Music Fundamentals for Musical Theatre 9781350001794, 9781350001756, 9781350001787, 9781350001763
Musical theatre students and performers are frequently asked to learn musical material in a short space of time; sight-r
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Table of contents :
Cover page
Halftitle page
Title page
Copyright page
CONTENTS
Introduction: Why Music Fundamentals for Musical Theatre Students?
How/What Will You Learn?
How Does All of This Knowledge Help Me as a Performer?
1 The Staff, Treble Clef, Pitches on the Staff, Solfege, and Sight-Singing
Sight-Singing
2 Rhythm: Whole Notes, Half Notes, Quarter Notes, and Eighth Notes
American (British) Note Names
Time Signatures
Sight-Singing
3 The Piano Keyboard, Accidentals, Whole and Half Steps, Major Scales
The Keyboard
Intervals
Accidentals
The Chromatic Scale
Major Scales
Song Analysis
Sight-Singing
Listening
4 The Circle of Fifths and Major Key Signatures
Major Keys
The Sharp Keys
The Flat Keys
THE COMPLETE CIRCLE OF FIFTHS
Sight-Singing
Review of Chapters 1–4 and PerformanceTips (Tempo
Note Recognition
Rhythm
The Keyboard
Intervals
Major Scales
Major Key Signatures
Sight-Singing
Performance Tips
5 Intervals: Seconds and Thirds and Phrase Shapes
Intervals
Major and Minor Intervals
Song Analysis
Sight-Singing
Listening
6 Intervals: Fourths, Fifths, and Octaves; Rhythm: Sixteenth Notes
Perfect Intervals
Rhythm
Sight-Singing
Listening
7 Intervals: Sixths and Sevenths; Rhythm: Rests
And More Intervals
Rests
Sight-Singing
Listening
8 Diminished and Augmented Intervals; Rhythm: Syncopation
Diminished and Augmented Intervals
The Tritone
A Few Important Facts
Diminished and Augmented Seconds, Thirds, Sixths, and Sevenths
Rhythm
Sight-Singing
Listening
Review of Chapters 5–8 and Performance Tips (Musical Markings)
Intervals
Sight-Singing
Listening
Performance Tips
9 Rhythm: Ties, Dotted Notes, 2/4 and 3/4 Time; Song Analysis
Rhythm
Time Signatures
Sight-Singing
Song Analysis
Listening
10 Major Triads; Introduction to Bass Clef and the Grand Staff
Major Triads
Bass Cleff
The Grand Staff
Sight-Singing
Listening
11 I, IV, V Progression; Chord Tones and Non-Chord Tones; Song Analysis
Song Analysis
Chord Tones and Non-Chord Tones
12 Transpositions; Rhythm: Triplets
Transposition
Triplets
Review of Chapters 9–12 and Performance Tips (Repeats, Endings, and Codas)
Major Triads
Rhythm Practice
Performance Tips
13 Minor, Diminished, and Augmented Triads; Cut-Time; Chromatic Solfege
Minor Triads
Listening
Diminished Triads
Augmented Triads
Listening
Cut-Time
14 I, vi, ii, V, I Progression; Harmonizing a Melody
15 Inversions of Triads
Rhythm
Sight-Singing
Listening
16 Chord Progressions with Inversions
Review of Chapters 13–16 and Performance Tips (The Music Department)
Triad Formulas
Inversions
Choral Analysis
Performance Tips
17 Dominant Seventh Chords; V of V Chords; Suspended Chords; Song Analysis
Seventh Chords
V of V Chords
Song Analysis
Suspended Chords
18 Minor Key Signatures and Natural Minor Scales
Minor Keys
Minor Scales vs. Major Scales
Sight-Singing
19 Harmonic Minor Scales and Melodic Minor Scales; Song Analysis
Minor Scales
Sight-Singing
Sight-Singing
Song Analysis
Listening
20 Minor Chord Progressions; Song Analysis
Song Analysis
Review of Chapters 17–20 and Performance Tips (Song Form)
Dominant Seventh Chords
Minor Key Signatures
Minor Scales
Choral Analysis in a Minor Key
Performance Tips
21 Major, Minor, Half-Diminished, and Diminished Seventh Chords
Major Seventh Chords
Minor Seventh Chords
Half-Diminished Seventh Chords
Diminished Seventh Chords
Listening
22 Compound Time
Sight-Singing
Listening
23 More Compound Time; Song Analysis
Song Analysis
Sight-Singing
Listening
24 Song Analysis; Orchestration
Analyzing a Song
A Quick Look at the Orchestra
Resources
PERMISSIONS ACKNOWLEDGMENTS
INDEX
Citation preview
Music Fundamentals for Musical Theatre
Online resources to accompany this book are available at: https://www.musicfundamentalsformusicaltheatre.com
i
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Music Fundamentals for Musical Theatre Christine Riley
iii
METHUEN DRAMA Bloomsbury Publishing Plc 50 Bedford Square, London, WC1B 3DP, UK 1385 Broadway, New York, NY 10018, USA BLOOMSBURY, METHUEN DRAMA and the Methuen Drama logo are trademarks of Bloomsbury Publishing Plc First published in Great Britain 2020 Copyright © Christine Riley, 2020 Christine Riley has asserted her right under the Copyright, Designs and Patents Act, 1988, to be identified as author of this work. For legal purposes the Permissions Acknowledgments on pp. 271–9 constitute an extension of this copyright page. Cover image © Lisa Kolbasa / Shutterstock All rights reserved. No part of this publication may be reproduced or transmitted in any form or by any means, electronic or mechanical, including photocopying, recording, or any information storage or retrieval system, without prior permission in writing from the publishers. Bloomsbury Publishing Plc does not have any control over, or responsibility for, any third-party websites referred to or in this book. All internet addresses given in this book were correct at the time of going to press. The author and publisher regret any inconvenience caused if addresses have changed or sites have ceased to exist, but can accept no responsibility for any such changes. A catalogue record for this book is available from the British Library. Library of Congress Cataloging-in-Publication Data Names: Riley, Christine (Music director) author. Title: Music fundamentals for musical theatre / Christine Riley. Description: [1.] | New York : Bloomsbury Publishing Plc, 2020. | Includes bibliographical references and index. | Summary: “Musical theatre students and performers are frequently asked to learn musical material in a short space of time; sight-read pieces in auditions; collaborate with accompanists; and communicate musically with peers, directors, music directors and choreographers. Many of these students and performers will have had no formal musical training. This book offers a series of lessons in music fundamentals, including theory, sight-singing and aural tests, giving readers the necessary skills to navigate music and all that is demanded of them, without having had a formal music training. It focuses on the skills required of the musical theatre performer and draws on musical theatre repertoire in order to connect theory with practice. Throughout the book, each musical concept is laid out clearly and simply with helpful hints and reminders. The author takes the reader back to basics to ensure full understanding of each area. As the concepts begin to build on one another, the format and process is kept the same so that readers can see how different aspects interrelate. Through introducing theoretical ideas and putting each systematically into practice with sight-singing and ear-training, the students gain a much deeper and more integrated understanding of the material, and are able to retain it, using it in voice lessons, performance classes and their professional lives. Music Fundamentals for Musical Theatre allows aspirational performers - and even those who aren’t enrolled on a course - to access the key components of music training that will be essential to their careers”— Provided by publisher. Identifiers: LCCN 2019043970 | ISBN 9781350001756 (paperback) | ISBN 9781350001794 (hardback) | ISBN 9781350001763 (pdf) | ISBN 9781350001770 (epub) | ISBN 9781350001787 Subjects: LCSH: Musical theater--Instruction and study. | Music theory. Classification: LCC MT956 .R58 2020 | DDC 782.1/4142—dc23 LC record available at https://lccn.loc.gov/2019043970. ISBN:
HB: PB: ePDF: eBook:
978-1-3500-0179-4 978-1-3500-0175-6 978-1-3500-0176-3 978-1-3500-0177-0
Typeset by RefineCatch Limited, Bungay, Suffolk To find out more about our authors and books visit www.bloomsbury.com and sign up for our newsletters. iv
CONTENTS
Introduction: Why Music Fundamentals for Musical Theatre Students?
1
1 The Staff, Treble Clef, Pitches on the Staff, Solfege, and Sight-Singing
5
2 Rhythm: Whole Notes, Half Notes, Quarter Notes, and Eighth Notes
9
3 The Piano Keyboard, Accidentals, Whole and Half Steps, Major Scales 4 The Circle of Fifths and Major Key Signatures 29 Review of Chapters 1–4 and Performance Tips (Tempo) 5 Intervals: Seconds and Thirds and Phrase Shapes
39
49
6 Intervals: Fourths, Fifths, and Octaves; Rhythm: Sixteenth Notes 7 Intervals: Sixths and Sevenths; Rhythm: Rests
17
61
73
8 Diminished and Augmented Intervals; Rhythm: Syncopation 85 Review of Chapters 5–8 and Performance Tips (Musical Markings) 9 Rhythm: Ties, Dotted Notes, 2/4 and 3/4 Time; Song Analysis 10 Major Triads; Introduction to Bass Clef and the Grand Staff
95
101 109
11 I, IV, V Progression; Chord Tones and Non-Chord Tones; Song Analysis
117
12 Transpositions; Rhythm: Triplets 125 Review of Chapters 9–12 and Performance Tips (Repeats, Endings, and Codas) 135 13 Minor, Diminished, and Augmented Triads; Cut-Time; Chromatic Solfege 14 I, vi, ii, V, I Progression; Harmonizing a Melody 15 Inversions of Triads
143
151
157
16 Chord Progressions with Inversions 165 Review of Chapters 13–16 and Performance Tips (The Music Department)
171 v
vi
CONTENTS
17 Dominant Seventh Chords; V of V Chords; Suspended Chords; Song Analysis 18 Minor Key Signatures and Natural Minor Scales
191
19 Harmonic Minor Scales and Melodic Minor Scales; Song Analysis 20 Minor Chord Progressions; Song Analysis 209 Review of Chapters 17–20 and Performance Tips (Song Form)
217
21 Major, Minor, Half-Diminished, and Diminished Seventh Chords 22 Compound Time
233
23 More Compound Time; Song Analysis 24 Song Analysis; Orchestration Resources
249
265
Permissions Acknowledgements Index
281
271
243
199
225
179
Introduction: Why Music Fundamentals for Musical Theatre Students? When I was first asked to teach a college course for musical theatre students that incorporated music theory and sight-singing, I began searching for an appropriate textbook. I did not find a book or series of books that covered what I thought was necessary and instead began creating worksheets for my students. The worksheets and assignments eventually developed into the text you see today. As a musical theatre performer, you need to be able to read music and communicate effectively with pianists, coaches and music directors. Actors are often required to learn large amounts of music in a short period of time, whether it is a call-back packet containing four songs to learn in twenty-four hours or a twenty-nine-hour reading of a new show. In both scenarios, you not only need to learn the music, but are also expected to make character choices based on the material in front of you. Learning to analyze a piece of music quickly is an invaluable tool for a musical theatre performer. Many music theory books and courses focus on classical music. In most music schools, music majors take four to eight semesters of music theory and sight-singing classes. They have time to delve into Handel, Puccini, and Tchaikovsky. While this is a necessary skill for students that are performing this material, it is a luxury that many musical theatre performers do not have. Actors, whether studying in a conservatory, university, or on their own, have to devote an equal amount of time to training as an actor, dancer, and singer. Therefore, I have chosen to focus the book on the basics of what you will encounter and use on a daily basis. Whether you are learning the material on your own or as part of a class, you should be able to hone your musical skills and walk in to any audition or rehearsal situation with confidence.
How/What Will You Learn? The book covers rhythm, major and minor keys, intervals, triads, seventh chords, phrasing, sight-singing, dictation, and song analysis. All of the musical excerpts come from the musical theatre repertoire spanning George Gershwin to Jason Robert Brown. The first nine chapters of the book focus solely on learning to hear and perform basic rhythms and intervals. I use moveable “do” solfege for sight-singing. I find that it is the easiest way for you to incorporate the theoretical knowledge of intervals into performance. The syllables are comfortable to sing and are easily adjustable for minor keys and accidentals. If you, the student or teacher, prefer a different method, it is possible to perform all of the examples in any format. As a singer, it can be difficult to “see” and hear a melodic or harmonic line. I use the piano keyboard to give you a visual representation of each interval as well as musical theatre song examples to offer an aural representation of each interval. The constant reference to the piano keyboard also (without discussing piano technique) creates a familiarity with the piano, giving you the ability to “plunk” out parts and basic chords if necessary. As each chapter progresses, new intervals and rhythms are added to the sight-singing exercises. The website provides examples in each chapter to give you a guide to work with while learning. There are also suggested songs to work on and listen to from the musical theatre repertoire. 1
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MUSIC FUNDAMENTALS FOR MUSICAL THEATRE
In Chapter 10, triads are introduced. As we work through identifying and writing triads, chord progressions, and inversions, there are numerous song examples to look at and listen to as well as choral sight-singing examples. If you are in a classroom setting, you can sing through the choral examples as a group to hear how the individual parts fit together. If you are working as an individual, you can sing through each part, analyze the chords, and listen to a recording. Although the theory focus shifts to chords and harmony, there are still plenty of melodic sight-singing examples to work on. The examples get progressively harder and incorporate new rhythmic concepts every few chapters. As you work through each chapter, you will see sections titled SONG ANALYSIS. Each of these sections combines the skills you are learning with insight into using those skills to analyze the music. You will learn to interpret different aspects of the music for clues to character development and emotional arc. Each new song analysis section gives you new tools to dig deeper into the “how” and “why” of the music. The song analysis sections culminate in Chapter 24, where you use all of the tools you have learned to analyze larger and more complicated musical examples. In addition, at the end of each review chapter, you will find performance tips to help you navigate and understand your sheet music more fully. Although they are located in the review chapters, they each contain very important new information that you don’t want to miss!
How Does All of This Knowledge Help Me as a Performer? This may seem obvious, but knowing how to read music gives you the ability to learn your music on your own. As a performer you will be given a considerable amount of music to learn over your education and career. Ideally you don’t want to have to rely on someone else to teach you every note; it is expensive! Your time with a coach is better served shaping and crafting your piece, not learning the notes. When you can read music, you have the tools to: ● ● ● ● ●
clap and count through the rhythms; speak your lyrics in rhythm; learn the melody (or harmony) using solfege; play the melody or chords on the piano; interpret musical markings.
Next, you will be a more confident performer in your auditions if you can read music. Auditions are often a stressful process, but if you are confident in your music, your cut, talking to the pianist, and learning callback materials, you will be taking away many of the factors that are often a worry to performers. Using your music theory knowledge you are able to: ● ● ● ● ● ●
create a 16-, 8-, or 32-bar cut; check to see if you are singing a complete phrase; look at the chords to see if your cut resolves or ends on tonic; talk to the pianist about tempo; talk to the pianist about any special markings; learn music quickly for a callback (possibly even out in the hallway while waiting to be seen again)!
INTRODUCTION
3
Finally, when you are cast in a show, you often have a lot of material to learn (possibly in a short period of time). It is always best to come into music rehearsals with your melodies learned so that the music director can work with you on shaping the music instead of playing out your part. You also have the benefit of being able to: ● ● ● ●
learn your harmony lines faster; be flexible when changes are made to the music; understand rhythm and counts to help with dance steps; analyze your music to gain a deeper understanding of your character’s emotional state and conflict and resolution points.
As you work through the book, take your time. Some chapters may take a few days to master, while others may take weeks. Use the website (https://www.musicfundamentalsformusicaltheatre.com) to listen to examples of the material and to work on listening and dictation. Although you may not ever need to transcribe (write what you hear) in your career, it is a tremendous help to train your ears and become a stronger musician. Practice sight-singing every day. Use the examples in the book, but also use material you are working on for a voice lesson or an audition. Learning to sight-sing takes time. The best way to train your ears and your voice is with consistent practice. Don’t be afraid to work on very short sections at a time. If necessary, sing one measure and then check your starting pitch and your final pitch with the piano. Record yourself doing each exercise and then play it back to find your mistakes. If you are having trouble with a particular interval, try singing up or down the scale to find the note and then jump back and forth between the two pitches until you are comfortable. Work on the more difficult parts and re-record. Finally, use a metronome while working on rhythm and sight-singing—it will help you feel the division of the beat within a steady tempo. In my experience, musical theatre performers with a solid background in music theory and sight-singing are more confident in auditions and music rehearsals. They are valuable cast members because they are flexible, able to learn harmonies quickly, and delve into deeper work right away. There are so many aspects of the business of musical theatre that are out of your control as an actor, but being able to read music is not one of them. The process of learning to read can be fun but also challenging and frustrating at times. It is important to remember that it is worth it! This is the language of your field. You will be a better musician/ performer/actor once you are able to fully understand and analyze the material of your chosen profession. Good luck and happy singing!
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1 The Staff, Treble Clef, Pitches on the Staff, Solfege, and Sight-Singing Music is written on a staff. The most commonly used staff in Western music is the five-line staff (seen below). Each staff has a clef to determine pitch (the highness or lowness of sound). The treble clef (), also known as the G clef, is used for higher-pitched instruments and voices. Practice drawing the treble clef on the staff.
&
Each line and space on the staff represents a different pitch. In music, pitch is designated by letter names (A, B, C, D, E, F, and G). When using a treble clef, the pitches of the lines and spaces are as follows:
&
E
G
D
B
F F
A
E
C
It is important to remember that ascending pitches are in alphabetical order and descending pitches are in reverse alphabetical order. It is cyclical; once you get to G, start over again on A. If you know the English alphabet, you can figure out what pitch you are on.
&
Notice that the G is on the second line where the inner circle of the treble clef loops around. That is why the treble clef is also referred to as the G clef.
G
Notes are drawn on the staff to represent each pitch and its duration. Identify the following notes. The first two are done for you.
w
&w
F
&
w
B
w
w
w
w
w
w w
w
w
w
w
w
w
5
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MUSIC FUNDAMENTALS FOR MUSICAL THEATRE
Draw the indicated notes. For each example there is more than one correct answer. The first two are done for you
&w
w
A
&
E
F
C
E
B
D
G
C
B
G
F
D
A
C
F
The location of the notes on the staff is directly related to the pitch where they are played or sung. A higher note on the staff sounds higher when played or sung. A lower note on the staff sounds lower.
&w Higher
w
&w
w Lower
Lower
Higher
Circle the higher note.
&w
w
&w
w
&w
&w
w
&w
w
&w
w
&w
w
Circle the lower note.
w
&w
w
Go to listening example 1-1 to practice differentiating between high and low pitches. Ledger lines are used to extend the staff in both directions. Ledger lines should be drawn with the same spacing as the lines on the staff.
&
w
A
ledger line
w
B
w
C
w
D
w
E
w
F
w
w
w
w
G
A
B
C
w D
w E
w
w
w
w
F
G
A
B
w
C
ledger line
THE STAFF, TREBLE CLEF, PITCH, AND SOLFEGE
7
Draw two different notes of the same name. You may need to use ledger lines.
& D
E
G
C
A
F
B
Sight-Singing We are going to start sight-singing by looking at the C major scale. The C major scale starts and ends on C. All major scales have eight pitches. They are numbered 1–8, starting with the first pitch (these are called scale degree numbers). We will discuss more major scales in Chapter 3.
& w 1
w
2
w
w
w
w
w
w
3
4
5
6
7
8
Listening example 1-2 is a C major scale played on the piano. Practice singing the C major scale using the numbers as “words.” Once you are comfortable singing the pitches of the major scale using numbers, try adding solfege. Solfege is a system of syllables we will use for sight-singing. They provide a solid foundation once we move into more complex melodies. If you are unfamiliar with solfege (or even if you are familiar with it), listen to “Do Re Mi” and the “Do-Re-Mi Encore” from The Sound of Music by Rodgers and Hammerstein. The entire song is based on solfege and has many clever word plays that will help you remember the syllables. 1 = do (doe) 2 = re (ray) 3 = mi (me) 4 = fa (fa)
5 = sol (so) 6 = la (la) 7 = ti (tea) 8 = do
Listen to the following exercises on the website. Practice singing along with the guide and then sing each example on your own. Example 1-3: 12345678 87654321 You sing: do re mi fa sol la ti do do ti la sol fa mi re do Example 1-4: 12321
23432
34543
45654
56765
67876
Example 1-5: 123454321
234565432
345676543
456787654
Example 1-6: 876545678
765434567
654323456
543212345
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MUSIC FUNDAMENTALS FOR MUSICAL THEATRE
Example 1-7: 12323434545656767878↑28 87676565454343232121↓71 The arrows indicate the direction your voice should go for the following note. For example, the arrow before the 2 means that you should go up to re (a step above high do) instead of down to the low re. Example 1-8: 123434543 45434565 454565678 87656543 45432321 Sing each group of pitches using solfege. For each of these examples, C is “do” (scale degree 1). Again, you may sing along with each example on the website and then practice singing the exercises on your own.
&
w
do
w
re
w
mi
&w
mi
w
fa
w
1-11
&w
1-12
w
w
w
w
w
w
fa
w
mi
w
re
w
mi
fa
sol
la
sol
fa
mi
w
fa
w
sol
w
fa
w
sol
w
w
re
w
w
mi
w
la
ti
do
w
w
w
w
w
w
w
w
w
w
w
&w
w
w
w
w
w
w
w
w
w
w
w
1-13
&w
w
w
w
w
w
w
w
w
w
w
w
1-14
&
w
w
w
w
w
w
w
w
w
w
w
w
1-15
&w
w
w
w
w
w
w
w
w
w
w
w
1-16
&w
w
w
w
w
w
w
w
w
w
w
w
1-9
1-10
2 Rhythm: Whole Notes, Half Notes, Quarter Notes, and Eighth Notes In addition to pitch, rhythm is another main component of music. Rhythm incorporates the duration of notes and rests as well as the accented patterns and beats that you hear in music.
American (British) Note Names
= whole note (semibreve)
= quarter note (crotchet)
w
= half note (minim)
˙ œ œ
= eighth note (quaver)
˙
œ œ
œ
œ œ
œ
œ œ
œ
œ
When eighth notes are next to each other, they are beamed together and look like this. Sometimes they are beamed together in groups of two and other times in groups of four. Either way, they hold the same value and are counted in the same manner.
One whole note equals two half notes OR four quarter notes OR eight eighth notes. One half note equals two quarter notes OR four eighth notes. One quarter note equals two eighth notes.
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MUSIC FUNDAMENTALS FOR MUSICAL THEATRE
All notes, with the exception of whole notes, are made up of two parts, the note head and the stem. When the stem is up, it is drawn on the right side of the note and when the stem is down, it is drawn on the left side of the note. Notes below the center line of the staff have stems going up and notes on or above the center line have stems going down.
&œ
note head
stem
œ
œ
&œ
œ
œ
œ
œ
Draw the indicated half notes ( / ) on the staff.
&
A
E
C
D
F
B
G
E
C
F
A
D
D
A
C
G
B
F
Draw the indicated quarter notes ( / ) on the staff.
&
C
F
A
G
E
B
Time Signatures The time signature at the beginning of the music signifies how the music will be grouped into measures (sometimes called bars). A measure is the space between two bar lines. There are different types of bar lines. Below you will find a single bar line and a final bar line. The final bar line signifies the end of the piece. Notice that it has two lines, one thin and one thick.
single bar line
&
measure
single bar line
final bar line
BASIC RHYTHM
11
A time signature consists of two numbers. The top number tells you how many beats there will be in each measure and the bottom number identifies which note equals one beat.
time signature
4 &4
The 4 on the top signifies that there are four beats in each measure. The 4 on the bottom identifies that a quarter note equals one beat.
In 4/4 time, a quarter note () equals 1 beat, therefore:
A whole note () = 4 beats
A half note () = 2 beats
An eighth note () = 1/2 beat
Add the values of each note to make sure you have four beats in each measure.
= 4 beats = 1 measure
+ = 4 beats = 1 measure +++++++ = 4 beats = 1 measure
+ + + = 4 beats = 1 measure
Study the measures below to see how the different types of notes fit within each measure. Listen to example 2-1 to hear this exercise aloud.
& 44 w
1 (2
3
4)
˙
1
(2)
˙
3
(4)
œ
œ
1
2
œ
3
œ
œ œ œ œ œ œ œ œ
4
1 + 2
+ 3
+ 4
+
When counting eighth note rhythms, we use “and” (+) to signify the half beat. The numbers in parentheses are silent beats. Even though a new note doesn’t occur in this space, we need to observe the same amount of time to fill the measure.
Listen to example 2-2. Each measure can have any combination of notes as long as the values of the notes add up to four.
4 &4 œ 1
œ œ œ 2 +
3
œ
4
œ
1
œ
2
˙
3
(4)
˙
1
(2)
œ œ œ œ
3
+ 4
+
w
1
(2
3 4)
12
MUSIC FUNDAMENTALS FOR MUSICAL THEATRE
Write the counts below the notes and then clap and count the rhythm. You can also listen to example 2-3 and practice clapping and counting with the recording.
4 &4 ˙ &œ
œ
œ
œ œ œ œ œ
œ œ œ
œ
˙
œ
œ
w
œ œ œ
œ
œ
œ
˙
œ œ œ œ ˙
˙
Write the counts below the notes and then clap and count the rhythm. You can also listen to example 2-4 and practice clapping and counting with the recording.
& 44 ˙
˙
&w
˙ œ
œ ˙
œ œ
œ œ
œ
œ
œ œ œ
œ œ œ œ œ œ ˙ œ
œ
œ
˙
HELPFUL HINTS
G
et a metronome! A metronome is a device that provides a steady beat. It provides an audible beat (click, beep, or count) at a steady tempo (check out the performance tips in the review of Chapters 1–4 for more information about tempo). You can purchase a metronome at a local music store or get one as an app for your phone.
Once you have a metronome, set it to 70 bpm (beats per minute). Walk around the room to the beat; one step for each beat. Next, say the word “stage” on each beat. Once that is comfortable, say the word “broadway” on each beat, making both syllables equal in length. Alternate between “stage” and “broadway” as you walk and then add a clap to each syllable (one clap for “stage” and two claps for “broadway”). Once you are comfortable, try the exercises below. You can switch between using words and numbers to get the feel of the music. You can also listen to each example on the website. Example 2-5
& 44 œ
œ
œ
œ
stage
stage
stage
stage
1
2
3
4
œ
œ
1
+
broad - way
œ
œ
2
+
broad - way
œ
œ
3
+
broad - way
œ
œ
4
+
broad - way
BASIC RHYTHM
&œ
œ
stage
stage
1
2
œ
œ
3
+
broad - way
œ
œ
4
+
13
œ
broad - way
stage
œ
œ
2
+
œ
broad - way
1
stage
œ
œ
4
+
broad - way
3
Example 2-6
& 44 œ
œ
1
+
broad - way
&œ
œ
1
+
œ
œ
2
+
broad - way
œ
broad - way
œ
stage
œ
stage
stage
3
œ
œ
3
+
stage
4
stage
œ
œ
œ
2
+
1
+
œ
broad - way
4
œ
broad - way
1
œ
broad - way
2
œ
œ
œ
3
+
œ
broad - way
œ
stage
stage
2
3
stage
4
œ
œ
4
+
broad - way
You can play around with this idea by finding other one- and two-syllable words. Put the words together to make a phrase and then write out the counts and the notes. Practice performing with your lyrics as well as clapping and counting the rhythmic patterns. Keep the metronome going to ensure that you are keeping a steady beat. Try out this phrase:
& 44 œ œ œ œ
œ œ œ œ œ œ œ œ œ œ œ œ œ
clap count sing dance
œ œ œ œ œ
list - en well prac - tice oft - en pass - ion fo - cus hard work keep go - ing great job!
Now, clap and count the rhythm from this familiar song.
"Somewhere Over the Rainbow" from The Wizard of Oz
& 44 ˙
Some
-
1 (2)
&
˙ There's
1 (2)
˙
œ
where
o
3
˙
(4)
-
1
œ
a
land
3 (4)
1
œ œ œ
œ
ver
the
rain - bow,
2
+
3
4
œ œ œ
I heard
2
+
that
Harold Arlen E.Y. Harburg
3
œ
˙
w
˙
up
1 (2)
3 (4)
way
high.
of
œ
once
œ œ œ
in
œ
4
1
2 +
4
a
lul - la
3
1 (2 3 4)
-
w
by.
1
(2 3 4)
14
MUSIC FUNDAMENTALS FOR MUSICAL THEATRE
Draw in the bar lines so that each measure has four beats. You should end up with eight measures total. Once the bar lines are drawn, write the counts below the notes and perform the rhythm by counting and clapping. Don’t forget to use your metronome! Example 2-7
& 44 ˙
œ
œ
&œ œ œ
œ
œ œ œ
œ
˙
œ œ œ
œ œ œ œ œ
œ œ œ
œ
œ
œ œ œ œ œ
œ œ œ
œ
˙
œ
œ œ œ
œ œ œ
œ
œ
œ œ œ
˙ œ
œ œ œ œ
Example 2-8
& 44 œ
˙
&œ œ œ
œ
œ
œ
œ
œ œ œ
˙
œ œ œ
œ
œ
œ œ
œ
œ œ
Sight-Singing The one-line staff seen below is used for non-pitched percussion instruments. Also, you will notice that the treble clef has been replaced by a small rectangle. This is a percussion clef (or rhythm clef), used for nonpitched instruments (like our hands). Perform the following rhythmic examples by clapping and speaking the counts. 1.
÷ 44 w
2.
÷ 44 œ
3.
÷ 44 ˙
œ
œ ˙
œ
œ
˙
œ
œ
˙
˙
œ
œ œ œ
œ
œ
œ
˙
œ
œ
œ
˙ œ
œ
œ
œ
˙ œ
˙
œ œ œ
˙
BASIC RHYTHM
4.
÷ 44 œ
5.
÷ 44 œ œ œ œ œ
6.
÷ 44 ˙
7.
÷ 44 œ œ œ
8.
÷ 44 œ œ ˙
œ
œ œ œ
œ
œ
œ œ œ
˙
15
œ
˙
˙
œ
œ
œ
˙
œ
œ
œ œ œ
œ œ œ
˙
œ
œ
œ œ œ
œ
˙
œ
œ œ œ œ œ œ ˙
œ
œ œ œ
œ
œ œ œ
œ
˙
œ
w
œ
œ
˙
œ œ œ œ œ œ
œ œ œ œ œ
œ œ
œ œ ˙
1. Perform each exercise by clapping and counting each rhythm. 2. Sing each exercise using solfege syllables and the correct rhythms. 1.
& 44
2.
4 &4
3.
& 44 ˙ ˙
w ˙
˙
˙
˙
˙ ˙
4.
& 44 œ œ œ œ œ œ ˙
5.
& 44
œ
œ
œ œ œ
˙
˙
˙
˙
˙
˙
w
w œ œ œ œ œ œ œ œ w ˙
˙
˙ ˙
˙ ˙
˙ ˙
˙
˙
˙
˙
˙
˙ ˙
œ œ œ œ œ œ ˙ œ
œ
œ œ œ
w ˙
w
œ œ œ œ w
œ œ œ œ w ˙
˙
16
MUSIC FUNDAMENTALS FOR MUSICAL THEATRE
6.
& 44
7.
& 44 œ œ œ œ œ
8.
œœœœ˙
œ œ œ œ ˙
œœœœ˙ œ
œ
œ
4 &4 œ œ œ œ œ œ œ œ ˙ &œ œ œ
œ œ œ
œ
œ
œ
˙
œ
œ œ œ œ œ
œ œ œ
˙ ˙
œœœœœœœœ w
˙
œ
œ
œ
œ œ œ
œ
œ
˙
w
œ œ œ
˙
3 The Piano Keyboard, Accidentals, Whole and Half Steps, Major Scales The Keyboard Each note on the staff correlates to a specific note on the piano keyboard. The keyboard is made up of black keys and white keys in a repeating pattern. The black keys are grouped in sets of two or three surrounded by three or four white keys respectively. Observe that “C” is always to the left of two black keys, while “F” is to the left of three black keys.
&
w
w
w
w
w
w
w
w
w
w
w
w
w
w
w
Intervals An interval is the distance between two pitches. The smallest interval in traditional Western music is a half step. The distance between each adjacent note on the piano is a half step. Two half steps equal a whole step. Listen to example 3-1 to hear a few half steps and whole steps played on the piano.
17
18
MUSIC FUNDAMENTALS FOR MUSICAL THEATRE
&w
whole step
w
w
whole step
half step
w
w
half step
whole step
w
w
whole step
half step
w
half step
Accidentals So far, we have covered the names of the white keys on a keyboard. The names of the black keys are flats ( ) and sharps ( ) which are called accidentals. Accidentals are drawn before the note on the staff and must be on the same line or space as the note. Sharps raise the pitch of a note by a half step (remember a half step is the smallest interval between two notes).
&
w
C
#w
C#
w
D
#w
D#
w E
w
#w
w
#w
w
#w
w
w
F
F#
G
G#
A
A#
B
C
THE KEYBOARD, ACCIDENTALS, WHOLE STEPS, HALF STEPS, AND MAJOR SCALES
Flats lower the pitch of a note by a half step. A natural sign ( ) takes away the flat or sharp.
& w C
bw
nw
Db
D
bw Eb
w
nw E
F
bw
bw
nw
Gb
G
Ab
nw
bw
Bb
A
19
nw
w
B
C
Remember that the smallest interval is a half step and that each adjacent note on the piano is a half step apart. Therefore, the distance between a white key and its adjacent black key is a half step. Each of the black keys on a keyboard has two different names. Although each note has two names, the pitch sounds the same. These are called enharmonic notes.
half step C#/D b
&
w
#w
half step D#/E b
w
enharmonic notes
F#/G b
bw
Listen to example 3-2 to hear these half steps.
G#/A b
#w
A#/B b
w enharmonic notes
bw
nw
20
MUSIC FUNDAMENTALS FOR MUSICAL THEATRE
Using the keyboard as a guide, identify each interval as a half step or a whole step.
&w & #w
#w w
w
w
bw
w
w
w
#w
#w
w
bw
w
w
w
w
w
#w
w
bw
w
w
The Chromatic Scale The chromatic scale uses all twelve pitches on the keyboard. All of the notes are a half step apart. Traditionally, sharps are used when the scale is ascending and flats are used when the scale is descending. Listen to example 3-3 to hear a chromatic scale.
&
w #w w w w w bw w bw w bw w w bw w # w w # w w w # w w bw w w #w Major Scales
In Chapter 1 we learned the C major scale. It uses all of the white keys on the piano, creating a pattern of whole steps (W) and half steps (H). The pattern is WWHWWWH.
&
w
W
W
H
W
W
w
w
w
w
w
w
w
W
H
THE KEYBOARD, ACCIDENTALS, WHOLE STEPS, HALF STEPS, AND MAJOR SCALES
21
Using the pattern (WWHWWWH), you can create a major scale starting on any note. The pattern for a major scale is always the same, no matter what starting pitch you choose. Therefore, the interval from the first note of the scale (“do”) to the second (“re”) or the third (“mi”) to the fifth (“fa”) is the same in all major scales. Based on this idea, we can transpose music into different keys and the melody still sounds the same. You will need to use accidentals (sharps and flats) to make the pattern work for each scale.
D Major scale
&w
W
w
E b Major scale
& bw
W
w
W
W
#w
w
w
H
H
bw
W
W
W
bw
w
#w
w
w
W
H
bw
w
w W
W
H
Check these scales on the keyboard to see how the pattern works. Steps for drawing a major scale: 1. Draw the first note (the name of the scale). Make sure you use an accidental if necessary.
&w
E major scale 2. Draw the remaining seven notes, ending on the same note name you started on. Make sure you have one note on each line and space in between your starting and ending notes.
&w
w
w
E
w
F
G
A
w
w
w
w
B
C
D
E
3. Use the WWHWWWH pattern to add the appropriate accidentals.
&w
W
#w
W
#w
H
W
W
w
#w
#w
w
w
W
H
22
MUSIC FUNDAMENTALS FOR MUSICAL THEATRE
How did we get there? 1. Start with your finger on E on the keyboard below. 2. Now we need to move up a whole step. E–F is only a half step but if you add a # to the F, you get a whole step. 3. Starting on F#, go up another whole step. You land on G#. 4. From G# you need to go up a half step, which gets you to A. 5. Next is a whole step from A, bringing you to B. 6. A whole step from B brings you up to C#. 7. A whole step from C# gets you to D#. 8. Finally, you end with a half step up to E. If your ending pitch is different than your starting pitch, something has gone wrong and you should go back and try again.
Remember these rules for major scales: 1. Every scale must use each of the seven pitch letters. 2. Do not mix flats and sharps in one scale. 3. Follow the WWHWWWH pattern. 4. The ascending scale has eight notes. It starts and ends on the same note. Using the keyboard as a reference, draw the following major scales. Remember that flats and sharps must be drawn BEFORE the note on the staff.
&
B b Major scale
&
F # Major scale
THE KEYBOARD, ACCIDENTALS, WHOLE STEPS, HALF STEPS, AND MAJOR SCALES
&
A Major scale
&
C # Major scale
&
B Major scale
&
G Major scale
& &
A b Major
D b Major
&
F Major
23
24
MUSIC FUNDAMENTALS FOR MUSICAL THEATRE
You can find scale patterns in the musical theatre repertoire. Look at the following examples. Do you see an ascending scale pattern, a descending one, or both? Can you find both half steps and whole steps? Listen to a recording and sing through each example.
Richard Rodgers Lorenz Hart
"Come With Me" from The Boys From Syracuse
2 &b 4 œ
with
&b œ
œ
œ
Come
land
&b
-
œ
œ
&b œ
œ
Be
œ
œ
ne
-
guest
œ
of
fel
food
a
Where
œ
you.
rest,
Where
œ
˙
˙
can
cheer
you.
& & &
13. This is the time signature for cut time. We will discuss it in Chapter Fhapter 13.
œ
when
œ
And
˙
make
œ
œ
œ
Ev'
ry
œ
your
œ
thing
in
œ
œ
pic -
œ
the
thrill
-
œ
˙
up
œ
-
ture
each
œ
œ
œ
side
you
starts
œ
œ
œ
in
the
œ
œ
morn - ing
Œ
news
œ
when
˙
˙
to
shake
up
w
ap
-
˙
˙
you
wake
up
-
œ
hind
˙
Ó
˙
Ó
pears.
œ œ be
œ
œ
the
Irving Berlin
"There's No Business Like Show Business" from Annie Get Your Gun
&C
œ
œ
œ
of
the
˙
near
house
lows
free
˙
œ
œ
œ
œ
is
comes
œ
-
œ
œ
œ
in
œ
the
ver
œ
œ
a
best
where
me
lord
œ
œ
œ
œ your
œ
œ
with
w
ears.
œ
œ
daubs
of
THE KEYBOARD, ACCIDENTALS, WHOLE STEPS, HALF STEPS, AND MAJOR SCALES
25
Song Analysis What role do the scale patterns play in each of these excerpts? In “Come With Me,” you start on middle “c” and the phrase (musical sentence) rises using whole steps and half steps until you get to the “a” on the lyric “near you.” The next phrase also begins on middle “c” but this time ascends all the way to high “c.” Ascending lines are often building towards something. When you combine the lyrics with the ascending line, you can see that the singer is trying to convince someone to come with him. In this case the Sergeant is convincing Antipholus to go to jail. The ascending lines convey the importance of the message as well as the intensity in which the message is being delivered. The second phrase ascends higher and raises the stakes in case Antipholus wasn’t convinced after the first phrase. In “There’s No Business Like Show Business,” you have three ascending scale lines with the final one continuing to a “d” before descending to an “a” at the end of the phrase. Each line is building suspense and excitement until we get to the climax on “make-up.” This opening number is engaging the audience by sharing the joy and exhilaration of putting on a show. Each ascending line is almost saying “there is more— and this and this—but wait until this!” Take a look and a listen to the following songs as well: “Babes in Arms” from Babes in Arms by Rodgers and Hart. The melody slowly builds all the way up the scale as the young people come together to fight for what they believe.
