"Kitten on the Keys" vs. "Smashing Thirds"

[cuberdrift]

This thread is highly related to my previous thread called "Three Double-Note Toccatas".

Regarding double-note pieces, two more come to mind; American ones:

"Kitten on the Keys" is a novelty piano piece by 1920s composer Zez Confrey.

"Smashing Thirds" is an arrangement by stride pianist Fats Waller.

Which piece do you prefer? Which is more difficult?

Is "Smashing Thirds" based on "Kitten on the Keys"? They are so alike.

I would like to hear your opinion. Thank you!

Regards,
cuberdrift

[ted]

It was very interesting how double notes attained a completely new musical meaning through music of this type in the early twentieth century, notably in pieces by Confrey, Mayerl, Sefton Daly and others, and in the playing of swing pianists in general. The classical examples of double notes such as Feux Follets, Chopin 25/6 and many others sought to produce the goal of smooth continuity, whereas the newer examples used them to the opposite end of rhythmic discontinuity.

I must admit to a preference, in both the classical and modern pieces, for musicality over display of speed and dexterity. Therefore I would choose other interpretations of those pieces than the ones you have posted, but that is just personal opinion. I find double notes of all types very handy in improvisation as a means of constantly generating new voicings and new rhythmic effects, especially in the left hand.

https://www.pianostreet.com/smf/index.php?topic=29348.0

I have never tried the two you have posted so I cannot say which I would find more difficult. I think that both pieces probably grew out of the common piano language of their era and direct imitation was unlikely.