Jazz Guitar 15 Sensational Songs by Duke Ellington
By Duke Ellington
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Extra info for Jazz Guitar 15 Sensational Songs
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A Gershwin overture, then, is a musical "opening night," wherein hopeful songs receive their chance finally to make good. The exact relation of Gershwin's overtures to his musical comedies and revues of the 1920s is not easily determined. Overtures were not published unless part of a piano-vocal score, and precious few manuscripts of overtures from this period are known to have survived. Those few show overtures from the 1920s that do survive are a string of wonderful song refrains, usually minus the last bar or so, and often separated by little modulating interludes that foreshadow and recall music just forthcoming and music just heard.
In fact, the music simply breaks off suddenly, followed by a pause. Without interlude, the overture plunges headlong into a lusty four-bar (1 + 1 + 2) introduction-vamp to "Land of the Gay Caballero," the next song refrain. F major, the key of "I Got Rhythm," now falls through chords E\>, Dl>9, and G7, the latter two a I>II9—V? cadential figure similar to that at the close of the overture's introduction. All thirty-two bars of the refrain of "Land of the Gay Caballero," rehearsal 7, are heard, but the music of the last bar of the song repeats in modulating sequence as a brief interlude.
Sears, 1926). 10. Isaac Goldberg, George Gershwin: A Study in American Music (New York: Simon & Schuster, 1931), 278, 292. 11. Alexander Woollcott, The Story of Irving Berlin (New York: G. P. Putnam's Sons, 1925), 212. 12. George Gershwin, "Jazz Is the Voice of the American Soul," Theatre Magazine (June 1926). 13. George Gershwin, "The Composer in the Machine Age," in Revolt in the Arts, ed. Oliver M. Saylor (New York: Brentano's, 1930), 266, 267. : Doubleday, 1973), insisted that "jazz is only a word and really has no meaning.