“Oklahoma!” from Oklahoma! by Rodgers and Hammerstein. Look for descending scale patterns and large ascending jumps that create excitement.
Sight-Singing Sing the following melodies using solfege while keeping a steady beat.
1.
& 44
2.
4 &4 ˙
œ
œ
œ œ
œ
˙
œ œ œ œ œ œ œ
œ œ
œ
œ œ œ
œ
œ
œ
œ
œ œ œ œ ˙
œ œ œ œ œ
œ
œ œ œ
26
MUSIC FUNDAMENTALS FOR MUSICAL THEATRE
3.
& 44 œ œ œ
4.
& 44 œ
5.
4 &4 ˙
œ
œ
œ œ œ
œ
œ
œ
œ
œ œ ˙
œ œ œ œ œ
6.
4 &4 œ
7.
& 44 œ
8.
4 &4 œ œ œ œ ˙
9.
& 44 œ œ œ œ œ œ
10.
4 &4 œ œ œ œ
11.
& 44 ˙
12.
& 44
œ œ œ œ œ œ œ œ
œ
œ œ
œ œ œ
œ œ œ œ œ
˙
œ œ œ
œ œ ˙
œ
œ œ
œ œ œ œ œ œ œ
œ œ œ œ œ œ
œ œ œ œ œ œ
œ œ œ œ œ œ
œ œ œ œ œ œ œ œ œ œ œ
œ
œ œ œ œ œ ˙
œ œ œ œ œ œ
œ œ œ œ œ
œ œ œ œ œ œ œ
œ œ œ œ ˙
œ œ œ œ
œ œ œ œ œ œ œ œ
œ œ œ œ œ œ œ
œ
œ œ œ œ œ
œ
œ œ œ œ ˙
œ œ œ
œ
œ
œ œ œ
œ œ œ œ
œ œ œ œ œ
œ œ œ
œ œ œ œ ˙
œ
œ œ
œ œ œ œ œ œ œ
œ œ
œ œ œ œ œ œ œ
œ
œ œ œ œ œ
œ
THE KEYBOARD, ACCIDENTALS, WHOLE STEPS, HALF STEPS, AND MAJOR SCALES
13.
& 44 œ œ œ œ
14.
& 44 œ
œ
œ œ œ
œ œ œ œ œ œ œ œ œ œ œ œ ˙
œ
œ
œ œ œ
œ œ œ
œ œ œ œ œ œ œ œ œ œ œ œ œ œ
Listening Listen to example 3-4 and determine if you are hearing a half step or a whole step. A. half step
7.
15.
B. whole step
8.
16.
1.
9.
17.
2.
10.
18.
3.
11.
19.
4.
12.
20.
5.
13.
21.
6.
14.
22
27
28
4 The Circle of Fifths and Major Key Signatures Major Keys There are fifteen major keys in Western music. The key is indicated by the grouping of flats or sharps found on the staff next to the clef. This is called the key signature. The accidentals that make up the key signature are carried through the entire piece or until there is a change in the key. Therefore, it is unnecessary to write accidentals in front of the notes throughout the piece of music. Major keys are divided into sharp keys and flat keys except for C major. As we know from the C major scale, there are no sharps or flats in C major.
The Sharp Keys The sharp keys are as follows (the order is based on the number of sharps in the key): G (1 sharp), D (2 sharps), A (3 sharps), E (4 sharps), B (5 sharps), F (6 sharps), C (7 sharps). (See the circle of fifths below.) The circle is a tool to visualize the relationships between major keys. The sharp keys appear clockwise around the circle. Each key is a fifth higher than the key before it. A fifth is an interval made up of seven half steps. C
G
&
C
&
G
Count the half steps from C up to G
#
D
# & # A
Sharps occur in the following order (i.e. - F # is ALWAYS the first sharp in the key signature): F #, C #, G #, D #, A #, E #, B #
## # & # ## #
E
C#
F#
## # & # ##
B
## & #
## & ##
## & # ##
29
30
MUSIC FUNDAMENTALS FOR MUSICAL THEATRE
Identify the following key signatures.
## & ##
# & #
&
####
#
&
#### # & #
#
&
###
Draw a treble clef in each measure along with the indicated key signature.
&
C#
B
D
E
A
Draw the following major scales using the appropriate key signature. To draw a scale, draw the key signature first. Next, draw the first note of the scale. The first note is the name of the key. Finally, draw seven notes ascending up the staff, one on each line or space. The final note should be the same as the first note. You should have eight notes in total.
#
G Major
& w &
F # Major
w
w
w
w
w
D Major
& & &
A Major
E Major
Check the accuracy of your scales by using the WWHWWWH formula. List the sharps in order of appearance: ____
____
____
____
____
____
____
w
w
THE CIRCLE OF FIFTHS AND MAJOR KEY SIGNATURES
31
The Flat Keys The flat keys are as follows (the order is based on the number of flats in the key): F (1 flat), B (2 flats), E (3 flats), A (4 flats), D (5 flats), G (6 flats), C (7 flats). See the circle of fifths below. The flat keys appear counter-clockwise around the circle. Each key is a fifth lower than key before it. F
&b &b
b
b &bb b & b bb
& C F Count the half steps from C down to F
Bb
Eb
Flats occur in the following order (i.e. - B b is ALWAYS the first flat in the key signature): B b, E b, A b, D b, G b, C b, F b
Ab
b & b bbb
C
Db
Gb
b & b bbbb
Cb
b & b bbbbb
32
MUSIC FUNDAMENTALS FOR MUSICAL THEATRE
Identify the following key signatures.
b & b bbb
b &bb
b & b bb
&b
b & b bbbb
&b
b
Draw a treble clef in each measure along with the indicated key signature.
&
Ab
Cb
Db
F
Draw the following major scales using the appropriate key signature.
B b Major
&
G b Major
&
F Major
&
A b Major
&
D b Major
&
Check the accuracy of your scales by using the WWHWWWH formula. List the flats in order of appearance: ____
____
____
____
____
____
____
Eb
THE CIRCLE OF FIFTHS AND MAJOR KEY SIGNATURES
33
THE COMPLETE CIRCLE OF FIFTHS
&b &b
b
b &bb
& C G
F
&
#
Bb
# & #
D
Eb
b & b bb
## & #
A
Ab
E D b/C #
b & b bbb
## # & # ## #
&
####
B/C b F #/G b
# ## # & # #
b & b bbbb
# ## & # #
b & b bbbbb
Enharmonic Keys: B and C are enharmonic keys. The notes in each key are the same but are spelled differently. Using a keyboard, compare the notes in the scales. They are exactly the same.
## & # ##
w w w w w w w w
b & b bbbbb w w w w w w w w
IN ADDITION—F major is enharmonic to G major and D major is enharmonic to C major.
34
MUSIC FUNDAMENTALS FOR MUSICAL THEATRE
HELPFUL HINTS
U
se this neumonic to help remember the order of the sharps: “Father Charles Goes Down And Ends Battle.” My students think of this as the happy ending, which they relate to the sharps.
You can reverse it to remember the order of flats: “Battle Ends And Down Goes Charles’ Father.” This is the sad ending, which they relate to the flats.
Remember that the sharps and flats in the key signature must always be in the specified order and appear on the staff as they are drawn below. Specifically, the G is always found on the top of the staff and not on the second line.
## # & # ## #
b & b bbbbb
If key signatures are new to you, I suggest working on just the sharp keys first. Once you have memorized and are comfortable with the sharp side of the circle, try one of the methods below to figure out the flat side of the circle. 1. The sharp side of the circle starts on C and follows with G, D, A, E, B, F , and C . When you reverse it, you get the order of the flat keys. Sharp keys starting at the top of the circle: Flat keys starting at the top of the circle:
C G D A E B F C
C F B E A D G C
Take note that the only sharp keys that use a sharp in their name are F and C . Conversely, the only flat keys without a flat in their name are F and C.
F-1
C-0
G-1
Bb - 2
D-2
Eb - 3
A-3
Ab - 4
E-4 C# - 7 Db - 5
F# - 6 Gb - 6
B-5 Cb - 7
2. If you add the number of sharps in any sharp key to the number of flats in the flat key with the same letter name, it will add up to 7, i.e. G major has 1 sharp and G major has 6 flats. B major has 5 sharps and B major has 2 flats.
THE CIRCLE OF FIFTHS AND MAJOR KEY SIGNATURES
35
One additional way to check if your key signature is correct is to go back to the pattern for major scales. The accidentals you add in the scale should be the same as the accidentals found in the key signature. For example, draw an A major scale using the WWHWWWH pattern.
&
bw
bw
w
w
bw
bw
w
bw
You end up with 4 flats (well actually 5, but you don’t count the A twice)—A , B , D , and E . Does the key of A have 4 flats? Yes, it does! The key signature and scale match.
b & b bb
B , E , A , and D
Now draw a B major scale using the WWHWWWH pattern.
&
w
w
#w
#w
#w
w
#w
#w
You end up with 5 sharps—C , D , F , G , and A . Does the key of B have 5 sharps? Yes, it does! The key signature and scale match.
&
####
#
F , C , G , D ; and A
Sight-Singing When singing in any major key, the tonic, or first note of the scale, is always “do.” Look at the D major scale, which is labeled with the scale degree numbers and the corresponding solfege. Sing the scale and then the following melody.
# # D Major scale & w w 1 do
# # D4 Major & 4 ˙ 1 do
2 re
œ
2 re
3 mi
œ
1 do
œ
1 do
4 fa
œ
2 re
w
w
w
w
5 sol
˙
3 mi
œ
4 fa
6 la
œ 5 sol
œ
4 fa
œ
3 mi
w
w
7 ti
8 do
˙
2 re
˙
1 do
36
MUSIC FUNDAMENTALS FOR MUSICAL THEATRE
Determine the key signature for each exercise and write out the scale degree numbers and corresponding solfege syllables below. Remember that the tonic is always “do.” Practice by singing a major scale in each key before singing each melody.
& b 44 œ
F major
1.
œ
œ
1 do
2 re
4 &b 4 ˙
œ
3 mi
2 re
____________
2.
### 4 & 4
___ ___
2 re
œ
œ
œ
œ
___ ___
1 do
___ ___
___ ___
___ ___
3 mi
œ
4 fa
œ
___ ___ ___ ___
____________
3.
œ
___ ___
4.
& 44
œ
___ ___
___ ___
___ ___
____________
œ
___ ___
œ
___ ___
œ
___ ___
#### 4 & 4 œ œ œ
____________
5.
œ
˙
œ
œ
___ ___
___ ___
œ
___ ___
˙
___ ___ ___ ___ ___ ___ ___ ___
bb 4 6. & b b b 4 œ œ œ œ œ ____________
___ ___ ___ ___ ___ ___ ___ ___ ___ ___
œ
___ ___
œ œ œ
œ
___ ___
___ ___
˙
___ ___
˙
___ ___ ___ ___ ___ ___ ___ ___
œ œ œ œ œ
5 sol
œ
6 la
5 sol
˙
œ
œ
___ ___
___ ___
œ
œ
œ
œ
œ
œ
œ
œ
œ
˙
œ
4 fa
___ ___
œ
œ
___ ___ ___ ___
œ œ œ
œ
œ
3 mi
œ
2 re
1 do
___ ___
œ
___ ___
œ
˙
œ
œ
œ
˙
___ ___ ___ ___ ___ ___ ___ ___
œ
œ
œ
___ ___
œ
___ ___ ___ ___ ___ ___ ___ ___ ___ ___
œ œ œ œ œ
___ ___ ___ ___ ___ ___ ___ ___ ___ ___ ___ ___ ___ ___ ___ ___ ___ ___ ___ ___
___ ___
___ ___
___ ___ ___ ___
___ ___
œ œ œ
˙
œ
˙
___ ___ ___ ___ ___ ___ ___ ___
œ
___ ___ ___ ___
___ ___
œ œ œ œ œ ___ ___ ___ ___ ___ ___ ___ ___ ___ ___
THE CIRCLE OF FIFTHS AND MAJOR KEY SIGNATURES
37
Now, practice singing the following exercises without writing in all of the solfege syllables. Make sure you check the key signature before you start! 1.
2.
3.
4.
5.
6.
b & b b 44 œ œ œ œ b & b 44 œ
œ
œ
œ œ œ
b & b b b 44 œ œ œ œ œ œ # & 44 œ œ
œ œ œ œ ˙
œ œ
œ
˙
œ œ œ œ œ œ œ œ œ œ œ
## # œ & # # # 44 œ œ œ œ œ œ œ œ œ œ œ # & # 44 ˙
œ œ
œ œ œ œ œ œ œ
7.
b œ & b b b b b 44 œ œ œ œ œ œ œ œ
8.
#### 4 & # 4 œ œ œ œ
œ œ œ œ œ œ œ
œ
œ
œ œ œ œ œ œ
œ œ œ
œ
œ œ œ
œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
œ œ œ œ œ œ
œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
œ œ œ œ œ œ œ œ œ œ œ œ œ œ
œ œ œ œ œ œ œ œœœœœœœ
38
Review of Chapters 1–4 and Performance Tips (Tempo) Note Recognition Identify the following notes.
w
&w &
w w
w
w
w
w
w
w
w w
w
w
w
Draw two different notes of the same name. You may need to use ledger lines.
&
C
A
F
D
G
B
E
Rhythm Draw the following notes. In 4/4 time, what is the value of each note? whole note: half note: quarter note: eighth note:
39
40
MUSIC FUNDAMENTALS FOR MUSICAL THEATRE
Fill each measure with the type of notes indicated. Make sure there are four beats in each measure.
÷ 44 ÷
half note(s)
half note(s) and eighth note(s)
quarter note(s)
whole note(s)
eighth note(s)
quarter note(s) and eighth note(s)
half note(s) and quarter note(s)
quarter note(s) and eighth note(s)
Draw in bar lines so that each measure has four beats. Write the counts below the notes and then clap and count the rhythm.
÷ 44 ˙
˙
œ
÷œ œ œ
˙
˙
œ
œ
œ œ
œ œ œ
w œ
œ œ
œ œ œ œ œ
œ œ œ
œ
˙
œ
Write the counts below the notes and then perform the rhythm.
÷ 44 œ
˙
œ
÷œ œ œ œ œ œ œ
œ œ œ œ
˙
œ
œ
œ
œ œ œ œ œ
œ œ œ œ œ
˙
œ œ
œ
œ œ œ
˙ œ
REVIEW OF CHAPTERS 1–4 AND PERFORMANCE TIPS (TEMPO)
41
The Keyboard Write the note names on the keyboard. Be sure to identify all of the white keys as well as all of the black keys.
Intervals Identify each interval as a whole step or a half step.
&w & #w
w
#w
#w
w
bw
w
w w
bw #w
bw
w
w
bw
w
w
w
w
w
bw
w
w
Major Scales Using the pattern WWHWWWH, draw the following major scales with accidentals (not a key signature).
E Major
&
42
MUSIC FUNDAMENTALS FOR MUSICAL THEATRE
A b Major
&
C Major
&
B Major
&
D Major
&
E b Major
&
C b Major
&
F # Major
&
B b Major
&
REVIEW OF CHAPTERS 1–4 AND PERFORMANCE TIPS (TEMPO)
C # Major
&
F Major
&
G b Major
&
G Major
&
D b Major
&
A Major
&
43
44
MUSIC FUNDAMENTALS FOR MUSICAL THEATRE
Major Key Signatures What is the order of the sharps? What is the order of the flats? Draw a complete circle of fifths.
Draw a treble clef in each measure along with the indicated key signature.
D
E
B
G
F#
A
Ab
Bb
F
Db
Eb
Gb
HELPFUL HINTS
S
harp key signatures: When you see a sharp key signature, take the last sharp and raise it a half step to get the name of the key, i.e. if the key signature has two sharps, F and C , take the C and think up a half step. You come to D, which is the name of the key.
Flat key signatures: When you see a flat key signature, look at the second to last flat. That is the name of the key, i.e. if the key signature has four flats, B , E , A , D , look at the second to last flat. A is the name of the key.
REVIEW OF CHAPTERS 1–4 AND PERFORMANCE TIPS (TEMPO)
45
Sight-Singing Determine the major key for each exercise and then sing it using solfege while keeping a steady beat. You may need to write the scale degree numbers or solfege syllables under the notes. As you become more comfortable with sight-singing, try a few exercises without writing out the solfege.
œ
1.
& 44 œ œ œ
2.
b & b 44 œ
3.
b œ & b 44 œ œ œ œ œ œ œ œ ˙
œ œ œ œ œ œ œ œ œ œ œ
4.
## & # # 44 œ œ œ œ œ œ œ œ œ
œ œ œ œ œ œ œ œ œ œ œ œ
5.
œ œ
# ## 4 & # 4 œ œ œ
œ
œ
œ
œ
˙
œ œ œ œ œ
œ
œ
œ
˙
œ œ œ
œ œ œ
˙
6.
b & b b b b 44 ˙
7.
b & b b b b 44 œ œ œ œ œ ˙
8.
# & 44 œ œ œ œ œ
œ œ
œ
œ
œ œ œ œ œ œ œ œ œ
œ œ œ œ
œ
œ
œ œ œ
œ œ œ œ œ
œ
˙
œ œ œ œ ˙
˙
œ
œ
œ œ œ œ
œ œ œ œ œ
œ œ œ œ œ œ
œ œ œ œ œ
œ œ œ œ œ œ
œ œ œ œ œ œ œ
46
9.
10.
11.
12.
MUSIC FUNDAMENTALS FOR MUSICAL THEATRE
# 4 & 4 œ œ œ œ œ œ
b œ œ œ œ œ œ œ & b b b 44 œ œ œ œ œ œ œ œ œ œ œ œ
b & b b b 44 œ ˙ #### 4 & # 4
œ œ ˙
13.
#### 4 & # 4 œ œ œ œ œ œ
14.
b & b b 44 ˙
15.
b & b b 44 œ œ œ œ œ œ œ
16.
17.
œ œ œ œ œ œ
œ œ œ œ ˙
œ œ œ œ œ œ œ œ ˙
œ œ œ œ œ œ œ œ œ
œ œ ˙
œ œ œ œ œ œ œ
œ œ œ œ œ œ œ ˙
œ œ œ œ œ ˙
œ
œ
œ œ œ œ œ œ œ œ œ œ
œ œ œ œ œ œ œ œ œ œ œ œ
œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
œ œ œ
œ œ œ œ œ œ œ œ œ œ œ
# œ œ œ œ œ & # 44
œ œ œ œ œ
œ œ œ œ œ œ œ œ œ œ œ œ
# & # 44 œ œ œ œ œ
œ œ œ œ œ œ
œ œ œ œ œ œ œ œ œ œ œ œ œ
˙
REVIEW OF CHAPTERS 1–4 AND PERFORMANCE TIPS (TEMPO)
47
Performance Tips The ability to read pitches and rhythms is only part of the knowledge you need to read music. You will encounter many markings in your music that give you directions on how to perform the music. With these markings, the composer gives you insight as to how they intended the music to be performed. Look at music that you are currently working on—can you find any of these markings?
Tempo (Speed in Music) The speed of a piece of music is measured in beats per minutes (bpm). A metronome is an extremely helpful tool to measure beats per minute. It will keep a steady tempo for you at any speed. You can purchase one at a local music store or get one as an app for your phone. Some metronomes will also subdivide the beat for you, giving you steady eighth notes or sixteenth notes. At the beginning of your music you will often see a tempo marking. The tempo marking may be one of the terms below or a bpm notation like this: = 120. This notation tells you that the speed of each quarter note should be 120 bpm. Tempo markings are usually found at the beginning of a piece or at new section of music. You will find a variety of descriptive tempo markings in musical theatre. The terms listed below are the most traditional: Largo: very slowly or broadly (45–50 bpm) Adagio: slow and stately (55–65 bpm) Andante : walking tempo (84–90 bpm) Moderato: moderately (100–112 bpm) Allegro: quick or brightly (120–160 bpm) Presto: extremely fast (180–200 bpm) Tempo alterations are markings that indicate a change in the tempo: Accelerando (accel.): gradually speed up Ritardando (rit.): slow down Rallentando (rall.): gradually slow down *ritardando and rallentando are often used interchangeably. a tempo: back to the original tempo rubato: rhythmic freedom for a short period of time—gives the performer liberty to slow down and/or speed up in an expressive manner colla voce: with the voice (the accompanist or orchestra follows the singer for the indicated passage) meno mosso: with more motion piu mosso: with less motion
48
5 Intervals: Seconds and Thirds and Phrase Shapes Intervals As we discussed in Chapter 3, an interval is the distance between two pitches. We measure the distance covered with numbers, just like measuring height or weight. In this book we will cover seconds, thirds, fourths, fifths, sixths, sevenths, unisons, and octaves. See an example of each below.
& w w unison
w w
w w
w w 2nd
3rd
4th
w w
w
5th
w 6th
w
w 7th
w
w
octave
Let’s start by looking at seconds and thirds. How many letters (note names) are there when traveling from C to D?
&
C
How many letters (note names) are there when traveling from C to E?
D
&
w
w
Two note names from C to D means that the distance traveled (interval) is a second.
C
D
w
E
w
Three note names from C to E means that the distance traveled the distance traveled (interval) is a third.
Here are a few more examples of seconds and thirds. Notice that when we are counting letter names, we don’t treat a flat or sharp any differently than a natural note.
F
&w
G
second
w
A
w
B
third
w
C
D
bw
E
bw
second
G
#w
A
w
B
third
49
50
MUSIC FUNDAMENTALS FOR MUSICAL THEATRE
Now, count the notes and label the intervals as seconds or thirds.
&w
w
w
w
&
w
bw
w
w
w
#w
w
w
bw
w
w
w
We can use the same process of counting letter names to identify fourths, fifths, sixths, and sevenths. How many letters (note names) are there when traveling from C to F?
C
D
& w
E
How many letters (note names) are there when traveling from C to G?
&
F
w
Four note names from C to F means that the distance traveled (interval) is a fourth.
C
w
D
E
F
G
w
Five note names from C to G means that the distance traveled (interval) is a fifth.
Count the notes and label the intervals as fourths or fifths. The first two have been done for you.
w
D E F G
fourth
w
A B C D E
fifth
w
w
&w &w
w
How many letters (note names) are there when traveling from C to A?
&
C
w
D
E
F
G
w
A
Six note names from C to A means that the distance traveled (interval) is a sixth.
w
w
w
w
w
w
w
w
w
How many letters (note names) are there when traveling from C to B?
&
w
C D E F G A B
w
Seven note names from C to B means that the distance traveled (interval) is a seventh.
INTERVALS: SECONDS AND THIRDS AND PHRASE SHAPES
51
Count the notes and label the intervals as sixths or sevenths. The first two have been done for you.
w
FGABCD
&w
BCDEFGA
bw
sixth
w
&w
seventh
w
w
w
#w
w
#w
w
w
w
w
bw
Major and Minor Intervals In this chapter we will focus on major and minor seconds and thirds. As we just learned, a second is the distance between any two adjacent notes on the staff. The number of half steps separating these two notes is what makes the interval major or minor. Both C–D and C–D are seconds because they are adjacent notes on the staff. Using the keyboard below, count the number of half steps in between the two notes.
& w
bw
w
One half step = minor second (m2)
w
Two half steps = major second (M2)
All minor seconds are one half step apart. All major seconds are two half steps apart.
Intervals can begin on any note. Take a look at the following seconds and then listen to example 5-1 to hear them played on the piano.
w
&w M2
bw
M2
bw
w
w m2
#w
M2
#w
Notice the abbreviation for major second is M2 and for minor second it is m2.
w
#w m2
52
MUSIC FUNDAMENTALS FOR MUSICAL THEATRE
Label the following seconds. The first two are done for you.
& #w
m2
w
&w
w
bw
w
w
w
w
bw
w
bw
w
w
M2
#w
#w
You can also determine whether a third is major or minor by counting the number of half steps separating the two notes. Both C–E and C–E are thirds because we travel through three note names to get from C–E. Using the keyboard below, count the number of half steps in between the two notes.
C
& w
D
E
C
bw
w
Three half steps - minor third (m3)
D
E
w
Four half steps = major third (M3)
All minor thirds are three half steps apart. All major thirds are four half steps apart.
Take a look at the following thirds and then listen to example 5-2 to hear them played on the piano.
& bw
M3
w
w
w m3
w
m3
w
w
bw m3
Notice the abbreviation for major third is M3 and for minor third it is m3.
w
w M3
INTERVALS: SECONDS AND THIRDS AND PHRASE SHAPES
53
Label the following thirds. The first two are done for you.
bw
& bw
m3
& #w
w
#w
#w
M3
w
w
w
bw
w
w
w
w
bw
w
bw
w
#w
w
When drawing intervals, it is helpful to think about it as a two-step process. First, draw the basic interval and then figure out if the top note needs to be natural, flat, or sharp based on the number of half steps. This will ensure that you are spelling the third correctly and not using the incorrect enharmonic spelling. (i.e. writing a D when it should be an E ). You can accomplish this by using the letter names of the notes to help. See below: 1. To draw a major third above the given note, write out three letter names starting with the given note. 2. Count up four half steps (using the keyboard to help) and add an accidental if necessary.
&
given note = D
w
given note = A b
& bw
w
bw
Go up three letter names and draw the top note - D E F
w
Go up three letter names and draw the top note - A B C
w
Count up four half steps from the bottom note and add any necessary accidentals.
w
#w
M3
Count up four half steps from the bottom note and add any necessary accidentals.
bw
w
M3
Follow the same process for a minor third except that you need to count three half steps instead of four.
&
Go up three letter names and draw the top note - C D E
given note = C
w given note = F
&w
w
w
w
Go up three letter names and draw the top note - F G A
w
Count up three half steps from the bottom note and add any necessary accidentals.
w
m3
bw
Count up three half steps from the bottom note and add any necessary accidentals.
w
bw
54
MUSIC FUNDAMENTALS FOR MUSICAL THEATRE
HELPFUL HINTS
W
hen counting half steps, make sure you count the distance between the notes, not the notes themselves.
Draw a major third above each note.
&w
w
& bw
w
w bw
Draw a minor third above each note.
&w
bw
#w
&w
bw
w
#w
bw
w
w
#w
#w
bw
w
#w
w
#w
w
Circle and label all of the thirds in the following melody. Sing through the melody using solfege.
& 44 ˙
œ
œ
œ
œ
œ œ œ œ œ œ œ œ œ
œ
œ œ œ œ ˙
Label the following intervals. You will find major and minor seconds as well as major and minor thirds.
& bw
bw
bw
& #w
w
w
w bw
w
w
#w
#w
bw
w
bw
bw
w
w
#w
#w
INTERVALS: SECONDS AND THIRDS AND PHRASE SHAPES
55
You will find many thirds in the musical theatre repertoire. Look at the following examples and label the thirds. Listen to a recording and sing through each song.
"Maybe" from Annie M3
& 44 œ
œ
May - be
&œ
he
˙.
œ
way,
or
œ
œ
far
a
-
˙
œ œ œ œ œ
may - be pour - ing her
cof
-
˙
fee,
œ
may - be
œ
œ œ
she
may
"Someday" from The Wedding Singer m3
#### 4 & 4 œ &
####
œ
Some - day
œ
œ
sin - gle
œ
j œ œ
when it's
œ
com - pli
j œ œ ‰ œj œ œ
me,
j œ œ
œ. -
ca
-
tion
œ
œ
I'll know my
‰ œj œ or
œ
Charles Strouse Martin Charnin
real
near
œ
œ œ
be straight - 'ning
w
-
by,
w
his
tie.
Matthew Sklar Chad Beguelin
œ
love
œ
œ
was meant
œ
cause for
œ
œ
hes - i
œ œ œ Œ œ œ
to be
not one
œ œœœ˙ 3
-
ta
-
tion
"As Long As He Needs Me" from Oliver M3
& 44 Ó
‰ œ œ œ ˙
&˙
˙
what
As long as
you
˙
see
he
˙
needs
Lionel Bart
˙
me
œ
œ œ œ œ I'm
œ œ œ ˙
Oh yes he does
sure that
b˙. he
˙
need
œ
needs
˙
me
˙
me.
œ
œ œ œ
In spite of
Ó
56
MUSIC FUNDAMENTALS FOR MUSICAL THEATRE
Trey Parker Robert Lopez Matt Stone
"Hello!" from The Book Of Mormon
4 &4 Ó
Œ
m3
‰ œj œ
Œ
Hel - lo,
‰ œ œ œ
œ œ œ
My name is
&œ œ œ œ œ œ œ œ œ œ œ Ó
El - der
El - der Grant.
Œ
œ œ
It's
a
Hel - lo,
œ œ œ œ œ œ œ œ
book a - bout A - mer - i - ca
and
I
would
Œ ‰ œj Œ ‰ œ œ œ œ
Ó
like to share with you the most a - ma - zing book!
&œ œ œ
Price,
‰ œ œ œ
a
My name is
œ œ œ œ œ
long long time
Œ
a - go.
Song Analysis Melodic musical phrases have a shape. The shape of the phrase gives the actor clues to the state of mind of the character and what the character’s objective might be. Some phrase shapes are:
or
or
or
Look at the first four bars of “Maybe.” The phrase goes up to the “d” and then comes down to the “f.” To me, the first part of the phrase supports the initial excitement and build-up of Annie’s hope of finding her parents. The second part of the phrase seems more thoughtful, or reasoning. Of course, each actor can interpret the phrase shape in her own way, but it is important to remember that these details are there to help tell the story. Now, look at “As Long As He Needs Me.” Here the phrases start high and go down until the final twobar phrase where the notes move in an upward direction. The descending phrases can be felt like sighs. She is building her thoughts to the strong declaration at the end, “I’m sure that he needs me.” Analyze the phrase shapes in music that you are working on or any of the excerpts in the book. Use the shapes to further your investigation into the character and performance of the music. Take a look and listen to the following songs as well. Find the phrases and analyze the intervals. Sing each song using solfege. “Home” from Beauty and the Beast. “Miracle of Miracles” from Fiddler On The Roof. “Hold On” from The Secret Garden. “Tune Up A” from Rent.
INTERVALS: SECONDS AND THIRDS AND PHRASE SHAPES
57
Sight-Singing Sing the following pattern using solfege. 1324354657687↑28 8675645342312↓71
***sing this every day!***
Sing the following melodies using solfege while keeping a steady beat. Make sure you check the key signature before starting each exercise. You can listen to the first three melodies on the website for reference.
& 44 œ œ œ œ œ
Example Ex5-3 5-3
œ œ œ œ œ œ
### 4 & 4 œ œ œ œ œ
œ œ œ ˙
#### 4 & # 4
œ œ œ œ œ œ
Ex5-4 5-4 Example
Example Ex5-5 5-5
& b 44 œ
œ œ
˙ œ œ
œ
b & b b b b 44 œ œ œ œ œ œ # & 44 œ
œ
œ
œ
œ œ œ œ œ œ œ œ œ ˙ œ œ œ œ ˙
b & b b b 44 œ œ œ œ œ œ œ œ œ œ œ œ ˙
œ œ œ œ œ œ œ
œ œ œ œ œ œ
œ œ œ œ œ œ
œ œ œ œ œ
œ œ œ œ
œ œ œ œ œ œ
œ œ œ
œ œ
œ œ œ œ
œ
œ œ œ œ œ œ œ œ œ œ œ œ ˙ œ œ œ œ œ œ œ œ œ
œ
˙
œ œ œ œ œ œ œ œ œ œ œ ˙
58
MUSIC FUNDAMENTALS FOR MUSICAL THEATRE
bb 4 & b b bb 4 œ œ œ œ œ
œ œ œ œ œ
& 44 œ
œ
œ
œ
œ œ œ
œ
œ œ
œ œ œ œ œ
œ
œ œ œ
˙ œ œ œ
œ
œ
˙
# & # 44 œ œ œ œ œ œ
œ œ œ œ œ
œ œ œ œ œ
œ œ œ œ œ
#### 4 œ & 4 œ œ œ ˙
œ œ œ œ ˙
œ œ œ œ œ œ
œ œ œ œ ˙
b & b 44 œ
œ
œ
œ
#### # 4 œ œ œ œ œ & # 4 œ ## & # 44
œ
œ
œ œ œ œ œ
˙
œ œ œ œ œ œ
œ œ œ œ œ œ œ œ œ œ œ
b & b b b b 44 ˙
œ œ œ œ œ œ ˙
b & b 44 œ œ œ œ œ
œ ˙
œ
œ
œ œ œ œ œ œ
œ
œ œ œ
œ œ œ œ
œ œ œ œ œ œ
œ œ œ œ œ œ œ
œ œ œ œ œ œ
œ œ œ œ œ œ
œ œ œ œ œ œ
œ œ œ œ œ œ œ
INTERVALS: SECONDS AND THIRDS AND PHRASE SHAPES
59
Listening Listen to example 5-6 and determine if you are hearing a major third or a minor third. A. major third
5.
11.
B. minor third
6.
12.
1.
7.
13.
2.
8.
14.
3.
9.
15.
4.
10.
16.
Listen to example 5-7 and identify the interval you are hearing. Is it a major second, minor second, major third or minor third? A. major third
7.
15.
B. minor second
8.
16.
1.
9.
17.
2.
10.
18.
3.
11.
19.
4.
12.
20.
5.
13.
21.
6.
14.
22.
Listen to example 5-8 and write out the rhythm that you hear.
ã 44
ã 44
Listen to example 5-9 and write out the rhythm that you hear.
60
6 Intervals: Fourths, Fifths, and Octaves; Rhythm: Sixteenth Notes Perfect Intervals Fourths, fifths, and octaves are considered perfect intervals. They are never major or minor but can be altered to become augmented or diminished. We will discuss that in a later chapter. We can identify perfect fourths and fifths by counting the number of half steps separating the two notes.
C
& w
D
E
C
F
w
Five half steps = Perfect fourth (P4)
w
D
E
F
G
w
Seven half steps = Perfect fifth (P5)
All perfect fourths are five half steps apart. All perfect fifths are seven half steps apart.
Below are a few examples of perfect fourths and fifths. Listen to example 6-1 to hear them played on the piano.
&w
w P4
#w
#w
P4
bw
bw P5
w
w
P5 61
62
MUSIC FUNDAMENTALS FOR MUSICAL THEATRE
Label the following perfect fourths and perfect fifths. The first two are done for you.
&w &
bw
P5
w
w w
bw
P4
w
bw
w
w
#w
w
#w
#w
w
w
We use the same two-step process to draw perfect fourths and perfect fifths as we did for thirds. Drawing a perfect fourth: Step 1: Write out four letter names starting with the given note. Step 2: Draw the top note. Step 3: Count up five half steps and add any necessary accidentals.
&
Go up four letter names and draw the top note - C D E
given note = C
w given note = F
&w
w
w w
Count up five half steps and add any necessary accidentals
F
w
Go up four letter names and draw the top note - F G A
B
w
w
P4
w
Count up five half steps and add any necessary accidentals
bw
P4
Drawing a perfect fifth: Step 1: Write out five letter names starting with the given note. Step 2: Draw the top note. Step 3: Count up seven half steps and add any necessary accidentals.
given note = D b
& bw &
Go up five letter names and draw the top note - D E F
bw
w
given note = B
Go up five letter names and draw the top note - B C D
w
w
w
G
A
Count up seven half steps and add any necessary accidentals
bw E
F
P5
bw
Count up seven half steps and add any necessary accidentals
w
P5
#w
FOURTHS, FIFTHS, OCTAVES, AND SIXTEENTH NOTES
63
An octave, or perfect eighth, is the same note (same letter name), twelve half steps apart.
w
&w
#w
#w
bw
bw
Draw a perfect fourth above each note.
bw
&w & #w
w
bw
bw
#w
w
w
w
#w
bw
Draw a perfect fifth above each note.
&w
w
&w
bw
#w
w
#w
bw
bw
w
bw
w
#w
bw
Draw a perfect eighth (octave) above each note.
bw
&w
#w
w
Find and label the perfects fourths, fifths, and octaves in the following song excerpts. Listen to a recording and sing each excerpt.
"Comedy Tonight" from A Funny Thing Happened on the Way to the Forum P4
# & C œ # & œ
˙
Some - thing
˙
Some - thing
˙
œ
fa
œ
for
mil
œ. ev
-
-
œ œ J
˙
œ
iar,
'ry - one
˙
œ
Some - thing
œ a
œ œ œ
com - e - dy
Stephen Sondheim
pe
Œ
˙
-
œ
to
cul
-
˙
night!
-
˙
iar,
Ó
64
MUSIC FUNDAMENTALS FOR MUSICAL THEATRE
Richard Rodgers Oscar Hammerstein
"My Favorite Things" from The Sound of Music P5
# 3 & 4 œ # & œ
Rain
œ
œ
drops
on
œ
bright
œ
œ
cop
-
œ
per
ket
ros
-
-
œ
œ
œ
es
and
œ
tles
and
& b ‰ œj œ . œ œ œ œ œ
warm
the past is hold - ing me,
& 44 &
˙
˙
Some
There's
-
˙ a
˙
œ
where
o
œ
land
-
ver
the
œ œ œ
‰
that
I heard
of
˙
mit - tens
and won - der why
œ. œ ˙ œ œ œ œ œ
Ó
I wan - der lost in yes - ter - day
œ
way
œ
once
w
up
œ œ œ
in
Harold Arlen E.Y. Harburg
˙
˙
rain - bow,
œ
en
Dream of to - mor - row
keep - ing life at bay.
œ œ œ
œ
kit - tens,
œ
-
˙
‰ j ‰ œj œ . œ œ œ ˙ œ œ. œ œ
œ œ. œ ˙
"Somewhere Over the Rainbow" from The Wizard of Oz P8
wool
on
œ
Frank Wildhorn Leslie Bricusse
watch life go by.
‰œ
œ
œ
‰ j œ œ œ œ. œ œ ˙
I peer through win - dows,
œ
whisk - ers
"Someone Like You" from Jekyll and Hyde P5 P4
& b 44 ‰ j œ . œ œ
œ
œ
a
high.
œ
lul - la
-
w
by.
Take a look and listen to the following songs as well. Find the fourths and fifths and sing each song using solfege. “I Met A Girl” from Bells Are Ringing. “Some People” from Gypsy. “World’s Greatest Dad” from Elf. “On My Own” from Les Miserables.
FOURTHS, FIFTHS, OCTAVES, AND SIXTEENTH NOTES
65
Rhythm Sixteenth notes ( ) are worth half the value of an eighth note.
w
˙
˙
œ
œ
œ œ
œ œ
œ
œ
œ œ
œ
œ œ
œ
œ
œ œ
œ
œ œ
œ
œ
œ
œ
œ
œ
œ
œ
Therefore, if an eighth note is worth half a beat in 4/4 time, a sixteenth note is worth a quarter of a beat. + + + + + + + + + + + + + + + = 4 beats = 1 measure A group of four sixteenth notes can be counted # (the number of the beat)—e (eee)—+ (and)—a (ah). Keeping a steady beat, practice clapping and counting the following exercise out loud. Listen to example 6-2 to hear a performance of this excerpt.
÷ 44 ˙
˙
1 (2) 3 (4)
œ œ œ œ
1
2
3
÷œ œ œ œ œ œ œ œ 1
+ 2
+
3 +
4
+
œ œ œ œ œ œ œ œ œœœœœœœœœœœœœœœœ
4
1 + 2 + 3 + 4 +
œ
œ
1
2
œ
3
œ
4
˙
1
1 e + a 2 e + a 3 e + a 4 e + a
(2)
˙
3
(4)
w
1 (2 3 4)
Write the counts below the notes and then clap and count the rhythm. Listen to example 6-3 to hear a performance of this excerpt.
