Miss Saigon Flashcards
1
Q
Bui-Doi main points:
A
- Slow tempo
- Use of intervals of a 6th then 7th then octave in chorus
- Use of Eb+ on ‘survivors’ (augmented triad)
- Ab Major
- A Capella 4 part chorus opens the piece
- Arpeggiated opening
- AABA’ structure, popular song form - sections unequal - 10 bar verse, 8 bar chorus
- B16-18 high vocal tessitura to reflect their guilt
- B18 rhythmic diminuition reinforces the irregularity of the piece and reinforces guilt
- Modulation at B46 to Bb major with metre change from 2/4 to c
- B46 - first time for rhythmic variation
2
Q
I Still Believe main points:
A
- Opens with an arpeggio quaver figure played over a stable rising conjunct bass line - additive rhythm
- Vocal melody is initially low in tessitura, alternating between the dominant and the flatted submediant
- After 8 bars, a contrasting section makes greater use of minims in tonic of D minor
- Harmonic rhythm of 1 chord per bar
- Word painting in ‘you are here’ where the expected G minor chord is altered to G major this represents Kim’s hope
- 2 bar ascending sequence ‘I still believe’ - raises temperature and facilitates a modulation to the relative major (F)
- Use of Bb minor (chord IV) in the middle of the passage helps diversify the diatonic landscape and characterise piece
3
Q
I Still Believe main points continued:
A
- An unprepared move is achieved towards end of verse where a D minor chord is followed by an Ab major chord
- 2nd verse sang by Ellen, same as first with a greater sense of independence - ‘It’s all over I’m here, there’s nothing to fear’
- Sense of contrast achieved through:
- An initial diminished triad (notated using Ab)
- The marking of 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
