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Extra info for Die Altblockflöte. Ein Schulwerk

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151396-1), "Dallas Blues" (matrix no. 151397-3), and "Royal Garden Blues" (matrix no. 151398-2). These are, in fact, Waller's first significant vocal performances on recordings. The producers at Columbia were apparently pleased with the results since they brought Waller back to the studio a week later (on 13 March 1931) to record "I'm Crazy 'bout My Baby" again and "Draggin' My Heart Around" as piano/vocal solos (matrix nos. 151417-3 and 151418-2, respectively). Waller was also performing at the Hotfeet Club, a nightclub in Greenwich Village, for about six months in 1931.

151398-2). These are, in fact, Waller's first significant vocal performances on recordings. The producers at Columbia were apparently pleased with the results since they brought Waller back to the studio a week later (on 13 March 1931) to record "I'm Crazy 'bout My Baby" again and "Draggin' My Heart Around" as piano/vocal solos (matrix nos. 151417-3 and 151418-2, respectively). Waller was also performing at the Hotfeet Club, a nightclub in Greenwich Village, for about six months in 1931. 23 He doubtless supplemented his piano playing there with jokes, humorous asides, and probably some singing, further expanding the role of humor and satire in his act.

71-102), he shifts to harmonic movement in units of one measure. llis increase in the pace of harmonic motion heightens the intensity of the passage. (For some reason, Waller abandoned this important shift in the second take of "Gladyse. ) The following statement of chorus A (mm. 105-20) essentially constitutes a recapitulation of the first appearance of this material (mm. 3-18). But in the final version of the chorus (A", mm. 121-36), Waller again combines melodic and accompaniment material from both A and B, as he did in B 1 • But here, the harmonic framework derives from A instead of from B, as before.

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