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1.'EARN1NO
Program
You are to imagine an American, visiting Paris, swinging down the Champs Elysees on
a mild, sunny morning in May or June. Being what he is, he starts without preliminaries,
and is off at full speed at once, to the tune of The First Walking Theme, a straightforward, diatonic air designed to convey an impression of Gallic freedom and gaiety.
Measure
Section
Program
Violins and oboes present 1sc Walking Theme. The
Allegretto grazioso, the 2/4 meter, and the use of
acciaccaturas substantiate the nonchalant 'marching'
character of the passage.
_,
iiaJ liiaJ. i""Jfiif]J
liiaJ
.
v 'P ·
o1
., .
The chords used in this section could be interpreted as
follows (piano reduction):
J- - -
1
J)t>mlnllnlmnlh
I ·A-4.\.H
t' -{1 )...(o•Hh-1)
1st Walking
Theme
The last motif of the phrase (m. 9) is echoed by French
horns.
-___
Violin
=----=-=-:.d
-:-_-=;
-__ .........
The section concludes with off-beat brass and woodwinds
interjections and chromatic sextuplets (flute, piccolo and
oboe II) to return to the 1st Walking Theme
The 1sr Walking Theme reappears. However, in this
occasion it is not played completely. The ending motif
from its first appearance is, however, not presented this
time.
12
r. ___ t=
. ' -:rt >
\1nlon
1 •
-JJ--- - ·-- -- -·
----
jJ
Instead the previous motif (m. 7, now m. 18) is imitated in
trumpets and trombones.
l.'EAR'NlNO
This section is based on the ending motif of previous
section (four sixteen notes and one eight note). While the
meter is still indicated as 2/4 the accents and placement
of the motif result on 'divisive rhythms':
unly rh) thm
>
>
>
>
24
>
IJJJJJJJJH
Here is a 're-arranged' version of the previous passage
(irregular meter of figures of 2/8 and 3/8):
Program
Our American's ears being open, as well as his eyes, he notes with pleasure the sounds
of the city. French taxicabs seem to amuse him particularly, a fact that the orchestra
points out in a brief episode introducing four Parisian taxi hams. These have a special
theme allotted to then (the driver, possibly?), which is announced by the strings
whenever they appear in the score.
Measure
Section
Program
The structure of this section is divided in two main ideas.
The first idea, Taxi Cab Theme, is performed by oboes,
clarinets, violins, and taxi-horns (mm. 28-31).
tFl-+
>
28
>
>
Taxi Cab
Theme
Its characteristic augmented 4th interval (Db-G) leaves
little doubt to the programmatic aspect of the passage
"Parisian taxi homs... announced by the strings... "
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1.£AR'NING
The second passage (mm. 32-35) consists of 'divisive
rhythms' (rhythms of 3/8 on a meter of 2/4).
Similar to m. 28 but Taxi Cab Theme (violins and
woodwinds) is now a whole step higher (m. 38).
The second section has also been transformed. The
'divisive rhythm' section (originally in mm. 32-35) has
been substituted by the alternation of the two 'taxi horn'
motifs: the one ending on a 'G' and the one ending on an
'A' (mm. 40-43).
Section 44-59 is similar to previous section (36-43).
However, with the probable goal of increasing the
depiction of chaotic traffic, Gershwin transposed the
section half a step higher.
Several elements seem to indicate the increase in 'traffic'
activity:
• Increase in tempo (from giocoso to vivo) with
accelerando (animando).
• Chromatic movement:
o Two-measure motive of brass (Taxi Cab
Theme) : mm. 60-61 which is chromatically
transposed in 62-63) .
o Movement in clarinets (60-63) and
oboes/bassoons/horns (64-67).
o Mostly chromatic line in higher strings, flutes
and clarinet I (64-67).
• Dotted rhythms
However, everything comes back to a calm moment
starting in m. 68:
• Descending melodic contour (m. 68).
• Ritenuto (m. 71)
• Fermata (m.72)
• At m. 70 the section ends with bass clarinet that
plays a variation of one of the motifs from 1st
Walking Theme (originally played atm. 7).
36
44
60
Dun <"ln rm c l
l
f
73
Bridge
d'"J J J
n
IJ
p
(j'
"
The last statement of the bass clarinet (m. 70) is
.
by several instruments such as oboes, flute I, bassoons,
violin II, and cello. The section begins over a major-minor
ih chord on D (m. 73) and a gth chord (also over D) on m.
