An American in Paris: George Gershwin - Classwork

1) In bar 1 we are presented with the 'first walking theme' - what musical elements help to give this theme a 'march' like character?

• Steady rhythm and the time signature of 2/4. 

• Articulating the pulse.

• Use of acciacatura gives it the 'march' like character. 

2) Comment in the French Horn in bar 10.

• The French Horns have a monophonic texture as they're playing exactly the same rhythm and notes in unison, and at the same dynamic (f). The French Horns are imitating what we have heard before. 

3) How long is this theme (before repetition) - and comment on the cadence.

• The 'first walking theme' is 11 bars long.

• There is a textural and rhythmic cadence. In bar 10, the dynamics are forte, which helps build up to the climax in bar 11. Also, the 1st & 2nd flute, piccolo and 1st & 2nd oboe play a sextuplet rhythm which is rhythmically exciting, and ascending chromatically. It also signifies the end of this theme. 

4) What happens at bar 12 (onwards) - how is it similar/different to what we have done before? 

• Bar 12 onwards is a modified repetition of bars 1-11. For example, the English Horn is playing a slightly different version of what the oboe was playing in bars 1-7. 

5) Could you give a label to bar 24-27? Where has this material come from?

• I would label bars 24-27 as a link. 

6) We are introduced to a new idea at bar 28. What description would you give to it? Comment on the two most striking features of this new idea.

• I would describe this new idea as the 'taxi-cab theme'. The two most striking features of this idea is the use of the Parisian taxi horn, and the 

7) What rhythmical effect do we hear at 32-35?

• There is the use of syncopation by the French Horns, Violins, Viola, Cello and Bass. 

8) How is bar 36 (onwards) different to what we heave heard before? (Extend this thought into bar 44 onwards)

• The feeling of the piece has changed from being upbeat and cheery to being quite bluesy and the note lengths are now longer. For example, there has been a change in the playing technique of the cello. In bars 32-35, the Cello was playing pizzicato, but is now playing arco. Although, there is still the use of the Parisian taxi horns which tells the listener that the character is still walking through the streets of Paris. 

9) How are the musical elements treated at bar 60 to give the impressions of an 'increase in traffic'?

• I think that the tempo marking of 'Vivo' helps to give the impression of an 'increase in traffic' as it means lively, signifying that there is a lot going on. Also, a use of syncopation shows busyness.  

Current Favourites

No analysis here, but thought I would just update you as to what I am listening to at the moment. My music choices recently have been quite relaxed and calming. Obviously I can't list every song that I have been listening to, but these are my most played songs. (Also, the songs highlighted in blue are great songs to listen to whilst doing homework!!)

• Real Love - Tom Odell
• Maps - Maroon 5
• An American in Paris - George Gershwin (religiously for IB Music!)
• Grace - Jeff Buckley
• Take Five - The Dave Brubeck Quartet
• Nocturne No. 2 in Eb Major - Chopin
• Bring Him Home - Alfie Boe
• Addio Sogni Di Gloria - Alfie Boe
• Georgia - Vance Joy
• Every Christmas Song!! (Since it's Christmas season.)

Comment on how Gershwin has structured this piece of music. Where necessary, make reference to contributing factors.

Gershwin composed this piece for a symphony orchestra, plus taxi horns, saxophones and a celesta. For the New York premiere, he bought 4 taxi horns from Paris to use when displaying this work.

The piece is a true tone poem, inspired by extra-musical considerations -- the sights, sounds, and moods of Paris.  The opening section represents an American visitor strolling about Paris and absorbing the French atmosphere, which is followed by a rich blues, representing an episode of homesickness. But the American overcomes his spell of depression and once again revels in the sights and sounds of Paris.

The piece is light and jolly, and (as said above) represents Gershwin walking through the streets of the French capital. The composition is divided into two main parts and a shorter closing section, meaning that it is in a loose rondo (ABA) form:

• A represents Gershwin strolling through the streets of Paris
• B represents Gershwin feeling quite homesick. This is conveyed by a bit of blues/Americana.

The two main parts are approximately equal in duration (about 7 or 8 minutes each), and the shorter closing section is about 2 or 3 minutes in duration. 

There are 5 main melodies that are repeated throughout this work.These melodies are often repeated by other instruments, which causes a change in timbre. This also reinforces the idea of the two main sections of the piece. These main melodies are:

• "The walking theme" - heard at the very beginning.
• "The taxi-cab theme" - played by the Parisian taxi horns in figure 3. 
• "The can-can theme" - played in figure 11 
• " The  second walking theme" - played in figure 13
• "The night-time Blues theme" - played in figure 48.