motif cx)
[P: - p
i. S
Example 15. mm. 3-4 (Motif cy)
ri. accel.
The underlying melodic structural element of the theme is the harmonic minor scale. It is reminiscent of the spirituals (modeling the plaintive rather than joyful type), and depicts an old man singing a 21 sorrowful song (2, p. 33). The theme of this movement bears a striking resemblance to a little known version of "Nobody Knows the Trouble I've
Seen" (Appendix G) in scale structure and melodic contour (3). It is not known, however, if Dett was influenced by this version in the writing of this movement, or, for that matter, if he had ever seen or heard it. Perhaps it is the style and idiom that Dett was trying to portray rather than a specific piece of music, as it was Dett's mission to include and elaborate upon the Black folk idiom in art music.
A predominating element in the theme and throughout this movement is that of arch and balance. In the first phrase, the steady upward movement in half notes of the melody in the first three measures is counterbalanced by a stepwise descent in triplets in the last (see example -13). The entire theme reflects a macro-structure in this manner as the melodic motion in the first three phrases is predominantly upward, and it is downward in the last phrase.
There is further counterbalancing of melodic elements in Section
A' when the melodic contour of the theme is inverted (mm. 49-60). Note, however, the absence of the fourth phrase, and in its place the extension-transitional material. As mentioned before, the material is derived from the first phrase of the theme. 22
Example 16. mm. 49-60
p atempo semplice p .acce. atempo semplice
un p o. pa ;clone , 4iarg pia acel.
Harmonically, "His Song" is closely related to "Night" in that Dett emphasizes chords built upon the sixth scale degree. In measures
7 and 23 an augmented-sixth chord is built upon the minor sixth scale degree, and is used in a traditional manner, as a dominant preparation.
(In measures 14 and 30 the same chord is implied in function but is spelled differently and is in a different inversion). In Section A', the sixth scale degree is not used as the root of any chord until measure 69 but in measure 58 plays a most important role as a passing seventh, affecting a tonicization of (or temporary modulation to, depending upon one's point of view) F major.
: 23
Example 17. mm. 58-59
i0)ne allarg.
c:78w 4t0- F: 73 ts '
Of primary importance is the role of the sixth scale degree in
Section A" at measure 101 (which is now the flatted sixth scale degree as the movement has modulated to D major). As B-flat has been emphasized throughout the movement it seems quite fitting that Dett would affect a brief tonicicization of it here.
Example 18. mm. 100-101
t&* . tA
t. ciVh
Y21V CHAPTER BIBLIOGRAPHY
1. Berry, Wallace. Form in Music, Englewood Cliffs, N.J.: Prentice- Hall, Inc., c. 1966. Berry points out that this deviation sometimes occurs in the minor mode.
2. Dett, R. Nathaniel. "In the Bottoms ," The Collected Piano Works of R. Nathaniel Dett, suites reproduced from the original edition published by C. F. Summy Co., J. Church Co., and Mills Music, Evanston, Illinois: Summy-Birchard Company, c. 1973. 3. Source of spiritual unknown. In performance, the seventh step was raised, but it is written without the raised seventh step.
24 CHAPTER III
"HONEY" "Honey" is a 2-part form (AB); however,, to assign the label of binary to this particular 2-part fbrm would be somewhat inaccurate,
because the two parts are motivically unrelated (refer to Appendix C).
The two parts of the movement combine to create an asymmetrical form, with Section A (mm. 1-28) twice the length of Section B (mm. 29-44).
Section A is further divided into two similar sections which are separated from each other by a brief transition (mm. 17-20). This
division of Section A helps to balance the brevity of Section B.
Section A ends in the tonic (F) and although Section B begins there, it modulates to A-flat major (m. 36), after which the key of B-flat minor is hinted at, but there is no full cadence therein. Instead, in measure 39, a #iv 6IT chord in the key of B-flat minor resolves to V.
25
_ 26
Example 19. "Honey," mm. 35-40
molto teneramente e cantabile
a empo ri express. -t-
I -I v
{ b; vi*7
r ten - u - to
The dominant chord, however, is not resolved to its tonic, but serves as a pivot chord in the subsequent movement back to F major which culminates in a perfect authentic cadence in that key, in measure 48.
Example 20. "Honey," mm. 41-48
tif a tempo quasi ec/o nj r. e p u express.
,, I'll- 41 w -owusml , . I ul lq 27
Allegro con brio
I Ill'mm nam. AOL
quasi echo rii. e sf piz. ( pp pi A espress.