÷ 44 œ œ
œ œ œœœœ ˙
œœœœœ
œ
œœœœœ
÷ œœœœœ œ œ œ œœœœ œ œ œ œ œ œ œ œœœœ˙
œœœœ œ œ ˙
œ
œ œ œ œ œœœœ
66
MUSIC FUNDAMENTALS FOR MUSICAL THEATRE
Remember in Chapter 2 we used words to help understand rhythm? Let’s revisit that idea for sixteenth notes. Set your metronome to 70 bpm and walk around the room to the beat. Begin to clap on the beat as well. Once the beat is set in your body, add the word “stage” on every quarter note. Eventually move into eighth notes by speaking the word “broad-way.” Lastly, move into sixteenth notes, speaking the phrase “big au-di-tion.” You should use one syllable on each sixteenth note. Alternate between quarter notes, eighth notes, and sixteenth notes until you feel confident in the different patterns. You can use the following exercises as a guide. Example 6-4
÷ 44 œ
stage
œ
stage
œ
œ
stage
stage
1
2
3
4
œ
œ
1
+
broad - way
œ
œ
2
+
broad - way
œ
œ
3
+
broad - way
÷œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ big
au - di - tion big
au - di - tion big
au - di - tion big
au - di - tion
e
e
3
e
e
œ
œ
stage
4
+
1
1
+
Example 6-5
÷ 44 œ
stage
stage
1
2
+
œ
œ
stage
2
+
3
a
œ
broad - way
1
÷œ
a
broad - way
+
a
4
œ
+
a
+
4
+
broad - way
stage
œ
stage
œ
stage
stage
1
2
3
4
a
œ
œ œ œ œ
big au - di - tion stage
e
œ
œ
œ œ œ œ œ 2
œ
big au - di - tion
3
4
e
+
œ
œ
œ
stage
œ œ œ œ œ
œ
big au - di - tion broad - way
œ œ œ œ œ
œ
big au - di - tion broad - way
stage
2
+
3
4
+
2
+
4
broad - way
e
+ a
1
e
+
a
3
a
œ
Draw in the bar lines so that each measure has four beats. Write the counts below the notes and then clap and count the rhythm. Listen to example 6-6 to hear a performance of this exercise.
÷ 44 œ œ œ œ œ œ œ œ ÷ œœœœœœœœœ
˙
œœœœœ œ œ œ œ œœœœœ
œ œ œ œœœœœ
œœœœ˙
œ œ œ œœ œ œ
œ œ œ œ œœœœœ œ
FOURTHS, FIFTHS, OCTAVES, AND SIXTEENTH NOTES
67
Write the counts below the notes and then clap and count the rhythm.
1.
÷ 44 œ œ œ œ œ œ œ œ œ œ œ œ
œ
œ œ œ
œ œ œœœœœ
œ œ ˙
œ
2.
÷ 44 œ œ œ œ œ œ œ œ œ ˙
3.
÷ 44 œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
4.
÷ 44 œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
œ œ œœœœ œ œ œ œ œ œ œ œ œ œœœœœ œ œ œ œœœœœ œ œ œ œ œ œ œœœœ
In addition to four sixteenth notes in a row, you will find other sixteenth note patterns that also add up to one beat. The following patterns combine two sixteenth notes with one eighth note. Listen to example 6-7 to hear this exercise.
÷ 44 œ 1
œ
e
œ
+
œ a
œ
2
œ
e
œ
+ (a)
œ
3
œ
(e)
+
œ
a
œ
4
œ
e
(+)
œ
a
Practice each sixteenth note pattern with a metronome. Use the following exercise to work on jumping from one pattern to the next while keeping a steady beat. Listen to example 6-8 to hear this exercise.
÷ 44 œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ÷œ œ œ
œ œ œ
œ œ œ
œ œ œ
œ œ
œ œ œ
œ œ œ
œ œ œ
œ
Draw in the bar lines so that each measure has four beats. Write the counts below the notes and then clap and count the rhythm. Listen to example 6-9 to hear a performance of this exercise.
÷ 44 œ œ œ œ œ œ œ œ œ œ œ œ
œ
˙
œœœ œ
÷ œ œ œ œ œœœ œ œ œ œœ œœ œ œ œœœœ˙
œœœœœ œ œ œœœ œ œ œ œœœ œ œ œ œ
68
MUSIC FUNDAMENTALS FOR MUSICAL THEATRE
Write the counts below the notes and then clap and count the rhythm.
1.
÷ 44 œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
2.
÷ 44 œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
3.
÷ 44 œ ˙
4.
÷ 44 œ œ œ œ œ œ
5.
÷ 44 œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
6.
÷ 44 œ œ œ œ œ œ œ œ œ œ œ œ œ ˙
7.
÷ 44 œ œ œ œ œ œ œ œ œ
œ œœœ œœœ œ œœœ œ œ œœœœœœœ œœœ œœ œœ œ œ
8.
÷ 44 œ œ œ œ œ œ œ œ
œ œœœ œœœœœ œ
9.
÷ 44 œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
œ œœ œ œ œ œœœœœ œ œ œ œ œœœ œ
œ œœœ œ œ œ œœ œœœœœ œ œœœ ˙
œ œœœ œ œ œ œ œ œ œ œ œ œ
œœœ œ œ œœœ œ œ œ œ œœœ œ œ œ œœœœ˙
œ œ œ œœœ œ œ
œ œ œœœœœ œ
œ œ œœ œœ œ œœ
œ œœœ œ œœœ œœœ œœœ œ œ œ
FOURTHS, FIFTHS, OCTAVES, AND SIXTEENTH NOTES
69
Sight-Singing Sing the following melodies using solfege while keeping a steady beat. 1.
& 44
2.
4 &4 ˙
3.
# ## 4 & # 4 œ œ œ œ œ
œ œ œ œ œ
œ œ œ œ
œ œ œ œ œ
## & # # 44 œ œ œ œ œ œ
œ œ œ œ œ œ œ
œ
œ œ œ
œ œ œ œ œ œ œ
4.
œ
œ œ
œ œ
œ
œ œ œ œ œ œ œ œ œ œ
œ œ œ œ œ œ œ œ œ œ œ œ œ œ
˙
œ
œ œ œ œ œ œ œ
œ
5.
## 4 & 4 œ œ œ œ œ
œ œ œ œ œ œ
6.
# & # 44 œ œ œ œ œ
œ œ œ œ œ œ œ œ œ œ œ œ
7.
b 4 œ &b 4 œ œ œ œ œ
œ œ œ œ œ œ
8.
b 4 &b 4 œ œ œ œ œ
œ œ ˙
œ œ œ œ œ œ œ œ œ œ œ œ
œ
œ
œœœœœ
œ œ œ œ œ œ œ œ
œœœœœ œ
œ
œ œ œ œ œ œ œœœ œ
˙
70
9.
MUSIC FUNDAMENTALS FOR MUSICAL THEATRE
b & b b 44 œ œ œ œ œ ˙
œœ œœ œ œ œ
œ œ œœœ œ œ œ
œ œ œ œœœœ œ œ
10.
b & b b 44 œ œ œ œ œ œ
œ œœ œ œœ
œœœ œ œ œ œ œ
11.
b & b b b b 44 œ œ œ œ œ
œœœœ œ œ
œœœœ œ œ
œ œ œ œœœ œ œ
12.
bb 4 œ & b b b 4 œ œ œ œœ œ
œœœ œ œ œ œ œœ
œ œœœ œ œ œ œ
13.
# 4 & 4 œœœ œ œ œ œ
œœœœ˙ œ œœœ œ œ œ
14.
# œ & 44 œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
15.
#### 4 œ œœœ œ & # 4 œ œ
16.
## & # # # 44 œ œ œ œ œ œ œ œ
œ
œœ œœ œ œ
œ œ œœœœ œ œ œ œ œœœœ˙ œ œœœ œ œœ œ œ œ œœœœœœœ
œ œ œœœ œœ œœ œ œ œ œ œ œ œ œ œœ œœ œ œœ œ œ œ œ œ œ œœœœœ œœœ œ œ œœ œ œ œœ
œœœœœ œœ œ
FOURTHS, FIFTHS, OCTAVES, AND SIXTEENTH NOTES
71
Listening Listen to example 6-10 and write the rhythm that you hear.
÷ 44
Listen to example 6-11 and write the rhythm that you hear.
÷ 44
Listen to example 6-12 and write the rhythm that you hear.
÷ 44
Listen to example 6-13 and determine if you are hearing a perfect fourth, a perfect fifth or an octave. A. perfect fourth B. perfect fifth C. octave 1. 2. 3.
4. 5. 6. 7. 8. 9.
10. 11. 12. 13. 14. 15.
Listen to example 6-14 and determine the interval you are hearing. Is it a major or minor second, a major or minor third, a perfect fourth, fifth, or octave? 1. 2. 3. 4. 5. 6. 7. 8.
9. 10. 11. 12. 13. 14. 15. 16.
17. 18. 19. 20. 21. 22. 23. 24.
72
7 Intervals: Sixths and Sevenths; Rhythm: Rests
And More Intervals In this chapter, we will focus on major and minor sixths as well as major and minor sevenths. Let’s take a look at sixths first.
C
& w
D
E
F
G
A
C
bw
w
Eight half steps = minor sixth (m6)
D
E
F
G
A
w
Nine half steps = major sixth (M6)
All minor sixths are eight half steps apart. All major sixths are nine half steps apart.
Below are a few examples of minor and major sixths. Listen to example 7-1 to hear them played on the piano.
&w
bw m6
#w
w
m6
w
w
M6
bw
w
M6 73
74
MUSIC FUNDAMENTALS FOR MUSICAL THEATRE
Label the following minor and major sixths. The first two are done for you.
&
w
m6
& #w
w
w
#w
w
w
M6
w
w
w
w
#w
w
w
bw
bw
Now, let’s look at sevenths.
C
& w
D E F
G
A
bw
B
Ten half steps = minor seventh (m7)
w
C
D E F G A
B
w
Eleven half steps = major seventh (M7)
All minor sevenths are ten half steps apart. All major sevenths are eleven half steps apart. Below are a few examples of minor and major sevenths. Listen to example 7-2 to hear them played on the piano.
&w
w
bw
bw
m7
m7
w
w
M7
#w
‹w
M7 What is this?
The symbolizes a double sharp. Instead of writing two sharps on the staff, we use an . A double sharp raises the pitch by two half steps. In this case, we are raising the F by two half steps. If you look at the piano, you should now be on a G. F double sharp is an enharmonic spelling of G. In this example it is written as an F double sharp because F is seven note names from the bottom note G#, which creates the interval of a seventh. Label the following minor and major sevenths. The first two are done for you. Here we have a double flat. A double flat lowers the pitch by two half steps. We do not have a special symbol for a double flat. You simply put two flats in front of the note.
& bw & #w
m7
∫w #w
w bw
#w
M7
w
w w
w
#w
w bw
w bw
SIXTHS, SEVENTHS, AND RESTS
Identify and label the following intervals.
w
&w & #w
#w
w
#w
w
w
bw bw
bw w
w
75
#w
#w
bw
w
w
w
w
w
w
w #w
We use the same two-step process to draw minor and major sixths and sevenths as we did for the other intervals.
Minor sixth given note = F
&w
Major sixth given note = E
&w
w
Go up 6 letter names and draw the top note - F G A B C D
Go up 6 letter names and draw the top note - E F G A B C
w
Minor seventh given note = C #
& #w
Major seventh given note = B b
& bw
w
w
Go up 7 letter names and draw the top note - C D E F G A B
#w
w
Go up 7 letter names and draw the top note - B C D E F G A
bw
w
w
w
Count up 8 half steps and add any necessary accidentals.
bw
m6 Count up 9 half steps and add any necessary accidentals.
#w
M6 Count up 10 half steps and add any necessary accidentals.
#w
w
m7
Count up 11 half steps and add any necessary accidentals.
bw
w
M7
HELPFUL HINTS
N
otice that the major seventh is the largest interval before you get to the octave. It may be more helpful to look up the octave and then count down one half step instead of counting up eleven half steps.
76
MUSIC FUNDAMENTALS FOR MUSICAL THEATRE
Draw a minor sixth above each note.
& #w
w
bw
#w
bw
#w
#w
w
bw
w
#w
w
bw
w
#w
w
w
w bw
Draw a major sixth above each note.
& bw
Draw a minor seventh above each note.
&
bw
#w
& #w
bw
Draw a major seventh above each note.
Interval
# of half steps
Interval
# of half steps
m2
1
P5
7
M2
2
m6
8
m3
3
M6
9
M3
4
m7
10
P4
5
M7
11
P8
12
Using the chart above, identify the following intervals.
&w & #w
w w
bw
w
w
w
#w w
#w w
w w
w w
bw w
bw w
#w bw
w w
SIXTHS, SEVENTHS, AND RESTS
77
Listen to a recording of the following songs. Find and label the sixths and sevenths and then sing through each excerpt.
"Close Every Door" from Joseph and the Amazing Technicolor Dreamcoat m6
b & b b b 43 œ
œ
Close
b & b bb œ
ev
-
ery
door
œ
œ
œ
bar
œ
œ
all
the
win
œ
œ
to
me
Hide
j œ
œ. -
dows
and
# j j & 44 œ . Jœ Œ ‰ œ œ œ œ œ œ œ œ . stops
œ
œ
all
the
œ
œ
shut
world
when sud - den - ly
the
you see her.
œ Œ ‰ œj œ œ œ. J
Time
And life be - yond this mo - ment
&b C œ
œ
What
&b œ
ne
-
a
œ
ver
˙
day
œ
thought
œ I'd
œ
Œ
stops
is
œ
for - tune
˙.
see;
œ
œ
smiled
and
œ œ
I'm so
œ
came
œ
œ ˙
œ
and what you thought you knew
Œ
œ
bet - ter,
œ ˙.
big - ger
Leonard Bernstein Betty Comden Adolph Green
"Lucky to Be Me" from On The Town M6
me
light.
# j & œ . œJ Œ ‰ œ œ œ œ œ œ œ œ . œ œ œ œ ˙ chan - ges
œ
from
˙
œ
out
œ
Andrew Lippa
"Time Stops" from Big Fish M6
Time
œ
œ
Andrew Lloyd Webber Tim Rice
œ
my
œ
luck - y
˙
œ
way,
œ
to
œ
bring - ing
œ
be
˙
me.
œ
love
Ó
œ I
78
MUSIC FUNDAMENTALS FOR MUSICAL THEATRE
"Somewhere" from West Side Story
#### 4 & 8
m7
œ
œ
There's
œ.
a
œ œ
place
for us
#### œ . &
round
œ . œJ œ œ
Œ œ
Cause
œ œ J
I
œ
the
moon
have
œ
˙
Œ œ
wings
œ
and
j œ
œ J
Some - where
"Alone in the Universe" from Seussical M7
#### 4 & 4 Ó
œ J
‰
œ
yes,
far
œ
œ.
be - yond
Leonard Bernstein Stephen Sondheim
œ.
a
œ œ
place
for us
Lynn Ahrens Stephen Flaherty
œ . œj œ œ I
can
j œ œ
the
˙
fly
œ
sky.
˙
Œ œ
A -
Ó
Additional song repertoire featuring sixths and sevenths: “Sunday” from Sunday in the Park with George. “For Good” from Wicked. “Bui Doi” from Miss Saigon. “Forget about the Boy” from Thoroughly Modern Millie.
Rests Rests indicate silence in a piece of music. The silence is measured in the same way that we measure notes. The different types of rests parallel the different types of notes. A whole rest— A half rest— A quarter rest— An eighth rest— A sixteenth rest—
= to the duration of a whole note = to the duration of a half note = to the duration of a quarter note = to the duration of an eighth note = to the duration of a sixteenth note
On the staff below, you will find rests notated. Observe that the whole rest is hanging under the “d” line while the half rest sits on the “b” line. This is how you differentiate the two rests.
& 44
∑
whole rest 4 beats
Ó
Ó
half rests 2 beats each
ΠΠΠΠquarter rests 1 beat each
‰ ‰ ‰ ‰ ‰ ‰ ‰ ‰ ≈≈≈≈≈≈≈≈≈≈≈≈≈≈≈≈ eighth rests 1/2 beat each
sixteenth rests 1/4 beat each
SIXTHS, SEVENTHS, AND RESTS
79
Practice counting and clapping the following rhythms. Listen to both examples on the website. Example 7-3
÷ 44 ˙ 1
÷œ
(2)
œ
3 (4)
2
3 +
4
Example 7-4
÷ 44 œ Œ ˙ 1
2
÷ œ ≈œœ œ 1 (e) + a 2
3 (4)
˙
3
Œ
œ
1
‰ œj œ
œ
1
Ó
2
3
œ œ Œ
1
+
2
4
1
3
+
1 +
2
1
2
Ó
œ œ œ 4
1
+ 4 +
(2)
œ
œ
3
4
2 e + 3
4 +
3
(4)
‰ œj œ œ œ
2 +
3 + 4
œ œ ‰ œ œ œ 1 + 2 + 3
‰ œj œ œ Œ
œœœ œ
1
1
Œ
˙
1 (+) 2
œ
4
1 e +(a) 2 + 3
œ œ œ œ Œ
3
3 + 4 +
œœœ≈œ œ œ
+ a 3 (+) 4
(2)
j œ œ œ œ œ ‰ œ
Œ
œ
j œ œ œ œœœ ‰ œ Ó
(4)
œ
1 + 2
4
œ œ œ œ
3
+ 4 +
Draw bar lines so that each measure has four beats. Write the counts below the notes and then clap and count the rhythm.
÷ 44 œ œ ‰ œ œ œ œ œ œ œ œ ÷ œ œ ≈œœœ˙
Œ
œ Œ
œœ≈œœ œ ˙
œ
œœ œœ
œœœœŒ
œ œ œ ‰ œ œ Œ
Write the counts below the notes and then clap and count the rhythm. 1.
2.
÷ 44 œ Œ Œ œ œ œ œ œ œr ≈ ‰ œ œ ‰ œ ˙ ÷ 44 Ó
Œ œ
œ œ Œ
œ≈œœœ
Œ
‰ œj ˙
Œ
∑
Œ
‰ œj
‰ œj œ œ œ œ œ Œ œœœœœ
‰ œj œ
80
MUSIC FUNDAMENTALS FOR MUSICAL THEATRE
3.
÷ 44 œ œ Œ Ó
4.
÷ 44 œ œ ‰ œ œ œ œ œ œ œ Ó
5.
÷ 44 œ œ œ œ œ ‰ œj œ œ ‰ Œ œ ‰ œj Œ
6.
÷ 44 œ œ œ œ Œ ‰ œ œ Œ
œ
‰ œœœ œ Œ œ œ œ
œ œ œ ‰ œœœ Œ
Œ
‰ œj ‰ œ œ
œœœ œ œ ‰ œ ˙ ‰ œ ‰ œ œ œ Œ
œœ œœ Œ œ œ ‰ œj Ó
j œœ œœ ‰ œœ≈œœ
œ œ
‰ œ œ ‰ œ œ œ œ œ œ œ œ œ Œ Œ ‰ œj
Sight-Singing Sing the following pattern using solfege. 121314151617181 878685848382811 ***sing this every day*** Sing the following melodies using solfege while keeping a steady beat. 1.
2.
3.
4.
b & b 44
œœ œ œ œœœ
b & b 44 œ œ œ œ œ Œ
œœœœœ œ œ œ œ œ œ œ
## & # 44 œ œ œ œ œ œ ‰ œj œ œ ˙ ### 4 & 4 ˙
œ œ
œœ œœ œ œ Œ
‰ j œœœ œ œœœ œ œ œ œ œ œ œ œ œ œœœ œ œ œ œ œ œ œ œ œ œ œ
œ
œ œ œ œ Œ
œ œ œœœ œ œ œ
œ œ œ ‰ œj œ œ œ œ œ œ œ œ œ œ
SIXTHS, SEVENTHS, AND RESTS
81
5.
œœ˙ b & b b b b 44 œ œ Œ œ œ œ œ
6.
b & b b b b 44 œ œ œ œ œ œ œ
œœœœŒ œ
œœœ œ œ œ œ œ
œ œ œœœ œ
7.
& b 44 œ œ œ œ œ œ œ œ œ
œ œ œœ œ
Œ œ œœ œœ œ
œ œ œœ œ
8.
œ & b 44 œ œ œ ≈ Œ œ œ œ ‰ œ œ œ œ œ œ œ ‰ œ œ œ œ œ œ œ
9.
#### 4 & 4 œœœœœœ‰œ œœœœœ Œ
10.
11.
œœœœœ ‰ ‰ œ œ œœœ œ J œ œ œ œœ
12.
# & # 44 œ œ œ œ œ ‰ œj œ
13.
b œ & b b b b b 44 œ œ œ œ œ
œ œ œ œœœ Œ
œœœœœ Œ ‰ j œ œ œœœœœœ
#### 4 œœœœ œ œ Œ œ œœœ œ œ & 4 œ œ Œ Œ œœœ œ # & # 44 œ œœœœœ
œ
œ œ œ œ œœœœœ
œ œ œ œ œ ‰ œj œ
œ œ œœ œœ œ œ œ œœœ œ œ œ œ
œ œœœ œœœœ
‰ œj œ œ œ œ œ œ œ œ œ œ œ œ Œ œ
œ œ œ œ œ ‰ œj œ œ œ œ
œ œ œ œ œ œ
82
14.
15.
MUSIC FUNDAMENTALS FOR MUSICAL THEATRE
b œ & b b b b b 44 œ œ œ œ œ œ œ œ
œœ Œ œ œ œ œ œœœ œ œ œ œ œœœ
#### 4 œ œœœœ & # 4 œœœ œ œœœœœ œ œ œ œ
œœœœœœœ
œ œ œ œ œ ‰ œj œ œ œ œœœœ œœœ
Listening Listen to example 7-5 and determine if you are hearing a major or minor sixth or a major or minor seventh. A. minor sixth B. major sixth C. minor seventh D. major seventh 1. 2. 3.
4. 5. 6. 7. 8. 9. 10.
11. 12. 13. 14. 15. 16. 17.
Listen to example 7-6 and determine what interval you are hearing. 1. 2. 3. 4. 5. 6.
7. 8. 9. 10. 11. 12.
13. 14. 15. 16. 17. 18.
SIXTHS, SEVENTHS, AND RESTS
Listen to example 7-7 and write the RHYTHM that you hear.
÷ 44
Listen to example 7-8 and write the RHYTHM that you hear.
÷ 44
Listen to example 7-9 and write the MELODY that you hear.
& 44
Listen to example 7-10 and write the MELODY that you hear.
b & b b 44
83
84
8 Diminished and Augmented Intervals; Rhythm: Syncopation Diminished and Augmented Intervals In addition to major, minor, and perfect intervals, diminished and augmented intervals are also part of Western music. A diminished interval is a half step smaller than a perfect or minor interval. An augmented interval is a half step larger than a perfect or major interval.
Diminished interval
& &
w w
& w
dim4
dim5
bw bw bw
dim8
down a half step
Perfect interval 4th, 5th or octave
←
w w w
P4
P5
w w w
P8
up a half step
Augmented interval
→
w w w
aug4
aug5
#w #w #w
aug8
The Tritone The augmented fourth and the diminished fifth are enharmonically the same. Both intervals are called a tritone. The tritone has six half steps. It comes in between the perfect fourth and perfect fifth and splits the octave in half. Be sure to count letters as well as half steps to figure out if it is an augmented fourth or a diminished fifth. 85
86
MUSIC FUNDAMENTALS FOR MUSICAL THEATRE
augmented fourth
&w
w
w
diminished fifth given note = D
tritone
augmented 4th
Count up 6 half steps and add any necessary accidentals.
w
w
#w
w
Go up 5 letter names and draw the top note - D E F G A
&w &w
Count up 6 half steps and add any necessary accidentals.
Go up 4 letter names and draw the top note - D E F G
given note = D
bw
w
#w
w
diminished 5th
bw
Listen to example 8-1 to hear a tritone.
A Few Important Facts 1. The tritone and augmented eighth are the only intervals in this chapter that are new to our ears. 2. The remaining intervals are enharmonically the same as other major and minor intervals we have already learned. Even though they will sound the same, they must be labeled according to their spelling. 3. The natural sign ( ) brings the note back to its original pitch and therefore can be used to lower OR raise a pitch. Identify the following intervals. The first two are done for you (remember the double sharp and double flat?).
& #w &w
‹w
aug5
#w
bw ∫w dim4
bw
bw
w w
w w
#w
w
w
#w
bw ∫w
Draw a diminished fourth above each note.
&w
w
#w
bw
w
w
bw
bw #w
w
nw ‹w
DIMINISHED AND AUGMENTED
87
Draw an augmented fourth above each note.
& bw
w
w
bw
#w
#w
w
bw
w
#w
w
bw
Draw a diminished fifth above each note.
& #w
w
bw
Draw an augmented fifth above each note.
&w
bw
w
Draw a diminished eighth above each note.
&
bw
#w
bw
w
#w
w
Draw an augmented eighth above each note.
& w
w
bw
#w
w
w
Probably the most famous example of a tritone is in “Maria” from West Side Story. See the excerpt below. It is written as an augmented fourth. Listen to a recording of the song to get the sound of a tritone in your ear.
b & b b 44 Ó
j Œ ‰ œj n œ œ .
"Maria" from West Side Story
Ma - ri - a!
œ.
œ œ œ œ j œ nœ œ
I've
3
just met
a
3
girl named Ma
Leonard Bernstein Stephen Sondheim
j nœ œ. œ. ‰ -
ri - a,
88
MUSIC FUNDAMENTALS FOR MUSICAL THEATRE
Diminished and Augmented Seconds, Thirds, Sixths, and Sevenths down a minor interval half step Diminished interval 2nd, 3rd, 6th, or 7th
←
&
w
& w & w &
w
∫w
w
∫w
w
dim2
dim3
∫w dim6
∫w dim7
w w
up a major interval half step Augmented interval 2nd, 3rd, 6th, or 7th
→
bw
w
bw
w
m2
m3
bw m6
bw m7
w w
M2
M3
w
w
w
w
w M6
w M7
w w
aug2
#w #w
aug3
#w aug6
#w aug7
You have heard all of these intervals before. Intervals have different names when they are spelled differently on the staff. The spelling differences are usually related to the key of the music and the harmonic structure. It is not necessary to memorize the number of half steps in each of these new intervals. It is best to think of them as a half step smaller than the minor interval (diminished) or a half step larger than a major interval (augmented). Use the chart below to aid you when working with intervals.
Interval # of half steps m2 1 2 M2 3 m3 4 M3 5 P4 6 TT
Interval # of half steps P5 7 8 m6 9 M6 10 m7 11 M7 12 P8
DIMINISHED AND AUGMENTED
89
Identify the following intervals.
&w
w
& bw
bw
w ∫w w
#w
w
bw
#w
bw
#w w
bw bw
bw #w
w ‹w
w
‹w
w
bw
bw
P5
bw
aug3
Draw the indicated interval above each note.
& #w
w
aug 4
&
w
M3
#w
& bw
w
P4
&w
aug2
w
m6
m7
M6
M3
w w w #w
M2
w
dim6
bw
dim5
aug4
#w #w
M7
P8
m3
m6
w #w w w
m3
m2
aug7
dim5
w w
M2
M7
90
MUSIC FUNDAMENTALS FOR MUSICAL THEATRE
Rhythm Syncopation occurs when the stress or accent is given to the off-beat (the “and” of the beat). See the example below and then listen to it. Example 8-2
syncopation
÷ 44 œj œ 1
+ (2)
÷ 44 œ
œ
1
j œ œ +
œ
+
3
œ
(2)
œ
The syncopated rhythm can also be written with a tie. A tie connects two (or more) notes, adding them together to sound like one note. We will talk more about ties in Chapter 9.
4
œ
+
œ
The quarter note falls on the “off-beat” of beat one. It is held through the first half of beat two. Therefore the next note you hear is on the “and” of two.
3
4
tie Clap and count through the following songs. Pay special attention to the syncopated rhythms. Where are the ties? Listen to recordings of the songs to help with the feel of syncopation.
"Treat Me Rough" from Crazy For You
b & b b 42 œJ b &bb œ
bœ J
œ
Treat
don't
me
rough,
œ
œ
œ
you
dare
to
˙
œ J
han - dle
j œ
œ
muss
œ.
bœ J
George and Ira Gershwin
œ J
my
hair,
œ
me
with
j œ
Œ
œ œ œ œ œj Ó œ œœ œ œ. I re - mem - ber Dad
&Œ
‰ j œj œ œj œ œ but you got - ta
-
dy told
me
œ. œ œ œ ‰ œ œ
make 'em hap
-
pen,
it
all
˙
care.
"Almost There" from The Princess and the Frog
& 44 Ó
˙
Randy Newman
œ œ œ œj œ
j œ ˙
fair - y tales can come true
j œ œ œ œ œ
de - pends on
you
œœŒ Ó
Ó
DIMINISHED AND AUGMENTED
91
Clap and count the following rhythmic patterns. Listen to the first two examples on the website. Example 8-3 1.
÷ 44 ˙
1 (2)
Example 8-4 2.
÷ 44 œ 1
3.
4.
5.
6.
7.
8.
9.
œ œ œ œ œ œ œ œœœ 3 + (4) +
j œ œ œ
2
1
2
j œ œ
3 + (4) +
1
3 +a 4
œ œœœœœ œ 2 + a3 e + 4
j j œ œ œ œ œ
1 + (2) + 3
Œ
1
4
j œœœœœ œ ‰ œ œ
1 e +a 2 + 3 + 4
œ œ œ œ œ œ ˙ 2 + (3) + 4 +
œ œœœ
1 (2) 3
4 e +
j j ÷ 44 œ œ œ œ œ œ
‰ œ œ œ œœ œœ
œ œ œœœ œ œ
÷ 44 œ œ ‰ œ œ œ œ œ œ
œœ œœ œ œœœ Œ
j j j j œ œœœ œ œ œœœ ‰ œ œ ‰ œ œ
j j j ÷ 44 œ œ œ œ œ œ Œ œ œ œ ‰ œ œ ‰ œ œ œ œ œ œ œ œ œ œ œ j ÷ 44 œ œ œ œ œ ‰ ‰ œ œ œ œ œ œ œ œ ≈ œ œ œ ÷ 44 œ ‰ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
j j œ œ œ œ œ ‰ œ
˙
j ‰ œ œ œœ
j j j œ œ œ Œ œ œ œ œ œ ‰ ‰ œ œœœœ œœ≈œœ œœŒ œ
j j œ œ œ œœœœœ œ
j ÷ 44 œ œ œ œ œ œ ≈ œ œ œ œ œ œ œ œ œ œ ‰ œ œ ≈ œ œ œ ‰ œ œ œ œ œ Œ œ œ œ œ œ œ ÷ 44 ˙
j j œœ œœ œ œ œ œ œ œ œ œ œ
j Œ ‰ œœœœœ œ œ œœ œœ œœœ ‰ œ
92
MUSIC FUNDAMENTALS FOR MUSICAL THEATRE
Sight-Singing Sing the following melodies using solfege. 1.
2.
3.
4.
5.
6.
7.
8.
#### 4 & # 4
˙
œ œ
#### 4 & # 4 œ œ œ œ œœœ
j œ œ œj œ œ
œœœ œ œ œ œ œ œ œœœ œ œ œ œ œ
œ œ œ œœœ œ œ
œœœœ œœ œ
œ œ œ œ œœœ œ
b 4 j j &bb 4 œ œ œ œ œ
œœœœœœœœœ œ œ
b & b b 44 œ œ œ œ œ
œœœ œœœ œœœ œ œ œ œœœ œ œ œœœ œ œ œ œ œ œ œ œ
# œ œ & # 44 œ œ œ œ
œ œ œœ œœ œ
j j œœ œœ œ
œœœœœœœ
œœ Œ
‰ jœœœ œ œ œ œ œ œ œ œœœœ‰ œ
## 4 œ œ œœœœ œ œ œ œ ‰ Œ ‰ œ œ œ œ œœ & 4 œœœœ œ œ œ œœœœœ j œ œ œœœ œ œ b & b b b 44 Œ ˙
j ‰ œ œ œ œ œ ‰ œœ œ œ œ œ œœ œ œ œ œ œ œœœœœœ˙
bb 4 j j &bb 4 œ œ œ œ œ
j œ œj ˙ œ
œ œœœ œ œ œœœ
œœœœœ œ ˙
DIMINISHED AND AUGMENTED
9.
10.
11.
œœ œ œ œ œ & 44 œ œ œ œ œ œ œ œ œ œ
### 4 & 4 œœœœœ œ œ œ œ œ ‰ œœœœœœœ œ œ b & b b b b 44 œ œ œ Œ œ œ œ Œ
13.
& b 44 œ œ œ ‰ œj œ œ œ œ œ œ œ œ œ œ œ
15.
16.
17.
œœœœœ œ œ œ œ œœœ œ œ œ œ
# & 44 ‰ œ ‰ œ ‰ œ œ œ ‰ œ ‰ œ ‰ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ‰ œ ‰ œ œ œ
12.
14.
93
Œ œ œœœ œ
‰ œœœ œ œ œ œ œœœœœœœœœ œ œ œ œ œœŒ œ œœŒ
Œ œœœ ≈ œ œœœ
j œ œ Jœ œ œ œ œ œ œ œ œ œ œ œj œ œj
œœœ œœ œ œ œ 4 œ œ œ œ b œ œ œ œ œ œœ œœœœœœ & 4 œ œ œœ œ œ J J œœ j jœ œ b & b b b b b 44 œ œ œ
œœœ œ œ ˙
## & # # 44 œ œ œ œ œ
œœœ
#### 4 & 4 œ.
j œ œj œ œ œ
j œ œ œ œ
œ œ œ œ
j j œ œ œ œ œ œ
j j œ œ œ œ œ œ
œ œ œ œ œ
j œ œ œj œ œ œ
œ œ œ œ œ œ ‰ œJ J œ œJ œ œ œ
94
MUSIC FUNDAMENTALS FOR MUSICAL THEATRE
Listening Remember that out of all of the augmented and diminished intervals, the only new sound is the tritone (augmented fourth or diminished fifth). Every other interval is an enharmonic spelling of an interval that we have already encountered. Listen to example 8-5. You will hear two intervals. Determine if interval #1 or #2 is the tritone. A. 1
4.
9.
B. 2
5.
10.
1.
6.
11.
2.
7.
12.
3.
8.
13.
÷ 44
Listen to example 8-6 and write the rhythm that you hear.
÷ 44
Listen to example 8-7 and write the rhythm that you hear.
÷ 44
Listen to example 8-8 and write the rhythm that you hear.
Listen to example 8-9 and write the melody that you hear.
b & b b 44
#### 4 & 4
Listen to example 8-10 and write the melody that you hear.
Listen to example 8-11 and write the melody that you hear.
b 4 &b 4
Review of Chapters 5–8 and Performance Tips (Musical Markings) Intervals HELPFUL HINTS 1. All intervals have an inversion. There are twelve half steps in an octave. If you subtract the number of half steps in any interval from twelve, you will find the number of half steps in its inversion.
EXAMPLE: 12–5 = 7 5 half steps = a perfect fourth 7 half steps = a perfect fifth
&
w
perfect 4th
w
w
w perfect 5th
EXAMPLE: 12–3 = 9 3 half steps = a minor third 9 half steps = a major sixth
&w
minor 3rd
w
w
The notes are the same (C and F) but the interval is inverted.
w
The notes are the same (D and F) but the interval is inverted.
major 6th
EXAMPLE: 12–6 = 6 6 half steps = a tritone
&w
#w
augmented 4th or tritone
#w
w
diminshed 5th or tritone
The notes are the same (G# and D) but the interval is inverted. The tritone is special because it is exactly half of an octave.
95
96
MUSIC FUNDAMENTALS FOR MUSICAL THEATRE
2. Think about the major key signature of the bottom note of the interval. Next, see if the top note fits in that key. If it does, the interval is perfect or major.
EXAMPLES:
Think - key of D G fits in the key
&w
perfect 4th
Think - key of B b A fits in the key
Think - key of E G # fits in the key
w
w
#w
bw
major 3rd
w
major 7th
3. Abbreviations that are most often used: Major interval—M: M2, M3, M7, M6 minor interval—m: m2, m3, m7, m6 Perfect interval—P: P4, P5 Tritone—TT
4. Always draw the basic interval first (third, fourth, etc.) and then add the accidentals (if necessary) to make it minor, major, perfect, augmented, or diminished.
Identify the following intervals.
&w
bw
& bw
bw
& bw
bw
w
w
w
‹w
w
w
#w
#w
#w w w
w
bw
bw bw bw
w
∫w
w
w
w
w w bw
#w bw w
#w bw w
Draw the following intervals.
&w
M3
w
P5
#w
bw m2
m6
bw
M7
w
TT
REVIEW OF CHAPTERS 5–8 AND PERFORMANCE TIPS
&
#w
w
aug3
M6
&w
bw
m7
&w
bw m3
w aug5
bw m3
w
P4
w
dim4
TT
#w
aug7
bw
#w
P4
TT
bw
P5
#w
M2
w
bw M3
97
dim6
w M6
m2
Draw the following notes and rests and indicate the number of beats they receive in 4/4 time. whole note/rest— half note/rest— quarter note/rest— eighth note/rest— sixteenth note/rest— Draw in the bar lines and then clap and count the rhythm.
÷ 44 ˙
œ
÷ œ œœœœœ œ
œœœ œ œ œ ‰ œ œœœ
j j ‰ œ œœœœ‰ œ œ œ Œ œ œ
œ
œ œ Œ œœ œœ œ œ œ Ó
÷ 44 œ œ œ œ ‰ œ œ
j ‰ œ œ œœ œ œ œ Œ œœœ
j œœœœœœ œœ œ ‰ œ Œ œ œ œ œœœ ‰ œ ˙
÷ œ œ œœ œœ œ œ œ œ œ œ œ œ œ œ œ œ œ
j j œœ œœœœ
œ
j œ œ ‰ œœ‰ œ œ
98
MUSIC FUNDAMENTALS FOR MUSICAL THEATRE
Fill each measure with the type of notes and/or rests indicated. Clap and count the rhythm.
÷ 44 ÷
half notes/rests
eighth notes/rests
eighth notes and sixteenth notes/rests
quarter notes/rests and eighth notes
half notes and eighth notes/rests
quarter notes and sixteenth notes
half notes and quarter notes
Any combination of 3 types of notes/rests
Sight-Singing Sing the melodies using solfege.
1.
2.
b & b b 44 ˙
3.
# 4 & # 4 œ œ
4.
Œ œœœ œ œœœ œ œ œœœ œ œ ‰ œ
& b 44 œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
j œ œœœ œ œ œ œ Jœ œ œ œ œ œ œ œ œ j œ œ
œœœœœœ
œœ œ œ œ œ
œ œ œ œ œ œ œ œ œ œœœ œ œ œ
j œ œ œ ˙
#### 4 & # 4 œ œ œœœœœ œ œ
œœœ
œ
≈ œœ œ œ œ œ œ œ œ œ œ œ œ œ œœ œ
5.
b œ œœœ œ œ œ ‰ j œœ œ œ œ œ œ Œ œœœ œ œ & b b b 44 œ œ œ œ œ œ œœœ œ œœœ œ
6.
& 44 œ œ œ œ œ œ œ œ œ ˙ œ
œ œœœ œ œ œœœ œ œ ‰ œ œœ Œ œ œ œ œ œœœ
REVIEW OF CHAPTERS 5–8 AND PERFORMANCE TIPS
7.
