Michael Clark

 Critical Notes to Florence Price: Rediscovered Gems

by Michael CLark

Critical Notes on the Text

All the works in this volume derive from autograph scores housed in the Florence Beatrice Smith Price Papers at the University of Arkansas Special Collections in Fayetteville, Arkansas (Manuscript Collection 988a: First Addendum, Manuscript Collection 988b: Second Addendum). For each source, I have identified its shelfmark (manuscript collection, box, and folder), paper brand, and other characteristic features. I have reproduced the musical text of the sources as exactly as possible. Any editorial interventions are noted here, arranged by measure number, in addition to these general editorial decisions:

• Fingering: I have copied Price’s fingerings wherever present. The following pieces include only Price’s fingerings: The Mill, On the Top of a Tree, A Poem, and Sailing Through Clouds. Elsewhere Price provided sparse fingerings or none at all. When present, Price’s fingerings are included in italics; all others are my suggestions.

• Hand distribution: All “L.H.” and “R.H.” markings are original to Price unless otherwise noted, as well as any vertical brackets (as in m. 37 of A Wee Bit of Erin). Horizontal brackets are editorial suggestions for redistributing notes between the hands.

• Pedal: All pedal markings are editorial suggestions. They should not be considered comprehensive; I have added them when a particular solution has proved useful to me.

• Tempo: When Price did not provide a tempo indication, I have suggested one in brackets. The only metronome mark given by Price is for A Sprite Kissed a Rose. All others are my suggestions. Price sometimes wrote a tempo and rit. indications above the staff, but these have all been placed between the staves in accordance with Hal Leonard House Style.

• Tuplets: Numbers have been added above tuplets at their first appearance for clarity (e.g., Dainty Feet, m. 19).

Shelfmark: MC 988b, Box 5A, Folder 11
Description: Rayner, Dalheim & Co. No. 1 paper, one page, rough draft in pencil. Numerous erasures visible. Dated August 16, 1950.

• M. 3: It is unclear whether the last eighth is an F5 or G5. The G5 on the downbeat of m. 4 is placed a bit higher, so I have interpreted it as an F.

• M. 4a: LH beat 1: The second eighth note in the lower staff has an accidental beside it that is somewhat unclear. It looks most like a flat, though B-flat is already in the key signature. The same note in m. 4b has a clearly marked B natural. The symbol in m. 4a lacks the downward tail on the right side, so I have interpreted it as a flat. Perhaps Price added it retroactively to distinguish it from the second ending.

  LH beat 3: I have added a quarter rest here (and in m. 5a) for clarity.

• M. 6a: LH beat 2: I have moved this middle C to the lower staff.

• M. 13: LH: The C natural courtesy accidental is mine.

• M. 14: RH beat 2: The first eighth note appears slightly above the bottom line of the treble clef, but the note that follows it is clearly above it. The context of the following measures suggests strongly that it is E.

• M. 24: Price writes “D.C. al Segno” at the end of m. 24 which I have changed to D.C. al Coda, as is more common today.

Shelfmark: MC 988b, Box 10, Folder 11
Description: Unlabeled paper, three pages. Fair copy in ink with a few pencil additions. “C.S.” written in pencil to the left of the title, likely indicating that Price had sent a copy to a publisher. “4404 Vincennes Ave/Chicago, Ill.” written faintly in pencil in the top right corner (possibly erased). Price lived at this address between 1931 and 1934, so the piece was likely composed in that period. The faintness of the text suggests she attempted to erase it after she moved.

• 8: RH beat 1: I have omitted Price’s courtesy natural on the tied D.

  RH beat 4: In the corresponding passage in m. 54, Price specifies B flats in both octaves, but here she leaves both unmarked. Price either omitted the lower Bb by accident or the upper B natural by accident (the lower B having already been altered by the natural in beat 2). The performer should choose according to their preference.

• 12: RH beat 4: I have added a slur leading into this beat and a staccato dot on the A flat to make this measure identical to m. 58.

• 19–20: The right-hand chords on the downbeats of mm. 19 and 20 have no flags or triplet indications, creating rhythmic ambiguity. The way Price has spaced the notes suggests she intended the downbeat chords to last the length of two eighth note triplets.

• 20: RH beat 1: Price notated the D sharp 3 on the lower staff with a long stem reaching into the top staff, but I have incorporated into the top staff chord for clarity and consistency (also applies to the alto E3 in m. 44).

• 38: RH beat 2: The courtesy natural on A is editorial.

• 38–39: It appears that Price had previously tied the B in the tenor voice from m. 38 to m. 39, but the tie has been erased.

