'S Wonderful!

The form of 'S Wonderful is a basic verse-refrain form. This means that the piece begins with the verse, followed by a refrain, and ends with the refrain. Unlike the forms we previously learned, this form does not return. The first part obviously holds the verse, and is almost similar to a recitative. This is seen through the basic musical stature of the verse. This piece in particular has the same melodic sequence every two measures until the end of the verse. The verse also explains a story, it prepares for the refrain. In addition, the verse is not well known, unlike the refrain. The refrain then follows the verse. Usually, in this form, the refrain is well-known. This happens to be the case with this Gershwin song. The refrain expresses the singer's feelings. it's almost the reaction that follows the story claimed in the verse.



Harmonic stability is more common in the verse than the refrain. The verse has a simple feeling to it, because of the predictability of the bass line. In addition, Gershwin tends to use more basic chords in this section of the piece. He didn't anything too out of the ordinary. However, the refrain begins with a basic Eb Major chord and the moves directly into a C#0 chord. The virtues jazz definitely shine when the piece enters the refrain.



In measures 5-13, at every two measure interval the bass begins a step higher, then proceeds with the same downward pattern. In measures 13-20, the same pattern is expressed on beats 1 and 3 in two measure intervals. However, once a new interval begins the provess begins a step down. While this occurs in the bass, the melody keeps a basic pattern every two measures. It repeats a note for four beats, then on the down beat of the next measure moves a third down.

Two diatonic chords that are apparetn are the C#o chord that leads to the Bb7(add6) chord. Both chords repeat on a very jazzy and well-known area of the piece. The C# chord is played on the phrases "'S marvelous" and "'S paradise." It just emphasizes the singer feels about the situation of love, a feeling of bliss. The Bb7(add6) serves the same purpose by just enhancing a magical feeling. Another diatonic chord is the Dm6 chord. It accompanies and begins the phrase "You can't blame..." I really enjoy this emphasis because the chord illustrates how the performer has almost lost control over these feelings, he or she is not at fault, they have overcome him or her.

The E natural in measure 47 emphasizes the word glamorous, by harmonizing the E natural with a G major chord. It's a highlight because it sounds different from other areas of the piece, because it steps away from a jazz feeling to a more classical sound.