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; 09/26/16 12:35 PM. Reason: added some thoughts on personification
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