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Home , Jerome Kern, The Way You Look Tonight, Tin Pan Alley

Tin Pan Alley

• 1880s: the 28th-St. region of = center for European Jewish diaspora; fleeing a virulent wave of anti- semitism. • Jewish men in the 19th-c were often prevented from entering into building and agricultural trades – German sense of “homeland” threatened by migrant groups (including Jews) – Christian mythology exaggerated hatred of • Antisemitism forces Jewish families entered into publishing, clerical, entertainment, and financial trades • American Jewish immigrant communities arrived with long (pre-existing) experience in: entertainment, publishing, and business in general

• 1880s: the 28th-St. region of New York City = center for European Jewish diaspora; fleeing a virulent wave of anti- semitism. • publishing firms spring up on stretch of W. 28th St. known as "Tin Pan Alley”: a dense hub of of small rooms with pianos where composers and “ pluggers” promoted new • Coincided with and co-influenced with the popularization of . • The most well known of these songs become “standards.” • 1925-1935 = Tin Pan Alley’s ‘Golden Age.’ and publishers work for , the film industry, and music publishing industries. Songs of the jazz tradition: ‘Tin-pan Alley’ • JAZZ = a performance practice / TIN- PAN ALLEY = songwriting practice

• Major composers (1921-1934) included:

– (1888-1989) --> Songs: “White Christmas”, “No business like show business”, “”

– (1885-1945) --> Musicals: “” & “Swing time” --> Songs: “” & “”. --> Usually AABA, known for sophisticated harmony. Songs of the jazz tradition: ‘Tin-pan Alley’

‣ (1891-1964) [NOT ON MIDTERM – Songs: “Anything Goes”, “Let’s Do It”, “Night and Day”, and “I get a kick out of you” – Melodies unpredictable and quirky, lyrics masterful (Tin- Pan Alley composers usually collaborated with lyricists; Porter wrote his own) ‣ (1898 - 1937) - Piano & Orchestra: (1924) - Songs include “I’ve Got Rhythm,” “Let’s Call the Whole Thing Off,” “Someone to watch over me.” - Musicals: Porgy & Bess (1935— includes “Summertime”) Irving Berlin (1888-1989)

BIOGRAPHICAL DETAILS NOT ON MID- TERM • "Irving Berlin has no place in American music - he is American music."—Jerome Kern • The first, and most celebrated, of the “Tin-Pan Alley” tradition. • Born Israel Baline, in Russia; family escaped Cossak pograms, along with the families of and George and . • 1911 “Alexander’s Band” + “Watch Your Step” sparks - international dance craze - notoriety as “youthful marvel of syncopated melody” Always (1925) Verse: Everything went wrong, And the whole day long Irving Berlin I'd feel so blue. (a) For the longest while Treat verse and chorus I'd forget to smile, separately when analyzing Tin Then I met you. (a) Pan Alley Songs. Now that my blue days have passed, Now that I've found you at last - (b)

Chorus: I'll be loving you always With a love that's true always. (A)

When the things you've planned, need a helping hand: I will understand always, always. (B)

Days may not be fair always, That's when I'll be there always. (A)

Not for just an hour, not for just a day, Not for just a year, but always. (C) Jerome Kern (1885-1945)

BIOGRAPHICAL DETAILS NOT ON MID- TERM • Born to upper-middle class German- Jewish-Americans in mid-town . • Age 14: Began composing musical theater for social clubs • In his 20s, worked as rehearsal pianist in theaters, and wrote music for silent film. • From 1915 onward, wrote for low- budget off-Broadway shows • 1925: met the great lyricist Oscar Hammerstein, with whom his most 48 Someday, The Way You When I'm awfully low Look Tonight And the world is cold, I will feel a glow just thinking of you (Jerome Kern / And the way you look tonight. : Yes, you're lovely With your smile so warm 1936) And your cheek so soft. There is nothing for me but to love you Just the way you look tonight. With each word your tenderness grows, Tearing my fear apart. And that smile that wrinkles your nose, Touches my foolish heart. Lovely, never, never change. Keep that breathless charm. Won't you please arrange it, 'cause I love you Just the way you look tonight-- Just the way you look tonight. All the Things You Are (Jerome Kern / Oscar Hammerstein: 1939)

Verse*: harmony is colorful, but stays in the same “family”: G!! A-!! G/B!! A-/C(9-8) Time and again I’ve longed for adventure, D79!!!A- F-M7/G-F A0/7!D Something to make my heart beat the faster. G F07! E-74! -3 A A- D What did I long for? I never really knew. G!! A-!! G/B!! A-/C(9-8) Finding your love I’ve found my adventure, E-!!!!! A-!! ! D-b9 Touching your hand, my heart beats the faster, G!!!A0/9! D!! --- All that I want in all of this world is you.

NOTE: Tin-pan Alley “verses” (before the main form) are often omitted All the Things You Are (Jerome Kern / Oscar Hammerstein: 1939)

First half of the form: travels from one family (F minor) to another (G) F-! Bb-7 You are Eb7!! ! ! AbM7 the promised kiss of springtime, Db7!!!! G#5!! CM9 That makes the lonely winter seem long.

C-7!!F-7!! You are Bb7!! ! ! EbM7 the breathless hush of evening ! A09!!! D7!! ! G69 That trembles on the brink of a lovely song. All the Things You Are (Jerome Kern / Oscar Hammerstein: 1939) Second half of the form: a bridge (B section) leading back to the home key of the AABA form !!! A-! D! G69 You are the angel glow that lights a star, !!! F#0/7! B7!! ! EM7 C#5-79 The dearest things I know are what you a__ re.

F-7!!Bb7 Some day !Eb7!!! AbM7 my happy arms will hold you, !DbM7! Db--79 And some day C-7?!! F07 I’ll know that moment divine, ! Bb-7!!! Eb C-7!!F7 When all the things you are, are mine! ! Bb-7!!! Eb!! B - Bb#57 - A6 - GM7 - When all the things you are, are mine! !!!!!!!!Ab All the Things You Are (Jerome Kern / Oscar Hammerstein: 1939 -- more complex structure and expression)

Time and again I've longed for adventure, Something to make my heart beat the faster. What did I long for? I never really knew. Finding your love I've found my adventure, Touching your hand, my heart beats the faster, All that I want in all of this world is you.) [ <-- verse ]

You are the promised kiss of springtime That makes the lonely winter seem long. A You are the breathless hush of evening That trembles on the brink of a lovely song. A' (with change of key) You are the angel glow that lights a star, The dearest things I know are what you are. B (further key change) Some day my happy arms will hold you, And some day I'll know that moment divine, When all the things you are, are mine! A'' (varied, extended)