““I GOT RHYTHM”I GOT RHYTHM”

THE GOLDEN AGE OF TIN THE GOLDEN AGE OF TIN PAN ALLEY SONGPAN ALLEY SONG

The Golden Age of Tin Pan The Golden Age of Tin Pan Alley SongAlley Song

During the 1920s and 1930s, certain During the 1920s and 1930s, certain characteristic musical structures and styles characteristic musical structures and styles of performance dominated popular song. of performance dominated popular song.

Professional tunesmiths wrote some of the Professional tunesmiths wrote some of the most influential and commercially most influential and commercially successful songs of the period.successful songs of the period.

The potential for fame and financial The potential for fame and financial success on a previously unknown scale success on a previously unknown scale lured composers and lyricists with diverse lured composers and lyricists with diverse skills and backgrounds.skills and backgrounds.

Irving Berlin (1888–1989) Irving Berlin (1888–1989)

Grew up poor in the Jewish ghetto of Grew up poor in the Jewish ghetto of New York CityNew York City

Began his career as a singing waiterBegan his career as a singing waiter Achieved his first success writing Achieved his first success writing

ragtime-influenced popular songsragtime-influenced popular songs

Richard Rodgers (1902–79)Richard Rodgers (1902–79)

Produced many of the finest songs of Produced many of the finest songs of the period, in collaboration with the period, in collaboration with lyricists Lorenz Hart and Oscar lyricists Lorenz Hart and Oscar Hammerstein IIHammerstein II

Was the college-educated son of a Was the college-educated son of a doctor and a pianistdoctor and a pianist

Cole Porter (1891–1964)Cole Porter (1891–1964)

Was born into a wealthy family in Was born into a wealthy family in IndianaIndiana

Studied classical music at Yale, Studied classical music at Yale, Harvard, and the Schola Cantorum in Harvard, and the Schola Cantorum in Paris Paris

George Gershwin (1898–George Gershwin (1898–1937)1937)

The son of an immigrant The son of an immigrant leatherworkerleatherworker

The songwriter who did the most to The songwriter who did the most to bridge the gulf between art music and bridge the gulf between art music and popular musicpopular music

Studied European classical music but Studied European classical music but also spent a great deal of time also spent a great deal of time listening to jazz musicians in New listening to jazz musicians in New York CityYork City

Jewish ImmigrantsJewish Immigrants

From Central and Eastern EuropeFrom Central and Eastern Europe Played a central role in the music Played a central role in the music

business during the early twentieth business during the early twentieth century as composers, lyricists, century as composers, lyricists, performers, publishers, and performers, publishers, and promoterspromoters

Irving BerlinIrving Berlin Born Israel, or Isadore, BalineBorn Israel, or Isadore, Baline The most productive, varied, and creative The most productive, varied, and creative

of the Tin Pan Alley songwritersof the Tin Pan Alley songwriters His professional songwriting career started His professional songwriting career started

before World War I and continued into the before World War I and continued into the 1960s.1960s.

It has been said that Berlin often It has been said that Berlin often composed from three to seven songs a composed from three to seven songs a week.week.

In 1969, the catalog of Irving Berlin In 1969, the catalog of Irving Berlin compositions still available in print compositions still available in print included 899 songs. included 899 songs.

Irving BerlinIrving Berlin

His most famous songs includeHis most famous songs include““Alexander’s Ragtime Band,”Alexander’s Ragtime Band,”

““Blue Skies,” Blue Skies,”

““Cheek to Cheek,” Cheek to Cheek,”

““There’s No Business Like Show Business,”There’s No Business Like Show Business,”

““White Christmas,” andWhite Christmas,” and

““God Bless America.”God Bless America.”

Irving BerlinIrving Berlin

Like many Tin Pan Alley composers, Like many Tin Pan Alley composers, Berlin was a European immigrant. Berlin was a European immigrant.

