This week’s collection of pieces included music
used for social dance and Tim Pan Alley.
My reflection on each piece is as follows:
I found "Castle House Rag" to be a bit
"busy" for my taste. The syncopated rhythms were
homophonic. They were performed on the melodic and percussion instruments which
contributed to the "business" of the piece. However, the quick
moving, syncopated rhythms found throughout the piece and particularly in the
"A" section of the piece are typical of ragtime.
"Tiger Rag" was lively and held the
listener's attention with various surprises throughout. In the beginning,
theme was introduced and repeated. The clever use of rests were effective in
variation. The percussive slaps and slides performed by the clarinet and
trombone were playful and also effective. The ending combined two of
these elements for a strong finish (Percussive slap, rests).
"Dipper Mouth Blues" gave a more relaxed
tempo in comparison to the other selections for this week. The polyphonic
nature of the "A" section gives way to a standard verse-accompaniment
form in section "B" with the clarinet taking the first solo.
Section "A" reappears to prepare the "B" section,
which supports a trumpet solo. This piece could be classified as easy
listening.
"East St. Loius Toodle-oo" was the one of
the selections this week that began in a minor key, which gave a particular
feel for the introduction. Throughout the piece you could hear the
alternation between major and minor modes. This was probably the most
effective method of the module. There was also a playful exchange between solos
and accompanying duet lines. The piece was also unique in this week's
collection as it had a ritardando to conclude the piece.
“My Blue Heaven”, caught my attention
right away with the cello solo. The contrast between the legato melody of
the cello and the backbeat created by the chords of the piano made a soothing
combination. The alternating dominance of the voice and the complimentary
instrumentation added to the beauty of the piece. This first occurs when
the voice improvises a melody to support the cello solo in the first
refrain. In the last refrain there are “bird sounds” that take over the
melody and once again, the voice accompanies the melody.
There were two versions of, “April
Showers”. This piece was similar to “My Blue Heaven”. Both would be classified as vocal music and like “My Blue
Heaven”, “April Showers” has a reoccurring refrain and a prominent melody laced
with leaps and sustained notes to produce a very singable line. Personally, I enjoyed the second
recording more than the first. Al Jolson’s vocal performance in the first
recording was very theatrical. It was a bold choice and a direct stylistic
contrast to the accompaniment. Other differences found in the 1932 version
include: No melodic material from the song in the introduction, a slightly
dramatic vocal, and spoken text in the repeated refrain.
“How Deep is the Ocean” is the other
example this week that begins in a minor key. Bing Crosby is a classic crooner
and gives a nice, smooth vocal performance. His tone is rich. His diction in clear which is important
for the lyrics and his expressiveness is what sets him apart as a singer. The way in which he seems to elongate
certain words and his selective vocal inflection in certain places makes the
song come alive. This piece, plays with different modes but tends to stay
primarily in the minor key, unlike "East St. Loius Toodle-oo"
which alternates between major and minor keys.
“I Got Rhythm” is a classic Tim Pan Alley piece and
because of its popularity, I found this version refreshing. Upon hearing the introduction with the
full orchestra and the slightly held chord before the vocal entrance, you
understand Ethel Merman wanted to make an impact with her recording. The vocal
enters with the verse instead of the refrain and takes a slower tempo making
the introduction more dramatic.
When the refrain comes in, we hear a switch to the up-tempo that most
are accustomed. After the second
refrain Ethel makes another change.
She sustains a high note at the end of the line, “Who could ask for
anything more?” The tempo slows
while approaching the final big high note.