8.
9.
b 4 &b 4 œ œ œ œ œ
### 4 & 4 œ œ œ œ œœœ Œ # 4 j & 4 œ œ œJ œ œ
œœœœœ œ œ œ œ œœ œœ œ œ œœœ œ œ œœœ œ œ˙ œœœ
œœ œ œ œ ≈œ œ œ
œ œ œ œ œ œ œ œ ‰ ‰ œj œ
œ œœ œœ œ œœ œ œ œ œœœ œ œ œ œ
Listening Listen to example R-1 and identify the interval that you hear. 1. 11. 21. 2. 12. 22. 3. 13. 23. 4. 14. 24. 5. 15. 25. 6. 16. 26. 7. 17. 27. 8. 18. 28. 9. 19. 29. 10. 20. 30.
Listen to example R-2 and write the rhythm that you hear.
÷ 44
Listen to example R-3 and write the rhythm that you hear.
÷ 44
Listen to example R-4 and write the melody that you hear.
& 44
œœ œ˙
99
100
MUSIC FUNDAMENTALS FOR MUSICAL THEATRE
Listen to example R-5 and write the melody that you hear.
4 &4
4 4
Performance Tips Articulations are the attack and release of each note: – tenuto staccato > accent fermata
= hold the note to its full value = shorten or detach the note = place emphasis on the note = sustain the note for longer than its value
. . . U & 44 œ œ œ ˙
œ
. . . . œ œ œ œ œ
π p Dynamics indicate the volume of the music: π P pianissimo = very soft p = soft F piano P π mezzo piano = moderately soft f mezzo forte = moderately loud F p forte f = loud ƒ ffƒ = very loud P fortissimo p subito p piano = suddenly soft F crescendo = gradually get louder f decrescendo = gradually get softer dim. ƒ diminuendo = gradually get softer p
÷ 44 œ œ π
œ œ œ œ ˙ F
œ œ œ
> > œ œ œ œ œ
> > œ œ œ œ œ œ œ
œ œ œ œ œ œ œ œ f ƒ π
œ œ œ
œ p
9 Rhythm: Ties, Dotted Notes, 2/4 and 3/4 Time; Song Analysis Rhythm Tie As we saw in Chapter 8, a tie is a curved line that connects two or more notes of the same pitch. The note values are added together and the note is held as one.
÷ 44 ˙
˙
÷ 44 w
sounds like
÷ 44 œ
œ
œ
œ
sounds like
÷ 44 ˙
÷ 44 œ
œ
œ
œ
sounds like
÷ 44 w
˙
Dotted Notes Placing a dot after a note adds half the note value to the length of that note.
h
+ a dot (.) =
h.
2 beats + 1 beat = 3 beats
q
+ a dot (.) = q .
1 beat + 1/2 beat = 1 1/2 beats
÷ 44 ˙
1
÷ 44 œ
1
œ
(2
3)
œ œ œ
(2)
+
3
˙.
œ
4
1
œ œ
(4)
+
œ. 1
(2
(2)
3)
j œ œ. +
3
œ
4
(4)
j œ
+
101
102
MUSIC FUNDAMENTALS FOR MUSICAL THEATRE
e
+ a dot (.) = e.
1/2 beat + 1/4 beat = 3/4 beat
÷ 44 œ œ œ œ œ œ œ œ œ œ œ œ œ . œ œ . œ œ . œ œ . œ 1
(+) a 2 (+) a 3
(+) a 4 (+) a
1
a2
a3
a 4
a
÷ 44 œ œ œ œ œ œ œ œ œ œ œ œ œ œ . œ œ . œ œ . œ œ . 1 e (+) 2 e (+) 3 e (+) 4 e (+)
1 e
2 e
Draw in the bar lines and then count and clap the rhythm. 1.
÷ 44 œ
œ œ œ.
÷ œ œ œ œœœ œ 2.
j œ œ œ œ. œ ˙ œ ˙
÷ 44 œ œ œ œ œ œ œ œ j ÷œ œ
j œ œ
œ
˙.
œ
˙.
œ. œ œ
œ œ œ œ.
˙ Œ
j œ œ
4 e
œ
j œ œœœœ œ œ œ œ ‰ œ œ
œ œ. œ
j ‰ œ œ œœœ
œ œ œ.
3 e
j œ œœœœŒ
œ. œ œ. œ œ œ œ œ œ œ œ. œ
Time Signatures In addition to 4/4 time, there are other time signatures that are used to group the music into measures. The time signature can give the music a different rhythmic feel.
÷ 42
÷ 43
The 2 on the top means that there are two beats in each measure. The 4 on the bottom means that a quarter note gets one beat. The 3 on the top means that there are three beats in each measure. The 4 on the bottom means that a quarter note gets one beat.
TIES, DOTTED NOTES, AND TIME SIGNATURES
103
The 4 on the bottom means that the note values stay the same in these new time signatures. The difference is the total number beats in each in measure.
÷ 42 ˙
1
œ
(2)
œ
1
÷ 43 ˙ .
2
œ
1 (2 3)
œ
œ
1
1
œ
2
œ
œ
+
œ
2
+
œ œ œ œ œ œ
3
1
+
2
+
3
+
Draw in the bar lines and then count and clap the rhythm. 1.
÷ 42 œ
j œ œ
÷ 43 œ œ œ œ œ œ ÷˙
j œ œ œ œœœ
œ. œ œ. œ Œ
÷˙ 2.
j œ œ
œ
œ
œœœœŒ
œ
Clap and count the rhythm.
j œ œ
1.
÷ 43 ˙ .
2.
÷ 43 œ
3.
÷ 43 œ œ œ .
œ
œœœ
j œ œ
e
+
a
2
e
+
a
œ œ œ œ œ œ œ œ œ œ œ œ
1
e
+ a
2 e
Œ
j œ ˙.
œ ˙ j œ œ
œ œ. œ.
+ a
3 e +
a
œœ œœ œ
j ‰ œ œœ œ œ œ
œ
œ œ œ œ œœœ Ó
œ. œ œ œ œ
1
j œ œ
œ.
j œ œ œ œ Œ œ.
j œ œ
œ œ œ œ œ œ œ œ
œœœœœ œ œ œ. œ œ œ Œ œ œ
œ œ œœœ œ œœ œ
j ‰ œ œœ‰
œœ œœ œ œ
œ œ œœœ
Œ
œ. œ œ œ
œ
œ œ œœœ
œ
œœ œœ
œ
104
MUSIC FUNDAMENTALS FOR MUSICAL THEATRE
j œ œœœ œ œ
j œ œ
j œ ˙
œ œ. œ œ.
j ‰ œ œ
œ
4.
÷ 42 œ .
5.
÷ 42 œ œ œ œ œ
6.
÷ 44 œ .
7.
÷ 44 œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ . œ œ œ œ . œ
8.
÷ 42 œ
9.
10.
œœ œœ œ
œ
j j œ œœœ œ œ ‰ œ œœ œœ Œ
j ÷ 43 œ œ
œ œœœ
œ. œ œ œ œ œ œ œ œ œ Œ.
j œ œ œ. œ œ œ œ œ œ œ œ
œ œ œ œ. j œ œ
˙.
œ.
÷ 43 œ . œ œ œ œ œ . œ œ
œœœ œ
j ‰ œ œ œ. œ
œ
œœœ œ œœ Œ
œ œ
j œ œ œ ‰ œ
œ œ œ œ. œ œ
œ œœœ
Œ
œ œœ
œ œ œ œ œœœ
j j œ œ ‰ œ œœœ ‰ œ
Sight-Singing Sing the melodies using solfege. 1.
2.
3.
# 2 & # 4 œ œ œ œ œ . œ œ œ œ œ œj ‰ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
bb 2 & b b 4 œ. œ œ œ œ
bb 3 &bbb 4 œ
œ
œ
œ
œ œ œ. œ œ œ œ
œ œ œ
œ
œ.
œ. œ œ œ œœœ œ
j œ œ œ
œ
œ œ œ
4.
# & 43 ˙
TIES, DOTTED NOTES, AND TIME SIGNATURES
œ œ. œ œ œ
œ
5.
b 3 &b 4 œœœ œ œ œ œ
6.
j & 42 œ œ œ œ œ œ
7.
8.
9.
10.
11.
12.
13.
## & # # 42 œ .
œ.
j œ œ œ œ œ œ
œ œ. œ œ. œ œ.
œ œ œ œ œ œ œ œ œ œ œj œ J œ
œ œ œ
œ
œ
#### 3 œ œ œ & # 4 œ œ œ œ & b 43 œ
œ œ œœœ œ
j œ œ œ œœœ
b & b b 43 œ œ œ
œ
œ œ œ
### 4 & 4 œ œ œ œ œ. œ œ b & b b b b b 43 œ œ œ œ œ œ ## # & # # # # 44 œ œ œ œ œ œ œ œ
œ œ œ œ œ.
j œ œ œ œ œ œ œ œ œ
œ œ œ œ œ œ. œ œ. œ œ
œ
œ
œ œ œ
œ
œ. œ œ œ ˙
œœœœœ œ œ. œ œ. œ œ œ
œ œ
‰ œJ œ
œ œ ˙ œœ œ œœœ œ œ œ
œ œ œ œ . . œœ œ œ J
œœ œœ œ œ
œ
œ œ œ
œœ œ œ œ Œ œ œ œœ
œ œ œ
œ œ
œ
œ œ œ œ œJ ‰
œ
œ. œ œ. œ œ œ œœœœœ œ œ œ
105
106
MUSIC FUNDAMENTALS FOR MUSICAL THEATRE
Song Analysis Now that we have determined how to perform many different rhythms, what can we learn from them? When working on a piece of music, the rhythm can give us clues about breath, articulation, style, and interpretation of the lyrics. Let’s take a look at a few of the songs we have sung and learn more about them through the rhythm. Matthew Sklar Chad Beguelin
"Someday" from The Wedding Singer
#### 4 & 4 œ
œ
Some - day
&
####
&
####
œ
œ
œ
sin - gle
œ
All
when it's
œ
com - pli
œ
Some - day
## & ## œ
j œ œ œj œ ‰ œj œ œ
œ
when
me
j œ œ
œ. -
ca
-
tion
œ œ
the dream
œ œ œJ œ
you'll need
I'll know our
is
œ
œ
is
and
œ
cause for
j œ œ
com - ing
all
œ
was meant
œ
j œ ‰ œ œ œ œ
me
œ
love
‰ œj œ or
œ
œ
hes - i
œ œ œ Œ œ œ
to be
-
œ
ta
j œ w
I'll need
is
œœœ˙ 3
-
tion
Œ
˙.
true
œ œ
not one
œ
Œ
Ó
you.
How do you know when to breathe in a song? Most of the time the composer and lyricist will tell you! Look at the placement of the rests in “Someday.” They are spaced at the end of each two-bar phrase right when there is a slight pause in thought. You do not have to take a breath at every rest, but the rests are the first place you should consider breathing. The next step is to consider the tempo marking. In the score, the music is marked at 136 bpm, which is relatively fast. Based on the speed, it makes more sense to breathe every four bars instead of every two bars. Lastly, consider the lyrics. If you take a breath every four bars, are the phrases set up with clear acting beats? Does the sentence structure make sense? “Someday when it’s me I’ll know our love was meant to be not one single complication or cause for hesitation” [no rest—but you can cut the half note short and take a breath] “Someday when the dream is coming true All you’ll need is me and all I’ll need is you.” In the case of this excerpt, the phrasing in the music clarifies the acting moments and gives the singer plenty of time to take each breath.
TIES, DOTTED NOTES, AND TIME SIGNATURES
"Time Stops" from Big Fish
# 4 j j & 4 œ . Jœ Œ ‰ œ œ œ œ œ œ œ œ . Time
stops
when sud - den - ly
œ Œ ‰ œj œ œ œ. J
you see her.
Time
stops
And life be - yond this mo - ment
j # j & œ . Jœ Œ ‰ œ œ . œ œ œ œ œ . Time
#
& œ.
She's
stops,
œ œ J
there
but still, your heart is beat - ing.
all
you've
e - ver want - ed
œ ˙
œ
Œ
bet - ter,
œ
œ ˙.
big - ger
œ Œ ‰ œj œ œ œ œ œ Œ œ. J
Time
3 j j ‰ œ œ œ œœ œ œ œ
and
is
Andrew Lippa
and what you thought you knew
# j œ ˙ & œ . œJ Œ ‰ œ œ œ œ œ œ œ œ œ . œ œ œ chan - ges
107
stops,
though you don't take a breath.
œ œ œ. J J
is
near - er,
˙
œ œ. J
˙
clear - er.
“Time Stops” from Big Fish uses rhythm in many interesting and informative ways. I am going to point out three examples, but I encourage you to look for more. 1. “Time Stops,” the title of the song, is also one of the most recurring phrases. Each time we hear the phrase, the word “time” is long and on the down beat while the word “stops” is on a short up-beat followed by rests. This gives the actor insight into the importance of time as well as the feeling of a sudden stop and the silence to experience a pause in the action. 2. Look at the lyric “suddenly” in the second measure. Think about the syllabic accents of the word. The first syllable is accented. The composer/lyricist helps to emphasize that by putting that syllable on the down beat of the measure. Also, what is the meaning of “suddenly”? Often it is referring to something that quickly comes out of nowhere. Here, the word suddenly comes after the rests and is set to fast sixteenth notes. This setting further emphasizes the meaning of the word. 3. Read through the second measure of each four-bar phrase. The rhythms vary slightly based on the lyrics and number of syllables, but the basic idea of the melody is still there. In the tenth measure, the word “still” is set on a dotted eighth note. This stands out because it creates a secondary pause right after the rests. In addition, there is a comma after the word “still.” The composer/lyricist is asking the actor to take a second to feel his heart still beating; maybe to wonder about it or second guess it. The interpretation can be different for each actor but the idea comes from the rhythm and the lyrics.
108
MUSIC FUNDAMENTALS FOR MUSICAL THEATRE
Listening
÷ 42
Listen to example 9-1 and write the rhythm that you hear.
÷ 43
Listen to example 9-2 and write the rhythm that you hear.
÷ 43
Listen to example 9-3 and write the rhythm that you hear.
Listen to example 9-4 and write the melody that you hear.
& 43
Listen to example 9-5 and write the melody that you hear.
& 42
Listen to example 9-6 and write the melody that you hear.
& 42
10 Major Triads; Introduction to Bass Clef and the Grand Staff Major Triads A chord is a grouping of three or more notes. A triad is a three-note chord. All triads are made up of two thirds stacked on top of one another. A major triad has a major third on the bottom and a minor third on the top. Listen to example 10-1 to hear a major triad.
& ww
ww
major third
www
minor third
C major triad
The name of the triad is the root of the chord (the bottom note that you build the chord on). Each triad must be made up of three “line” notes or three “space” notes. It is helpful to draw the three notes first (a snowman) and then figure out what accidentals are necessary to create the proper thirds. Use the keyboard to help visualize each triad.
Remember, a major triad has a major third on the bottom and a minor third on the top.
& www
Start here with 3 notes on D
# www
D Major triad
Count the half steps up from D and add accidentals as necessary.
b www
b b www
Start here with 3 notes on E b
E b Major triad
Count the half steps up from E b and add accidentals as necessary.
110
MUSIC FUNDAMENTALS FOR MUSICAL THEATRE
You can also think of building a major triad by using a major scale. You can take any major scale and stack do, mi, and sol (1, 3, and 5) to get a major triad.
&
w
w
mi
w
&w
w
#w
w
& bw
w
w
bw
w
do
do
do
mi
w
w
w
w
w
w
w ww
sol
C Major triad
#w
w
# www
D Major triad
sol
mi
w
bw
w
bw
b b www
E b Major triad
sol
Major triads are labeled either CM or C for C major; DM or D for D major, and so on. Build a major triad on each note and then label the chord below.
&
w
w
w
w
bw
bw
bw
#w
& #w
#w
&
&w
w
w
bw bw
bw
MAJOR TRIADS, BASS CLEFF, AND THE GRAND STAFF
111
Bass Cleff The bass clef (also known as the F clef) is used for lower instruments and voices. Practice drawing the bass clef below
? ?
When using bass clef, the pitches of the lines and spaces are as follows.
?
C
A
G G
F
D
B
A
Notice that the F is on the fourth line, which is surrounded by the two dots of the bass clef. That is why this clef is also called the F clef.
F
?w
w
?w
#w
Identify the following notes.
?
E
bw #w
#w
bw
w
w
bw bw
w
w
#w
bw
Draw the following notes.
G
Eb
A
F#
C#
Bb
Db
Gb
C
B
F
Ab
G#
E
Cb
D#
?
112
MUSIC FUNDAMENTALS FOR MUSICAL THEATRE
The Grand Staff The treble clef and bass clef can be joined together by a brace. This is called the grand staff. It is used mainly in piano music. brace
&
?w
w
w
w
w
w
w
w
w (middle C)
w
w
w
w
w
w
Draw the following major triads in both clefs.
& ww w ? www
C
Ab
G
B
F
Eb
F#
Db
E
A
Bb
D
&
?
MAJOR TRIADS, BASS CLEFF, AND THE GRAND STAFF
113
Sight-Singing Sing the following melodies using solfege. 1.
? 43 ˙
?˙ 2.
œ œ œ œ œ œ
œ
? ### 3 œ 4
œ œ œ
? ### œ œ œ œ œ œ
3.
? b 42
?b œ 4.
œ
œ œ
œ
œ
œ
‰
œ J
œ
œ
œ
œ œ œ
œ œ J
œ œ J
œ.
œ œ
œ œ
œ œ
œ œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
≈ œ œ
œ
œ.
œ œ
œ œ
œ
œ œ
? # # 42 œ œ
œ œ
œ
œ œ
œ œ
œ œ
œ
œ œ
œ
? b b b 42 œ . bb
? ## œ œ
œ
œ
œ
œ
œ
œ
œ œ œ
œ
œ
œ œ
? bb œ œ œ bbb 5.
œ
œ œ œ
œ
œ œ œ œ
œ œ
˙.
œ
œ œ.
œ œ ‰ J
œ
œ
œ œ
œ
œ
œ
œ
œ
œ œ J
œ
œ
œ œ
œ
œ
œ
œ Œ œ
˙ œ
œ
œ
114
MUSIC FUNDAMENTALS FOR MUSICAL THEATRE
6.
b 4 & b 4 œ. œ œ œ œ œ œ
7.
b & b 44 œ œ œ œ œ œ œ œ œ œ . œ œ œ œ œ
8.
9.
10.
11.
12.
13.
14.
b & b b 42 œ œ œ
œ
œ ? b b 42 œ œ œ œ œ b œ œ œ J
? # # # # 43 œ . # ? # # # # 43 œ # ? # 44 œ ? # 44 ˙
œ œ œ
œ œ œ œ œ œ œ œ œ œ œœœœœ œ œ œ
œ œœ œœ œ. œ œ
œ
œ œœœ œ œ œ œ œœœ œ œœ œœ
œ œ œ œ œ
œ œ œ œ œ œ œ œ
œœ œœ œ œ
œ œ œ œ œ œœœ œ œ J J œ
j œ
œ œ œ œ œ
œ.
œ œ œ œ œ œ œ œ œ œ œ œœœ œ œ
œ œ œ œ œ . œ œ ‰ J
œ œ œ œ œ œ œ œ œ œ œ. œ œ œ œ ‰J
? b b b 43 œ . œ œ b
‰
œœœ œ
œ œ œ
œ
œ œ œ œ œœ œ œ œ œ œ œœœ œ J J
œ œ œ œ œ. œ œ œ œ œ œ œœ œ œ
œœ œœ œ œ œ œ œ J
œ œ J
œ œœœ œ œ
MAJOR TRIADS, BASS CLEFF, AND THE GRAND STAFF
Listening Listen to example 10-2 and write the melody you hear.
2 &4
Listen to example 10-3 and write the melody you hear.
& 43 Listen to example 10-4 and write the melody you hear.
& 43 Rewrite 10-2 in bass clef.
? 42
Rewrite 10-3 in bass clef.
? 43
Rewrite 10-4 in bass clef.
? 43
115
116
11 I, IV, V Progression; Chord Tones and Non-Chord Tones; Song Analysis In each major key you will find three major triads. These triads are built on the first, fourth, and fifth notes of the major scale. You do not need to add any accidentals to the chords since they already appear in the key signature. The chords are labeled with Roman numerals below and chord names above. C
& www C:
& &
I
## D:
bbbb
A b:
www D
Ab
www I
w
w
w
w
w
w
w
w
w
w
w
G
IV
w
w
I
F
w
w
www
www
V
www
www
G
A
IV
V
Db
www
IV
Eb
www
V
Draw the following scales and I, IV, and V chords. Label each chord with both the chord name and Roman numeral. Don’t forget to draw the key signature first.
& B b:
& E:
117
118
MUSIC FUNDAMENTALS FOR MUSICAL THEATRE
& F#:
& D b:
Draw the I, IV, and V chords in each key. Label each chord with both the chord name and the Roman numeral. Watch out for clef changes!
&
&
F:
A:
&
&
B:
E b:
?
?
G:
C#:
?
?
D:
G b:
I, IV, V PROGRESSIONS AND CHORD TONES
119
The I, IV, V progression is found in all styles of musical theatre. Here are a few examples. *The accompaniment has been altered to simplify the analysis.
"Summer Nights" from Grease
# 4 & # 4 Œ œ œ œ œŒ
Œ œ œ œŒ œ
œ œ œ œ ˙
She swam by me,
she got a cramp.
˙˙ ˙
˙˙ ˙
œ œ œ œ ˙
He ran by me,
˙˙ ˙
D
G
A
G
D
I
IV
V
IV
? # # 4 ˙˙˙ 4
Jim Jacobs Warren Casey
got my suit damp.
˙˙ ˙
˙˙ ˙
˙˙ ˙
˙˙ ˙
G
A
G
I
IV
V
IV
"Leavin's Not the Only Way To Go" from Big River
Roger Miller
#### 4 œ œ œ œ œ œ œ Œ‰ . œ œ œ œ œ œ Œ‰ & 4 Ó Œ‰œ œ œ œ œ œ œ œ œ œ R Peo-ple reach new un - der - stand - ings all the time
ww w
may - be change their mind.
www
A
E B
E
I
IV
I
I
E
? #### 4 4
they take a se-cond look
˙˙˙ ˙ ˙˙
www
V
Stephen Sondheim
"Comedy Tonight" from A Funny Thing Happened On The Way To The Forum
# C &
œ
˙
Some - thing
w ? # C ww
œ œŒÓ
œ
fa
˙
˙ -
mil
-
iar,
œ
˙
Some - thing
www
œ
pe
-
˙
cul
-
˙
iar,
G
C
D
˙˙˙
G
C
D
I
IV
V
I
IV
V
˙˙˙
˙˙˙
˙˙˙
120
MUSIC FUNDAMENTALS FOR MUSICAL THEATRE
Song Analysis As we have already noted, a phrase in music is just like a phrase in language. It is a musical thought that has a beginning, middle, and end. Speak the lyrics out loud for the above examples, paying close attention to the punctuation. Do you see and hear the phrases of the lyrics? Now take away the lyrics and find the musical phrases. You can do this by looking at the chord progressions. In “Summer Nights” you have the I, IV, V, IV progression twice, creating two mini phrases. The same is true of “Children of the Wind” and “Comedy Tonight,” where you have the same chord progression twice. Phrases are usually two, four or eight bars long and often begin and/or end with the I and V chords. Do the musical phrases match the lyrical phrases? Does the music help reinforce the punctuation in the lyrics? How does this influence the breath? Remember to look at the shape of each melodic phrase. The chord progression should also support the shape and length of each phrase. Analyze songs that you are working on. Can you find the phrases? What chord does the phrase start on or end on? Does it change chords often or not? Do you feel a resolution if the phrase ends on the I chord? How does this influence your choices as a performer?
Chord Tones and Non-Chord Tones Chord tones are notes that are found in the chord. Non-chord tones are notes that are not found in the chord. * Non-chord tones are prevalent in musical theatre repertoire. They create colors and dissonances that can make phrases more interesting and help further the storytelling. As you learn more about harmony, you will find that almost every note is related in some way. The arrows point to the non-chord tones in the following melody. These are notes that are not in the chord that is being played below the melody line. Play the chords on the piano and sing the melody line. What do you hear?
### 4 & 4 œ œ œ œ
œ œ œ œ œ œ
œ œ œ œ œ œ œ œ œ œ œ œ œ œ
A
D
E
www
A
I
IV
V
I
? # # # 44 ww w
www
www
I, IV, V PROGRESSIONS AND CHORD TONES
121
Circle the non-chord tones in the melody. Play the chords on the piano and sing the melody.
4 œ &b 4 œ œ œ œ w ? b 44 ww F
I
œ œ œœœ œ œ œ œ œ œ œ œ œ Bb C www ww w IV
V
œ œ œ œ œ œ œ ww w
F
I
You can harmonize a melody by analyzing the notes. In this exercise, the majority of the notes in each measure are usually chord tones. Using the I, IV, and V chords in the key of E major, harmonize the following melody and then circle the non-chord tones. You may want to list the notes in the three chords as a reference. You should find one chord per measure. Label the chords with Roman numerals below the staff and chord names above the staff.
b & b b 44 œ œ œ œ œ ? b b 44 b
œ œ ˙
___
œœœ œ œœ
___
___
œ
œ ˙
___
Harmonize the following melodies using the I, IV, and V chords found in each key. There may be more than one chord per measure. Watch the “labeling lines” below the staff as a guide. Circle the non-chord tones and label the chords (Roman numerals below the staff and chord names above the staff).
1.
bb 4 &bbb 4 œ œ œœœœ œœœœœ œ ? b b 44 bbb
___
___
___
b & b bbb œ œ œ œ œ œ
œœœœœ œ
? bb b bb
___
___
___
___
œœœœœ œ
___
œœœœ˙ ___
œ œœœ œ œ œœœ œ œ œ œ œ Œ œ
___
____
___
122
MUSIC FUNDAMENTALS FOR MUSICAL THEATRE
# 4 j‰ & 4 œ œœœ œ œ œ 2.
? # 44
___
œœ œœ œ œ œ œ
j œœ œ ‰ œœœ œ
___
___
œ œœ œ˙
___
___
___
œ œ œ œœœ œ œ œ œœœœœ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ & œœ œ œ œ #
?# ___
___
___
___
___
___
___
Using a combination of chord tones and non-chord tones, write a melody to go with the chords below. Label the chords and circle the non-chord tones. Sing the melody using solfege.
## 4 & 4
1.
www
? # # 44 www &
##
? # # www
˙˙˙
ww w
www
˙˙˙
˙˙˙
˙˙˙
ww w
I, IV, V PROGRESSIONS AND CHORD TONES
#### 4 & 4 2.
? # # # # 44 ˙˙˙ &
####
? # # # # www
˙˙˙
˙˙˙
www
˙˙˙
˙˙˙
www
123
www
˙˙˙
www
124
12 Transpositions; Rhythm: Triplets Transposition Transposition is the process of moving a pitch or collection of pitches up or down by a set interval while keeping the relationship of the pitches constant. Musicians, especially singers, can transpose songs into keys that work best for their instrument. You can think of transposition in two ways: by intervals or by key relationship.
Transposing by Interval Move each pitch up or down by the prescribed interval. Original melody:
& 44
œ
œ
œ
œ
Transpose the melody up a major third.
& 44 œ # œ # œ
œ
˙
˙ #˙
˙
œ œ œ œ œ
œ
œ
œ
œ
#œ #œ œ #œ œ
œ
#œ #œ #œ
œ
œ
Each pitch is raised a major third. Use your keyboard to check each interval. Raise the original melody up a perfect fifth.
& Lower the original melody by a whole step.
& 125
126
MUSIC FUNDAMENTALS FOR MUSICAL THEATRE
Raise the original melody by a half step.
& Lower the original melody by a minor third.
& Notice that the relationship between the pitches in the melody stays constant. For example, the distance from the first note to second note is always a whole step. The distance from the third note to the fourth note is always a minor third.
Transposing by Key You have been transposing by key since Chapter 4 when you started sight-singing with solfege. Solfege keeps the relationship between the pitches constant no matter what key you are in. Original melody in the key of C:
& 44 ˙
sol
œ œ œ
mi re mi
œ
œ
œ
la
do
re
œ sol
œ
fa
œ œ œ œ œ
do re mi sol la
Transpose the melody up a perfect fourth into the key of F using solfege.
4 &b 4 ˙
œ œ œ
sol
mi re mi
œ
œ
œ
la
do
re
œ
œ
sol
fa
œ œ œ œ œ
do re mi sol la
Transpose the melody up a minor third into the key of E using solfege.
b 4 &bb 4
Transpose the melody down a half step into the key of B using solfege.
#### 4 & # 4
œ mi
œ mi
œ sol
œ sol
˙ do
˙ do
TRANSPOSITIONS AND TRIPLETS
127
Transpose the melody down a minor third into the key of A using solfege.
### 4 & 4
Transpose the melody up a whole step into the key of D using solfege.
bb 4 &bbb 4
When transposing chords, use Roman numeral analysis to move the chords to any key. Original melody and chords in the key of D:
## 4 œ & 4 œ œ œ œ
sol mi sol la do
? # # 44 www
œ
˙
ti
la
www
œ œ œ œ œ œ œ œ œ œ œ
fa mi do re
mi
˙˙˙
Transpose the melody and chords into the key of F major.
œ œ & b 44 œ œ œ œ ? 4 www b 4
˙
ww w
œ œ œ œ œ
Transpose the melody and chords into the key of A major.
bb 4 &bb 4 ? b b b 44 b
˙˙˙
sol do re do ti sol
do
www
˙˙˙
œœ œœ œ œ ˙˙˙
œ œ ˙ re
do
œ œ ˙ www
128
MUSIC FUNDAMENTALS FOR MUSICAL THEATRE
Transpose the melody and chords into the key of B major.
#### 4 & # 4 ? # # # # 44 #
Triplets Triplets consist of three notes of equal value that fit into a specified amount of time. An eighth note triplet consists of three eighth notes that fill one beat. Each eighth note in the triplet is equal in length and receives a third of a beat. Clap and count the following examples and then listen to them on the website. Example 12-1
3 eighth notes in one beat
÷ 44 œ
œ
1
œ
2
œ
3
œ
4
the small 3 denotes triplet
œ
1
œ
œ
3
2
trip - let
œ
œ
3
4
Example 12-2
÷ 44 œ œ œ œ 3
1
trip - let
2
œ
3
œ
+
œ
4
œ 1
œ
+
œ
2
œ
+
œ œ œ œ 3
3
trip - let
4
TRANSPOSITIONS AND TRIPLETS
129
Example 12-3
÷ 44 œ
œ
1
œ
2
œ
3
œ
4
œ
1
œ
+
œ
2
œ
+
œ
3
œ
+
4
œ
+
÷œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ 3
3
1 trip-let
3
3
2 trip-let 3 trip-let 4 trip-let
1 e
Triplets may also contain rests.
÷ 44 œ œ œ œ ‰ œ œ œ œ ‰ œ œ œ 3
2
3
a
2
e
+
a
3
e
+
a
4
e +
a
a bracket is used when the notes and rests are not connected by a beam
Example 12-4
1
+
œœœœ œ œ œ
3
4 trip-let 1 + 2
3 trip-let 4
œ œœ‰œ œ
3
1 trip-let 2 + 3
3
4
1
2 trip-let 3
4
Example 12-5
÷ 44 œ œ œ œ œ œ ‰ œ œ
˙
3
1 +
2 e + 3 trip-let 4
œ œ œ œ œœœ œ ‰ ˙
œ œ ‰œœœ œ
3
1-2
3
4 +
3
1 + a 2 trip-let 3 - 4
1 + 2 trip-let 3
4
Clap and count the following rhythmic patterns. Use a metronome to help keep a steady beat.
1.
÷ 44 œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
2.
÷ 44 œ œ œ œ œ œ . œ œ œ œ œ œ œ œ œ œ œ ˙
3.
÷ 44 œ œ œ œ œ œ œ œ œ œ ‰ œ œ œ . œ œ œ œ œ œ œ œ œ œ . œ œ . œ .
4.
÷ 44 œ œ œ ‰ œ œ œ œ œ œ œ ‰ ˙
3
œœœ œœœ œ œ œ œ œ œ œ œœœ œ œ
3
3
3
3
3
œ‰œœ 3
3
3
3
3
œœ œ œ œ œ œ œœ œœ œ œ
œ œœœ œ œ Œ œ 3
j œ œ œ œœœ
œ œ œ œ œ. œ œ 3
130
MUSIC FUNDAMENTALS FOR MUSICAL THEATRE
Eighth note triplets can also be made up of one quarter note and one eighth note. Since a quarter note is equal to two eighth notes, it receives two-thirds of the beat while the single eighth note still receives one-third of the beat. Clap and count the following examples and then listen to them on the website. The first and second measure should sound exactly the same. Example 12-6
÷ 44 œ œ œ œ œ œ œ œ œ œ œ œ 3
3
1 trip - let
3
3
2 (trip) - let 3 trip - let
œ œ œ œ 3
4 (trip) - let
3
3 j œ œ œ œ œ
3
j œ
1 trip - let 2 (trip)-let 3 trip - let 4 (trip)-let
Example 12-7
j3 œ œ œ œ œ
÷ 44 œ œ œ œ œ œ œ œ œ œ œ œ 3
3
1 trip - let
3
3
3
2 trip - (let) 3 trip - let 4 trip - (let)
j3 œ œ œ œ œ 3
1 trip - let 2 trip-(let) 3 trip - let
Clap and count the following examples. Use a metronome to help keep a steady beat.
1.
÷ 44 œ œ œ œ œ œ œ
2.
÷ 44 œ œ œ œ œ œ œ œ œ œ
3.
÷ 44 œ œ œ œ œ œ Œ
3
3
3
4.
5.
6.
j œœ œ œ œ œ œ œ 3
j œ œ œ œ œ œ œ œ œ œ œ. 3
3
3 3 j3 j3 œ œ œ œ œ œ œ œ œ œ œœœ ‰ œ œ œ
œ œ œ. œ œ œ œ œ œ œ œ œ œ œ œ ˙
4 trip-(let)
j 3 œ œ œ œ œœœ
œœ œ˙
œœœ
œ œ œ œœœœŒ œ œ 3
3 j3 j 3 j 4 . ÷ 4 œœœ œ ‰ œ œ œ œ œ œ œ ‰ œ œ œ œœ œ œ œ œ œ œ œ œ Œ œœœ ‰ œ œ 3 3 j 4 ÷4 œœœœ œ œ œ
3 3 j3 3 j œ œ œ œ œ œ œ œ œ œ œ œœœœ œœ œ œ œ œ œ œ ‰ œ œ œ œ œ 3
3
3 3 3 j j j j 4 ÷ 4 œ œ œ œ œ œ œ œ ‰ œ œ œ œ Œ œ œ œ œ. œ œ. œ œ œ œ œ œ œ œ œ œ œ œ. œ
TRANSPOSITIONS AND TRIPLETS
131
Clap and count through the following song examples and then listen to a recording.
"What Did I Have That I Don't Have?" from On a Clear Day You Can See Forever
b & b b b 44 Œ
Œ
j œ œ nœ œ. œ œ œ œ ˙ 3
b & b bb Œ œ
What is - n't there
that once was there?
j œ œ œ œ.
3 Œ œ œj œj œ .
3
Some - thing in me then
he could see then
Alan Jay Lerner Burton Lane
j œ œj . œ œ nœ œ. œ œ œ 3
What have I got
a
great big lack of?
3
beck - ons to him no
"Happy to Keep His Dinner Warm" from How To Succeed in Business Without Really Trying
b & b b b 44 Π&
more.
Frank Loesser
jœ œ œ œ œ œ Œ‰ j j j Ó œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ 3 3
I'll be so
bbbb
œ Œ Ó
Œ œ œ nœ œ œ
3
3
hap-py to keep his din-ner warm
jœ œ œ œ œ œ œ œ œ 3
3
3
Hap - py to keep hi din - ner warm
while he goes on - ward
œ œ œ œ till
3
and
up - ward.
j œ œœ œ œ œ œ 3
3
he comes wear - i - ly home
˙
from down
Ó
A quarter note triplet consists of three quarter notes that fill two beats. Each quarter note in the triplet is equal and receives two-thirds of a beat. The quarter note triplet feels a bit like syncopation since the second and third notes are just off the beat. Compare lines 1 and 2 to see how the triplets line up.
1
÷ 44 œ
2
œ
the first note is on the beat
÷ 44 ˙
3
œ ˙
trip -
let
1
2
œ
œ
œ
œ
œ
œ
œ
œ
3
3
trip -
the 2nd and 3rd notes are off the beat
œ
let
œ
3
œ
132
MUSIC FUNDAMENTALS FOR MUSICAL THEATRE
Clap and count the following examples and then listen to them on the website. Example 12-8
÷ 44 ˙
œ
1-2
œ
œ
3
3
trip -
œ
let
œ
3
1
trip -
œ
œ
œ
œ
œ
œ
let
œ
3
4
Example 12-9
÷ 44 œ
œ
1
œ
2
œ
œ
3
3
trip -
let
1
2
+
œ
œ
3
3
trip -
let
Example 12-10
÷ 44 œ
œ
œ
œ
œ
œ œ œ œ œ œ œ
œ
3
1
trip -
œ
let
3
+
4
œ
œ
+
œ
1
œ
+
œ
œ
3
2
trip -
let
œ
œ
œ
4
Example 12-11
÷ 44 œ 1
÷Œ
1
+
œ
3
trip -
a
2
œ
let
e
+
œ
3
a
3
3
trip -
œ œ œ
+
a
4
œ
œ
let
Œ
3
1
œ
1
trip -
œ œ œ
+
a
2
œ
let
3
œ
3
trip -
œ œ œ
+
Œ
let
4 e +
œ
4
œ
+
TRANSPOSITIONS AND TRIPLETS
133
Clap and count through the following song example and then listen to a recording. "Good Morning Baltimore" from Hairspray
b & b b 44 Œ œ œ œ Oh,
oh,
b &bb Œ œ œ œ oh, oh,
oh
œ œ œ ˙
oh,
woke up
3
to - day
feel - ing
œ.
œ œ œ œ œ œ 3
3
hung - ry
j œ œ.
œ œ œ œ.
3
for some - thing that
I
the way
j œ œ.
can't eat
I
Marc Shaiman Scott Wittman
j œ ˙
al - ways do
j œ œ œ œ Œ œ 3
then
I hear the beat
Clap and count the following rhythmic patterns. Use a metronome to help keep a steady beat.
1.
2.
÷ 44 ˙
œ œ œ œ œœœ œ œ œ œ œ œœœœŒ 3
3
j j ÷ 44 œ œ œ œ œ œ
œ. œ œ œ œ œ œ œ œ œ œ 3
œ œ ‰ œ œ œ œ ‰ œ œ œ œ œ œ œ œ œ. œ œ œ œ œ œ œ. œ œ 3
3
3.
÷ 44 œ œ œ œ œ . œ œ œ œ œ Œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ Œ œ œ œ ‰ œ œ œ œ œ œ œ
4.
÷ 44 œ .
5.
÷ 44 œ œ œ œ œ œ œ œ œ œ œ œ œ œ Œ
6.
÷ 44 œ ‰ œ œ ‰ œ œ œ œ œ
3
3
j œ œ œ œ œœœœŒ
j 3 ‰ œ œ œ œ œ œ œ œœ˙
3
3
3
3
œ œ œ œ œ.
j j œ œ œ œ œ
œ. œ œ œ œ œ. œ œ œ œ œ œ œ œ œ œ œ œ 3
3 j œ œ œ Œ œ œ œ œœœœœœœœœ œ
134
Review of Chapters 9–12 and Performance Tips (Repeats, Endings, and Codas) Major Triads We learned how to draw major triads two different ways. One way is by stacking thirds and the other is working within a major key signature. Follow the directions below to reinforce the process for both methods.