:po-
There is no actual restatement of Theme A, but the section
beginning with the last two sixteenth notes of measure 44 and extending
to measure 47 serves as both a coda and the rounded part of this binary
form. Although there is no actual restatement of Theme A, the coda
(which is in the original key) is based upon it and is related closely
enough to it to be perceived as a restatement of it.
As in other movements in the suite, the head motif is the source of motivic materials. It is used accompanimentally in Sections A and
B, and melodically in Section B. (See Appendix D for motivic derivation.) As in "Night" (and "Barcarolle"), the flatted sixth scale degree is
emphasized but not to so great an extent. It is important to point out
that in this movement, the flatted sixth is merely emphasized and is not
used as a point of departure as in the Prelude. It first appears in
Section A (in measure 19) and, although it is stressed metrically, it is only used melodically. In Section B (in measures 30 and 32), it is used 28 harmonically as the root of a flat-VI chord. The chord is emphasized by means of repetition of the I-bVI chord progression. In measure 35, the chord built upon this scale degree also appears as a IV chord in the key of A-flat major. The flatted sixth scale degree is then used for the last time in measures 43 and 44 as a point of melodic pause, adding a small amount of tension to the melddy before the final cadence.
'mussia-u- loom,& CHAPTER IV
"BARCAROLLE"
"Barcarolle," in the style of Chopin, is characterized by the pervasive use of ninth chords, appoggiaturas and appoggiatura chords.
Also characteristic of Chopin's music and of this movement are the use of runs in the right hand over the left hand accompanimental pattern, and the broad pianistic range.
The movement, in an ABA'B' organization, defies further formal
title categorization. The second theme (mm. 21-56) is stated not in a contrasting key, but in the tonic, and is followed by a four-measure
transition (mm. 57-60) after which the first theme, "A" (derived from the head motif), is restated. Note that A' is a single, not double, period as was A.
TABLE I
"Barcarolle," Thematic and Tonal Diagram (mm. 1-70) mm. 1-4 5-20 21-56 57-60 61-62 63-70 Intro. A B Trans. Reintro. A' (cont'd)
T T T T
The second theme, following a 9-measure transition (mm. 71-79), is also restated as B' in a melodically varied form. This statement of B' is also in the tonic, beginning with a tonicization of the subdominant, creating a sense of departure from the tonic. There is no further
29
,.,{. ti .,.. st.rYdulifaW. iilatl i);.r ._... 30
statement of the first thematic group. Although measure 80-112 provide
a coda effect, measures 95-112 (instead of measures 80-112) have been
labeled as the coda for three reasons: In measures 80-94 a variation of Theme B is stated whereas measures 95-112 are only fragments of the
theme. Another reason is the release of the "C" pedal after measure 98.
It has given measures 80-94 a coda effect but its release causes a
break in the uniformity, thus creating the feel of a new section. The last consideration is the number of measures the coda would occupy if
it encompassed measures 80-112. A 32-measure coda would constitute a disproportionately long coda for a movement of this length.
TABLE II
Thematic and Tonal Diagram (mm. 71-112) mm. 71-79 80-94 95-112
Transition B' Coda
Transient T T
Note that the coda serves a double function, both as a coda and as a phrase extension of B'.
The transitional material in this movement is of special interest.
There are two transitions, the first of which (mm. 57-60) connects
Theme B to Theme A'. This re-transition, derived from thematic group B, reflects a harmonic rhythm similar to that in each of the thematic groups in that it contains no more than two harmonies per measure. 31
Example 21. mm. 57-60
dint tHlto tranqutill
The second transition (mm. 71-79) connects Theme A' to B'. Motivically, it is derived from motif iH. Unlike the first, this transition has a rapid harmonic rhythm, containing at least four harmonies per measure in the first five measures (mm. 71-75). This transition is also interesting in that it cannot be defined in terms of a specific key, but may be considered eventually as a chain of French augmented sixth chords resolving irregularly into one another. For example, the first chord of measure 75 is an enharmonically spelled French augmented sixth chord, but the augmented sixth above the bass (spelled as F) and the tritone (D-flat) resolve down instead of up a semi-tone, and the re- maining two pitches resolve normally, thus forming another French sixth. It is important to note that the bass resolves normally. The pattern is followed for the duration of the measure, thus resulting in the chain which ends with a iiFR chord in C major, which resolves to the dominant of that key.
