Because this song is composed of the sections AABA, it is close to the rounded binary form of classical music but is actually a quarternary form. The BA section is not repeated, therefore it does not qualify as rounded binary. However, the whole piece is repeated as is indicated by the presence of a second verse. The harmonic analysis of measures 13 to the end is as follows:
m. 13: V7
m. 14: I
m. 15: I, V6, VI6-5
m. 16: V7/V, Vadd6, ii43
m. 17: I64-53
To create contrast in the bridge section, Foster uses different rhythmic patterns. He also varies the accompaniment rhythmically. He also includes a half cadence at the end of measures 12-13 to change it up a bit.
Because of the monumental lack of text in this week's blog, I decided to supplement it with the ever so lovely Amy Winehouse. Enjoy!