• 43: The alto G-sharp lacks a stem in Price’s manuscript. It is slightly separated from the B, E, and G sharp, which share an upward stem. Perhaps Price intends it as a whole note, but I think the downward stem was omitted by mistake and I have added it here.

• 53: LH beat 1: Price notates the bass note as E flat 2, almost certainly by mistake. I have changed it to F2, as in m. 7.

• 54: LH beat 1: Price wrote G sharp here but I have respelled it enharmonically as A flat for consistency with Price’s spelling m. 8.

Shelfmark: MC 988a, Box 17, Folder 18
Description: Rayner, Dalheim & Co. No. 1 paper, three pages. Fair copy in ink. The handwriting on this manuscript is thick and looks similar to pieces written around 1939–1940 such as Rainbow Waltz and On a Summer’s Eve.

• 7: Price omitted the dot on the RH half note but did not include a quarter rest on the fourth beat, so I have added the dot (making it similar to m. 75).

• 9: I have moved Price’s “Il basso cantabile” indication from above the top staff to between the staves.

• 11: The parentheses in the upper staff here and in m. 77 are Price’s.

• 12–13: The lines indicating the melody’s transfer between hands are mine.

• 20: I added the slur in this measure to correspond to m. 24.

• 28: This measure appears at the top of the second page of Price’s manuscript, and she repeats the "rit.” indication here. Since mm. 27–28 appear on the same page in this score, I have omitted the second “rit.” and added a slur analogous to the mm. 26–27.

• 29: A tempo added by me. Price notates this measure in treble clef, though she omits the symbol by mistake (the intention of treble clef is confirmed by the position of the key signature and the use of treble again in m. 45). She notates bass clef in mm. 30–32, switching to treble clef in m. 33. I have chosen to notate all of mm. 29–32 in bass clef for simplicity of reading. In the LH I have extended Price’s slur to the end of the tied C in accordance with Hal Leonard house style (also in m. 31, 45, and 47).

• 37: Price’s rhythmic notation in the top staff is ambiguous here. A quarter rest has been erased and a half rest written in its place. She writes an F half note directly above beat 3 in the lower staff followed by a quarter note A. My interpretation is that she neglected to fill in the note on beat 3 to make it a quarter note.

• 45: Price notates this measure in treble clef, but I have changed it to bass clef to bass for consistency.

• 74: I have added this slur to correspond with m. 6.

Shelfmark: MC 988b, Box 4B, Folder 13
Description: No. 3 Century Brand paper, seven pages, written in ink with some pencil corrections. Title written in pencil. “Rewrite” written in red colored pencil, left of title. Price’s only dated piano compositions using this paper were written in 1926 (In the Land O’ Cotton, Impromptu, and Prelude No. 1), so Forest Scenes was likely composed around this time as well. The three movements are written consecutively without titles or numbers.

I

• 8: Final eighth note in RH lacks a sharp. I have added it to correspond with m. 53.

• 9–13: Price notated these measures with ledger lines, but I have adopted the 8va notation that Price uses in mm. 54–58 for consistency and ease of reading.

• 19: The courtesy G natural is editorial.

• 33: The courtesy B flat is editorial.

• 40: RH beat 3: I have omitted Price’s courtesy C sharp.

• 41: RH beat 3: I have omitted Price’s courtesy B natural.

• 54: RH: Sharp not marked on C here or in m. 56, but it is marked in m. 58. I have added sharps in each case.

• 60: RH: Sharp marked on C in beat 1 but not beat 4. I have added it.

  LH: The courtesy C natural is editorial.

II

• 23: I have added a sharp to the E in the lower octave, which Price omitted by mistake. Price marks the sharp in m. 24.

• 23–24: Price wrote two separate crescendo hairpins in these measures, which are split across systems in the manuscript. I have combined them into one.

• 25: The courtesy naturals in this measure are editorial.

• 52: Simile is my addition, inspired by Price’s marking in m. 5.

• 71–74: Only three ties appear in the RH for the lower three notes, somewhat imprecisely drawn. I think it is unlikely that Price meant the D5 to be restruck each measure and have added a fourth tie.

III

• 3: LH beat 1: Price notates the F octave as a dotted quarter note but also follows it with an eighth rest. I have changed it to a quarter note, like the other chords in this measure.

• 10: LH beat 1: The E lacks a flat both here and in m. 50. However E naturals are specified in both hands on beat 3, most likely implying the cancellation of an earlier E flat. E flat also fits the whole-tone harmony, so I have added the flat.

• 16: Beat 2: The “L.H.” indication is editorial.

• 17: The tempo relationship markings at mm. 17 and 38 are editorial.

• 22: Beat 3: Price adds a natural to the Cs in the LH but not the RH. This is most likely an oversight, so I have added the missing natural in the RH.

