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RICHARD RODGERS Kim Palmer

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Richard Rodgers. Kim Palmer. Richard Rodgers. Richard Rodgers. Biography. Overview. The Sound of “His” Music has been Beloved for over 80 years. Greatest composers of American Musical Comedy. Brought forth a Melodious Revolution. With 2 of America’s Great Lyricists. Lorenz Hart. - PowerPoint PPT Presentation

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Richard RodgersKim Palmer

Richard Rodgers

Richard Rodgers

BiographyOverviewGreatest composers of American Musical Comedy

The Sound of His Music has been Beloved for over 80 years OverviewThe sound of "His" music has been beloved for over 80 years and will continue for many years to come. The legendary Richard Rodgers is one of the all time greatest composers of American Musical Comedy. (biography.com )5Lorenz HartOscar HammersteinBrought forth a Melodious Revolution

With 2 of Americas Great Lyricists

His inspiring work with two of America's great lyricists', Oscar Hammerstein and Lorenz Hart brought forth a melodious revolution. Theirs was an era of artistic exploration that permitted an art form to come into its own6His Legendary Partners

Rodgers & HammersteinRodgers & HartHis name is rarely heard by itself, and people might even say, "Richard Rodgers who?" But when heard together with his partners as "Rodgers & Hart" and "Rodgers & Hammerstein" his name is legendary. His lifetime commitment, innovation, and sharing his love of composing has forever impacted the field of Broadway Musical as we know it today.7accomplishmentsOVER 60 YEARS OF His accomplishments are 42 Broadway Musicals, a Broadway play, 3 London musicals, 10 original movie musicals, 2 television musicals, the scores of 2 television documentaries, a ballet, 34 Tony Awards, 15 Academy Awards, and 2 Pulitzer Prizes. His shows have been performed more than 30,000 times.(Zollo) Rodgers extraordinary career spanned for more than 60 years.

9

Rodgers is one of only two people to have won an Oscar, a Grammy, an Emmy, a Tony, and a Pulitzer Prize.1945- Academy Award for It might as Well be Spring1972- Tony Award Tribute with Ethel Merman

10HIS SHOWS HAVE BEEN PERFORMED OVER 30,000 TIMES

In the Beginning with Hart

Born in 1902New York City

at 4 years old he would play by ear with one fingerOn June 28, 1902 Richard Rodgers was born in the city of New York. His parents, Dr. William Abraham Rodgers and Mamie Levy Rodgers encouraged him as they both had a great love of music. When he was just a lad of 4 he would "play by ear" a tune with just one finger on the piano. 13

1917: Rodgers gives first amateur musical production One Minute PleaseOnly 15 years old He composed his first song at 14, Auto Show Girl for an amateur boys club show. At 15 he composed his first full score for an amateur show called One Minute Please.(Zollo)141920: Columbia University marks the beginning of a great friendshipRodgers and Hart

) Little did he know that just 2 years later he would meet the man that would change his life. While attending Columbia University he met Lorenz Hart. Their work on a variety show, Fly with me sparked a friendship and began the partnership that spanned over 2 decades with music that would live on for many years to come.(biography.com) His love for the musical theater continued as he left Columbia after a year and a half to compose music full time. He went on to attend the Juilliard School of Music and continued to produce amateur shows with Hart. Their friendship continued for many years and Rodgers later related how he discovered "a career, a partner, a best friend and a source of permanent irritation."( Zollo)151925- 1943 with Hart

193719251940

His first professional credits began with The Garrick Gaieties(1925). It ran for 211 performances. He wrote a series of musicals and even composed the score for a Circus called Jumbo. He continued to collaborate with Lorenz Hart on many projects through the years including, Babes in Arms (1937), the songs My Funny Valentine and The Lady Is a Tramp; I Married an Angel (1938); and The Boys from Syracuse (1938), adapted from Shakespeare's The Comedy of Errors. Their Pal Joey (1940), adapted by John O'Hara from a series of his short stories, turned away from purely escapist entertainment to serious drama.(Biography.com) In 1943, Hart passed away at only 48. His death may have closed one door, but another door would soon be opened.. 16The Dynamic Duo Rodgers & Hammerstein

It began with the musical Oklahoma!