75.
lEARl41NG
The additive rhythm (m. 78, 2/8) 'creates' a measure of
3/4 with the previous measure. All this precedes the
return to 1st Walking Theme.
Program
Having safely eluded the taxies, our American apparently passes the open door of a
cafe where, if one is to believe the trombones, La Sorella is still popular.
Program
Measure
Section
1sr Waking Theme is presented with similar melodic
structure and, to a certain extent, orchestration than at the
beginning. Oboes and violin present the first four
measures of the theme. However, the second part of the
theme (m. 83) presents some variations:
• flff dynamics
79
• different instrumentation (flutes and French horns
with the theme and harmonic support of lower
brass)
• transposition % step higher in m. 87 (G# and F#
instead of G and F natural at m. 8)
A new motif appears (muted trumpets).
1st Waking
>
Theme
1 -t 1 r i 't---j
t 1· t::5
-J
f
This motif could be traced to a motive from the 1st
Walking Theme (violins and oboe, m. 7).
89
Vi oltn
===J==·==:::.. _ II
Two of the similarities are the use of sixteen notes ending
in a group of two eight notes. In this case the interval of
the ascending note is a perfect sth, which is the inversion
of the original perfect 4th .
Starting in an upbeat, the trombones present the French
popular song La sorella (F# major).
97
La sorella 1
There is some imitation on flutes, English horn, and
trumpet {m. 98).
1
You can hear the orginial La sorel/a in here: http:ljwww.loc.gov/jukebox/recordings/detail/id/998/
l.EAR111NO
106
1st Waking
Theme
French horns and violas present the first part of 1sr
Walking Theme in ritenuto.
The passage is built with a series of seventh chord over A
and 0 played alternatively (0 on the first beat and A on
the second beat mm. 103-106) with F as a pedal.
Program
Exhilarated by this reminder of the gay nineteen-hundreds, he resumes his stroll
through the medium of the Second Walking Theme, which is announced by the clarinet
in French with strong American accent.
Measure
Section
Program
A four-measure 'vamp' prepares the entrance of the 2"0
Walking Theme (shown later). The 'vamp' has two motifs:
a) mm. 110-111:
'"' '""
Violoncello
!.-
_, n
"'f
====-
>
1,)
•
___L_
>
="
---41
;.
...r'-"'
and b) mm. 112-114.
bki=
110
Jr
-- _ ___ =::_]
"'f
2"d Waking
Theme
The second motif presents elements from the 1st Walking
Theme. If we compare m. 1
Violin
t":- J
...
tom. 112
1
-J
•f
119
--D
j--===tr --- ___
!
both begin with a large descending interval followed by
and ascending interval/line.
Theme (eight measures long: mm. 119-126)
presented by clarinets (with chromatic interjections in
contrary motion by French horns and violas).
lEARNING
This theme can be linked to the motif of m. 7 (1st Walking
Theme)
- t __
Violin
-:. _,D
and to the motif of m. 89
_
_.r_r__-r
Ei-7
>
f
as follows:
• Several short notes with the same pitch ...
• Followed by a medium-size ascending interval...
• Followed by a descending interval
The last motif of the theme (mm. 125-126) is imitated by
different instruments:
• Violins and French horns (127-128)
• Augmentation on violin II and French horns (mm.
130-131)
• Sequences with chromatic elements on violins and
woodwinds (mm. 132-135)
The last four measures of this section (132-135) bring
back the taxi horns.
Program
Both themes are now discussed at some length by the instruments,
Measure
Section
Program
Walking Theme is presented again by brass, bass
clarinets, violas, (m.136).
136
148
Developmenta
I section
At mm. 142-147 tuba and bassoons take the last motif of
Walking Theme (mm. 125 126) and expand it
the
sequentially.
Four measures with chromatic lines act as a bridge
1.EAR'N1NO
152
158
towards:
Walking Theme in oboes, clarinets and violins over
triplet accompaniment -somehow reminiscent of the
triplets of mm. 93-96 (strings).
Trumpet I and violins play the same motif of m. 89.
,.i
#f
Bl"lrumpcl ..
