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AQA Music
A Level
Area of Study 4:
Music for Theatre
NAME:
TEACHER:
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Contents Page
Contents Page
number
What we are studying
3
Timeline
4
Kurt Weill
5
The Threepenny Opera
6
Rise and Fall of Mahagonny
9
Richard Rodgers
10
Oklahoma!
11
Carousel
15
Stephen Sondheim
16
Sweeney Todd
17
Into The Woods
21
Claude-Michel Schonberg
22
Miss Saigon
23
Les Miserables
26
Jason Robert Brown
27
The Last Five Years
28
Parade
31
Essay Questions and unfamiliar listening tests
32
Vocabulary specific to this unit
33
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One essay question will be set on this topic. You will choose between answering an essay on Music
for Theatre or on Jazz. You will need to answer listening questions and shorter essay questions on
both topics, so you must study both. You will be studying these named artists and these
suggested pieces from the board:
Artists Pieces (Suggested listening)
Kurt Weill Rise and Fall of the City of Mahagonny:
- ‘Alabama Song’
- ‘Havana Song’
The Threepenny Opera:
- ‘Ballad of Mack the Knife’
- ‘Jealousy Duet’
- ‘Pirate Jenny’
Richard Rogers Oklahoma!:
- ‘Oh, What a Beautiful Mornin’’
- ‘Lonely Room’
- ‘Oklahoma’
Carousel:
- ‘Louise’s Ballet: Pas de deux’
- ‘What’s the Use of Wond’rin?’
Stephen Sondheim Sweeney Todd:
- ‘Prelude’
- ‘Green Finch and Linnet Bird’
- ‘A Little Priest’
- ‘My Friends’
Into The Woods:
- ‘On the Steps of the Palace’
- ‘Agony’
- ‘Giants in the Sky’
- ‘Last Midnight’
Claude-Michel
Schönberg
Miss Saigon:
- ‘I’d Give My Life for You’
- ‘Bui Doi’
- ‘I Still Believe’
Les Miserables:
- ‘One Day More’
- ‘Bring Him Home’
Jason Robert Brown The Last Five Years:
- ‘Still Hurting’
- ‘Moving Too Fast’
Parade:
- ‘This is Not Over Yet
- ‘All the Wasted Time’
What you need to know:
Context about the artist and the era(s) in which they were influential and the effect
of audience, time and place on how the set works were created, developed and
performed
Typical musical features of that artist and their era – their purpose, how they
developed over time and why each era is different
Musical analysis of the pieces listed for use in your exam
How to analyse unfamiliar pieces from these genres
Relevant musical vocabulary and terminology for the set works (see back of pack)
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Timeline
Kurt Weill (1900-1950,
German: worked early in Germany,
later in USA)
Rise and Fall of the City of Mahagonny
(1930)
The Threepenny Opera (1928)
Richard Rogers (1902-1979, American)
Oklahoma! (1943)
Carousel (1945)
Stephen Sondheim (1930- present, American)
Sweeney Todd (1979)
Into The Woods (1986)
Claude-Michel Schönberg (1944-
present, French)
Miss Saigon (1989)
Les Miserables (1980)
Jason Robert Brown (1970-present, American)
The Last Five Years (2001)
Parade (1998)
1920s
1940s
1970s
1930s
1950s
1960s
1980s
1990s
2000s
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Kurt Weill (1900-1950,
German: worked early in Germany, later in USA)
Context
Born in Germany in 1900, Weill was one of the most popular composers for stage, especially when
collaborating with Bertolt Brecht. He became an American citizen in the 1940s. He was active
between 1920-1950. He started composing at the piano at the age of 13. He pursued a Classical
career until he composed a children’s pantomime (The Magic Night) in 1922.
The Threepenny Opera (Die Dreigroschenoper) is one of Weill’s most famous contributions to the
genre. It is a ‘play with music’ that was first presented in 1928 Berlin and investigates the issues of
love, rivalry and revenge in Victorian London. The plot is very similar to John Gay’s The Beggar’s
Opera, which was premiered some 200 years before. A film version was released in 1931 offering
another way of engaging with the music.
Home learning:
Find out the plot of Rise and Fall of the City of Mahagonny and The Threepenny Opera and
where the chosen extracts fit.
Look more deeply into Weill as a composer and a man. What were his beliefs, his musical
style?
https://www.google.co.uk/url?sa=i&source=images&cd=&cad=rja&uact=8&ved=2ahUKEwiWobKko7zbAhWMaRQKHeSNB2kQjRx6BAgBEAU&url=https://en.wikipedia.org/wiki/Rise_and_Fall_of_the_City_of_Mahagonny&psig=AOvVaw39TLFjOUNjxNUR0CN52T0x&ust=1528279546089984
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The Threepenny Opera (1928)
1) The ballad of Mack the Knife: https://youtu.be/TcJkrTaZYS8
2) Pirate Jenny: https://youtu.be/3eENWTA0bs4
3) Jealousy Duet: https://youtu.be/Vewp-7ewEWQ
Task 1: Listen to the pieces and create an analysis sheet for each
Think about:
1. What is the purpose of the song?
2. What musical features can we hear? How do they facilitate the purpose?
3. Is it typical of its era?
4. How do the composers’ pieces compare? How has the style of the artists’ music varied over time?
5. How is this typical of the composers’ style and use of musical devices?
6. How do these pieces reflect the style of the genre and their purpose/ intentions for the work?
Analysis – ‘The ballad of Mack The Knife’:
Possibly the most famous song from Threepenny Opera, ‘Mack the Knife’ is the opening musical
number and is sung by a street musician, often complete with barrel organ. The piece evokes the
moritat tradition by the use of dark lyrics, which show the central protagonist Macheath in an
unfavourable light. Indeed, links can be made between this character and the case of Jack the
Ripper, a serial killer – he was never caught – who was active in the East End of London in the late
1880s.
Opening song in the ‘play with music’.
Moritat – (‘deadly deed’) a song sung by a Cantasoria telling a dark or sad story with a
moralistic quality.
Cantastoria – ‘story-singer’ who performs using actions and a set of images to enliven the
performance.
Over years, translations from German to other languages and performances by different
artists and composers has meant that the lyrics are slightly altered, though the overall
message is the same.
Louis Armstrong recorded a version in the 50’s and so contributed to its place in the Jazz
canon as a Standard. Bobby Darin also recorded a version which went to number 1 in
1959.