The dynamic duo of Rodgers and Hammerstein began with the musical, Oklahoma!. They continued to write exclusively together for the next 17 years. The two joined forces to create Broadway history that would be celebrated as one of the most successful teams ever known. 18

1949: South Pacific

Mary Martin performing Wash that Man right out of my Hair

These creative geniuses brought forth some of the all-time favorite musicals: Carousel (1945), 191945: Carousel

Opening scene for Carousel 1945

Carousel (1945)20

1951: The King and I

The King and I (1951) 211957: The Sound Of Music

Mary Martin (Maria) and Theodore Bikel (Captain von Trapp) in the Original Broadway Production

and their final show, The Sound of Music (1957). All of these were made into movies and have become a "must have" in movie collections today.221945: 1st Musical written Directly for the Big Screen

State Fair

All of these were made into movies and have become a "must have" in movie collections today. The next step for them was to write the musical made directly for the silver screen, State Fair. 23The Art of giving back

Collector of Art and more.The Road To Versailles to Louveciennes, 1879. A gift in 1964 to the Metropolitan Museum of Art

Richard Rodgers Autobiography Musical Stages

In1964 Rodgers presents an Amphitheater to New York CityRodgers was also known as a collector of Art. Collecting art earned the him well over $100 million dollars. His love for the arts willed him to give back to the community in many ways. His generosity brought a million dollar recreation center, a 1,932 seat theater in Harlem, where he grew up, and scholarships at various institution supporting the Arts. "As his legend grew over the years, his name became a household word." (Whitman) Over the years there have been many countless articles written about him and his work, including an autobiography, "Musical Stages."

25An Artist who becomes Legend

One of His Final Shows REX

Composer Richard Rodgers, left, begins prepares for the opening of his newest musical REX, which stars Nicol Williamson, center, and Penny Fuller on Jan. 19, 1976 in New York City.

Richard Rodgers was very versatile. He could write music before lyrics were even fashioned, or oppositely after they were written." In either event, he could compose at any hour, anywhere, with or without a piano"(Whitman) Rodgers final shows were Two by Two,1970, Rex 1976, and I Remember Mama 1979. 27He died on December 30, 1979 in New York City. Only 8 months after his final work, he passed away at his home in New York City on December 30, 1979 at the age of 77 with his wife Dorothy, leaving two daughters Mary and Linda.

28March 27, 1990 Richard was honored with Broadway's highest honor when the 46th Street Theatre was renamed

The Richard Rodgers Theater He is an artist whose works of art are the notes he scribed on sheets of paper, the songs created to fill our hearts with joy, the stage productions that make our toes tap the floor, and the movies that will stand the test of time. Alec Wilder stated, "It has also been heard that legend has it that somewhere amongst the many radio stations of the United States, a song by Richard Rodgers may be heard at any time, day or night, the year round." (Wilder) On March 27, 1990, he was honored with Broadway's highest honor when the 46th Street Theatre, was renamed The Richard Rodgers Theatre. In the lobby there is permanent exhibit that showcases his life and works named The Richard Rodgers Gallery. American Musical Theater will forever remember the influence and extraordinary contributions of Richard Rodgers. He is the "stuff" that legends are made of.29He is the stuff Legends are made ofRichard Rodgers 1902-1979

