American Musical Theatre Flashcards
1
Q
Into the woods - opening (song)
A
Sondheim - 1986
- Overlapping melodies give polyphonic texture
- Overlapping themes are leitmotifs for individual characters or narratives
2
Q
Worst pies in London town
A
Sweeney Todd, Sondheim - 1979
- Accented on words where Mrs Lovatt exclaims
- Changes in time signature to fit the words and make it more memorable
3
Q
Agony
A
Into the woods, Sondheim - 1986
- Male voices, no harmony because they are singing together and feel the same
- Modulation to tonic minor in bridge section
4
Q
My friends
A
Sweeney Todd, Sondheim - 1979
- Simple accompaniment makes you listen to the words
- In a major key with uplifting melody, juxtaposes lyrics about murder
- Sung by Sweeney with overlapping melody from Mrs Lovatt
- Modulation to subdominant -> mediant -> full key change when Mrs Lovatt joins
5
Q
Sunday in the Park with George (song)
A
Sondheim - 1984
- Thin texture to open, dissonant chords
- Texture builds and then returns to bass-chord
- Patter song type lyrics
- ostinato rhythm in accompaniment
6
Q
Giants in the sky
A
Into the woods, Sondheim - 1986
- Changes in key throughout keeps repetitive melody interesting
- syncopated accompaniment
7
Q
Features of Sweeney Todd
A
- Lucy leitmotif shows the beggar is lucy
- Use of adapted dies irae theme from requiem mass foreshadows death
8
Q
Don’t look at me
A
Follies, Sondheim - 1971
- Rippling accompaniment to open
- Harp flourishes
- Duet
9
Q
Being alive
A
Company, Sondheim - 1970
- Bridge section modulates to add contrast to repetitive verses
- simple melody allows you to hear the message of the words more clearly
10
Q
No Good Deed
A
Wicked, Schwartz - 2003
- Clashing high note on Fiyero sounds like screaming
- chant-like lyrics have regular rhythm and little change in pitch
11
Q
Defying Gravity
A
Wicked, Schwartz - 2003
- Full use of vocal range
- Serious and emotional song building in dynamics and texture
- Use of sus chords without resolution causes suspense
- Changes in tempo drive the piece onwards
- Syncopation on de-FY-ing causes anticipation for next bar
- ‘Unlimited’ theme reimagined from somewhere of the rainbow
12
Q
No one mourns the wicked
A
Wicked, Schwartz - 2003
- Full chords using dissonance
- Large range of vocal types
- Contradictory styles
- Dark tritone intervals creates menacing opening
13
Q
Day by day
A
Godspell, Schwartz - 1971
- Starts with a solo but increases in texture
- Call and response between parts
14
Q
All for the best
A
Godspell, Schwartz - 1971
- Lighthearted and conversational
- Overlapping melodies with different rhythms and words creates ‘babble’
- Increasing in tempo, increases chaos
15
Q
As long as you’re mine
A
Wicked, Schwartz - 2003
- Reuses motif from no one mourns the wicked
- sing separately originally then together
- sweet song in sad musical
