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In this paper, supported by the Score and lead sheet documents will take an in depth look at Irving
Berlin's memorable composition How Deep is The Ocean. The Song is copyright 1932, as indicated by the
music that I was able to acquire in the UNT Library. I will discuss various subjects in the piece as it will
relate to melodic and harmonic content. Also, lyrical and form content will be discussed as well. I will
provide a full analysis of the harmonic progression of Berlin's manuscript as well as look at modern
treatments of this Standard. Typically, this piece is played in Eb major (if we go by the final cadence of
the piece), however Berlin's piano part is in the key of F major. However, we will see in the Harmonic and
Melodic aspects of this tune that this piece moves between relative major and minor keys throughout.
Each line, save the very opening ends in a question. Most of these melodic phrases are over 2 or 4 bar
phrases. The very first line “How much do I love you?” ends in a question mark, the melody moves in a
leap from “I” (F) to “Love” (A). This stresses the emotional lyric of “love You” but also mimics human
speak. In day to day conversation when people ask questions they raise the pitch of their voice at the end
of the question. Berlin uses this perhaps subconsciously in his melody.
Harmony
Variations on the original chord progression are very apparent by the two contrasting scores I came
across for this tune. Listening to other versions of this tune I came across other re harmonizations of this
piece as well. The opening 4 bars of the piece constitute a CESH with a chromatic descent of the bass
note in the left hand of the piano. This causes the chords to be spelt in a certain way, however in a
functional sense it acts as a CESH. A common device in Jazz over long “Minor” tonic sections is to play a
CESH or, as we see in the other Lead sheets (especially in sheet 2) that ii-7(b5) – V7(b9) is a common
way to create more movement in static areas. The A sections have a strong Relative Minor pull before
modulating the Major key in the B and C section of the piece back to the tonic F major. The contrast of
Minor vs Major gives the tune some interesting chords. Especially since the B and C sections are
considerably different from each other harmonically as much as melodically.
In the B section, Berlin moves from the tonic chord F to a IV dominant chord then cycle through
dominant chords a 4th apart before sending us back to D minor (repeat of A). In the C section, Berlin does
not send us back to D minor as he is setting up the final cadence of the piece. Instead, Berlin employs
several Diminished chords to create tension and give movement to the harmony under a strong blues
inflected melodic statement. In bar 28 he uses a suspended chord (F/C or C sus) to help set up the very
final cadence, back to F major. In his piano score he sets up the next section of the full arrangement by
giving a ii V in the Minor key.
Studying other lead sheets, Jazz artists over time have departed from Berlin's harmony in some
places drastically and in others use common additions and substitutions to create more harmonic flow to
facilitate bebop style improvisation. Examples of this would be in ms 11 and 12 where Berlin holds a Bb7
chord for two bars. Other copies of the music show a ii chord placed in bar 11 and leaving Bb7 in bar 12
for a ii V7 progression. In ms 28 we see in one lead sheet the use of a sub dominant ii V progression to
create harmonic interest under the melody.
Overall, the composition might have taken on many changes over the history of it's
performance as a Jazz Standard. The melody however remains strong and has had many harmonizations
attached to it. Berlin is a master of composition, and How Deep is The Ocean is just another one of his
masterpieces.