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Popular Song (Let's Do It 1928 (Ella Fitzgerald 1956 (Harmony+Tonality…

- - - - Circle of 5ths
        
        Eg. modulate through subdominant Bb bar 21 then flattened mediant Ab b23
      - 7th chords
        
        Eg. C7 at end of B section to create perfect cadence
      - F major
    - - 32 bar song structure
      - AABA
        
        Verse 1: AA "Birds Do It"
        
        Diatonic - Omits chromatic notes in the melody
        
        Piano countermelody fills in between melodic phrases
        
        Bright, Constantly moving, Above vocal range
        
        Bass moves in slow minim beat
        
        A - More diatonic
        
        B - More chromatic
        
        Bridge: BA "The Dutch in Old Amsterdam"
        
        More sustained phrases
        
        More chordal piano
        
        Brings out humour + rhymes
        
        Alters rhythms Eg."People say in Boston even beans do it"
        
        Verse 2: AA "Romantic Sponges"
        
        Decorates repeat Eg. lower auxiliary notes "Romantic"
        
        Includes chromatic passing notes + sometimes stretches out
        
        Varies pitch, rhythm + phrasing of "do it"
        
        Ending: BA "Electric Eels"
        
        Volume increases towards end
        
        Piano + guitar become more prominent
    - - Jazz quartet: Piano, Double Bass, Guitar, Drum kit
      - Swing Bass (beats 1+3) played pizzicato by Double Bass
  - - - Additional introduction
        
        Piano accompaniment - Rubato
        
        Imitates meaning of the words Eg. "Spring" Also imitated by piano Eg. "Ding"
        
        Ends with slide up to each notes "Fall in Love" - Anticipating change in mood + style
      - Simple style with a clear, bright tone
      - Verse 1
        
        Opening of main melody in softer, suggestive style
        
        Adds vibrato particularly ends of notes - Controlled + varied
        
        Changes some words Eg. "Outer atmospheric pets"
        
        F major
      - Verse 2
        
        Semitone higher in Gb major
        
        Exchange between full band + voice
        
        Saxophone smears + Brass shakes
      - Instrumental
        
        Modulates up another semitone to G major
        
        Includes short phrases of additional lyrics
      - Coda
        
        Additional lyrics to create big finish
        
        Vibrato, Huge slide
        
        Mechanical fade at end - common recording practice
    - - Overall structure: AABA-BABA
      - Sings first verse with saxophone + vibraphone improvisation in the background and held chords in strings
      - Leading into repeat: "Love" ritardando, piano accompaniment + drum fill
      - Holds final tonic note
      - Vocal performance shows plenty of flexibility with rhythm, anticipating + delaying notes with a clear feeling of swing
- - - - 32 bar song structure
      - AABA
        
        Verse 1: AA "In Olden Days"
        
        Opening phrase uses 3 pitches + changing syncopated rhythm
        
        Answering phrase uses long notes
        
        Woodwind fill based on 3-note figure
        
        Bridge: BA "The World Has Gone Mad Today"
        
        Simpler melody + rhythm - Repeating 1 bar pattern with 1st note higher each time
        
        Harmonically more complex
        
        Verse 2: AA Instrumental
        
        Reeds lead first, answered by unison trumpets
        
        Trumpets take 2nd section
        
        Hard-swinging style + strong accent on 4th beat
        
        Fall offs in trombones, smears in saxophones, shakes in trumpets
        
        BA "The World Has Gone Mad Today"
        
        Voice returns
        
        Slightly extended ending - Vocal tag then instrumental play out
      - Introduction "Times Have Changed"
        
        G minor: Contrast between old+current
        
        Countermelody fills in vocal gaps: oboe then violins
        
        Opening violin quavers taken from introduction vocal line
        
        Spread harp chords throughout
      - A section: Diatonic + Mostly decorated chords I+IV
      - B section: Quicker harmonic rhythm + More chromatic
  - - - Musical Theatre style: Loud projection, "larger than life", Humorous, Sustained vocal energy
      - Ab major
      - Faster tempo, Feeling of 2, Charleston style
      - Electric keyboard intro - Slow start of verse
      - Then "Big Band" feel
      - Emphasise tonic + dominant notes
      - Structure: AABAAABABA
      - Live recording
    - - Swinging Bass - Emphasise beginning of bar
      - Nonchalant singing style - As if directly speaking to audience at home, Forming a personal relationship through the mic
      - No introduction or instrumental
      - Little faster than Ella
- - - - Introduction
        
        Saxophone melody answered by trombone chords
      - Verse 1: "It's Too Darn Hot"
        
