Jazz, Broadway, and the Popular Song

Louis Armstrong

King Oliver

Louis Armstrong and his Hot Five (Earl Hines on Piano)

West End Blues

1928

12-bar blues, virtuosic solos, Trading choruses, collective improvisation, CODA, hot riffs and classical

AABA Song form with 12 bar blues

I Got Rhythm

George and Ida Gershwin

Ethel Merman

I Got Rhythm

Girl Crazy

1930

Chord progression that became the basis for many jazz standards

AABA

Frank Sinatra

Cole Porter

Frank Sinatra

I’ve Got You Under My Skin

Born to Dance

1936 (premier) 1956 (Recorded)

Virtuosic, smooth, singing

AABC Song Form

Haunted Heart

Howard Dietz and Arthur Schwartz

Renee Fleming

Haunted Heart

Inside USA

1948 (Premier) 2005 (Recording)

What is the stylistic feature (call-and-response, chord progression, etc.)?

ABAB Song form with interlude

Duke Ellington

Duke Ellington

Cootie Williams (Trumpet), Ben Webster (Tenor Sax), Harry Carney (Bari Sax), Duke Ellington (Piano)

Cotton Tail

Contrafact of “I Got Rhythm”

1940

Truncated chorus, Shout chorus at the end (Call and response), Brass and Saxophone Soli, Rising diminished 7th arpeggios, pedal point, quintal harmonies

AABA Song Form

Oh What a Beautiful Morning

Rodgers and Hammerstein

Gordon McCrae

Oh What a Beautiful Morning

Oklahoma!

1943

What is the stylistic feature (call-and-response, chord progression, etc.)?

What is the form (AABA song form, blues form, etc.)?

Surrey With a Fringe on Top

Rodgers and Hammerstein

Gordon McCrae

Surrey With a Fringe on top

Oklahoma!

1943

What is the stylistic feature (call-and-response, chord progression, etc.)?

What is the form (AABA song form, blues form, etc.)?