The 1989 film adaptation uses Weill’s music with some subtle changes - raises each verse by
a semitone to increase the tension and excitement.
https://youtu.be/TcJkrTaZYS8https://youtu.be/3eENWTA0bs4https://youtu.be/Vewp-7ewEWQhttps://www.google.co.uk/url?sa=i&source=images&cd=&cad=rja&uact=8&ved=2ahUKEwjZ6-bzorzbAhVKVRQKHQfMBE0QjRx6BAgBEAU&url=https://variety.com/2016/legit/reviews/the-threepenny-opera-review-rory-kinnear-1201785026/&psig=AOvVaw2ynCBBIxQhTVaoPdFfl3cq&ust=1528279470142549
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Structure: strophic (each verse is set to the same music), only small changes made to the
accompaniment pattern to provide contrast between the different verses. The opposite to
this is through-composed (each verse is set to contrasting music)
Harmony: The piece is based around a repeating chord sequence using C6, Dm7, G9 and
Am 4-3 suspension chords – essentially I, ii, V and vi in C major:
The harmonic rhythm is steady at one chord for every two bars of 2/2 time. The only
change to this is where the suspension on the A minor chord occurs, which resolves after
one minim beat in the vocal part.
The use of extended chords helps to set the scene by evoking jazz, typical of Weill’s style.
The harmonic progression is supported by a bass outlining tonic and dominant on each
minim beat. While this might appear simple, it is important to remember the context of the
piece and who is performing it – a barrel organ played by a street vendor.
The melodic lines make much use of similar rhythmic values: the dotted crotchet +quaver
+minim starting on the second minim beat of the bar are particularly prevalent:
Also important is the use of a descending interval of a minor 7th, which features towards
the end of the verse. Consider the reliance on the note A in the verse – each 2-bar
phrase heads there, and when the melody eventually goes above the A to a D, it is
accompanied by an A minor chord, creating an unprepared 4-3 suspension.
In some versions of the piece, the penultimate verse is the most elaborate with
chromatic harmony complementing the repeating melodic line as a new
countermelody. This chromatic descent is essentially a minor chord in first inversion
falling through A minor, G#minor, G minor, F#minor, F minor and E minor. The bass here
also changes to repeat the main melody a bar later, imitating the opening idea and
subjecting it to musical development.
Why do you think this song has been so popular – both within the Threepenny Opera
and when performed by artists covering the song so many years after?
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Analysis – ‘Pirate Jenny’:
This song was originally placed in the first act of the three-act show, but it is often moved to
the second act. This allows for the song to have increased gravitas owing to the
development plot.
If placed in the second act, the song is sung by Jenny, a prostitute, who has given refuge
to Mackie, her lover. Jealousy soon takes over, and Jenny gives away Mackie’s hiding
position to the authorities, leading to his arrest and eventual execution. The song is filled
with vicious venom: Jenny seems to enjoy the power of her position, imagined in an out-of-
character pirate scene.
The piece uses an ostinato accompaniment pattern, initially based in C minor with an
added D (the 9th) added on the weak beats.
Once the voice has entered, the bass becomes more active, moving from a tonic pedal to
quaver movement outlining both tonic and dominant.
Notice how the vocal melody complements this accompaniment – initially its rhythm is
reversed so that the semiquaver movement of the accompaniment does not coincide with
the vocal movement.
The most interesting aspect of this verse section is the use of unrelated harmonic
progressions. Notice the move to A major with added flattened 6th and 7th on the word
gawkin’, followed by a chromatic descent to an Ab9 chord three bars later. This chord is
then chromatically altered two bars later by adding a minor 3rd and 6th to the chord,
forming an Abm6 chord. As the piece progresses, the harmonic rhythm increases using a
repetition of Ebm7 (with the Db in the bass) and then a Bm chord in second inversion. This is
a significant journey away from the opening C minor tonality: Cm/ A b67/ Ab9/ Abm6/
Ebm7/ Bm
As the intensity of the lyrics continues, so does the use of non-functional harmony: Em7,
G#m7 and G6 are all added to the palette, further exemplifying the turbulent text.
The short chorus section, starting with the lyrics ‘and the ship, a black freighter’ settles in the
remote key of B minor with a sudden use of diatonic functional harmony. Within the B minor
tonality we visit the dominant, F# and the subdominant, E minor. Notice how the dominant
chord is a bare-5th chord, lacking the all-important major 3rd of the triad. This has the effect
of making the verses appear more anguished and gives a real sense of contrast – both
musically and emotionally.
This structure is repeated three times, forming a verse-chorus structure. After this, the verse is
again repeated but at a slower, more march-like tempo, aiding the ever-intensifying text.
Just before the final chorus, the dramatic climax of the song is revealed with freely spoken
text:
In that quiet of death I’ll say ‘right now’
And they pile up the bodies and I’ll say ‘That’ll learn you’
The final repetition of the chorus reveals Jenny’s desire to be on the ship with the pirates,
floating away from the massacre she has just orchestrated. Of course, in this piece Jenny
has stepped outside of her character and has fantasised about a very different situation.
Essay question: Both ‘Mack the Knife’ and ‘Pirate Jenny’ tell morbid stories. Compare and contrast
their use of the musical elements to show how these plots are portrayed.
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Rise and Fall of the City of Mahagonny (1930)
1) Alabama Song: https://youtu.be/Yi-hEFKs9gk
2) Havana Song: https://youtu.be/3ywEhOxIAZ0
Task 1: Listen to the pieces and create an analysis sheet for each
Think about:
1. What is the purpose of the song?
2. What musical features can we hear? How do they facilitate the purpose?
3. Is it typical of its era?
4. How do the composers’ pieces compare? How has the style of the artists’ music varied
over time?
5. How is this typical of the composers’ style and use of musical devices?
6. How do these pieces reflect the style of the genre and their purpose/ intentions for the
work?
Task 2: Complete a summary of Kurt Weill:
What is the composer’s style?
How does he use musical devices to support his purpose?
Summarise the similarity and differences between the extracts you have studied. How is this
achieved through music?
Task 3: Complete the essay question and the listening tasks on the unfamiliar pieces.
https://youtu.be/Yi-hEFKs9gkhttps://youtu.be/3ywEhOxIAZ0
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Richard Rodgers (1902-1979, American)
Context
Written in the early 1940s and opening on Broadway in 1943, Oklahoma! Was the first
collaboration between Richard Rodgers and Oscar Hammerstein II.
Oklahoma! Set the standard for an art form where music, speech, dance and scene-changes
were all integral to the central plot, rather than the music simply providing comic relief to the
storyline. Rodgers also uses a recurring melodic idea or leitmotif to help unify the entire piece.
Home learning:
Find out the plot of Oklahoma and Carousel and where the chosen extracts fit.