Drawing a Major Triad by Stacking Thirds: The “Snowman” Method &w ?w & www ? www & # www ? # www
1. Start by drawing the root of the chord. *For an E major triad, start by drawing the E
2. Draw a snowman on top of the bottom note.
3. On a keyboard, count up four half steps from the bottom note to the middle note. What note do you end on? Is that what you have drawn? Do you need to add an accidental? *Here we need to add a sharp to make the middle note G .
E
& # www ? # www
4. On a keyboard, count up three half steps from the middle note to the top note. What note do you end on? Is that what you have drawn? Do you need to add an accidental? *Here we end on B and do not need to add an accidental.
135
136
MUSIC FUNDAMENTALS FOR MUSICAL THEATRE
HELPFUL HINTS 1. Make sure you draw the correct starting note: A D chord has to start with a D on the bottom (not a D). 2. Make sure you draw the snowman before counting the half steps. 3. Remember that a half step is the distance between each note—you aren’t counting the notes themselves.
Draw the indicated major triads in both the treble clef and bass clef. Use the snowman method.
&
G
Db
B
Ab
C#
Eb
F#
D
Bb
Gb
A
F
?
& ?
& ?
REVIEW OF CHAPTERS 9–12 AND PERFORMANCE TIPS
137
Drawing Major Triads in a Major Key The I, IV, and V chords in a major key are all major.
bb & b b bb
1. Draw the key signature first.
? bb b b bb
G b Major:
bb & b b bb w
w
w
w
w
bb w & b b b b ww
www
www
? bb b b w bb
w ? b b b b ww bb Gb
bb w & b b b b ww w ? b b b b ww bb I
ww w
www
Cb
www
Db
ww w
ww w
IV
V
www
2. Draw the first, fourth and fifth notes of the scale.
3. Draw a snowman on top of each note.
4. Label the chords using chord names above and Roman numerals below.
HELPFUL HINTS 1. Make sure you double check your key signature. 2. Remember you don’t have to add any accidentals to the chords. The flats and sharps in the key signature do the work for you. 3. When naming the chords, don’t forget to write flats and sharps in the name of the chord (if necessary). 4. Only the I, IV, and V chords in a major key are major. Chords starting on other scale degrees are not major chords.
138
MUSIC FUNDAMENTALS FOR MUSICAL THEATRE
Draw the major key signature and then draw the I, IV, and V chords in that key. Label the chords with chord names and Roman numerals.
& ? A Major:
& ?
B b Major:
&
&
?
?
D b Major:
F Major:
&
&
?
?
E Major:
G Major:
REVIEW OF CHAPTERS 9–12 AND PERFORMANCE TIPS
139
Rhythm Practice Draw in the missing bar lines and then clap and count the exercise.
÷ 44 œ œ œ œ œ œ œ ÷ 44 œ œ œ œ .
j j œ. œ œ œ Œ œ œ. ‰ œ œ œ
j œ œœœ œœ œ˙
œœœ
3 r j j j œ œ œ ‰ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ. œ œ ‰. œ œ œ ‰ œ
Clap and count the following exercises.
÷ 44 œ œ œ œ œ œ œ
œ œœœ œ ‰ œœ œ
3
1.
œ œ œ œ œ œ œ œ ˙.
÷ 44 œ œ œ œ œ œ œ œ œ œ œ œ œ Œ œ œ œ œ œ œ œ œ ˙ 3
2.
j œ œ
3.
÷ 43 œ .
4.
÷ 44 œ œ œ œ œ
5.
÷ 44 œ . œ œ œ œ œ œ œ
6.
÷ 42 œ œ œ
œ œ œœœœœ œ
œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ. 3
œ œ. œ
˙.
œ œœœœœ
j œ œ œ. œ œ. œ œ ‰ œ
œœœ œœ œœ œœœ œ œ
œ œ œ œ œ œ œ. œ œ
j œ œ
j œ œ œ œ œ œ
œ œ œ 3
œ œ œ œ œ œ œ. œ œ œ
œ œœœ œ œœ œ œ 3
3
œœœ
œœ œœœœ
140
MUSIC FUNDAMENTALS FOR MUSICAL THEATRE
Performance Tips The Road Map Repeat signs, first and second endings, codas etc. How do I find my way around? Some songs are simple: you start at the beginning and then continue singing/playing straight through until you get to the final measure. In other cases you will find markings in your music to repeat certain sections or skip a section. This can save paper and ink but can take some time to figure out.
Repeat Signs
& 44 ..
a backward repeat sign
a forward repeat sign
..
When you get to the backwards repeat sign, you go back to the forward repeat sign and start again. Often you will see this with the word vamp over it. In musical theatre, a vamp is mostly used under dialogue. The orchestra will continue to repeat the vamp until the singer(s) are ready to begin singing.
& 44 .. . œ
When
œ œ œ
œ œ
you're learn - ing
œ
a - bout
œ
œ
re - peats
just
œ
go
œ
on
œ
keep
j œ œ.
sing - ing.
A repeat sign with a first ending go back to the forward repeat sign from here
& œ.
Yes,
œ œ œ œ œ œ I think we're
al - most there
1.
œ
here's
j œ œ. œ œ
.. œ œ œ 2.
the first end - ing
˙
sec - ond end - ing.
When you get here the second time, skip the 1st ending and go right to the second ending. The slash with a dot on either side () is also a repeat sign (a one-bar repeat). It means to repeat the bar directly before it and then go on. This notation is seen mainly in instrumental parts (especially percussion parts).
&
œ
œœ
œ
œœ
‘
œ
œœ
œ
œœ
‘
REVIEW OF CHAPTERS 9–12 AND PERFORMANCE TIPS
141
The Road Map (Continued) D.C. Fine D.C. al fine Coda D.C. al Coda To Coda
Da capo (from the beginning) The end Back to the beginning until “fine” The concluding passage of a piece of music Back to the beginning and then to the Coda To the Coda
This is the end (the 2nd time around)
& 44 œ .
j œ œ
œ œ œ œ ˙
œ
&œ œ œ œ œ œ D.S. D.S. al fine D.S. al Coda
œ
œ
œ
˙
D.C. al Fine
œ œ œœœ œ œ œ
œ œ œ œ œ œ
œ ˙ œ œ œ
Here you go back to the begining
Dal Segno (from the sign) Back to the sign until “fine” Back to the sign and then to the Coda the sign
& 44 œ . œ œ œ œ
% (the sign) & œ. œ œ œ œ œ œ &œ
œ. œ œ œ œ
Fine
œ œ œ
œ œ œ
œ
œ
œ
œ œ ˙ œ.
fi the Coda œ. œ œ œ œ œ œ & J
œ. œ œ œ œ
œ
œ
˙
˙
œ
œ
˙
Go to the Coda the 2nd time To Coda
œ. œ œ œ œ œ œ
œ J œ œ œ
œ
œ œ œ Œ
œ œ.
œ. œ œ œ œ
Go back to the sign D.S. al Coda
j œ w œ
w
142
13 Minor, Diminished, and Augmented Triads; Cut-Time; Chromatic Solfege Minor Triads As we discussed in Chapter 10, all triads are made up of two thirds stacked on top of one another. A minor triad has a minor third on the bottom and a major third on the top. The outer interval (from the bottom note to the top note) is a perfect fifth. Listen to example 13-1 to hear a minor triad.
& b ww
b ww
minor third
b www
major third
C minor triad
The name of the triad is the root of the chord (the bottom note that you build the chord on). Each triad must be made up of three “line” notes or three “space” notes. It is helpful to draw the three notes first and then figure out what accidentals are necessary to create the proper thirds. Use the keyboard to help visualize each triad.
Remember, a minor triad has a minor third on the bottom and a major third on the top.
& www
Start here with 3 notes on F
b www
F minor triad
Count the half steps up from F and add accidentals as necessary.
www
Start here with 3 notes on E
www
E minor triad
Count the half steps up from E and add accidentals as necessary. 143
144
MUSIC FUNDAMENTALS FOR MUSICAL THEATRE
Minor triads are labeled either C- or Cm for C minor; D- or Dm for D minor, and so on. Build a minor triad on each note and then label the chord below.
w & ww
w
w
w
&
bw
bw
bw
#w
& #w
#w
A-
w
& w
w
bw
bw
bw
Label the following chords. But be careful—some are minor and some are major.
w & ww G
& # ww w
& # # # www
w b b ww
www
D-
b b www b b b www
# www
www b b www
www
b www
MINOR, DIMINISHED, AND AUGMENTED TRIADS AND CUT-TIME
145
Listening 1. Listen to example 13-2. You will hear a number of minor chords. 2. Listen to example 13-3. Identify each chord as either major or minor. 1. M 11.
2. m 12.
3. 13.
4. 14.
5. 15.
6. 16.
7. 17.
8. 18.
9. 19.
10. 20.
Diminished Triads A diminished triad is made up of two minor thirds.
& b ww
b b ww
minor third
b b www
minor third
C diminished triad
*Notice that the outer interval (from the bottom note to the top note) is a diminished fifth unlike major and minor triads. Diminished triads are labeled either C° or C dim for C diminished, D° or D dim for D diminished, and so on. Build a diminished triad on each note and then label the chord below and listen to example 13-4.
& b b www
F°
& bw
w
bw w
bw
w #w
146
MUSIC FUNDAMENTALS FOR MUSICAL THEATRE
Augmented Triads An augmented triad is made up of two major thirds.
& ww
# ww
major third
# www
major third
C augmented triad
*Notice that the outer interval is an augmented fifth. Augmented triads are labeled either C+ or C aug for C augmented, D+ or D aug for D augmented, and so on. Build an augmented triad on each note and label the chord below and listen to example 13-5.
& # # www
E+
&w
bw
w w
bw
bw
#w
Analyze the following chords and label them (major, minor, diminished, or augmented).
& # www
F #°
# www
www
E-
w & ww
# # www
b www
& www
# www
b b www
& # ‹ ww w
& # # # www
b b www
# www # # www
b b b www b b www
b b www
b b b www # # www
# www
MINOR, DIMINISHED, AND AUGMENTED TRIADS AND CUT-TIME
147
Listening Listen to example 13-6. You will hear a number of diminished chords. Listen to example 13-7. You will hear a number of augmented chords. Listen to example 13-8. Identify each chord as either, major, minor, diminished, or augmented. 1.
8.
15.
22.
2.
9.
16.
23.
3.
10.
17.
24.
4.
11.
18.
25.
5.
12.
19.
26.
6.
13.
20.
27.
7.
14.
21.
28.
Cut-Time In addition to 4/4, 3/4, and 2/4 time, we have other time signatures where the quarter note is not equal to one beat. It is important to note, however, that the relationship between the notes stays the same (i.e. two half notes are equal to one whole note which is equal to four quarter notes).
÷ 22
The 2 on the top means that there are two beats in each measure. The 2 on the bottom means that a half note gets one beat.
÷C
You will often see 2/2 time or cut-time written this way instead of with the 2/2. They mean the same thing and are interchangeable.
Music written in cut-time often looks the same as music written in 4/4 time. The difference is usually in the speed (beats per minute—bpm) and the feel or accent of the music. Count and clap the following exercise in 4/4 time. Set your metronome to 120 bpm. Example 13-9
÷ 44 ˙
1 (2)
˙
3 (4)
œ 1
œ 2
œ œ œ 3
+
4
œ œ œ
1 + 2
œ
3
œ œ œ 4 +
1
œ
2
œ
3
Œ
148
MUSIC FUNDAMENTALS FOR MUSICAL THEATRE
Now count and clap the same exercise in cut-time. Set your metronome to 70 bpm. Remember that the half note is equal to one beat. Example 13-10
÷C ˙
˙
1
œ
2
œ
1
œ œ œ
+
2
e
œ œ œ
+
œ
1 e +
œ œ œ
2
+ a
œ
1
+
œ
Œ
2
Can you feel a difference between the 4/4 version and the cut-time version? Pay attention to the accents that you feel with each half note pulse. Clap and count that following examples in the same way.
÷ 44 œ œ œ
œ œ œ
˙.
÷C œ œ œ
œ œ œ
˙.
1 + 2
3
1 e +
2
+ 4
e
1
+
(2
1
œ
3)
(2)
œ
4
1
œ
œ
+
œ
œ
2
œ
1
+
œ œ œ
3
4 +
œ
1
œ œ œ
2
+ a
œ œ œ œ œ 2 + 3
+ 4
œ œ œ œ œ
1
+ a
2 e
+
Clap and count the following song excerpts and then listen to a recording. Notice that “Popular” starts in 4/4 time and then switches to cut time. How does that affect what she is saying? Also, notice there are notes with added accidentals in both excerpts. For these notes, we use chromatic solfege.
Solfege for raised notes:
Solfege for lowered notes:
& w #w w #w w w #w w #w w #w w w w w bw w bw w bw w w bw w bw w do di re
ri mi fa fi sol si
la
li
ti do
do ti
"The Surrey With The Fringe On Top" from Oklahoma "fi"
## & # C œ
œ
œ
Chicks and
&
###
œ
When
œ I
ducks
œ
take
œ
you
œ
œ #œ œ œ Œ
œ
and
geese
œ
out
bet - ter scur - ry
œ #œ œ
in
the
te
la le sol se fa mi me re rah do Richard Rodgers Oscar Hammerstein
œ œ #œ œ œ Œ
œ œ œ œ
When I
œ œ œ
sur - rey with the
take you
out
˙.
œ
fringe
on
in the sur - rey
œ
top!
Œ
Ó
MINOR, DIMINISHED, AND AUGMENTED TRIADS AND CUT-TIME
"Popular" from Wicked
& 44 Ó
Œ ‰ j œ œ œ œ œ œ ≈ œ œ œ And
e - ven
in
& bœ œ œ œ œ œ œ œ
your
case,
œ œ œ ˙
Pop - u - lar.
j &b œ œ
pro - per
œ œ J œ œ
ploys
when you
Œ
You're gon
talk to
œ bœ œ œ #œ œ œ œ œ
tough - est
-
œ œ
na be
œ œ J œ œ
boys,
lit - tle
case I've
œ œ œ œ
pop - u
œ
ways
yet to face,
don't
‰ œ œ œ œ bœ œ œ > and yes, in - deed you will be
Fol - low my lead
œ œ œ
j œ œ
the
Stephen Schwartz "fi"
"te"
‰ œ œ ˙ œ
˙
wor - ry, I'm de - ter - minied to suc - ceed,
&b C
though it's
149
œ to
-
lar!
œ œ J
flirt and
Œ
œ œ œ œ œ
I'll teach
you the
j œ œ¿ Œ Ó flounce,
(ooh!)
b C
150
MUSIC FUNDAMENTALS FOR MUSICAL THEATRE
Clap and count the following exercises. Use a metronome to help keep a steady beat.
1.
÷C œ
2.
÷ C ˙.
œ
3.
÷ C œ.
j œ œ œ œ
4.
÷C ˙
œ œ œ œ œ
j ÷C œ œ
j œ œ
5.
6.
÷C œ
œ
Œ
œ œ œ
œ œ œ
œ
j œ œ
j œ Œ
œ œ œ
˙
‰ œ œ œ œ
œ
œ
œ œ œ
7.
÷C ˙
œ œ œ
8.
÷C œ
˙
9.
÷C Œ
œ œ œ œ œ
œ
j œ œ
Œ
œ
œ
œ
œ œ œ
j œ œ
j œ œ œ œ
œ
œ
Œ
œ œ
œ œ ˙
œ
œ œ œ œ œ
œ
œ œ
œ
j œ œ ‰ œ œ
œ
œ
j œ œ
œ œ ˙ œ
œ
œ œ œ
œ œ
œ
œ
˙
j œ œ œ œ œ œ œ œ
œ
œ œ œ œ
j œ œ
j œ Œ
j ‰ œ œ œ œ
˙.
œ œ œ œ œ
œ œ œ j œ œ
j œ œ œ œ ‰ œ œ
œ j œ Œ
j œ œ
œ œ
œ
œ
œ œ
œ
œ
œ œ
œ œ œ
œ
œ œ
œ œ œ œ œ
14 I, vi, ii, V, I Progression; Harmonizing a Melody As we discussed in Chapter 11, you can build a major chord on the first, fourth, and fifth scale degrees in every major key.
& www
w
w
I
www
www
IV
w
w
V
www
I
In addition to the major chords, the triads built on the second, third, and sixth scale degrees are minor chords.
www
www
& w
ii
w
iii
www
w
w
w
Every major key has the same set of triads.
& ww w C:
I
#### w ww & E:
www
www
I
ii
iii
www ii
w
w
www
www
iii
w
www
w
vii˚
IV
www
w
vi
The triad built on the seventh scale degree (leading tone) is a diminished chord
& w
w
V
www
IV
www
www
vi
vii˚
www
www
V
vi
www I
www
www
vii˚
I 151
152
MUSIC FUNDAMENTALS FOR MUSICAL THEATRE
b & b ww w B b:
ww w
w ww
I
ii
iii
ww w
ww w
ww w
IV
V
vi
ww w
ww w vii˚
I
N
otice that the Roman numerals used for the minor and diminished triads are lower case while the Roman numerals used for major chords are upper case. This is necessary to distinguish between the different types of chords.
In addition to the I, IV, V, I progression, another common chord progression is I, vi, ii, V, I.
www
C
A-
& www I
C:
&
##
&
bbbb
D:
www
B-
www I
A b:
G
C
ii
V
I
www
vi D
www
D-
vi
E-
www
ii
www
www
A
D
V
www
I
Ab
F-
B b-
Eb
Ab
I
vi
ii
V
I
www
www
www
www
ww w
Draw a I, vi, ii, V, I chord progression in the major keys indicated. Label the chords with both Roman numerals and chord symbols. Don’t forget to draw the key signature first!
& B:
&
E b:
I, vi, ii, V, I PROGRESSION
153
& G:
&
D b:
& F:
&
A:
&
B b:
& E: The I, vi, ii, V progression is found in many songs. Listen to the following examples. Bb
"It Only Takes a Moment" from Hello, Dolly!
b &b C Ó ? bb C Ó B b:
F
Œ œ
˙ ˙˙˙
It
on
V
I
Œ œœ œ
G-
-
˙
ly
˙˙˙
vi
C-
˙ ˙˙˙
ii
F
œ œ
mo
V
I
takes
˙˙˙
a
Jerry Herman
Bb
˙ ˙˙˙
-
G-
C-
˙
˙ ˙˙˙
ment
˙˙˙
vi
ii
F
Ó
˙˙˙
V
154
MUSIC FUNDAMENTALS FOR MUSICAL THEATRE
"Santa Fe" from Newsies
b &b C Ó
F7
œ
œ
San - ta
? bb C Ó B b:
Bb
œ œ Jœ ˙ . J
˙
ww w
˙˙˙ ˙
Fe,
V
I
Eb
are you there?
www
Eb
œ œ œ œ œ œ
G-
F
Alan Menken Jack Feldman
œ ˙
Bb
Œ
Do you swear you won't for - get me?
˙˙˙
˙˙˙
vi
IV
˙˙˙
V
IV
˙˙˙ I
Harmonize the following melody. There may be more than one chord per measure. Watch the “labeling lines” below the staff as a guide. Circle the non-chord tones and label the chords with both Roman numerals and chord symbols.
### 4 & 4 œ œ œ œ œ œ œ œœœ œ œ ˙ ? # # # 44
A: ___
___
œœ œœ œœœœ œ œ œœœ œ œ œ œ
___
___
## œ œ œœ & # œ œ œ œ œ œ œ œ œ œœœœœ œ œ œ œ œ œ œ ? ###
___
___
___
___
___
œœœœœ œ ___
Using a combination of chord tones and non-chord tones, write a melody to go with the following chord progression. Label the chords and circle the non-chord tones. Sing the melody using solfege.
bb 4 &bbb 4
? b b b 44 www bb
˙˙˙
˙˙˙
˙˙˙
˙˙˙
www
I, vi, ii, V, I PROGRESSION
bb &bbb
www
ww w
? b b www bbb
Sing the following melodies using solfege.
ww w
1.
# 4 j & 4 œj œ œ œ œ
2.
## & # # 44 œ œ œ ‰ ‰ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
3.
4 &b 4 ˙
4.
j œ œj ˙ œ
œ ‰ Jœ œ œ œ œœœœœœ
œ. œ ? b b b 44 œ œ œ . œ œ b
œœœœ
œœœ œ œ œœœ
155
œ œ œœœ œ œ œ œ œ œ œ œ œ œœ œœœœœœ œœœ œ
œ. œ œ œ œœ œ œ œ J œ œ œ œœœ œ. œ œ œ œ œ œ . œ
j j œ œ œ œ œ
œ.
œœœœœ œ
5.
& 44 œ œ œ œ œ œ œ
6.
#### 4 œ œ œ œ œ œ. œ œ œ & # 4 œ
œ œ œœœ œœ œœ
œœ ? b b b b 44 œ œ œ œ œ œ œ bb
œ œœœ œœ œ œ œ œ œ œœœ œ Œ œ œ œœœ ‰
7.
8.
? b b 44 œ œ œ œ œ
œœ œ œ œ œ œ œ
Œ œ œœœ
œœœœœ œœœ œ œ œ œ œ œ œœœ
œ. œ œ œ. œ œ œ œ œœœ œœœ œ
œ œœœ œœœ œ
156
15 Inversions of Triads So far, we have worked on building chords in root position—meaning that the note that is on the bottom of the chord is the name of the chord (or root). You will also find chords written in inversions. This facilitates smooth voice leading and gives the musician more opportunities to create slightly different colors with the same chord. All triads have a root position as well as a first inversion and a second inversion. See below:
&
ww w
ww w
www root position
first inversion
second inversion
The three notes in the C major chord are always C, E, and G, but their positions within the chord structure change. Look at the D major chord below and its inversions.
&
# www
w # ww
The first inversion always has the third of the chord (middle note) on the bottom.
# ww w
The second inversion always has the fifth of the chord (top note) on the bottom.
Listen to example 15-1 to hear the D major chord played in root position and both inversions. Draw the following chords in root position, first inversion, and second inversion. Remember to keep the accidentals the same in each chord. The notes do not change; only the order changes.
&
E b Major
157
158
MUSIC FUNDAMENTALS FOR MUSICAL THEATRE
&
B Major
&
C # Major
& &
F Major
A Major
When working with chords in inversions, the chord symbol must indicate the inversion. We do this by writing the name of the chord first and then a slash and the bottom note of the chord. See the examples below: Db
& b b www
D b/F
b b www
D b/A b Don't forget to write the b
w b b ww
The name of the chord is still D (containing the notes D , F, and A ), but you indicate each inversion based on the bottom note. E
& # www
E/G #
w # ww
#E/B ww w
Draw each chord in root position, first inversion, and second inversion. Label each chord above the staff as demonstrated in the examples above.
&
G Major
INVERSIONS OF TRIADS
&
159
B b Major
&
F # Major
&
A b Major
Draw the following major chords in first inversion and label them appropriately. If necessary, draw the chord in root position first and then figure out the inversion.
&
Ab
B
F
Gb
E
D
Draw the following major chords in second inversion and label them appropriately. If necessary, draw the chord in root position first and then figure out the inversion.
&
G
Db
C
F#
A
Bb
When you are looking at a chord in an inversion, how do you know what chord it is? To figure out what triad you are looking at, rearrange the three notes of the triad on the staff until you make a snowman. That is root position. From there you can tell what the root of the triad is and whether not it is major, minor, diminished, or augmented. For now, we will stick with major triads. Take a look at the example below.
# ww & w
& # www
First—What are the three notes in the triad?
B—E—G
Second—Arrange the notes so that they make a snowman on the staff (three line notes or three space notes stacked up on the staff) Third—What is the bottom note? That is the root (name) of the chord. In this case it is E.
160
MUSIC FUNDAMENTALS FOR MUSICAL THEATRE
Fourth—Identify the quality of the chord by counting the half steps. In this case it is a major triad.
#E/B ww & w
Fifth—Label the original chord. In this case it is an E major chord with a B on the bottom.
See two more examples below.
& # # www
&
rearrange to a snowman
D# - F# - B
B/D #
# # www
& # # www
label the triad
B Major triad
w & ww
w & ww
& www
F-A-C
F/A
F major triad
Identify and label the following chords.
& b www
w b b ww
# # # www
# ww & w
b b www
ww w
w b b ww ww w
ww w w # ww
w # ww #w # ww
Minor, diminished, and augmented triads can be inverted in the same way.
D-
& www
ww w
D-/F
ww w
D-/A
E˚
b www
b www
E˚/G
w b ww
E˚/B b
Draw each chord in root position, first inversion, and second inversion. Label each chord above the staff as demonstrated in the examples above.
&
F minor
INVERSIONS OF TRIADS
161
&
C augmented
&
G diminished
Draw the following chords in first inversion and label them appropriately. If necessary, draw the chord in root position first and then figure out the inversion.
&
F-
A
E b-
G˚
B˚
D+
Draw the following chords in second inversion and label them appropriately. If necessary, draw the chord in root position first and then figure out the inversion.
&
B b+
E˚
F #-
Db
G b-
C+
Identify the following chords using the appropriate chord symbols.
D b-/F b
G˚/D b
& b b b www & www & b b www
bw b ww
w b ww
ww w w # # ww
ww w
#w # ww
# www
∫ b b www w b ww
w # ww b ww w w b b ww
162
MUSIC FUNDAMENTALS FOR MUSICAL THEATRE
Rhythm Clap and count the rhythm. 1.
2.
3.
÷ 44 ˙ .
œ œ œ œ. œ œ œ œ
œ œ. œ œ œ œ ˙
÷ 44 œ œ ‰ œ œ œ œ œ œ . œ œ œ Ó
j ÷ 44 œ œ
‰ œœ œœœ œ ˙
j œ œ œ œ œ œ œ œ œ œ œ œ. œ œ. œ
j j œ œ œ œœœ œ œ
œ
j œ Œ
Œ
œ œ œœœ œ œ
œœ œœ œ œœœ
œ œ Œ œœœ œ
œ œ œ ˙ j œ œ œœ
4.
÷ 44 œ .
5.
÷ 43 œ œ œ œ œ . œ œ . œ œ œ œ œ œ œ œ
6.
÷ 43 œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ . œ œ . œ œ œ œ œ œ œ œ œ œ
œ œ ˙
‰ œ œ œ œ
œ œ œ œ œ œ. œ œ.
œ.
œœœœœ œ œ
Sight-Singing Sing the following melodies using solfege while keeping a steady beat. 1.
2.
b & b 44 ˙
œ œ œ œ œ. œ œœœ œœ œœ
b & b b b 44 œ œ œ œ œ œ œ œ œ œ
œ Œ œ œ œ œ. œ œ œ œ œ œ œ œ œœ
œœœ œ œ œ œ œ
‰ œ œ œ œ œœœ
œ œœ œ ˙ œ
INVERSIONS OF TRIADS
3.
4.
# 4 œ. œ œ & 4 œ. œ œ. œ #### 3 œ & # 4 # ## œ œ œ & # #
5.
6.
7.
8.
œ œ. œ œœœ œ œ œ œ œ œ œ œ. œ œ. j œ œ
œ. œ
? 44 œ œ œ œ ‰ œj œ
œ.
œ. œ œ. œ œ
œ ? 4 œ œ. œ œ. œ œ b 4
œ j œ œ
œ œ œ œ œ œ œ œ œJ œ œ œ œ œ J
œœ œœ œ œ œœ œ
œ. œ ˙. œ œ. œ œ œ œ. œ Listening
÷ 44
Listen to example 15-2 and write the rhythm that you hear. 1.
÷ 44
Listen to example 15-3 and write the rhythm that you hear. 2.
œœœœ œ œ œ œ œ
œ œ œ œ œ œ
œ
œ . œ œ œ ‰ œj œ œ
œ ? b 44 œ œ œ œ œ œ œ bb ? ### 4 4
163
œ œ.
œ.
œ J
j œ œ
j œœœœ‰ œœ
œ . Jœ œ œ œ œ œ œ œ œ œ œ œ œ œ. œ œ. œ œ. œ œ. œ w œœœœ
œ œ œ œ. œ œ . w
164
MUSIC FUNDAMENTALS FOR MUSICAL THEATRE
Listen to example 15-4 and write the melody that you hear.
1.
## 4 & 4
Listen to example 15-5 and write the melody that you hear. 2.
b 4 &bb 4
16 Chord Progressions with Inversions
As we discussed in Chapter 11, each chord in a key can be identified with a Roman numeral. The Roman numeral assigned to a chord depends on its placement in the key and quality (major, minor, or diminished). In the key of C major we have:
www
www
C
& www I
F
G
IV
V
When an inversion of a chord is used, it must be represented in the Roman numeral analysis as well.
ww w
ww w
C
C/E
I
I
& www
C/G
6
6
I4
For the 2nd inversion, two numbers are used; 6 and 4. The 6 refers to the interval from the bottom note to the top note and the 4 refers to the interval between the bottom note and the middle note.
The 6 used for the 1st inversion refers to the interval of a 6th from the bottom note to the top note.
The numbers that identify the inversion are the same for every chord.
ww w
F
F/A
IV
IV
& www
6
ww w
F/C
6
IV 4
ww w
G
G/B
V
V
www
6
ww w
G/D
6
V4
165
166
MUSIC FUNDAMENTALS FOR MUSICAL THEATRE
Using inversions, we can create smooth voice leading for chord progressions in any key.
C
F/A
ww w
& ww w C: I
6
IV 4
Eb
b & b b www E b:
G/B
I
C
ww w6
w ww
B b/D
Eb
I
V
A b/E b
ww w
6
IV 4
ww w
V
6
www I
Draw a I, IV, V, I progression using smooth voice leading in the following keys. Label each chord with the appropriate Roman numeral below and chord symbol above. Don’t forget to draw the key signature first.
&
A:
&
B b:
&
G b:
&
D:
& E:
CHORD PROGRESSIONS WITH INVERSIONS
167
&
F:
&
A b:
&
C#:
You can create smooth voice leading for any chord progression. Here is an example for the I, vi, ii, V, I progression. Notice how some notes stay the same from one chord to the next and others move only by a second or a third. Smooth voice leading creates even lines for each voice part in vocal/choral pieces. It also gives a pianist an easy and unbroken way to move from one chord to the next. Smooth voice leading is not always necessary or desirable. There are times where the music calls for a more disjointed or jumpy sound.
A
F # /A
I
vi
# # # ww w & A:
ww w
Db
B b-/D b
I
vi
b & b b b b www D b:
6
ww w
6
B-
E/G #
ii
V
www
ww w
A
E b-
A b/C
Db
ii
V
I
www
6
ww w6
www I
www
Draw a I, vi, ii, V, I progression using smooth voice leading in the following keys. Label each chord with the appropriate Roman numeral below and chord symbol above. Don’t forget to draw the key signature first.
&
E b:
&
G:
168
MUSIC FUNDAMENTALS FOR MUSICAL THEATRE
&
B:
&
F#:
&
D:
In music, the chords will often be broken up between two clefs or more. You have probably noticed this in the vocal parts of group numbers as well as in piano music. Let’s look at some four-part vocal selections to analyze the chords and examine smooth voice leading.
b & b b www ? bb w b
Soprano Alto Tenor Bass
Here we have an E b major chord It is broken up with an E b in the bass and a root position triad in the treble clef.
b & b b ww
The notes in the chord are E b, G , and B b.
Here the notes of the E b major chord are arranged in a more typical SATB format.
? b b ww b
The chord is still in root position because the lowest note is still an E b.
It is important to remember that the inversion is based on the lowest note (bass note). The voicing of the upper notes can vary without affecting the inversion. Take a look at these examples of an E major chord. Eb E b/G E b/G
b w &bb w ? b b ww b
ww
w w
ww ww
E b/B b
E b/B b
ww
w w
w w
ww
CHORD PROGRESSIONS WITH INVERSIONS
169
In each example, the notes of the chord stay the same—E , G, B —but the note that is doubled changes. The doubled note does not alter the name of the chord although it can change the sound of the chord. Here is a progression that is arranged in a four-part choral style. Take a look at the analysis and sing through each part. Notice how each individual voice part moves mainly by stepwise motion.
Eb
b ˙ & b b 44 ˙
E b/G
Ab
B b/F
C-/G
F-
Bb
Eb
˙ ˙
˙˙
˙ ˙
˙ ˙
˙ ˙ ˙˙
˙˙
˙˙
ii
V
? b b 44 ˙˙ b I
I
˙˙
˙˙
˙˙
6
˙˙
6
IV
6
V4
vi 4
˙ ˙
˙ ˙
I
Analyze the chords with chord symbols above the staff and Roman numerals below. Sing through each exercise with a group if possible.
HELPFUL HINTS 1. Figure out the key signature and then write out all of the chords in that key (the first one is done for you). 2. Using extra staff paper, take the collection of pitches for each chord and make a snowman to figure out the name of the chord 3. Write the chord symbols first and then the Roman numerals. Once you know the names of the chords, it is much easier to figure out the corresponding Roman numeral.
G
A-
B-
C
D
www
E-
F # dim
www
G
I
ii
iii
IV
V
vi
vii
I
# & www # 4 & 4 œ˙ ˙ ? # 44 ˙
___
œ
www
www
www
˙˙
œ˙
___
___
˙ ˙
ww
œ
˙˙
www
˙w w w
___
œ
œ
www
o
w˙ . ww
___
œ
170
MUSIC FUNDAMENTALS FOR MUSICAL THEATRE
#
& ˙w ? # ww
˙
___
œ˙ ˙ ˙
œ
___
˙˙
œ w
___
___
˙ ˙
w w
œ œ ˙
œ œ ˙
wœ ww ___
Analyze the chords with chord symbols above the staff and Roman numerals below. Sing through each song with a group if possible.
Jeanine Tesori Brian Crawley
"On My Way" from Violet
# & # 44 œœ œœ œœ œœ .. œœ œœ œœ œ . œj œ Œ œ. œ œ Left my trou - bles all
be - hind
me.
## 4 & 4 œ œ œ œ . œ œ œ œ . œj œ Œ &
##
œ œ œ œ œ œ œœ
Back there when I climbed on
œ œ œ œ œ œ
œœ œœ œœ œœ .. œœ œœ œœ œœ œ œ œ ‰ œj œ œ œ œœ œœ œœ . œ œ œ œ œ J J Jor - dan Riv - er's where you'll find me. It's wide but not too wide to
# & # œ œ œ œ . œ œ œ œ . œj œ . œj œ œ œ œ œ œ
˙œ .. œ œ œ œ
board (climbed on
Œ
board)
œ. œ œ œ œ Œ Ó
˙œ . œ œ œ œ Œ
ford. (wide to
ford).
œ. œ œ œ œ Œ
*In the score for “On My Way,” the tenor and baritone parts are written in treble clef but sung one octave lower.
Review of Chapters 13–16 and Performance Tips (The Music Department) Triad Formulas Major triad: M3, m3 Minor triad: m3, M3
Augmented triad: M3, M3 Diminished triad: m3, m3
Remember to start with the root of the triad, then build a snowman, and then count the half steps to follow the formula for each triad.
D b major triad
& bw
root note
F minor triad
&w
root note
&
C diminished triad
w
root note
D augmented triad
&w
root note
b www
build a snowman
b b www
www
b www
build a snowman
www
b b www
www
# # www
build a snowman
build a snowman
m3 on top (3 half steps)
M3 on bottom (4 half steps)
M3 on top (4 half steps)
m3 on bottom (3 half steps)
m3 on top (3 half steps)
m3 on bottom (3 half steps)
M3 on top (4 half steps)
M3 on bottom (4 half steps) 171
172
MUSIC FUNDAMENTALS FOR MUSICAL THEATRE
Draw the indicated triad.
& & & &
A
G+
B-
L E
B b+
L D
F#
C-
L
Eb
F-
D b+
Ab
C#
B+
Gb
L
E b-
Label each triad.
& b ww bw & # www & b b www
b b www b b b www # www
www
# # www
# www
b b www
b b www
b b b www
REVIEW OF CHAPTERS 13–16 AND PERFORMANCE TIPS
173
Writing the I, vi, ii V, I progression in a major key.
## & # ? ###
1. Draw the key signature first.
A Major
&
###
? ###
w
w
## & # ww w
? # # # ww w &
###
A
www
? # # # ww w I
w
w www
www
F#-
www
www
vi
w
w
w
w
ww w
www
www
B-
www www
ii
www
E
www
www
V
w
w www
www
2. Draw the first, sixth, second, fifth, and first notes of the scale.
3. Draw a snowman on top of each note.
A
ww w
www
I
4. Label the chords using chord names above and Roman numerals below.
174
MUSIC FUNDAMENTALS FOR MUSICAL THEATRE
Draw a I, vi, ii, V, I progression in the key indicated. Label all chords with chord names and Roman numerals.
& ?
D b Major
& ? F Major
& ? E Major
& ? G Major
REVIEW OF CHAPTERS 13–16 AND PERFORMANCE TIPS
Inversions HELPFUL HINTS 1. The notes that make up the chord always stay the same. It is only the order of the notes that changes. 2. When naming chords that are in inversions, the chord name always comes first. 3. The first inversion chord has the third on the bottom. 4. The second inversion chord has the fifth on the bottom.
Eb
& b b www
root position
C-
& b ww w
root position
E b/G
b b www
w b b ww
1st inversion
2nd inversion
C-/E b
C-/G
w b ww
1st inversion
E b/B b
b ww w
2nd inversion
Draw the following chords in root position, first inversion, and second inversion. Label each chord.
& & & &
F augmented
A diminished
B major
E minor
175
176
MUSIC FUNDAMENTALS FOR MUSICAL THEATRE
Choral Analysis You will often see chords broken up into an SATB configuration for group numbers. The inversion is still based on the lowest note (in most cases that is the bass part).
F # /C #
## & # # # 44 ˙˙
B
˙˙
? # # # # 44 ˙˙ #
˙˙
6
I
V4
E/B
˙˙ ˙ ˙
6
IV 4
˙˙
B
˙˙ I
6/4 is used for 2nd inversion chords
G # -/B
E/B
F # /C #
˙˙
˙˙
˙˙
vi 6
ii
V4
˙ ˙
˙˙
˙˙
B
˙ ˙ ˙˙
6
I
6 is used for 1st inversion chords
HELPFUL HINTS 1. Re-draw the notes of each chord to build a snowman and then figure out the name of the chord. You can also draw all of the chords in the key on a piece of scrap paper—that way you know what your choices are. 2. Label the chord names first and then the Roman numerals. If you know the name of the chord and the bass note, it will be easier to assign the appropriate Roman numeral.