, , . -, d E <,.. - :.,.,....:I , n -- ,,;;<-. -,;-a;;,,yq _;, awe;'-one,",a n - w 32
Example 22. mm. 75-76
Tempo
updolce agrazioso
This second transition assumes importance also, because, even though it is not in a specific key but traverses several, it is the one portion of the movement that is most definitely not in the key of C major.
Perhaps Dett uses this section to affect contrast, since it was preceded by the restatement of Theme A (in the tonic) and will be followed by a restatement of Theme B (B', also in the tonic).
Also worthy of attention are the comparative lengths of the two thematic groups, and, consequently, the comparative amounts of space they occupy within the movement. Note that each thematic group contains four phrases, but the phrases in Thematic Group B are twice the length of those Theme A (four and two measures, respectively). Themes B and B' are sixteen measures in length and occupy sixty-four measures, whereas
Themes A and A' are eight measures in length, and occupy only thirty measures.
In Section B', as in "Night" and "Honey," Dett emphasizes the flatted sixth scale degree. However, in this case, it does not assume
INA 33 the harmonic significance that it did in the Prelude. The flatted sxith (A-flat) in this case is used repeatedly as an appoggiatura to V, thus emphasizing the dominant.
_, - CHAPTER V
"DANCE" ("JUBA")
"Juba" exhibits perhaps the most pervasive use of the Black folk idiom within the suite. It is fashioned from a dance rhythm of the same name which was popular with the slaves and had its roots in African music. Reported by European travelers as early as the seven- teenth century, the practice of "patting juba" (or "juber" as it was referred to by some) evolved among the slaves because of the prohibition of the use of drums by slaves in the colonies. Thus it compensated for the lack of a rhythm instrument (4, pp. 141-143). Juba later developed into an Ante-Bellum Louisiana folk-dance, which was the inspiration for this movement. While living on the campus and teaching at Lane College in Jackson, Tennessee, Dett saw two boys playing outside his cottage.
He captured the rhythm of the game and wrote "Juba." It was only after completing the composition that he found out that the game was derived from the Louisiana folk-dance, and thus, gave the composition the same name (5, p. 16).
The rhythm pattern in the left hand ( ,F2j), which is present throughout the majority of the movement, depicts the term "juba" which is a stomping of the foot followed by two short claps of the hand in two-four meter (3, p. 33). The pattern was used to accompany dancing, and a fiddler was usually present.
Another interesting feature of this movement that draws upon the Black folk idiom is the widespread use of the interval of a fourth in
34 35 the right hand throughout Sections A and A'. As was already discussed,
Dett states that the spiritual is unique in that it was born 'already harmonized' and that his research led him to conclude that its harmon- ization contained more open fourths and fifths than was evident in existing records--a characteristic consistent with the harmony present in African music (2, p. 4).
Also reflective of the Black folk idiom in this movement is Dett's use of the pentatonic scale in the melody of Theme A. Although there is some controversy surrounding the belief that its use is indigenous to
Black folk music, there is evidence in support of this belief (1, pp. 15-16).
"Juba" fits well within the boundaries of formal title categor- ization, though not without some deviation. The movement is in ternary form with the second theme stated in a contrasting key.
Example 23. "Juba" mm. 1-8 (Theme A)
Non Troppo Allegro (1120 -144 )
non le~aL 36
Example 24. mm. 39-48 (first ten measures of Theme B)
ss 4
- S
'ft Y1t 4. fS
The one departure from conventional ternary form is the statement of
Theme B (mm. 39-56) in the subdominant. In addition to this reversed
tonal relationship between the two themes, Dett once again departs from
convention by beginning Section A' (mm. 57-80) in the supertonic (the
relative minor of B-flat, the key in which Theme B is stated). Theme A
is, however, restated in the tonic (mm. 73-80) before the section ends.
Since Section A begins with a statement of Theme A in the supertonic,
this segment (mm. 61-72) functions as a retransition or false recapitu-
lation to Theme A in the proper key of the tonic. It is interesting to note that Section A' (in G minor) is related harmonically to Theme B which it follows, and motivically to the statement of Theme A in the tonic which it re-introduces. 37
In Section A', the restatement of Theme A is abbreviated, with some of the material (mm. 17-30B) from Section A deleted. Thus, the restate- ment of Theme A is only twenty measures long; whereas, the length of the initial statement is thirty-eight measures. This justifies, however, the use of a rather lengthy coda (mm. 81-103), which balances the movement.