He was born in Temun, Russia, in 1888.He was born in Temun, Russia, in 1888. His family fled the anti-Jewish pogrom His family fled the anti-Jewish pogrom

there in 1892.there in 1892. Began life in America in desperate Began life in America in desperate

povertypoverty Began his career as a song pluggerBegan his career as a song plugger

““Alexander’s Ragtime Band” Alexander’s Ragtime Band”

Published in 1911Published in 1911 The song that first brought Berlin The song that first brought Berlin

mass acclaimmass acclaim Actually had little to do with ragtime Actually had little to do with ragtime

as performed by the great black as performed by the great black ragtime pianists of the dayragtime pianists of the day

Sold 1.5 million copies almost Sold 1.5 million copies almost immediatelyimmediately

Broadway and FilmBroadway and Film Berlin wrote songs for the Broadway stage and for Berlin wrote songs for the Broadway stage and for

sound film. sound film. ““Blue Skies,” performed by Al Jolson in the first Blue Skies,” performed by Al Jolson in the first

talkie, talkie, The Jazz SingerThe Jazz Singer Wrote the entire score for the Marx Brothers’ Wrote the entire score for the Marx Brothers’

debut movie, debut movie, The Cocoanuts, The Cocoanuts, in 1929 in 1929 The 1942 film The 1942 film Holiday InnHoliday Inn introduced “White introduced “White

Christmas.” Christmas.” The 1946 Broadway musical The 1946 Broadway musical Annie Get Your GunAnnie Get Your Gun Berlin was the most prolific and consistent of Tin Berlin was the most prolific and consistent of Tin

Pan Alley composers.Pan Alley composers.– His songwriting career spanned almost sixty years.His songwriting career spanned almost sixty years.

Tin Pan Alley Song FormTin Pan Alley Song Form

Song forms inherited from the Song forms inherited from the nineteenth centurynineteenth century

The AABA structure of “Jeanie with the The AABA structure of “Jeanie with the Light Brown Hair” Light Brown Hair”

Verse-and-chorus form of “After the Ball” Verse-and-chorus form of “After the Ball” – Verse-refrain form, with an AABA refrainVerse-refrain form, with an AABA refrain

Tin Pan Alley song form had two major Tin Pan Alley song form had two major sections: the verse and the sections: the verse and the refrain/chorus. refrain/chorus.

VerseVerse

The verse usually sets up the The verse usually sets up the dramatic context or emotional tone of dramatic context or emotional tone of a song.a song.

Verses were the most important part Verses were the most important part of nineteenth-century popular songs.of nineteenth-century popular songs.

They were regarded as mere They were regarded as mere introductions by the 1920s.introductions by the 1920s.

Today, the verses of Tin Pan Alley Today, the verses of Tin Pan Alley songs are rarely performed.songs are rarely performed.

RefrainRefrain

Today, this is what is generally Today, this is what is generally considered the “song.”considered the “song.”

It is usually made up of four sections of It is usually made up of four sections of equal length:equal length:

1.1. ““A”A”—t—the main melody, basic pattern of lyrics and a he main melody, basic pattern of lyrics and a set of chord changes to support themset of chord changes to support them

2.2. The music of the “A” section is repeated with new The music of the “A” section is repeated with new lyrics, often with slight variationslyrics, often with slight variations

3.3. ““The bridge”The bridge”——new material, new melody, and new new material, new melody, and new chord changeschord changes

4.4. A melody and chords are repeated.A melody and chords are repeated.

Listening: “My Blue Heaven,” Listening: “My Blue Heaven,” performed by Gene Austin performed by Gene Austin

(1927)(1927) Austin was one of the first “crooners”Austin was one of the first “crooners”

– Singers who mastered the intimate style of singing Singers who mastered the intimate style of singing made possible with the electric microphone. made possible with the electric microphone.

This recording was one of the bestselling records This recording was one of the bestselling records of the era. of the era.

Form: verse-refrainForm: verse-refrain– IntroductionIntroduction– Verse: two sections of equal length with nearly identical Verse: two sections of equal length with nearly identical

music music – Refrain: four sections, AABARefrain: four sections, AABA——the “A” sections all end the “A” sections all end

with the words “my blue heaven”with the words “my blue heaven”– The “B” section, or “bridge” or “release,” provides The “B” section, or “bridge” or “release,” provides

variety.variety.