• 25: The courtesy E naturals on the downbeat are my addition.

• 29: RH beat 3: Price originally included an E5 quarter note in this chord, but she crossed it out in pencil.

• 36: This measure duplicates m. 34 one octave higher, except Price does not notate a tie between the alto Gs in the RH. I think this was an oversight and have added it in.

• 38: RH beat 2: I have changed this from a quarter note to a dotted quarter note.

• 39: Price did not mark a sharp on the LH D in this measure (but she did in m. 38), most likely by mistake. The “rit.” marking is my suggestion.

• 39–40: These L.H. and R.H. markings are my suggestions.

• 41: Price has inserted a small 12/8 time signature between the key signature and the first chord of this measure. Perhaps she was planning a revision that was never completed or is lost.

  LH beat 2: Price initially wrote dotted quarter notes, as in m. 1, but she apparently inserted eighth rests later, so I have notated quarter notes followed by eighth rests.

• 41–42: Unlike m. 1, there are separate arpeggio markings for the two staves, and they only occur on the downbeats of mm. 41 and 42. Probably Price intended the rolls to continue in subsequent measures as in the A section.

• 48: RH beats 2–3: The text presented here is Price’s pencil addition. In ink, she originally wrote ACD eighth notes, then an AC quarter note dyad followed by an eighth rest.

• 54: Price placed the fermatas over the barline at the end of a system in the manuscript. I have moved them to the last notes of this measure, as is more customary.

• 55: The a tempo marking is editorial.

• 55–58: These measures appear one line below mm. 59–60 in the autograph with an arrow showing they should be inserted before them.

• 59–60: Price notated these chords as dotted half notes tied to dotted half notes (filling each measure). I have added tied dotted quarter notes for clarity.

Shelfmark: MC 988a, Box 17, Folder 33
Description: Unlabeled paper, two pages, fair copy in ink. Title crossed out in ink, but no alternative is offered so I have kept Happy in Shadows. The handwriting is a smaller, tidy print, similar to Dainty Feet and The Mill. Price’s piano compositions written on unlabeled paper contain dates from 1927 to 1933, suggesting it was written in this period (though there are many pieces on unlabeled paper without dates, so later dates cannot be definitively ruled out).

Shelfmark: MC 988a, Box 17, Folder 23
Description: Unlabeled paper, six pages, fair copy in ink. “Nos 3 + 4” written in pencil in top left corner of first page. Brown paper cover with a listing of the four movements in ink. “Consider waltz, ‘Daisies’” written in pencil, apparently intended for a potential publisher. Use of unlabeled paper suggests a composition date in the early 1930s (see discussion under Happy in Shadows).

I. A Quiet Lake

• 23: I have added a slur here to match m. 22.

• 27: The courtesy C natural is mine.

• 48: The courtesy F sharp is Price’s.

II. Sunset

• 18: Price adds a courtesy E flat in the RH which I have omitted.

III. Daisies

• 8: RH beat 3: Price initially wrote an E minor triad in second inversion, but she crossed it out and replaced it with the B diminished triad included here.

• 27: LH beat 1: Price initially wrote D3; she crossed this out and replaced it with F3.

• 29: LH beat 1: Price penciled in a small G3 above the G2 without crossing it out. I have preserved G2.

• 35: The low G appears to have a staccato dot (or perhaps it is simply a stray mark). I have omitted it since the rest of the bass notes are unmarked.

• 37: LH beat 1: Price initially wrote A3. She crossed this out and replaced it with G3.

• 37–40: Price revised these four measures. Her pencil corrections have been included in this edition.

• 38: Price gives this E both an upward and downward stem in the autograph, the significance of which is unclear.

• 41: Price initially notated the lower staff in bass clef from m. 40 to the end. Under beat 2 of m. 41, she wrote in pencil “use 𝄞” so I have added treble clef beginning on this beat and switching to bass clef in beat 3 of m. 55.

• 58: In small print, Price adds a G2 quarter note followed by two quarter rests. She placed the three beats in parentheses and wrote “or” with an arrow pointing to the notes.

IV. Field Mice

• 1: Price notated a time signature of 2/4, but the content of each measure requires 2/2 or 4/4. I have chosen 2/2.

• 2: This is Price’s original footnote.

• 9: RH beat 3: In mm. 51 and 55, Price ties both the F and A but here and m. 13 she ties only the F. Restriking the A is quite awkward, so I think she omitted the tie by the mistake.

