Professional Documents
Culture Documents
by
Elliot Sneider
Aaron Copland and Maurice Ravel from the 1920s which contain direct and specific
references to the style of music known as the blues: Gershwins Three Preludes for
Piano: Prelude I and Prelude II; Coplands Two Pieces for Violin and Piano:
Nocturne; and Ravels Sonata [No.2] for Violin and Piano: II Blues. The analyses will
highlight the ways in which these composers used particular aspects of the blues to
To develop a context for the analyses, this paper will define constraints of the
blues as it was understood as an art form in the 1920s, using available recordings, sheet
music, and scholarship from the era. The blues in the 1920s contained highly chromatic
melodic content, emphasized tonal ambiguity and was closely connected to its poetic and
as well as ways to avert traditional tonality found both in the blues, which had a presence
in sheet music, audio recordings, and even scholarly writing by the 1920s.
chromaticism and tonal ambiguities from the blues into their compositions. Gershwin
stayed the most true to blues-form, but used chromatic freedom in inner voices, which
can be seen as a motivation for his harmonic motion. Copland used many elements of the
blues but favored two harmonic sonorities in particular in the Nocturne as well as in
his other blues-influenced works. Ravel also favored particular blues sonorities, but
additionally used a combination of the blues form and the classical sonata form to create
ii
DEDICATION
Unwaveringly supporting me every day has been my wife, Nicole, without whom I could
have never accomplished this goal. Offering all of the motivation I ever needed has been
my daughter, Dylan, who was six weeks old when I began the DMA process and moved to
Arizona from New York City. Mom, Dad, Howie, Gwen, Grandma, Nana, Darlene and
Ann have all understood the difficulties we have assumed in this return to academia and
have believed in this decision every step of the way. Finally, I dedicate this to my
grandfather Harold Red Bryan, who would have been enormously proud of my
accomplishment.
iii
ACKNOWLEDGMENTS
for his patient reassurance and detailed guidance through the dissertation process; Dr.
write a concerto, and providing insightful feedback on the piece and the research paper;
Dr. Ted Solis for the education on the history and philosophy of ethnomusicology, which
has been indispensible to my current understanding of music; and Dr. Glenn Hackbarth
taught me a respect for music of all types, and exemplifies the performer/scholar I hope
to become. I have been blessed with a number of additional compositions teachers who
have encouraged me to explore the different facets of my musical personality while also
Consoli, Roshanne Etezady; as well as teachers in the jazz idiom that taught me the
constraints and ultimately the great freedom inherent in jazz and blues music: Beth
Seperak, Bevan Manson, Danilo Perez, Paul Bley, and Nanette Natal. I would like to
thank Dr. Kay Norton and Dr. Larry Starr for providing meaningful feedback on my
blues research. I would be remiss to not mention the influence of composer Andrew
Waggoner, who is an inspiration for his dedication to improvisation and its role in
modern classical performance and composition, and who once gave me two cassette
tapes that changed my life, one containing Charlie Parkers combo recordings and one
containing Miles Davis In A Silent Way. Last but not least I would like to acknowledge
the influence of my first piano teacher, Richard Smernoff, who for 10 years successfully
iv
TABLE OF CONTENTS
Page
PREFACE ............................................................................................................................. x
CHAPTER
Blue Aaron.................................................................................................. 23
v
CHAPTER Page
Ravel Conclusion........................................................................................ 55
5 CONCLUSION ......................................................................................................... 57
REFERENCES .................................................................................................................... 60
APPENDIX
vi
LIST OF TABLES
Table Page
3. Sonata for Violin and Piano II Blues, Chart of Sonata Form ................................. 43
vii
LIST OF FIGURES
Figure Page
12. Prelude II, Pitches making up chromatic inner-voice motion, mm. 1-14 ............. 19
14. A major triad with the major triad one half-step below (e.g. C/B) ......................... 28
15. A major triad with the major triad one whole-step above (e.g. D/C) ...................... 28
viii
27. Sonate pour Violin and Violoncelle, mm. 1-7 .......................................................... 39
28. Sonate pour Violin and Violoncelle, mm. 1-5 rewritten. ........................................ 39
36. II Blues m. 53, notes without rhythm, juxtaposition of G and Gb7 ..................... 47
41. II Blues m. 78, development of the rhythm from Blues Motive I ......................... 50
45. II Blues m. 121, combination of Blues Motive 1 and violin pizzicato ................... 54
ix
PREFACE
The 1920s were a singular time in history. Aaron Copland, while in his eighties,
Of course the twenties are famous! No other decade rivals their appeal.
The sheer glamour of the period exerts a magic spell. The word modern
was exciting. The air was charged with talk of new tendencies, and the
password was originalityanything was possible (Copland/Perlis, 55).
American Studies scholar Susan Currell says that no other music has defined a decade
so definitively as jazz in the 1920s (73). Currell points out that jazz was the focal point of
the generation, and represented, as rock-and-roll did in the 1960s, an outlet for the
counter-culture. She notes that jazz represented a conscious and subconscious cultural
front that exposed and reformulated prevailing cultural and social hypocrisy (73).
Coinciding with the rise of jazz was the popularization of the blues. While jazz
expressed a communal exuberance and energy, its musical cousin, the blues, expressed
the sorrow and alienation of the outcast (Currell 72). The blues is a difficult musical
style to define, both inside and outside of academia. One reason for this difficulty is that
the blues as a musical style contains complex ambiguities. For instance, it is both
intimately related to and often described as an element of jazz, but it is also a distinctly
separate style of music with its own iconic performances, performers, and social
expectations. Its poetry and sentiments contain a connection to ideas of poverty and
personal struggle, but has also generated extreme wealth for record companies and some
complex of chromaticism and tonal ambiguity, but harmonically built off of a simple
three-chord structure.
x
It is interesting to consider that the blues was popularized at a time in history
when composers of art music were actively exploring ways to escape from tonality,
abandoning traditional plans and forms, searching for dissonant chord structures and
Stravinsky looked to folk music to generate melodic and harmonic material, while
French and American composers, began to incorporate rhythms, melodic material, and
harmonic content from jazz music into their works. This action accomplished the goal of
structures.
The composers of the Second Viennese School represent the extreme of the
movement away from tonality. Schoenberg wrote that since 1906-8 he had been
writing compositions which led to the abandonment of tonality (437). His students
expanded his ideas and continued on this path. Consider the following quote from
Schoenbergs student Anton Webern, writing in the 1930s: for the last quarter of a
century major and minor have no longer existed! Only most people still do not know
(433). In performances of blues (particularly those with vocals and instruments capable
completely obscured. The blues contains references to a mix of major and minor, and the
chromatic implications of such a mix; composers who explored the use of blues elements
in their music found that it provided both a non-European sound as well as a chromatic
and potentially tonally ambiguous foundation for melodic and harmonic material. In this
paper I will discuss many of the complexities and ambiguities of the blues, and will show
xi
Pre-1930s Blues Sources
Many of the authors cited in this paper have written definitions of the blues
which delineate standard harmony, melody and forms of the genre. In order to support
this scholarship without duplicating it, and since the blues has changed radically over
time (both in performance and in conception), I will specifically look at ways the blues
was understood in the 1920s, and will provide a definition of the blues as such. Primary
sources were used whenever possibly for determining this definition. This paper relies
Handys compositions from as early as 1912, blues sheet music from other composers,
and Handys notation of songs he credits for influencing the development of the blues.
The book also contains an introduction by Abbe Niles, which represents one of the first
scholarly documents tracing the history and development of the blues. Karl Koenigs
has also been a useful compendium of sources for this paper. For aural sources, a wide
great recordings of Bessie Smith and other famous blues singers on the 1920s, as well as
recordings of more obscure blues artists recorded by Alan Lomax and others.2
This study will avoid the extensive research on popular applications of the blues
from the 1930s to the present, including rhythm & blues, rock & roll, and jazz blues.
However, by understanding what the blues represented in the early decades of recorded
sound, applications can be made to these other studies. It is important to note that any
region. Blues historians will speak of the differences between Chicago blues, New York
blues, and Delta blues to name a few. The music surveyed for this paper represents
artists from all over the continental United States. In addition this study will not discuss
the term or importance of swing in blues. As swing is a performance practice, and this
term, praised by its practitioners (it dont mean a thing if it aint got it)3 and demeaned
Three Composers
The relevance of Copland, Gershwin and Ravel is threefold. First, they remain
several of the most influential and performed composers of their respective eras. Second,
they specifically engaged the blues, either by naming pieces Blues (Copland and Ravel)
or using Blue in the titles of various pieces (Gershwin). Thirdly, all three wrote blues
inspired pieces between the years 1926-7, providing a convenient boundary for this
study. The constraints of blues in this era will be relevant to each, even though each
composer understandably had his own experience and relationship to the blues. By
looking at the ways these composers used blues complexities and ambiguities in their
music, we can gain insight into techniques for incorporating popular music styles in art
music compositions.
3A reference to the Duke Ellington song It Dont Mean a Thing if it Aint Got That
Swing.
4For example: Kenneth John Morrison, "A Polymetric Interpretation of the Swing
Impulse: Rhythmic Stratification in Jazz" (PhD diss., University of Washington, 1999).
xiii
The pieces analyzed in this paper represent different milestones in the
composers careers. George Gershwin wrote Three Preludes for Piano: Prelude I and
Prelude II in the two years following the success of Rhapsody in Blue, 1925-6.
