1. Gershwin, American in Paris Theme A1 WALKING THROUGH PARIS

2. Musical Description of Theme

3. Fourth measure is C eighth note followed by sixteenth notes C and D and quarter note E Conjunct imitation of first measure Fifth measure is a repeat of the first Sixth measure is a repeat of the third Repetition is reminiscent of walking Seventh measure is four staccato sixteenth note E’s followed by staccato eighth notes E and A Final measure is accented quarter note G slurred to quarter note F

4. Musical Style and Context Gershwin’s Influences Tin Pan Alley Gained an understanding of popular music Broadway Jazz/blues Style of this theme Grace note mimics chromatic passing tone (used often in Jazz) Disjunct (Jazz) However, not otherwise chromatic (mainly diatonic) No syncopation

5. Function of Theme This is a tone poem/programmatic piece Walking theme takes you from place to place Provides basic structure of program, focal transition point Reoccurs often after various themes Disjunct/jazzy qualities reaffirm idea that American is walking Jovial/Scherezande

6. Sample 1: introduction Fairly thin texture Theme found in three voices—oboe, first violin, and second violin Stands out strongly above harmony lines Texture gradually thickens, theme gives way to other melodies (link) Experimenting with other harmonies here Effect: Establishes the idea of walking very early in the piece, and very strongly Sets up theme to be structural connection throughout piece

7. Sample 2: reprise Follows car horn theme (A2) Found in at first oboe, first violin, and second violin (as before) Then oboe drops out, horns, flute, and piccolo come in Thickens texture, makes theme stronger Texture still fairly thin—theme statement is strong Starting to introduce some interesting harmonies First violin solo at beginning of theme—chromatic progression Enhances “jazzy” feel Effect: Short mention of the theme to re-establish location, transition to next theme (link to A3, the Spanish theme) Begin at 1:12 in Michael Tilson Thomas version

8. Sample 3: transition Brings back A1 for four measures Ascending harmonies help theme to build, lead into next line Once more, fairly thin texture helps theme to stand out Scattered statements of theme also occur in single instruments Bass clarinet/bassoon English horn/viola Cello/bass Effect: Sets scene once again during the transition Ground the piece even through the transition with familiar melodies Begin at 1:40 in Michael Tilson Thomas version

9. Sample 4: Augmentation Only occurs once in the piece Fairly thick texture at this point, building excitement More experimental harmonies and rhythms—lots of triplets moving underneath augmented theme Effect: Augmented theme has more dramatic sound, helps create build up Provides grounding within increasingly chaotic- sounding music

10. Sample 5: finale Up to this point, has been building, building… Then suddenly texture thins (trombones, tuba drop out, as do clarinets and oboe), no more sixteenth note runs Returns to main theme Effect Grounds chaotic rising action in easily recognizable theme Acts like respite from tension—texture immediately builds afterwards again Start at 16:55