• 29–30: These bars show evidence of significant revisions. Material has been erased and is no longer legible. The pitches here are Price’s final version in ink, but she provided no articulation markings. Presumably the articulation should continue in a similar manner from the previous measures, so I have added the staccato dots in the LH and the accent and slur in the RH. The staccato dot on beat 4 is Price’s.

Shelfmark: MC 988b, Box 10, Folder 16
Description: Rayner, Dalheim & Co. No. 1 paper, one page, written in ink. Evidence of some erasures in m. 15. Dated June 5, 1943. This work was left untitled by Price; I chose the title “Longing for Home” from a list of titles Price brainstormed in the margins of an untitled work in G-flat Major, found at MC 988b, Box 10, Folder 21.

• 23: LH: In addition to the three-note slur spanning beats 1 through 3, Price notates a slur from the bass G flat to F which I have omitted.

Shelfmark: MC 988a, Box 18, Folder 18
Description: McKinley No. 1 Paper, four pages, fairy copy in ink with some pencil corrections. “In D♭?” written in pencil in the top left, suggesting Price considered transposing the work down a half step. Price’s other dated piano works written on McKinley No. 1 paper were written in 1928 and 1929 (including Dark Pool, Fantasie Nègre No. 1, and Scherzo in G), so The Mill was likely written around that time.

• 1: The “over” indication in the left hand is my addition.

• 7: Left-hand slur extended to the second tied eighth note, in accordance with Hal Leonard house style (also in mm. 55, 57, 149, and 151).

• 14: RH: The second sixteenth note (G5) lacks a sharp symbol, which I think was most likely an oversight. The sharp symbol on the first G in m. 13 was added in pencil, as was the B sharp in m. 14.

• 16: Price included a bracket beneath the lower staff apparently indicating that the right hand should play these notes. I find this impractical and question whether it is mistake, so I have omitted it from the main text and reproduced it here:

• 24: LH beat 1: The courtesy C sharp is editorial (also in m. 118).

• 25: RH beat 1: The courtesy F sharp is editorial (also in m. 119).

  LH beat 2: Price adds a courtesy C sharp that I have omitted.

• 27: It appears that Price originally started the long slur above the top staff from the downbeat but later extended it to include the last sixteenth note of m. 26, as printed here. I have added courtesy C sharps in both hands.

• 29: I have added a bass clef to the lower staff in mm. 29–30, which Price omitted by mistake. She did mark a treble clef in the lower staff for m. 31.

• 40: RH: The courtesy G natural is editorial (also in m. 134).

• 42: The accidentals in the autograph raise questions here. Price does not cancel the D sharp with a natural at the beginning of beat 2, though that almost certainly is the trajectory of the pattern. I have added the natural to the text here. More puzzling is the natural Price marks on the G in that beat (sixth sixteenth note). There is no G sharp in the key signature, so the marking is unnecessary. Does it imply that the earlier G in this measure (third sixteenth note) should have been G sharp? Rather, I think it is more likely that Price mistakenly added a natural sign to the G instead of the D a sixteenth note earlier.

• 58: Price draws a bracket over the final three sixteenth notes of this measure, writing “l.h.” above it to indicate that these notes should be played by the left hand. However, I think Price mistakenly placed the bracket one note too early for the following reasons: (1) She writes the fingering 4 on the highest F sharp in the measure, leaving enough fingers for the right hand to play the A with finger 1. (2) As the pattern continues three more times in lower octaves, Price divides the notes in this way: F sharp E D A with upward stems for RH, F sharp E D with downward stems for LH. For these reasons I have shifted the bracket to cover F sharp, E, D in this edition.

• 60: I have added a bass clef in the lower staff which Price omitted by mistake.

• 62: Price marks a short vertical line or dash above the final RH D which I have interpreted as a wedge staccato. It could possibly be read as a “1,” but that seems an unlikely fingering.

• 66: I have lengthened this diminuendo hairpin by one sixteenth note to match m. 64.

• 67: LH: Price draws a slur from the “and” of beat 1 to beat 2, but she omits the tie from G to G. This motive appears repeatedly in mm. 63–89, always with a common note between the two dyads. Price ties the two common notes in the other twelve occurrences of this motive. I think Price drew the curved line mistakenly as a slur, and I have added the tie in its place.

• 74: RH beat 2: Price adds a courtesy natural to the C which I have omitted.

• 76: RH: I have omitted Price’s courtesy A natural in beat 2 and added courtesy naturals to the A and B in beat 1.

• 94: After this measure, Price writes “D.C. al Fine,” the Fine marking appearing at the end of m. 62. I have rewritten mm. 1–62 as mm. 95–156.

Three sources survive for My Rocking Chair:

• A: MC 988a, Box 18, Folder 8. McKinley No. 1 paper, three pages, fair copy in ink.

