You'll Be in My Heart

You'll Be in My Heart is a song from the animated film, Tarzan. Tarzan was directed by Kevin Lima And Chris Buck. The movie was released on 18 October, 2005 by Walt Disney Studios Home Entertainment.

Tarzan is an animated adaptation of Edgar Rice Burroughs's story of an ape man. Tarzan was adopted by a family gorillas after his parents were killed by a cheetah. Tarzan learnt to live like a gorilla until the "invasion" of humans and Tarzan was torn between choosing to follow the lives of humans such as Jane or to continue his life with his family of gorillas.

The music, You'll Be in My Heart, was written by Phil Collins. The music tells the story of a mother's heart. In this case, the heart of a mother gorilla to her human son.

You'll Be in My Heart (Film Version)

You'll Be in My Heart (Pop Version)




You'll Be in My Heart (Lyrics)

Verse 1
Come stop your cryin'
and we'll be alright
Just take my hand, hold it tight.
I will protect from all around you,
I will be here dont you cry.

Verse 2
For one so small, you seem so strong.
My arms will hold you keep you safe and warm,
This bond between us cant be broken,
I will be here dont you cry

Chorus 1
'Cos you'll be in my heart,
yes you'll be in my heart,
From this day on now and forever more.

You'll be in my heart,
No matter what they say,
You'll be here in my heart,
Always.

Verse 3
Why can't they understand the way we feel,
They just don't trust what they cant explain.
How know your different
Deep inside us, where not that different at all.

Chorus 2
And you'll be in my heart,
yes you'll be in my heart,
From this day on now and forever more.

You'll be in my heart,
No matter what they say,
You'll be here in my heart,
Always.

Bridge
Don't listen to them, 'cos what do they know.
(what do they know)
We need each other, to have to hold.
They'll see in time, I know.

When destiny calls you, you must be strong
(you gonna be strong)
I may not be with you, but you got to hold on.
They'll see in time, I know.

We'll show them together 'cos

Chorus 3
You'll be in my heart,
Believe me,
You'll be in my heart.
I'll be there from this day on,
now and forever more.

Ooh you'll be in my heart
(you'll be here in my heart)
No matter what they say
(I'll be with you)
You'll be here in my heart
(I'll be there)
Always

Coda
Always
I'll be with you,
I'll be there for you always
Always and always.
Just look over your shoulder x3
I'll be there always.

Overall Music

The piece is fairly catchy, with its syncopated rhythm (which happens almost throughout the whole piece) and the use of simple melodic lines. The use of modulation in the music makes the piece of work rather "colourful" and interesting as it builds on some intensity of the music.

Personally, what I like about the song is the words used as it tells a story of two different world coming together as one. In this case, the world of a gorilla mother and the world of a human. Somehow the lyrics is also quite encouraging, for example, the line that sings,

"When destiny calls you, you must be strong. I may not be with you, but you've to hold on."

Form (of entire song)

V1 - V2 - C1 - V3 - C2 - B - C3 - Co
Where V=Verse, C=Chorus, B=Bridge, Co=Coda

Verse 2 is fairly similar to Verse 1, however there are some changes in the rhythmic pattern. Thus, I named it V2. V2 returns, with different text as V3. The chorus is grouped as C. Chorus 1 and Chorus 2 are similar elements. However, Chorus 3 has a modulation to F Major (piece starts in F# Major). Personally, I feel that the chorus (C-section) could be divided into 2 sections (8+9). Even though the full section is known as C, the reason why I feel that it could be divided into 2 sections is because of how the melody enters. In the first section, the melody enters with an anacursis while the second section enters on the first beat of the bar.

B and Co are relatively new ideas as compared to verse and chorus. B and Co, respectively, are the bridge and coda of the music. Both sections consists of rather new ideas with suspensions seen in the sections. So, instead of expecting a return of the verse section as the ending, the composer introduced a coda section to end the work.

Overall, the music keeps modulating to different keys, starting from F# Major - Eb Major - F# Major - Eb Major - Ab Major and finally ending in F Major.

Thus, what sort of form would this piece of work take on? Ternary from (A, B, C) with an added coda section?

Score Analysis (First 3 Pages out of 7 Pages)

(Courtesy of Forpiano.com: http://forpiano.com/FILEX/Y/2z359dlajv/phil_collins--youll_be_in_my_heart.pdf)

Chord Analysis/Harmonic Function

The music takes on fairly simple chords (unless analysed wrongly) with occasional tonicization used as a cadence to modulate to the next key.

Phrase Structure

I kept questioning myself if the phrasing is of simple period or double period or neither. The reason behind this is because there is no actual perfect authentic cadence at the point where I feel that it is the consequent phrase except for the first 4 bars of Section V1. The antecedent phrase does not have a proper melodic closure as the melody ends on an A# which is the mediant of F# Major while the consequent phrase has a more proper closure. Subsequently, I am not able to find a perfect authentic cadence and kept wondering if I have analysed my chords wrongly, or is exceptional cases. Whichever the case, I analysed the phrases to my utmost understanding and realised that the phrases are fairly regular until it reaches the chorus. For the chorus section, I feel that it is made up of a phrase of 2+2+3, where 3 has an extended bar.

If I take into consideration of what Dr Chong mentioned about "how the melodic phrases do not end on a standard cadence", I would say that the music takes on a double period (analysing Sections V1, V2 and V3).

Hypermeasure

For this section, I will be touching on Section V1, V2 and V3 as well as Section C1 and C2.

For Section V1, V2 and V3, the entry of the phrase is usually on the quaver beat of the first note. The phrase last for 2 bars. However, there is a shift in melodic rhythm when the chorus enters. The phrase starts on the final quaver of a previous bar. Somehow, the pick up notes seems acts as an anacursis. As for the harmonic rhythm, I feel that it is rather irregular as it seems like the chords neither changes after every bar or every beat.

As for hypermetric regularity, I do feel that there is a regular of 4 bars for the verse sections as well as the chorus sections.

FINE