MUSIC LITERACY FACT SHEET
TITLE
1. “Ching-A-Ring Chaw”
2. (Minstrel Song)
3. from Set 2 of “Old American Songs”
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STYLE PERIOD/GENRE
1. 1833 American Minstrel Song
2. choral composition
3. Nationalistic
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COMPOSER/ARRANGER/EDITOR
1. 1833 American Minstrel Song
2. adapted by Aaron Copland (solo version)
3. arranger – Irving Fine (choral version)
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COMPOSER INFO
1. American (1900-1990)
2. The story of Aaron Copland’s life emanates from a family history that is quintessentially American. Born in Brooklyn, New York, on November 14, 1900, he was the youngest child of Russian immigrants Harris M. and Sarah (Mittenthal) Copland. His parents worked hard in their new country, taking advantage of opportunities available under the democratic system. They instilled in young Aaron enduring values based on immigrant themes of independence, self-reliance, motivation, self-education, and an incessant striving for something better. Throughout his life, Copland would demonstrate un- common vision, exceptional talent, noble ideas, organizational excellence, and intense dedication to his art and craft. His extensive influence on and contribution to American music made him one of the most highly regarded composer-musicians of the Twentieth Century.
http://www.armyfieldband.com/pages/copland/pdf/chcopland.pdf
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TEXT 1. Sung in English
2. the original verses, which advocated the “repatriation” of African-Americans to Haiti. Instead, in his only effort as lyricist, Copland penned new text to describe a more universal vision of “the promised land.”
The text was originally a humorous presentation of Haiti as an island paradise for blacks. Copland altered the words to avoid racist implications.
“REPATRIATION” (rē-ˌpā-trē-ˈā-shən) : to restore or return to the country of origin, allegiance, or citizenship
http://www.49thparallel.bham.ac.uk/back/issue1/anderson.htm
In the text,"ho-ding-a-ding kum larkee," Copland substituted "larkee" for the original "darkee," to avoid making a racial slur.
3. The title words (with no real English translation) are used as vocal percussion/accompaniment to imitate the sound of a banjo.
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SOUND
1. SATB with divisi
2. Piano/accompanied
3. imitation of a banjo
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HARMONY
1. simple
2. Major Key
3. Only two chords support the melody, the Tonic (I) and the Supertonic (ii)
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MELODY
1. Simple
2. Predictable
3. Repetitious
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RHYTHM
1. Immitation of a banjo strumming
2. Very complex, driving, layered rhythms
3. Vocal percussive
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GROWTH/FORM
1. Verse/Refrain
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TIME SIGNATURE
1. 2/4
2. Consistant Tempo
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KEY SIGNATURE
1. D Major
2. 2 #’s
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NOTEWORTHY