Gershwin was making a serious attempt at defining an American classical music using
the language of jazz, and continued to write music of this style until his premature death
in 1937. Coplands Two Pieces for Violin and Piano: Nocturne was written in 1926.
Although this piece was one of many written by Copland using a synthesis of jazz and
classical music, he abandoned jazz elements as part of his musical style at the end of the
1920s (albeit revisiting it in a few substantial pieces throughout the rest of his long
career). Ravel published Sonata [No.2] for Violin and Piano: II Blues in 1927, near the
end of his career, and jazz elements figured heavily into many of his later pieces,
research regarding his biography and his use of jazz elements in his music. However,
lacking is a cogent discussion of the blues elements in his music in relation to the blues
of the era. Coming closest is Susan Neimoyer, who discusses the blues influence on
Rhapsody in Blue (1925) in her thorough dissertation, however she focuses on the formal
influence of the blues, does not connect the blues to Gershwins use of chromaticism, nor
Issues and Presumptions in the Early Music of Aaron Copland correctly points out the
develops some scholarship on the blues influence in Music for the Theater (1925) and
works to the blues scale, and in effect distances dissonance from the blues.
Although many scholars have written about Ravels use of jazz elements,
particularly in his late pieces of the 1930s, I did not find an in-depth analysis of the
Blues movement of Sonata [No.2] for Violin and Piano, and did not find any analysis
multiple sources have been considered for this paper, including sheet music, recordings,
and anecdotal evidence created before, during, or soon after this period. Originally an
oral music, practiced before the invention of recording, the first written blues were
published in 1912, including the song The Memphis Blues by W.C. Handy (Davis 1995,
57).6 In 1926, jazz scholar Henry O. Osgood said of Handy: Probably no musician has
ever so genuinely and entirely fathered any single form in music as Handy the blues
(494). Due to the available publications from W.C. Handy, including sheet music,
recordings, and scholarship, I have relied heavily on his documents in forming the
definition of the blues referenced throughout this paper (as mentioned above).
However, Osgood also points out that defining the blues can often end up only
describing what he calls the blue clichs. He specifies the elements he is referring to:
the blue note (flatted third of the scale,) the twelve measure refrain and a harmonic
pattern which is restrictive and monotonous (495). One goal of this paper is look
6According to Francis Davis, the first copyrighted blues was Dallas Blues by Hart
Wand, a white Oklahoma violinist and bandleader, and the second was Baby Seal
Blues, copyrighted by black vaudeville performer Arthur Baby Seals and the ragtime
pianist Arthur Matthews (Davis 1995, 57).
xv
beyond the blue clichs to point out the complexities and ambiguities in the blues.
Simply looking to The Memphis Blues or other documents by W.C. Handy could
potentially lead to a clichd definition. In fact, many blues musicians believe that W.C.
Handys blues do not contain an important element of the blues, that which is linked to
the emotional aspect of the blues. In an interview from 1942, the great blues guitarist T-
Bone Walker takes issue with Handys 1914 composition St. Louis Blues, by all
Now, you take a piece like St. Louis Blues. Thats a pretty tune and it has
kind of a bluesy tone, but thats not the blues. You cant dress up the bluesIm
not saying that St. Louis Blues isnt fine music, you understand. But it just isnt
the blues. (Gayer, 24)
Even record executives in the 1920s tried to define the difference between true blues and
It is relevant then to look at ways poets and musicians have described the
emotional characteristics of the blues. Langston Hughes, in his poem The Weary Blues,
wrote of the blues as a drowsy syncopated tune and a sad raggy tunewith a
torturous and sometimes pleasurablethe blues defy and accommodate all takers and
givers (Young, 2-3). Author Paul Garon writes: The dynamic interrelationship of
projected gratification and actual frustration is the key to the essence of the blues
(Garon, 58)7. A guitarist, talking about the blues in a Clarksdale, Mississippi barbershop
in 1960, sums up the idea that the blues is more than a chord progression, saying: The
7 Garon is known for both his writings on the blues as well as writings on surrealism.
xvi
blueswhen you want to sing them, you caint (sic) sing them; and when you dont want
to sing them, why, you got to sing them (Oliver 1965, 2).
However, it is not only poets and musicians who write about the blues from a
non-musical point of view. Even in music scholarship, writers often begin their
explanation of the blues by discussing the emotional meaning. For instance, Grove Music
Online begins the definition of Blues with: blues refers to a state of minda
sings or plays to rid himself of the blues. Music journalist Ralph Gleason writes: If
jazz is America's classical music, then the blues is the folk music of jazza feeling and a
form. It is singular and plural at will and it is the story of a man and his troubles in life,
his personal story (Gleason 1975, 17). Paul Oliver writes the blues is both a state of
mind and a music which gives voice to itthe wail of the forsakenthe personal emotion
of the individual finding through music a vehicle for self-expression (Oliver 1969, 3).
Jennifer Ryan in her article Beale Street Blues? Tourism, Musical Labor, and the
stereotyping. She points to a common belief of Memphis tourists that the blues
musicians playing in the Beale Street bars do not represent authentic blues music,
because they are (among other things) too well paid and clean-cut. Although she
pursuit to judge the authenticity of a blues, it is worth exploring the possibility that the
blues of the well-educated W.C. Handy was not the same as that being played by the
The case Hart et al. v. Graham provides a relevant anecdote concerning the
difficulty of defining the blues. On October 17th, 1917, New York music publisher Leo
xvii
Feist attempted to get an injunction to keep Chicago music publisher Roger Graham
from publishing the sheet music for Original Dixieland Jazz Bands Livery Stable Blues,
which Feist had published that same year with the title Barnyard Blues. The case
focused on the similarities of the transcriptions, citing many expert witnesses who
unanimously found the songs to be similar (Maskell, 2). However, Graham argued the
song was simply the bands performance of a blues, and was inherently formulaic, and
pianist named Professor James Slap White, and asked Just what are the blues?
White answered matter-of-factly: Blues are blues, thats what the blues are (Blues are
Blues, 121). This answer was evidently clear enough for Judge Carpenter, who
xviii
CHAPTER 1
W. C. Handy related the story that in 1903 he was travelling through Tutwiler,
Mississippi when he heard a growling guitarist who, while playing guitar with the side of
a knife, sang a single line of lyric three times (Niles, 12). Handy claims to have never
heard anything like it before, and credits the sound as the origin of the blues. As he says,
the guitarist sang Goin where the Southern cross the Dog [3 times]accompanying
himself on the guitar with the weirdest music I had ever heard (Oliver 1969, 26). Abby
Niles posits that the blues originated from a person singing the same short line of text
three times, each time with a different emphasis, lending a progressive meaning to the
words despite the exact repetition. His example in his introduction to W.C. Handys
Blues: An Anthology:
Niles says that this form evolved, and soon singers were repeating the first line and then
Niles traces this formula to a song called Joe Turner Blues, sung all over the South
about a Tennessee governors brother who was in charge of leading prisoners to the
1
Langston Hughes wrote the poem The Weary Blues in 1923, and published it in his first
book of poetry, also called The Weary Blues, in 1926. In the poem, about a piano player
in Harlem, Hughes demonstrates the blues by writing out the lines being sung by a
singer playing an old piano and thumping his foot on the floor:
Without any musical accompaniment, the reader can recognize that the lines are from a
blues, due to the three lines of text where the first line is repeated and the last line is an
From these three lines of text came the basic blues form, four measures of music
for each line of text, resulting in the twelve measures, or bars, of the 12-bar blues. The
following table demonstrates the simplest version of the blues, diagramed based on the
lines of text:
W. C. Handys most famous blues songs as printed in his collection feature the 12-bar
refrain, including The Memphis Blues (1912), St. Louis Blues (1914), The Jogo
Blues (1913), Yellow Dog Blues (1914), and many others. Although The Long Lost
Blues (1914) by J. Paul Wyer, and Spencer Williams Basin Street Blues (1928) contain
16-bar blues, an overwhelming number of the sheet music in Handys collection contain
8Quotation marks and formatting of this excerpt are as the poem was originally
published.
2
the 12-bar form. Additionally, many (if not most) of the first recorded blues also
contained the 12-bar refrain, such as Crazy Blues (1920) by Bessie Smith and Livery
Stable Blues (1917) as recorded by The Original Dixieland Jazz Band, often credited as
the first-ever jazz recording (Crawford, 567). C. C. & O. Blues by Pink Anderson And
Simmie Dooley, recorded in 1928, is an interesting blues in which the initial line is
Henry Osgood points out in his 1926 review of Handys Blues: An Anthology that
the twelve measure refrain had already become one of the blue clichs, as evidence
from the sheet music and popular blues recordings mentioned above (495). However, in
addition to the blues notated by composers like W. C. Handy and those sung by famous
blues singers like Bessie Smith, blues music existed in a third form, one performed in
bars and corner stores, sung on street corners, played in parlors and on front porches,
1926 essay The Negro Artist and the Racial Mountain, praises the low-down folks, the
so-called common element, and says: jazz is their child. Listening to available
entertainment industry) shows it is very likely that early blues musicians stretched
measures, added beats, and extended turnarounds in the same way hillbilly country
singers and untrained folk singers did. The result was a deviation from the typical twelve
bar form. For example, the first line might have five bars of music, the second seven and
a half, and the third nine, resulting in a twenty-one-and-a-half-bar blues. The Bristol
Sessions recordings made by Ralph Peer in 1927 contain examples of this effect. Blues
(Fragment) by Blind Pete & Partner, on Alan Lomaxs Mississippi Blues & Gospel 1934
another example of this practice. Guitarist Robert Johnson, an itinerant musician who
3
first recorded in 1936, demonstrated dramatic variations on the 12-bar blues in his
recordings, despite keeping the three-line blues poetic form. For instance, in Johnsons
famous Cross Road Blues recorded in 1936, the first verse is stretched to around fifteen
measures.