Composition GuideRichard Rodgers The Hills are Alive withThe Sound of Music 2:44

The Sound of Music was composed by Richard Rodgers to lyrics by Oscar Hammerstein II for the 1959 stage musical, The Sound of Music. Rodgers and Hammerstein shared a home in Jamaica where they wrote many of the lyrics for this song. With its ascending chords that builds to a dramatic opening lyric, you can feel as if you are right there with Maria on the top of the Hills of Austria. It is a breathtaking and magical moment that sets the stage for story of the Von Trapp family.The song is sung by Mary Martin for the stage musical and Julie Andrews in the movie. The children sing this as they bring back music to the house for the first time since their mother had died and opens their fathers heart once again. This songs leaves us believing that our "hearts will be blessed by the sound of music."The American Film Institute's ranked this song 10th in 100 Greatest Songs in Movie History At the turn of the 21st century, an entirely new phenomenon-SINGALONG SOUND OF MUSIC has begun. The world's largest sing-along is held at the legendary Hollywood Bowl every summer where the fans bring the Hollywood Hills alive with the sound of music. This song has also been performed by the artists Carrie Underwood, Renee Zellweger, and many more.

32EdelweissA small song boasting a big heart 2:16

Edelweiss is has a simple sweet melody. The melody was written by the composer Richard Rodgers, and the lyrics by Oscar Hammerstein. (Songfacts) At the time when this song was created, Hammerstein was recovering from stomach cancer surgery but still in great pain. He went to take one last look at the show and just felt like there was something missing in Act II. He felt there needed to be an emotional connection with the family and the land they were leaving, their beloved Austria. Thus Edelweiss was born. Originally this song boasted only 12 lines, a small song boasting a big heart.It is sung by Captain Von Trapp showing a deep abiding love for his homeland and the sorrow he feels because he is forced to leave. During the movie, the song is sung twice. Not many know that Christopher Plummer's performance of this song was actually the dubbed in voice of Bill Lee. Plummer was not known for his musical abilities, but had asked if they would give him a chance to sing the song. He recorded it in a studio, but in the end the decision was made to dub the song in as his voice just wasn't quite good enough.

33The First Singing Lesson Do-Re-Mi

5:32

Do-Re-Mi was published in 1959 by writer Oscar Hammerstein and composer Richard Rodgers. This song is sung by the character Maria in both the film and stage production of The Sound Of Music. In the original stage production it was called "the first singing lesson" and was listed as the "happy song" with the texture to be uplifting. In the stage production the song helps to bond the children and Maria together when she takes her guitar out and begins to sing after they first meet. During the movie they begin on the hills where Maria shares this song with the children and shows them just how fun music can be. You see them sharing the song with each other, while they share the city of Salzburg with us.The song was based on the French term, solfege' which means a word associated for each note on the Major scale. When you hear the part, "Fa- a long, long was to run," think about the family that has a long, long was to run to gain safety and security. Nothing is by accident when Rogers and Hammerstein are involved.

343:14

The song that has become a standardMy Favorite Things

My Favorite Things may be one of the most important songs written for musical theater in the 1950's and 1960's. It has become a standard and is from the 1959 Rodgers and Hammerstein musical The Sound of Music. It was written specifically for the characters and with its 3/4 time it has a magical way about it, that lifts people up. The imagery makes it so fun to listen to you can't help but to join along and sing! The song was first sung by Mary Martin in the original Broadway production, followed by Julie Andrews for the movie. In the stage production it is in the First Act just before Reverend mother sends Maria to be the governess for the Von Trapp Children. During the movie the children come to Maria's room one by one to find comfort from the thunderstorm. Maria sings to the children to help them remember that if they just sing about their favorite things, then you don't feel so bad!My Favorite Things has also been used in advertising, been performed by countless artists, and even used as a book title of a book Richard Rodgers wife Dorothy wrote. It was not about their life, but about her passion, Interior Decorating.

