It must be noted that every sound on Bobby McFerrin’s “Don’t Worry, Be Happy” is done with his body. Every instrumental part is McFerrin’s recorded voice, and there is also the sound of him beating on his chest percussively throughout the piece.
The song kicks off with the refrain of the song, this time a whistled melody, while a low voice walks a bass line, and two note chords are harmonized with a classic reggae rhythm.
Bobby McFerrin sings the song in a playful style, with a joking Rastafarian accent. The form of the song is simple. The refrain returns, this time as an ooh, then McFerrin sings some things that are problems, then sings “don’t worry, be happy”
The whistle refrain gets harmonized the second time around, while a voice chimes in saying funny lines such as “look at me, I’m happy.”
By the third verse, the chords become more syncopated, a little more energized, and though the song’s been repeated the same so far, there’s no feeling that it should stop. I feel happier.
The fourth verse is a wrap up, McFerrin repeats some earlier lyrics with an even sillier rasta take, and then one last refrain closes it out, growing into a three part “ooh” harmony, while McFerrin speaks over it, it repeats at the song fades. The last words heard are “I’m not worried…I’m happy”
Historical Background
“Don’t Worry Be Happy” was released by Bobby McFerrin in 1988 to widespread acclaim, reached number one on the US Pop Charts. McFerrin was born in 1950 in New York City to musical parents. His father sang the part of Porgy in the 1958 film release of Porgy and Bess, though on screen Porgy was played by Sydney Portier. Originally a pianist and organist, McFerrin didn’t take to singing until age 27, the years prior spent accompanying dance and theatre with his keyboard skills. He received his schooling in music from his family as well as stints at California State University and Cerritos College, studying composition and orchestration. He began singing while in Salt Lake City, Utah accompanying a dance troupe there, and began years of personal training, where he stopped listening to other singers in order to find his own voice.
McFerrin expresses a huge interest in improvisation, and drew many of his initial inspirations for the voice from pianist Keith Jarret, who’s known for his two-hour long performances of solo piano improvisations.
Aside from winning Song of the Year, Record of the Year, and Best Male Pop Performance at the 1988 Grammy Awards, “Don’t Worry, Be Happy” was also the first a capella song to ever chart at number one on the US Charts. The song also peaked at number 2 on the UK charts. The song was on the album also titled “Don’t Worry, Be Happy,” which aside from McFerrin’s compositions featured jazz standards such as “A Night In Tunsia” and “Round Midnight”
Formal Analysis
Though the song sounds initially easy and simplistic, there are actually a multitude of subtleties within the parts. The fact that all the parts are vocal is deceiving, it causes the listener to think the individual pieces are simpler than they actually are. The form itself however, is fairly simple. Here is a sketch of the form:
Intro (16 bars)
First time whistle, second time with harmony
Verse 1 (16 bars)
Chorus (16 bars)
Oohs, second time with harmony
Verse 2 (16 bars)
Chorus (16 bars)
“hey I give you my phone number, when you worry, call me, I make you happy”
Verse 3 (16 bars)
Varied rhythms in rhythm parts
Chorus (16 bars)
“hey I give you my phone number, when you worry, call me, I make you happy”
Verse 4 (16 bars)
Varied rhythms in rhythm parts
Chorus (16 bars)
Chorus (16 bars)
fade out after
The entire song is one 8 bar progression in the key of B major, repeated. The progression is as follows: Two bars of B major, two bars of C# minor, and two bars of E, and two bars of B. The duples being sung as rhythm chords during the last two measures of B change from B to E, but the E duples serve as suspensions over B, so the chord is still B, though if you wanted to get specific you could say 2 beats of B and 2 beats of E with a B in the bass. Because this is a pop tune, that deep of an analysis is not necessary.
Here is an orchestration I did of the introduction, the first sixteen bars. It’s a good representation of the entire piece. The piano part represents the rhythm part in the treble cleff, harmonizing the 3rd and 5th of the B chord, then voice leading to the 3rd and 5th of the C# minor, then staying on those notes which become the root and 3rd of the E chord.