Mississippi, and known as a songster (Oliver 1969, 22) who played both ballads and
blues, can also give great insight into this technique as applied to blues. Hurt recorded
one album in the 1920s, and did not record again until 1963 (Ratcliffe, 120-73). He
became something of a folk legend when he was rediscovered in the 1960s, and his
musical influence reached countless musicians, including Bob Dylan, Jerry Garcia, and
guitarist John Fahey. Hurts recording Avalon Blues from 1928 demonstrates a blues
that does not conform to the traditional twelve-bars. The blues form in the song contains
three lines of text and hints at the three typical tonal centers, but only contains ten
measures, and some of the measures contain five beats. My transcription of the first
verse can be seen in Appendix A.9 However, even in the blues of Mississippi John Hurt,
Robert Johnson, and others, the idea of three lines of textwith relatively equal numbers
of measures associated to each lineis present. Although blues musicians did not always
play twelve-bar blues, their blues always contain some relationship to three sections,
When analyzing classical music, students of traditional theory are taught to look
9The first two measures are an introduction and should not be included when counting
measures.
4
determine the harmonic analysis. Consider the following statement from a popular
music theory textbook: Melodies and harmonies are totally interdependent. Harmonies
result from several horizontal lines sounding together (Roig-Francoli, 55). However, as
opposed to being developed from vocal polyphony, the blues developed out of field-
hollers and other types of solitary a capella singing.10 The harmonic component of blues
did not develop simultaneously with the melodic component, nor did it develop as a
result of horizontal melodies following counterpoint rules. Instead, the harmony was
instrumentalist. The chords the accompanist played were not created from the melody,
but meant to accompany the poetic form of the text. In this way, the harmony developed
theoretical model of analysis, it must be taken into account that the melody and harmony
A musician singing a poetic form with exact repetition in the words needs to find
ways to create contrast. One way in which blues performers played with expectations and
created contrast was by the inclusion of blue notes.11 Abbe Niles points out the
tendency of blues singers to slur or worry the third of the scale, causing an ambiguity
between the major and minor (Niles, 14). For instance, the third might be sung a little
flat of natural on the first line, and then a little sharp of flat on the second line, lending
subtly different meaning to the repeated text. The seventh of the scale is also often said
11Blue note is a concept used in nearly all scholarly discussions of the blues. For more
information, see the fascinating research by Gerhard Kubik, Paul Oliver and others into
the relationship of blue notes to specific African sources.
5
to be a blue note. A blues singer would sing either the natural seventh or flat seventh or
somewhere between the two interchangeably for emotional effect or affect. Jeff Todd
Titon and others have shown, through numerous transcriptions, how blue notes are
created by vocal inflections and bending to delineate phrases and contrasting sections
(Titon 1994).12
By combining these blue notes on the third and seventh of each tonal center (I-
IV-V) in traditional notation, the result is a heavily chromatic scale containing eleven
pitches. The only scale degree not present is flat-2. To distinguish this scale from other
descriptions of a blues scale, I will call this the chromatic blues scale (see Figure 4).
Supporting the ambiguity of the chromatic blues scale is the fact that blues singers and
The worry of the third and seventh scale-degrees was a result of microtonal pitch
changes, such as singing in-between the well-tempered scale degrees b3 and 3 or b7 and
7. Although early blues singers did not always use all eleven pitches of the chromatic
blues scale or always slur between them, these pitches were fair game, and can be found
The addition of the flat-7 of the scale or chord in any of the three key areas is a
common occurrence in blues sheet music and recordings from the beginning of blues
through present day. Some blues theorists have asserted that this prevalence of the flat-7
distinctly different from European classical music, which would never have a flat-7 as
part of a tonic chord (Ripani, 21). However, by looking at harmony and melody as two
distinct entities, it is clear that in blues prior to 1930, the appearance of the flat-7 in the
early blues, the harmony would typically begin and proceed triadically, and when a
dominant chord appeared in the harmony, it would generally resolve in one of the
following ways:13
13I referenced blues recordings and sheet music in particular from the years 1908 (the
year of publication of W.C. Handys Memphis Blues) through 1927 (the publication of
George Gershwins Three Preludes for Piano).
7
from IV7-I (i.e. in the key of G,
C7-G)
The blues ending where the harmonic instrument ends the song with a dominant
chord built on the tonic challenges the notion of the tonic not containing the flat-7.
common during the early years of blues recordings. In fact, of the 107 tracks on the
1925-1950 only eighteen of the songs end with the flat-7 in the final chord, around 17% of
the tracks.14 Of those songs recorded in the 1920s, only three out of thirty-five, or less
than 8%, end on a dominant chord. Although this ending has become a modern day
blues clich, I did not find evidence that it was such in the era being discussed in this
paper.
That said, it is apparent that the dominant seventh chord built on the tonic was a
potential ending for blues songs and compositions. In fact, despite rarely appearing in
recordings or sheet music, a jazz instructional book from 1927 contains numerous
examples of jazz endings, a majority of which end on the dominant-7th chord (Shefte, 7,
10, 13, 16, etc.). Rather than saying the flat-7 is part of a resolved tonic chord, a better
explanation is to say that it emphasizes the un-resolved, cyclical quality of the blues. It is
a statement that the blues song, rather than being a progression from un-resolved to
resolved, could continue indefinitely. In other words, singing, playing, or writing the
blues isnt about resolving the blue feeling, but about living in it and expressing it. This is
14This conclusion was reached after listening to a large number of blues recordings from
the early twentieth century; see Appendix 2.
8
a different idea from the classical expectation of resolution, and much closer to
Blues Conclusion
While the blues in the 1920s included many ambiguous elements, and at its heart
was colloquially attached to a mood or emotional feeling rather than a musical style,
musicians clearly referenced a core idea of the blues whether they were recording,
writing textbooks, or integrating the blues into their own personal styles of music. This
core idea included: a form related to a three-line poetic stanza, which would come to a
conclusion and then repeat again (cyclical motion); melodic content that functioned
independently from the harmonic content and made use of blues notes between the
notes of the equal tempered scales; a resulting eleven-note scale, including the major-
and minor-third, the sharp-four, flat- and natural-six, and both the minor- and major-
seventh of a key; three distinct key areas (I, IV and V); a harmonic tendency toward the
flat-7, or dominant seventh chords, used primarily to lead to the next key center and
Gershwin, Copland and Ravel. Each composer used the inherent ambiguities in the blues
to develop melodic and harmonic ideas, and engaged the blues form as a template for
experimentation. The composers found ways to incorporate the blues into their own
9
CHAPTER 2
GERSHWIN'S BLUES
George Gershwin was born in 1898, twenty-five years after W.C. Handy, and one
year before Maple Leaf Rag by Scott Joplin was published. He was born in Brooklyn,
NY, and his family was not especially musical. However, he came of age during the post-
ragtime popularization of blues, and was exactly twenty years old at the end of World
War I, the beginning of the Jazz Age. Although George Gershwins music is most often
discussed in its relation to jazz music, he personally had a complicated relationship with
the word. Although he used the word jazz often to describe his influences and fight for its
legitimacy he also wrote about his dislike of the word jazz, saying: The word has been
used for so many different things that it has ceased to have any definite meaning (July
1926, 13).
Gershwins connection to the blues was far from superficial. He recorded his first
blues song, Oscar Gardiners Chinese Blues, in 1916, very early in the history of
recorded blues (Pollack 2006, 55). Gershwin also had a personal relationship with W.C.
Handy. They knew each other both socially and professionally, with Gershwin even
presenting Handy a signed copy of the solo version of Rhapsody in Blue in 1926 (Pollack
2006, 55). Handys music also directly effected Georges writing, in particular in
Rhapsody in Blue. Henry Levine, who personally had contact with Gershwin, wrote an
article about the influence of W.C. Handys association with Gershwin on Rhapsody In
Blue and provides analysis of certain sections to show the blues influence. With the help
of musical examples, as well as authority from his personal connection to both Gershwin
and Handy, Levine states matter-of-factly that Gershwin intentionally used Handys
10
music, particularly St. Louis Blues, to motivate the themes, rhythms, and melodic
By using the word blue in the title of Rhapsody In Blue where typically it would
be a key (such as Rhapsody in C) Gershwin references the many musical and non-
musical meanings of the word blue. The idea for the title was inspired not by music,
but by visual art. Georges brother Ira suggested it, after viewing paintings by James
Abbott McNeil Whistler at New Yorks Metropolitan Museum of Art (Furia, 44). Ira was
likely inspired by the painting Nocturne: Blue and Silver Chelsea, from a series of
Nocturne paintings by the artist. In suggesting the title Rhapsody in Blue, Ira was
consciously playing with the meaning of the word blue, which at that time1924
works contain at least some mention of the fact that his music has been derided by both
classical composers and by jazz musicians as being inauthentic.16 Neither the New
Grove Dictionary of Jazz nor the Encyclopedia of the Blues include articles on George
Gershwin, and classical musicians still argue to this day about whether or not he was a
15In particular Levine outlines motivic and rhythmic relationships, with one mention of
harmony concerning the chords created by the flat-7.
that Gershwin was not the unschooled genius he was often portrayed as (Neimoyer, 4).
