“I GOT RHYTHM”

1. “I GOT RHYTHM” THE GOLDEN AGE OF TIN PAN ALLEY SONG

2. The Golden Age of Tin Pan Alley Song • During the 1920s and 1930s, certain characteristic musical structures and styles of performance dominated popular song. • Professional tunesmiths wrote some of the most influential and commercially successful songs of the period. • The potential for fame and financial success on a previously unknown scale lured composers and lyricists with diverse skills and backgrounds.

3. Irving Berlin (1888–1989) • Grew up poor in the Jewish ghetto of New York City • Began his career as a singing waiter • Achieved his first success writing ragtime-influenced popular songs

4. Richard Rodgers (1902–79) • Produced many of the finest songs of the period, in collaboration with lyricists Lorenz Hart and Oscar Hammerstein II • Was the college-educated son of a doctor and a pianist

5. Cole Porter (1891–1964) • Was born into a wealthy family in Indiana • Studied classical music at Yale, Harvard, and the Schola Cantorum in Paris

6. George Gershwin (1898–1937) • The son of an immigrant leatherworker • The songwriter who did the most to bridge the gulf between art music and popular music • Studied European classical music but also spent a great deal of time listening to jazz musicians in New York City

7. Jewish Immigrants • From Central and Eastern Europe • Played a central role in the music business during the early twentieth century as composers, lyricists, performers, publishers, and promoters

8. Irving Berlin • Born Israel, or Isadore, Baline • The most productive, varied, and creative of the Tin Pan Alley songwriters • His professional songwriting career started before World War I and continued into the 1960s. • It has been said that Berlin often composed from three to seven songs a week. • In 1969, the catalog of Irving Berlin compositions still available in print included 899 songs.

9. Irving Berlin • His most famous songs include “Alexander’s Ragtime Band,” “Blue Skies,” “Cheek to Cheek,” “There’s No Business Like Show Business,” “White Christmas,” and “God Bless America.”

10. Irving Berlin • Like many Tin Pan Alley composers, Berlin was a European immigrant. • He was born in Temun, Russia, in 1888. • His family fled the anti-Jewish pogrom there in 1892. • Began life in America in desperate poverty • Began his career as a song plugger

11. “Alexander’s Ragtime Band” • Published in 1911 • The song that first brought Berlin mass acclaim • Actually had little to do with ragtime as performed by the great black ragtime pianists of the day • Sold 1.5 million copies almost immediately

12. Broadway and Film • Berlin wrote songs for the Broadway stage and for sound film. • “Blue Skies,” performed by Al Jolson in the first talkie, The Jazz Singer • Wrote the entire score for the Marx Brothers’ debut movie, The Cocoanuts, in 1929 • The 1942 film Holiday Inn introduced “White Christmas.” • The 1946 Broadway musical Annie Get Your Gun • Berlin was the most prolific and consistent of Tin Pan Alley composers. • His songwriting career spanned almost sixty years.

13. Tin Pan Alley Song Form • Song forms inherited from the nineteenth century • The AABA structure of “Jeanie with the Light Brown Hair” • Verse-and-chorus form of “After the Ball” • Verse-refrain form, with an AABA refrain • Tin Pan Alley song form had two major sections: the verse and the refrain/chorus.

14. Verse • The verse usually sets up the dramatic context or emotional tone of a song. • Verses were the most important part of nineteenth-century popular songs. • They were regarded as mere introductions by the 1920s. • Today, the verses of Tin Pan Alley songs are rarely performed.

15. Refrain • Today, this is what is generally considered the “song.” • It is usually made up of four sections of equal length: • “A”—the main melody, basic pattern of lyrics and a set of chord changes to support them • The music of the “A” section is repeated with new lyrics, often with slight variations • “The bridge”—new material, new melody, and new chord changes • A melody and chords are repeated.

16. Listening: “My Blue Heaven,” performed by Gene Austin (1927) • Austin was one of the first “crooners” • Singers who mastered the intimate style of singing made possible with the electric microphone. • This recording was one of the bestselling records of the era. • Form: verse-refrain • Introduction • Verse: two sections of equal length with nearly identical music • Refrain: four sections, AABA—the “A” sections all end with the words “my blue heaven” • The “B” section, or “bridge” or “release,” provides variety.

17. Listening: “My Blue Heaven,” performed by Gene Austin (1927) • The song depicts the deepest aspirations of the Tin Pan Alley listening public. • The lyrics poetically reinforce a familiar and comfortable motif of the American dream: home and family. • Gene Austin’s performance reinforces the sentiments expressed in the lyrics: quiet intimacy and tranquility.

