I like reading lyrics because doing so gives me ideas on both content and rhyme. More importantly, though, the process lets me learn from great lyrics and great lyricists.
Not too long ago, I ended up looking through some George Gershwin songs and came across Ira Gershwin's lyrics for "I Got Rhythm". They provided me with a fascinating study and I thought I would share my journey.
Firstly, here's a Youtube clip of Ella Fitzgerald singing George and Ira Gershwin's, "I Got Rhythm".
The song was published in 1930. At this point in time, the first section of many songs was called the 'verse' and it was used to set the stage or context for the song sections that follow. The verse was usually the least memorable section of the song. "I Got Rhythm" uses this approach. Below are the lyrics for the first section (Section A).
First Section
What I find most instructive about the lyrics for Section A is their rhyme scheme. I have colour-coded this for easy reference.
The first part of Section A consists of six lines and for these six lines, Ira Gershwin has used a very sophisticated rhyme scheme.
The last word of lines one and two are both rhymed in line three.
In line three, the two rhymes are separated by a single unstressed syllable.
The first rhyme is called a feminine rhyme because it consists of a strong/weak syllable pairing (i.e. sunny/money).
The second rhyme is called a masculine rhyme because it consists of a single strong syllable.
Lines four, five and six exactly parallel the pattern that was established by lines one, two and three.
The last four lines of Section A follow a standard ABAB rhyme scheme. As heard in Ella's performance, while the first six lines of Section A has an ad lib feel, these last four lines set the tempo for Section B.
Now that the stage has been set both with scenery and tempo, George and Ira move into the main part of the song. This is composed of two contrasting sections: Sections B and C.
Second Section
To off-set the heavily rhymed verse (Section A), Ira has chosen to avoid rhymes completely in Section B. As a consequence, lyric movement is very cleverly controlled by Ira's repetition of the phrase "I got".
The first half of Section B uses three phrases beginning with "I got" and then the contrasting line "Who could ask for anything more?"
Rather than repeat the above pattern exactly in the second half of Section B, Ira offers the listeners aural variation by having the sequence...
I got...
In green...
I got...
It is worth noting that the "In green..." line is lyric variation alone as the music is still following the same pattern that was established in the first three lines of Section B. It is also worth noting that the the 'G' sound is common to all three phrases in this second sequence. This is the glue that holds these three lines together. As with line four of this section, line eight acts as contrast as well a repetition of the phrase in line four. This repetition strengthens the power of the phrase.
It is also instructive to observe in Section B that to help boost sonic relationships and lyric flow, Ira has used words that emphasise the 'm' and 's' sounds.
The net result of the above, is that most listeners will be unaware that this second section is devoid of rhyme because it flows along so well. That is, it's "got rhythm"!
Third Section
The three lines in Section C provide contrast both musically and lyrically. As such, they help to maintain listener interest.
One aspect of this third section that it is easy to overlook is how Ira Gershwin has personified the concept of 'trouble'. By turning this concept into an old man, Ira is able to talk about the notion of 'trouble' through concrete imagery that's easy for the listener to relate to. My interpretation of these lyrics is that the singer has no problem telling "Ol' man trouble" to buzz off; that he's not welcome.
Using this technique of personification, Ira has also found a clever device to develop the lyrics by adding deeper meaning through being a little more philosophical in his treatment of 'trouble'.
What I also find worth noting in Section C is that while the first two lines rhyme, a feminine rhyme, the third line is left unrhymed. This lack of rhyme drives Section C headlong back into a lyric variation of the final half of Section B. Also, it is in the return to Section B that the unrhymed line at the end of Section C finds its partner (as seen below). Moreover, it is this final rhyme pairing of door/more that gives the ending its sense of closure.
For me, these lyrics of Ira Gershwin's provide valuable insight into how he controlled lyric-movement, -momentum and -weight through (a) rhyme, (b) repetition and (c) personification. I found the lessons very worthwhile.