She shows that though Gershwin himself helped to perpetuate the myth that he was a
self-taught composer, he actually had years of theory study with Edward Kilenyi, Sr.,
chords. Additionally, Kilenyi was a modernist, and one of the first to attempt an English
degrees (Neimoyer, 88). After detailing this relationship, Neimoyer goes in depth into
As we have seen, blues musicians generally used the flat-7 or dominant 7th chords
to move between specific key areas. Analysis of Gershwins musical output shows that he
generally used the flat-7 in this manner as well. However, it seems as if Gershwins
conception of the flat-7 developed over time. For instance, the song I'll Build A Stairway
music. In the song, Gershwin treats the seventh as a non-dissonance, and as part of the
tonic chord, striking it harmonically and melodically throughout the chorus without
12
resolution. Another song that does not resolve the flat-7 is Sweet and Lowdown (1925).
Interestingly however, in a piano roll version played by Gershwin in 1926, the harmonic
left hand is different from his written arrangement and does not contain the flat-7 until
right before the IV chord18 (Gershwin, 1993). It seems that Gershwins concern with
harmonized with V in the bass, creating a v minor chord or a V7 (#9) chord. For
instance, in the key of Bb, Gershwin would harmonize an Ab melodic pitch as part of an
F-minor7 or F7(#9) chord, thereby avoiding the tritone Ab-D. He also used this
This technique can be heard in Rhapsody in Blue, You Dont know The Half Of It Deary
Gershwin composed what we now know as the Three Preludes for Piano in 1926.
It was a year in which George was particularly interested in the intersection of jazz,
blues, and art music. Following the success of Rhapsody in Blue in 1924, countless
13
articles were written about how George was writing notable and serious music in the
jazz idiom (VanVechten, 23). A write-up in the New York Times from July 15th 1926 is
titled Gershwin Plans Serious Works, and specifically references the upcoming
premiere of his preludes as the example. George himself was also writing articles at the
time giving hints as to his thought process about jazz and composition. He wrote about
hoping to define a new school of music, a school essentially American (Gershwin 1925,
27). He also indicates his great respect for European compositional traditions:
I realize that jazz expresses something very definite and vital in American life, but
I also realize that it expresses only one element. To express the richness of that
life fully, a composer must employ melody, harmony, and counterpoint as every
great composer of the past has employed them. (Gershwin 1925, 27)
In July 1926, Gershwin wrote an article for Singing magazine, in which he discussed
some of the controversy surrounding jazz, and defended it as an art form worthy of study
and creation. He mentioned that he was working on two or three jazz preludes for an
upcoming concert. Not one of the numberswill be cheap or trashyThey are all of
sound musical value, and worthy of a place on any sober and dignified program (1926,
The Three Preludes for Piano were first performed in December 1926 as part of a
a series of art songs and Gershwins theater songs (Wyatt, 68-85). Mme. DAlvarez was
one of a handful of classical artists who had come out vocally in support of jazz music,
saying that it is Americas greatest contribution to the musical art (Gershwin 1926,
Does Jazz, 38). George played five preludes at this concert, however the other two were
not published.19
19Wyatts article goes into a detailed historical narrative about the possible other
missing preludes and which might have been played that evening.
14
Analysis: Prelude I
of the major- and minor-third and the extensive use of the flat-7. The song is in Bb-
Major, based on the key signature and the way Gershwin writes the minor third. Instead
of writing the note Db when in a Bb chord, Gershwin writes C#, implying a #2 resolving
This holds true anytime the #2 is to resolved to the natural 3. When both the major and
minor 3rd are to be played together, Gershwin wrote both b3 and natural 3 (Figure 7).
15
This implies that at times the b3 is a leading tone to the natural 3, and at other times it is
throughout unless it is harmonized with the flat-3 (see Figure 5). For example, in m. 2
the flat-7 (Ab) is introduced on the last beat. This is resolved in the first beat of m. 3,
with the G that has been added to the Bb triad (see Figure 6). Another example can be
seen in Figure 8. The harmony is C major and the flat-7 is introduced in m. 24 (Bb),
which creates a tritone with the E in the left hand. Gershwin delays the resolution for six
measures. In the seventh measure, the implied harmony (C7, Eb7, Gb7) continues to
contain the Bb until the last beat, which introduces the A in the bass for resolution.
One more example can be found at the very end of the piece. The harmony resolves to a
Bb chord in m. 56, with an Ab as the melodic resting note. This implies a need to resolve
to a melodic G or harmonic Eb. Gershwin again delays the resolution for 5 measures, and
passage which leads to a clean Bb triad that ends the piece (Figure 9).
16
Figure 9. Prelude I mm. 60-62.
created by the extensive use of the flat-7. Gershwin uses the flat-7 to move the harmony
to standard secondary dominant keys (e.g. Bb7-Eb in mm. 60-61, Figure 9) as well as
chromatic mediant keys related by a third (e.g. C7-A7 in mm. 23-30, Figure 8). In these
cases, one note of the tritone, usually the flat-7, resolves down by a half-step. In a third
resolution of the flat-7 Gershwin uses the flat-7 as an augmented-sixth interval, and it
resolves up. Using this concept, Gershwin modulates from Bb to D without introducing
17
Figure 10. Prelude I mm. 40-42
Rhythmically the piece is written in 2/4, and the measures are typically divided
into 3+3+2 sixteenth notes, or dotted-eighth, dotted-eighth, eighth (see Figure 10). This
rhythm is one found in the blues of W.C. Handy and is a rhythm Gershwin used
previously in Rhapsody in Blue, for which Henry Levine has already documented the
rhythmic association.
Although not a blues in the traditional form, Gershwin uses blues elements to
writes in the traditional 12-bar blues form while extending the chromatic concepts of the
blues.
Analysis: Prelude II
that it hardly warrants any justification. Jablonsky writes that Gershwin once called the
piece a blue lullaby, a subtitle now often used in published versions of the piece (137).
Prelude II is written in an AABA form, with each A section being a 12-bar blues. The
tempo is marked Andante con moto e poco rubato (M.M. q=88). The piece opens
18
with an ostinato introduction. The key signature denotes C# minor, which is reinforced
by the opening chord, C# and E. However the second chord is G# and E#, implying C#
major, followed by F# and C#, possibly the IV chord in C# minor but without a third.
This moves back to the G# and E# chord, again implying C# major or possibly the V
chord (G#) with a #13. The opening ostinato contains ambiguity already, which we have
seen is a hallmark of the blues. Due to this ambiguity, capital roman numerals are used
to discuss the key areas, despite some of the chords in the section being minor.
In the first four measures of the 12-bar blues, Gershwin has embedded a
chromatic inner voice, undulating over the split third from scale degrees b3-3-4-3,
similar to chromatic motion such as used in Rhapsody in Blue (see Figure 11).
The chromatic voice continues over the following six measures of the blues,
chromatically containing the pitches between G#3 and C#4. Combined with the
chromatic bass movement in m. 10, this chromatic line contains all pitches between E3
Figure 12. Prelude II, Pitches making up chromatic inner-voice motion, mm. 1-14
Structure
The A sections are structured with the harmony and melody as two distinct units.
The melodic line is completely independent of this inner motion until the very last note
19
of the line, the C#4, which is both the last note of the melody and the penultimate note of
the inner chromatic movement. The melodic line begins with and accentuates minor
thirds, in particular the minor third between scale degree 5 and scale degree flat-7. The
flat-7, or the note B, is struck often, though it never creates a complete dominant-7
chord on the tonic. By looking at the larger harmonic motion, the first four measures are
in the area of I, the next five-and-a-half measure are in the area of IV, and the second
half of measure 10 is in the key area of V. The final two measures are I and IV
The form repeats in A, with the melody doubled now at the octave. Gershwin also
introduces a contrary motion inner voice in the right hand, beginning E-D#-C#. With the
addition of this voice, the inner voices now saturate the entire chromatic scale with the
exception of the b2 scale degree. In other words, this inner voice movement saturates the
The B section, mm. 31-44, is also a 12-bar blues, now in the key of F#. It is
marked slightly jazzy, and the left hand, or lower voice, takes the melody line, while the
right hand plays two-note chords in unvarying quarter notes. Gershwins melody is more
fluid and melodic than the A section. This time it is the low melody that dramatizes the
ambiguity between the major and minor F# by using both A and A#. However, the
harmony (right hand) is unambiguous, only using the A#, making the key clearly F#
major. The flat-7 (E) is introduced in the fourth measure of the 12-bar blues, appearing
before the move to the IV chord, as a secondary-dominant function. The blues continues
to the IV chord for two measures, followed by a iii-vi-II7-V motion before returning to I.
A two-measure tag in F# (mm. 43-44) ends on a G#4/2 chord, which acts as a pivot
20
The final A section is like the initial A section, with the addition of some grace
notes in m. 49 and the octave doubling in mm. 54-55. The two-measure coda resolves the
ambiguity of the key with a C#-major chord with an added 9. However, Gershwin writes
a B, the flat-7, as the second to last note, sustaining with the C#9 chord and the final C#1
Gershwin Conclusion
What we see through this analysis is that Gershwins blues conformed heavily to
the blues of W.C. Handy and other practitioners of early blues. The compositional
others. Gershwin continued to use blues influence in his compositions throughout his
21
career. These techniques served Gershwin especially in the composition of his opera
Porgy and Bess. His mastery of blues techniques helped him to create the melancholy
tone of Catfish Row, the tenement-like setting for the opera. For example the verse of
Bess, You Is My Woman Now contains both the leading tone and concurrent
chromaticism in his music, but never broke from traditional tonality. Instead, he used
chromaticism to emphasize the blues quality in his music, and not to replace the tonal
system that was a foundation for jazz and blues as well as traditional classical music.