Although no thematic material is present in the coda, the rhythm pattern that was present in the bass line throughout Sections A and A' ( ,Pj ) is divided between the right and left hands, alternating with a continuous sixteenth-note pattern. A similar division of this rhythm pattern between both hands is also present in measures 17-28 of Section A. CHAPTER BIBLIOGRAPHY
1. Courlander, Harold. Negro Folk Music, U.S.A. New York and London: Columbia University Press, c. 1963.
2. Dett, R. Nathaniel. "The Authenticity of the Spiritual," The Dett Collection of Negro Spirituals, third group, Chicago: Hall and McCreary, c. 1926.
3. . "In the Bottoms," The Collected Piano Works of R. Nathaniel Dett, Suites reproduced form the original edition published by C. F. Summy Co., J. Church Co., and Mills Music; Evanston, Illinois: Summy-Birchard Company, c. 1973.
4. Epstein, Dena J. Sinful Tunes and Spirituals, Urbana, Chicago & London: University of Illinois Press, c. 1977.
5. McBrier, Vivian Flagg. R. Nathaniel Dett: His Life and Works (1882-1943), Washington, D. C.: The Associated Publishers, Inc., c. 1977.
38 CONCLUSIONS
There are several characteristics which in combination contribute to the cohesiveness of In the Bottoms.
Dett's use of a head motif is the strongest unifying force within the suite. As shown previously, the head motif (the rhythmic configur- ation of which is a part of the Black folk idiom) is used accompanimentally as well as melodically.
The suite is further unified by other uses of the Black folk idiom such as syncopation other than the head motif, and the melodic usage of scales with a configuration other than major or minor, as was seen in the first, third, fourth and fifth movements.
Three of the movements share formal charactertistics in that they may be categorized under formal titles. "His Song" is in binary form, and "Night" and "Juba" are ternary. There are, as discussed earlier, aberrations within the formal structures, and they are in the form of tonal, not thematic deviations. While "His Song" is monothematic, the other movements each contain two themes. A rather interesting occur- rence is that the second theme in the first, third and fourth movements all begin in the tonic.
As was mentioned in the introductory paragraphs, Dett's use of ninth and augmented sixth chords as well as appoggiaturas and appoggiatura chords is fairly consistent throughout the suite. His penchant for chords built upon the flatted sixth scale degree is evident in more than one movement, as was seen in the first, third, and fourth
39
,_ e 40 movements. For example, in "Night," the vi chord is agogically stressed in Section A. In Section A' a variety of chords built upon the sixth scale degree are used. In Section B' of the "Barcarolle" the VI chord
is stressed agogically, and the same is true in Section B of "Honey." The similarities and contrasts in the In the Bottoms Suite have
been combined by Dett in a manner that gives it divergence while main- taining cohesiveness.
The In the Bottom Suite (and Dett's music in general) parallels more closely that of his Romantic era predecessors than that of the era
in which he lived and composed. In the Bottoms and the music of both Dett's European and American contemporaries do, however, share common
elements.
Of Dett's European contemporaries, there are several who incorporated the Black folk idiom in their music although their compositional styles
and Dett's were unrelated. Debussy in "Golliwog's Cake Walk" uses a
syncopated melody with a steady bass, depicting a ragtime piano piece. Stravinsky in 1920 wrote Piano Rag Music as well as instrumental music
in Ragtime style. There is, in Hindemith's piano suite of 1922, a Ragtime finale (3, pp. 331-332). It is interesting to acknowledge what
was taking place in the European compositional mainstream during the time that In the Bottoms was composed. In addition to impressionists Debussy
and Ravel and the more tonality-oriented composers who exploited tonality
to its limits (such as Hindemith, Richard Strauss and Scriabin)
Schoenberg, Webern and Berg were actively composing. "Juba" was composed in 1912, the same year as was Schoenberg's Pierrot Lunaire, and
Stravinsky's Sacre Du Printemps was composed in 1913, the year in which
"*WA- 41
Dett composed the remainder of In the Bottoms. The disparity between the
styles of these composers and, that of Dett is obvious.