18. My Blue Heaven Day is ending, birds are landing Back to the shelter of each little nest they love Night shades falling, lovebirds calling What makes the world go round, nothin’ but love When whippoorwill calls, evenin’ is nigh I hurry to my Blue Heaven I turn to the right, a little white light Will lead you to my Blue Heaven A smilin' face, a fireplace, a cozy room A little nest that’s nestled where the roses bloom Molly and me, and the baby makes three We're happy in my Blue Heaven

19. Listening: “April Showers,” performed by Al Jolson (1921) • This recording reveals the sound and style of the premicrophone period. • Jolson’s singing style reflects the performance techniques used on the vaudeville stage. • His vocal style was declamatory rather than lyrical. • Form: verse-refrain (ABAC structure)

20. Listening: “April Showers,” performed by Al Jolson (1932) • The brief introduction played by the dance band does not present any music from the verse or the refrain. • In this version, Jolson breaks into rhythmic speech during the repetition of the refrain, considerably heightening the impact of the performance.

21. What Are Tin Pan Alley Songs About? • Predominately aimed at white, urban middle- and upper-middle-class Americans • Said little in the way of social or political commentary • Were generally escapist • Privacy and romance

22. Tin Pan Alley and Broadway • Mutually beneficial relationship between Tin Pan Alley Songs and Broadway shows • Close proximity • Fruitful relationship in the 1920s and 1930s • The so-called Golden Age of Tin Pan Alley song

23. Revues • Featured sequences of diverse skits, songs, dances, and performers • Shows that were obvious successors to vaudeville, with titles such as “Follies” and “Scandals,” remained popular with audiences of the time.

24. Show Boat (1927) • The musical Show Boat (1927), with score by Jerome Kern and lyrics by Oscar Hammerstein II), was a tremendous success. • Show Boatwas, for its time, a musical show of unprecedented seriousness and depth. • There was an attempt in Show Boat to tie the songs more obviously to specific characters and situations.

25. Musicals • Conceived as a highly integrated whole • On the rise by the 1940s • The partnership between Oscar Hammerstein II and Richard Rodgers, beginning in 1943 with Oklahoma!, marks the triumph of this conception.

26. Rock ’n’ Roll • When rock ’n’ roll took over the pop charts in the later 1950s, the connection between Broadway and mainstream popular song had completely dissolved.

27. What Makes a Song a Standard? • Standards • Songs that remain an essential part of the repertoire of today’s jazz musicians and pop singers • Possess a continuing appeal that surpasses nostalgia • Tin Pan Alley composers produced many standards.

28. George Gershwin (1898–1937) • His songs set new standards in excellence in terms of harmonic complexity and melodic flow. • More classically trained and ambitious than other songwriters • Sought and achieved success in the world of concert music and popular music • Influenced by jazz and blues

29. Listening: “I Got Rhythm,” written by George Gershwin • Performed by Ethel Merman • An up-tempo (fast) Tin Pan Alley song • Verse-refrain form • Refrain • Syncopation • Conveys a jazz-influenced flavor • Shifts to a major key • Unlike anything we have heard in the previous Tin Pan Alley examples

30. “I Got Rhythm” VERSE: Days can be sunny, with never a sigh ; Don't need what money can buy. Birds in the tree sing their dayful of song, Why shouldn't we sing along? I'm chipper all the day, happy with my lot. How do I get that way? Look at what I've got: CHORUS:I got rhythm, I got music, I got my man/girl who could ask for anything more? I got daisies, in green pastures, I got my man/girl who could ask for anything more? Ol'Man Trouble, I don't mind him. You won't find him’ round my door. I got starlight,I got sweet dreams, I got my man/girl,who could ask for anything more? Who could ask for anything more?

31. Listening: “I Got Rhythm,” written by George Gershwin • Verse • long, sets up the refrain • Slow, flexible tempo • In a minor key • Straightforward rhythm—little syncopation • Merman’s vocal style is similar to Al Jolson’s. She is described as a “belter.”

32. Conclusion • Popular song both reflected and helped shape the profound changes in American society during the 1920s and 1930s. • The intermixing of high and low cultures • The adoption of new technologies • The expansion of corporate capitalism • The increasingly intimate interaction of white and black cultures during a period of virulent racism • The emergence of a truly national popular culture

33. Conclusion • Tin Pan Alley and the singing style known as crooning were important influences on rhythm & blues and rock ’n’ roll during the 1950s and 1960s. • Many Tin Pan Alley songs are still used by contemporary jazz musicians as a basis for improvising.