35Listening Guides Please click on Song Title for link in Rhapsody to song

The Sound Of Music 0-1:00 Common 4/4 Time, timbre is bright and dynamics crescendo from p-soft to f-forte, at :48 listen for the texture of clarinets mimic a descending 4 note imitation of Julie Andrews

1:00-2:00 1:02 begins 2nd musical phrase and form is repetitious. The melody repeats with descending contours. 1:44 cadence begins and dynamics crescendo to f-forte. Orchestra in harmony with vocals

2:00-2:46 2:04-Form repeats with clarinets playing 4 notes descending imitation of voice. 2:14 Coda at My heart will be blessed 2:17 orchestra in harmony with triplets with the words "music

Listening Guide for the Sound of Music 2:46The prelude is in common 4/4 timing and begins Molto moderato, meaning tenderly with the dynamics of p- softly. The timbre is bright as you hear the sound of birds chirping in the wind as if you are on the hill with the character Maria. At 0:13 the orchestra enters with flutes I believe in high trill and horns in unison to introduce the prelude with flutes mimicking the sound of birds chirping. At :25 the prelude slowly builds as the dynamics crescendo to f-stronger 0:36 the horns continue to build and crescendo as the texture becomes polyphonic when more brass, winds, strings and percussion all join to build the introduction of vocals at 0:48 when Julie Andrews comes in with "The Hills are Alive with the Sound of music". The texture of the clarinets mimic in a descending 4 notes imitation to Julie Andrews after each section of singing, like a bird mimicking a person. The melody is very conjunct, simple and smooth. 1:02 begins the 2nd musical phrase . The form is repetitious of the first phrase and the melody repeats with the same descending contour with a small change in words from "are alive" to "fill my heart". It is rhythmically the same as the first phrase. At 1:19 the melody changes with the range narrowing and the dynamics are mezzo piano, medium soft. It begins to feel more lively and happy.1:44 cadence begins "to sing through the night". This phrase begins the gradually crescendo and the dynamics of f-forte with the phrase ending at "pray". The orchestra continues in harmony with the vocals. The contour is ascending to the Climax when Julie sings "I go to the hills "at 1:53. This begins the return of the familiar melody with the timbre a slight feeling of sadness with the descending contour and the dynamics mp. 2:04 The form repeats itself again with the clarinet playing the 4 notes descending imitation of the voice. At 2:10 the dynamics begin to crescendo to mf- medium strong to 2:14 coda when she sings "My heart will be blessed" the harp plays softly in the background a glissando ascending to imitate the vocals ending on the C at 2:17.The orchestra is also playing harmony with a triad, or triplets with the words "music"2:29 begins the final phrase "And I'll sing once more" The words "sing and once" are all held for the full 4 counts with the rhythm's tempo being very slow. The final word "more" is held for a full 6 counts while the form of repetition plays the familiar 4 notes descending imitation heard from the clarinets brings this piece to a close with a feeling of completion at the end 2:46 .

37Edelweiss0-1:00 Introduction in time or triple meter with guitar playing a chord p-softly and tempo moderato for 4 measures. Melody is arch contour, with harmony consonance. At :40 timbre changes with violins playing pp and gradually crescendo to p-soft. 0:46 Cadence with bloom and grow forever1:00-2:00 1:11 the song is repeats, 1:13 in a duet now with imitation, or repetition of the melody phrase in a different key for the words "Edelweiss". Texture is homorythmic. Coda 1:53 with final phrase. Tempo slows

