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MUJS 5780 Project Two
“How Deep is The Ocean”
Music and Words by Irving Berlin
Analysis by Jacob T Hanlon
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.
Form, Melody and Rhythmic Motif
“How Deep is The Ocean” follows a 32 bar form. These 32 measures are divided up into 8 bar
sections (4 sections in total) and have repeated A sections separated by two alternate sections. These two
alternate sections, while sharing similar characteristics, are different enough from each other to label them
as their own section, B and C. These sections (B and C) both begin in the Tonic key (F major) however,
the C section brings the piece to a final cadence in F, while section B cycles through the 8 bars to return to
the relative minor key (D minor) so we return to the reprise of section A.
The Melody of this piece follows Minor characteristics before resolving to the relative Major at the
beginning of section B and again at section C. The A sections use a repeated intervalic and rhythmic motif
showing diatonic movement by stepwise movements followed with movements of a 3rd. Note in the
opening 4 bars of the piece how Berlin repeats his ideas moving from the 3rd of the chord to the 9th, or as
labeled in the analysis 2 (Eb to D a minor 2nd. Then F to A, a major 3rd). If we think of this in terms of
relating it to a scale degree I would argue relating the A sections in Minor, although quickly we find the
harmony moving to iii in the “big key”. As you will note in the score, I have labeled the melody as it
pertains to the chord function rather then in scale degrees.
After revisiting this exact phrase he then moves it up a perfect 4th to match the lyric of “How Deep
is the Ocean? How high is the sky?” This gives strength to the first appearance of the title of the piece,
also, the higher modulation of the motif also gives more impact to the “How High is the Sky” lyric. The
other aspect of these 8 bar phrases not only is the repeated melodic motif but also a rhythmic motif is
repeated throughout, and sets up the final 8 bars of the piece. Rhythmically in the A sections Berlin
employs a laid back melody involving quarter note on beat 2 followed by quarter note triplets
encompassing beats 3 and 4. As we will see in the C section of the piece, Berlin will revisit this rhythm
with new melodic material to unify the entire 32 bars of the song.
In the second section (ms 9), Berlin departs from his rhythm he's been working with and goes with
a simple and common syncopation in bar 10 anticipating beat 2. Then, similar intervalic material is
revisited (ms 13 – 16) however rhythmically 'corrected'. That is to say, without the syncopation that is in
ms 10. Melodically through the B section Berlin descends from the note F on the top line of the staff which
happens to be the root of the F major chord that is on the downbeat of the 9th bar. The B section is more
intervallic then section A. While there still is stepwise motion (ms. 14 and 15) there is considerably more
descending drops in the melody. In the opening measure we see a 4th, then a 3rd (ms 11) and another
descent of a 3rd in bar 13, then an upward motion of a 3rd in bar 15. After this, we return to the A section
and repeat the same 8 bars before moving to the final section of the piece.
The final 8 bars of the tune follows a line that descends from scale degree 1 in the major key
(since the downbeat of C is a F major chord) and moves down, stopping to accent important notes in the
key (the Octave, the lowered 7th to give a blues inflection, the 4th (Bb in this case, the 3rd of the G minor
chord that lands on that bar), the note A, the 3rd of F major and finally arriving at the tonic defining F in
the 1st space in treble clef. This use of a blues inflection lines up with the lyric line “...And if I ever lost
you, how much would I cry?”. A sad lyric matching a blues sound (b7 against the tonic chord). This
Descending line gives the melody a sense of closure and a strong ending. Mixed with the bluesy note
choices matching the harmony written it has a very interesting ending, not quite diatonic, yet not 'outside'
in any real way.
An overall point of interest with the melody as it relates to the lyrics is how Berlin's lyrical phrase
are used in the form of questions. For example
“How much do I love You? I'll tell you no lie
How deep is the Ocean? How high is the sky?
How many times a day do I think of you?
How many roses are sprinkled with dew?”
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.