>
U -t -t j- t 1-t t- t -r -t-3 J
f
162
166
174
2na part of Taxi Theme (French horns and strings with taxi
horns).
The energy appears to fade away with:
• p dynamics
• Molto meno mosso
• light instrumentation
• return to 1st Walking Theme (flute)
Atm. 174 we have the return of 'triplet passage' from m.
152 (clarinets, violas and cellos). While the 'head' of the
Walking Theme reappears in stretto (m. 178-185).
Divers transformations of 1sr Walking Theme:
• Augmentation (oboes, violins, m. 186).
X•· a - - - - - - - - - - - - - - - - ,
II
- __u
.ff
•
Fragmentation (m. 188, lower instruments)
186
195
Motifs from
Walking Theme appear in stretto from m.
191 (trumpets. Violins, xylophone, flutes) . The tripletaccompaniment is always present.
Con fuoco (with fire) indication announces the closing of
this section. Several elements are present to offer a
climactic moment:
Walking Theme (flutes, piccolo,
• Elements of the
violin 1).
•
1st Walking Theme (bassoons, tuba, cello and
bass)
• 'Triplet accompaniment (in a 'duplet' version
keeping similar pitch structure (oboes, bass
clarinet, French horns, trombone I, violin II).
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l.EARlllNG
The section ends with one last statement of the first motif
from
Walking Theme (French horns (m. 201).
Program
.. .until our tourist happens to pass something. The composer thought it might be a
church while the commentator held out for the Grand Palais-where the Salon holc;ls
forth. At all events, our hero does not go in. Instead, as reveled by the English hom, he
respectfully slackens his place until he is safely past.
Program
Measure
Section
A sustained note in the English horn (solo) creates a very
horizontal contour only altered by the main motif of the 1st
204
Walking Theme (m. 208 and 21 0).
Similar
to the previous but transposed a fifth higher
1st and
212
(oboe).
Waking
Figure in m. 221 (piccolo and oboe) could be associated
Theme
221
to motif from 1st Walking Theme (mm. 7-8).
Figure in bassoons and bass has rhythmic elements from
Walking Theme (m. 226 vs. m. 19) and also 1st
226
Walking Theme (m. 228 vs. mm. 8-9).
Once more the variation of the motif from 1sc Walking
1st Waking
Theme (seen in mm. 89) is played three times (French
234
horns and higher strings). The third time using metric
Theme
displacement.
Program
At this point, the American's itinerary becomes somewhat obscured. It may be that he
continues on down the Champs Elysees; it may be that he has fumed off.-the
composer retains an open mind on the subject. However, since what immediately
ensues is technically known as a bridge-passage, one is reasonably justified in
assuming that the Gershwin pen, guided by an unseen hand, has perpetrated a musical
pun ...
Program
Measure
Section
Descending figure with chromatic elements (flutes)
239
Bridge
modifies the atmosphere.
Program
.. .and that when the Third Walking Theme makes its eventual appearance, our
American has crossed the Seine, and is somewhere on the Left Bank. Certainly it is
distinctly less Gallic than its predecessors, speaking American with French intentions,
as befits that region of the city where so many Americans foregather.
\.£A'R11111G
Measure
Section
Program
Several elements confirm the 'walking' character of this
section:
• Subito con brio
• Fdynamics
• secco and accented articulation with emphasis on
'off-beats'
All this prepares the arrival of the ;fd Walking Theme.
(trumpets, trombone I, violin I and cello atm. 251).
;jU Walking
Theme
Probably the accented beginning of the theme is what
creates its speaking American style. At any rate, contour
and articulation remind the Taxi Theme (mm. 28-32).
249
The ;fd Walking Theme has a countermelody (oboes
beginning at m. 251)
256
260
269
283
Bridge
;fd Walking
Theme
292
301
that is similar to the countermelody that accompanied the
1st Walking Theme (flute, bassoon, m. 1).
Response of oboes and clarinets with a figure extracted
from 1st Walking Theme (mm. 7-8) .
Similar to 251-259.
Ascending/descending line in trumpets and violins
(imitated in diminution by flutes, oboes and xylophone
(mm. 273-274).
Return of
Walking Theme (oboes, English horn,
trumpets) accompanied by motifs from Z'd Walking
Theme (French horns).