• B: MC 988b, Folder 1b, Box 20. McKinley No. 1 paper, three pages, ink with some corrections in ink. Immediately followed by two untitled pieces in G major. Title in pencil. “Presser” written in pencil at the top, indicating that Price intended to send or had already sent to the publisher.

• C: MC 988a, Box 18, Folder 21. McKinley No. 1 paper, three pages, pencil. “No title no 3” written in the top left corner. Different version of final section. It appears as the third of five pieces in this folder on the same paper:  “Unnamed no 1,” “No title no 2,” “No title no 3,” “No title no 4,” and “No title no 5.” Additionally, “No title no 6” is found in MC 988b, Box 4B, Folder 13, and was later titled Gay Leaves. “No title no 5” and “No title no 6” are both dated January 10, 1929, so My Rocking Chair probably originated at the same time.

I have used Source A as the copy text, seeking clarification where necessary from Sources B and C as indicated below.

• 1: Prices gives the tempo indication shown below in A and B which I have changed to “Tempo Moderato,” as is more common today. C gives “Moderato.”

• 15: The C-flat courtesy accidental is editorial (also in m. 64).

• 24: RH beat 3: A lacks a quarter rest in the alto voice, but it is present in B and C.

• 35: Natural missing on C5 (also in mm. 39, 41, and 43) in A, but it is present in B and C in each case.

• 39–40: The LH line is notated with ledger lines below the stop staff in A and B, but C places them in bass clef. I have followed C for greater ease of reading.

• 46: The C-flat courtesy accidental is editorial.

• 49: LH beat 1: Price adds a courtesy C flat that I have removed.

• 67: RH: Price placed the first eighth rest below the Fs here and in m. 69, but I have put it between them to match its placement between the D flats in m. 66.

• 81: LH second eighth note: A has A flat, B has G flat, and C has different music here but includes a G flat pedal. G flat seems best to me.

• 90: Bass clef missing in lower staff in A, but present in B.

This is a set of at least three pieces, only two of which have been identified. The title On My Mantelshelf is found on the later manuscript of A Photograph, where the piece is identified as “No. 1.” The following evidence argues that A Poem also belongs to the set: (1) a revision of the middle section of A Photograph appears on its second page; (2) Price wrote “No 3” to the left of the title; (3) they are both written on unlabeled paper; (4) its title shares a parallel structure with A Photograph; and (5) both a photograph and a poem could reasonably be found on a mantelshelf. Use of unlabeled paper suggests a composition date in the early 1930s (see discussion under Happy in Shadows).

I. A Photograph

There are two sources for A Photograph:

• A: MC 988b, Box 4C, Folder 32: Unlabeled paper, one page, fair copy in ink. Title listed as “On My Mantelshelf / No. 1. A Photograph.” “#2” written later in pencil to the left.

• B: MC 988b, Box 4B, Folder 13: Monarck Brand paper (Carl Fischer, Inc.), two pages, fair copy in ink. Title given as “A Photograph.” “IV” and “Do not own” written in pencil under the title at a later date, suggesting she sold it to a publisher. In a promotional brochure produced by Price in the mid-1930s, A Photograph is listed among three solos published by Carl Fischer. I suspect this is a version of B, though I have been unable to locate a copy of this publication. B has the same general structure as A but features a substantially different RH part for the middle section and LH part for the end.

I have used Source A as the copy text, seeking clarification where necessary from Source B as indicated below.

• 15: RH: Ties missing for the A and C-sharp lower voices in A (unlike m. 41), but present in B.

• 16: Slur extended to the end of the tied note in accordance with Hal Leonard style (and also in m. 40).

• 17: A has no tempo marking in mm. 17–24b, but does give a tempo at m. 25, implying that a change was meant to take place. B gives agitato at m. 17 and no tempo at m. 25.

• 23b: RH: tie missing on alto A in A but present in B and in the fragment on the second page of A Poem.

• 28: LH: I have added a slur here to correspond to mm. 26 and 30.

• 36: LH beat 3: Price wrote two quarter rests, one for each voice, which I have simplified to one.

III. A Poem

Shelfmark: MC 988b, Box 4A, Folder 7
Description: Unlabeled paper, two pages, written in ink. Corrections in pencil and ink. Additional music on three systems after double barline: (1) mm. 17–25 of A Photograph; (2) a revision of mm. 15–19; and (3) a revision of m. 29.

• 15–19: Price crossed out the original m. 15 and added five measures, notated separately at the end of the manuscript. They lack the detailed dynamic, articulation, and tempo markings that Price included throughout the rest of this piece, so I have added slurs in an approximation of Price’s style.

• 15: “A tempo” added by me.

