Hoagy Carmichael, "Georgia on my Mind"

This well-known standard was published in 1930, which also happens to be the current copyright barrier in the United States. I am taking advantage of the latter fact to begin a series sampling/surveying songs published in that year. The immediate motivation is that I noticed a change: V9 chords seemed to appear more regularly (that is, in more songs) than they had a decade earlier--that's a simple quantitative measure; I thought many of the uses were more interesting and that has made a survey worth the effort.

I am also using the moment to offer up a reminder of three basic types of V9 presentations in the major key. I discussed these in an introductory post (link) and of course they reappear in many subsequent posts. There are two classes, internal and external resolution, with two subclasses for external resolutions: direct and indirect. 

The inventory of sonorities and figures I am concerned with here begin with those:

• V9 external resolution, direct, root position
• V9 external resolution, indirect, root position
• V9 internal resolution, root position
• V9(b5)
• viiø7 or V9 without root
• V9 in inversion, any resolution

I am using the published sheet music version of "Georgia on My Mind", despite the limitations it shares with most pieces like it: it is a "vanilla" setting meant for home consumption or as the basis--but only a starting point--for public performance. I think this is still fair in my historical account, but of course would be a serious shortcoming for any later time if I ignored more complex treatments in publications or recordings, especially of what eventually became known as "tensions," to which the ninths are now understood to belong. I do intend eventually to write about arranging manuals published in the 1930s and 1940s, but my historical survey will need to stop there.

In the intro and verse, we find these.

In the chorus, the V9(b5) from the intro reappears in an expressively significant position within the title text "Georgia on my mind"--and the whispered repetition puts the ninth D5 in the voice.

Finally, continuing from bar 34, there is an unusual instance of what I call an indirect resolution. Normally this works out as paired thirds--here it might have been D5 to Bb4/A4 to C5, but Carmichael increases the nostalgic-sigh element by shifting downward to G#4. In any case, the ninth D5 does resolve (more or less) straight and clear to C5. (And note the anticipation in bars 32-33, circled notes.)

It is of course not surprising that the dominant ninth turns up in a sentimental ballad, but somewhat more so that all six items in my inventory are represented:

• V9 external resolution, direct, root position: bar 14
• V9 external resolution, indirect, root position: bars 34-35
• V9 internal resolution, root position: bar 34* the ninth disappears rather than resolve as V9 turns into V+(7)
• V9(b5): bar 6, bar 32
• viiø7 or V9 without root: bar 10
• V9 in inversion, any resolution: bar 34

Hahn, Five Little Songs (5 petites chansons)

In 1915, Reynaldo Hahn set poems for children by Robert Louis Stevenson in the Five Little Songs (5 petites chansons). The cycle was first performed and published in 1916. The first song, "The Swing" [La Balançoire], is the subject here.

"The Swing" belongs to a very select group of published compositions in which the dominant major-ninth chord is essential to sound and affect. These include Marion Bauer's "The Epitaph of a Butterfly" (link to my post), Charles Griffes' "The White Peacock" (check this blog post for an abstract and link to my essay: 2020 June 5), and of course the "Russian Dance" from Stravinsky's Petrushka, which I wrote about in the previous post to this blog.

The evocative accompaniment figure in bar 1 is repeated, with slightly shifting harmonies, in all 35 bars, excepting an abbreviated form in bars 32-33. Since the pedal will certainly be held down through each beat, the initial--and frequently repeated--tonic, which I have labeled "I" is just as easily heard as Iadd6. The V11 (or V9sus4) of the second beat "relaxes" into a clear V9 by bar 2, beat 2. In context, the notated Fnat4 in bar 3 sounds like a neighboring E#4 (so G-F#-E#-F# in bars 1-4), but the pitch as Fnat4 will play a role later. The G-F#-E#-F# motion, of course, adds a slightly longer-range swinging figure to the mix.

The poem is in three verses. Each is set slightly differently. Here is verse 1. The letter above each bar indicates the accompaniment figure, as they were labeled in the example above.

Here is verse 2:

And here is verse 3:

Note above that figure C--not figure A or B--appears in the first three bars of this verse. From this point, new twists on the harmony show up in each bar--see below, the score for the second line to the end of the verse. Now the Fnat4 of figure C signals a turn toward IV, which in turn leads quickly to the closing cadence, where the V is again a clear V9.