2:00-2:16 The harmony of the guitar and violins continue in unison with the voice and are consonance, pleasing. The final chord is played arpeggio, one at a time to bring the song to an end at 2:16 Listening Guide for Edelweiss 2:16 0:00-0:30 The Introduction in 3/4 time or triple meter/simple division with a guitar playing a chord p-softly and moderato or moderate for 4 measures. The texture is monophonic with only the guitar playing. At 0:10 the first phase begins with the Captain singing "Edelweiss, Edelweiss" The melody is arch contour meaning 1st word going up, and 2nd word coming down. The Harmony is consonance, very simple and pleasing. at 0:18 violins join in p-softly in harmony with "every morning you greet me" with o:24 The second phrase/verse "small and white, clean and bright" begins with the same form, repeating the arch contour. 0:30-1:00The dynamics continue with mp-moderately soft. At 0:40 the timbre of the background violins coming in pp-very soft and gradually crescendo to p-soft in unison with the vocal. The melody is arch contour at 0:46 the cadence of "Bloom and Grow, forever" has a crescendo from mp-medium soft to P-soft then decrescendo back to mp. 1:00-1:30 1:09 the verse ends with "Bless my homeland forever" at 1:11 the song is repeats a second time at the beginning with the same words, "edelweiss" The captain repeats the song and is joined in harmony by his daughter at 1:13 in a duet now with imitation, or repetition of the melody phrase in a different key for the words "Edelweiss". At 1:22 they sing in unison the following phrase. The form of repetition continues with the same imitation and unison in the 2nd verse. The texture is also homorythmic as it moves together in the same rhythm.1:30-2:001:39 the captain sings solo again in harmony with the guitar and violins in the background. The dynamics are still p-soft and the melody continues to be conjunct. 2:00-2:16Coda 1:53 starts the final phrase. The tempo slows considerably with the word forever being broken up with "for" as one beat and "ev" and "er" are the full 3 beats of the measure. The harmony of the guitar and violins continue in unison with the voice and are consonance, pleasing. The final chord is played arpeggio, one at a time to bring the song to an end at 2:16

38Do-Re-Mi0-1:00 2/4 time duple meter, introduction with 4 measures of 1/8 notes with octave span back and forth. The melody is conjunct, with small intervals of movement. The rhythm is allegretto, which is moderately quick. At 0:19 the children sing in unison with imitation, repeating the same phrase as Maria. "do-re-mi". The dynamics are still p-soft. 0:30 begins the ascending Major scale with "Do-re-mi-fa-so-la-ti-do" The texture continues in unison with the clarinets and vocals and the dynamics crescendo to mf- mezzo forte. 1:00-2:00 1:28 the timbre and texture change with the children joining her singing in unison the rest of the chorus. The dynamics show a poco crescendo as it increases little by little to mf- mezzo forte2:00-3:00 2:09 The pace continues to increase to the final assention of the G major scale by pitch with a soft pinging of the triangle . The texture is polyphonic. 2:31- the children sing in unison an imitation- repeating what Maria just sang. The dynamics remain f-loud and the melody in conjunct with the rhythm still in duple meter and the tempo is moderate. At 2:50 The timbre changes with the children being joined by the orchestra again. The texture is polyphonic and the dynamics increase to mf very loud and are very bright and lively.

Listening Guide for Do-Re-Mi (5:32)The song is in 2/4 timing or duple meter/simple division. It begins with an introduction of 4 measures of 1/8 notes with an octave span going back and forth. First Verse begins at 0:04 and is joined in harmony by violins. The melody is conjunct, with small intervals of movement. The rhythm is allegretto, which is moderately quick. at 0:19 the children sing in unison with imitation, repeating the same phrase as Maria. "do-re-mi". The dynamics are still p-soft.0:30-1:000:30 begins the ascending Major scale with "Do-re-mi-fa-so-la-ti-do" The texture continues in unison with the clarinets and vocals and the dynamics crescendo to mf- mezzo forte. At 0:38 the violins descend back down the major scale with a light tempo to begin the refrain or chorus at 0:41 it is sung in a spirited tempo and forte or strong. The timbre changes with the orchestra coming in to join the vocals in the chorus. You can hear a tuba in the background that adds to the depth of the timbre.1:00-1:301:13 begins the chorus again with the children shouting the words" Do!" before Maria sings each corresponding phrase until at 1:28 the timbre and texture change with the children joining her singing in unison the rest of the chorus. The dynamics show a poco crescendo as it increases little by little to mf- mezzo forte. 1:30-2:001:42 the dynamics are still mf- medium loud and begins all the children singing in unison the chorus again for the 3rd time. The harmony is still consonance and the and the texture is polyphony with many voices and instruments playing the melody and the timbre changes with a triangle tinging after each exclamation of the pitch with it name. 1:55 Climax-as the dynamics change to ff - very strong and loud with the pitch of "So" with full orchestra playing in harmony with the lyrics. 2:00-2:302:09 The pace continues to increase to the final assention of the G major scale by pitch with a soft pinging of the triangle . The texture is polyphonic with many instruments playing. At 2:12 the timbre changes as the music stops with Maria speaking to the children about the notes and mixing them up to build a song. at 2:28 she begins singing A ccapella- without instrumental music the words in a different order-chorus variation-to show how you can make music. 2:30-3:002:31- the children sing in unison an imitation- repeating what Maria just sang. The dynamics remain f-loud and the melody in conjunct with the rhythm still in duple meter and the tempo is moderate. At 2:50 they all sing in unison a repeat of the last phrase. The timbre changes with the being joined by the orchestra again. The texture is polyphonic and the dynamics increase to mf very loud and are very bright and lively.