In America, at the time that Dett was actively composing, there was a movement toward Ragtime in which large numbers of Black American
composers were involved. These composers had taken a style of music that was essentially European and added an ethnic flavor to it, thus
creating a new genre, whereas Dett used the Black folk idiom but main- tained the European style. In some cases he took the idiom and expanded
it to a larger form rooted in the European tradition. Although Dett was not a composer of Ragtime, it appears that he may have been in-
fluenced by this new genre. There is such evidence in "Juba," with its steady-beat, eighth-note bass and syncopated melody in Theme A.
Dvorak, who as mentioned earlier influenced Dett with his use of
the Black and Indian folk idioms, encouraged American composers to let the Black folk melodies be a source of inspiration to them, when he
arrived in America in the early 1890's. Although he espoused the
practice of using the Black and Indian folk idioms in larger forms, it is said that the material that he used cannot be designated exclusively
American in character because "gapped scales and 'Lombard' rhythms are also prominent characteristics of Czeck folk music" (1, p. 231).
Edward MacDowell (1861-1908) and Louis Moreau Gottschalk (1829-
1869) were two American composers to whom Dett's compositional style was closely related. MacDowell, who composed during Dett's lifetime, believed in composing in continuous forms rather than within the constraints of traditional forms. Two of the movements of Dett's In the
Bottoms ("Barcarolle and Honey") defy formal title categorization and 42
the remaining three are traditional forms but with aberrations. Like
Dett's, MacDowell's style was Romantic. Influenced by Grieg, he made
use of ninth chords, remote key modulations and very full sonorities,
often emphasizing the lower register. In addition, he used Wagnerian chromatic harmony, appoggiatura dissonances and frequent enharmonic
modulations--characteristics not as radically employed by Dett. His
music, like Dett's, was often programatic. He was not, however, as
strongly inclined as Dett toward the use of the Black folk idiom in his music. The idiom is much more pervasive in the piano and instrumental
music of MacDowell's pupil, Henry F. Gilbert (1868-1928), whose piano music shows the influences of the cakewalk and of ragtime.
Gottschalk, whose piano works were Romantic in style and closely
resemble Dett's, also made use of the Black folk idiom. Measures 171- 186 of "Le Banjo" bear such a striking resemblance to Stephen Foster's
"Camptown Races" that it is difficult to believe that Gottschalk was
in France when it was composed and was therefore unaware of it (1, p. 75). In construction, "Le Banjo" bears somewhat of a resemblance to
"Juba," with its steady eighth-note rag-type bass and the division of
a steady sixteenth note pattern between the right and left hands. In "Souvenir de Porto Rico" a specific kind of syncopated pattern
(emphasizing J and A1), which is believed to be an essential component of "patting juba," is present (2, p. 120-121). Like Dett,
Gottschalk made use of Romantic techniques such as ninth chords,; a Wide pianistic range, runs and remote key modulations. Like MacDowell, he made frequent use of the lower register.
Dett, in taking the Black folk idiom and incorporating it in (or expanding it to become part of) a style rooted in the European tradition 43 has, along with his compositional counterparts created a successful hybridization of two genres, thus making a unique and valuable contribution to musical composition. CONCLUSIONS BIBLIOGRAPHY
1. Hitchcock, H. Wiley. Music in the United States: A Historical Introduction, Englewood Cliffs, N. J.: Prentice-Hall, c. 1969.
2. Longyear, Rey M. Nineteenth-Century Romanticism in Music, 2nd ed., Englewood Cliffs, N.J.: c. 1973, 1969.
3. Southern, Eileen. The Music of Black Americans: A History, New York: W. W. Norton & Company, Inc. , c. 1971.
44 APPENDIX A
Chart Information
The information supplied in the following charts is a comprehensive
representation of the formal, tonal, harmonic and motivic elements in the movement.
The formal information is provided in the top portion of the chart.
There is, however, some duplication of this information, at the bottom of the chart, which will be discussed later. Each section (and theme)
is demarcated with an upper case letter. This lettering begins anew with each movement. Note that the appearance of a new upper case letter signifies the appearance of a new theme as well as a new section. The
information regarding phrase lengths is supplied at the top of the chart, in the form of measure numbers, with the measure numbers of each phrase bracketed together.
Information regarding the tonal and harmonic structure of the movement is supplied in terms of key areas, chords and cadences (see
Appendix for cadence abbreviations and chord symbols). The level of a cadence is indicated by a Roman numeral in the section of the chart immediately below the cadence type. At points where some modulations occur and in instances where there is harmonic ambiguity, layered analysis is used. 1 For example, in measure 65 of the Prelude, there is uncertainty as to the tonal level of the section, since there is no real modulation to or cadence in another key. Therefore, the section may be
45 46
analyzed in terms of D major, the original key, and in terms of b and
f-sharp minor, because both pitches are metrically and agogically stressed.