Label all of the chords with chord names and roman numerals. Sing through with a group if possible.
b & b b b 44 ˙˙
˙˙
˙ ? b b b 44 ˙ b b & b b b œ˙ ? b b b ˙˙ b
˙ ˙ œ
˙˙ ˙˙
˙˙ ˙˙ ˙˙ ˙ ˙
˙ ˙
˙˙
˙˙ ˙ ˙ ˙˙
˙˙
˙˙ ˙˙ ˙ ˙
˙˙ ˙ ˙ ˙˙
ww ww ww
ww
REVIEW OF CHAPTERS 13–16 AND PERFORMANCE TIPS
177
Performance Tips The Music Department Did you know that it takes an entire music team to put up a Broadway show? I am sure you have heard of the composer and the music director, but what about these other jobs? Composer: The composer writes the music. The composer creates the melody and harmony that all of the other musical work is based on. Music supervisor: The music supervisor is in charge of the Music department. The music supervisor works with the producer and director to put together the music team for the show and oversees all musical decisions (arrangements, orchestrations, casting, etc.). Music director: The music director teaches the music to the cast. They make musical decisions for phrasing, blend, breaths, articulation, cut-offs, and diction. Usually, the music director also rehearses the band and conducts performances of the show. In smaller productions, the duties of the music supervisor are also covered by the music director. Arranger: An arranger takes the composer’s work and arranges it to fit the show. This may mean a change in style, the addition of an introduction or ending, or making chord substitutions in the harmonic structure. The arranger also may compose counter melodies and arrange vocal parts to change a piece from a solo into a duet, trio, or group number. Orchestrator: The orchestrator takes the music from the arranger and decides which instruments are best suited to play each part. They choose the colors and combinations of instruments that will best suit each piece. Copyist: The copyist writes out the sheet music. They keep the music updated based on any changes that are made in rehearsals by the music supervisor and/or music director. Before the age of computers, they wrote out each part by hand. Now with computer notation software programs, making changes to the score (and all of the orchestra parts) is not as daunting as it once was, but it is still time consuming. Some shows will have a number of copyists working at one time to incorporate the changes as quickly as possible. Rehearsal pianist: The rehearsal pianist plays the piano (accompanies) during rehearsal. They have the responsibility of acting as an entire orchestra to support the cast during rehearsals.
178
17 Dominant Seventh Chords; V of V Chords; Suspended Chords; Song Analysis Seventh Chords A seventh chord goes beyond the triad by adding a fourth note to the chord. The added note is a third above the top note of the triad (the fifth of the chord). It is also a seventh from the root of the chord (hence the name seventh chord). The first type of seventh chord we will look at is the dominant seventh chord. The dominant seventh chord is built using a major triad as the base and adding a minor third to the top. This creates an outer interval of a minor seventh.
The distance from the 5th (G) to the 7th (B b) is a minor third.
& www
C - C Major triad
The distance from the root (C) to the 7th (B b) is a minor seventh
b www w
C7 - C dominant seventh chord
& # www
# wwww
& b ww bw
b bb wwww
D
Ab
D7
A b7
Seventh chords, like triads, are made up of thirds stacked on one another. It is helpful to draw the four notes on the staff first (the “snowman”) and then add the accidentals. Remember the dominant seventh is a major triad with a minor third on top. Starting from the bottom you have a M3, m3, and m3.
179
180
MUSIC FUNDAMENTALS FOR MUSICAL THEATRE
Draw the indicated dominant seventh chords.
& &
G7
B b7
A7
F #7
E b7
B7
D b7
E7
G b7
F7
You can find a dominant seventh chord in every major key. It is built on the fifth scale degree.
& w C:
&b w
V7
www w
C7
w
w
w
G7
w
w
w
www w
& E:
w
w
w
w
w
w
w
w
w
w
V7
F:
####
w
w
www w
B7
w
V7
Notice that you do not have to add any additional accidentals to the V7 chord. Draw the V7 chord in each key and label it with the chord symbol. Don’t forget to draw the key signature first. Remember that the root of the V7 chord is the fifth note of the major scale.
&
B b:
&
D:
V7
&
F #:
& V7
G:
V7
V7
DOMINANT SEVENTH CHORDS, V OF V CHORDS, AND SUSPENDED CHORDS
&
&
A b:
V7
B:
V7
&
&
D b:
V7
E:
181
V7
Seventh chords can be found in root position, first, second, or third inversion. Take a look at the G7 chord which is the V7 chord in C major.
G7
G7/B
6
V7
G7/F
www w
www w
& ww ww
www w
G7/D
4
V5
4
V3
V2
The inversions are the same in every key. Here is the E7 chord which is the V7 in A major.
# # # ww & ww
E7
wwww
E7/D
E7/B
6
V7
w www
wwww
E7/G#
4
V5
4
V3
V2
Draw the following seventh chords in first inversion and label them appropriately.
&
B7
F7
D b7
E7
C #7
Draw the following seventh chords in second inversion and label them appropriately.
&
G7
A b7
B b7
D7
F #7
Draw the following seventh chords in third inversion and label them appropriately.
&
E b7
C7
G b7
A7
B7
182
MUSIC FUNDAMENTALS FOR MUSICAL THEATRE
The V7 chord often replaces the V chord in chord progressions such as the I, IV, V, I and the I, vi, ii, V, I. It has a strong pull to the one chord with the addition of the seventh that moves to the third of the I chord.
& ww w
V6
www w
www
6
I
V5
When the V chord moves to I, both the 3rd and the 5th are leading to tonic
www I
When the V7 chord moves to I, both the 3rd and the 5th still lead to tonic. In addition, the seventh leads to the 3rd of the tonic chord creating a stronger pull to I.
Listen to the following two progressions. Can you hear the difference between the V chord and the V7? Example 17-1
C
F/C
I
& www
w ww
G/B
IV 4
w ww
C
V6
I
w ww
G7/B
C
6
w ww
Example 17-2
C
F/C
I
IV 4
& www
6
www w 6
V5
www I
Practice drawing the I, IV, V7, I progression in the keys indicated. Use smooth voice leading. Label the chords with both Roman numerals and chord symbols. Don’t forget to draw the key signature first!
&
E b:
&
G:
DOMINANT SEVENTH CHORDS, V OF V CHORDS, AND SUSPENDED CHORDS
183
&
B:
&
D b:
&
A:
Listen to the following two progressions. Can you hear the difference between the V chord and the V7? Example 17-3
D-
ii
w ww
C
vi 6
www
G/B
w ww
V6
I
C
A-/C
D-
G7/B
C
I
vi 6
ii
V5
C
A-/C
I
& www
www
Example 17-4
& ww w
w ww
www
www w 6
www I
Practice drawing the I, vi, ii, V7, I progression in the keys indicated. Use smooth voice leading. Label the chords with both Roman numerals and chord symbols. Don’t forget to draw the key signature first!
&
D:
&
F:
184
MUSIC FUNDAMENTALS FOR MUSICAL THEATRE
&
B b:
&
E:
&
A b:
Analyze each chord with chord names above and Roman numerals below. Sing through each part and then sing with a group if possible. Can you hear the difference between the major and minor chords and inversions?
# ˙ & # 44 ˙
# ˙ & # ˙
œ˙
? # # ˙˙
˙˙
# & # ˙ ˙
œ œ
? # # ˙˙
˙˙
˙˙
œœ
˙˙
˙˙
œœ
œ œ
œ œ
˙˙
˙˙
œœ
œœ
˙ ˙
œœ
œœ
œœ
œœ
ww
œœ
œœ
œœ
œœ
œ w
œœ
? # # 44 ˙˙
œœ
œ œ
œœ
œ œ
˙ ˙
œ œ œœ
˙˙ ˙˙
˙˙
˙˙
œœ
œœ
œœ
œœ
œ œ
œ œ
œœ
œœ
œœ
œ œ
œ œ
˙˙
˙ ˙
˙w
˙
˙˙
˙˙
ww
œ
˙
DOMINANT SEVENTH CHORDS, V OF V CHORDS, AND SUSPENDED CHORDS
# ˙ & # ˙
œœ
? # # ˙˙
˙˙
œœ
˙˙
˙˙ ˙˙
˙˙
œ œ
œœ
œœ
œœ
œœ
œœ
œœ
w w
œœ
ww
185
V of V Chords As we have learned, the V chord (dominant) serves the function of pulling us to I (tonic). In some cases you will find major triads or dominant seventh chords that are acting as the V (dominant) in a different key from the key you are in. The song is not modulating to a new key, but does offer some new colors and is often bringing the song around the circle of fifths (that again)! Eb
b ˙ & b b 44 ˙
F-
A b/E b
B b7/D
˙ ˙
C-
F7
Bb
Eb
? b b 44 ˙˙ b
˙˙
˙˙
˙ ˙
˙ ˙
˙ ˙
˙˙
I
ii
IV 4
˙ ˙
V
I
˙˙
˙˙
6
6
V5
˙ ˙
n ˙˙
V7/V
vi
˙ ˙
˙˙
Here the F7 chord is the dominant seventh chord in the key of B . Since B is the V chord in the key of E , we label it as a V7/ V (the V7 of the V). You will also find V and V7 chords that relate to other chords in the key. In the example below you will see a V7/ii as well as a V/V.
### 4 ˙ & 4 ˙
A
˙ ? # # # 44 ˙ I
D/A
A
E/G #
F #-
D
E
F #7
˙˙
˙˙
˙ ˙
˙ ˙
˙ ˙
˙˙
˙ ˙
˙ ˙
6
IV 4
˙˙
I
˙˙
V6
˙˙
vi
˙˙
IV
˙˙
V
# ˙˙
V7/ii
186
MUSIC FUNDAMENTALS FOR MUSICAL THEATRE
&
###
B-
C #-
E
˙˙
˙ ˙ ˙˙
˙ ˙
ii
V
iii 6
˙ ? ### ˙
˙˙
F #7
# ˙˙ ˙ ˙
B/D #
E7
˙ #˙
˙˙
V7/ii
˙˙
V/V
A
˙˙
ww
V7
I
ww
Song Analysis Analyze the chords and label them with chord names above and Roman numerals below. Listen to a recording and sing through each example. You have seen some of these excerpts before without the proper accompaniment and inversions. Although each song uses a similar chord progression, they each have a different style and feel. What information can you learn from the accompaniment (piano part) or the chords? Use the other song analysis tools we have discussed as well. Can you draw the phrase shapes and dissect the rhythms? In addition to the songs in this chapter, take a look at these options as well. “Now That I’ve Seen Her” from Miss Saigon. “I’ve Never Been in Love Before” from Guys and Dolls. “I Chose Right” from Baby. “Let’s Hear it For the Boy” from Footloose. "Santa Fe" from Newsies
b &b C Ó b &b C Ó ? bb C Ó
œ
œ ˙
San - ta
Fe,
œœ ww œœœœ œœ w
œ œ Jœ ˙ . J
‰œœœ˙ œ œ w
are you there?
www
‰ œœ˙ œ w
œ œ œ œ œ œ
Alan Menken Jack Feldman
œ ˙
Do you swear you won't for - get me?
˙˙ ˙
œœ œœ
œ˙ ˙ . ˙ ˙ ˙
˙
˙
w
œœ
If I
DOMINANT SEVENTH CHORDS, V OF V CHORDS, AND SUSPENDED CHORDS
b &b œ
found
b &b ˙ ˙ ? bb
˙
œ
œ
œ
œ
œ
you
would
you
let
me
œ˙
œ
œ
œ
come and
wœ ˙.
b˙
˙
˙
˙
Ó
˙ ˙
œ œ ˙Œ œ œ œ œ ˙˙
stay?
‰ œ œ ˙ œ w
˙
She swam by me,
˙ Jim Jacobs Warren Casey
"Summer Nights" from Grease
# 4 & # 4 Œ œ œ œ œŒ
187
œ œœ œ ˙
she got a cramp ..
Œ œ œ Œ œ œ He ran by me,
œ œ œ œ ˙
got my suit damp.
jj ## 4 œ œ ‰ ‰ ‰ œ œ ‰ ‰ ‰ Œ œ ‰ ‰ ‰ œ œ œ œ œ œ œ 4 & œœ œœ œœ œœ œœœ ‰ ‰ œœœ œœœ ‰ Œ œœœ œœ œœ œœ œœ œœ ? # # 44
‰‰œ œ ‰ ‰ œ œ Œ œ‰‰ œ œ
# & # Œ œ œ œ Œ Saved her life,
œ œ œ
œ ˙
she near - ly drowned.
‰‰œ œ ‰ ‰ œ œ Œ œ‰‰ œ œ Œ #œ œ
He showed off,
# & # ‰ œœœ œœœ ‰ ‰ œœœ œœœ ‰ ‰ œœœ ‰ # œœœ œœœ œ œ œ Œ # œœ œ ? ##
‰‰œ œ ‰ œ ‰ ‰ œ œ œ
œ œ œ nœ #œ œ.
œ Œ #œ œ œ œ œ Œ Œ œœ œ
j œ ˙
splash - ing a - round.
‰ # œœ ‰ œœ œ Œ œ œ œœ Œ œ ‰ œœ œ
188
MUSIC FUNDAMENTALS FOR MUSICAL THEATRE
# & # Œ # & # Œ
œ œ œ Œ
œ
Sum - mer sun,
? ## œ œ J
œœ œ
œ œ œ ‰ œ œ œ œ œ œ
some - thing's be - gun
Œ œœœ j œ œ.
œ œ œ œ
œœ œ j œ œ
then,
oh,
œ œ ‰ ‰ œœœ œœœ œ œ #œ œ œ œ œ
‰ ‰ œ œ
oh, those sum - mer nights.
œ
œœ œ œ œ
œœ œœ
œ œœ œ
œ œ œ œ
Suspended Chords Suspended chords are chords that substitute the second or the fourth for the third. Often the suspended chord resolves to a major or minor triad. Suspended chords create tension and allow for resolution. Observe the suspended chords below. Suspended chords are labeled with a sus2 or sus4 depending on the note that is used to create the suspension.
Csus2
Csus4
& www
In the Csus4 you have the root (C) and the fifth (G) but instead of the third (E), there is a fouth (F).
www
In the Csus2 you have the root (C) and the fifth (G) but instead of the third (E), there is a second (D).
Listen to example 17-5 to hear both sus4 and sus2 chords. Observe the suspended chords below as they resolve to the major triad.
Fsus4
& b ˙˙˙
F
˙˙ ˙
Fsus2
˙˙ ˙
F
˙˙ ˙
Listen to example 17-6 to hear a sus4 and a sus2 chord resolve to the major triad. *The fourth in a sus chord is a perfect fourth above the root of the chord. The second is a major second above the root of the chord.
DOMINANT SEVENTH CHORDS, V OF V CHORDS, AND SUSPENDED CHORDS
189
Practice drawing the following sus chords. The first one is done for you.
A bsus4
b b ww & b w
Bsus2
&
Gsus4
B bsus4
Dsus4
Esus4
E bsus2
F #sus2
Asus2
D bsus2
Continue the song analysis from earlier in the chapter. Pay special attention to the suspended chords in this example. How do they add to the mood? "Leavin's Not The Only Way To Go" from Big River
#### 4 Ó & 4 #### 4 & 4
Œ ‰ œ œ œ œ œ œ œœœ œ œ œ œ Peo - ple reach new un - der - stand - ings all
? #### 4 4 #### œ Œ & &
####
? ####
look
‰ œ œ œ
œ.
œ
œ Œ
Œ
œœ˙
œœ œ
œœ œœ œ œ
œ œ œœœ œœœ œ œœ œœ
œ.
œ œ
œ œ
œ
Œ
time
œœ œ
œœ œ
may - be change their mind
œœ œœ œœœ œ œ. œ
œœ œ
œœ œ
˙ ˙
∑
œœ œ
the
Roger Miller
w w
œœ œ
‰. œ œ œ œ œ R œœœ
they take a sec - ond
œœ œ
‰ œ œ œ œœ œ œ œ œ œ œœ œ Peo - ple reach new un - der - stand - ings ev - er - y
œœ
œ. œ œ
œœœ ˙ ˙
œ œœ œ
œ œœ œ œ œ œ œ œ ˙ ˙
190
MUSIC FUNDAMENTALS FOR MUSICAL THEATRE
#### œ œ Œ &
Œ
## & # # œœœ
œœ œ
day
? #### œ .
œœ œ
œ œ œ œ œ
Œ
Œ
tell me not to reach
œœ
˙
œœ œ
œœ œ
˙
œ œ œ œ œœœ Œ
Ó
Œ
Ó
Œ
Ó
I'll just go a - way.
œœ œ œœ œ œ ˙
œ œœ
œœ œ œ
18 Minor Key Signatures and Natural Minor Scales Minor Keys There are fifteen minor keys in Western music. Each minor key has a relative major key that shares the same key signature. The relationship between a minor key and its relative major is a minor third. The minor key is a minor third below the relative major key. See the circle of fifths below. The minor keys are found inside the circle adjacent to their relative major keys.
&
&b
b & b bb
Bb
Eb
G
a d
b &b
b &bb
F
C
&
#
e D
g
b
f#
c
Ab
&
# & #
c#
f
bbbb
b
D b/C #
## # & # ## #
b b/a #
d #/e b
F #/G b
## # & # ##
b & b bbbb
g #/a b
A
E
## & #
## & ##
B/C b
## & # ##
b & b bbbbb 191
192
MUSIC FUNDAMENTALS FOR MUSICAL THEATRE
Draw a treble clef and the following minor key signatures.
&
C # minor
B minor
G minor
Identify the following minor key signatures.
b & b bbb
b &bb
&
#
F minor
E minor
b & b bbbb
&b
Draw the following natural minor scales using a key signature. A natural minor scale uses the notes that are found in the key signature.
## & # w
F # minor
&
A minor
&
G # minor
&
E b minor
&
C minor
&
B minor
w
w
w
w
w
w
w
MINOR KEY SIGNATURES AND SCALES
193
Minor Scales vs. Major Scales As we discussed in Chapter 3, the formula for a major scale is WWHWWWH. The formula for a natural minor scale is WHWWHWW. See the examples below:
&w
w
w
bw
w
w
w
w
&w
w
bw
bw
w
bw
bw
w
&w
w
#w
w
w
w
#w
w
&w
w
w
w
w
bw
w
w
F Major
F minor
D major
D minor
These are called parallel minor scales. They use the same set of notes on the staff but the accidentals are different. To move from a major scale to a minor scale, you need to lower the third, sixth, and seventh scale degrees by a half step. Take a look at the following G major scale and its parallel minor—G minor.
&w
w
&w
w
G major
G minor
w B lowered to B b
bw
w w
w w
w
E lowered to E b
bw
#w
w
w
w
F # lowered to F
194
MUSIC FUNDAMENTALS FOR MUSICAL THEATRE
HELPFUL HINTS hen you are lowering a note, you don’t always need to add a flat ( ). If you are lowering a sharp note, you need to add a natural instead.
W
Draw the indicated major scale and the parallel minor.
&
B b major
&
B b minor
&
E major
&
E minor
&
A b major
&
A b minor
MINOR KEY SIGNATURES AND SCALES
195
&
C # Major
&
C # minor
Parallel Minor and Relative Minor A minor key/scale is the same no matter which way you think about it. The terms relative and parallel focus on the relationship of the minor key/scale to the major key/scale. Let’s look at a few examples.
&
##
B minor scale
w
w
w
w
w
w
w
D major is the relative major key because it shares the same key signature as B minor.
# & # w
w
w
w
w
w
w
w w
B major is the parallel major key because it shares the same tonic (B) and runs parallel to B minor on the staff (although the accidentals are different).
&
####
#
w
w
w
w
w
w
w
w
w
w
w
w
w
w
Or you can think about it starting with the major key:
A b major scale
b & b bb
w
w
w
w
F minor is the relative minor because it shares the same key signature.
b & b bb w
w
w
w
w
w
196
MUSIC FUNDAMENTALS FOR MUSICAL THEATRE
A minor is the parallel minor because it shares the same tonic (A ) and runs parallel to A major on the staff (although the accidentals are different).
b & b bbbbb
w
w
w
w
w
w
w
w
Relative keys share a key signature (much like relatives share some DNA). Parallel keys share tonic and run parallel to each other on the staff (like two trains running on the same track but making different stops).
Sight-Singing The solfege syllables for a minor scale are adjusted because of the lowered third, sixth, and seventh. The new syllables, Me, Le, and Te, should rhyme with may. Practice singing the C minor scale seen below and then try more minor scales. It may take a while to get this new sound in your head. Listen to Example 18-1 to hear a minor scale played on the piano.
bw
Fa
w
Sol
w
w
bw
& w
w
Re
bw
w
&w
bw
bw
Do
Do
Te
Me
Le
Sol
bw
Le
Fa
Me
w
Te
Do
w
w
Re
Do
Sing the following minor melodies using solfege and listen to the first four examples on the website. Example 18-2 1.
b & b b 44
œ
œ œ œ
œ
œ œ œ œ ˙
œ
œ
œœœ œ œ œ œ œ œ œ
Example 18-3 2.
b & b b 44 œ œ œ œ œ œ œ
Example 18-4 3.
## & # 44 œ œ œ œ œ œ
œœ œ œ œ œ œœœ
œ œ œœ œœ
œœœœœ œ œ œœœ œ œ œ œ œ œ œ
œ
œ œ œ œ œœœœœ œ œ œ œ œ œ
MINOR KEY SIGNATURES AND SCALES
197
Example 18-5 4.
## 4 & # 4 œ œ œ œ œ œ œœœ œ œ œœœ œ œ
5.
œ 4 & b 4 œœœœœœœ œœœ
6.
& b 44 œ œ œ œ œ œ
7.
8.
9.
10.
11.
12.
œ œ œ œ œ œœœ œ œ œ œ œœ œœ œ œ
œœœœœœœœœ œ œ œœœ œ œ
b & b b b b 44 œ œ œ œ œ œ œ b & b b b b 44
œ œ œ œ œœœœœ œ œ œ œœœœœ œ œ
œ
œœœ œ œ œ
œ
œ œ œ œ. œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œœœ
œœ œ œ œ œ œ œ œ œœœ œ œ œ œ œœ
œœœ œœ œ
# œ œ œ œ œ & # 44 œ œ œ œœœ œœœ œ
œ œ œ œ
## 4 œ & 4 œœœœ œ œ œ
œœ œœ œ œ œ œ
œ œ œœ œœ
#### 4 & 4
œ œ œ œ œ œ
œ œ œ œ œ œ
#### 4 & 4 œ œ œ.
œ œœœ œ œ œ œ
j œ œ œ œ œ œ œ
œ œ œ œ œ
œ œœœ œ œ œ œ œ œ œ œ œ
œ œ œ œ œ œ œ œ œ
œ œ œ
j j œ œ œ œ œ œ œ œ œ œ œ œ
198
MUSIC FUNDAMENTALS FOR MUSICAL THEATRE
13.
œœ œ b & b b b 44 œ œ œ œ œ . œ œ œ œ . œ œ .
14.
b & b b b 44 œ œ . œ œ . œ œ œ œ
15.
œ œ & 44 œ œ œ œ œ œ œ œ œ œ œ œ œ
œœ œœœ œ
œ œœœ œ œœ œ œ œ œ œ œ œ œ œ œ œœœ œ
œ œ œ œ œ œœœœ œœœ
œœœ œ œ
œœ œ œ œ œœœ œ
19 Harmonic Minor Scales and Melodic Minor Scales; Song Analysis
Minor Scales The minor scale that we looked at in Chapter 18 is called the natural minor scale (it occurs naturally in the minor key). When working in a minor key, you will also find a harmonic minor scale. The harmonic minor scale uses a raised seventh scale degree. The raised seventh scale degree changes the harmonic structure to give us a dominant V chord and a diminished vii° chord in the minor key which pull the listener to tonic.
b &bb w
w
C natural minor scale
&
bbb
w
w
w
w
w
w
w
C harmonic minor scale
# & #
B natural minor scale
&
##
w
w
B harmonic minor scale
&b w
w
D natural minor scale
w
w
w
w
w
w
w
w
7th raised a half step
nw
w
w
w
w
w
w
w
w
w
w
7th raised a half step
#w
w
w
w
w
w
w
w 199
200
MUSIC FUNDAMENTALS FOR MUSICAL THEATRE
&b w
w
w
w
w
w
#w
7th raised a half step
w
D harmonic minor scale
Listen to example 19-1 to hear a harmonic minor scale. NOTE: The raised seventh does not change the key signature. It only makes an adjustment to scale. Therefore, you may find both the natural minor scale and the harmonic minor scale in the same song. Draw the following harmonic minor scales and then sing them using solfege. The raised seventh is sung as “ti.”
&
F harmonic minor
&
B b harmonic minor
&
C # harmonic minor
&
G # harmonic minor
&
A harmonic minor
&
E b harmonic minor
HARMONIC AND MELODIC MINOR SCALES
201
&
F # harmonic minor
&
G harmonic minor
Sight-Singing Sing the following melodies using solfege.
œ œœœ œ œ œ
1.
& 44 œ œ œ œ œ œ œ
2.
b & b 44 œ # œ œ œ œ œ œ œ
3.
b j œ & b b b 44 œ œ œ œ œ œ œ œ œ œ œ . œ n œ œ œ œ
4.
# 4 & 4 œ #œ œ œ œ œ œ
5.
6.
#### 4 ˙ & # 4
œœ œœœœœ œœœœœ œ œ œ
& b 44 œ œ œ œ œ œ
jœ œ œ œ œ œ œ œ œ œ œ œ #œ œ J œ œ œ œ. œ œ œ œ œ nœ œ Œ J
œ œ ‰ œj œ œ œ œ œ œ œ œ œ #œ
œ œ œ œ œ œœœ œ œ œ œ œ œœœ œ œ œ œ
œ œ œ œ œ #œ œ œ
œœœœœ
œ œ œ œ #œ œ œ œ œ
œ ‹œ œ œ œ œ œ œ œ ‹œ œ œ Œ
œœ œœ œ œœ œœ œ #œ œ œ œœ œœœ œ
202
MUSIC FUNDAMENTALS FOR MUSICAL THEATRE
7.
# & # 44 œ œ œ œ œ œ œ œ
8.
b œœ œœ œ œ œœ & b b 44 œ œ œ œ œ œ œ œ œ n œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ nœ œ
œœœ œ œ œ œ œ œ #œ œ œ œ œ œ #œ œ
œ œ œœœ
The third type of minor scale is a melodic minor scale. In this scale, the sixth and seventh scale degrees are raised a half step when the scale is ascending. They are lowered back to their original pitch when the scale is descending. Listen to example 19-2 to hear a melodic minor scale.
b &bb w
w
w
w
C natural minor scale
&
bbb
# & #
raised 6th and 7th
w
w
w
w nw nw
w
w
w
w
w
w
w
w
w
w #w #w
B natural minor scale
B melodic minor scale
&b w &b w
w
w
w
w
w
w
w
w
w
w
w
w nw #w
D natural minor scale
D melodic minor scale
w
w
w
w
C melodic minor scale
# & #
w
w
w
w
lowered 6th and 7th
w
w
w
w
w bw bw
w
w
w
w
w
w
w
w
w
w
w
w
w nw nw
w
w
w
w
w
w
w
w
w
w
w
w
w
w
w nw bw
w
w
w
w
w
n
HARMONIC AND MELODIC MINOR SCALES
203
When drawing a melodic minor scale, you must always draw it ascending and descending. Draw the following melodic minor scales and then sing them using solfege. The raised sixth and seventh are sung as “la” and “ti” respectively.
&
E melodic minor
&
A b melodic minor
& G melodic minor
&
C # melodic minor
&
F melodic minor
&
B b melodic minor
&
D # melodic minor
204
MUSIC FUNDAMENTALS FOR MUSICAL THEATRE
&
F # melodic minor
Sight-Singing Sing the following melodies using solfege.
œ œœœ
nœ nœ œ
1.
bb 4 & b b bb 4 œ œ œ œ œ œ
2.
### 4 j œ œ œ . œ œ . œ #œ œ œ œ œ œ & 4 œ J
3.
b œ œœœ œœœ œ œ & b 44 œ œ œ œ œ . œJ # œ œ œ œ œ œ œ œ œ œ œ œ œ nœ #œ œ œ œ
4.
# & 43 œj œ
5.
# ## 3 & # 4 œœœ œ œ œ
6.
b 4 & b b 4 œ œœœ œ œ
7.
## 4 & 4 jœ jœ œ œ œ
œ
j œ œ
œœœ‰ œ œ œ œœœ
œ J œ
j œ œ
œ œ œ œ œ
œ œ œœœ œ
#œ #œ œ œ
j œ œ
œœœ œœœ
œ œ œ
j œ #œ
œ œ. œ œ. ˙
j œ #œ
œ œœœ œ œ œ
j #œ œ
œ œ œ #œ œ
œ œœœ œ ˙
nœ nœ œ œœœ
œ œ œ œ œ œ nœ nœ œ
œ œ œ œ œ
j j œ œ œ œ œ
j # œ # œj ‰ œ œ œ J
HARMONIC AND MELODIC MINOR SCALES
8.
& b 43 œ . œ œ œ œ
205
œ œ œ œ œœœ
œ. œ œ œ #œ
œ
#œ ˙
Song Analysis Listen to a recording of the following songs and then sing through each melody. What minor scale do you hear? Why do you think the song was written in a minor key? Does it stay minor the whole time? Does the key and/or key change support the lyrics and the emotional arc of the song?
Bill Russell Henry Krieger
"The Devil You Know" from Sideshow
b j & b b 44 œJ œ Jœ œ œ œ œ ‰ œj œ œ œ œ œ . We don't work in the best
of sit - u - a
- tions.
b j & b b œJ œ Jœ Jœ œ œ œ œ œ œ œj œ . We don't live
in the neigh - bor - hood of heav - en.
œ œ œ œ œ œ œ œ Œ Ó J J
We don't live
ver - y well.
j j j œ œ œ œ œ.
We live some - where
nœ œ œ œ œ Œ clos - er to hell.
See the raised "ti?" This uses the harmonic scale.
"Pulled" from The Addams Family
& b 44 œ œ œ œ œ œ œ œ œ œ Œ Ó I don't have a sun - ny dis - po - si - tion.
&b œ œ œ œ œ œ œ œ My
de - mean - or's locked in
one
œ œ œ œ œ œ œ œ œ Œ Ó
I'm not known for be - ing too a - mused.
œœŒ Œ œ œ œ Œ Œ œ œ œ Œ Ó
po - si - tion.
&b œ œ œ œ œ œ œ œ œ œŒ Ó Sud - den - ly, how - ev - er, I've been puzz - led.
& b #œ œ œ œ œ œ nœ œ
Andrew Lippa
See my face?
I'm en - thused.
#œ œ œ œ œ œ œ œ œ Œ Ó Bun - ny rab - bits make me want to
œ œ Œ Œ œ œ nœ Œ Œ œ œ
All my in - hi - bi - tions have been muzz - led
and I
think
cry.
˙
I know why.
Ó
206
MUSIC FUNDAMENTALS FOR MUSICAL THEATRE
Why is there an f# in the “bunny rabbits” measure? What is changing in Wednesday’s world that may be the reason for the added accidentals in the last 5 measures of this excerpt? Continue listening to the song? What key do we move to for the chorus immediately after this excerpt? Why?
"Far From the Home I Love" from Fiddler On The Roof
b &bb C œ
How
b &bb œ
œ œ œ œ œ œ
can
I
œ œ ˙
hope to make you
I must trav - el to
a
œ
dis - tant land
Far
&œ
œ œ œ œ œ œ
œ
&œ
œ œ œ œ œ œ
œ œ ˙
Once
Close
I
to
was hap - pi - ly
cont - ent
the peo - ple who are
close
œ œ ˙
un - der - stand
œ œ œ œ œ œ œ ˙ œ
Why
Jerry Bock Sheldon Harnick
œ
to
to
˙
be
me
Why
I
œ œ œ
from the home
œ
As
œ
Here
œ I
œ œ ˙
do
what
œ
nnn
love?
œ
was,
in the home
do,
Ó
˙
I
˙
œ œ œ
I
where
œ I
œ I
˙.
˙
was,
Œ
love.
“Far from the Home I Love” also shifts from a minor key into a major key. In this example, we are moving from C minor to C major and the key signature is adjusted for the different phrases. In this excerpt, the minor section is asking difficult questions while the major section is reminiscing about a place that she loves. Listen to the rest of the song. Does she end in major or minor? How does this impact the decision she has to make? Additional songs to study: “No One Mourns the Wicked” from Wicked. You can hear the switch from minor to major when Glinda comes in with “And Goodness Knows.” How does this help shift the mood? “Pulled” from The Addams Family. Listen for the shift from major to minor when she goes into “I’m being pulled in a new . . .” What does this change tell us about Wednesday’s point of view at this moment? “Soliloquy” from Carousel. This piece shifts from minor to major as Billy contemplates what it will be like to have a child. What sections are in a minor key? Major key? How does this help the actor and the audience follow his journey? Also, listen to the changes in rhythm and accompaniment for further insight into Billy’s emotional arc through the song.
HARMONIC AND MELODIC MINOR SCALES
Listening Listen to each scale played in example 19-3. Determine the type of minor scale that you hear. 1. harmonic minor 2. natural minor 3. melodic minor 4. 5. 6. 7. 8. 9. 10. 11. 12. 13. 14. 15. Listen to example 19-4 and write the minor melody that you hear.
& 44
Listen to example 19-5 and write the minor melody that you hear.
b & b b b 44
#### 3 & # 4
Listen to example 19-6 and write the minor melody that you hear.
Listen to example 19-7 and write the minor melody that you hear.
b & b b b b 43
207
208
20 Minor Chord Progressions; Song Analysis
In each minor key you will find three minor triads. These triads are built on the first, fourth, and fifth notes of the natural minor scale. Similar to our work in the major keys, you do not need to add any accidentals to the chords since they already appear in the key signature. See below where the chords are labeled with Roman numerals and chord names.
&
bbb
Cm:
&
##
Bm:
C-
www i
w
w
B-
www
w
i
b & b b b www
F-
i
Fm:
w
w w
www
F-
www
w
w
w
www
w
w
w
www
w
w
w
G-
iv
v
E-
F #-
iv
v
www
B b-
C-
iv
v
www
If you use the harmonic minor scale, the minor v chord becomes a major V chord when you raise the seventh scale degree. Since we are not changing the key signature, you must use an accidental to make the adjustment.
&
bbb
&
##
Cm:
Bm:
C-
www i
w
B-
www i
w
w w
www
n www
E-
F#
F-
iv
www
iv
G
V
# www V
w
w
w
w
w
w 209
210
MUSIC FUNDAMENTALS FOR MUSICAL THEATRE
bb & b b www
F-
Fm:
i
w
w
B b-
n www
iv
V
ww w
C
w
w
w
For each example, draw the correct key signature and the i, iv, and v chords using the natural minor scale. Label each chord with the chord name and Roman numeral.
&
&
&
&
&
&
Dm:
B bm:
Am:
Em:
F #m:
Gm:
For each example, draw the correct key signature and the i, iv, and V chords using the harmonic minor scale. Label each chord with the chord name and Roman numeral.
&
&
&
&
C #m:
Fm:
&
Bm:
E bm:
A bm:
&
D #m:
MINOR CHORD PROGRESSIONS
211
As we found with major keys, you can draw a triad on each scale degree to find chords of different qualities. When using the natural minor scale, the chord qualities are i, ii˚, III, iv, v, VI, VII, i.
&
bbb
&
##
C-
F-
G-
Ab
Bb
C-
III
iv
v
VI
VII
i
www
G
A
www
B-
VI
VII
i F-
i
ii˚
www
B-
C #˚
D
i
ii˚
Cm:
Bm:
Eb
www
www
www
F-
b & b b b www Fm:
i
ww w
D˚
w ww
G˚
www
ii˚
www
III Ab
www
www
E-
www
iv
www
F #-
www v
www
ww w
B b-
C-
Db
Eb
iv
v
VI
VII
www
III
www
www
www
www
ww w
i
When using the harmonic minor scale, the chord qualities are i, ii˚, III+, iv, V, VI, vii˚, i. Remember that songs in minor keys may use more than one type of minor scale.
&
bbb
Cm:
&
##
Bm:
i
Fm:
B˚
www
wwwC-
www
iv
V
VI
#vii˚
C #˚
D+
E-
F#
G
A #˚
V
VI
#vii˚
C
Db
E˚
F-
#vii˚
i
w ww
ii˚
F-
G˚
i
ii˚
bb & b b www
Ab
www
ii˚
www
G
n www
i
B-
F-
www
D˚
ww w
E b+
www
C-
www
III+
# www
III+
www
iv
A b+
B b-
III+
iv
n www
www
www
www V
www www VI
www
www
i
www
B-
i
www
212
MUSIC FUNDAMENTALS FOR MUSICAL THEATRE
Song Analysis For the following songs, analyze the chords and label them with chord names above and Roman numerals below. Listen to a recording and sing through each example. Although each song uses a similar chord progression, they each have a different style and feel. What does the style of the accompaniment tell you about the character? Try listening only to the accompaniment. Do you feel the tempo/time changes? Can you hear the character’s journey through the music? "Man of La Mancha" from Man of La Mancha
& b 43 Œ Œ œ œ œ .
And a knight
& b 43 ? b 43
j œ œ œ
hurls
down
his
&b œ œœœ œ œ œ œœ œœ œœ œœ œœ œœ œœ b œ
Œ
with
his
œ œ
ban - ners
all
œ. brave
œ œ J œ ˙
-
ly
un - furled
œ
Now
œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœ œœ œœ œœ œœ œœ œœ œœœœœ œœ œœœœœœœ œœœœœœœ p œ Œ œ œ Œ œ œ Œ œ œ Œ œ
∑
& b œ.
?
j œ œœ œ
Mitch Leigh Joe Darion
œ
œ
œ
œ
gaunt - let
to
#˙. thee!
œ Œ Œ Œ Œ œœœ # œœœ œ œ. ß ‰ œj œ œ Œ Œ œ.
œœœ œœœ œœœ œœœ œœœ œœœ œœœ # œœœœ œœœœ œœœœ œœœœ œ
Œ
œ
œ
œœœ œ
œœœ œ
MINOR CHORD PROGRESSIONS
213
Frank Wildhorn Jack Murphy
"I Will Prevail" from Wonderland:A New Alice
## & # 44 Œ
Half time feel
Œ
œ ˙
# # # 4 œœœ œ œœœ œ œ & 4 œ I
? ### 4 4 ˙ ˙ &
###
Ó
œ
œ œ
œ œ. œ œ œ œ J œ 3
# # # œœœ œ œœœ œ œ œ & ˙ ˙
œœœ
sur - vive
œ œ œ ˙ œ ˙
I am the
? ###
œœœ
will
˙ ˙
œœ œ œ
œ œ œ
the
œœ œ Œ
œ
˙ ˙
œ œ
œ œ œ œ
w
œœœ œ Œ
made
œœ œ œ
>œœ œ
œ œ œ
˙ ˙
œ œ œ œ œ > > >œ
life
we
Œ
w
œœœ œ œœ œ œ œœ œœ œœ œœ œœ œ œœ œ œ œ œ œ
rea - son that you
˙ ˙
Œ
˙
œ
fail
œ
>œœ œ 3 3
œ #œ
w
I will pre - vail.
j‰ Œ Ó œ # œœ œ j œ œ œ œ ‰Œ Ó œ œ œ œ œ œ
ww w w
When using a melodic minor scale, the chord qualities are i, ii, III+, IV, V, vi˚, vii˚, i.
G-
b & b www Gm: i
A-
n www ii
B b+
C
www
D
www
E˚
F #˚
III+
IV
V
vi˚
#vii˚
# www
www
www
ww w
G-
i
>œœ œ
214
MUSIC FUNDAMENTALS FOR MUSICAL THEATRE
Lynn Ahrens Stephen Flaherty
"Your Daddy's Son" from Ragtime
b & b 44
œ
œ œ œ œ œ
œ œ œ œ ˙
Dad - dy played pi - a - no,
˙ b 4 ˙˙ b & 4
˙ ˙
b 4 &b 4 ˙ ˙
#˙ ˙
b &b œ œ œ œ œ œ # œœ
catch you like a spell.
&
˙ bb ˙
b & b ˙˙
˙˙
b &b œ œ œ
œ
w bb ww &
You have your
b & b ww
Œ œœ œ
˙˙ ˙
œœ œœ
˙ ˙
n ˙˙˙
played it ve - ry well,
œ
‰
j œ œ œ ˙
Dad - dy's
˙
Œ
˙.
œ
hands.