• 19: “Rit.” added by me.

• 29: A new version of this measure appears at the end of this manuscript, also lacking any expressive markings. I have maintained the slurs and rit. from the original version while presenting the notes of the revision.

• 37: RH beat 2: I have turned this half note’s stem up for clarity as the eighth notes move to the top staff (also applies to mm. 39 and 41).

Shelfmark: MC 988b, Box 4C, Folder 32
Description: Unlabeled paper, three pages, fair copy in ink. “C.S.” written in pencil to the left of the title, most likely indicating that a copy had been sent to a publisher. Dated August 19, 1929. Revision of m. 95 to the end added in pencil beneath the final system and dated September 8, 1932.

• 7–8: LH: Slur extended to end of tied note in accordance with Hal Leonard house style.

• 24: RH: Slur extended to end of tied note in accordance with Hal Leonard house style.

• 33: It looks like Price has crossed through the repeat sign in pencil. However she did not cross through the first and second ending, so I have left them all as originally written in ink. Performers may omit the repeat at their discretion.

• 38: RH: Price’s slur begins on the D (beat 2) and ends on the last sixteenth note of the bar, where it meets a new slur from the F4 sixteenth note to the F5 half note in the next bar. I have interpreted the second slur to be a later extension of the first and have notated it as one slur.

• 39: RH: Slur extended to end of tied note in accordance with Hal Leonard house style.

• 40: RH beat 1: Price gives the fingering 54, but the F is tied so finger 5 merely stays down. I have removed the 5 for clarity.

• 42: The alto G on the downbeat of m. 42 has both upward and downward stems and a dot. I have reproduced it exactly as Price notated it.

• 71: Price notates a slur over the three eighth notes on beat 2 which is her way of showing the triplet without the number 3 (as happens frequently in her manuscripts for the Piano Sonata in E minor). I have added the 3 and omitted the slur over those three notes (also applies to m. 82)

• 75–76: I have combined two crescendo markings separated by a system break into one.

• 87: It looks like there may have been a tie in the highest voice between the two Cs, but it has mostly been erased by Price.

• 93–97: These measures were added in pencil beneath the original ending. Price gives no articulation markings in the pencil addition except for a lone staccato dot on the RH F3 quarter note at the start of m. 95. I have chosen to extend Price’s articulation from the previous three iterations of the pattern.

Shelfmark: MC 988b, Box 5A, Folder 14
Description: Rayner, Dalheim & Co. No. 1 paper, two pages, rough draft in pencil. This work was left untitled by Price; I chose the title Rhapsody because of the work’s expressive immediacy and the contrasting moods of its major sections. Price used Rayner, Dalheim, & Co. No. 1 paper for hundreds of piano manuscripts carrying dates from 1932 to 1952, making it difficult to estimate a reasonable date of composition for this piece.

• 4: RH: The placement of the curved line is ambiguous: it could be a slur from C to B flat or a tie between the E flats.

• 8: RH beat 2: Price left this beat blank, so I have added a quarter rest.

• 9: Price notated the alto D (beat 1) and the tenor C (beat 3) as eighth notes tied to quarter notes, but I have changed them to dotted quarters for consistency within mm. 9–12.

• 11: The a tempo marking is editorial (also in m. 43).

  RH: I have added a treble clef here, which Price omitted by mistake.

  LH beat 4: I have omitted Price’s courtesy flat on the A.

• 13: LH: Price double stems the bass note in beats 1 and 4, implying a descending stepwise line. In beat 2, she notates the E flat and C with one stem, but I have chosen to give the E flat its own stem to highlight the descending bass line.

• 13–14: RH beat 4: the lower note of this dyad is ambiguous. Its placement is a bit low for B flat, but octaves are much more common than ninths in Price’s music.

• 15: Price placed the piano marking over the downbeat rest, but I have moved it to beat 2.

• 17: Piu mosso is editorial.

• 19: RH: The half note chord lacks a dot, which I have added.

• 27: LH beat 1: The oval of the lowest notehead is drawn rather widely over both C and B flat, but surely C was intended.

• 31: Rit. is editorial. LH beat 3: Only G2 is printed here, but Price drew three ledger lines below the staff. She mostly likely omitted the lower octave by mistake.

• 32: After this measure, Price writes “D.C. al Segno,” the sign appearing just after m. 12. I have rewritten mm. 1–12 as mm. 33–44, with Price’s coda beginning at m. 45.

• 33: Tempo primo is editorial.

• 45: LH beat 1: The first notehead could be interpreted as either F or E flat, but F makes more sense harmonically.