Look more deeply into Rogers as a composer and a man. What were his beliefs, his musical
style?
https://www.google.co.uk/url?sa=i&source=images&cd=&cad=rja&uact=8&ved=2ahUKEwjOppWVpLzbAhUHsBQKHWLlCvgQjRx6BAgBEAU&url=http://thewritesideofmybrain.com/2012/06/28/people-love-richard-rodgers/&psig=AOvVaw2qq_W1LeRF3FXN-vjj6VpF&ust=1528279825311816
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Oklahoma! (1943)
1. ‘Oh, What a Beautiful Mornin’’ https://www.youtube.com/watch?v=O5APc0z49wg
2. ‘Lonely Room’ https://www.youtube.com/watch?v=L4jFhFGg8co
3. Oklahoma!’ https://www.youtube.com/watch?v=ZbrnXl2gO_k
Task 1: Listen to the pieces and create an analysis sheet for each
Think about:
7. What is the purpose of the song?
8. What musical features can we hear? How do they facilitate the purpose?
9. Is it typical of its era?
10. How do the composers’ pieces compare? How has the style of the artists’ music varied over time?
11. How is this typical of the composers’ style and use of musical devices?
12. How do these pieces reflect the style of the genre and their purpose/ intentions for the work?
Analysis – ‘Oh, What a Beautiful Mornin’’:
This is the first song of the musical, presented after the orchestral overture. The piece is a solo
number sung by the main character of the show, Curly, initially singing off-stage. The piece is
structured in a verse-chorus form with increasingly developed orchestration helping to sustain
musical interest.
Rodgers evokes the rising sun as the musical starts in a number of ways, including:
The tonic pedal
The selective use of horns, oboe, flute and clarinet
The use of trills to mimic bird-song
The sense of rubato tempo in the opening, giving a feeling of gradual awakening
The hushed dynamics
The verse is initially presented in a monophonic vocal line; this again gives freedom to the
character to add expression, as well as making the chorus that follows seem more musically
complete. The verse melodic idea is often conjunct, outlining the tonic key of E major.
Divided into four phrases of four bars each, phrases 1 and 2 are symmetrical: the first phrase ends
on the dominant note of B and the second on the tonic note of E, essentially giving a question
and answer phrase. The third phrase starts in a similar way to the first two phrases, with a changed
ending moving to the subdominant chord of A major. This is also where the string accompaniment
first enters, outlining an A major triad with #7th and #4th adding expressive interest. The final phrase
https://www.youtube.com/watch?v=O5APc0z49wghttps://www.youtube.com/watch?v=L4jFhFGg8cohttps://www.youtube.com/watch?v=ZbrnXl2gO_khttps://www.google.co.uk/url?sa=i&source=images&cd=&cad=rja&uact=8&ved=2ahUKEwjNjM6spbzbAhUGPRQKHXTWAw4QjRx6BAgBEAU&url=http://www.pittsburghplayhouse.com/current-season/archive/oklahoma&psig=AOvVaw3mMA2A7BJMi1jdKsRSn8LJ&ust=1528280115438439
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is essentially a dominant pedal presented in the bass and in the vocal melody, complete with an
ascending line traversing through B-C#Cx-D#.
The chorus is one of the most iconic pieces of musical theatre. This is achieved by use of:
Triadic shapes using repeating rhythm ideas
Use of a D natural on ‘morning#, giving an unprepared 4-3 suspension over an A major
chord
The use of balanced phrases, forming an overall four-phrase structure lasting 16 bars.
Interesting tasks to inform your analysis notes:
1. Analyse the four phrases of the chorus, considering use of the following:
Melodic shape
Harmonic implications
Accompaniment patterns
Use of countermelody
2. The chorus and verse are repeated three times in total. Complete the table below noting
any changes that occur between these repetitions.
Verse 1
Chorus 1
Verse 2
Chorus 2
Verse 3
Chorus 3
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Analysis – ‘Lonely Room’:
In a complete contrast to the opening number, ‘Lonely Room’ is a solo number with a very
different character. Jud, a hired worker on the ranch, has been presented throughout the musical
with an air of mystery and danger, and in this song he vows to convince Laurey to marry him.
Consider how the song creates this emotion in the opening A section by use of:
B minor tonality
Dissonance between F# and G throughout the first verse, played on low clarinet and viola
The bare accompaniment, linking to the title of the song
The quasi-recitative nature of the vocal melody, mirroring the text
The longer B section is marked by a change in accompaniment pattern: the harp plays
continuous semiquavers initially outlining a Bm9 chord over a tonic-dominant bass. This section is
essentially broken into two 4-bar phrases, each employing rhyme at the end of the phrase. The
second section is also divided into two 4-bar phrases; the first is identical to the music presented
earlier and the second raises the emotional temperature of the music by moving towards an E #7
chord on ‘who thinks he is better ‘n me#!’
A contrasting C section then follows, marked by increased disjunct melodic movement and a
more independent accompaniment style. This climaxes at the line ‘and her long, yeller hair, falls
across my face, Jist like the rain in a storm!’
This is achieved by use of several musical devices:
Use of orchestral tutti, initially mf but ending sff
Harp glissando on beats 2 to 3
Use of crescendo
Use of descending scalic octaves, starting after a quaver rest, in the bass.
Melodic lines that ascend using a dotted rhythm and semiquavers from dominant (F#) to
tonic (B). While this scalic idea is a popular one throughout the musical, it is specifically
used in the title song ‘Oklahoma!’ at the end of the musical.
A return to the A section for nine bars then follows before another new idea is presented, acting
as a 4-bar contrast to a repeat of the C section, which closes the piece. This includes dramatic
use of an Eb major chord with a B natural (enharmonically the minor 6th, as found in the opening)
in the bass. Such dissonance is also found in the penultimate chord – a diminished 7th chord on C#
with an F# in the bass – and the final chord – a B bare-5th chord with added 9th in both the
accompaniment and the voice.
Essay Question:
Compare and contrast the emotions present in ‘Oh, What a Beautiful Mornin’’ and ‘Lonely Room’.
Reference the elements of music to give your response detail.
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Analysis – ‘Oklahoma!’:
This piece is a rousing number for full chorus, taking place as the final number of the show before
the encore, finale ultimo and exit music. As with many choruses, the piece starts off with several
characters singing to set the scene before Curly introduces the main thematic idea as a solo. The
main chorus enters at bar 105 (marked ‘2nd special chorus’).
This chorus is very traditional in character, involving a large proportion of the characters in the
musical, often singing in several different parts, and creating lush harmonies.
The structure of the chorus is rather unconventional:
A Oklahoma, where the wind…
B Where the wavin’ what…
A Oklahoma, ev’ry night…
C We know we belong…
D And when we say…
E We’re only saying…
Task: How does the second special chorus (bars 105-164) differ from Curly’s solo (bars 45-105)
heard earlier in the piece?
Rodgers cleverly divides the singers into four-part male vocals and three-part female vocals,
giving a rich seven-part vocal texture. Many of these lines include ascending scales, as in bar 121,
as well as more advanced chords such as diminished 7th (found on ‘night my honey lamb and I’).
As the piece progresses, the hoe down feel continues in earnest with a new section outlining the
text ‘Yippy Yi!’ – a dominant pedal on A with chromatic ascending chords in the top five voices.
The excitement continues with use of an ostinato in the bass using D-C-B-A (creating a leitmotif link
with music heard earlier, albeit in melodic inversion). The vocals gradually outline a tonic chord of
D major, complete with added 7th, giving way to section C in the subdominant, G major, at bar
177. This is where the seven-part chorus is joined with all other characters onstage who sing the
main melody.