22
CHAPTER 3
COPLAND'S BLUES
Blue Aaron
Aaron Copland was born in 1900, one year after George Gershwin. Like
Gershwin, Copland was born in Brooklyn and both of his parents were Russian Jewish
immigrants. Both Copland and Gershwin began piano lessons in their early teen years,
and composition lessons soon afterwards. Also like Gershwin, Copland did not come
from an especially musical family. His father was a merchant, and his mother, apart from
piano lessons as a girl, did not have a musical pedigree to pass on to her son. However,
unlike Gershwin, whose parents had both come straight from Russia to New York,
Coplands mother Sarah grew up in Illinois and Texas, not coming to New York until she
was nineteen years old (Copland/Perlis, 3-4). His mothers lineage might explain
Coplands connection to the American spirit outside of New York City, demonstrated by
his well-known pieces such as Billy the Kid and Appalachian Spring. Although
Copland is best known for this American sentiment, he would not incorporate this style
into his music until well after his twenties, which is the focus of this study. Coplands
work during the twenties is known for his experiments with bi-tonality, chromaticism,
A defining period in Coplands life was his time spent in Paris from 1921-4
(Copland/Perlis, 55). While studying in Paris, Copland recalls hearing jazz in bars and
cafes, and began to consider that jazz rhythms might be the way to make an American-
23
several composers, not only myself, had a very strong preoccupation
about the writing of a music that everybody could identify with our
country. I after all was studying in Paris, and I realized that Debussy and
Ravel were very typically French. So one wondered, couldnt we do that
same thing in America. Why couldnt we write a serious music that
perhaps related to jazz, which everyone would immediately recognize as
American? And I think we did. But then, the fact that we did means that
the younger people didnt have to do it anymore. (Terkel 2005)
Darius Milhauds Cration du monde had been well received when it premiered
in 1923 in Paris. The piece combined jazz rhythms and harmony with a chamber music
setting in a way no American composer had yet accomplished. Copland wanted to find a
music that was his own and was also recognizably American within a serious musical
idiom, and took Milhauds success as a challenge (Copland/Perils, 119). Copland said
that the only American piece that came close to the notoriety of Milhauds was
Gershwins Rhapsody in Blue (Copland/Perils, 95). Despite this, Copland denies being
overly influenced by the music of or in competition with Gershwin. In fact, the two
composers hardly crossed paths during their lifetimes, which is a surprise given their
success and similarities. In the 1930s, they once found themselves face to face at a
cocktail party, and according to Copland they found they had nothing to say to each
composer was founded upon the three years he spent in Paris as a student of Nadia
Boulanger. Boulanger was a classicist, and demanded her students endure the rigors of a
classical European musical education. To study music, we must learn the rules. To
create music, we must forget them she was fond of saying. However she also demanded
of herself that she not quash the personalities of her students by demanding they
forget you are Japanese. Remain Japanese. Then know that we exist. She was an
24
unabashed supporter of Coplands jazz works dating back to his piece Jazzy, the third
movement of his Three Moods for piano from 1921. Of these early years of Coplands
studies, Boulanger says to let him develop was my great concern. One could tell his
talent immediatelyI hope that I did never disturb him (Copland/Perils, 62).
Coplands relationship to jazz and blues was complicated. On one hand it defined
a large part of his stylistic output, especially in the 1920s. Copland spoke publicly about
rhythms and melodic material for students eager to apply the concepts, and was
consciously searching for a way to identify his music with America. On the other hand he
often spoke unsympathetically about jazz, in particular concerning the complexity of the
limitations of the emotional capacity of jazz (Copland 1941, 88). David Schiff goes as far
as saying that that Coplands 1927 article Jazz Structure and Influence which he
republished in 1941 and then again in 1968, is scandalously inaccurate and occasionally
racist (Schiff, 16). A full survey of quotes from Copland about jazz can leave a reader
confused, suggesting Copland had both a respect and reverence for the style as well as a
distain for the piquant and grotesque qualities of the music (Pollack 2000, 114). His
relationship to jazz can be summed up in a quote from Arthur Berger who writes that
1953). Virgil Thompson wrote that jazz was Coplands one wild oat (1932), the one style
of music he could experiment with and dissect while always being able to leave it behind
when necessary.
25
In speaking about jazz, Copland wrote in 1941 two moods encompass the whole
gamut of jazz emotion. One of these moods he described as the wild, abandoned,
almost hysterical and grotesque mood so dear to the youth of all ages. The other he
described as the blues mood (Copland 1941, 88). Copland does not define the blues
mood, only says it is well-known, implying that in his view the mood must differ from
the wild mood it is contrasted with. If one were to compose a poetic opposite to
Coplands description of the wild mood above, the result might be: Behaved
Restrained - Calm and Beautiful. There is little in Coplands words to determine his exact
conception of the blues other than that described above. However, David Schiff outlines
As Schiff notes, the blues runs through a series of Coplands compositions, beginning
with Music for Theater (1925), Concerto for Piano and Orchestra (1926), Two Pieces for
violin and piano (1926), Sentimental Melody (Blues No. 1) (1926), Blues No. 4 (1926)
and Symphonic Ode for Orchestra (1929). Howard Pollack describes the elements of the
Analysis: Nocturne
26
Two Pieces for Violin and Piano was written in 1926, two years after Coplands
return to the United States from Paris and the same year he was commissioned to write a
totaling around nine-minutes. The first movement is titled Nocturne and the second
movement is titled Ukelele Serenade. Copland wrote that the first pieceis slow and
in the manner of a bluesthe secondis an allegro vivo. It begins with quarter tones
meant to achieve a blues effect (Pollack 2000, 126). Although both movements contain
blues elements, the Nocturne, written in the manner of the blues, will be analyzed for
this study.
The tempo marking for Nocturne is Lento moderato. The piece is written in
ternary form, ABA, with a short introduction and a slightly longer coda. The A and A
sections are defined by a bi-tonal harmonic ostinato in the piano and four-note violin
melodic fragments. The B section is defined by whole note tertian harmonies in the
piano and five-note melodies in the violin. A minor-third relationship guides both the
harmony as well as the transition back to A. A contains the same harmony and melody
as A except the piano part extends over five octaves and the violin over three. The coda is
Bi-Chordal Structures
with the major triad one half-step below (e.g. C/B) (see Figure 14) and a major triad with
the major triad one whole-step above (e.g. D/C) (see Figure 15).
27
Figure 14. A major triad with the major triad one half-step below (e.g. C/B)
Figure 15. A major triad with the major triad one whole-step above (e.g. D/C)
The structure in Figure 15 is a dissonant tonality, containing three minor seconds, while
the structure in Figure 16 contains three major seconds and implies the Lydian mode.
The addition of a B or Bb in the second chord would define either Lydian or Lydian flat-7
mode, one used often by Ravel and Debussy. However, in looking at the C-blues scale we
Therefore both chord structures can be analyzed as part of the C chromatic blues mode.
The C/B sonority is not only found in the blues scale, but is also utilized by blues
musicians, however in a more melodic, horizontal fashion. The following excerpt is from
the Avalon Blues transcription discussed in Chapter 1. The piece, in E, contains the half
step motion GG# and A#B in grace notes, or 2/3 of the D# triad.
28
Figure 17. Avalon Blues Transcription, m. 1 (See Appendix A)
Guitarists playing a blues would often slide into a triad from the triad a half-step below.
Coplands two piano blues compositions from 1926 use these sonorities extensively:
Blues #1 published as Sentimental Melody: Slow Dance in 1929, is primarily in the key
of F, and uses F and E triads throughout. It also uses F and G triads at specific structural
points (mm. 6 + 23). Piano Blues No. 4 written in 1926 (but not published until 1949) is
also in the key of F and exploits the F +G relationship in the left hand as an ostinato in
the A sections of the form (mm. 1-10 and 23-32). In Nocturne, Copland uses both of
Opening
Copland wrote the piece without a key signature, however the pitches in the
opening imply that the piece begins in the key of Ab. This analysis is strengthened by the
opening two measures, a short melodic fragment containing the minor third C-Eb (see
Figure 20). Copland uses the minor third relationship to define tonal relationships and
melodic relationships in this piece. He has called the opening motif a blues motif, and
it was also the basis for his Symphonic Ode from 1931 (Copland/Perlis, 165).
29
Figure 18. Nocturne mm. 1-3
The downbeats of mm. 3-7 contain either an Ab triad or an Ab6 chord, as seen in Figure
21. Although the left hand descends from Ab-Eb to G-D in mm. 3-10, a pure G-major
triad (without any non-chord tones) is never played. The closest Copland comes is a G+
triad, which could also be interpreted as the V+ of Ab, since Eb+ and G+ are the same
triad with a different root. Figure 19 shows a reduction of the harmonies in mm. 3-23.
Copland has written a blues progression into mm. 19-21 of the A section, IV-V-I in Gb,
The A sections are saturated with the harmonies two major triads one semitone apart,
and two major triads one whole tone apart. Both chords are found in the Ab chromatic
blues scale, so can be described as part of a modal use of the chromatic blues scale.
