Introduction

An American in Paris is an orchestral composition by George Gershwin. He started

composing it in Paris and Vienna inspired by his experience during a trip in Europe,
where he met neoclassical composers and experienced the European musical
scene, and orchestrated on the trip back to New York. It was premiered on 13
December 1928, thus became an instant success.
Rhythm
George Gershwins rhythmic complexity in An American In Paris is heavily
influenced by Broadway musicals (syncopation), dance music and jazz, although it
contains rhythmic techniques used by 20th Century composers (such as irregular
phrase structures and diminution). Examples are evidenced such as:

One example of syncopation is starting at bar 28. The 3 rd and 4th horns played
in missed-beat syncopation, though the notes at the first beat of bar 28 were
in tie with the previous bar. The viola played at the 2 nd and 4th beat
In rehearsal number 61, bars 9-17, there is use of 3+3+2 pattern by the
violins, producing syncopation through irregular subdivisions. The chord
progression in this rehearsal number uses I-IV chord progression, influenced
by jazz. It lasts 15 bars, showing irregularity in sectional length
There are changes of metre. The first section starting in F major with the
repeating motifs is mostly in 2/4, and section B where it starts in Bb major in
4/4
The whole piece has a strong pulse, thus the irregularities are noticeable. One
of the feeling of regularity is the oom-cha accompaniments
Towards the end of rehearsal number 63, there is a rhythmic effect of crossrhythm with the use of diminution and subtraction, as well as a technique of
minimalism, one of the 20th century techniques
Before and after rehearsal number 24, the metre rapidly changes from the
original 2/4 to 3/4, 5/4, 4/4, 3/4, 2/4, 3/4, 5/4, 4/4, and back to the original
2/4, creating irregular rhythm
Rehearsal number 4 has the flutes, bells and xylophones playing in unison,
their motif is two and a half beats long, thus create cross rhythm

Jazz
This work is influenced by jazz, evidenced by the use of alto, tenor and baritone
saxophones in the orchestra. In rehearsal numbers 61 and 62, the use I-IV chord
progression lasts for 15 bars each. Rehearsal number 63 has a I-IV-V chord
progression before diminution occurs; at rehearsal number 53, the alto sax plays in
an overall descending blues melodic phrase, imitated by the baritone sax; at section
B, the recurring melodic theme has the use of blues notes minor 3 rd in a major key;
section As recurring motif has the use of dominant 7ths.

Form and structure

This piece by George Gershwin is programmatic, meaning that it musically creates a
story. Throughout the piece, there are many changes of instrumentation that
change the atmosphere and tone. Towards the end of rehearsal number 23, classical
features are spotted as rehearsal number reaches its grandiose ending. Rehearsal
number 23 then begins with a total change in the atmosphere through longs, less
instruments playing, legato in articulation, minor key, lyrical all combined to
create a sense of sadness and depression.
An American in Paris can be divided into two main parts (A and B), each having its
own separate melodic material, and a coda that draws the two materials together.
Section As main theme is the recurring motif that has an interval of a 7 th (the use of
dominant 7th); while section Bs recurring melodic theme consists of blues notes.
This indicates that this orchestral piece is bound through its melodic material.
Melody
Gershwin repeats a melodic idea in sections A and B as many times as possible,
thus achieve the form of repetition. He changes aspects of it to keep it sounding
fresh. The melodic idea in section A involves dominant 7 th, derived by three taxi
horns, which create the atmosphere of rush hour/busy road in the major streets in
Paris; section B has the recurring melodic theme that involves the use of blues
notes, inspired by jazz.

Harmony and tonality

Chromaticism has become frequent as well, evidenced by the first violins

solo three bars after rehearsal number 57, while creating cross-rhythm, which
results the unstable tension, making it unpredictable.
Unresolved dissonances are played by the violins, oboes, English horn,
clarinets in accented notes, creating a taxi horn, thus creating a busy
atmosphere in the streets in Paris.
Polytonality was evidenced as well, at the second beat at the first bar in
rehearsal number 43, creating suspense, and a certain amount of tension.