Œ
?
him
œ œ. J ˙
‰
j # œ œœ œ œ œ
‰ œj ˙ . w
˙ ˙ ˙ ˙˙
œ
œ ˙
œ
could
œ
˙ ˙ œ œ œ œ ˙
j œ œ œ
You are your
œ œ œ
œ
˙ ˙
He could make you love
˙ œ.
œ˙
œ
Mu - sic from those hands
œœ œ
œ œ œ
œ œ
œ œ œ
œ œ
˙ # œœ
‰
j œ œ
˙ n ˙˙
œ
œ
'fore the tune was done.
˙
Dad - dy's
˙ ˙˙ ˙
œœ
w son.
˙˙
ww
Ó
MINOR CHORD PROGRESSIONS
215
Write a melody to go with the following chord progressions. Label the chords with chord names above and Roman numerals below. Sing the melody using solfege while playing the chords.
# & 44
? # 4 www 4 &
ww w
˙˙ ˙˙
www
# ˙˙˙˙
#
? # www w
b & b b b 44
? b b 4 ˙˙˙ bb 4
˙ n ˙˙
b & b bb
? b b b ˙˙˙ b
˙˙˙
œœœ
˙˙˙
www
˙˙ ˙
˙˙ ˙
n ˙˙˙
˙˙˙
˙˙ ˙
˙ n ˙˙
œ # œœ
n ˙˙˙
˙˙˙˙
www
n ˙˙˙
˙˙ ˙
www
216
Review of Chapters 17–20 and Performance Tips (Song Form) Dominant Seventh Chords These are built with a major triad on the bottom and a minor third on top of that. Remember to build your snowman first and then work on the intervals.
& # www & ww bw
E major triad
B b major triad
# wwww
# wwww
E7
Add a third above
w b www
Make sure it is a minor third and add accidentals if neccessary.
B b7
b www bw
Add a third above
Make sure it is a minor third and add accidentals if neccessary
Draw the indicated dominant seventh chords.
& &
A7
C7
B7
F#7
D b7
G7
E b7
C#7
217
218
MUSIC FUNDAMENTALS FOR MUSICAL THEATRE
You can also build a dominant seventh chord in a major key. The dominant seventh chord is built on the fifth note of the scale.
&b
www w
F Major:
E b7
bbbb
C7
www w
A b Major: V7
V7
Remember when you are working in a major key you don’t have to add any accidentals to the V7 chord. The key signature takes care of it for you. Draw the indicated key signature and then a I, IV, V7, I progression in that key. Label the chords with chord names above and Roman numerals below.
&
&
E b:
G:
&
& C b:
B:
&
&
D:
A:
Inversions of Dominant Seventh Chords
&
bbbb
A b7
b www w b
D:
V7
root position
A b7/C
A b7/E b
6
V3
wwww
V5
1st inversion
www w 4
2nd inversion
A b7/G b
w www
4
V2
3rd inversion
REMEMBER: The notes in the chord stay the same in an inversion—only the order is changed.
REVIEW OF CHAPTERS 17–20 AND PERFORMANCE TIPS
219
Draw the key signature and then the V7 chord in root position, first, second, and third inversions. Label all of the chords with chord names on top and Roman numerals on the bottom.
&
B b:
&
E:
&
G b:
&
F:
&
C#:
HELPFUL HINTS 1. The name of the chord comes first (with the 7) before the slash and the bass note to show inversion. 2. You may want to make a snowman out of the notes to help determine the name of the chord. 3. Remember, you are looking at all of the notes in both the treble clef and bass clef.
220
MUSIC FUNDAMENTALS FOR MUSICAL THEATRE
Choral Analysis with Dominant Seventh Chords Label all chords with chord names on top and Roman numerals on the bottom.
b & b b 44 ˙˙ ? b b 44 ˙˙ b b & b b œw ? b b ww b
˙ ˙
˙˙
˙˙
˙
˙˙
˙˙
˙˙
œ
˙ ˙
˙˙
˙˙
˙˙
˙˙ ˙˙
˙˙ ww
œ˙
œ
˙ ˙
œ˙
œ
ww ww
w w ww
Minor Key Signatures Draw a complete circle of fifths with major keys on the outside and minor keys on the inside.
REVIEW OF CHAPTERS 17–20 AND PERFORMANCE TIPS
221
Draw a treble clef and the indicated minor key signature.
G minor
D minor
F # minor
C minor
A b minor
E minor
B minor
G # minor
Minor Scales HELPFUL HINTS 1. Always start by drawing the minor key signature. 2. Next, draw the eight note scale starting on “do” in that key. 3. If it a natural minor scale, you are finished. 4. If it is a harmonic minor scale, raise the seventh. That may mean adding a sharp or a natural depending on the original note. 5. If it is a melodic minor scale, don’t forget to draw the scale descending as well as ascending. You need to raise the sixth and the seventh on the way up and lower them back to their original pitches on the way down.
Draw the indicated minor scale.
&
A harmonic minor
&
B b melodic minor
222
MUSIC FUNDAMENTALS FOR MUSICAL THEATRE
& E natural minor
& G melodic minor
&
F natural minor
&
C # harmonic minor
Choral Analysis in a Minor Key Analyze the chords in the exercises below. Use both chord names and Roman numerals. Sing each example with a group if possible.
#### 4 œ . & # 4 œ. œ. ? #### 4 œ . # 4
&
####
# œ. œ.
? # # # # ˙˙ #
j œœ œœ
œœ
œœ
j œœ œœ œœ œœ œœ œœ
œœ
œœ œœ J
˙˙
œœ œœ
œ œ
ww
œœ
˙˙ ˙˙ ˙˙
œœ . .
j œœ œœ
œœ ..
œ œ œ J œ
œœ
ww
œœ ..
j œœ œœ ‹ œœ
w w
˙˙
‹ ˙˙
œ œ
ww
ww
REVIEW OF CHAPTERS 17–20 AND PERFORMANCE TIPS
b 4 & b b 4 ˙˙ ? b b 44 ˙˙ b b & b b œ˙ .
2
˙ ? bb ˙ b
2
˙˙ ˙˙ j œ ˙˙ ˙˙
œœ
œœ
˙˙
œ˙
œ
˙˙
œœ
œ œ
œœ
œœ
˙˙
˙˙
œœ .. œœ . .
223
j œœ œœ œœ œœ
˙˙
œœ œœ œœ œœ J
˙˙
˙œ œ œ œ œœ n œœ ˙˙
œœ
˙˙
œœ
˙˙ w w ww
Performance Tips Song Form Most songs are divided into sections musically and lyrically. Usually you will find a verse and a chorus. In general, the lyrics for the verse change each time the verse appears while the lyrics for the chorus tend to stay the same or similar. Some songs may also have a bridge and/or a coda section. A verse or chorus is usually eight to sixteen bars long. Take a listen/look at “Sit Down You’re Rockin’ the Boat” from the original Guys and Dolls. It starts with an eight-bar verse (“I dreamed last night . . .”) and then goes into the chorus at “For the people all said . . .” This is a nineteen-bar chorus (sixteen bars of vocals and three bars of transition). After the transition, we are back to another verse with new lyrics and then a second chorus. The second chorus is sixteen bars long (no transition) and has slightly modified lyrics (“people all said beware . . .”). Next, you hear a third verse with new lyrics and then a final chorus where the lyrics are in the first person (“I said to myself . . .”). At the end of the third chorus, we go into a six-bar bridge section. This section has repetitive lyrics and a slightly different feel than anything we have heard so far, with syncopation in the vocals and a pedal tone (held note) in the orchestra. After the bridge, we end with an eight-bar coda. The coda is an extension of the lyrics and musical ideas of the chorus but it builds to a climactic ending. Notice that each verse is in 4/4 time. The chorus, bridge, and coda are in cut-time. Overall song form: Verse 1, Chorus, Verse 2, Chorus, Verse 3, Chorus, Bridge, Coda Now take a look and listen to “Home” from Beauty and The Beast. Here we start with a sixteen-bar verse which feels like an introduction to the song. The chorus begins with “It this home?” and lasts for twenty
224
MUSIC FUNDAMENTALS FOR MUSICAL THEATRE
bars. Next we move into a bridge beginning at “What I’d give” (notice we begin this section on an a minor chord, the vi chord in C, and it briefly feels like we have moved into the relative minor). At the end of the nine-bar bridge we modulate to D major for the second chorus. At the end of the twenty-bar chorus we have a short six-bar coda starting with “My heart’s far . . .” Overall song form: Verse, Chorus, Bridge, Chorus, Coda Look at songs that you are working on. What is the song form? Is there more than one verse? How are they different? Does the chorus change each time or stay the same? Is there a bridge or coda? Why have the writers broken up the song in this way? How can this help you understand your character’s journey? Does your song have a key change? How does it affect the mood of your song?
21 Major, Minor, Half-Diminished, and Diminished Seventh Chords In addition to dominant seventh chords, you will also find major, minor, diminished, and half-diminished seventh chords. Each seventh chord is built by stacking major and/or minor thirds in a specific pattern.
Major Seventh Chords A major seventh chord is built using a major triad as the base and adding a major third on the top. This creates an outer interval of a major seventh. *REMINDER: A major triad is made up of a major third on the bottom and a minor third on the top.
&
minor third
major third
& # www E
& ww bw Bb
www
C C Major triad
The distance from the root to the top note is a major seventh.
# # wwww
EM7
www w
The distance from G to B is a major third.
CM7 C Major seven
Notice you need to use the "M" to identify a major seventh chord.
www bw
B bM7
Listen to example 21-1 and you will hear Major 7th chords.
225
226
MUSIC FUNDAMENTALS FOR MUSICAL THEATRE
Seventh chords are made up of thirds stacked on top of one another. It is helpful to draw the four notes on the staff first (the “snowman”) and then add the accidentals. The pattern for the Major seventh chord is M3, m3, M3 (bottom to top). Draw the indicated major seventh chords.
& &
A bM7
GM7
DM7
E bM7
F #M7
D bM7
FM7
AM7
BM7
G bM7
Minor Seventh Chords A minor seventh chord is built using a minor triad as the base and adding a minor third on the top. This creates an outer interval of a minor seventh. *REMINDER: A minor triad is made up of a minor third on the bottom and a major third on the top.
major third
&
minor third
b www
C- or Cm C minor triad
The distance from the root to the top note is a minor seventh.
& b b b www
b b bb wwww
& # # www
w # # www
D b-
F #-
D b-7
b b wwww
The distance from G to B b is a minor third.
C-7 or Cm7 C minor seven
Notice that you can use "m" or "-" to identify a minor seventh chord.
F #- 7
Listen to example 21-2 and you will hear Minor 7th chords. The pattern for the minor seventh chord is m3, M3, m3 (bottom to top).
SEVENTH CHORDS
227
Draw the indicated minor seventh chords.
& &
A-7
B b7
F-7
G-7
A b-7
B-7
E-7
G b-7
Identify the following major and minor seventh chords.
& # # wwww
# www w
& # www # w
ww b b ww
D-7
b bb wwww
w b b www
E b-7
ww ww
www w
www w
# wwww
Half-Diminished Seventh Chords A half-diminished seventh chord is built using a diminished triad as the base and adding a major third on the top. This creates an outer interval of a minor seventh. *REMINDER: A diminished triad is made up of a minor third on the bottom and a minor third on the top.
minor third
&
minor third
&
b b www
C° C diminished triad
The distance from the root to the top note is a minor seventh.
b wwww
b www
A ø7
A°
& b b ∫ www
E b°
b ∫ bb wwww
E bø7
b b b wwww
The distance from G b to B b is a major third
Cø7 C half-diminished seventh
Notice that you use a circle with a slash through it to identify a half-diminshed seventh chord.
228
MUSIC FUNDAMENTALS FOR MUSICAL THEATRE
Listen to example 21-3 and you will hear half-diminished seventh chords. The pattern for the half-diminished seventh chord is m3, m3, M3 (bottom to top). Draw the indicated half-diminished seventh chords.
& &
Bø7
F ø7
Eø7
D bø7
G bø7
A b ø7
C #ø7
Dø7
Gø7
B b ø7
ww # ww
b ww b ww
bw b b b www
b wwww
Identify the following major, minor, and half-diminished seventh chords.
b b wwww
& # # wwww
&
# # wwww
b b wwww
bw b www
www w
Diminished Seventh Chords A diminished seventh chord is built using a diminished triad as the base and adding a minor third on the top. This creates an outer interval of a diminished seventh. *REMINDER: A diminished triad is made up of a minor third on the bottom and a minor third on the top.
&
minor third
minor third
& ww w
B°
b b www
C° C diminished triad
The distance from the root to the top note is a diminished seventh.
b www w
B°7
b b ∫ wwww
The distance from G b to B bb is a minor third.
C°7 C diminished seventh
SEVENTH CHORDS
229
b b www w
& b www
E°7
E°
Listen to example 21-4 and you will hear diminished seventh chords. The pattern for the diminished seventh chord is m3, m3, m3 (bottom to top). Draw the indicated diminished seventh chords.
& &
E b°7
F°7
A°7
B b°7
C #°7
D°7
G7
F #° 7
A b°7
D b°7
Identify the following major, minor, half-diminished, and diminished seventh chords.
bw & b b www
www &w
www w
ww ww
b ∫ ∫b wwww
b b wwww
# # # wwww
b wwww
# www #w b b wwww
230
MUSIC FUNDAMENTALS FOR MUSICAL THEATRE
Use the following chart to review all five types of seventh chords.
Chord Type
Chord Symbol
triad quality
seventh quality
M7
Major
Major
M3, m3, M3
7
Major
Minor
M3, m3, m3
Minor
Minor
m3, M3, m3
Major 7th Dominant 7th
m7 or -7
Minor 7th
quality of thirds
Half-Diminished 7th
ø7
diminished
Minor
m3, m3, M3
Diminished 7th
°7
diminished
diminished
m3, m3, m3
Draw the indicated seventh chords.
& & &
E7
B bM7
Gø7
D b-7
A b7
C #ø7
Identify the following seventh chords.
& b b wwww
b b wwww
& # wwww
ww ww
# www & w
b ∫ bb wwww
A°7
# # ## wwww
F-7
C°7
B7
G bM7
E b°7
F #-7
DM7
Eø7
www w b ∫ bb wwww
b b ∫ wwww w # # www
# # wwww
b b bb wwww # # wwww b b wwww
SEVENTH CHORDS
231
Analyze the chords in “I Got Rhythm.” Examine the use of different types of seventh chords. "I Got Rhythm" from Crazy For You
b & b b C Œ œ œJ œ . I
œ.
got
star
b b C Œ œ œj œ . b & œœ œœ œœ .. > >
>œœ .. œ.
? bb C œ Œ œ Œ b œ b &bb Œ b &bb Œ ? bb œ b &
I
œ œ. J
œœœ >
œœ .. œ. >
œ
j œœœ
Œ
bb b ˙ .
> bb b n ˙œœ . & ? bb
more,
˙ b ˙
œœ
œ Œ œ
Œ ˙
Œ
>œœ œœ œ œ œ œ J
> > Œ œœœœ œœœœ b n œœœœ .... J
light
œ.
got
œ
-
œ ˙ J
œ Œ
man
>œœ œ J
>œœ .. œ.
Œ
Œ
I
œœ œ J
œ
Who could
ask
. œœ œ œ œ
œ . œœ œ
for
Œ
œ.
got
œ œ Œ
œ
>œ b œœ
Who
sweet
œ
œ J
could
œ J
j œœœ œœœ œ œ >
for
an - y - thing
ask
œœ. œ
œœ. œ
˙.
an - y - thing
more?
œ
. œ. œ. œœœ œ
b˙ b˙
œ œ œ
œ
dreams,
œœ .. œ. >
˙ ˙
. . . œœ œ œœ œ œ
œ ˙ J
œ Œ œ Œ œ œ œ œ œ
Œ
Œ
œ
œ nœ
. . œ œ œ
œ œ. J
œ œ œ J J
my
œ œ
œ
George and Ira Gershwin
˙˙ ˙ ˙
>œ œœ œœ
Œ Œ Œ
232
MUSIC FUNDAMENTALS FOR MUSICAL THEATRE
Listening Listen to example 21-5 and identify each seventh chord. A. M7 B. Dominant 7 C. m7 D. ø7 E. °7
1. 2. 3. 4. 5.
6. 7. 8. 9. 10.
11. 12. 13. 14. 15.
16. 17. 18. 19. 20.
Listen to example 21-6 and write out the rhythm that you hear.
& 44
Listen to example 21-7 and write out the rhythm that you hear.
& 44
Listen to example 21-8 and write out the melody that you hear.
b & b 44
#### 4 & 4
Listen to example 21-9 and write out the melody that you hear.
Study the following songs and identify the different types of seventh chords. “Opening (part 1)” from Into The Woods. “I’m Not at All in Love” from The Pajama Game. “Here I Am” from Dirty Rotten Scoundrels.
21. 22. 23. 24. 25.
22 Compound Time
Up to this point we have worked in 4/4, 3/4, and 2/4 time. The quarter note equals one beat in all of these time signatures. We have also worked in cut-time where the half note equals one beat. In this chapter, we will be looking at 6/8, 3/8, 9/8, and 12/8 time. In these time signatures, the eighth note equals one beat.
h. q.
=
dotted half note
=
=
dotted quarter note
q
6 beats =
e
3 beats
x
=
quarter note
=
=
eighth note
=
sixteenth note
=
2 beats 1 beat =
1/2 beat
These time signatures are called compound time signatures. Compound time signatures are organized in groups of three while simple time signatures (2/4, 3/4, and 4/4) are organized in groups of two. So, although the eighth note equals one beat, music in compound time is often felt in groupings of three eighth notes (or one dotted quarter note). Therefore, in 6/8 time we have six eighth notes broken up into two groups of three eighth notes each. The accents fall on the first and fourth eighth notes. Many pieces in 6/8 time feel like they are in two with each beat subdivided in groups of three. Count and clap the following rhythm.
6 beats per measure
÷ 68 ˙ .
1 (2 3 4 5
œ.
6)
1 (2 3)
œ.
4 (5 6)
8th note gets the beat
÷œ >1
œ
2
œ 3
œ > 4
œ 5
œ
6
œ œ œ œ œ œ œ œ œ œ œ œ > + 2 + 3 + >4 + 5 + 6 + 1 233
234
MUSIC FUNDAMENTALS FOR MUSICAL THEATRE
j œ
÷œ >
1
(2)
j œ
œ >
3
4
(5)
j œ >
6
j œ >
œ
1
2
(3)
œ
4
5
(6)
See the accents reinforcing the start of each grouping. Clap and count the following rhythms. Listen to the examples on the website. Example 22-1
1.
÷ 68 œ . 1
÷œ
(2 3)
œ
1
œ
4
œ
5
3
œ
6
j œ
œ
2
œ
œ
4
5
(6)
1
(2)
œ
œ
1
j œ œ
+
œ
3
2
œ
4
œ
œ
+
3
œ
+
œ
œ
5
+
œ
+
4
œ
œ
6
+
(5)
j œ
œ.
(5 6)
6
Example 22-2 2.
÷ 68 œ
œ
2
œ œ œ
÷œ
j œ
4
1
1
(2)
3
3
œ
+
œ
4
œ
5
6
œ œ œ
5
+
œ œ œ
1
+
2
œ œ œ œ œ
6
1
+
2
+
œ
3
3
4
œ
œ œ œ œ
4
5
Write in the counts and then count and clap the rhythms. 3.
÷ 68 œ
œ
÷œ œ œ
œ œ
œ j œ
œ œ
œ
œ.
œ œ
j œ
+
6
+
œ
j œ
œ œ œ
œ
COMPOUND TIME
4.
÷ 68 œ
œ
œ
j œ
œ.
œ
÷œ œ œ œ œ œ œ
œ
œ œ
235
œ
œ j œ
œ
œ
œ
œ
œ œ œ œ
Draw in the bar lines and then clap and count the rhythms.
÷ 68 œ .
œ œ œ
j j œ œ œ
œ œœœ œ
j ÷ 68 œ œ œ œ œ œ
j œ œ
œœœœœ
œ.
œœœ œ
œ œœœ
œ œ œ œ. j œ œ
œ œ œ
Fill each measure with the notes indicated. Make sure each measure has six beats.
÷ 68 ÷
eighth notes
quarter notes and eighth notes
dotted quarter notes
dotted half note(s)
eighth notes and sixteenth notes
quarter notes and eighth notes
eighth notes and sixteenth notes
any combination
Clap and count the rhythms. Remember that the heavy beats fall on one and four.
6 1. ÷ 8 œ œ œ œ œ œ œ
2.
3.
÷ 68 œ œ œ œ œ j ÷ 68 œ œ
œ.
j œ œ
j œ œ œœœ œ
œ œœœ œœœœœ j œ œ œ œœœ
j œ œ œœ œœœœœ œ œ
œ
œ
j œ œ.
j œ œœœœœ œ œœœœ
j œ œ œ œ œ œ œ.
œ œ œœ
236
MUSIC FUNDAMENTALS FOR MUSICAL THEATRE
6 . 4. ÷ 8 œ
j œœœœœœ œ œœœ œ œ
œ
j j œ œ œ
œ œ œ œœœ œ
Let’s look at a few other time signatures where the eighth note equals one beat.
j j j ÷ 38 œ œ œ
Also felt as one big beat, divided in three.
j j j œ œ œ
j j œ œ œ
Count and clap the following rhythms. 1.
÷ 38 œ .
1 (2 3)
2.
÷ 38 œ
3.
4.
5.
6.
7.
8.
1
2
œ
3
1
(2)
3
j j j œœ œ œ œ œ œ œ
1 (2) 3 +
÷ 38 œ .
Three beats in a measure. The eighth note equals one beat.
1
2
3
+
1
j j j j ÷ 38 œ œ œ œ œ œ œ œ
2
Œ
r j j j j ÷ 38 œ œ ≈ œ œ œ œ œ œ
1
(3)
2 (3)
j j œ œ œ œ 1
j œ œ œ œ œ
1 + 2 + 3
œ œ œ.
2 + 3
r j j œ ≈ œ œ
1
2 + 3
j j œ œ œ œ
j j j j j œ œ œ œ œ œ œ ‰
j ÷ 38 œ ‰ œ œ œ
j œ œ œ œ œ œ.
1 + 2
j j œ œ œ œ
j j j j j j j ÷ 38 œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ j ÷ 38 œ œ
j j œ œ œ œ
j œ œ
j j ‰ œ œ
1
2
3
j j œ ‰ œ j œ œ œ œ œ
j j œœ ‰ œ œ œ œ œ œ œ œ
j j j j j j œœ œ œ œ œ œ œ œ œ œ œ œ œ œ
j ÷ 38 œ œ œ œ œ œ œ œ
3
œœ
r j j j j j j œ ≈ œ œ œ œœœ œ ‰ œœœ œ œ œœ
COMPOUND TIME
÷ 98 œ œ œ œ œ œ œ œ œ
1.
œ.
1 (23456) 7 (89)
2.
j j ÷ 98 œ œ œ œ œ œ œ œ 1 + 2 3 4 (5) 6 7
3.
4.
2
3
÷ 9 œ œ œ œ œ œ. 6. 8
œ.
œ
j œ œ
j œ œ œ œ œ œ œ œ œ.
1 (2) 3 4 (5) 6 7 8 9
œ.
1 2 + 3 4 (56) 7 (89)
j j j œ. œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ. œ.
8 (9) 1 (23) 4 5 6 7 (8) 9
1 (2) 3 4 (5) 6 7 + 8 9
1 2 3 4 (56) 7 (89)
j j œ ‰ œ œ œ œ œ œ œ œ œ œ œ. œ œ œ œ œ œ œ
j ‰ œ œ œœœ œ œ œ j œ œ
÷ 9 œ œ œ œ ˙. 5. 8
œ.
4 (56) 7 (89)
÷ 98 œ . œ œ œ œ œ œ œ ˙ . ÷ 98 œ œ œ œ œ œ œ .
œ.
Also felt as three big beats, divided in three.
œ œ œ œ.
1
÷ 98 œ .
Nine beats in a measure. The eighth note equals one beat.
Count and clap the following rhythms.
÷ 98 ˙ .
237
j œ œ
j j œ. œ œ œ œ
œœ‰ œ œ œ œ œ œœœ
j j œ œ œ œ œ œ. œ. œ œ œ œ œ œ œ œ œ œ
j j œ œ œ œ œ œ œ œ œ ‰ œ œ œ œ œ ‰ œ œ œ‰ œ œ. œ. œ œ œ
9 . 7. ÷ 8 œ œ œ œ œ œ œ œ
j j œ œ œ œ œ œ œ œ œ œ œ ˙.
9 œ œj œ œj œ œj œ œ œ ‰ œ œ œ œ œ . ÷ 8. 8
˙.
j œœœ œœœ ‰ ‰ œœœ j j œœœ œ œ œ œ œ œ œ œœ
238
MUSIC FUNDAMENTALS FOR MUSICAL THEATRE
÷ 12 8 œœœœœœœœœœœœ
Twelve beats in a measure. The eighth note equals one beat.
Count and clap the following rhythms. 1.
÷ 12 8 œ ÷ œ.
2.
3.
œœœ œ œ
j ÷ 12 œ œ œ œ œ œ œ 8 ÷œ
j œ œ.
œ œ œ œ œ œ Œ
j œ œ.
j œ Œ. œ.
÷ œ œ œ œ œ œ œ œ œ ‰ œ œ. 4.
œœœ
j j œ œ œ
œ.
˙.
œ œ œ ‰ œ œ œ œœœ Œ.
œœœ œ
j œœœ œ œ œ œœœ œœœ œ œ œ
j œœœ œ
œœ‰ ‰ œ œ œ
œ œœœ œœœ œœœ œœœœœ œ ‰
j œ œœœœ‰ œœœ œ œ
÷œœœœœœœ
œ.
Also felt as four big beats, divided in three.
œ ‰ ≈œ œ œœœ œœœ
‰ œ œ œœœ
œ.
j œ œ œ œ œ
÷ 12 8 œ œ œœœœœ œ œ œ œ œ œœœ
÷ 12 8 œ.
÷ 12 8 œ.
œ œ œ
j œ œ
œ œ œ œ œ.
œ œœœœœ œœœ ‰ œ
œ œ œœ œ œ œ
COMPOUND TIME
239
Sight-Singing Sing the following melodies using solfege. Look carefully before you start. Some exercises are in minor keys and some are in major keys.
1.
# 6 œ œ œœœ œ œ œ œ œ & 8 œ œ œ œœœœ œ œ œ œœœ œ œœœ œœœœœ
2.
& b 68 œj œ
3.
b & b 68 œ œ œ œ œj œ
4.
5.
6.
7.
8.
œ œ œ œ œ œ #œ œ œ
#### 6 œœ & 8 œ œ œ b & b b b 38 œ & 68 œ . # & # 68
#œ œ j œ œ œ œ œ œ œ œ œ œ œ nœ
œœ œ œœœ œ œœœœœ œ J
j œj œ œ œJ œ œ œ œ œ
œ J
œ œ œ œ œ œ œ œ œ œ.
œœ œ œ œ œ œ œ œœ œ œ œ J œ œ œ œ
œ j œ J œ J
œ j œ œœ œœ
œ œ.
œ J
œœœ œ J J
œ œ œ œj œ
œ œœœ œ œ. œ œ œ
œ œ œ œ nœ œ œ œ œ œ œ œ œ œ œ œ #œ #œ œ # œ œ # œ œ œ œ œ œ œ œœ œ œ
bb 6 & b b b 8 œ œ œ œœœ
œ œ œ œœœœ œ œ. œ œ œ œ œ œ œ œ œ œ œœœœ
240
MUSIC FUNDAMENTALS FOR MUSICAL THEATRE
9.
### 6 œ œ œ œ œ œ & 8 œ œ œ œ œ Jœ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
10.
#### # 9 œ. œ. œ œ œ. œœœ & # 8 œ. œ. œ œ œ œ œ. œ œ œ œ. œ.
11.
œ b œœ & b b 68 œ œ œ œ œ œ n œ n œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
12.
œœ œ & b 68 œ œ œ œ œ œ œ œ œ œ œ œ œ
13.
14.
15.
16.
17.
## & # # 68 œ
œœœ
œ œ œœœ
œ & 68 œ # œ œ œ œ œ œ œ œ
œ œœœ J œ œ œ œ œ œ œ œ.
œ œ œ œ œœœ œœ
œ œ œœœ œ œ #œ œ œ
œ #œ œ œ œ œ œ œ œ œ œ œ œ #œ œ œ œ œ œœ
#### 6 œ œ œœœœ & # 8 œ œ œ œ œ œ œ. b & b b b b b 98 ˙ .
œ œ œ œ.
j b & b 38 œ œ œ Jœ
j j j œ œJ œ œ œ œ œ J
œ.
œ œ œ œ œœœ œœœ
œ œ œ œ.
œ.
œ.
œ œ œ
œ œ œ œ œ œ œ.
j œ œj j j j n œj # œj œj œ œ œ œ œ
COMPOUND TIME
Listening Listen to example 22-3 and write the rhythm you hear.
÷ 68
Listen to example 22-4 and write the rhythm you hear.
÷ 98
Listen to example 22-5 and write the rhythm you hear.
÷ 12 8
Listen to example 22-6 and write the melody you hear.
b & b b 68
Listen to example 22-7 and write the melody you hear.
## 3 & 8
# 6 & 8
Listen to example 22-8 and write the melody you hear.
241
242
23 More Compound Time; Song Analysis
In compound time, you will find dotted rhythms and syncopation similar to what we see in simple time. These rhythms help set lyrics closer to the spoken word and they also give music a distinctive feel. All of these choices made by the composer inform the story and character development. Look at the following syncopated rhythms. Compare the tied rhythm to the untied rhythm. They sound the same. Clap and count each rhythm and then listen to them on the website. Example 23-1
÷ 68 œ
œ œ œ œ œ
1
2
+
(3)
+
4
Example 23-2
÷ 68 œ œ œ œ œ 1
+
(2) +
œ œ œ œ
5
+
(6) +
œ œ œ œ œ
3
4
+
(5)
+
œ
1
œ œ
2
+ (3) + 4
œ œ
6
œ œ
œ œ
1 + (2) +
3
œ œ
5
œ
+ (6) +
œ œ
œ œ
œ œ œ
œ
4
+ (5) + 6
Example 23-3
÷ 68 œ œ œ œ œ œ œ œ œ œ œ œ 1
+
(2)
+
(3)
+
4
+
(5)
+
(6)
+
œ œ
œ
œ
1 + (2) + (3) + 4 + (5) + (6) +
Clap and count each rhythm. Use a metronome to help keep a steady beat.
243
244
MUSIC FUNDAMENTALS FOR MUSICAL THEATRE
Take a look at the dotted eighth note. Remember that a dot adds half the note value to the length of that note. Compare the tied rhythm to the dotted rhythm. They sound the same. Clap and count each rhythm and then listen to them on the website. Example 23-4
÷ 68 œ
œ œ œ
1
(2)
+
œ
œ
œ
(5)
œ
4
œ
5
œ œ œ
œ
3
œ.
œ œ œ
4
+
6
1
(2)
+
Example 23-5
÷ 68 œ 1
2
+
œ
(3)
œ
(6)
1
2
œ œ
œ
œ.
Example 23-6
÷ 68 œ
œ
1
2
(3)
+
4
5
(6)
+
Example 23-7
÷ 68 œ 1
œ
+
œ
(2)
œ 3
œ
4
œ
+
œ
(5)
œ
6
1
2
œ œ.
1
3
4
œ œ.
œ
+
œ
œ.
œ œ
4
+
œ
3
5
6
+ (6)
œ.
4
4
+
œ œ.
œ œ
(3)
+ (2)
(5)
œ
+ (3)
œ œ
œ
5 (6)
œ œ. +
+
œ
(5) 6
MORE COMPOUND TIME
Example 23-8
÷ 68 œ
1
œ
(2)
œ
+
œ
œ
(3)
4
œ
(5)
œ
œ
+
(6)
245
œ.
1
œ.
(2) + (3) 4
œ.
(5)
œ.
+ (6)
Clap and count the rhythms. Use a metronome to help keep a steady beat. 1.
÷ 68 œ œ œ œ œ . œ œ
2.
÷ 68 œ œ œ œ œ œ œ œ
œ œ. œ ‰ œ œ œ.
3.
÷ 68 œ œ ≈ œ œ œ œ œ
j œ œ
4.
÷ 68 œ œ œ œ œ . œ œ
‰ œ œ œœ œœ œ
5.
÷ 68 œ œ œ œ œ œ . œ .
œ œ. œ œ œ œ
6.
÷ 68 œ
j œ œ œ. œ
7.
÷ 98 œ .
œ. œ. œ œ œ œ œ œ œ ˙.
8.
9.
œ œ œ œ œ.
œ œœ œ œ ‰ œ
œ. œ.
œ œ œ œ œ œ.
œ œ œ œ œ œ œ. œ œ œ œ
œ œ œ. œ œ œ
j ‰ œ œ œ. œœ œ œ
œ.
œ œ. œ
œ œ œ œ œ œ œ œ ‰ œ. œ œ
œ œœ œ œ ‰ œ
j œ œ
œ œ œ. œ œ œ.
œ œ œ œ œ.
œ œ œ œ œ. œ œ œ.
j ÷ 98 œ œ . œ œ œ œ œ œ œ œ . œ œ œ œ œ œ œ . œ . œ œ œ œ œ œ ÷ 98 œ œ œ œ ˙ .
œ œ. œ œ œ œ œ
œ œ. œ
j j œ œ Œ œ œ. Œ. œ œ. œ œ œ œ œ
œ œ œ œ œ ‰ œ œ œ. œ œ œ œ œ œ œ. Œ œ œ
246
MUSIC FUNDAMENTALS FOR MUSICAL THEATRE
Song Analysis Analyze the following excerpts. Clap and count the rhythm and then listen to a recording. How does the rhythm contribute to the overall feeling and mood of the piece?
"Seventy Six Trombones" from The Music Man
& 86 Œ
œ.
‰ œ œ œ
Sev - en - ty
six
a
trom
œ.
& œ œ œ œ œ #œ with
œ.
hun - dred and
œ.
ten
cor
# & # 68 œ œ œ œ œ œ I'll love our chil - dren, both
-
-
œ.
œ.
led
œ
nets
close
"Always Starting Over" from If/Then
œ œ œ œ œ
fierce - ly and
j œ œ
œ
bones
well.
the
big
j œ ˙.
at
j œ œ.
Meredith Willson
pa - rade,
j‰ ‰ Œ œ
hand.
‰
Tom Kitt Brian Yorkey
≈ r ‰. œ œ œ œ œ œ œ œ When they ask a - bout you, oh
# & # œ œ ≈ œ œ œ œ n œ 98 n œ . Œ . Œ j 68 œ œ œ œ œ œ œ . œ œ œ œ ≈ r œ œI Lord - y, the stor - ies I'll tell. And I won't re - gret the lives I did - n't lead # & # œ
knew
œ
you,
≈ œ œ
I loved
œ
you,
≈
œ
and
"Still Hurting" from The Last Five Years
& 89 œ œ œ œ œ œ œ œ œ œ œ œ Ja - mie ar - rived
at
the end of the line.
œ œ œ œ œ œ.
let
that
be
. . œ ‰Œ Œ
all
that I
98 œ .
need.
œ.
Œ.
Jason Robert Brown
œ œ œ œ œ œœœ œ œ œ
Ja - mie's con - vinced that the prob - lems are
‰ Œ. Œ. & œ œ . Œ. Œ. œ œ œ œ œ . œ œ. œ œ ‰ Œ. Œ j œ. œ. œ œ œ œ œ œ œ œ mine.
Ja - mie is pro - bab - ly feel - ing just fine,
And I'm still hurt
-
ing.
MORE COMPOUND TIME
247
Sight-Singing Sing the following melodies using solfege. Use a metronome to keep a steady beat. 1.
# œ œ. & 98 œ œ œ œ œ œ
2.
b & b b b b 98
3.
### 6 & 8 œ œ œ œ œ œ œ œ œ œ. œ. œ.
4.
& 68 œ œ œ œ . œ
5.
& b 68 œ œ œ œ œ . œ œ
6.
œ œ œ œ œ œ. œ œ . œœœ œ œ œ œ œœ J œ J œ œ œ œ. œ œ
j œ œœœ œ j œ œ œ œ œ œ œ. œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ . œ œ œ. œ œ
# & # 12 8 œ.
œ.
j œ œ œœœœœ
œ #œ œ œ œ œ
œœœ
œ.
j œ œ
8.
## j & # # # 98 œ œ œ œ œ œ. j j b & b b 38 œJ œ œ œ
œ
œ œ œ œ œ.
œœ œ œœ œ œ œ œ œ œœœ #œ ≈ œ œ œ. œ œœœ œ œ œ œ œ œ œ. œ œ œ. œ œ œ œ œ
# œ. œ œ œ œ œ œ. œ. œ œ œ œ œ & # œ œ 7.
œœœ
œ œ œ œœ œ œœœ œ
œ. œ œ. œ œ œ. œ œ œ œ. œ J œ. j œ œ . œ œj œj œj j œ
œ œ œ œ œ. œ .
j j œ œ œ œ
œ œ . œj
248
9.
10.
MUSIC FUNDAMENTALS FOR MUSICAL THEATRE
bb 6 œ. & b b bb 8 œ œ œ œ œ œ œ œ œ œ . œ œ œ œ . œ œ œ œ œ œ . n œ n œ #### 6 œ œ & 8 œ œ œ œ œ œ œ. œ œ.
11.
b œ œ & b 38 œ œ J
12.
j j & 38 œ œ œJ
œœ œ œœ œ œ œ œœœœœ ≈œœ
œœœ j œ œ œj œ œ œj j . œ œj œ œ œ œ œ œ J œ œ J œ œ œ œJ J
j œ J œJ œ # œ Listening
Listen to example 23-9 and write the rhythm that you hear.
÷ 98
Listen to example 23-10 and write the rhythm that you hear.
÷ 68
Listen to example 23-11 and write the melody that you hear.
#### 6 & # 8
Listen to example 23-12 and write the melody that you hear.
& b 68
j œ #œ #œ
œ œJ
œ œ. j œ
24 Song Analysis; Orchestration
Analyzing a Song We have discussed melody, rhythm, and harmonic structure. We have analyzed songs based on these elements. But what else can the music tell us? What about the accompaniment? What about the orchestra? When you are working on a song from the musical theatre repertoire, you are often accompanied by a pianist (accompanist). The accompanist is typically playing a piano reduction of the orchestral score. What can you learn from the piano accompaniment? If you are working on a show, you eventually get to the exciting point when the orchestra joins the rehearsal process. Usually that is at the sitzprobe, a music rehearsal specifically focused on bringing the actors and orchestra together for the first time. How does that enhance the show or your performance? All of these elements should be taken into consideration when you are working on music. It is important to listen closely to your musical accompaniment. When listening to the piano alone, listen for things like heavy or driving chords, slow arpeggios, low bass notes and/or high and fast sixteenth notes. What do each of these elements contribute to the musical feel of the piece? When listening to the orchestra, you have the added elements of the different instruments. What instruments are playing? What mood are they setting? Is it romantic or goofy; triumphant or troubled? Does the orchestra give you any clues as to where you are (i.e. Cuba or Texas)?
