I’ve heard people call Somewhere Over The Rainbow “the perfect song”. I don’t even think of that as something to strive for, but I do think the song is about as bulletproof as they come.
For what it’s worth, the song is number one on the “Songs of the Century” list compiled by the Recording Industry Association of America and the National Endowment for the Arts. The American Film Institute also ranked “Over the Rainbow” the greatest movie song of all time on the list of “AFI’s 100 Years…100 Songs”. (Thank you, Wikipedia!)
Even though it’s now a very old song – it was written in 1938 – even today’s kids (and everyone else) still know and love it, mostly from Judy Garland’s rendition in ‘The Wizard Of Oz’. And there is no better singer than Judy Garland.
Somewhere Over The Rainbow is a quintessential example of what is now a classic form that was the bedrock of the ‘Great American Songbook’ of the middle twentieth century – the 32 bar AABA form. It was written, at the top of their game, by two of the greatest songwriters ever – Harold Arlen (music) and E.Y. ‘Yip’ Harburg (lyrics).
It’s a relatively simple song, yet it achieves a profound effect – something that’s true of many of the greatest American popular songs… though maybe not quite to this degree.
The melody of each A section begins with the unforgettable one octave leap in the melody on ‘Some – where’, and continues in a beautiful and satisfying way throughout.
But the reason I’m drawing attention to this song today is the lyric.
When I hear this song it always moves me, and in doing so reminds me of the power of a simple lyric, when balanced with great music.
In the classic style of an AABA song, the melody doesn’t vary from Verse to Verse (A sections) unless there’s a reason (in this case the second Verse is purposely elongated slightly, both to better ‘answer’ the first Verse and to better set up the B section). So each of the three different Verses have to match the melody perfectly. And here they do.
At the same time the lyrics should expressively state and amplify the main point of the song (here it’s the yearning for and belief that there’s something better ‘over the rainbow’). The words to this song do that too, about as well as it can be done… with an utter simplicity that draws no attention to itself. They’re just… right.
You have to know an awful lot about writing songs to be able to say your piece this directly.
The first two Verses (A sections):
Somewhere over the rainbow
Way up high
There’s a land that I heard of
Once in a lullaby
Somewhere over the rainbow
Skies are blue
And the dreams that you dare to dream
Really do come true
The Bridge (B section):
Someday I’ll wish upon a star
And wake up where the clouds are far
Behind me
Where troubles melt like lemon drops
Away above the chimney tops
That’s where you’ll find me
Third Verse (A section):
Somewhere over the rainbow
Bluebirds fly
Birds fly over the rainbow
Why then oh why can’t I?
Then there’s the lovely, poignant tag at the end (a tag like this is not often added to the classic form, but it’s not unheard of either):
If happy little bluebirds fly
Beyond the rainbow
Why oh why can’t I?
This lyric puts things so straightforwardly, and so effectively. And it’s the words’ hand-in-glove relationship with the music (and vice versa) that makes it work.
Even though things have changed in songwriting in ways that would be unimaginable to the writers of Somewhere Over The Rainbow, I still think its principles are useful and instructive, and will never go out of style.
Whenever I hear this song I’m reminded that, particularly when matched with the right melody, simplicity in lyrics can be incredibly expressive; that plain, emotional lyrics don’t automatically translate as ‘sappy’ or ‘corny’; that lyrics don’t have to be ‘complex’ or ‘poetic’ to have a complex and poetic effect.
Please let me know your thoughts in the Comments section below:
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What an exceptional song this is. It’s interesting to note that MGM head Louis B. Mayer cut “Over the Rainbow” after an initial preview of the movie thinking it slowed the film down. Thankfully, he was talked out of it.
Maybe it does slow the movie down (although it’s just started)… but in a GOOD way!
Thanks for reading and commenting, David.
Best wishes,
Tony
Being a song from the depression era, I think that people were drawn to it for its message of hope. Yip was a socialist and by being very subtle got his lyrics by the censors. The best protest songs are the gentle ones and or the funny ones. He even had the munchkins singing a union song. I certainly agree ‘Somewhere’ is a masterpiece.
Thanks for reading and for sharing your knowledge and insight, Billy.
Best wishes,
Tony
i grew up with this song – my mother loved musicals – but I only recently learned it and performed it. It truly has so much emotion in it, and I don’t think that’s just nostalgia. Another point that I think proves how great a song it is: the many, very successful covers of it over the years. these come to mind immediately: Eva Cassidy’s version and Israel “IZ” Kamakawiwo’ole’s version.
Great points, Sarah. Songs this good and this direct rarely go out of style.
Thanks,
Tony
Agreeing with all your points, Tony. One of the things that makes it satisfying is the tempo of the lyric, going from the drawn out octave leap (some-where) to the almost staccato (Over-the-rainbow), with that pattern repeating and being echoed in the B section (someday I’ll wish upon a star). Slow to fast, and repeat. Rinse, lather, repeat.
Alfred,
You make a great point… like almost every moving part in the song, when you take a look at the rhythm of the melody, it really is outstanding.
Thanks,
Tony
A great example of less is more. Thanks.
Sometimes less is actually less, but in this case…
Thanks,
Tony
well, okay… so what about ‘My Girl’. Pretty tight song, yes?
Yes!
The proportions of the melodic line are just about perfect and I agree with your assessment. I might also mention it is an excellent choice, when coaching younger players who are new to improv or jazz, for experimenting with voicings, chord substitutions, etc. The song lends itself to a great many alternate choices, harmonically, which is another reason for its continued popularity.
Nicholas,
Great point!
Sorry for the late reply.
Best wishes,
Tony
Years ago, I was at a sound studio with the rest of the band, waiting for our time in the studio. While waiting, we watched and listened from the control room to a woman, accompanied by a pianist, sing several takes of “Never Never Land” from the musical “Peter Pan.” After a few takes, I began to notice how all the pieces fit together.I don’t have the musical vocabulary to explain it, but for those few minutes I felt an unexpected twist in my gut and thought, “So this is how a song is supposed to grab you, huh?” and it was, for those moments, a perfect song. I listened to the original Broadway cast recording just before I wrote this comment and it grabbed my gut the same way.
Irwin,
Love that!
Sorry for the late reply.
Best wishes,
Tony
Hey I don’t know if you’ll get back to me in time cause I have this essay due Friday, but I’m really struggling to describe the rhythm of this song for an essay I need to write. I’ve listened to it many times and I just can’t seem to figure it out because I feel like it changes from the beginning of the verse being slow and drawn out to the middle being a little faster. I’m trying to tap along and for whatever reason I still can’t seem to get it. If you have any advice for identifying or describing the rhythm of this song it would be very helpful.
Lola,
Sorry for the late reply; obviously too late to help with your essay. But…
The tempo is called Rubato… which means it doesn’t have a steady tempo. It flows with the singer, musicians, and/or conductor.
Find an older version – closer to when it was written – that’s sung and played at a steady tempo. You’ll get a much better idea of what the rhythm of the melody is.
Also, take a look at sheet music of the song (though these can be way off too!).
Best wishes,
Tony