A comparative listening edition
Reverie / My Reverie
Melba Liston above Claude Debussy · L1–L72 / D1–D101 · 149 comparative positions
How to use this
Read the comparative score
Liston’s trombone transcription occupies the upper lane. Debussy’s piano part occupies the lower grand staff. Read horizontally from left to right. Each column is one comparative position, and clicking anywhere in it selects the entire column.
L1–L72 and D1–D101 are independent source-measure labels. The small numbers above the columns identify C1–C149, the comparative timeline. Matching column position does not necessarily mean matching source number.
The two labeled chord rows sit above the trombone lane. The two Roman-numeral rows sit below the piano lane. L and D identify the source for each analytical entry. Arrows within an entry indicate the supplied harmonic progression within that measure, without exact beat placement.
Navigate and inspect
Drag the score sideways with a mouse, scroll with a trackpad or mouse wheel, or swipe horizontally on a touch screen. Use − / + to change the score size. The percentage reports the current zoom.
Enter L9, D69, or C84 in the Measure locator, then choose Go or press Enter. A number without a letter is a comparative position. Once a column has keyboard focus, the left and right arrow keys select adjacent columns.
The panel beneath the score identifies the selected L/D measures, their chords and Roman numerals, the comparative reading, classification, and alignment status. “Empty lane” means that no material from that source is assigned to this column. It does not establish a rest, omission, or newly composed passage.
Control the analytical layers
All four options start checked. Chord symbols controls the two chord rows above the score. Roman numerals controls the rows below it. Comparative reading controls the prose in the selected-measure panel. Analytical color controls the colored column markers and legend. The panel’s harmonic fields remain available when the score layers are hidden.
Preservation marks interpreted continuity. Functionalization marks interpreted clarification or redirection of harmonic function. Recomposition marks interpreted reworking. These are working classifications of Liston’s harmonic procedure. Unassigned columns have no color. The notation itself is never tinted.
Use the recording links at the upper right for reference listening. They open separately and are not synchronized to the score. The Debussy link begins at 0:23. The Liston link is the supplied Quincy Jones Orchestra performance, identified by the project as Switzerland, 1960.
Working-edition status. Later pairings remain provisional. Harmonic analysis follows the supplied concordance by each source’s measure number. When the selected L and D numbers differ, a separately labeled “Supplied concordance, L…/D…” reading refers to that original same-number comparison, rather than proving the displayed pairing. Interview-evidence tags are reserved for a future layer and are not active here.
Select a measure column to inspect its source harmony and comparative reading.