The coda of the piece – and indeed the overall action of the musical – spells out the word
‘Oklahoma’, again using ascending chords and a dramatic pause before the final ‘yeow’.
This is a musical that emphatically embraces the ‘feel-good’ factor, ensuring the audience leaves
the theatre singing the main numbers.
Essay Questions:
1. What is the role of the chorus in the final number, ‘Oklahoma!’?
2. How does Rodgers create music to match the prairie scene of the newly-named state of
Oklahoma?
3. How does Rodgers create a sense of excitement in this final number?
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Carousel (1945)
1. ‘Louise’s Ballet: Pas de deux’ https://www.youtube.com/watch?v=gjex2MdNluA
2. ‘What’s The Use of Wond’rin?’ https://www.youtube.com/watch?v=fBu7JYKoi_o
Task 1: Listen to the pieces and create an analysis sheet for each
Think about:
1. What is the purpose of the song?
2. What musical features can we hear? How do they facilitate the purpose?
3. Is it typical of its era?
4. How do the composers’ pieces compare? How has the style of the artists’ music varied
over time?
5. How is this typical of the composers’ style and use of musical devices?
6. How do these pieces reflect the style of the genre and their purpose/ intentions for the
work?
Task 2: Complete a summary of Richard Rodgers:
What is the composer’s style? Consider the following:
o Use of instruments and voices
o Use of harmony
o Use of melody including leitmotif
o How the music matches the character and scene
How does he use musical devices to support his purpose?
Summarise the similarity and differences between the extracts you have studied. How is this
achieved through music?
Task 3: Complete the essay question and the listening tasks on the unfamiliar pieces.
https://www.youtube.com/watch?v=gjex2MdNluAhttps://www.youtube.com/watch?v=fBu7JYKoi_ohttps://www.google.co.uk/url?sa=i&source=images&cd=&cad=rja&uact=8&ved=2ahUKEwiCwpmIpbzbAhXKbhQKHSsqA6UQjRx6BAgBEAU&url=http://phxstages.blogspot.com/2016/01/reviews-carousel-arizona-broadway.html&psig=AOvVaw3VM80tFhX_C1Mcs5hr79ya&ust=1528280051835276
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Stephen Sondheim
(1930- present, American)
Context
Born in 1930, Sondheim is one of America’s greatest composers for film and stage, winning many
awards for his contributions to the genre. His compositions include the music to A Little Night
Music, Sweeney Todd and Into the Woods, to name but a few famous productions. As well as
being a highly accomplished musician, Sondheim also wrote the lyrics for Sweeney Todd, West
Side Story and Gypsy.
Sweeney Todd: The Demon Barber of Fleet Street was completed in 1979 and is one of Sondheim’s
most ambitious projects. Set in a grimy London in the 19th century, the plot revolves around a
barber seeking revenge on a corrupt judge who has sent him into exile. This is achieved by
murdering a whole host of gentlemen seeking the barber’s service at his salon, including the
judge, with their bodies being used as meat for Mrs Lovett’s pie shop below. It has a darkly
macabre plot with some appropriately demonic music.
Home learning:
Find out the plot of Sweeney Todd and Into the Woods and where the chosen extracts fit.
Look more deeply into Sondheim as a composer and a man. What were his beliefs, his
musical style?
https://www.google.co.uk/url?sa=i&source=images&cd=&cad=rja&uact=8&ved=2ahUKEwj6gPfTpbzbAhXIchQKHd8_DiMQjRx6BAgBEAU&url=http://www.kaufmanmusiccenter.org/mch/event/broadway-close-up-a-good-thing-going-the-collaboration-of-stephen-sondheim/&psig=AOvVaw03sU664B9SlcX68zd3Q9J8&ust=1528280216840863
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Sweeney Todd (1979)
1. ‘Prelude’ https://www.youtube.com/watch?v=j8t4Ny39tt8
2. ‘Green Finch and Linnet Bird’ https://www.youtube.com/watch?v=9T7mInZlzx4
3. ‘A Little Priest’ https://www.youtube.com/watch?v=atSbk0vLuRw
4. ‘My Friends’ https://www.youtube.com/watch?v=zygTvmzlBp4
Task 1: Listen to the pieces and create an analysis sheet for each
Think about:
1. What is the purpose of the song?
2. What musical features can we hear? How do they facilitate the purpose?
3. Is it typical of its era?
4. How do the composers’ pieces compare? How has the style of the artists’ music varied
over time?
5. How is this typical of the composers’ style and use of musical devices?
6. How do these pieces reflect the style of the genre and their purpose/ intentions for the
work?
https://www.youtube.com/watch?v=j8t4Ny39tt8https://www.youtube.com/watch?v=9T7mInZlzx4https://www.youtube.com/watch?v=atSbk0vLuRwhttps://www.youtube.com/watch?v=zygTvmzlBp4https://www.google.co.uk/url?sa=i&source=images&cd=&cad=rja&uact=8&ved=2ahUKEwiWteHhprzbAhVCvBQKHYmsAosQjRx6BAgBEAU&url=http://moviegoerconfessions.blogspot.com/2013/10/54-sweeny-todd-demon-barber-of-fleet.html&psig=AOvVaw3F-d5ifSk_EEXN3_byqAPy&ust=1528280401588428
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Analysis – ‘The Ballad of Sweeney Todd’:
Appearing after a short, chromatically intense prelude for solo organ, ‘The Ballad of Sweeney
Todd’ is the first vocal number of the show, during which the lights slowly reveal the company and
the set. Two important leitmotifs are used in this piece:
1. The use of a shrill factory whistle, often used just before Sweeney claims another victim
2. The Dies Irae melody from the 13th-century Mass for the Dead (‘Day of wrath and doom
impending’):
Task:
Listen to the piece and comment on the following:
How does the opening create a sense of suspense and foreboding?
How is the Dies Irae motif used in the piece? Why might Sondheim have used this?
How is the entrance of Sweeney Todd represented in the music?
Why is the subtitle of the musical: A Musical Thriller appropriate given the musical language
used here?
The mysterious and macabre nature of the piece is created from the outset by use of the
following:
F# minor tonality
Repeating quavers in 6/8 time creating an incessant ostinato figure
Use of alternation between G# and A – the second and third degrees of the scale
Accented melodic notes on C# and E on the weak beat of the bar
Melodic lines spanning a minor 6th using the flattened 7th (E – avoiding the raised leading
note). This gives an Aeolian modal character to the music. [The Aeolian mode is a natural
minor scale, for example playing A-A on the white notes of a piano].