The bass part is accurately represented in the transcription I did of the intro, and McFerrin varies the part as the piece progresses, but always outlining the chords, with the bass under the first B chord starting on the root and then finishing on the 5th, then the bass beneath the C# minor and E chords arpeggiate the chord tones, including the 9th for the C#, and the bass parts also accentuate the similarities between E and C# minor.
Rhythmically, the song is has a reggae shuffle feel. Two eighth notes become equated to an note triplet, with the first to notes in the triplet tied together INSERT GRAPHIC
It should be noted that in his singing of the rhythm duples (treble clef in the piano part), McFerrin clicks his tongue on the upbeat before the first note in every pair. So in the first measure, there’s a tongue click on the upbeat of beat one, and so on and so forth.
He also occasionally varies the eighth note pattern of the rhythm duples, in the second verse one of the voices in the harmony changes to a dotted eighth note pattern for a measure, giving a straight six over four feeling. This reoccurs without pattern during the piece.
There is also a quick ascending wordless melody that appears over the second and final verses, which arpeggiates up the 3rd, 5th, major 7th, and ninth scale degree of E major.
Sound in Time
0:00-0:13 The introduction begins with five parts, the bass, two rhythm harmonies, the lead whistle, and the chest percussion, which could be on a separate track or recorded simultaneously with a vocal part
0:13-0:28 a harmony comes in above the lead whistle part, starting a third above.
0:28-0:55 the first verse is sung, the bass, chest percussion, and rhythm harmonies continue as they did in the introduction
0:55-1:23 The first chorus, with the whistle part from the intro being sing with an “ooh,” and the same harmony coming in above it the second time. On top of this the words “don’t worry” “be happy” and then “don’t worry, be happy” are spoken over each chorus repetition.
1:23-1:51 The second verse is sung, at the end of the first half of this verse, a high voice arpeggiates up the extensions of an E major chord.
1:51-1:53 The words “look at me, I’m happy” are spoken
1:53- 2:19 The second chorus is sung, same form as the first chorus., with the one of the rhythm harmony voices clicking eighth note triplets in measure 5 of the chorus and measure 6 of the second chorus.
2:19-2:47 The third verse contains both rhythm harmonies sometimes syncopating their parts as dotted eighth notes rather than regular shuffled eighth notes. You can also hear the rhythm voices breathing louder.
2:48- 3:14 The third chorus has the same form and composition as the rest, and the bass part becomes busier, sliding around the octave and frequenting more notes.
3:14 – 3:42 The vocals are sometimes spoken rather than sung, and a whistle is heard once. The vocals also repeat the first verse, but with little interjects such as “like good little children.” The rhythm voices syncopate the dotted eighth pattern again and you can hear the breaths louder. The E major extension arpeggiation also returns.
3:42-4:09 A fourth chorus is sung similarly to the 3rd chorus
4:09- The third harmony part comes in on top of the “oohs” and the chorus repeats again twice, a voice speaks “don’t worry, don’t worry, don’t do it, be happy, put a smile on your face…” on top of this chorus. The song fades out as the rhythm voices syncopate a never before heard rhythm of eighth note triplets.
Textual Representation
Here's a little song I wrote
You might want to sing it note for note
Don't Worry — Be Happy
In every life we have some trouble
But when you worry you make it Double
Don't Worry — Be Happy
Ain't got no place to lay your head,
somebody came and took your bed
Don't Worry, Be Happy
The landlord say your rent is late,
he may have to litigate
Don't Worry — Be Happy
Ain't got not cash, ain't got no style,
ain't got no gal to make you smile
Don't Worry — Be Happy
Cause when you worry your face will frown
and that will bring everybody down
Don't Worry — Be Happy
I retrieved these lyrics from Bobby McFerrin’s official website, so we can assume they were condoned by McFerrin to be the lyrics he wanted released. What’s interesting is that these lyrics leave out many more words that are said in the song. During the second chorus, McFerrin speaks the line “Here I give you my phone number, when you worry call me.” There’s also a fourth verse, which although it repeats earlier lines, there are also new developments and worth reading:
There is this little song I wrote
I hope you learn it note for note
Like good little children
Don't worry, be happy
Listen to what I say
In your life expect some trouble
But when you worry
You make it double
Don't worry, be happy......