As in the first time this theme was presented, it reappears
accompanied by a variation of the countermelody to 1st
Walking Theme (flutes and clarinets).
In addition, ;jU Walking Theme is presented with variation
(adding passing notes, m. 285, oboes, English horn, and
trumpets)
Passage similar to 283-291.
In this section the ascending/descending figure that
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l'EA'R'NI'NQ
appeared for the first time in m. 269 (violins) reappears
again in the violins but takes more importance. Imitated by
flutes and oboes (m. 303), this figure will become a motto
perpetuo with the addition of more instruments such as
piccolo and clarinets (m. 316).
322
The section also presents sporadic motifs from previous
material such as:
• brass playing the 'head' of :Jd Walking Theme
(mm. 307-311 ), as support of the descending line
in the woodwinds.
• French horns playing the 'head' of 1st Walking
Theme (mm. 316, 317 and 321).
• At m 312 we find an interesting movement of
parallel fifths in lower voices (bassoons and
basses).
The head of z-'0 Walking Theme (m. 322, French horns
and trombone) is interrupted by a series of fast scales in
violins and some woodwinds). The same is repeated atm.
327.
At 332 the intensity of the accents and con fuoco
indication create a climatic passage.
Program
"Walk-theme is slightly sedentary in character, and becomes progressively more so.
Indeed, the end of the section of the work is couched in terms so unmistakably, albeit
pleasantly, blurred, as to suggest that the American is on the terraces of a cafe,
exploring the mysteries of an Anise de Lozo.
Measure
Section
Program
:fd Walking Theme in Piu moderato (English horn). In
here, in addition to the passing notes variation seen in m.
338
285, the theme includes an appoggiatura (m. 339). This
could be related to the characteristic acciaccaturas of the
1st Walking Theme.
This passage has certain similarities with the climatic
Walking
passage at m. 322 (head of passage :fd Walking Theme
Themes
by oboes, English horn, and French horn.
However, there are also elements from other passages:
346
• Head of 1st Walking Theme in its original key
(trombone, tuba, cello and bass)
• Triplets passage (flutes, trumpets, violins) first seen
atm. 174
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11'l'EAR'Nl'NO
•
1st Walking Theme atm. 354 (flute and violin I).
Program
And now the orchestra introduces an unhallowed episode. Suffice it to say that a solo
violin approaches our hero (in soprano register) and addresses him in the most
charming broken English .. .
Program
Measure
Section
Several elements create a different atmosphere in this
section:
• Limited instrumentation
• ppp dynamics
• slower tempo
Walking
358
• sustained notes in lower strings
Themes
• Polytonality: Ab in Clarinet and C in strings (mm 35859).
atm. 362 the violin plays the solo described in the
program, with an
of the English horn (m. 365)
that reminds of the 1s Walking Theme.
Program
...and, his response being inaudible-or at least unintelligible-repeats the remark. The
one-sided conversation continues for some time. Of course, one hastens to add, it is
possible that a grave injustice is being done to both author and protagonist, and that the
whole episode is simply a musical transition.
Measure
Section
Program
Here is another case of polytonality: violins in F# major
v.s. violas and cellos inC major (m. 369); G# violins v.s. 0
violas/cellos (m. 370 1 ); and Fin violins v.s. 8 in violas and
cellos (m. 3702 ) .
369
The second remark comes atm. 373. Transposed a minor
Walking
third above the ori?inal, it is also complemented by
elements of the 1s Walking Theme (viola at m. 376). In
Themes
addition, the French horn presents the 'head' of the
Walking Theme.
A passage similar to m. 239 is presented with 2 solo
381
violins. This passage is complemented by trombone Ill
playing elements from
Walking Theme (m. 389}.
Program
The latter inte retation ma well be true for otherwise it is difficult to believe what
@al?iptea
lEA'RlllNO
ensues; our hero becomes homesick. He has the blues; and if the behaviour of the
orchestra be any criterion, he has them very thoroughly. He realizes suddenly,
overwhelmingly, that he does not belong to this place, that he is the most wretched
creature in the world, a foreigner. The cool, blue Paris sky, the distant upward sweep of
the Eiffel Tower, the bookstalls on the quay, the pattern of horse chestnut leaves on the
white, sun-flecked street-what avails all this alien beauty? He is not Baudelaire,
longing to be "anywhere out of the World." The world is just what he longs for, the world
that he knows best; a world less lovely-sentimental and a little vulgar perhaps-b!Jt for
all that home.