As the verse repeats with a second character now singing the vocals, the accompaniment is
developed by means of adding a high countermelody in the flute and piccolo, recalling the
opening whistle. There is a particularly interesting combination of keys at the line ‘by Sweeney
Todd… the demon barber of Fleet Street’, where the accompaniment is routed around D major/ B
minor with the whistle countermelody outlining a G minor broken chord. This bitonal effect further
unsettles the overall emotional impact of the piece.
A blinding light soon cuts through the company as the action onstage progresses, revealing two
characters carrying a body bag which is thrown in a grave, complete with a woman pouring
ashes on the corpse from a tin marked ‘flour’. At this point the music, which up to this point has
been a hushed piano in dynamics, explodes into a chorus section.
The Dies Irae motif is presented with three-part vocal harmony and brash dissonance, all over a
tonic pedal, set to the words ‘Swing your razor wide, Sweeney’. The quaver ostinato stops here to
make way for this new homophonic texture before restarting at the end of the passage.
Task:
How does the second verse develop the ideas heard in the first verse? Consider the use of
instruments, vocals, melody and harmony, creating a table of comparison.
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A new section starts with the lyrics ‘Inconspicuous Sweeney was’. This contrast is achieved by:
A change of key, removing the G# but not readily confirming either D major or B minor as
the new tonic
Use of female voices
Use of cross-rhythms suggesting ¾ rather than 6/8 (clean’e was’)
An inversion of the opening quaver leitmotif on B-A, further exemplifying the modal
character and developing initial ideas
This idea is then repeated, complete with further development by doubling the vocal parts at the
octave, dividing into a three-part vocal texture and returning to the opening tonality.
As the characters start to gather round the grave, the music becomes increasingly complex by
subdividing into even more parts:
1. Soprano 1: ostinato figure using Soprano 2 idea in canon two bars later
2. Soprano 2: ostinato figure
3. Tenor: 2-bar ostinato figure using cross-rhythms
4. Bass 1: main melody repeating ‘Inconspicuous Sweeney was’
5. Bass 2: canon of Tenor one bar later
The accompaniment at this point uses a 1-bar ostinato using a chord suggesting B minor with a 7th
and added 4th, further aiding the lack of harmonic resolution. The parts eventually culminate on
repetitive shouts of ‘Sweeney’, performed ff with dotted minims outlining an F# minor chord
(tonic) followed by a cluster chord of C#, E#, G and B#, almost suggesting the dominant chord of
C# major. The accompaniment here is frantic, with the opening ostinato now turned into a
parallel motion triad complete with brash, dissonant bass descending through C, G, C#, C. This
vocal excitement hails the arrival of Sweeney Todd on the stage.
The opening verse idea is then repeated with Sweeney himself singing the vocal melody,
repeated in canon by the chorus. The accompaniment is transformed by reusing the quaver idea
which has now been developed into a scurrying F#-E#-C# idea, played fff with heavy accents on
the strings. As the piece dies away, with lyrics that promise to explain the plot later on, the
orchestral accompaniment thins, eventually becoming a monophonic line in the cellos and
double basses that continues the dissonant quavers to a bottom F#.
Analysis – ‘My Friends’:
Also contained within the first act, in ‘My Friends’ Mrs Lovett presents Sweeney with his old sterling
silver razors, his ‘friends’, which are central to the plot. As he lifts the razor, Sweeney states ‘at last!
My arm is complete again’, which gives way to a reprise of the Dies Irae motif from the earlier
ballad. Listen to the duet and consider how the musical elements support the action onstage:
Melody:
Use of the leitmotif figure from the opening ballad, using the accompaniment idea (Bb-C,
and Eb-Db-Bb)
The way the duet works, and how Sweeney is not listening to Mrs Lovett despite being next
to her
Rhythm and metre:
Movement given by constant quavers – often recalling the leitmotif from the ballad
Time signature changes to fit with the lyrics
Harmony and tonality:
The ambiguous opening – suggesting Bb9 but initially avoiding G or Gb
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How this is transformed up a semitone as the duet starts
The move to Db major as the piece climaxes, though unsettled by being in second
inversion and unconfirmed by cadential progression
The move back to three sharps to allow the ending to be in F# minor – like the opening
ballad
How 3rds are actively avoided in the melody or accompaniment parts in both tonal
centres, helping to give a sense of mystery
Task:
In this duet, do you think Sweeney and Mrs Lovett are interacting with each other? Make note son
which features of the music might confirm this idea.
Analysis – ‘Green Finch and Linnet Bird’:
Appearing later in the first act, this is the solo song where Anthony, Sweeney’s friend, first sees and
falls in love with Johanna, who is singing while looking out of the window. Johanna is the ward of
the judge, conceived when the judge raped Sweeney’s former partner, Lucy. The scene touches
upon the idea of being imprisioned within a comfortable house, commenting on caged birds and
their ability to sing despite imprisonment.
Harmony and tonality:
The use of Db major with expressive dissonances (e.g. 9ths) and unusual chord movement
away from the tonic (e.g. bar 2- Cb-Db-Bbb, creating dissonance)
The use of thwe tonic chord with added minor 7th in the bass forming a I7d chord – for
example in ‘How is it you sing anything?’
Melody:
Conjunct vocal movement with aspects of bird call on ‘how is it you sing’, imitated by the
flute a bar later
Use of repetition ‘when they’re captive/ Teach me to be/ more adaptive’
Rhythm:
Use of quaver rest on first beat of the bar in the accompaniment, constant quavers, chord
change on last quaver beat of the bar
Rubato and tempo fluctuations to add expressive detail
Areas where the quaver accompaniment stops, providing contrast (e.g. ‘dreaming, are
you crowing?’)
Subtle syncopation in the accompaniment (e.g. ‘nothing there sings’)
Task:
How does ‘Green Finch and Linnet Bird’ reflect the position of the character Johanna at this point
in the show? Formulate your thoughts so that you can have a discussion with your peers.
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Analysis – ‘A Little Priest’:
Ending the first act, ‘A Little Priest’ is a darkly comic duet showing Mrs Lovett and Sweeney
agreeing on a plan to murder all of Sweeney’s customers, using their bodies as meat for Mrs
Lovett’s pies so that her business can thrive.
Task:
Listen to the song, forming your own analysis. Use the following key questions to help your
work:
How is comedy reflected in the song?
What is the relationship of the two voices? How does this compare to ‘My Friends’?
How is the leitmotif used within this piece? How is it developed from earlier?
What is the role of the accompaniment, especially during spoken dialogue?
How does Sondheim avoid over-characterising the different professions discussed as being
suitable for slaughter?
Why do you think Sondheim uses vamp bars throughout this piece (for example, bars 90-91,
128-129)?
Into The Woods (1986)
1. ‘On The Steps of the Palace’ https://www.youtube.com/watch?v=bgLvp3UUJPw
2. ‘Agony’ https://www.youtube.com/watch?v=MdphO1jfxCg
3. ‘Giants in the Sky’ https://www.youtube.com/watch?v=H5Xqv9h_pm8
4. ‘Last Midnight’ https://www.youtube.com/watch?v=XAZpLyCN9Zw
Task 1: Complete a summary of Stephen Sondheim:
What is the composer’s style? Consider the following:
o Use of instruments and voices
o Use of harmony
o Use of melody including leitmotif
o How the music matches the character and scene
How does he use musical devices to support his purpose?
