It Don’t Mean A Thing…

From the mid 1920’s to the mid 1940’s we see the rise and dominance of swing music in the United States. Swing provided a euphoric experience during the Great Depression as people escaped their difficult circumstances and retreated to the night clubs and dance halls. In the examples this week we will see the influence of African rhythm into new forms of music. The delayed subdivision in the meter provides for a wide stylistic pallet, from blues to big band to vocal harmony groups.

St. Louis Blues, music and lyrics by W.C. Handy (1914);
Performed by Bessie Smith, accompanied by Louis Armstrong, cornet,
and Fred Longshaw, reed organ (1925)

While the St. Louis Blues don’t sound like the bouncy swing of the 30’s, it nevertheless contains a swing rhythm. This “classic blues” piece falls into a standard 12 bar blues pattern. The tonic chord is played for 4 bars, followed by the subdominant for 2 bars, the tonic for 2 bars, the dominant for 2 bars and ending with 2 bars of the tonic chord. While strictly not an AABA Tin Pan Alley form due to the final A section being a different melody, the use of the same chords and number of bars in St. Louis Blues functions in that same vein. One addition to note in blues is the bent or flattened note, “blue notes.” These notes add to the sound of despair or sadness in the song.

Wrappin’ It Up, composed and arranged by Fletcher Henderson;
Performed by Fletcher Henderson and His Orchestra (1934)

Here we see the syncopation of swing in full bloom. The bass plays on every beat and the accents on the offbeat drive the rhythm of the song. We hear the call and response of earlier African-American styles continuously utilized instrumentally as the brass and reeds play off one another. Wrappin’ It Up utilizes the same form structure, ABAC, with little variation through their four instances in the piece. The variation then becomes what instrument(s) will play the melody or solo and which will back them up. Fletcher Henderson, credited with inspiring the rise of swing, arranges this and the next piece.

Taking a Chance on Love, composed by Vernon Duke,
lyrics by John Latouche and Ted Fetter; arranged by Fletcher Henderson;
performed by Benny Goodman and His Orchestra (1940)

Though a slower tempo than the Wrappin’ It Up, Taking a Chance On Love maintains that dominate syncopated swing feel. The essential form of the song is introduction, vocal, instrumental sections. Henderson does a masterful job in the introduction of presenting the melody and hook without playing through the whole main section. The last two sections are set up similarly with the voice leading the melody first. Then the instruments take over with solos and group parts. Taking a Chance On Love stands as an example of a ballad style love song that swings with linear motion of the music.

In The Mood, composed by Joe Garland and Andy Razaf;
arranged by Glenn Miller; performed by Glenn Miller and His Orchestra (1939)

Of all the songs reviewed so far, In the Mood is arguably the most recognizable to this day. A standard for all High School Jazz Bands, it offers a straight-forward unforgettable riff at the top of the piece that continues to be played throughout. Part of what makes it so memorable is its predictability. Yet with reputation we do not get board due to dynamic contrast, individual solos and connecting phrases that propel the song forward instead of letting it stagnate. Its brilliance is confirmed at the end with an extended setting leading us to anticipate the culmination of the song.

Paper Doll, music and lyric by Johnny S. Black (1915)
performed by the Mills Brothers (1942)

Perhaps the simplest song of the week, Paper Doll is the song you want to listen to while sitting on the porch on a warm summer evening drinking lemonade. This laid back swing envelopes the listener in the first presentation of the chorus and then engages as the double-time verse takes us to euphoria. Interesting to note the lament of the song stands in contrast to this double-time section almost assuring that everything is going to be alright. The vocal harmonies stem from the African American jubilee quartet tradition. The background vocals sing “Ooo’s” behind the lead from the start and then punch the final chorus with their tight harmonies.

Throughout the Swing Era, we see experimentation with rhythm and instrumentation. Latin influences from Cuba and Brazil rise in popularity and perpetuate this rhythmic revolution. In the early 40’s we see a decline in Big Band swing groups due to the ASCAP and AFM strikes. Yet musical rhythmic boundaries continue to be pushed as BeeBop and Rock take center stage in the late 40’s and 50’s.

Codify and Innovate

Just as the gears of the second industrial revolution began to take root in American society, the early 1900s dawn with promise of commercialized music available to a larger audience than ever before. By this point the technological advancement of the gramophone and nickelodeon make the production of music available to a mass audience. As we press on into the roaring twenties technology will birth both electronic recording using a new invention called a microphone and the means to transport those sounds over the air via commercial radio stations. The foundation has been laid for the music industry to come of age and innovation will propel it into the lives and homes of America.

Castle House Rag, Music by James Reese Europe;
performed by James Reese Europe’s Society Orchestra (1914)

The first black group to sign a record deal is the James Reese Europe’s Society Orchestra in 1913. Castle House Rag is a lively orchestral version of a typical ragtime piece with several themes placed into a larger structure. The hook is the rhythmic interest on display throughout the piece along with each of the sections being repeated. New musical elements emerge such as a stoptime effect (where most instruments drop out for a second) and the use of a less lively section that allow the listener to take a break before the rambunctious ending. These pieces also served a transitioning society as people wanted to experience the new, upbeat, couples dances that were appearing.