30
Figure 20. Ab chromatic blues scale, contains triads Ab, Bb and G
Since the chromatic blues scale of Ab contains the major triad G (see Figure 20), but the
chromatic blues scale of G does not contain the major triad Ab, the sonority Ab/G can
only be understood in the key or mode of Ab blues. In other words, any occurrence of the
harmony with two major triads a semitone apart can be analyzed in the key center of the
Over this harmony, the violin part, marked liberamente espressivo, plays four-
note melodic phrases throughout the piece. The four-note phrases are from either the [0
31
Figure 22. Nocturne violin part (mm. 5-17)
The violin notes coincide with the chromatic blues scales of the key centers, and also
reflect one of the tonalities housed in the bitonal chords as seen in Figure 19. The effect is
a fluid interaction with the harmonies without committing or implying one particular
tonality or key center. The A section ends with the violin melody breaking the pattern
precisely when the harmony changes to the C/Bb harmony in m. 17, the second iteration
rhythmic character. Most striking about the rhythm in the A section is the way Copland
has divided the measures. Although essentially composed in 4/4 meter, Copland has
defined the meter as 3+5/8, and uses a dotted line to delineate the division in the piano
part (see Figure 18). Copland uses tenudo markings on the first eighth note of the second
half of the measures rather than an accent. Beginning in m. 4, Copland writes that the
first three eighth notes should contain an accelerando, and the remaining five should
indicated the variable tempo and does not indicate accents, the complex time signature is
32
designed to assist the musicians with the division of the speeding-up and slowing-down
M. 17 is proceeded by a molto rit., the first of the piece, and marked a tempo. A
long phrase begins on Bb2 and continues up to Bb4. Combined with the C/Bb harmony,
mm. 17-18 sound starkly different than the rest of the A section, and have a strident
quality, with a strong sense of arrival due to the clean, unambiguous harmony. The
addition of the Ab near the end of the measure completes the Lydian flat-7 mode (Figure
24).
B Section
The B section is starkly different, rhythmically and tonally. The tempo marking
changes to Meno mosso (Grave) and the measures are no longer divided the way they
were in the first 23 measures. Mm. 24-27 and 33-36 contain tertian harmony in whole
notes in the piano, with the violin playing six-measure phrases built from tetrachord [0 3
33
Figure 24. Nocturne mm. 24-29
and 15, and the idea of the split third to generate the harmonic movement, including a
modulation from an F# blues key area to A blues key area and subsequently from A blues
to C blues. The modulation progresses as follows: the first chord is F# major; Copland
then introduces the harmony a whole step up, G# major; this is followed by F# major
again, and then A major (the bIII of F#); this is followed by F major, the semitone below
F#, and then G# major again. The G# major now becomes the pivot chord, as it is also
the semitone below A, or in other words is part of the A blues modality. The following
chord is A minor, followed by B major, the whole-step above A. This resolves to the B/A
Lydian flat-7 phrase in m. 31 which is exactly like m. 17 but in A instead of Bb. Following
this, the pattern of the first four measures repeats, this time beginning in A and ending
A and Coda
The A section is very similar to the A section, however it is shorter, and instead of
using the F#7 to modulate to Bb the section remains in F# in m. 52. The piano covers
more octaves (over five as opposed to over four in the opening A), and Copland
34
introduces an echo effect in the piano, mimicking a blues-like call and response (Figure
25).
A nine-measure coda brings the key center back to Ab. The tempo is marked
Tempo II, or Grave, as the B section was marked. The harmonic progression is similar
to the B section, but the sparse texture creates more of a memory than an actual return of
the B section. The nine-measure coda ends with four measures of the unambiguous
Bb/Ab blues polychord in Ab Lydian flat-7. Copland draws to a close with a full unaltered
Copland Conclusion
While analyzing this piece from a blues perspective does provide some insights, it
also leaves some questions. For instance, if it is true that Copland was thinking of a key
center of Ab for the beginning and end of the blues, why does he never use a clear IV
35
(Db) or V (Eb) throughout?20 Despite a 12-bar blues not being used clearly throughout,
taking a step-back and looking at the entire sixty-four-bar form shows that the overall
structure of the piece is in three parts, possibly a reference to the three tonal sections of a
blues. Additionally, the climax of the piece occurs in mm. 50-51, about four-fifths of the
way through the piece, which is the same place a blues chorus climax would occur during
the V chord.
Nadia Boulanger, asked Copland to write a concerto for a League of Composers concert
he was to conduct in Boston. Roy Harris, a fellow composer, friend, and Boulanger
student, warned Copland against writing a concerto using the jazz idiom: I think it is the
wrong stepJazz is on its way out. Beware for that new piano concerto which so many
Copeland (sic) enthusiasts are waiting fordont disappoint us with jazz (Pollack 2002,
129). This warning would in hindsight seem prophetic. Following the first performance
of his Concerto for Piano and Orchestra, virtually all members of the media proclaimed
it a colossal failure. Philip Hale of the Boston Herald wrote, we found little to attract,
little to admire, much to repel. Samuel Chotzinoff in the New York World wrote: The
jazz there was a pretty poor pick, as those things goThe composer-pianist smote his
20 He does use G7 and A7, which contain the same tritone as Db7 and Eb7.
36
instrument at random: the orchestraheaved and shrieked and fumed and made
anything but sweet moans until both pianist and conductor attained such a climax of
absurdity that many in the audience giggled with delight. The Boston Evening
that resembles music except as it contains noise. Paul Sanborn, in the New York
Copland himself publicly declared in 1928 that he had no more use for the
synthesis of jazz and classical music. He wrote that he sensed a shift in the national
mood, that jazz was best represented by the improvising musician, rather than by the
notating one. I sensed its [jazzs] limitation, intended to make a change, and made no
secret of the fact (Copland/Perlis, 134). However, Copland publicly revisited the blues
occasionally throughout his career, most obviously in his Four Piano Blues, published in
1949. Included was the Sentimental Melody or Blues #1, written in 1926. The other three
blues were written between 1934-1948, showing that Copland might have declared a
change, but still took occasion to flirt with, as Virgil Thompson would say, his wild oat.
37
CHAPTER 4
RAVEL'S BLUES
his opera LEnfant et les sortileges (The Child and the Sorceries), composed from 1920-
25.21 The opera is a childlike fantasy, with dancing trees, animals, and kitchen items. In
one scene, a dance between a teapot and a cup, Ravel uses elements from the jazz idiom
in what has been called a pastiche of tin-pan alley (Orenstein, 194). Slide trombones,
xylophones, dotted eighth-note swing rhythms, and ragtime-esque harmony create the
sound of an early ragtime dance number. Orenstein suggests that Ravel might have been
influenced by a tune he was fond of, Vincent Youamans Tea for Two (194). Ravel was
consciously using the American art form, as he is quoted as saying of the piece that it was
Although LEnfant might be his first conscious attempt at using jazz in his
compositions, Ravel spoke about jazz as early as 1921, saying that he considered jazz the
only original contribution America had so far made to music (Engel, 201). Ravels friend
Paris, to see the illuminated city, hear the noises of the night, jazz and the chatter of
young friends (1938, 194). Ravels Sonate pour Violin and Violoncelle (1920-22),
although completed three years before LEnfant et les sortileges, contains elements
reminiscence of jazz rhythms and blues tonalities. In particular the opening to the
21Orenstein, Goff, Ramsey Voelker and Pepin all point to this piece as, in Pepins words,
Ravels first conscious attempt to use Americana elements (103).
However, the violin enters alone, and all notes are slurred except the G-natural, so it is
possible (if not likely) that a listener would hear the G as an accented note, implying a
syncopated rhythm. The following is the violin line rewritten to begin on the and-of-two:
Figure 28. Sonate pour Violin and Violoncelle, mm. 1-5 rewritten.
implies a split 3rd, or an A-dominant 7th chord with both major- and minor-third. The
musical style, championed by Debussy and Ravel himself. However the addition of the
implied syncopation, and the tendency of other French composers of the time to play
with jazz rhythms and sounds show that Ravel was either consciously or unconsciously
already playing with these sounds and rhythms in the early 1920s.
In Sonata [No.2] for Violin and Piano Ravel deliberately used blues elements in
the second movement, which he titled Blues. It is worth noting that Ravels
39
compositions following the Sonata [No.2] for Violin and Piano also used jazz and blues
elements, in particular Bolero and the two piano concertos. For example, Bolero (1928)
uses saxophones in the orchestra, and Concerto for the Left Hand (1931) and Concerto
for Piano and Orchestra (1932) both contain blue notes, syncopation, and bluesy
Sonata Background
Sonata [No.2] for Violin and Piano was composed in the years 1923-27, and
published in 1927, quite late in Ravels career. Ravel, who was born in 1875, was fifty-two
years old at the time of its publication. His compositional style was firmly established,
and his sound, which he called plainly French music, Ravels music was both familiar
and extraordinary (Orenstein, 199). Although upon publication it was the only violin
sonata in his output, a sonata composed in 1897 was posthumously published in 1975,
called Sonata for Violin & Piano No. 1 in A minor (Posthumous). Due to this, the G
The Sonata (No. 2) for Violin and Piano is Ravels final chamber work, and may
be seen as a turning point leading to his incredible final few compositions. Following the
sonata, he composed Bolero (1928), Fanfare for orchestra (1929), Concerto for the Left
Hand (piano and orchestra) (1930), Concerto in G for piano and orchestra (1931), and
Don Quichotte Dulcine (voice and piano) in (1934). These would be his final works
Ravel did not write a new piece in his final three years of life, and passed away in
December 1937.23
However, a large number of Ravels most popular pieces were composed prior to
the Sonata (No. 2) for Violin and Piano, including Pavane pour une Infante dfunte
lOye (1910), Daphnis et Chlo (1912), Le Tombeau de Couperin (1917), La Valse (1920)
and Sonate pour violin et violoncelle (1922) to name a few (Orenstein, 219-42).
