The differences reflect the tendency of current jazz lead sheets to frame harmonies in terms of II V sequences, and other standard concepts that constitute "jazz theory" as it is taught today.
The F# chord has no third.Ģ) The second bar of the sheet music shows just Em, not Em7 A7 as in the Sher version (and other fakebooks).ģ) Bar 4 of the sheet music shows just an A triad, not Em7 A7 as in Sher (and other fakebooks).Ĥ) Bar 5 of the sheet music shows just Am, not Am7 D7 as in the Sher chart. The melody note B is anticipating the B7 chord that follows. The piano part is likely to be a better representation of what the composer originally had in mind.ġ) The first chord in the sheet music's piano part is not F#m7 (as in Sher, and every other fakebook version I could find), but rather F#7sus4 (the chord symbol in the sheet music calls it "F#7 add B"). Chord symbols in many older sheet music charts are not always well-considered. It's best to look at the piano part, not just the guitar chord symbols. Here are a few observations about the harmony, sticking just to the first 8 measures. I'm not sure if this counts, as the melodic sequence is placed differently, both harmonically and in its placement in the measure, but I'd be remiss not to mention it: I was just reading Wilder's chapter on Hoagy Carmichael. If any blog readers can think of an earlier example, please leave a comment at the end of this post! I have to wonder if it was a part of the jazz vocabulary of the day, even before Arlen wrote the song. "Between the Devil" is the earliest instance that I can find of any lick resembling this one. As in the first 3 tunes above, the lick comes at the end of the musical phrase. Harry Warren's Shuffle Off to Buffalo (1933) has a related lick - a simpler version, without the initial reach to the higher note, but with the chromatic movement from the fifth to the fourth, followed by a reach up, to the second and the tonic. Here are the dates of the songs mentioned: I know - you are thinking, "Give me a break!" - right? But like I said, you can't blame me for this one. (Here's a "maybe," also contributed by Adam: Stardust - Hoagy Carmichael, 1929) I've Put all My Eggs In One Basket - Irving Berlin, 1936 Shuffle Off to Buffalo - Harry Warren, 1933
Maybe the lick just sort of floated into Harold Arlen's creative mind, and so on, down the line:īetween the Devil and the Deep Blue Sea - Harold Arlen, 1931 You'd have to at least concede that this yodeling lick was "in the air" by the 1930s, when most of the other tunes on our list were written.
However, from what I can find on the web, there seems to be disagreement over whether yodeling was actually something cowboys did to communicate on the range, or whether it was just a showbiz gimmick, perhaps inspired by alpine yodeling in vaudeville.
Roy Rogers was pretty accomplished too supposedly as a youth he used yodeling to communicate on the family farm. It was not just an alpine thing, but was part of "Western" music in the 1920s-1930s. Of course, Jimmie didn't invent yodeling, either. Louis Armstrong and Lil Hardin Armstrong were featured on the last one, "Blue Yodel #9." All the Blue Yodels are on YouTube. He built on the success of "Blue Yodel #1," recording eight more Blue Yodels for Victor between 19, as well as many other titles. Jimmie's recording sold half a million copies. Here's the Wikipedia page for Blue Yodel #1 (AKA "T for Texas"). It is similarly placed, at the end of the musical phrase. The yodeling phrase actually does resemble "that A Train lick" in several ways: a leap up to the third of the key, back down to the fifth, then chromatically down to the fourth, leap to the second, moving to the tonic (delayed by several notes in "Blue Yodel").
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