• 54: There are too many beats in the right hand part as notated:
  

Price notates the LH with a symbol indicating to repeat the pattern from m. 52, so vertical alignment of parts cannot help clarify the rhythm. I have chosen to remove the dot from the quarter note. Another option would be to shorten the final quarter note to an eighth note.

• 55: Similar to m. 4, this could be a tie between E flats or a slur from C to B flat.

• 57: RH beat 4: Last octave appears to be E flat in both voices, even though this melody has used F previously.

• 58: RH: Price notated an extra quarter rest between the two half notes of the alto voice that I have omitted.

  LH beat 4: Tenor voice blank on beat 4, probably by mistake. I have added an E-flat quarter note to match the soprano voice.

• 59: Beat 3: I have omitted Price’s courtesy accidentals on the RH D and LH B flat.

This work was left untitled by Price. I selected the generic title Romance because I thought it captured the sweeping expressive character of the work. Two sources survive for this work:

• A: MC 988b, Folder 6B, Box 42: Rayner, Dalheim & Co. No. 1 paper, two pages, fair copy in ink. Has sustained water damage and is marred by several small holes and tears.

• B: MC 988b, Folder 10, Box 17: Rayner, Dalheim & Co. No. 1 paper, two pages, rough draft in pencil. Dated May 10, 1952, in ink.

I have used Source A as the copy text, seeking clarification where necessary from Source B as indicated below.

• 1: A gives no time signature; B gives 4/4.

• 6: LH beat 3: Natural missing on bass F in A but present in B.

• 7: LH beat 4: Natural missing on LH F in both A and B, most likely by mistake.

• 8: LH beat 3: Hole in A obscures this note, but B gives an A5 half note.

• 16: Beat 1: Damage to A obscures the downbeat notes in each hand. The text printed here is from B.

  Beat 3: “L.H.” indication is editorial.

• 17: A hole in the paper obscures the beginning of the tempo indication leaving only “o piu mosso,” which I have interpreted to be “poco piu mosso.” B has no tempo indication.

• 18: LH beat 1: Bracket indicating to play dyad with 1 is editorial.

• 29: LH beat 1: First chord notated as a half note in A, but a dotted half note in B.

  LH beat 4: Price does not mark F natural here in A, probably by mistake. B gives a notably different reading of this bar:

• 36: LH beats 2 and 3: Obscured by hole in A; the printed reading is from B.

• 41: LH: Price notates all four notes of the downbeat chord with one upward stem, but I have separated the tenor F sharp for clarity.

Shelfmark: MC 988b, Box 1B, Folder 20
Description: Unlabeled paper, one page, fair copy in ink with additions in pencil. Dated October 19, 1927.

• 16: LH beat 3: I have interpreted this note as a G3, but its placement is rather high and might be A3.

• 30: RH beat 2: Natural missing on B, but present in LH, so I have added it.

• 45: RH beat 2: Alto E notehead is smaller than the A above, possible added after. There’s a tiny line emerging down from the right—perhaps, a quarter note stem but it is on the wrong side. I have kept it as an eighth note, just like the next measure.

• 68: The final measure of rest is deliberate. Price initially wrote a double bar line after m. 67 but she crossed it out and added the blank measure.

Shelfmark: MC 988b, Box 4A, Folder 7
Description: Rayner, Dalheim & Co. No. 1 paper, one page, rough draft in pencil. This work was left untitled by Price; I chose the generic title Scherzetto because of its playful character and compact structure. See discussion under Rhapsody in E-flat Major about possible dates of composition.

• 8: LH: The upper note of the eighth-note dyad is placed a bit higher on the “and” of beat 1 than the “and” of beat 2, possibly suggesting C, but it has no ledger line running through it. I have notated it as B.

• 15: LH: I have added staccato dots on the second and third eighth notes to make this measure identical to m. 49.

• 17: RH: I have added a staccato dot to the last eighth note to match m. 51.

• 20: LH: I have shifted the bass clef from before beat 1 to before beat 2 for a less crowded layout.

• 23–24: Price noted these measures like this:

I changed the tied eighth notes to quarter notes for less clutter.

• 25: The courtesy G natural and B flat are editorial.

• 34: After this measure, Price writes “D.C. al Segno,” the sign appearing just after m. 13. I have rewritten mm. 1–13 as as mm. 35–47, with Price’s coda beginning at m. 48.

Shelfmark: MC 988a, Box 17, Folder 33
Description: Unlabeled paper, two pages, fair copy in ink. Tidy, narrow handwriting similar to Happy in Shadows. Use of unlabeled paper suggests a composition date in the early 1930s (see discussion under Happy in Shadows).

• 8b: The “R.H.” marking is mine, though this is clearly Price’s intention.

