American Vernacular Music-2

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.