Summarise the similarity and differences between the extracts you have studied. How is this
achieved through music?
Task 2: Complete the essay question and the listening tasks on the unfamiliar pieces.
https://www.youtube.com/watch?v=bgLvp3UUJPwhttps://www.youtube.com/watch?v=MdphO1jfxCghttps://www.youtube.com/watch?v=H5Xqv9h_pm8https://www.youtube.com/watch?v=XAZpLyCN9Zwhttps://www.google.co.uk/url?sa=i&source=images&cd=&cad=rja&uact=8&ved=2ahUKEwjwyryZp7zbAhVM1hQKHbm3A3AQjRx6BAgBEAU&url=http://operetta-research-center.org/tag/stephen-sondheim/&psig=AOvVaw0npRMhtbLADcwR8HfYgr_I&ust=1528280574455408
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Claude-Michel Schönberg
(1944- present, French)
Context
Schönberg, the composer for two of the most popular and successful musicals to date, is a key
figure in current musical theatre. Les Miserables and Miss Saigon have taken both Broadway and
the West End by storm, earning significant revenue from numerous performances. Both have
embarked on ambitious global tours as well as performing live shows around the world.
Schönberg, born in 1944 France, has often collaborated with lyricist Alain Boublil and it is this
relationship that has helped to make the epic shows so popular. In contrast to many previous
musical theatre shows, Schöenberg often writes near-continuous music for his productions,
embracing the idea of a ‘mega-musical’. Consider how this type of work compares with the
opera looked at in AoS1, The Marriage of Figaro.
Miss Saigon was first performed in 1989 and is based on the plot from Madame Butterfly, an opera
by Puccini. However, Puccini’s Japanese landscape is moved to war-torn 1970s Vietnam,
portraying the love story between the Vietnamese local Kim and the American GI Chris. The plot
has many twists and turns, with the ‘Helicopter Scene’ in the Second Act being particularly
memorable for its use of new staging, lighting and sound technology to give the audience a truly
awesome experience.
Home learning:
Find out the plot of Miss Saigon and Les Miserables and where the chosen extracts fit.
Look more deeply into Schönberg as a composer and a man. What were his beliefs, his
musical style?
https://www.google.co.uk/url?sa=i&source=images&cd=&cad=rja&uact=8&ved=2ahUKEwit9fe4p7zbAhVJxRQKHZ5aCpkQjRx6BAgBEAU&url=http://www.ox.ac.uk/news/2016-05-20-les-mis-creator-claude-michel-sch%C3%B6nberg-become-visiting-professor&psig=AOvVaw3tbnu5obefntECFZMxvvCI&ust=1528280687226735
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Miss Saigon (1989)
1. ‘I’d Give my Life for You’ https://www.youtube.com/watch?v=B6PoGJ-YKa0
2. ‘Bui Doi’ https://www.youtube.com/watch?v=QVumUWtuoiw
3. ‘I Still Believe’ https://www.youtube.com/watch?v=PY5afLuAKNc
Task 1: Listen to the pieces and create an analysis sheet for each
Think about:
1. What is the purpose of the song?
2. What musical features can we hear? How do they facilitate the purpose?
3. Is it typical of its era?
4. How do the composers’ pieces compare? How has the style of the artists’ music varied
over time?
5. How is this typical of the composers’ style and use of musical devices?
6. How do these pieces reflect the style of the genre and their purpose/ intentions for the
work?
Analysis – ‘I Still Believe’:
A duet between Kim, Chris’ girlfriend in Vietnam, and Ellen, Chris’ wife in America, this piece is set
in the first act and helps to set the scene of anguish and devotion being experienced by each
woman on opposite sides of the globe. The piece is essentially in three rather lengthy verses, the
first sung by Kim, the second by Ellen and the final by both as a suet. These are flanked by a short
4-bar introduction and an extended outro which uses a theme from earlier in the musical.
The introduction is typical of Schöenberg’s musical style; an arpeggio quaver figure played over a
stable rising conjunct bass line. In this case, the arpeggio idea is played in an additive rhythm
consisting of 3+3+2 quavers, though the lack of accents makes this rhythmic device more subtle in
approach.
An additive rhythm is a rhythm where the bar becomes divided into smaller units of notes, for
example 3+3+2 quavers, giving the effect of three unequal beats in a bar of 4/4.
The vocal melody is initially low in tessitura, alternating between the dominant and the flattened
submediant (A/Bb). After eight bars, a contrasting section making greater use of minims begins,
still set in the tonic key of D minor with a harmonic rhythm mostly using one chord per bar.
https://www.youtube.com/watch?v=B6PoGJ-YKa0https://www.youtube.com/watch?v=QVumUWtuoiwhttps://www.youtube.com/watch?v=PY5afLuAKNchttps://www.google.co.uk/url?sa=i&source=images&cd=&cad=rja&uact=8&ved=2ahUKEwjy5YjWqLzbAhUBzRQKHaLvBVwQjRx6BAgBEAU&url=https://www.nyunews.com/2017/04/10/miss-saigon-at-the-broadway-theatre/&psig=AOvVaw3kQinhUhjW7OrzicRZcfk6&ust=1528280986914949
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There is some use of word painting on the line ‘you are here’ where the expected G minor chord is
altered to G major, giving a brief glimpse of hope for Kim. The following section of the first verse
contains the title of the song and an ascending 2-bar sequence, helping to raise the temperature
of the music and facilitate a modulation to the relative major of F major. Notice the use of Bb
minor – minor chord IV – in the middle of the passage, helping again to characterise the piece
and diversify the diatonic landscape. A similar unprepared move is achieved towards the end of
the verse, where a D minor chord is followed by an Ab major chord.
The second verse, sung by Ellen, is much the same as the first, with a greater sense of
independence towards the end of the extract. This comes at the line ‘It’s all over I’m here, there’s
nothing to fear’.
A sense of contrast is achieved here by use of:
An initial diminished triad (notated using Ab)
The marking ‘agitato’ – agitated
Use of triplets in the vocal melody, giving increased movement
A diminished 7th chord on B, resolving to Eb major
Increased harmonic venture to facilitate a modulation to E minor – a tone higher than the
opening – via a perfect cadence
The final verse sees both Kim and Ellen performing, with Kim singing the sequential idea from
earlier over the top of Ellen singing the triplet melody. Whereas the opening ideas used ascending
sequences, this verse tends to use sequences in a descending pattern – for example ‘You can
sleep now, you can cry now, I’m your wife now’. Both voices have been separate in this duet up
to this point, singing their own musical material, but now come together at the end to sing ‘until
we die’, echoing the marriage vows of the past and the plot to come.
