Development and the use of the thematic material in Kern’s Ol’ Man River
Firstly, bass soloist Joe presents the first thematic material. Joe presents it again with
derogatory lyrics at a new moderato speed and the accompaniment is developed featuring
3+3+2 quavers which are doubled by a banjo and added 7th chords and a circle of 5ths add
to the development. A brief modulation to F major occurs on set giftin no rest’ but returns
to the tonic. A prefatory horn minim prepares for the return of this thematic material. The
same material returns soon after on ‘Let me go ‘way to de Mississippi’ and a modulation
through a C7 and an A7 takes us to Dm on ‘Let me go ‘way from de white man boss’
allowing a subtle sense of word painting. A diminished 7th chord and a Bb7 chords returns us
to the tonic.
Furthermore, the ‘Ol’ Man River’ theme first appears at the change to 2/2 in C major that
features the pentatonic scale and accompanied by primary functional harmony by Joe. The
thematic material returns with Jow with an anacrusis on ‘he don’t plant taters’ but features
upward extension on ‘is soon forgotten’ with added diminished 7th chords in the developed
accompaniment. ‘Ah gits weary’ sees the return of this thematic material that sees further
upward extension reaching a climax on the title text on ‘Ol’ Man River’ in the upper octave
G that then descends in a stepwise fashion that underneath sees the brass section enter.
The chorus next use this thematic material in four-part TTBB harmony while the first bass
takes the key melody but later taken by the first tenor on “don’t say nothin” Joe then
decorates the return of this material with a solo line that links the material presentations.
This pattern repeats with the first tenor having a prominent octave leap on “Ol’ Man River”
and Joe once again adds a decorative solo which this time features a prominent blues note.
A final rendition of the ‘Ol’ Man River’ sees Joe being accompanied by the four-part
harmony and he doubles the first basses before rising in the upward extension pattern seen
prior to the high G climax note.
In addition, the ‘You an’ me’ theme appears in E minor and shows repetition of the first
phrase. The phrase then moves down a third and the same pattern takes place showing
greater repetition of the whole 4 bar phrase. The male chorus then uses this material in a
faster tempo and dimuted note values on the text ‘Don’t look up’ in unison. There is a swift
modulation on ‘dead’ creating irony through the major chord that takes us back to the
opening theme. Joe sings the original version of this theme while being accompanied by the
male chorus humming in four part harmony with a second bass tonic pedal.
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