39Do-Re-Mi continued2:00-3:00 2:09 The pace continues to increase to the final assention of the G major scale by pitch with a soft pinging of the triangle . The texture is polyphonic. 2:31- the children sing in unison an imitation- repeating what Maria just sang. The dynamics remain f-loud and the melody in conjunct with the rhythm still in duple meter and the tempo is moderate. At 2:50 The timbre changes with the children being joined by the orchestra again. The texture is polyphonic and the dynamics increase to mf very loud and are very bright and lively.3:00-4:00 3:11The texture changes with the sound of flutes and snare drums in the background fluttering with the tempo of vivace- lively and fast. 3:28 a descending cadence of percussion to end the phrase joins in to end this verse. 4:00-5:00 4:07 begins the phrase of the pitches "do-re-mi" in an arch contour, first ascending up, then descending back down in the same fashion. The harmony and dynamics remains the same. 4:15 the timbre changes when you hear the xylophone played in unison Coda -4:39 begins with the chorus sung for the 5th time. 5:00-5:32The familiar repetition of the orchestra continues in harmony with the vocals. At 5:25 the final crescendo to C to sing "Do!" is ff very loud. to end at 5:32.2:09 The pace continues to increase to the final assention of the G major scale by pitch with a soft pinging of the triangle . The texture is polyphonic with many instruments playing. At 2:12 the timbre changes as the music stops with Maria speaking to the children about the notes and mixing them up to build a song. at 2:28 she begins singing A ccapella- without instrumental music the words in a different order-chorus variation-to show how you can make music. 2:31- the children sing in unison an imitation- repeating what Maria just sang. The dynamics remain f-loud and the melody in conjunct with the rhythm still in duple meter and the tempo is moderate. At 2:50 they all sing in unison a repeat of the last phrase. The timbre changes with the being joined by the orchestra again. The texture is polyphonic and the dynamics increase to mf very loud and are very bright and lively.3:11 Maria begins singing a word for each note that begins the next phrase. The form is repeated as the same melody is sung with the words that make a new verse. The texture changes with the sound of flutes and snare drums in the background fluttering with the tempo of vivace- lively and fast. 3:28 a descending cadence of percussion to end the phrase joins in to end this verse. 3:40 The chorus is sung for the 4th time. The texture is polyphonic with many instruments and the dynamics are mf-very loud. The timbre remains the same. 4:07 begins the phrase of the pitches "do-re-mi" in an arch contour, first ascending up, then descending back down in the same fashion. The harmony and dynamics remains the same. At 4:15 the timbre changes when you hear the xylophone played in unison with each note that is sung while the rest of the instruments continue playing more softly in the background. The combination of notes are different than before and not in order which brings texture and contrast to this verse. The rhythm is allegro- fast and lively.4:30-5:00Coda -4:39 begins with the chorus sung for the 5th time. The melody is repeated with the continued dynamics of ff- very loud with a polyphonic sound. The background of the orchestra continues to build the intensity of the piece. The trumpets play in unison with the voices. at 4:54 they sing "so..." and the timbre changes when the trumpets follow each phrase with 3 ascending notes in arpeggio. This adds to the crescendo and dynamics of this final verse. 5:00-5:325:07 the dynamics change when the tempo slows slightly and the sound changes to f-strong/loud, with the repeat of the chorus variation that crescendo slowly back to mf. The familiar repetition of the orchestra continues in harmony with the vocals. At 5:25 the final crescendo to C to sing "Do!" is ff very loud. to end at 5:32.

