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Tin Pan Alley Songs/Great American Songbook I. II. III. IV. Tin Pan Alley: 28th Street between 5th and 6th Av, location of publishers of popular music during the first half of the 20th century i. Origins/Elements of American Popular Music 1. Simplicity, written for a popular audience 2. Elements of Jazz, Blues, and Folk Music 3. Improvisation 4. Simple Lyrics 5. Catchy or gimmicky elements used 6. Memorable What makes something sound operatic versus popular? a. Scooping b. Phrasing against music or text (most likely to accommodate a breath) c. Unrecognizable diction d. Excessive Portamento Use e. Excessive Rubato f. Displays of vocal virtuosity g. Tone Items to notice in each Song: a. What is the genre i. Ballad 1. Love song (How deep is the Ocean, Berlin) 2. Passionate Song (But Not for Me, Gershwin) 3. Rhythmic Tune (They Can’t Take that Away from Me, Gershwin) 4. Torch ballads (The Man I Love, Gershwin) ii. Torch Song (Blues in the Night, Arlen) iii. Novelty Song (Johnny One Note, Rogers and Hart) iv. Latin feel (Just another Rhumba, Gershwin) v. Depressing (What’ll I do? Berlin) vi. Folk Based (The Folks who live on the Hill, Hammerstein and Kern) b. Is there a verse and chorus or simply a chorus? c. What makes this song memorable? Is it a catchy lyric, a recognizable melody, a rhythmic hook? Introduction a. Many times the introduction written into the music may be altered. The introduction serves several purposes: i. Establishes key and meter ii. Establishes mood iii. As long as meter, key and mood are established the introduction may take on any form iv. Introductions can take on an ironic feel by building up an expectation for a specific mood, style or key; and then suddenly shifting with the entrance of the singer V. VI. Verse a. In general the words get the most attention in a verse as one sets up the more recognizable chorus b. Try to play with phrase length here to bring more attention to the text c. Experiment with rhythmic freedom here, always maintaining clarity of text Chorus a. It is useful to identify any “gimmicks” that the composer might have used to make this song recognizable. It might be a melodic idea, or it might be a rhythmic one. It will be important to highlight these features of the chorus. b. What is the form i. Form of Chorus: Typical Forms include: AABA, ABAA, ABAC ii. If the form is atypical try to notice what would make the composer strive for a different form c. Some other things to notice: 1. Phrase Length a. Is this regular 4 bar phrasing? Does the text match the musical phrases? Are there any unexpected extensions or truncated phrases? 2. Rhythmic Variables a. Is it important to stay completely in time? Is there any room for rhythmic flexibility? 3. Motives? Ostinato? a. Does any rhythmic or melodic material repeat throughout the chorus? 4. Bounce? Swing? a. Does the piece require swung eighths? 5. Apex? Contour? Lowest note? a. What words are set on the highest and lowest pitches in the melody? What is the contour? Does this somehow paint the text? 6. Blue notes a. Are there any notes that sound like they do not belong in the key? Can you slide into any notes? ii. Special features of Lyrics 1. Does the lyricist use rhyming or silly words? Are there any lyrics that are can be made more relevant to a modern audience? iii. Verse relationship to Chorus 1. How does the composer bridge between the verse and the chorus? VII. 2. Is there any musical or rhythmic material related between the verse and chorus? iv. Dance based? 1. Does the song have a base in a dance form? How will this effect your interpretation? d. Depending on the length of time desired, one would probably go through the entire chorus once, and then repeat the entire chorus or a segment of it. In order to keep things interesting, here are some musical factors that can be “ornamented” or changed to avoid repetition. i. Play with phrase length ii. Sing across the bar line to extend phrase length or cause phrases to collide iii. Change the direction of melody iv. Find blue notes (notes at a slightly lower pitch, then sliding up) 1. These notes usually effect the 3rd, 4, 5th, and 7th scale degrees v. Sliding pitches (Rip or drop off a pitch) vi. Place consonants on different pitches and slide to correct pitch vii. Bending the pitch after you sing it viii. Sing a different note within the chord ix. Play with the way words sound, sing diphthongs slowly, linger on consonants x. You may sing slightly behind the beat, then catch up to the beat at the beginning of the next measure or phrase 1. You may similarly do this in anticipation of the beat xi. Back beating 1. Feeling the stress on even numbered beats versus the typical 1 and 3 xii. Change octaves for effect xiii. Have the rhythmic element of the music cut out xiv. Take out the text and: 1. Hum 2. Sing only certain words or snatches of words 3. Imitate an instrumental solo xv. Play with the tone of your voice 1. Add various degrees of vibrato to a note 2. Color your voice for effect Ending a. Many times the chorus ends abruptly and it is often necessary to write a different ending. i. First you must choose the attitude you want the piece to end in, should it end with a high note and sound final, or do you prefer to end it simply? ii. Sometimes a repetition of the last phrase can help make the ending sound more complete. iii. Notes can be rewritten to incorporate a high note, or a blue note. iv. Final notes may be rewritten to end on a different note in the scale.