Analysis – ‘Bui-Doi’:
The Vietnamese term ‘bui-doi’, as used in Miss Saigon, refers to the Asian-American street children
who were left behind after the Vietnamese war ended, much like Kim and Chris’s child, Tam.
While the official meaning of the words is ‘dust of life’, the term was made popular by its use in
Miss Saigon, even though the link between homeless people and young abandoned children is
not clearly apparent in the Vietnamese vernacular.
Unsurprisingly, given this link to the socio-political aspect of the war, the music is the emotional
heart of the musical, starting the second act.
This number uses the following musical devices to achieve an emotive start to the second act:
Slow tempo
Ab major tonality
Harmonic rhythm in minims
Use of the intervals of a 6th, then 7th, then octave in the chorus
A cappella chorus opening the piece
Use of Eb+ on the word ‘survivors’. A chord with a + symbol can be used to describe an
augmented triad – that is a triad made up of two major thirds, for example Eb-G-B.
An 8-bar contrasting section follows, meaning that the overall structure could be viewed as being
in developed AABA form – a common structure in musical theatre. This form is called popular song
form. What is interesting here is how the sections are unequal: the A sections are subdivided into a
10-bar verse and 8-bar chorus.
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The triumphant final chorus yields to a short 2-bar coda employing a subdominant pedal and final
plagal cadence, complete with full harmony from the chorus.
Task:
1. Listen to this piece, completing the table below to compare the first verse and chorus with
the second. Consider the similarities and differences, especially regarding use of
instruments, melody and rhythm.
First Second
Verse
Chorus
2. How does the B section (from ‘These are souls in need’) contrast with the A sections? In your
answer, consider:
What melodic device is employed in the vocal melody?
How the harmony is changed – chords used, modulation and harmonic rhythm?
The role of the chorus after five bars
Analysis – ‘I’d Give My Life For You’:
This piece, sung as a solo by Kim, ends the first act as she, Tam and the engineer board a boat to
Bangkok. As you listen to the piece, consider the following points to aid your analysis:
Harmony and tonality:
What is the overall tonality? How does this change as the piece progresses?
Is the harmonic rhythm stable or changeable? How?
Are any advanced chords used? Where and why might these be employed?
Melody and rhythm:
Is the vocal melody conjunct or disjunct?
Are there any memorable intervals used?
How does the piece end? Why might it end like this?
Texture:
Compared to other pieces in the musical, how does the accompaniment style differ?
Does the texture change throughout the piece?
Instruments and use of voice:
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What is the range of the voice? Where it is at its extremes, can this be linked to the text?
Which instruments support the voice?
Les Miserables (1980)
1. ‘One Day More’ https://www.youtube.com/watch?v=-qkf0fLU2Ao
2. ‘Bring Him Home’ https://www.youtube.com/watch?v=5svrJ58BuLs
Task 1: Complete a summary of Claude-Michel Schöenberg:
What is the composer’s style? Consider the following:
o Use of instruments and voices
o Use of harmony
o Use of melody including leitmotif
o How the music matches the character and scene
How does he use musical devices to support his purpose?
Summarise the similarity and differences between the extracts you have studied. How is this
achieved through music?
Point of interest: ‘One Day More’ rounds off the first Act using a simultaneous quodlibet by having
each of the main characters singing their musical motifs at the same time.
Task 2: Complete the essay question and the listening tasks on the unfamiliar pieces.
https://www.youtube.com/watch?v=-qkf0fLU2Aohttps://www.youtube.com/watch?v=5svrJ58BuLshttps://www.google.co.uk/url?sa=i&source=images&cd=&cad=rja&uact=8&ved=2ahUKEwjPwv3sqLzbAhXC7RQKHZqhDoIQjRx6BAgBEAU&url=https://www.hollywoodreporter.com/news/les-miserables-musical-composers-interview-406001&psig=AOvVaw0QDZdpV7NYzpEabtRZ62A6&ust=1528281081473516
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Jason Robert Brown
(1970-present, American)
Context
Born in 1970s America, Brown has a distinctive approach to writing music for theatre, readily fusing
elements of rock and pop within a theatrical setting. This makes his musical style significantly
different from those of the other named composers.
The Last Five Years is one of Brown’s most famous pieces for theatre, premiering in 2001 and
subsequently touring globally. The plot shows two characters, Jamie Wellerstein and Cathy Hiatt,
exploring their relationship, marriage and subsequent break-up. Rather than being told as a
chronology, the musical tells the story from the break-up to first meeting through Cathy’s eyes (i.e.
in reverse order) and from first meeting to break-up through Jamie’s eyes (i.e. chronologically).
The characters often perform in isolation, only joining when their respective stories meet.
Home learning:
Find out the plot of The Last Five Years and Parade and where the chosen extracts fit.
Look more deeply into Brown as a composer and a man. What were his beliefs, his musical
style?
https://www.google.co.uk/url?sa=i&source=images&cd=&cad=rja&uact=8&ved=2ahUKEwiKp5ykqbzbAhWDuBQKHVAKAY4QjRx6BAgBEAU&url=http://musicaltheatrereview.com/jason-robert-browns-songs-new-world-revived-st-james-theatre/&psig=AOvVaw3wHIaH6L88uk9jHOfll7jj&ust=1528281200940765
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The Last Five Years (2001)
1. ‘Still Hurting’ https://www.youtube.com/watch?v=fpI_Y0ZGkk8
2. ‘Moving Too Fast’ https://www.youtube.com/watch?v=ZfjzNeSBrpU
Task 1: Listen to the pieces and create an analysis sheet for each
Think about:
1. What is the purpose of the song?
2. What musical features can we hear? How do they facilitate the purpose?
3. Is it typical of its era?
4. How do the composers’ pieces compare? How has the style of the artists’ music varied
over time?
5. How is this typical of the composers’ style and use of musical devices?
6. How do these pieces reflect the style of the genre and their purpose/ intentions for the
work?
https://www.youtube.com/watch?v=fpI_Y0ZGkk8https://www.youtube.com/watch?v=ZfjzNeSBrpUhttps://www.google.co.uk/url?sa=i&source=images&cd=&cad=rja&uact=8&ved=2ahUKEwixj4rXqbzbAhXLOxQKHaJvCZUQjRx6BAgBEAU&url=https://www.rollingstone.com/movies/reviews/the-last-five-years-20150211&psig=AOvVaw0TNbXSUtKblg-MTApbmffL&ust=1528281305048620
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Analysis – ‘Moving Too Fast’:
Performed as the fourth piece of the musical, this is a solo sung by Jamie, complete with
orchestral backing provided by piano, two cellos, acoustic guitar, fretless bass, violin, and cymbal,
tubular bells and celesta. The sound world instantly recalls a funk rock feeling, with extended
chords, syncopation and complex riffs occurring throughout.