Don't worry don't do it, be happy
Put a smile on your face
Don't bring everybody down like this
Don't worry, it will soon past
Whatever it is
Don't worry, be happy
Reasons for the absence of these lyrics on the official website can be speculated. My thoughts are that McFerrin intends those spoken lines only to heard, never read, like he’s whispering them in your ear, that extra reassurance to be happy which you can only experience in the context of the song.
The lyrics are overwhelmingly positive, and the great thing about this song is that there’s no hidden motive, no layers, every intention is on the surface and all you need to hear is the title to know what you’re in for. “Don’t Worry, Be Happy.” The format of the lyrics stay conistent: part a., here’s a problem, part b. don’t worry, be happy. Maybe after hearing a few of the lyrics separate from the song a listener could easily say “well, whatever.” But by the end, Bobby McFerrin gives you a wide array of issues that you don’t need to worry about, and you should just be happy. It’s simple.
Bobby McFerrin has stated that he took the phrase “Don’t Worry, Be Happy” from Meher Baba, an Indian Hindu spiritualist from the early 20th century, who often said the phrase.
Virtual Feeling
I’m going to start off my report on virtual feeling by linking it with a textual analysis, because I believe its necessary. This piece is particularly unique in that the lyrics are proudly shallow. The term shallow is almost always used to convey a negative lack of interest or meaning, but not in this case. These lyrics do not need depth. They immediately convey the composer’s wish that the listener “be happy.” There is no importance laid upon it, just that he’d like you to feel that way. McFerrin’s lyrics describe the piece as “a little song I wrote,” and the whole song is sung in a comedic Rastafarian manner. The song makes you feel happy, and you cannot escape it. The lyrics make you feel happy, the vocal renditions of every instrument brings joy, and the song as a whole, the reggae stylings and funny vocal tone is humorous and happy as well. The beauty of it all is that there is no question to that fact. You won’t ever have to consider “well, is this really what the composer intended.” The song is just too concrete. McFerrin seemed to do the impossible: ensure that a listener knew exactly what he was feeling and what he wanted as a composer. Somehow this transcends children’s music, that also have equally honest lyrics but we write off as being too “on the surface” or just plain “intended for children.” Perhaps it’s McFerrin’s deeply rooted connections to orchestras (his favorite hobby is to conduct) and jazz (he’s recorded two albums with piano great Chick Corea) that make us take him more seriously, and allow him to tell us to take ourselves a little less seriously.
Ontological Worlds
Bobby McFerrin couldn’t have picked a better time to release “Don’t Worry Be Happy.” 1988 was a year of change and global troubles, and the world was in need of a pure, positive lift. MTV was still exciting, having been launched in 1981, but it had also been around long enough for certain bands and music to become routine on the channel. A list of MTV’s top videos in ’88 include the following: Tone Loc- Wild Thing, Bruce Springsteen- Tunnel of Love, Michael Jackson- Dirty Diana, U2- Desire, U2- I Still Haven’t Found What I’m Looking For, Guns ‘N Roses- Welcome to the Jungle, Guns ‘N Roses- Sweet Child O’ Mine, Aerosmith- Rag Doll, Poison- Every Rose Has Its Thorn, Posion- Nothin’ But a Good Time. The repeated artists and fad styles represented show a troubling time for music, so McFerrin’s release truly stuck out.
The music video for Don’t Worry Be Happy, which reached number one on the MTV countdown, also featured Robin Williams and Bill Irwin, running around and being silly for the duration of the song.
1988 is also the year that AIDS really began spreading and scaring in the US. The year held a World AIDs Day to raise awareness, and doctors were being encouraged to break confidentiality agreements to war patients’ partners about getting tested for AIDS.
This was also the year that Crack first broke out in the US, an addictive hard drug, cheaper and more available than cocaine.
With so many reasons for one to worry, it isn’t hard to see that McFerrin had just reason behind his timing of the release. It is noteworthy that in the lyrics he never references anything timely. No politics, though his “somebody came and took your bed” lyric could reference homelessness but I’d rather not read into it that heavy. The lyrics are light, and the song is something anyone can relate to, no matter what trouble.
2008 Ontological
As a culture we have no shortage of problems and worries today. Bobby McFerrin surely knew he was writing a song that could be listened to in 1876 and 2008 and still be felt the same way, still have the same positive affect. I do have one anecdote that shows otherwise.