The piano's brief coda brings a small but interesting play on the ancient post-cadence turn toward IV. In bar 33, Fnat4 hints at a repeat of bars 25ff. and it does go down to E4, but not over IV: instead it's over I to make Iadd6. The arpeggios  to prominent E5 and E6 (arrows) are a delightful (but still safe) "swing" just past the tonic triad.

Satie, "Je te veux” (1902)

This song was mentioned at the end of the previous post. Here is that text again, expanded and with additional examples. 

"Je te veux" is one of the better known among Satie’s cabaret songs, where we would definitely expect dominant ninth harmonies. (Satie began working as a pianist at the Parisian cabaret Chat noir in the later 1880s.) One appears immediately in the introduction (box). In the Refrain (the overall design is RCRCR, where R is the Refrain, and C is a couplet [same music but different text]), the dominant major ninth appears in the early or middle part of a period, as is more typical of popular song, and not near the cadence, as we find commonly in “art song.” The circled notes point to the free treatment of degrees in the upper tetrachord in relation to harmony—a heritage of mid-19th century waltz practices.

Thanks to repetition of the opening phrase, V9 is a characteristic sound of the couplets.

Satie, Sarabandes and songs

Erik Satie's distinctive styles--whether the early one of the Trois Gymnopédies or the later one of Parade--make very little use of the dominant major-ninth harmony, but to show that he was no stranger to it, at least in his earlier years, here are examples from four stylistically varied pieces, three of them written around the same time as the Gymnopédies.

The 3 Sarabandes (1887) provide an extreme. This is the opening of no. 1. I almost feel I should apologize for the absurd welter of accidentals, in particular the three Bbb9s (enharmonic A9).

Here is a version that I hope is easier to read: it's a transposition up a half step and I've added chord labels.

And the beginning of no. 3. The Db9 becomes a recurring motto chord.

From the 3 Mélodies (1886), the opening of no. 3, "Sylvie." The treatment of sonority and texture is a bit reminiscent of the Gymnopédies. Unlike in the sarabandes, this V9 is an isolated instance.

Finally, from a decade or more later, "Je te veux," one of the better known cabaret songs, where we would definitely expect dominant ninth harmonies. (We should mention that Satie began working as a cabaret pianist in the later 1880s.)

Eight songs by Marion Bauer, part 4

The last three of the eight songs, all published in 1921, are "Gold of the Day and Night," "Night in the Woods," and "Thoughts."

"Gold of the Day and Night": A point of interest is the CM7 at the beginning (circled). Another of the many cases in music after 1890 where much attention is given to a particularly voiced if traditionally dissonant sonority--observe that the CM7 is promptly repeated--but where one can, if one insists, hear a triad resolution (on the fourth eighth note of bar 1 in this case, at which point the 7 is gone). The parallel instance--a possible CM13 (second circle)--is pushed off more quickly by the chromatic voiceleading (D# making a V#5), but the repetition in bar 4 definitely sounds independent.

The first section ends with a clear cadence using V9b5 (boxed).

After that, a major dominant ninth chord appears once, but as part of a descending bass progression, once the bass begins to move down the section's Ab pedal.

"Night in the Woods": A contemplative song with stronger presence of classically voiced major and minor triads, diatonic dissonances, and wavering tonal center (Phrygian at the outset, possibly A minor or A Dorian in the section below, ending in/on D major). There are three sections: this is the second half and ending of the first section.

This is the parallel place in the close to the second section.

"Thoughts": Much more traditional than "Night," with a V9 to begin the piano's introduction. The dotted box shows that V7, not V9, is the presence just as the voice enters.

Here is the parallel place ending the first section and overlapping into the second. In bar 21, the same "throw-away" ninth (F4; arrow) that we saw in "Only of Thee and Me" renders the resolution an almost proper V9.

Eight songs by Marion Bauer, part 3

Here are two more of the songs published in 1921: "A Parable" and "Roses Breathe in the Night." 

As a dramatic song in a minor key, "A Parable" does not offer much of an opening for the dominant major ninth. In fact, this is the best we can do:

Someone *might* construe the climax chord as a ninth with flat 5 (dotted boxes), but honestly I don't think so. I don't trust chords in the middle of a pedal point passage (and in any case the ninth is immediately lost, both times).