The layered analysis begins at measure 65 and continues until measure 73
when it is evident that the movement is, once again in the key of D major.
Example 25. "Night," mm. 65-73 (score) and mm. 65-73 (chart)
2 AI
" --
1A VWriA _IF I
SectI on Phrases Meas # 65 66 'i q9 o 12
Key Area (z)
Chords VR IIINi vI .. m - II 4;v' 1 iv1:' V c v 47
Some chords are spelled one way but function enharmonically in another. Such chords are in parentheses and labeled according to the
manner in which they function. For example, in measure 14 or "His Song,"
there appears to be a V17 chord. Since this chord functions as a #ivGR (spelled enharmonically), it is in parentheses and thus labeled.
Example 26. "His Song," m. 14 (score) m. 14 (chart)
accel. 41
Implied and non-essential harmonies are also parenthesized.
The motivic information is located at the bottom of the chart and is divided into those motifs appearing in the right and/or left hand(s). As mentioned earlier, formal information is also included in this portion of the chart. The formal and motivic information in this portion of the chart is consolidated so that each motif is labeled with an upper case letter indicating the section (and theme) in which it is located, and a lower case letter indicating the motif's chronological appearance (and parallelism between phrases). For example, motif "Ac" means that it is located in Section A of a movement and is the third motif in the suite. Upper case lettering, demarcating the sections (an themes), as 48
mentioned previously, begins anew with each movement while lettering
for the motifs is continuous throughout the suite. Transitions,
introductions, and codas are listed as such, along with lower case
letters (placed next to them in parentheses) signifying the motivic
derivation (if any). All motivic and thematic material referred to
in the text is referenced by the label assigned to it in the chart.
The information supplied in the charts is in the same order and
format for each movement. However, there may be occurrences in a
movement that are unique or that require further explanation. Such exceptions are explained below:
Prelude
As mentioned in the discussion of the "Prelude" there are chords
in Sections A and A' that contain no third, and, therefore, cannot be
analyzed according to quality (mm. 1-34 and mm. 81-90, respectively).
These chords have been analyzed according to what the quality of the complete chord would be in the key of D major. These chords have been placed within brackets.
His Song
It was not possible to diagram in detail the motivic structure of this movement in the chart, because this monothematic movement contains several configurations of motif "c." The motif has been divided into two fragments, "cXi" and "c," demarcating the first two and second two measures of the motif, respectively. (The "A" demarcating the theme has been omitted from the diagram.) As will be discovered by comparing measures 1-4 to measures 5-8, the "y" half of motif c is varied, thus, 49 labeled "cy'." By examining the diagram below one will see the various configurations of both halves of motif "C'," as well as parallelism between phrases.
Table III. - "His Song": Breakdown of Motivic Fragments mm# 1-2 3-4 5-6 7-8 --- 13-14 15-16
Motif cX c c cx --- cx(inv.) cx2
Barcarolle
Measures 71-75 are tonally transient, a quality best diagrammed with a layered analysis. The complex tonal structure of this passage, however, rendered its diagram too involved to be included in the chart.
It has, therefore, been provided below. (See Appendix D-1).
Symbols Used The following symbols are used in the detailed charts of each movement of the. suite.
I. MOTIVIC AND THEMATIC INFORMATION
Upper case letters - denote sections and themes, beginning with "A" in each movement.
Lower case letters (except x and y) - label motifs. The lettering is continuous, from the beginning to the end of the suite.
(x and Y) - denote the first and second halves of a motif.
Subscripts - denotes variations on a motif. A first variation will be labeled as "1," a second variation as "2," etc. (Note: if there is a variation on a motif which begins a theme, a variation on the theme will also be indicated.) inv - motif is inverted.
- " 50
II. HARMONIC INFORMATION
Roman Numerals- indicate the function of a chord. Upper case Roman
numerals indicate major chords or triads and lower case Roman numerals indicate minor triads. Symbols:
+ - Augmented chord or triad.
o - diminished chord or triad.
Note: Introductory material, transitional material or a coda followed
by a motif name in parentheses signifies that such material is based upon that motif.
0 - half diminished seventh chord.