• 10: There appears to have been a tie from the final eighth note E-flat on the top staff in m. 9 into the E-flat whole note, but it has been erased.

• 17–24: The change in key signature is editorial. This passage modulates to G minor, but Price does not mark any A naturals. I assume Price forgot either to change the key signature or to mark each A natural individually. Similar situations occur in the B sections of Little Miss Perky, My Rocking Chair, and the second movement of the Sonata in E Minor.

• 20: LH beat 3: Price does not mark the D4 with a natural, surely a mistaken omission.

• 23: RH beat 4: I have omitted Price’s courtesy F-sharp.

• 28: RH beat 1: Mm. 27 and 28 appear on different pages in the manuscript. Ties appear at the start of this measure, but not at the end of the previous.

• 35–37: I have moved some of the notes in the middle line between the staves to reflect a more comfortable hand distribution for most pianists. The lines are my addition. Here is Price’s original distribution:

Shelfmark: MC 988b, Box 4B, Folder 13
Description: Rayner, Dalheim & Co. No. 1 paper, three pages, written in ink with corrections added later in pencil. Thirteen measures of revisions at the end in ink, later crossed out in pencil. Date given as “rev[ised] June 21, [19]49.” Price notes in pencil that the piece had been sent to two publishers, Clayton Summy and Presser, though there is no evidence it was ever published. She brainstorms several alternate titles in the top margin: “A Bee Abroad,” “A Bee Makes a Trip to a Honeysuckle Vine,” “Lady Bug,” and “Honey Harvester.”

• 1: Tempo marking is given by Price in ink, but crossed out in pencil. Pencil writing over “Allegretto” is illegible, so I have kept this marking.

• 2: Price’s use of dotted quarter rests in m. 2 and similar measures (mm. 4, 10, 12, 18, and 20) is inconsistent, so I have omitted them entirely for simplicity and clarity.

  Beat 2: This staff distribution reflects Price’s original notation in ink. She later rewrote the E-flat and A dotted quarter notes in the lower staff in pencil, but I have kept them in the top staff for consistency and clarity.

• 3: The “R.H.” indications here and in m. 5 are mine.

• 10: RH beat 2: The higher note of dyad was originally D, but Price changed it to B natural in pencil. I have assumed this change applies to m. 12 as well.

• 13: Beat 2: Crescendo hairpin appears to be erased.

• 30–31: Price has penciled in a new slurring, but the meaning is unclear, especially in m. 31. I have decided to keep the slurring in ink.

• 50: LH: Price initially wrote a fifth, as in the surrounding measures, but the E-flat has been crossed out in pencil.

• 51: I have added the slur in the alto voice to correspond to m. 35.

• 59: LH: The courtesy accidentals here and in m. 61 are editorial.

• 63: After m. 63, Price drew an arrow in pencil indicating that this measure should be added as a first ending (presumably repeating back to m. 33):

Price then crossed this measure out, so I have omitted it and the repeat sign.

• 64: After this measure, Price writes “D.C. al Segno,” the sign appearing just after m. 28. I have rewritten mm. 1–28 as mm. 65–92, with Price’s coda beginning at m. 93.

Shelfmark: MC 988b, Box 4B, Folder 11
Description: McKinley No. 1 paper, two pages, written in ink with some pencil additions. “V Book” written in pencil and underlined in the top left corner. Dated August 20, 1929.

• 19–20: I have omitted Price’s fingering for the right hand in the main text and included here, as it requires a rather large hand span:

Shelfmark: MC 988a, Box 2B, Folder 25
Description: Rayner, Dalheim & Co. No. 1 paper, one page, rough draft in pencil. This work was left untitled by Price. “2” is written at the top, though it is unclear to what set or multi-movement work it may belong. I chose the title “When Dusk Falls” from a list of titles Price brainstormed in the margins of another untitled work in Gb Major (MC 988b, Box 10, Folder 21). See discussion under Rhapsody in E-flat Major about possible dates of composition.

• 9: Price has crossed out an earlier version of this measure, which I have omitted.

• 12: RH beat 3: The second half of the measure appears to have initially been a half note D5. Price apparently replaced it with two quarter note Ds, as included here.

• 17: I have added the arpeggio symbol and indicated that the left hand should play the top note. Price joins the lower four half notes in the top staff with a downward stem and gives the D5 its own upward stem. This upward stem, combined with the impossibility for most pianists to play such a large chord without breaking it suggest this was Price’s intended realization.

• 27: The musical text cuts off after m. 26. I provided a simple resolution to G major, as suggested by the voice leading. Price often ended pieces with more ornamental gestures, so performers might consider alternatives similar to mm. 48–49 of Happy in Shadows.