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It is a well-known fact that some songs live a long life and can become eternal and widen the list of human masterpieces. During the years after their creation, such kind of songs develops in accordance with the existing trends. And this feature is very interesting in terms of observing the development of music trends in a definite country or even in the whole world. The song I’ve Got You Under My Skin is one of those which will last for years and years. It was sung by different people, at different times, and in different manners. This essay deals with two variants of this song introduced by Frank Sinatra (further also referred to as Song/Variant/Version 1) and Mel Torme (further also referred to as Song/Variant/Version 2).
Even though it is the same song these two versions differ greatly. First of all, the tempo of both variants of the song can be defined as a ballad: both songs are very melodious and lyric. These two versions can be characterized by syncopation but to a different extent. Thus, Frank Sinatra’s song changes the rhythm almost in the middle (a bit closer to the end): it becomes more energetic and dynamic. It is necessary to point out that the change is obvious and mutual for the melody and the singing. As far as Mel Torme’s version is concerned the rhythm changing can be traced in several parts of melody and the singing, but the change is quite subtle, it is more like a kind of improvisation. Only closer to the end of the song, the melody is abrupt and then proceeds in a way it flew in the very beginning of it. Another very important characteristic of these two songs can be the text-setting, in terms of which the differences appear. For Variant 1 is more syllabic in text-setting, here few melismatic words can be found, the singing goes straight with the music. A very demonstrative example of the melismatic word is the word “Don’t” which opens up the last verse of the song. And on the contrary, Variant 2 is quite melismatic, because the melody accompanies the singing rather than goes with it. The singer improvises and goes quite beyond the melody, but, of course, doesn’t go too far. The melody accompanies the singing here. It is also very important to mention the use of musical instruments: Version 1 can be characterized by drums, brass, and woodwind which form the melody, and saxophone which accompanies the melody and makes the necessary accents. The drums and brass go straight with the singer, forming an accomplished whole. As for Version 2, it is formed by the sounds of guitar and woodwind (flute more likely), and it is accompanied by brass and some idiophone (maybe ganzá). The guitar and flute keep the rhythm of a melody, but brass gives some fresh sounding and enhances the improvisation of the singer. And it is quite significant that there is a kind of improvisation in melody and more authentic improvisations in the singing, for Mel Torme sings with vibrato. Version 1 cannot be characterized by improvisation to such extent, though there are parts of improvisation (at least kind of) in melody and, of course, Frank Sinatra improvises with his voice, singing with vibrato. To my mind, both songs are very beautiful but still, I prefer the song of Frank Sinatra. This version is more dynamic and, I think, it is more emotional. This is a love song and, in my point of view, it will have a happy end, so the melody and the way of singing must be more energetic, in a way Sinatra sings it. It’s very positive and amusing, so I can imagine a boy with flowers saying about his love to a girl, who accepts the flowers and love; they both laugh and dance. The play of saxophone and drums is like an explosion of happy emotions, which affect me in a very peculiar way, making me feel happy.
The same song I’ve Got You Under My Skin is executed in two different ways by two different people Frank Sinatra and Mel Torme. And it makes sense because everyone has his/her own vision of the same things. So now we have two songs, one of which is more lyric and the other is more dynamic and more jazz-like. These differences are made by the instruments, rhythm, and singing improvisation. Sax and drums make the melody very energetic and even hot; but guitar and flute make it sound more sincere, lyric, and sensitive. And it is also necessary to add that these two variants can help us to trace the development of music. The song itself was created in the times of the jazz, and Sinatra maintains this style, but Mel Torme sings it differently. Thus we can trace the changing of trends and the creation of new popular styles.
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