Things are really not much better in "Roses Breathe in the Night." The motivic middle-voice half-step play (see the accented notes B-A# in the opening) does not invite anything like the open sound of the ninth chord, but we get at least this in bars 6 & 7: a V9, then a raised fifth (and seventh)--as A#4 and C#4) and continued movement up to B4 and D4.

At the end of the first section, the climax chord is not a V9 but A: iiø7 (circled); V9 does appear in the cadence (boxed) but then the mode promptly shifts to minor with the tonic, erasing any subsequent influence.

Eight songs by Marion Bauer, part 2

In this post I will look at the two earlier songs: "Send Me a Dream" (1912) and "Only of Thee and Me" (1914).

"Send Me a Dream" has an unusually large number of direct and "almost direct" resolutions of the dominant major-ninth chord. Here are two near the beginning. Neither ninth resolves by step, but both chords are clearly independent harmonies acting as V9s in context. Note that the second chord is inverted.

The situation is less clear a few bars later. In the dotted box is a harmony better heard as Eb: viiø7/V. I have made the second box solid but its identity as a ninth is only slightly improved, as the voice's F5 could still be heard as an appoggiatura.

At bar 44 is another instance of a clearly defined secondary V9.

And here are even more just a few bars later.

The climax chord (bars 67-68) is a V9 with more iterations of the ninth than I have seen anywhere else to date. At bar 72 is the chord from bar 12, now in root position, and as a surprise G9 appears in the final bars without function, as part of a coloristic wedge figure.

By comparison, "Only of Thee and Me" has just one point of interest, and it's a dominant 7th with raised 5th that only becomes a ninth chord (still with raised 5th) when the voice puts in a "throw-away" note D5. The first time (end of the first verse) D5 disappears for sake of A4; the second time (third verse and ending) it acts as ^6 resolving upward to ^8.

Eight songs by Marion Bauer, part 1

Twelve songs by Marion Bauer are readily available through IMSLP. Of those, eight make use of dominant major-ninth harmonies: "The Epitaph of a Butterfly," "Gold of the Day and Night," "Night in the Woods," "Only of Thee and Me," "A Parable," "Roses Breathe in the Night," "Send Me a Dream," and "Thoughts." I am uncertain of composition dates; IMSLP has publication dates of 1912 for "Send Me a Dream," 1914 for "Only of Thee and Me," and 1921 for the others. These correspond to the copyright notices.

The poets are Thomas Walsh (Epitaph), Katharine Adams (Gold; Thoughts), Edward Rowland Sill (Night), Louis Untermeyer (Only), Stephen Crane (Parable), Margaret Widdemer (Roses), and Emilie Francis Bauer (Send).

The first of the eight--"The Epitaph of a Butterfly"--is remarkable in being grounded on a G9 harmony. Treatment of V9 in the others is more typical of American songs in the period after about 1890, both in operettas and musicals and for domestic or recital use.

I'll begin with "The Epitaph of a Butterfly"--see the score below. The poem is a brief narrative of a butterfly in late autumn, falling into a pool to die. The imagery of light and color were an invitation to write in an Impressionist style that reminds me, at least, of Griffes' song "Symphony in Yellow" and perhaps even the opening of "The White Peacock." (Bauer and Griffes were friends, incidentally.)

I have ventured a chordal reduction below and emphasize that it is both informal and biased. The former is inevitable, the latter acknowledges that I have firmly resisted any further reduction to triad abstractions or even to a more plausible series of chord roots. In any case, observe that the chordal repertoire is entirely dominant sevenths (on G, A) and ninths (on G, C, Eb, B), half-diminished sevenths (on G, B) and a mixture of major seventh and add6 (on C).

Here is an annotated version of bars 7-16 (with chord roots added in bars 9-10). The passage begins with a familiar succession of roots in fifths and thirds (G, C, Eb, implied Ab to follow) but with dominant ninth chords. After that is some typical late-19th century chromaticism relying heavily on the ambiguous half-diminished seventh chord. The shift is easily explained by the contrasting texts: "hope" in bars 7-10, followed by a vain search for a "comrade." Finally, note the curiously traditional 2-3 bass suspension at the end (2-3 or 9-10 being the only bass suspension allowed in ancient counterpoint). Also, the V7/ii itself can be explained by separating out the left-hand elements in bar 17--see the end of the example below. The first thing we hear is in fact ii, not V, as iiadd6; only on the third quarter beat is the bass G2 sounded. Although the overall effect here is certainly that of a break, the harmony does offer some continuity.