Listening: “My Blue Heaven,” Listening: “My Blue Heaven,” performed by Gene Austin performed by Gene Austin

(1927)(1927) The song depicts the deepest The song depicts the deepest

aspirations of the Tin Pan Alley aspirations of the Tin Pan Alley listening public.listening public.

The lyrics poetically reinforce a The lyrics poetically reinforce a familiar and comfortable motif of the familiar and comfortable motif of the American dream: home and family. American dream: home and family.

Gene Austin’s performance reinforces Gene Austin’s performance reinforces the sentiments expressed in the lyrics: the sentiments expressed in the lyrics: quiet intimacy and tranquility.quiet intimacy and tranquility.

Listening: “April Showers,” Listening: “April Showers,” performed by Al Jolson (1921) performed by Al Jolson (1921)

This recording reveals the sound and This recording reveals the sound and style of the premicrophone period. style of the premicrophone period.

Jolson’s singing style reflects the Jolson’s singing style reflects the performance techniques used on the performance techniques used on the vaudeville stage. vaudeville stage.

His vocal style was declamatory His vocal style was declamatory rather than lyrical. rather than lyrical.

Form: verse-refrain (ABAC structure) Form: verse-refrain (ABAC structure)

Listening: “April Showers,” Listening: “April Showers,” performed by Al Jolson (1932) performed by Al Jolson (1932)

The brief introduction played by the The brief introduction played by the dance band does not present any dance band does not present any music from the verse or the refrain.music from the verse or the refrain.

In this version, Jolson breaks into In this version, Jolson breaks into rhythmic speech during the rhythmic speech during the repetition of the refrain, considerably repetition of the refrain, considerably heightening the impact of the heightening the impact of the performance.performance.

What Are Tin Pan Alley Songs What Are Tin Pan Alley Songs About?About?

Predominately aimed at white, urban Predominately aimed at white, urban middle- and upper-middle-class middle- and upper-middle-class AmericansAmericans

Said little in the way of social or Said little in the way of social or political commentarypolitical commentary

Were generally escapistWere generally escapist Privacy and romancePrivacy and romance

Tin Pan Alley and BroadwayTin Pan Alley and Broadway

Mutually beneficial relationship Mutually beneficial relationship between Tin Pan Alley Songs and between Tin Pan Alley Songs and Broadway showsBroadway shows

Close proximity Close proximity Fruitful relationship in the 1920s Fruitful relationship in the 1920s

and 1930s and 1930s The so-called Golden Age of Tin The so-called Golden Age of Tin

Pan Alley song Pan Alley song

RevuesRevues

Featured sequences of diverse skits, Featured sequences of diverse skits, songs, dances, and performerssongs, dances, and performers

Shows that were obvious successors Shows that were obvious successors to vaudeville, with titles such as to vaudeville, with titles such as “Follies” and “Scandals,” remained “Follies” and “Scandals,” remained popular with audiences of the time. popular with audiences of the time.

Show BoatShow Boat (1927) (1927)

The musical The musical Show BoatShow Boat (1927), with score (1927), with score by Jerome Kern and lyrics by Oscar by Jerome Kern and lyrics by Oscar Hammerstein II), was a tremendous Hammerstein II), was a tremendous success.success.

Show BoatShow Boat was, for its time, a musical was, for its time, a musical show of unprecedented seriousness and show of unprecedented seriousness and depth.depth.

There was an attempt in There was an attempt in Show BoatShow Boat to tie to tie the songs more obviously to specific the songs more obviously to specific characters and situations. characters and situations.

MusicalsMusicals

Conceived as a highly integrated Conceived as a highly integrated whole whole

On the rise by the 1940sOn the rise by the 1940s The partnership between Oscar The partnership between Oscar

Hammerstein II and Richard Rodgers, Hammerstein II and Richard Rodgers, beginning in 1943 with beginning in 1943 with Oklahoma!Oklahoma!, , marks the triumph of this conception. marks the triumph of this conception.