Program
Measure
Section
A four-measure vamp prepares the arrival of the trumpet
solo with the 1st Blues Theme (m. 396).
B>Trumpc t
__
-j
bd:Erl /-- -=-±f.=
o
I=
•
mf
392
409
Blues
Theme
1st
Blues
Theme
The use of "felt crown", use of pentatonic scale in the solo
(G, A, C, D, Eb), snare drum with "wires", and
saxophones, give a blues flavour to the passage. The
eight-measure trumpet solo consists of two repeated
phrases of four measures that are complemented at the
end of each one by flutes interjections.
The consequent of this period comes at m. 404.
Blues Theme in the trombone in a 'lamenting'
character.
11)9 .
•
b- - - - - - - -
......._ b• .
mf
414
427
1st Blues
Theme
431
443
Syncopated
motives
......._ b• .
r..u.rr Sf[J tJ _r r r r Ct I r
. _,..,.
/C'-=:::::
=-
1sr Blues Theme reappears on oboes, clarinets, and
higher strings, with a countermelody on the cellos.
Violin I present an idea loosely based on the First Blues
Theme. In here the theme is in minor and works as a
transition to:
1sr Blues Theme (English horn, trumpet, violins).
Countermelody is also present on clarinets, violas and
cellos. Elements such as the glissando on the violins (m.
439) contribute to the blues atmosphere.
The syncopated motives (m. 443 English horn and
clarinets)
Engl;sh
lilt fin b.LJ t__Ij
·m f
-
l
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\.EA1U41NG
will be imitated by saxes (m. 445) creating a harmonic
unstable section (bridge). This 'syncopated motive' could
be related to the figure of 399 (flutes).
Sequential repetition (minor third higher) of the previous
three measures.
A new figure (m. 449 bass clarinet and alto sax)
446
I
Elass Clonnc•
449
1st Blues
Theme
452
Syncopated
motives
455
Syncopated
motives
-
,Q·
7
466
468
1st Blues
Theme
Syncopated
motives
1sr Blues
--' 1I
.
reminds, in its contour, to the violin solo at m. 362. This
figure will be imitated in the next two measures by
bassoons, and saxophone baritone. However, the closing
figure of the cellos (m. 451) comes from the motif of m.
397 in the trumpet (1st Blues Theme) .
Similar passage to 443 but now transposed a major sixth
higher.
Similar passage to 443 but now transposed an octave
higher.
Atm. 457 there is another case that could be taken as
alternating polytonality. If taken the chords formed by the
different instruments they alternate between Bb and C.
The following example shows the collapsed clarinets
(transposed to C) and the strings:
n ;1
461
.i
f
"
u
After a fermata, this section combines two main motifs:
• The rhythmic elements of the syncopate motif at m.
443 (in this case mainly bass clarinet, trumpets,
trombones and saxophones).
• The line of the flutes, clarinets, and strings that
comes from the motif of m. 397 in the trumpet. (1st
Blues Theme).
This last idea (m. 461 strings) is played in a descending
sequence (one step lower each time up tom. 463 and
then by thirds). These are half diminished ih chords (with
enharmonic spellings) over a pedal of F.
Fromm. 463, the sequence also includes diminution.
Supported by a runs and sequenced motives in the
violins, brass play the syncopated figure from 446.
A last presentation of the 1st Blues Theme (woodwinds
l.'EA'Rl41NG
Theme
471
Syncopated
motives
477
1st Blues
Theme
and higher strings) accompanied by the syncopated figure
in the brass.
Elaboration of the syncopated figure on the violin based
on chromaticism .
Last references to the motif of m. 397 in the trumpet (1st
Blues Theme). In this case flutes (m. 477) and clarinets
(m. 479).
Program
However, nostalgia is not a fatal disease-nor, in this instance, of overlong duration.
Just in the nick of time the compassionate orchestra rushes another them to the rescue,
two trumpets performing the ceremony of introduction. It is apparent that our hero must
have met a compatriot; for this last theme is a noisy, cheerful, self-confident Charleston,
without a drop of Gallic blood in its veins.
Measure
Section
Program
As described in the program, trumpets I and II introduce
the 1st Charleston Theme.
