AQA Music a Level Area of Study 4: Music for Theatre

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AQA Music A Level Area of Study 4: Music for Theatre

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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

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  Miss Saigon: Schönberg - ‘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) 3

Timeline

1920s Kurt Weill (1900-1950, German: worked early in Germany, later in USA) 1930s  Rise and Fall of the City of Mahagonny (1930)  The Threepenny Opera (1928)

1940s Richard Rogers (1902-1979, American)  Oklahoma! (1943)  Carousel (1945)

1950s

1960s

Stephen Sondheim (1930- present, American) 1970s

 Sweeney Todd (1979) 1980s  Into The Woods (1986)

Claude-Michel Schönberg (1944- present, French)

 Miss Saigon (1989)  Les Miserables (1980)

1990s

Jason Robert Brown (1970-present, American)

 The Last Five Years (2001) 2000s  Parade (1998)

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?

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.

 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?

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.

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:

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.

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?

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 11 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

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.

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?

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:

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.

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?

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:

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. 18

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 19

 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.

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. 21

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?

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:

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. 23

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.

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:

 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.

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?

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:

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.

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

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.

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.

Vocabulary