Ravel was a composer who honored tradition and form, while continually
searching for new tonalities and chord structures. He often quoted his teacher,
Massenet: To know one's own trade one must learn the trade of others (Goss, 35).
However, it was his belief in using rules and structure to inform the composition rather
than define it that became the hallmark of his personal style. Never one to hold rigidly to
experimentation. Madeleine Goss says: his art lay in expanding the known rather than
in restlessly seeking novelty (36). In the Sonata (No. 2) for Violin and Piano, Ravel
would both adhere to and also aim to stretch the rules of the familiar blues form.
one of your greatest musical assets, truly American (Taruskin/Weiss, 481). Ravel was
clear to point out that, unlike Copland and Gershwin, he saw the blues not as a way to
sound American, but rather as a set of sonic possibilities, which could fuel his own
French compositions. He said that popular forms are simply materials for
construction and that the art of composition comes from the mature conception of the
form where no detail has been left to chance (Taruskin/Weiss, 482). He believed the
use of the blues as a compositional form would be superseded by the nationality of the
composer using these elements, and would still result in pieces with the national
41
Analysis: II. Blues
The second movement of Sonata (No. 2) for Violin and Piano titled Blues is 145
measures long, and takes six minutes to perform. It contains contrasting themes and
textures. Impressionist elements are present in this piece, however they are altered
slightly from his usual output by the presence of the blues. The most dramatic change is
that Ravel uses the 11-note blues scale as a mode, creating a stark contrast between the
first and third movements of this work, which use more familiar impressionist
harmonies, although the third movement III Perpetuum mobile makes interesting use
Form
The entire movement can be analyzed in sonata form. Ravel used rehearsal
introduction, which is not marked but runs from mm. 1-10. The exposition, running from
mm. 1-63, contains two distinct themes, a transition between them, and a clear closing
figure. The development, running from mm. 64-109, contains three interpretations of a
twelve-bar blues, and develops motives and melodic and harmonic material from the
exposition. The recapitulation contains a return of both themes from the exposition, and
ends with a short coda. Table 3 provides a diagram of the themes, transitions, and major
42
Table 3. Sonata for Violin and Piano II Blues, Chart of Sonata Form
Sonata Section Rehearsal # Measure # Description
Exposition n.a. 1-10 Introduction
1 11-26 Theme 1 (G/Ab)
2 27-36 Transition
3 37-53 Theme 2 (0,3,5)
4 54-63 Closing
Exposition
The piece opens in 4/4, with the piano and violin written in different key
signatures: the violin part has one sharp (G-major), and the piano part has four flats (Ab-
major). The violin begins pizzicato, strumming a three-note G-major chord in steady
quarter notes. By the end of the third measure, we have heard G-major, C-major, and D-
major triads, the I-IV-V of the blues. The piano enters with an Ab and Eb, clearly
defining the key of Ab, although the quality, major or minor, is ambiguous due to the
absence of the third. This is clearly indicating a bitonality between Ab and G. Both Pepin
honkey-tonk piano (Pepin, 106; Ramsey, 51). This half-step relationship of triads is one
that is found in the blues scale itself (see Figure 29), and was seen in the Copland pieces
43
Figure 29. Ab chromatic blues scale (contains Ab7 and G7)
Ravel exploits this bi-tonality throughout the piece, particularly in the first theme. Before
the entrance of the first theme, an important motive is introduced, which I will call the
Blues Motive 1. This motive contains all staccato notes, and a dotted rhythm, where the
beat is split into a dotted-eighth value and a sixteenth value (Figure 30).
The elements of this motive appear throughout the piece and play an important role in
In m. 12, the violin begins Theme I marked nostalgico, the piano has taken over
the G/Ab5, and both parts have the key signature of Ab. The theme is soft, wistful, and
The FF#G motive in m. 12 simulates the vocal glissando performed by blues singers
and by blues instrumentalists. Ravel develops this glissando throughout the work.
44
If we accept Ab as the key, the melody emphasizes the scale degrees 7, 6, 1 and 2 of the
key, but also passes through the flat-7, and introduces the ambiguous split 3rd by using
Cb in mm. 15-17 and then C in mm. 19-24. If the accompaniment were removed, the first
six measures of the melody could be analyzed in both G or in Ab. Ravel is manipulating
Mm. 12-26 can be analyzed as containing two simultaneous blues progression. The Ab
blues, although missing the IV, contains the V7/V, or Bb7, which can be a substitution
for the IV chord (Db). The final measure of Theme I is punctuated by a chromatic piano
figure, with a low blues glissando chromatically saturating the notes C#3-G3, and the
chords C#m, Dm, and Em overlaid. The piano figure alone implies a cadence in G, with
the leading tone and tonic in G played in the left hand (F#-G)(see Figure 34). However,
the violin melody leads into the cadence with scale degrees 2-b3-3 figure in Ab directly
before playing Ab and then playing a long blues glissando up to the leading tone (G) of
Ab. Also, the bass of the piano has been functioning in Ab, and this cadence is preceded
by octave Ebs in the measure before. Despite the right hand of the piano leading to E-
45
minor, the left hand saturates C#3 to G3 and hence, the piano figure in m. 26 is
The transition to Theme II begins the same as the first theme, and ends on a clear
Bb9 chord, with the violin passing through the split 3rd of Bb. This sets up Theme II to
begin in Eb, the dominant key area. However, Theme II begins with an unambiguous E7
chord. It descends in minor thirds: E7-C#7-Bb7-G7, using scale degrees 3-5-6 as pivot
tones. This is followed by a four-measure section in the expected Eb in which the texture
of the piano accompaniment changes to staccato notes and dotted rhythms built off of
the Blues Motive 1 (from Figure 31). This moment conspicuously sounds like homage to,
if not a direct quote from, Debussys Les collines dAnacapri from Preludes Book 1
(Figure 34).
46
The Theme II-section ends with a chromatic blues glissando figure in the piano and
This figure implies Eb7, but the dissonance is created from the juxtaposition of Gb and G
chords over the Eb. Ravel is using the split-third of Eb (G and Gb) to create bimodality
(Figure 36).
Figure 36. II Blues m. 53, notes without rhythm, juxtaposition of G and Gb7
transition to the development. We hear it first for five measures in Ab as in the original
Theme I, and then the music modulates to two-sharps, and we hear the theme in five
measures in a B blues mode. All the while, Ravel has introduced the Blues Motive I
47
Figure 37. II Blues mm. 54-57
The tenth measure modulates to a D tonal center, which will serve as an ostinato during
Development, Blues #1
bar blues, with transitions and introductions in-between. The first blues begins in m. 64,
or rehearsal number 5 in the score. The D-ostinato lasts for twelve measures. The
melodic material clearly separates into three distinct groups of measures, which replicate
the harmonic relationship of a twelve-bar blues, built from a melodic fragment that
would be labeled in set theory [0 2 3 5 7]. In mm. 68-69 Ravel inverts this set to [0 2 4 5
7]. The I chord section of the blues (the first four measures and the two measures before
the V chord) is the Am/D chord, and the V chord contains the most complex harmony of
48
The harmony throughout relates to D-Lydian flat-7, a scale used extensively by Ravel and
In this section, the rhythmic intensity picks up, and Ravel introduces accents on off-
beats. He begins building patterns of three notes, playing with the common three-over-
four rhythms seen in both the Gershwin and Copland pieces discussed earlier (Figure
40).
Ravel also builds the polytonal complexity in this section, as can be seen in mm. 72-74
above. Measures 75-76 act as a transition to a new section, using an E#-blues in the
piano with an F# figure in the violin. Ravel has ostensibly reversed the bi-tonality of the
exposition, by giving the tonal power to the bottom of two semi-tone separated pitch
classes.
Blues #2
49
Section 6, or m. 78, has a key change to six sharps, and begins with a four-
measure introduction to the second blues of the piece. The first four measures introduce
the Blues Motive I rhythm in F#, establishing the split 3rd in the V chord (C#) (Figure
41).
Figure 41. II Blues m. 78, development of the rhythm from Blues Motive I
The violin plays a folk-like melody emphasizing the flat-7 beginning in m. 80.
However the first two pitches, scale degrees 3 and 2, lead to the actual beginning of the
melody, which starts on scale-degree 1 in m. 82. In the following 12 measures, mm. 81-
93, the violin plays a twelve-bar blues in F#. The piano plays a twelve-bar phrasing,
changing harmony on the appropriate measure, but the blues switches from an F# in the
piano to a Bb-blues, picking up on the IV chord (Eb) in m. 86. The result is a bi-modality,
F#/Bb, which we have not heard yet in this piece. Figure 42 shows the violin melody with
50
Figure 42. II Blues mm. 81-93, two superimposed blues
This is followed by one measure of blues glissandi in the violin (m. 94), which coincides
with a transition to the final blues of the development section, this one in the key of G.