Cadences: P.A.C. - Perfect authentic cadence
I. A. C. - Imperfect authentic cadence H.C. - Half candence
Note: Both the horizontal and diagonal slashes (-, I) are used to denote secondary function chords such as secondary dominants. APPENDIX A BIBLIOGRAPHY
1. Arnold Schonberg. Structural Functions of Harmony (New York: W. W. Norton, 1969). Layered analysis as described in illustration by Schonberg throughout the text is used in the charts.
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( 1 f p Ii'Eli r ''s F." i - i - BIBLIOGRAPHY Books Courlander, Harold. Negro Folk Music U.S.A., New York: Columbia University Press, c. 1963. DeLerma, Dominique-Rene. "The Man," The Collected Piano Works of R. Nathaniel Dett, R. Nathaniel Dett, suites reproduced from the original editions published by C. F. Summy Co., J. Church Co. and Mills Music; Evanston, Illinois: Summy-Birchard Company, c. 1973. Dett, R. Nathaniel. The Dett Collection of Negro Spirituals, Chicago: Hall and McCreary Company, c. 1936. . "In the Bottoms," The Collected Piano Works of R. Nathaniel Dett, suites reproduced from the original editions published by C. F. Summy Co., J. Church Co. and Mills Music; Evanston, Illinois: Summy-Birchard Company, c. 1936. Epstein, Dena J. Sinful Tunes and Spirituals, Urbana, Chicago, London: University of Illinois Press, co. 1977. Gottschalk, Louis Moreau. Piano Music of Louis Moreau Gottschalk, selected and introduced by Richard Jackson, New York: Dover Publications, c. 1973. . 10 Compositions for the Pianoforte, New York: Chappell and Co. Hitchcock, H. Wiley. Music in the United States: A Historical Introduction, Englewood Cliffs, New Jersey: Prentice-Hall, Inc., c. 1969. Jones, Bessie and Bess Lomax Howes. Step it Down, New York: Harper & Row Publishers, c. 1972. Krehbiel, Henry Edward. Afro-American Folksongs, a Study in Racial and National Music, 4th ed., reprint of the 1914 edition published by G. Schirmer, New York; Portland, Maine: Longwood Press, 1976. Landeck, Beatrice. Echoes of Africa, New York: David McKay Company, c. 1969, 1961; second printing, September, 1971. 70 71 Longyear, Rey. M. Nineteenth-Century Romanticism in Music, Nineteenth- Century Romanticism in Music, 2nd ed., Englewood Cliffs, New Jersey: Prentice-Hall, Inc., c. 1973, 1969. MacDowell, Edward. Twelve Etudes for the Development of Technic and Style, Op. 39, Boston, Leipzig, New York: Arthur P. Schmitt, Co., c. 1890. . Zwolf Virtuosen Etuden, Op. 46, Leipzig, Berlin, Brussels, London, New York: Breitkopf & Hartel, c. 1894. McBrier, Vivian Flagg. "The Piano Music," The Collected Piano Works of R. Nathaniel Dett, suites reproduced from the original editions published by C. F. Summy Co., JChurch Co. and Mills Music; Evanston, Illinois: Summy--Birchard Company, c. 1973. .R. Nathaniel Dett, His Life and Works, Washington, D.C.: The Associated Publishers, Inc., c. 1977. Nettl, Bruno. Folk Music in the United States - an Introduction, 3rd ed., revised and expanded by Helen Myers, Detroit: Wayne State University Press, 1976. Schonberg, Arnold. Structural Functions of Harmony, New York: W. W. Norton & Company, Inc., c. 1969. Southern, Eileen, The.Music of Black Americans, New York: W. W. Norton & Company, Inc., c. 1972. Southern, Eileen, editor. Readings finBlack American Music. New York: W. W. Norton & Company, Inc., c. 1972. Recordings Dett, R. Nathaniel. "In the Bottoms," perf. by Clive Lythgoe, Phillips 9500096, 1976. . "In the Bottoms" in Natalie Hinderas, Pianist Plays Music by Black Composers, Desto DC 7102-3. Gottschalk, Louis Moreau. Great Galloping Gottschalk America's First Superstar, performed by Ivan Davis, piano, Decca cs6943. MacDowell, Edward. "Twelve Virtuoso Studies, Opus 46,".in Malcom Frager plays Adolph Martin Foerster,.Henry F. Gilbert, Henry Holden Huss, Ethelbert Nevin, Horatio Parker, Edward MacDowell, John Knowles Paine; New World Records nw206 stereo.