482
1st Charleston
Theme.
494
The theme includes the syncopation characteristic of the
Charleston, which was a dance of the period. The whole
section is organized on three four-measure phrases. The
last of the phrases shared between trumpets, trombones
(m. 490), and woodwinds and lower strings (m. 492).
This section is similar to the previous one. The 1st
Charleston Theme is now doubled by flute and violins.
The section is interrupted atm. 504
Charleston
Theme.
Program
For the moment, Paris is no more; and a voluble, gusty, wise-cracking orchestra
proceeds to demonstrate at some length that it's always fair weather when two
Americans together, no matter where. Walking Theme number two enters soon
thereafter enthusiastically abetted by number three. Paris isn't such a bad place! Nice
weather, nothing to do till tomorrow.
Program
Measure
Section
Charleston
Charleston Theme on the clarinet characterized by
504
Theme
acciaccaturas and syncopation.
l.EARltllNO
...
·J
R>narinet
f
· ·
0: cr.u
IW-trr .f
I
--= =--
This theme is imitated by flute and oboe (m. 506).
:fC1 Charleston Theme in the trumpet, flute and oboe.
508
Theme
rufJf(·
f
;fd Charleston
Similar to the 1st Charleston Theme in the sense that it is
characterized by syncopation and large intervals.
This is complemented atm. 512 by elements from the 1st
Charleston Theme (bassoons, violas and cellos).
4m Charleston Theme in strings
H,·a
516
4th Charleston
531
541
'"II " 0
Violins I
p
Theme
524
1st
Charleston
Theme.
550
Program
The blues return ...
Measure
Section
1st Blues
564
theme
p ·
;-
lf-
--
---l--{ 0
==--
....---..
-- TT
.
T...__,
I
This incorporates a technique borrowed from
impressionistic 'planing'. This theme includes glissandi
typical of Jazz.
Passage with figures on the xylophone and violins that
can be related to 1st Charleston Theme.
Similar to 516 but half-step higher.
1sr Charleston Theme (violins, trumpets) with a
heterophony texture similar to that of Dixieland music.
This section is based on metrical displacement of the
'head' from the 1st Charleston Theme.
1st
Program
Blues theme in trumpets and strings.
Program
...but mitigated by the Second Walking Theme-a happy reminiscence rather than a
homesick yearning--and the orchestra ...
Program
Measure
Section
0
Z"d Walking z-' Walking Theme (trombones I and II m. 573) while the
572
second part of the Blues Theme is played by woodwinds
Theme.
and higher strings.
l
l."EAR111NG
575
583
590
Walking
Theme.
Blues
theme
Solo violin (reminiscent of Blues theme) imitated by tuba.
Elements from
Walking theme.
Reminiscences of
Blues theme
Program
.. .in a riotous finale, decides to make a night of it. It will be great to get home; but
meanwhile this is Paris!
Program
Measure
Section
1st Walking
1st Walking Theme (woodwinds) complemented by violins
592
atm. 597.
Theme
Theme in flute (from violin solo atm. 376}.
604
• Theme in brass (from ;td Walking Theme atm. 251) .
612
• Theme in violins (from the 'trumpet muted theme' at
89).
Taxi Theme (trombones, tuba and taxi horns) from m. 40.
629
Walking Theme (flutes and violins) .
• Motives from
Walking Theme in trombones (m .
• Augmentation of
Walking
639).
635
Theme
• From 641 a chromatic movement begins in the
sixteenths. Each measure is a ih chord moving up
chromatically (over pedals in the sustained notes).
• 1st Walking Theme (trumpet and violin II) .
1st Walking
645
Rhythmic elements from
Walking Theme (timpani
•
Theme
and cello}.
Sequential ascension of the "head" of :JU Walking Theme
:JU Walking
649
(flutes, clarinet, trumpets, violin I and viola}.
Theme
Walking
Rhythmical figures from
Walking Theme (flutes,
655
xylophone, and higher strings).
Theme
Walking Theme (English horn, bass
• Elements of
1st Blues
clarinet, French horns, alto sax).
665
theme
• 1st Blues Theme (flutes, oboes, clarinets, trumpets,
higher strings).
The
piece concludes with a last statement of elements
1st Blues
from 1st Blues Theme (English horn, clarinets and alto
677
theme
sax).