An outline of the structure of this piece is given below:
A A ‘Did I just hear an alarm start ringing?’ bars 1-8 8 bars
A ‘I’m gliding smooth as a figure skater’ bars 9-16 8 bars
B ‘Oh no, step on the brakes’ bars 16-23 8 bars
A ‘I won’t do anything’ bars 24-32 8 bars
B C ‘I found a woman I love’ bars 33-37 5 bars
D ‘Things might be bumpy’ bars 38-55 18 bars
E ‘Oh… maybe I can’t’ bars 55-62 8 bars
A A ‘I dreamed of writing’ bars 62-69 8 bars
A’ ‘We start to take the next step together’ bars 70-84 15 bars
Link ‘Oh yeah!’ bars 84-87 4 bars
B’ ‘And I think well, well’ bars 88-92 5 bars
A’’ ‘I’m feeling panicked’ bars 93-102 10 bars
This is a fairly complex structure which has an overall ternary form (ABA) with popular song form
used in the outer sections. The opening A section is classic 32-bar song form (AABA) with the A’
section having a more developmental feel, disrupting these proportions. This is not an unusual
form for music theatre (John Kander, for example, uses a similar form in Cabaret, written in 1966)
but, coupled with the more adventurous harmony and virtuosic piano writing, it does show the
more fusion-like nature of the piece. In some versions, a lengthy instrumental break is performed
after the main B section.
Harmonically, the piece makes extensive use of complex progressions, including:
Extended chords – 7th/ 9th/ 11th/ 13th
Inversions – first, second, third and in some cases fourth where the extended 9th is in the
bass
B5th chords
Acciaccaturas using blue notes from the blues scale
Fast harmonic rhythm
Use of augmented triads and diminished chords
Riffs using chromaticism
Modulations to new tonal centres – A major and F major plus a 4-bar chromatically rising
passage in the final A’ section (Bb-B-C each lasting four bars, then Db-D-Eb-E in
progressively quicker cycles). The piece ends in Bb major.
This harmony is coupled with syncopation, repeating riffs in the bass and instrumental flourishes to
aid the overall character of the song.
Task:
Using the structural analysis above, add in 2-3 points per section for each of the elements of
music, considering how they contribute to the section in question. Focus on rhythm, melody,
texture, use of instruments and voice, and specific moments of harmonic interest. Give direct links
to the lyrics where possible.
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Analysis – ‘Still Hurting’:
In total contrast to ‘Moving Too Fast’, ‘Still Hurting’ is the first vocal number of the show, sung by
Cathy as she faces the break-up of her relationship with Jamie.
Based in C major, the piece makes use of a compound time signature (9/8) to create a lilting
melodic line and, coupled with the slow tempo, this allows a thoughtful and somewhat subdued
tone to be adopted in the voice.
The piece is in a similar structure to ‘Moving Too Fast’ with use of 32-bar song form; notice how the
repeated A section has the title of the song in the vocal melody, acting as a refrain. Each 8-bar
section is divided by a 2-bar instrumental link. The B section exploits the higher range of the
vocalist, as well as a move to A minor – the relative minor.
A new central section arrives at the lyrics ‘Go and hide’ as the anger of the situation becomes
apparent. Notice the use of rapid ascending scales and the move to a new tonal centre
suggesting C minor – the tonic minor. After an expressive central instrumental break, Cathy refers
to the lies in the relationship, setting the plot for the rest of the musical, before a final return to the
opening idea.
The emotional impact of the song is achieved by use of several musical devices, including:
The tonic pedal on C in the opening
The use of a Bb major chord (flattened 7th) which is combined with this pedal creating a
Bb9 chord, giving an unresolved yearning
The unresolved harmonic pattern – the E7 yearns to move to A minor, the relative minor,
but the required E is moved to an F, creating chord IV in first inversion rather than chord vi
Use of suspensions
Use of countermelodies – especially in the cello
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Parade (1998)
1. ‘This is Not Over Yet’ https://www.youtube.com/watch?v=Wr2GjtX5Oe4
2. ‘All the Wasted Time’ https://www.youtube.com/watch?v=GyMr-M27pLo
Task 1: Complete a summary of Jason Robert Brown:
What is the composer’s style? Consider the following:
o Use of instruments and voices
o Use of harmony
o Use of melody including leitmotif
o How the music matches the character and scene
How does he use musical devices to support his purpose?
Summarise the similarity and differences between the extracts you have studied. How is this
achieved through music?
Task 2: Complete the essay question and the listening tasks on the unfamiliar pieces.
https://www.youtube.com/watch?v=Wr2GjtX5Oe4https://www.youtube.com/watch?v=GyMr-M27pLohttps://www.google.co.uk/url?sa=i&source=images&cd=&cad=rja&uact=8&ved=2ahUKEwir7p6RqrzbAhVCshQKHcbQDcwQjRx6BAgBEAU&url=http://seanfanningdesigns.com/section/302820-Parade.html&psig=AOvVaw1wxmlpa8YwRB_jt-PI8U7H&ust=1528281385319221
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Essay Questions
Each essay is worth 30 marks and should take 45 minutes to write.
1. How do each of the composers present emotions within their works? Refer to 3 artists and 3 pieces in detail.
2. Compare two pieces from different musicals that have contrasting emotions. You should refer to melody,
harmony, texture, instrumentation, rhythm and use of voices as appropriate.
3. How does Sondheim’s musical style compare with that of earlier composers such as Rodgers and Weill? In a
table, set out the similarities and differences between Sondheim and one other named composer of your
choice. Include references to examples from at least two separate pieces to support your points.
4. Out of the named composers, which one appeals most to you as a musician? Why?
5. How does Sondheim use musical devices to create contrasting characters and pieces? Use at least two
extracts from two musicals to illustrate your answer.
6. How does the music of ‘Boi Doi’ convey a sense of loss, regret and hope in this piece?
7. Compare and contrast ‘Moving Too Fast’ with ‘Still Hurting’. How does Brown manipulate the musical
elements to give contrasting emotional effects?
8. How does Brown fuse together different genres of music to create different effects in his musicals?
9. Choosing one of the named composers, comments on how their musical style has changed over time.
10. How has the role of the chorus changed through the 20th century? Comment on at least two contrasting
pieces referencing the different elements of music.
11. ‘Musical theatre is a journey of emotions for the audience.’ Using at least two published works by the same
composer, comment on how contrasting emotional effects are achieved.
12. Choosing at least two contrasting pieces by the same named composer, discuss how the musical elements
are used to create opposing scenes.
13. Compare at least two of the named composers in their approach to writing songs for soloists. Comment on
the use of voices, melody, harmony, structure and rhythm as appropriate.
14. Musical theatre can depict joyous optimism and the depths of despair. How have two different named
composers achieved such reactions?
15. To what extent did music for theatre change during the 20th century? Reference the works of at least two
named composers to help justify your argument.
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Vocabulary