Rock ’n’ RollRock ’n’ Roll

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

What Makes a Song a What Makes a Song a Standard? Standard?

StandardsStandards– Songs that remain an essential part of Songs that remain an essential part of

the repertoire of today’s jazz musicians the repertoire of today’s jazz musicians and pop singersand pop singers

– Possess a continuing appeal that Possess a continuing appeal that surpasses nostalgiasurpasses nostalgia

– Tin Pan Alley composers produced many Tin Pan Alley composers produced many standards.standards.

George Gershwin (1898–George Gershwin (1898–1937) 1937)

His songs set new standards in His songs set new standards in excellence in terms of harmonic excellence in terms of harmonic complexity and melodic flow. complexity and melodic flow.

More classically trained and ambitious More classically trained and ambitious than other songwriters than other songwriters

Sought and achieved success in the Sought and achieved success in the world of concert music and popular world of concert music and popular music music

Influenced by jazz and bluesInfluenced by jazz and blues

Listening: “I Got Rhythm,” Listening: “I Got Rhythm,” written by George Gershwinwritten by George Gershwin

Performed by Ethel MermanPerformed by Ethel Merman An up-tempo (fast) Tin Pan Alley songAn up-tempo (fast) Tin Pan Alley song Verse-refrain form Verse-refrain form Refrain Refrain

– SyncopationSyncopation– Conveys a jazz-influenced flavor Conveys a jazz-influenced flavor – Shifts to a major keyShifts to a major key– Unlike anything we have heard in the Unlike anything we have heard in the

previous Tin Pan Alley examplesprevious Tin Pan Alley examples

Listening: “I Got Rhythm,” Listening: “I Got Rhythm,” written by George Gershwinwritten by George Gershwin

VerseVerse– long, sets up the refrainlong, sets up the refrain– Slow, flexible tempoSlow, flexible tempo– In a minor keyIn a minor key– Straightforward rhythm—little Straightforward rhythm—little

syncopationsyncopation Merman’s vocal style is similar to Al Merman’s vocal style is similar to Al

Jolson’s. She is described as a Jolson’s. She is described as a “belter.”“belter.”

Listening: “Embraceable You,” Listening: “Embraceable You,” written by George and Ira written by George and Ira

GershwinGershwin Performed by Nat King Cole (1943)Performed by Nat King Cole (1943) Instrumentation: trio of piano, guitar, and Instrumentation: trio of piano, guitar, and

bassbass The verse is omitted, after a brief The verse is omitted, after a brief

instrumental introduction. instrumental introduction. – The refrain has an ABAC form (like that of April The refrain has an ABAC form (like that of April

Showers).Showers).– ABAC form—played twice throughABAC form—played twice through– Vocal by Cole first timeVocal by Cole first time– Guitar solo second time on “A” and “B”Guitar solo second time on “A” and “B”– Piano solo on “A,” vocal on “C”Piano solo on “A,” vocal on “C”

Conclusion Conclusion

Popular song both reflected and helped Popular song both reflected and helped shape the profound changes in American shape the profound changes in American society during the 1920s and 1930s. society during the 1920s and 1930s.

The intermixing of high and low culturesThe intermixing of high and low cultures The adoption of new technologiesThe adoption of new technologies The expansion of corporate capitalismThe expansion of corporate capitalism The increasingly intimate interaction of white and The increasingly intimate interaction of white and

black cultures during a period of virulent racismblack cultures during a period of virulent racism The emergence of a truly national popular cultureThe emergence of a truly national popular culture

ConclusionConclusion

Tin Pan Alley and the singing style Tin Pan Alley and the singing style known as crooning were important known as crooning were important influences on rhythm & blues and influences on rhythm & blues and rock ’n’ roll during the 1950s and rock ’n’ roll during the 1950s and 1960s.1960s.

Many Tin Pan Alley songs are still Many Tin Pan Alley songs are still used by contemporary jazz used by contemporary jazz musicians as a basis for musicians as a basis for improvising.improvising.