        First 12 bars 'xyy' mostly uses chords I+V
        
        Ascending sequence using 3x2 bar motifs of 'y' -Faster harmonic rhythm + modulates to C major to reflect playful words
        
        Returns to C minor for final 'x' - Decorates notes using blues intonation
        
        Saxophone plays answering melodic idea
        
        Pizzicato walking bass played by Acoustic Bass
      - Verse 2: "It's Too Darn Hot"
        
        Added syncopated trumpet stab beat 4 (bar38)
        
        Added descending minim countermelody (bar38)
      - Bridge: "According To The Kinsey Report"
        
        Modulates to tonic major
        
        Begins with mostly I+V then harmonic rhythm speeds up
        
        Accented brass chords at end of phrases (bar57)
      - Refrain: "Too Darn Hot"
        
        Returns to tonic minor but sung at a higher pitch
      - Verse 3: Instrumental Band Break
        
        Melody played by trumpets then trombones
        
        Full band with intense swing feel
        
        Uses material from verse 1
      - Verse 4: Instrumental -> "I'd Like To Coo"
        
        Begins with muted trumpets
        
        Voice returns for 'y'
      - Bridge: "According To The Kinsey Report"
        
        Vocal slide up to the final note of short lines
      - Refrain: "Cause It's Too Darn Hot"
        
        Muted trumpet returns as vocals get quieter
      - Extended ending + Instrumental play out
  - - - Highly syncopated, More complex rhythm
      - Light, pure vocal style
      - Faster, Higher
      - Improvisatory
      - No intro - Part of a set
      - Wide-ranging experimental piano
      - Swing bridge
      - Word painting: "Thermometer" straight minims ascending scale
    - - Faster
      - Heavy swing with fast cymbal
      - harmonically experimental Eg. 2nd bridge "Too Darn Hot" Chromatic vocal sequences ii-V-I
      - Tuba (Low bass depth in brass) + French horn (Smooth flow)
      - "Too Darn Hot" repeated + developed at end of verse
      - Lots of modulation or re-harmonises
      - Modulates through different keys using a series of perfect cadences Eg. ii-V-I
- - - - Bb major
      - Time signature 44
      - Orchestrated by Buddy Bregman
    - - 32 bar song structure
      - ABA'B'
        
        A: "Everytime We Say Goodbye"
        
        Slow harmonic rhythm + Mostly chords I,IV+V
        
        Pizzicato bass, Flute decorating ends of phrases, Cello countermelody
        
        Ends with Eb minor
        
        B: "Why The Gods Above Me"
        
        Faster harmonic rhythm + Mostly chords I,IV+V
        
        Uses added blues notes - Darkening tone
        
        Violins take countermelody
        
        Ends with imperfect cadence (V7) to lead back to tonic
        
        A': "When You're Near"
        
        Almost the same chords as A
        
        Reflects more hopeful lyrics: More vibrato, exaggerated rubato, warmer + ends with Eb major
        
        B': "There's No Love Song Finer"
        
        Uses more chromatic chords
        
        Ends with perfect cadence
        
        Word painting: "Major to Minor" chord changes to match
        
        Harp decoration begins near end
        
        2nd time
        
        Instrumental repeat AB
        
        A: violins play in low register (sulG) + harp + bass accompaniment
        
        B: Flute melody+oboe countermelody then play together in 3rds+6ths
        
        String pickup into vocal enterance
        
        Vocal reprise A'B' with richer orchestration
        
        Simple ending: rall with little decoration
      - 4 bar introduction: Cello melody + upper strings tremolo + harp spread chords
      - Twice through
  - - - With Quincy Jones + his Orchestra
        
        Sustained, legato, projected singing with secure intonation, bright timbre + fast vibrato
        
        Highly decorated
        
        Eg. "No Love Song Finer" Adds mordent to first note + smears up to other notes
        
        Orchestral, instrumental introduction
        
        Baritone saxophones, Muted trumpets, Flutes
        
        Structure: Once through with no repeat + adds coda/tag
    - - G major
      - Very slow, Concentrated + Sustained, Intimate atmosphere
      - Twice through
      - Variety of vocal tone, Soft vocal dynamics throughout
      - Introduction for unaccompanied tenor saxophone - Solitary
      - Detailed expression, Varies vibrato, Adds gentle swell on a long note, Adds vibrato at end of sustained notes
      - Reharmonisation of melody with richer chords in piano
      - Swing rhythm, Cymbal with brushes, Piano fills, Slow bass
      - Verse 2 saxophone solo matching vocal expression - Extends into more decorative elaboration - Saxophone continues as countermelody as voice joins in
      - Final "Goodbye" sung unaccompanied before final chord in band