Last edited by Noel96; 09/26/1611:35 AM. Reason: added some thoughts on personification
Especially enjoyed this as it is one of the songs I remember from my first days of listening to AM radio hits in the late 60's... the radio version I remember is by the Happenings (1967):
Especially enjoyed this as it is one of the songs I remember from my first days of listening to AM radio hits in the late 60's... the radio version I remember is by the Happenings (1967):
(I always think of this opening when I think of the song...)
floyd,
Thanks for the link. I'd completely forgotten about this version of the song. Interestingly, this version also used the concept of a stage-setting introductory 'verse'. It's just that the words were changed to be more appropriate to the 60s.
This is absolutely fascinating breakdown, Noel! Thank you so much. I studied poetry at university so this is definitely up my alley
Hi Will,
Thanks for passing through the thread. There's a lot to like about poetry I've done a few song writing courses with Prof. Pat Pattison from Berklee. His expertises are lyrics and poetry. It's great stuff!
Thank you Noel for starting this excellent subject and all the subsequent contributors.
I have truly learned from your posting on this subject. My love of poetry was inspired by a professor at the University of Winnipeg ( Canada ) years ago that has stayed with since.
Those were the days!!!
Can't help wonder if those 'gangsta rappers and the garbage they spew will every achieve the recognition of for example the Gershwin's or Ella Fitzgerald ? ( my comment/question is intended to ridicule those 'rappers )
Makes me wonder how Ira and George actually wrote this because then they were writing "from the head" with no reference to songs gone before, as in the analysis. I feel that they would have to have worked together, at the same time, on this song which makes the song, rhythm and rhymes even better. Never the less an analysis I will remember, thank you.
For sheer poetry you can't beat Cole Porter's Everytime We Say Goodbye:
Everytime we say goodbye, I die a little, Everytime we say goodbye, I wonder why a little, Why the Gods above me, who must be in the know. Think so little of me, they allow you to go.
Thank you Noel for starting this excellent subject and all the subsequent contributors.
I have truly learned from your posting on this subject. My love of poetry was inspired by a professor at the University of Winnipeg ( Canada ) years ago that has stayed with since.
Those were the days!!!
Can't help wonder if those 'gangsta rappers and the garbage they spew will every achieve the recognition of for example the Gershwin's or Ella Fitzgerald ? ( my comment/question is intended to ridicule those 'rappers )
Hi w,
Good poetry is amazing. While I studied it earlier in life, it's only in the last few years that I've taken the time to fully appreciate just how clever great poets are.
Thanks for passing through the thread and taking time to comment.
Makes me wonder how Ira and George actually wrote this because then they were writing "from the head" with no reference to songs gone before, as in the analysis. I feel that they would have to have worked together, at the same time, on this song which makes the song, rhythm and rhymes even better. Never the less an analysis I will remember, thank you.
Alyn
Hi Alyn,
It's great to see you over here in this neck of the woods. I read once somewhere that when George and Ira wrote songs, the music usually came first and the lyrics second. Whether or not this is true, I have no idea. One thing that stands out in this song, just like you indicate, is that the words and the music are a perfect partnership. The prosody is outstanding.
For sheer poetry you can't beat Cole Porter's Everytime We Say Goodbye:
Everytime we say goodbye, I die a little, Everytime we say goodbye, I wonder why a little, Why the Gods above me, who must be in the know. Think so little of me, they allow you to go.
Also worthy of note is the either knowing or unknowing use of the refrain line. The fact that the refrain is a question adds even more power and contemplation to the lyrics.
As to rap not having powerful and creative lyrics and rhyming schemes, I would strongly disagree.
Just as in any genre, the MOR rap might be predictable, but there are just loads of very creative lyricists in the rap genre.
Some of my childrens' favorites that have become mine:
J. Givens (Incredibly creative and full of double-meaning requiring several listens to hear all of the 'choose your own ending' combinations that exist) with all kinds of 'inner' rhymes embedded here and there.
I'm appreciating the link, https://jgivens.bandcamp.com/album/el-v-envy. I agree, (some) Rap artists are true poetic geniuses with a lot to say about our culture, love and life. I will continue checking out the names you dropped. (my attempt at hip, ha! :))
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