My Blue Heaven, music by Walter Donaldson, lyrics by George Whiting (1924)
performed by Gene Austin (1927)

Upon its release, My Blue Heaven became the best selling album and was not surpassed until White Christmas was released 15 years later. By this time listeners had come to expect the AABA format as they listened to new songs. My Blue Heaven stays true to this popular Tin Pan Alley format throughout the main body of the piece. Also the typical introduction of the main musical theme is played in the introduction giving the listener an idea of what is to come. Along with the invention of the microphone and electric recording came a new style of singing called crooning. This intimate style can be heard in My Blue Heaven as Austin’s light and lilting voice has freedom to go beyond just the melody and lyric to a “la dee da” section. We also here the warbling whistle drawing the listener into the lyric, “As whippoorwill calls.” As society fell headlong into the great depression, it is easy to understand how this lilting song affirming a simple happy life came to be so popular.

April Showers, music by Louis Silvers, lyrics by Buddy DeSylva (1921)
Performed by Al Jolson (1921 & 1932)

Al Jolson made his mark early, performing in minstrel and vaudeville shows. A product of an earlier age, Jolson’s voice, unlike the crooners of the era, is strong throughout both performances even in the tender moments. April Showers stays true to form in the refrains with the slightest variation. Instead of AABA the melody pattern, ABA’C. Here again in the first performances we hear the orchestra introduce the hook during the introduction. Whether do to its previous popularity or a growing musical sophistication, the second performance utilizes music that evokes a feeling of anticipation without utilizing the melodic hook of the piece. Similarly, during the repeat of the refrain in the second piece, Jolson alternates between singing and speaking the lyrics propelling the lyric with greater emphasis. Like My Blue Heaven, April Showers provides the needed encouragement for society during the great depression.

I Got Rhythm, music by George Gershwin, lyrics by Ira Gershwin (1930)
Performed by Ethel Merman (1947)

Ethel Merman’s full speed ahead style is perfectly suited for the upbeat Tin Pan Alley song. Both the refrains and the verse of I Got Rhythm fall into the typical form, AABA’ and AA’BB’. It also begins with a verse that has little memorable effect except to set-up the refrain. George Gershwin was incredibly successful at marrying classical techniques with popular music. These techniques are heard in this piece as all but one of the lines of the refrain begins with the same rhythm. Merman holds the word “I” on the repeat of the refrain until the final hook, “Who could ask for anything more?” The affect is that the hook is lodged into the musical memory of the listener. Another significant stylistic difference is that the verse is set apart from the refrain being slower and rhythmically simple. It sets the stage perfectly for the upbeat answer to the question presented in the verse, “How did I get to be that way? (chipper all the day).” Again we see the delight in the everyday aspects of life. As things got difficult, society needed the encouragement and reminder that there was so much to be happy about.

The first thirty years of the twentieth century were a time of settling into musical pattern and innovating technologically and musically. During this time composer rights and just compensation were established, and the music scene set up shop in the lower Manhattan. As culture moved from prohibition into the great depression, music became an encouraging spark that people could rally around for warmth. The music business had been established as an important part of people’s lives. From Tin Pan Alley we move toward greater musical and rhythmic innovation and exploration in the era of swing.

The Early Years

Paving the way for modern popular music, these four songs, Barbary Allen (1666), Soldier’s Joy (1770s), Jeanie with the Light Brown Hair (1854), and After the Ball (1892), each contain a significant features that we have come to expect today. Each song contains a building block that other songs would emulate and a musical hook that would aid in it becoming popular. Finally, each song holds social significance to the day in which it was written.

Barbary “Barbra” Allen, performed by Jean Ritchie (1960)

From the British Ballad tradition, this song tells the story of love, rejection, remorse, death, and affirmation of love postmortem. Utilizing the 5 note Pentatonic scale, each of the verses of Barbary Allen utilize the same lilting melody and phrasing. The first two lines of each verse begin with the same 4 notes providing the musical hook that aids in remembering the piece. This style of song uses a common theme, giving voice to everyone as it speaks of unrequited love and the hope in the power of love to defy death.

Soldier’s Joy, performed by Gid Tanner and the Skillet Lickers (1929)

Here we see the beginning of popular dance music in the string band tradition. The musical hook is introduced at the beginning and then repeated in the instrumental sections between each verse. The fiddles play phrase A twice followed by phrase B twice. The first verse contains instructions for the dance, similar to modern square dancing or line dancing. The song grew in popularity as it was utilized in social settings, giving not only musical enjoyment but also an understanding of how to participate in the dance.

Jeanie with the Light Brown Hair, music & lyrics by Stephen Foster;

performed by Thomas Hampson & the Jay Ungar Trio (1994)

Stephen Foster, America’s first full-time professional songwriter, pens this lilting piece that set a precedent for songwriters and listeners alike. The arrangement of this song becomes a standard, AABA. The beginning of each A phrase remains the same providing a musical hook, with a bridge, phrase B, containing a new melody and chord structure that provides musical interest to the piece and a brief break from the hook. The final A phrase ends in a musical cadence, the dominant to tonic chord, giving a sense of ending to the section. This layout becomes not only a blueprint for songwriters but also an expectation for listeners.

After the Ball, music & lyrics by Charles K. Harris; performed by the author

In this piece we begin to see the building blocks of the first three songs incorporated into one piece. Building on the British Ballad tradition, After the Ball tells a story interjecting a chorus between the verses. The affect on the listener is a building anticipation for the next part of the story. Its verses are constructed in the Foster layout, AABA. The title is sung twice in the chorus, providing a musical hook and embedding it in the listener’s memory. Finally it is a waltz, a popular dance of the time. In pre-radio America, touring bands and social dances were how music penetrated into the populous. It is hard to overstate how significant it is that this song would have been performed in social settings.

          As popular music begins to take shape, meaningful lyrics, social intersection, and skillful construction of song become the measure of how well a song will be received. With the beginning of the industrial revolution and the invention of the gramophone and radio, we will next see how rapidly new music spreads and how these tell-tales solidify a songs place in history.