Isn't It A Pity? Sheet Music Preview

Isn't It A Pity?: E-Z Play Today

By George and Ira Gershwin / As performed by Barbra Streisand

Item: 35-DS00616283

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Additional Details
Publisher: Hal Leonard
Page Count: 3
SKU: 35-DS00616283

More about this title

About the Composer: George and Ira Gershwin

George Gershwin (1898-1937) was an American composer who bridged classical and popular music with unprecedented sophistication. His melodies are instantly recognizable, yet built on harmonies and orchestrations that reward close study. Ira Gershwin (1896-1983), George's lyricist brother, crafted witty, rhythmically inventive lyrics that sit perfectly on George's music. Together they defined the Great American Songbook, creating standards that remain central to jazz, cabaret, and musical theater repertoires.

For music educators, the Gershwin brothers represent a crucial teaching moment. Their work demonstrates how populist art and serious compositional craft are not opposites. A pianist studying "Isn't It A Pity?" encounters genuine harmonic complexity, sophisticated voice leading, and the discipline required to serve a lyric while maintaining musical integrity.

Why we love this

This song sits in that rare category where simplicity and sophistication coexist. The melody is memorable enough for a beginning student to sing immediately, yet the harmonic movement and jazz-inflected chords demand real musicality. Barbra Streisand's iconic recording established how generous and spacious this tune can be when given room to breathe.

What to expect

There's a bittersweet tenderness to this piece. The melody reaches plaintively, supported by chords that color every phrase with wistfulness. The overall effect is intimate and reflective, as if you're eavesdropping on someone processing a loss they're trying to understand.

Who it's for

Pianists working on jazz standards, American songbook repertoire, or Broadway interpretation will find this a rewarding study. It's accessible enough for intermediate students but offers enough harmonic and stylistic nuance to challenge advancing players. Directors building a contemporary or musical theater program can use this as a solo or ensemble feature.

How to get the most out of it

  • Let the left hand establish the harmonic foundation without overwhelming the vocal line. George's chord progressions are the point; make sure they're audible without competing.
  • Find the conversational quality in the phrasing. This is a lament, not a belted declaration. Space between phrases matters as much as the notes themselves.
  • Approach key modulations with clear voice leading so listeners sense the harmonic journey rather than hearing abrupt shifts.

How to use it

This works beautifully as a solo feature in a cabaret-style concert or a Broadway-themed program. It pairs well with other Gershwin material or with American standards from the same era. Consider it for a mid-program moment where you want to shift the energy toward something more introspective.

Skills your students will build

  • Interpreting jazz harmonies and understanding chord extensions
  • Balancing melody and accompaniment in songs with sophisticated harmony
  • Phrasing lyrical material with sensitivity and space
  • Sight-reading three pages of Broadway-style notation
  • Connecting pianist accompaniment to the emotional arc of a song

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