Blues #3
The third blues, mm. 95-106, contains all melodic elements so far in the piece:
the blues glissandi, the opening motive from Theme I, the dotted-eighth rhythm from
Blues Motive I and the three-over-four rhythm introduced in the beginning of the
development. A reduction shows that this blues clearly demarcates key centers G, C, F,
D. In other words, it is a G-blues with the F key center in mm. 104-105 functioning as a
tonal center on the b3 of the expected V chord, D7, which comes in m. 106 (Figure 43).
51
Figure 43. II Blues mm. 95-106, blues progression in G
superseded by a moment in the V of the tonic key area. Since the piece is returning to the
Ab/G bi-tonality, the V of these chords would be Eb/D. Ravel emphasizes the Eb of the
octatonic in the left-hand with a glissando, the V of Ab. The A-octatonic scale also
contains the D-triad, the V of G. In addition, the recapitulation Ab/G chord contains a D
in the bass, which is setup by the A1 in the left hand (Figure 44).
52
Figure 44. II Blues mm. 106-110, end of development
Recapitulation
The recapitulation begins with a restatement of Theme I, with the violin one
octave higher than it originally appeared. The piano is unchanged, except that Ravel has
superimposed the D-ostinato and the [0 2 3 5 7] figure in Eb from mm. 64-78. Theme I
Blues Motive 1 rhythm as used in the second blues of the development and the violin
pizzicato as used in the third blues of the development section (Figure 45).
53
Figure 45. II Blues m. 121, combination of Blues Motive 1 and violin pizzicato
Although Ravel does not use the melody from Theme II, the content used was
developed from Theme II. For the final 16 measures before the coda, Ravel uses the
combination figure above to harmonize the E, which remains the top voice of the violin:
C/Db for four measures, E-Lydian flat-7 for two, C/Db for two, A-Lydian flat-7 for one,
A/F# for five, A/Bb for two. A final blues glissando in m. 137, a beautiful Bb7 chord with
an e-minor triad in the right hand, leads us back to a sparse, distant final statement of
Theme I, shifting back and forth between the violin and piano. We hear the Blues Motive
I a final time, and a final blues glissando, ending on an Ab triad in the piano with the
54
Figure 46. II Blues mm. 137-end
Ravel Conclusion
Ravel said that it was his intention to use elements of the blues as materials for
his composition, but intentionally maintained his personal, French, style. He was
successful in this venture on multiple fronts. Formally, Ravel was able to retain his
structure of a blues. Ravel uses the bi-modality of the opening as a harmonic structure
throughout, and has also set up a formal structure in which the blues-form is embedded
inside of sonata form. Harmonically, Ravel used many of the Impressionist techniques
using upper extensions, sonorities built upon perfect intervals, and dominant seventh
55
chords with superimposed tertian harmonies. The melodic line throughout is simple and
modal, and the blues mode was used to generate much of the complexity.
In his later works Ravel explored jazz rhythms and harmonies, with the
possible direct relationship is in his Piano Concerto in G. Much like the beginning of
Blues, the first movement of the Piano Concerto begins in the key of G, but the piano is
playing an arpeggio figure with a G-pentatonic scale in the right hand and an F#-
pentatonic scale in the left hand. The bi-modality is supported in the strings and is taken
up by the harp and trumpets. However, unlike in Blues, Ravel uses the sonority in a
much more subtle, elegant way, creating almost an echo rather than the forceful
juxtaposition of tonalities. The bluesy melodic line in the first movement, which sounds
like a Gershwin quote, is unlike anything in II Blues, but is a clear use of the
combination of flat-3 and 3, expressing the ambiguity for which the blues has become so
famous.
56
CHAPTER 5
CONCLUSION
It is likely true that of the non-European music incorporated into art music in the
1920s (Russian, Romanian and other folk music, Balinese Gamelan, etc.) the blues has
influenced twentieth century music, in particular American popular music, more than
any other. Rock & roll, rhythm & blues, soul, funk, and many other styles of popular
music trace their lineage to the blues of Bessie Smith and W.C. Handy. Art music
composers after the 1920s gradually shifted away from jazz and blues influence, and its
Gershwins works in the early 1930s can be seen as the pinnacle of the synthesis.
Copland (who, as mentioned, abandoned jazz after the 1920s) composed his
attempt to catch another countrys flavor, El salon Mxico in 1937, which became a
huge success, performed by fourteen American orchestras in the first year of its
publication alone (Crawford 587). This was the first of many orchestral achievements for
Copland, none of which incorporated the jazz idiom until his Clarinet Concerto (1949),
written for Benny Goodman. Other American composers began to develop an American
identity independent of the jazz influence. Composer Henry Cowell in the 1930s was
writing music drawing on a vast range of non-Western influences, and also published the
works of composer Charles Ives. The popularization of Ives (in particular among young
composers and conductors), with his use of American folk music, poly-tonality, and
Copland, Cowell, John Cage and many other modernists were redefining what it meant
The choice of the three composers discussed in this paper does not imply any
hierarchy over other composers working with synthesizing jazz and classical music in the
57
1920s. Composer and pianist James P. Johnson, who wrote The Charleston, also wrote
in this paper. Darius Mihauds Cration du monde (1923) contains blues elements, as
does many works of George Antheil and John Alden Carpenter. Antheils A Jazz
did not write substantial works until the 1930s, but he got his start in the 1920s and his
Symphony No. 1 Afro-American (1930) and many of his other works contain blues
elements. His opera Blue Steel (1934) might be an interesting study, although to my
The blues artists discussed in this paper only represent a small number of artists
active in the 1920s. The recordings of Mamie Smith, Ma Rainey and Ethel Waters from
the 1920s are incredibly important to the history of the blues. Any discussion of the blues
in the 1920s must include mention of Louis Armstrong, a master of instrumental and
vocal blues. His virtuosic mastery of the blues is demonstrated in the much-lauded
emotional opening to the piece also saturates the chromatic scale in a flurry of riffs and
phrases. The tradition of instrumental blues recordings also includes works by Fletcher
Henderson, King Oliver, Bix Beiderbecke, Jelly Roll Morton, and many others.
In the decades since the 1920s other composers have continued to explore the
synthesis of blues and art music. Duke Ellington was working in smaller popular forms
in the 1920s but explored larger forms in Black, Brown and Beige (1934) and others.
Such Sweet Thunder (1957), a suite based on the work of William Shakespeare, contains
Sonnet for Caesar. Samuel Barbers Excursions (1945) for piano, movement II is
marked In slow blues tempo, and the second movement of George Rochbergs Carnival
58
Music (1975) for piano is titled Blues. Rochbergs piece contains complex rhythmic
ideas and extended use of chromaticism, as well as references to blues, ragtime, and
other jazz styles. Gunther Schullers Suite for Woodwind Ensemble (1945) also contains
a second movement titles Blues. The string quartet Ethel, founded in 1998, has
performed many blues infused works, including Don Byrons String Quartet 2 Four
The use of the blues in the music of Copland, Gershwin, and Ravel, points out the
significant role that the blues played in revitalizing art music in the 1920s. Each
composer found a unique and personal manner with which to blend the blues with their
Additionally, the melodic, harmonic, and functional qualities of the blues inspired the
testament to the power of the blues that it could stimulate the creativity of these
composers, resulting in three distinct and innovative compositions that have become
part of the standard piano and chamber repertoire of the twentieth and twenty-first
centuries.
59
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Wyatt, Robert, and John Andrew Johnson, eds.. 2004. The George Gershwin Reader.
New York: Oxford University Press.
Wyatt, Robert. 1989. The Seven Jazz Preludes Of George Gershwin: A Historical
Narrative. American Music, Vol. 7, No. 1, Special Jazz Issue, Spring, 1989, 68-85.
Young, Al. 2008. Something About The Blues: An Unlikely Collection Of Poetry.
Naperville, IL: Sourcebooks Mediafusion.
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APPENDIX A
65
(FIRST VERSE ONLY)
66
APPENDIX B
67
"Roots 'N' Blues - The Retrospective, (1925-1950)"
(107 individual recordings)
40
35
35 32
30
5 3
0
1920s 1930s 1940s
68
APPENDIX C
69
70
APPENDIX D
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October 18, 2013
Elliot Sneider
Arizona State University
700 East Mesquite Circle, Unit Q120
Tempe, AZ 85281
USA
RE: Concerto for Piano and Orchestra by Aaron Copland; Sentimental Melody by Aaron Copland;
Piano Blues No. 4 for John Kirkpatrick by Aaron Copland; Two Pieces for Violin and Piano by
Aaron Copland
We hereby grant you gratis permission to include excerpts from the above referenced work in your dissertation for
Arizona State University.
We do require that you include the following copyright notice immediately following the excerpts:
Permission is also granted for you to deposit one copy of your paper with ProQuest. Should you wish to place your
paper elsewhere, beyond that which is required for the degree, you will have to contact us in advance as a royalty may
be payable.
John White
Coordinator, Copyright & Licensing
72
APPENDIX E
73
Ilaria Narici
General manager
74
75
BIOGRAPHICAL SKETCH
Elliot Sneider studied jazz piano at New England Conservatory of Music with
Paul Bley and Danilo Perez, and composition with Hankus Netsky and Michael Gandolfi.
He earned a Masters degree in Music Composition and Technology from New York
University he studied composition with James DeMars, Roshanne Etezady and Rodney
Rogers. In addition to his research on the blues, Elliot has researched the intersection of
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