I Got Rhythm - Composition

Composition

The song came from the musical Girl Crazy which also includes two other hit songs, "Embraceable You" and "But Not For Me", and has been sung by many jazz singers since. It was originally written as a slow song for Treasure Girl (1928) and found another, faster setting in Girl Crazy. Ethel Merman sang the song in the original Broadway production and Broadway lore holds that George Gershwin, after seeing her opening reviews, warned her never to take a singing lesson.

The song melody uses four notes of the five-note pentatonic scale, first rising, then falling. A rhythmic interest in the song is that the tune keeps behind the main pulse, with the three "I got..." phrases syncopated, appearing one beat behind in the first bar, while the fourth phase "Who could..." rushes in to the song. The song is in AABA form. Its chord progression, known as the "rhythm changes", is the foundation for many other popular jazz tunes. The song was later expanded and used as the theme in Gershwin's last concert piece Variations on "I Got Rhythm" in 1934. The song has become symbolic of the Gershwins, of swing, and of the 1920s.

As usual, George Gershwin wrote the melody first and gave it to Ira to set, but Ira found it an unusually hard melody to create lyrics for. He experimented for two weeks with the rhyme scheme he felt the music called for, sets of triple rhymes, but found that the heavy rhyming "seemed at best to give a pleasant and jingly Mother Goose quality to a tune which should throw its weight around more." Finally he began to experiment with leaving most of the lines unrhymed. "This approach felt stronger," he wrote, "and I finally arrived at the present refrain, with only 'more-door' and 'mind him-find him' the rhymes." He added that this approach "was a bit daring for me who usually depended on rhyme insurance."

Ira also wrote that although the phrase "who could ask for anything more?" is repeated four times in the song, he decided not to make it the title because "somehow the first line of the refrain sounded more arresting and provocative."