400-1:00 time, tempo allegro-animato, Verse 1 begins with only Maria's voice saying "raindrops on roses..." followed by violins plucking the three quarter notes in imitation. 0:31 verse 3 , At 0:46 the timbre changes as the horns play in unison with the phrase "When the dog bites" is sung as the contour descends from a B to an E .1:00-2:00 1:02 timbre changes as the orchestra is playing the melody without vocals. The texture remains polyphonic, 1:41 the horns sound off in unison in prelude to the next verse for 4 measures 1:44 repeat of verse 3 begins. 1:58 Coda- Final Verse 4 dynamics change to in mf- medium strong2:00-2:192:07- trumpets sound off again with 5 ascending 1/8 notes to bring the vocals to the last "so bad". " bad" is held for a final 9 measures while the orchestra does the finale of triads in 4 inverted arch contours with the final two triads ascending an octave for the final note of sf-subito forte which stands for the sudden or strong loud end at 2:19.My Favorite ThingsListening Guide for My Favorite Things (2:19)0-0:30The song is in three four time/perfect time or triple meter. The tempo is allegro animato- played lively and animated. Verse 1 begins with only Maria's voice saying "raindrops on roses..." followed by violins plucking the three quarter notes in imitation. 0:07 the 2nd phrase begins and the timbre changes with the addition of more instruments entering in consonance harmony with the melody. 0:18 verse 2 begins with same dynamics.0:30-1:000:31 verse 3 begins with the same dynamics and rhythm until the cadence at 0:42 marks the crescendo to mf-very loud . At 0:46 Verse 4- the timbre changes as the horns play in unison with the phrase "When the dog bites" is sung as the contour descends from a B to an E . There is a slur on the second measure of each phrase of the third verse, which means they are sung in one single breathe.1:00-1:301:02 timbre changes as the orchestra is playing the melody without vocals. The texture remains polyphonic. 1:12 repeat of Verse 1. The tempo is still allegro animato and the dynamics are forte-loud. The orchestra is still playing in the background in C major in harmony with the vocals. 1:30-2:001:41 the horns sound off in unison in prelude to the next verse for 4 measures 1:44 repeat of verse 3 begins. 1:58 Coda- Final Verse 4 dynamics change to in mf- medium strong, the horns again play in unison with the vocals to emphasize the first phrase of this verse.2:00-2:192:03- final phrase begins and the dynamics crescendo to fortissimo-very strong. 2:07- trumpets sound off again with 5 ascending 1/8 notes to bring the vocals to the last "so bad". " bad" is held for a final 9 measures while the orchestra does the finale of triads in 4 inverted arch contours with the final two triads ascending an octave for the final note of sf-subito forte which stands for the sudden or strong loud end at 2:19.

41Bibliography

1. " Richard Charles Rodgers." 2012. Biography.com 06 Feb 2012, 08:43 http://www.biography.com/people/richard-rodgers-374312. "Richard Rodgers." 2012. Performing Songwriter.com January 2002, Issue 59 by Paul Zollo; http://performingsongwriter.com/richard-rodgers/3. Alec Wilder, American Popular Song: The Great Innovators- 1900-1950 (New York: Oxford University Press, 1972)4. Alden Whitman, "Richard Rodgers Is Dead at Age 77", The New York Times December 31, 1979

1. Song Meanings at Songfacts. Web. 4 Feb. 2012. .2. Jack Doyle, The Sound of Money, 2009,PopHistoryDig.com, June 24, 2009.3. Richard Charles Rodgers." 2012. Biography.com 07 Feb 2012, 12:51 http://www.biography.com/people/richard-rodgers-37431