On April 11th I went to see a band called Man Man perform at the Masonic Temple in Brooklyn, NY. The opening band had finished, and the interim music was playing over the PA. After a few songs, “Don’t Worry Be Happy” came on. Everyone in the audience perked up, many were singing along, some were dancing, it was clear many hadn’t seen the song in a while. The song finished, and then it came on again. Laughter occurred, and people still danced and some got more into the song. The second repetition of the recording ended, and there was a brief, comedic pause, then “Don’t Worry Be Happy” started again, from the very beginning. By the fifth repeat of the song, the recording increased in volume, and people were noticeably angry, yelling for the song to be turned off and for the band to come on. Needless to say by the end of the sixth and final time the song was played, not many people were happy.
I, however was. I found it hilarious that the repeating of such a positive song could annoy and worry so many people. The irony was thick and I was laughing.
Second Open Listening
This song has an immediate crispness. That is what I realize now, during the second listening. Part of it is the recording, it is incredibly clean, and well mixed considering every part is coming from the same instrument! You listen to this song played by all guitars and all the mixing in the world can’t keep it from sounding muddy or oversaturated. That fact says a lot for the talents of Bobby McFerrin and the ways he can warp his voice.
I recognize the crispness because I don’t really take in anything else from the recording now that I didn’t the first time I ever heard the song. It is incredibly open and available, sonically. The sounds I hear now are the same sounds I know I heard twenty days ago when I listened to the song. The voices are panned very appropriately, and there is a lot of energy in the sounds which give the listener room to breath, while still being engaged.
Performance Guide
Bobby McFerrin has truly established himself as a versatile individual. He has conducted symphonies, had a number one MTV video, and when I saw him perform he vocally rendered the entire movie Wizard of OZ in five minutes. It was hilarious. That being said, he has also established that there is only one Bobby McFerrin. No one else has even tried to do what he does, in the way he does it. He’s a truly unique performer who has carved out a space for him in culture which he occupies alone, allowing other masters to enter to collaborate, such as Chick Corea. Everything that makes this song perfect lies in the fact that it all comes from Bobby. All Bobby, all the time. So, if you’re not Bobby, you can’t truly perform it. But that doesn’t mean you can’t recreate it.
If you go to BobbyMcFerrin.com, there is a link on the top of the page titled “singing and playing with Bobby.” When you click it, you’re given the chance to arrange and mix the parts for “Don’t Worry Be Happy.” He re-recorded parts as six tracks, and you’re given six rows. You can drag the different part into a row, and when you do that the part plays, so you can hear each part individually and mix it to your pleasing. It’s important that he re-recorded the parts because it maintains the integrity of the original recording, making this one a brand new “Don’t Worry, Be Happy” that you, the orchestrator, take part in. This also presents the generosity and playfulness of Bobby McFerrin, proving the song to be more honest and gimmick-free than ever.
Meta Critique
Upon review of my analysis, I think I may not have been as objective as I could have been. It is clear from the start how much I enjoy the song, and the feelings of happiness it brings me are visible in parts of the analysis other than virtual feeling. I believe that a strong level of emotional objectivity is difficult to obtain, however, when a song has an emotion as its centerpiece.
I could have also gone more in depth with explaining the harmonic aspects of the piece in the referential representation I gave, rather than just the introduction. I could have scripted out the entire piece and truly recorded the subtleties in McFerrin’s inflection rather than just loosely describe them verbally. The same can be said for the depth I went into McFerrin’s personal history.
For the most part, however, I truly feel that I took the context of the Eclectic Analysis and approached “Don’ Worry Be Happy” in every way I can. I feel a bit tired from the process, and probably will have to refrain listening to the song for a while, lest I suffer the similar effects it had on the audience at the Man Man concert, but my investigations in this analysis have only solidified my feelings about this song being pure and great.
SOURCES
http://www.avert.org/his87_92.htm
www.bobbymcferrin.com
http://en.wikipedia.org/wiki/Meher_Baba
www.npr.com
http://www.thepeoplehistory.com/1988.html
http://www.fromthetop.org/Programs/HallOfFame.cfm?pid=1844
www.allmusic.com