A Quick Look at the Orchestra In musical theatre, the size of the orchestra and the choice of instruments can vary drastically from show to show. For the most part, modern pit orchestras are smaller than the traditional pit orchestras of the 1930s–1950s. When traditional shows have a Broadway revival, they are often reorchestrated with a smaller orchestra. This is partially for budgetary purposes but it is largely due to technology. You will find that modern pit orchestras tend to have two or three keyboard synthesizers. The keyboards can be programed to play hundreds of sounds, therefore replacing some “live” instruments. The technology has advanced to a point that some keyboard sounds are sampled from live instruments, creating an authentic sound to most audience members. However, not all shows follow this trend. Currently, The Phantom of The Opera is the largest Broadway orchestra, with twenty-seven musicians. Wicked and The Lion King currently have twenty-three and the revival of Hello, Dolly! has twenty-two. All of these shows also have a conductor that doesn’t have to play a keyboard part. The rest of the current Broadway orchestras range from six to eighteen musicians (many with a conductor also playing one of the keyboard parts). Waitress has the smallest orchestra with six musicians including the pianist /conductor. In no way does the size of an orchestra make a show better or worse. Each show is orchestrated to best serve the music and the storytelling. 249
250
MUSIC FUNDAMENTALS FOR MUSICAL THEATRE
What Instruments Are Used? Traditional orchestras are broken down into four categories: Strings
Woodwinds
Brass
Percussion
Violin
Piccolo
Trumpet
Bass drum
Viola
Flute
Trombone
Snare drum
Cello
Clarinet
French horn
Timpani
Bass
Oboe
Mallets
Harp
English horn
Cymbals
Bass clarinet
Drum set
Bassoon
Auxiliary
Saxophone
percussion*
*Sometimes a percussionist will have a list of over thirty auxiliary instruments: everything from finger cymbals or wood blocks to a ratchet or mouth siren. Often, these instruments set the sound and the setting for the show. Listen to excerpts from The Lion King. There are five percussionists in the orchestra that create the world of the African Pride Lands for the listener. On Your Feet has three percussionists to contribute to the Latin feel to the show.
You will also find piano, keyboard(s), and/or guitar(s) in the orchestra. Many modern pit orchestras have a rhythm section as the core of the orchestration. The rhythm section typically consists of piano and/or keyboards and/or guitars, bass, and drums.
Babes in Toyland (1903) and Carousel (1945) Let’s take a look at two songs from two classic shows. Before we listen to each song, take the time to analyze the sheet music. Follow the steps to become familiar with the material and then answer the questions about the written music. Steps: 1. Analyze the chords using both chord names and Roman numerals. 2. Clap and count the rhythm of the melody. 3. Read the lyrics. 4. Sing through the melody. 5. Sing the choral parts with a group if possible. 6. Play the piano accompaniment if possible. Questions: 1. Are there any accidentals or surprising chords (augmented chords in “Graduation Scene”)? On what lyric? Does that influence how you sing the phrase? 2. What is the shape of the melodic line? Is it building to a climax? 3. What are the predominant rhythmic patterns in the accompaniment? How do they make you feel? For example, in “Go To Sleep, Slumber Deep” there is syncopation in the left hand – Does it energize you or relax you? In “Graduation Scene” you will find arpeggios throughout the accompaniment. Do they feel jagged or flowing?
SONG ANALYSIS; ORCHESTRATION
251
"Go To Sleep, Slumber Deep" from Babes in Toyland
## 2 & # 4 œ.
j œ
## & # 42 œœ .. Go
Go
Ensemble
Go
Ens.
V
œœ œ
&
œ
Lit - tle
œœ ..
###
œœ œœ
Sleep
to
˙
œ.
œ
œ
one,
oh
j œœ
œ J
while
Sleep
œ.
Slum
j œ
# # # Sleep œ.
? ###
sleep!
œœ ..
to
? ### 2 j 4 œ
&
to
˙˙
œœ œœ J
Go
###
Slum
j œ
# # œ. & # 42 œœœ ...
## & # œ
sleep!
j œ
? ### 2 4 œ.
while
œœ œœ
œ ? # # # j œœ œ
œ œ
œ.
to
j œœ
## V # 42 œ .
˙
j œ œœ œ
while
j œ
sleep!
Slum
˙ sleep! ˙˙ ˙
Slum
œœ j œ œ
œœ œ J
œ œ œ
sleep
œ #œ. œ.
œœ .. œœ ..
j œ
-
j œœ
deep!
ber
˙˙
deep!
-
ber
deep!
-
ber
œ J
œœ œ
watch
œ
œ
œ œ J
˙˙
watch
j œ
we
œ.
œ # œœœ œœ œ œ watch
# œœœ
œœ œ
©
œœ œ
j œ
œœ œ J
˙
keep!
˙˙
˙
˙
keep!
keep!
œœ œ
˙ ˙ keep! ˙˙˙ ˙
j œ
j œ
we
deep! ˙ ˙˙˙
j œ
while
œ J
˙
œœ œ J
˙
we
˙
œ J
œ I
˙
ber
œ
watch
j œ
j œ
-
œ.
Victor Herbert Glen Mac Donough
œœ œ
˙ ˙ ˙˙˙ ˙ œœ œ J
j œœœ œ
j œ
252
MUSIC FUNDAMENTALS FOR MUSICAL THEATRE
&
###
## & # Ens.
V
###
? ###
Dream
Dream
Dream
œœ œ
## & # œ
œ
œ
you
hear
? ###
and
˙˙
rest
œœ ..
That
and
˙
œ.
rest
˙˙ ˙
œœ
œ the
œœ
œœ œ J
œ œ œ
morn
œœ
-
Till
you
hear
the
œ
morn
œ
-
Till
you
hear
the
morn
-
œ
œ
œ
œ
œ # # # œœœ &
Till
? ### ‰
œ œ œ
œ œ œ
œ œ
you
hear
the
œ J
œ
œ
œ
œ
-
œ
is
best
œœ œ
˙ ˙
˙ ˙˙˙
is
best
j œ
j œ
œ
œ. œœ
œ œ
œ
œ œ
song
#œ
œ œ
from
œ
bough
œ
and
œœ
ing
song
from
bough
œ
œ
nest!
œ
œ
and
˙ ˙˙
and
nest!
œœ
song
# œœ œ œ
from
œœ œ
# œœ
bough
œ œ
and
œ
œ œ ing
ing
bough
œœ œ
song
œ
from
best
ing
œœ œ œ œœ œ œ
morn
j œ
is
˙˙
œœ œ J
That
œœ j œ œ
j œ
œœ
œœ .. œœ ..
rest
j œœ
best
œ J
œ.
˙
is
œ J
That
˙
and
? ### j œ
## V # œ
That
œœ œœ J
Dream
Till
rest,
j œ
œ.
j œ
œ.
and
j œ
œ.
### n œœ &
˙
j œœ
œœ ..
# # œ. & # œœœ ...
Ens.
j œ
œ.
œœ
nest!
œ
œœ œœ œ œ
nest!
œ œ œ œœ œ
œ œœ
œœ œ J j œ ‰ j œœ ‰ œ ‰ J j œ ‰ œ œœ œœ ‰ œ J œ œœ ‰ J
SONG ANALYSIS; ORCHESTRATION
253
Richard Rodgers Oscar Hammerstein
"Graduation Scene" from Carousel
F
& 44 Ó
4 &4 ˙ œ˙ .
˙ ? ˙˙
œ œ˙ .
π & ww w ? ww π
blown.
through
œœ œ
œœ
the
b ˙˙˙
œ
œ
˙
œœ
on
?
˙
˙ œ œ œ bœ F œ ‰ œ œ
& ˙˙
& ˙
on
œ
œ
œ
œœ œ
œ
œ˙ . œ œœœ
b ˙˙˙
œœ œ
rain
œ
œ˙ . ˙˙ ˙˙ ˙
though
œ bœ
œ
œ
œ
œœ œ
˙ ˙˙
Walk
p
œ
œ œ˙ .
˙˙
cresc. poco a poco
˙˙ ˙
on,
cresc. poco a poco
œœ œ
wind,
walk
˙.
œ
œ˙ .
˙˙
œ œ
˙ ‰
œ œ œ œ
˙˙ ˙˙ ˙
walk
˙ ˙œ œ˙ œ ˙ & w œ œ œ œ œ œ œ œ œ œ œ π œ p œ ? œ œ œ œ œ œ œ œ˙ . œ˙ . œ˙ .
œ œ˙ .
and
˙œ œ œ œ œ œ œ
b ˙˙
˙˙
b ˙˙˙
˙˙ ˙
on
with
˙
# ˙œ
œ˙ .
œ
˙˙˙
tossed
˙˙˙
œ
˙
˙˙˙
be
œ
œ œ œ
œ bœ
˙˙ ˙
dreams
œ
˙˙
œ
˙˙ ˙
your
œ œ œ bœ œ œ
p
œ
œœ
b ˙˙˙ ...
œœœ
the
˙˙ ˙
œœ œ
˙˙ ..
œœ
œ œ through œœ œ
˙˙˙
b˙ ˙ F
Walk
? 44 Ó
? 44
˙˙
˙˙
œ
#œ
œ
œ
œ
œ
254
MUSIC FUNDAMENTALS FOR MUSICAL THEATRE
& ˙˙
˙˙
œœ
œœ
˙ ? ˙˙
œœœ
in
your
œœœ
˙ # ˙˙
& ˙
œ
œ
˙
hope
?
œ œ˙ .
œ
œ
œ
œ
œ
œ # œ˙ .
w & w w ? ww
?
œ
œ
œ œ
œ œ
œ œ œ j œ. œ œ
w &C w
lone.
?C w
Maestoso
& C ˙˙ ˙˙ ?C ˙ ˙˙
˙ ˙˙
˙˙ ˙˙ ˙˙
˙ œ Œ f
œ œ
œ˙
œ
˙˙ ˙
ƒ
˙œ œ ˙ œ œ œ œ œ œ ‰ ˙ ˙
˙ ˙
b ˙˙
˙˙
b ˙˙˙
-
˙ ˙˙
œ œ
œ
œ bœ
œ˙ ˙˙ ˙˙ ˙ ˙˙ ˙ ˙ ˙
-
œ
bœ
˙ # ˙˙
˙ ˙
œ œœ œœ œœ œœœ b b œœœ œ œ œ ‰ œœ œœ œœœ b b œœ ˙ œ ˙
a
˙ # ˙˙
˙ œ bœ œ œ Œ bœ œ œ œ # œ˙ œ˙
˙˙˙
er
walk
˙ # ˙˙
˙˙˙ ˙
# ˙˙˙
-
˙ Œ
˙˙˙
˙ ˙ ˙ ˙ ˙
w ˙˙ ˙˙
˙ # b ˙˙
walk
˙ Œ
nev
b ˙˙
˙˙ ˙
er
w w
w ˙ ˙˙˙
œ
nev
You'll
w w
Maestoso
œ
you'll
ƒ
˙˙ ˙
w Œ
œ ˙˙
lone,
&
And
œ
˙˙ ˙
œœ œ
œœœ
heart
˙˙ ˙
œœ
œœ
˙ œ n œœœœ
˙˙˙ ˙
œ œ
˙ ˙
˙˙ ˙ a
˙ ˙
C -
C C
˙˙ ˙˙ ˙ ˙ œ œ œ œœœ œ ç œ œ
C Œ Œ Œ Œ
SONG ANALYSIS; ORCHESTRATION
255
Once you have analyzed the written music, listen to a recording with the full orchestra. Write down some of the instruments that you hear on your sheet music and then answer the following questions: 1. What instrument(s) are driving the music? What are the most prominent? 2. What instrument (if any) is doubling the vocal line? 3. Is there a noticeable entrance of a particular instrument or section (e.g. the brass in “Graduation Scene”)? How might that influence your performance? 4. Is there an instrument that sticks out that really helps to set the mood or setting of the song (e.g. the celeste in “Go To Sleep, Slumber Deep”)? 5. How do the different instruments or families of instruments make you feel? What do they tell you about the setting? What do they tell you about the emotional state of the character(s)?
Kiss Me, Kate (1948 and 1999) Let’s take a look at two versions of one song from the classic show Kiss Me, Kate. The orchestra for the original Broadway production in 1948 and the orchestra for Broadway revival in 1999 were extremely similar in size and instrumentation. Despite those similarities, the new arrangements and orchestrations for the revival provide some major changes to the music. Before we listen to each version of the song “Too Darn Hot,” take the time to analyze the sheet music. Follow the same steps as before to become familiar with the material and then answer the questions about the written music. Steps: 1. Analyze the chords using both chord names and Roman numerals. 2. Clap and count the rhythm of the melody. 3. Read the lyrics. 4. Sing through the melody. 5. Sing the choral parts with a group if possible. 6. Play the piano accompaniment if possible. Questions: 1. Are there any accidentals, surprising chords, or accented chords for punctuation? On what lyric? Does that influence how you sing the phrase? 2. What is the shape of the melodic line? Is it building to a climax? 3. What are the predominant rhythmic patterns in the accompaniment? How do they make you feel?
"Too Darn Hot" from Kiss Me, Kate (1948)
& &
#
Ó
Œ
œ
It's
#
˙Œ .
? # ˙. œ
œœ
‰ # œœ . œ .
Œ
œ
œ Œ
˙
˙
too
˙ Œ ˙ œ
Cole Porter
œ
darn
œœ Œ
Œ˙ ˙ œ
Œ
Œ
hat,
œœ Œ
˙Œ . ˙œ .
œ
It's
œœ
Œ # œœœ
Œ
œ
œ Œ
˙
˙
too
˙ Œ ˙ œ
darn
œœ Œ
˙Œ ˙ œ
œœ Œ
256
MUSIC FUNDAMENTALS FOR MUSICAL THEATRE
& &
#
œ
Œ
Œ
hot,
#
I'd
˙Œ . œœ
&
# #
œ
&
#
Œ
Œ
#
œ
˙ Œ
œœ
œ Œ
Œ
œ
I'd
Œ
Œ
œ
œœ œ
œ Œ
Œ
˙ Œ ˙ œ
˙ Œ
œœ
Œ˙
˙Œ .
œœ
˙. œ
Œ
œœ
˙Œ .
œ
j œ #œ œ œ
˙ Œ ˙ œ
# œœ Œ
ba - by
to - night,
œœ
Œ
œœœ
Œ
œ
˙œ .
Œ
sup
my
to - night.
œœ
Œ
œœœ
Œ
œ
with
˙ Œ ˙ œ
˙ œ
œ Œ
ba - by
j œ
my
œœ Œ
w ˙ Œ œœ
j œ œ œ œ œ
with
Œ
to
my
j œ œ
˙ œ
like
j œ œ œ œ œ
with
œ œ ˙
the pup
˙ œ
œ Œ
sup
œ
play
œœ œ
Œ
˙Œ . œ #œ
? # ˙. œ
to
˙ œ
And
˙Œ . œœ #œ
œ
like
œ Œ
œ
? # ˙. œ Œ &
œ
Œ # œœœ
? # ˙. œ Œ &
œ
j œ œ
œ œ ˙
Œ
˙ œ
Œ
w ˙ œ Œ œ
˙ œœ Œ
Œ
Œ
˙ œ
œ Œ
˙ Œ
˙ œ
# œ œ œ œ œj ‰ œ ba - by
Œ˙ .
˙œ .
to - night,
and
œ #œ
Œ
Œ
œ
œœ œ
œ Œ
SONG ANALYSIS; ORCHESTRATION
# & #œ
play
&
#
˙ Œ
?# ˙ œ
& &
the
ba - by
˙Œ .
? # ˙. œ
pup
with
˙ Œ
# œœ
# œ #œ #
j j œ œ œ #œ œ œ ‰ œ
œ œ œJ œ
œ
œ
to - night
ba - by
œœ
˙ œ
Œ
my
Œ˙ . ˙œ .
Œ œ J
œ #œ
Œ
Œ
œ
to - night
Œ
Œ
œ
j œ
œ 'cause
˙
it's
˙ Œ
œœ œ
˙ œ
œ Œ
I
œ J
to
my
˙ Œ
œœ
˙ œ
Œ
Œ
œ
Œ
Ó
˙Œ .
œœ
Ó
Œ
œ
hot.
˙ Œ
œœ
˙ œ
Œ
up
# œœ
˙ œ
œ Œ
darn
œœ
ain't
˙ Œ
œœ œ
˙
too
# œ œ œJ œ
œ
But
œ #œ
257
˙. œ
Œ
"Too Darn Hot" from Kiss Me, Kate (1999)
Œ Œ
Cole Porter
bb & b b 44 Ó
Œ
b & b b b 44
∑
∑
∑
∑
∑
? bb 4 bb 4
∑
∑
∑
∑
∑
œ
It's
˙
too
œ.
darn
j Ó œ
Œ
hot,
œ
It's
˙
too
œ.
darn
j Ó œ
Œ
hot,
œ
I'd
258
MUSIC FUNDAMENTALS FOR MUSICAL THEATRE
b & b bb œ
œ œ œ
like
to
bb &bb
j œ œ œ œ œ
‰ œ
Œ
sup
with
my
∑ Œ
b & b bb œ
œ œ œ
œ
Œ
œ
Œ
œ
j œ œ œ œ œ
˙
with
my
∑
? bb bb œ
Œ
b & b bb œ b & b bb ‰ ? bb bb œ
j nœ
œ
to
‰
œœ ..
Œ
Œ
sup
œ j œ œ
j œ
with
my
œ
nœ
ba
‰ Œ
∑ Œ
œ
‰ j‰ ‰ œ œ nœ
œ
Ó
Œ
Ó
nœ
∑
œ Œ œ Œ
œ
-
by
j nœ
œœ ..
‰
œ
Id
∑
‰ j‰ œ ‰ #œ œ
˙˙ Œ
to - night
œ
And
∑
œ nœ
like
ba - by
Œ
∑
‰ j ‰ œ ‰ #œ œ
‰ œ
the pup
b & b bb
to - night
∑
? bb b b œ
play
ba - by
Ó
Ó
˙
œ
to
‰
-
œ
night,
j œ
‰ j‰ ‰ œ œ nœ
œ j œ
‰
œ
œ bœ œ
œ
‰
nœ
‰
œ
And
œ
SONG ANALYSIS; ORCHESTRATION
b & b bb n œ
play
œ
œ
the
pup
œ J
j œ
œ with
my
b w & b bb Œ
ain't up
œ J
to
my
w
? bb bb œ
Œ
Œ
œ
b nœ œ œ œ & b bb œ J b & b bb
ba
œ -
‰
? bb bb œ
I
œ
œ
Œ
œ nœ ba - by
by
œ
to
-
night
œ
œ
œ J
‰
bœ
œ œ œ œ
‰
œ œ œJ œ
'cause
j œ
But
œ J
it's
˙
too
‰
j œ ˙
darn
œ nœ œ #œ. œ nœ nœ J Ó
∑
‰ œj Ó
∑
nœ
œ
œ
3
nœ
to - night,
œ
nœ
259
nœ œ Œ Ó
hot.
∑ œ Œ Ó œ
Once you have analyzed the written music, listen to a recording of each version with the full orchestra. Write down some of the instruments that you hear on your sheet music and then answer the following questions: 1. What instrument(s) are driving the music? What are the most prominent? 2. What instrument (if any) is doubling the vocal line? 3. Is there a noticeable entrance of a particular instrument or section? How might that influence your performance? 4. Is there an instrument that sticks out that really helps to set the mood or setting of the song? 5. How do the different instruments or families of instruments make you feel? What do they tell you about the setting? What do they tell you about the emotional state of the character(s)?
260
MUSIC FUNDAMENTALS FOR MUSICAL THEATRE
Children of Eden (1997, Papermill Playhouse, NJ, USA) and First Date (2013) Let’s take a look at two relatively contemporary shows with modern orchestra set-ups. Children of Eden has twelve musicians while First Date has six. They both have three keyboard books and a rhythm section with guitars, keyboards, bass, and drum set. Before we listen to each recording, take the time to analyze the sheet music. Follow the same steps as before to become familiar with the material and then answer the questions about the written music. Steps: 1. Analyze the chords using both chord names and Roman numerals. 2. Clap and count the rhythm of the melody. 3. Read the lyrics. 4. Sing through the melody. 5. Sing the choral parts with a group if possible. 6. Play the piano accompaniment if possible. Questions: 1. Are there any accidentals, surprising chords, or accented chords for punctuation? On what lyric? Does that influence how you sing the phrase? 2. What is the shape of the melodic line? Is it building to a climax? 3. What are the predominant rhythmic patterns in the accompaniment? How do they make you feel?
"In the Beginning" from Children of Eden
b & b b 43 œ œ
œœ ..
j œœ
œœ
Stephen Schwartz
Chil
-
dren
of
œ œ E
-
den,
Grant
b & b b 43 ˙ ˙ p ? b b 43 b ˙. ˙.
-
dren
of
E
-
den,
œ œ
us
Grant
us
your
˙. ˙.
œœ œ
œœ œ
œœœ œ
˙. ˙.
œ œ
œ œ
b V b b 43 œœ
Chil
œœ ..
j œœ
œœ
œ œ
˙˙ ˙˙
œœ
œœ
œ
œ œ
œœ
your
œœ
œ œ
SONG ANALYSIS; ORCHESTRATION
b &bb œ œ V
bbb
par
bb
par
œ œ
& b œ œœ
-
-
don
don
œ œ
œœ
œ œ
that
œœ
we
All
that
we
˙˙ .. ˙˙ ..
˙˙ ˙
b & b b œœ
œœ
All
˙ ˙
? b ˙ bb ˙
is
the
œ
-
known.
is
the
un
-
known.
‰ ? b b b ˙. ˙.
un
j œ
œœœ œ œ
œ
œ
œ. œ.
you
œœ ˙œ
leave
to
˙˙ .. ˙˙ ..
you
œ œ
˙˙ .. ˙. ˙˙ .. ˙˙ .. ‰ ˙. ˙.
j œ
œ
May - be it's
b & b b b 68 œœ œœ P ? b b b 68 œœ .. b
all 'cause
of
œœ œœ œœ œœ œœ . .
œ
œ
œ
"Safer" from First Date
b & b b b 68 ‰ œ œ œ œ œ œ
œ
˙˙ ..
œ
œ œ
œœœ œ
to
˙ ˙
œœ
œœ œœ
leave
˙. ˙.
œœ
œœ ˙˙
œœ ..
œœ
œœ
b Vbb œ œ b &bb
œœ
˙˙
261
Alan Zachary Michael Weiner
œ ‰ œ œ œ
Dad,
his new kids,
œœ œœ œœ œœ ..
œœ
œœ ..
œ œ œ œ ‰ œ œ œ œ œ œ
his
new
œœ œœ
wife.
Or why not
œœ œœ œœ œ œ œ œœ .. œ.
just
blame
œœ œœ œœ œ œ œ œœ .. œ.
262
MUSIC FUNDAMENTALS FOR MUSICAL THEATRE
b & b bb œ
‰
Mom,
œ œ œ
who's been nuts
bb & b b œœœ œœœ œœœ œ œ œ
b & b bb œ œ felt
so
œœ œ a - lone
my
whole
When you've
œœ .. œ.
since
œœ .. œ.
œ œ œ œ ‰
œ
the
mo - ment
of
birth,
œ œ
œ
b & b bb œ œ
œ
true sense
of
œ
worth,
b œ. & b bb œ œ œ œ œ œœ .. ? bb b b œ. œ.
‰
j œ œ
œ œ œ
when it
œ œ œ œ
seems
œ. œœ ..
j œ œ
œ. œ.
œ œ œ œ œ
there is no
œ
œ œ œ
and you've strug - gled
œœ
one
a - cross
œœ œœ œœ œ œ œ œ œ œœ œ œ œ œ œ
œ
‰
j œœ œœ œ œ
œœ .. œ.
b œ œ & b b b œœ œ œ œ œ œœ œ œ œ œ œœ œ œ œ œ œ œ œ œ œ F ? bb œ œ b b œ. œ œ œ œ. œ œ. œ
œ
œ
j œ œ œ œ ‰ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œœ
œœ .. œ. œ
‰
life...
œœ œœ œœ œœ œœ œœ
? bb b œ . b œœ . .
œ.
œ œ ˙.
œ
œ
to find
œ
œ œ.
your own
œ œœ œ œ œ œ œ œ œ. œ.
œ œ.
this whole
œ ‰ earth
œ œ
to de -
œœ .. œ œ œ. œ œ œ
œ œ.
j œ œ
SONG ANALYSIS; ORCHESTRATION
b & b bb œ
pend
bb & b b œœ
? b b œ. bb œ. b & b bb œ . do.
b & b b b œœœ ... œ. ? bb j bb œ
œ œ
up - on,
œ œ œ œ
you car - ry
œ œ œ œ œ œ
œ. œ.
‰ œ œ
> œœœœ ‰ ‰ œ œ œ J j œ œ œœ ‰ ‰ >
'Cause it's
œ
on
œ œ œ œ
‰
œ œ œ
just
œ. œ.
œ Œ
œœ œ œ œœ œ œ œ œ œ œ œ
˙˙˙ .. ˙ ..
saf
œ. œ.
-
like
you
œ œ œ œ œ œ œ œœœ œ
œ œ. J
œ
263
er
œ. œ.
œ
j œœœ œ
to re - ly
˙. ˙.
œ
on
œ. al
œ -
ways
j œ
œœ .. œœ .. œœ .. œ œ œ j œ œ
œ œ œ
œ.
j œ ‰ ‰
you.
œœ œ œ œœ .. œ œ œ. j œ. œ ‰ ‰ œ. œ
Once you have analyzed the written music, listen to a recording of each song with the full orchestra. Write down some of the instruments that you hear on your sheet music and then answer the following questions: 1. What instrument(s) are driving the music? What are the most prominent? 2. What instrument (if any) is doubling the vocal line? 3. Is there a noticeable entrance of a particular instrument or section? How might that influence your performance? 4. Is there an instrument that sticks out that really helps to set the mood or setting of the song? 5. How do the different instruments or families of instruments make you feel? What do they tell you about the setting? What do they tell you about the emotional state of the character(s)?
264
Resources
265
266
267
268
269
270
PERMISSIONS ACKNOWLEDGMENTS
The author and publisher gratefully acknowledge the permission granted to reproduce the copyright material in this book: “Maria” from West Side Story Leonard Bernstein & Steven Sondheim © Copyright 1956. 1957, 1958. 1959 by Amberson Holdings LLC and Stephen Sondheim. Copyright renewed. Leonard Bernstein Music Publishing Company LLC, publisher. Boosey & Hawkes. Agent for rental. International copyright secured. “Somewhere” from West Side Story Leonard Bernstein & Steven Sondheim © Copyright 1956, 1957, 1958. 1959 by Amberson Holdings LLC and Stephen Sondheim. Copyright renewed. Leonard Bernstein Music Publishing Company LLC, publisher. Boosey & Hawkes, agent for rental. International copyright secured. “Almost There” from The Princess and the Frog Music and Lyrics by Randy Newman © Copyright 2009 Walt Disney Music Company All Rights Reserved. Used by Permission. Reprinted by Permission of Hal Leonard LLC “Close Every Door” from Joseph and the Amazing Technicolor® Dreamcoat Music by Andrew Lloyd Webber Lyrics by Tim Rice © Copyright 1969 The Really Useful Group Ltd. Copyright Renewed This arrangement © Copyright 2018 The Really Useful Group Ltd. International Copyright Secured. All Rights Reserved. Reprinted by Permission of Hal Leonard LLC “Come With Me” from The Boys from Syracuse Words by Lorenz Hart Music by Richard Rodgers © Copyright 1938 (Renewed) by Chappell & Co. 271
272
PERMISSIONS ACKNOWLEDGMENTS
Rights for the Extended Renewal Term in the U.S. Controlled by Williamson Music and WB Music Corp. o/b/o The Estate Of Lorenz Hart This arrangement © Copyright 2018 by Williamson Music and WB Music Corp. o/b/o The Estate Of Lorenz Hart International Copyright Secured. All Rights Reserved. Reprinted by Permission of Hal Leonard LLC “The Devil You Know” from Side Show Words by Bill Russell Music by Henry Krieger © Copyright 1994 MIROKU MUSIC (ASCAP), 3 Sheridan Square, Apt. 15A, New York, NY 10014 and STILLBILL MUSIC (ASCAP), 1500 Broadway, Suite 2001, New York, NY 10036 This arrangement © Copyright 2018 MIROKU MUSIC (ASCAP), 3 Sheridan Square, Apt. 15A, New York, NY 10014 and STILLBILL MUSIC (ASCAP), 1500 Broadway, Suite 2001, New York, NY 10036 International Copyright Secured All Rights Reserved Reprinted by Permission of Hal Leonard LLC “Far From The Home I Love” from Fiddler on the Roof Words by Sheldon Harnick Music by Jerry Bock © Copyright 1964 Bock IP LLC and Mayerling Productions, Ltd. Copyright Renewed 1992 This arrangement © Copyright 2018 Bock IP LLC and Mayerling Productions, Ltd. All Rights for Mayerling Productions, Ltd. Administered by R&H Music, a Division of Rodgers & Hammerstein: an Imagem Company International Copyright Secured All Rights Reserved Reprinted by Permission of Hal Leonard LLC “Good Morning Baltimore” from Hairspray Music by Marc Shaiman Lyrics by Marc Shaiman and Scott Wittman © Copyright 2000 Winding Brook Way Music and Walli Woo Entertainment This arrangement © Copyright 2018 Winding Brook Way Music and Walli Woo Entertainment All Rights Administered by Universal Music Corp. All Rights Reserved Used by Permission Reprinted by Permission of Hal Leonard LLC “Hello!” from The Book Of Mormon Words and Music by Randolph Parker, Matthew Stone and Robert Lopez © Copyright 2011 Furry Carlos Music Publishing Inc. and Only For Now, Inc.
PERMISSIONS ACKNOWLEDGMENTS
273
This arrangement © Copyright 2018 Furry Carlos Music Publishing Inc. and Only For Now, Inc. All Rights for Furry Carlos Music Publishing Inc. Administered by Kobalt Songs Music Publishing All Rights Reserved Used by Permission Reprinted by Permission of Hal Leonard LLC “I Will Prevail” from Wonderland: A New Alice Music by Frank Wildhorn Lyrics by Jack Murphy © Copyright 2011 Bronx Flash Music, Inc. (ASCAP), Ryan Samuel Melodies (ASCAP) and Lily Bird Music (BMI) This arrangement © Copyright 2018 Bronx Flash Music, Inc. (ASCAP), Ryan Samuel Melodies (ASCAP) and Lily Bird Music (BMI) All Rights for the world Controlled and Administered by Bronx Flash Music, Inc. and Kenwon Music International Copyright Secured. All Rights Reserved. Reprinted by Permission of Hal Leonard LLC “In The Beginning” from Children of Eden Music and Lyrics by Stephen Schwartz © Copyright 1989, 1998, 2000 Grey Dog Music (ASCAP) This arrangement © Copyright 2018 Grey Dog Music (ASCAP) Publishing and allied rights for “In The Beginning” Administered by Williamson Music, a Division of Hammerstein & Rodgers : an Imagem Company International Copyright Secured. All Rights Reserved. www.stephenschwartz.com Reprinted by Permission of Hal Leonard LLC “It Only Takes A Moment” from Hello, Dolly! Music and Lyric by Jerry Herman © Copyright 1963 (Renewed) Jerry Herman This arrangement © Copyright 2018 Jerry Herman All Rights Controlled by Edwin H. Morris & Company, A Division of MPL Music Publishing, Inc. All Rights Reserved. Reprinted by Permission of Hal Leonard LLC. “Man Of La Mancha (I, Don Quixote)” from Man Of La Mancha Lyric by Joe Darion Music by Mitch Leigh © Copyright 1965 (Renewed 1994) Andrew Scott, Inc. and Helena Music Corp. This arrangement © Copyright 2018 Andrew Scott, Inc. and Helena Music Corp. International Copyright Secured. All Rights Reserved. Reprinted by Permission of Hal Leonard LLC. “Maybe” from Annie Lyric by Martin Charnin
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Music by Charles Strouse © Copyright 1977 (Renewed) Edwin H. Morris & Company, A Division of MPL Music Publishing, Inc. and Charles Strouse Publishing This arrangement © Copyright 2018 Edwin H. Morris & Company, A Division of MPL Music Publishing, Inc. and Charles Strouse Publishing All Rights for Charles Strouse Publishing Administered by WB Music Corp. All Rights Reserved Reprinted by Permission of Hal Leonard LLC “My Favorite Things” from The Sound of Music Lyrics by Oscar Hammerstein II Music by Richard Rodgers © Copyright 1959 by Richard Rodgers and Oscar Hammerstein II Copyright Renewed This arrangement © Copyright 2018 by Williamson Music, a Division of Rodgers & Hammerstein: an Imagem Company, owner of publication and allied rights throughout the world. International Copyright Secured. All Rights Reserved. Reprinted by Permission of Hal Leonard LLC “On My Way” from Violet Music by Jeanine Tesori Lyrics by Brian Crawley © Copyright 1997 That”s Music To My Ears and Bayfield Music This arrangement © Copyright 2018 That”s Music To My Ears and Bayfield Music All Rights Reserved Used by Permission Reprinted by Permission of Hal Leonard LLC “Popular” from Wicked Music and Lyrics by Stephen Schwartz © Copyright 2003 Stephen Schwartz This arrangement © Copyright 2018 Stephen Schwartz All Rights Reserved Used by Permission of Grey Dog Music (ASCAP) Reprinted by Permission of Hal Leonard LLC “Safer” from First Date Music and Lyrics by Alan Zachary and Michael Weiner Copyright © 2014 Alan Zachary and Michael Weiner This arrangement Copyright © 2018 Alan Zachary and Michael Weiner All Rights Administered Worldwide by Imagem Music, LLC All Rights Reserved Used by Permission Reprinted by Permission of Hal Leonard LLC “Santa Fe” from Newsies Music by Alan Menken
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Lyrics by Jack Feldman © Copyright 1992, 2012 Wonderland Music Company, Inc. and Camp Songs Music This arrangement © Copyright 2018 Wonderland Music Company, Inc. and Camp Songs Music All Rights Administered by Wonderland Music Company, Inc. All Rights Reserved. Used by Permission. Reprinted by Permission of Hal Leonard LLC “Seventy Six Trombones” from The Music Man By Meredith Willson © Copyright 1957 (Renewed) Frank Music Corp. and Meredith Willson Music This arrangement © Copyright 2018 Frank Music Corp. and Meredith Willson Music All Rights Reserved. Reprinted by Permission of Hal Leonard LLC. “Someday” from The Wedding Singer Music by Matthew Sklar Lyrics by Chad Beguelin © Copyright 2006 Matthew Sklar Music (ASCAP) and Chad Beguelin Music (ASCAP) This arrangement © Copyright 2018 Matthew Sklar Music (ASCAP) and Chad Beguelin Music (ASCAP) Worldwide Rights for Matthew Sklar Music and Chad Beguelin Music Administered by Cherry Lane Music Publishing Company, Inc. International Copyright Secured. All Rights Reserved. Reprinted by Permission of Hal Leonard LLC. “Someone Like You” from Jekyll & Hyde Words and Music by Leslie Bricusse and Frank Wildhorn © Copyright 1997 Painted Desert Music Corp. on behalf of Stage And Screen Music Inc., BMG Ruby Songs, Scaramanga Music, Inc. and Reservoir Media Music This arrangement © Copyright 2018 Painted Desert Music Corp. on behalf of Stage And Screen Music Inc., BMG Ruby Songs, Scaramanga Music, Inc. and Reservoir Media Music All Rights for BMG Ruby Songs and Scaramanga Music, Inc. Administered by BMG Rights Management (US) LLC All Rights for Reservoir Media Music Administered by Reservoir Media Management, Inc. Reservoir Media Music Administered by Alfred Music International Copyright Secured. All Rights Reserved. Used by Permission. Reprinted by Permission of Hal Leonard LLC “Still Hurting” from The Last Five Years Music and Lyrics by Jason Robert Brown © Copyright 2002 by Jason Robert Brown This arrangement © Copyright 2018 by Jason Robert Brown All Rights Controlled by Semolina Farfalle Music Co. Inc. (ASCAP) International Copyright Secured.
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All Rights Reserved. Reprinted by Permission of Hal Leonard LLC “Summer Nights” from Grease Lyric and Music by Warren Casey and Jim Jacobs © Copyright 1972 Warren Casey and Jim Jacobs © Copyright Renewed 2000 Jim Jacobs and The Estate Of Warren Casey This arrangement © Copyright Renewed 2018 Jim Jacobs and The Estate Of Warren Casey All Rights Administered by Edwin H. Morris & Company, A Division of MPL Music Publishing, Inc. All Rights Reserved Reprinted by Permission of Hal Leonard LLC “The Surrey With The Fringe On Top” from Oklahoma! Lyrics by Oscar Hammerstein II Music by Richard Rodgers © Copyright 1943 by Williamson Music, a Division of Rodgers & Hammerstein: an Imagem Company. Copyright Renewed This arrangement © Copyright 2018 by Williamson Music, a Division of Rodgers & Hammerstein: an Imagem Company International Copyright Secured All Rights Reserved Reprinted by Permission of Hal Leonard LLC “There”s No Business Like Show Business” from Annie Get Your Gun Words and Music by Irving Berlin © Copyright 1946 by Irving Berlin Copyright Renewed This arrangement © Copyright 2018 by the Estate of Irving Berlin International Copyright Secured All Rights Reserved Reprinted by Permission of Hal Leonard LLC “You”ll Never Walk Alone” from Carousel Lyrics by Oscar Hammerstein II Music by Richard Rodgers © Copyright 1945 by Williamson Music, a Division of Rodgers & Hammerstein: an Imagem Company Copyright Renewed This arrangement © Copyright 2018 by Williamson Music, a Division of Rodgers & Hammerstein: an Imagem Company International Copyright Secured All Rights Reserved Reprinted by Permission of Hal Leonard LLC “Come With me” from The Boys from Syracuse By LORENZ HART and RICHARD RODGERS Copyright© 1939 (Renewed) CHAPPELL & CO., INC. And WILLIAMSON MUSIC COMPANY All Rights Reserved Used By Permission of Alfred Music 50% Control In The United States 100% Control in the Rest of the World
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277
“Maybe” from Annie By Lorenz Hart and Richard Rodgers Copyright© 1939 (Renewed) Chappell & Co., Inc. and Williamson Music Company All Rights Reserved Used By Permission of Alfred Music 50% Control in the World “What Did I Have That I Don”t Have?” from On a Clear Day You Can See Forever Lyrics by Alan Jay Lerner Music by Burton Lane Copyright © 1965 (Renewed) by Alan Jay Lerner and Burton Lane Publication and Allied Right s Assigned to Chappell & Co., INC . All Rights Reserved Used By Permission of Alfred Music 100% Control in the World “Somewhere Over the Rainbow” from The Wizard of Oz Music by Harold Arlen Lyrics by E.Y. Harburg Copyright© 1938 (Renewed) Metro-Goldwyn-Mayer INC. © 1939 (Renewed) Emi Feist Catalog Inc. All Right s Controlled and Administered by Emi Feist Catalog In C. (Publishing) an d Alfred Music (Print) All Rights Reserved Used By Permission of Alfred Music 100% Control in the World - Excluding Europe “Lucky to Be Me” from On The Town Lyric s by Betty Comden and Adolph Green Music by Leonard Bernstein Copyright © 1944 (Renewed) WB Music Corp. All Right s Reserved Used By Permission of Alfred Music 100% Control in the World “Alone in the Universe” from Seussica, the Musical Lyrics by Lynn Aherns Music by Stephen Flaherty Copyright © 2001 WB Music Corp., Pen and Perseverance and Hillsdale Music, Inc. All Rights Administered by WB Music Corp. All Rights Reserved Used By Permission of Alfred Music 100% Control in the World “Treat Me Rough” from Crazy Girl Music and Lyrics by George Gerschwin and Ira Gershwin Copyright© 1944 (Renewed) WB Music Corp. All Rights Reserved Used By Permission of Alfred Music 100% Control in the World “Your Daddy”s Son” from Ragtime Lyrics by Lynn Ahrens Music by Stephen Flaherty Copyright © 1997 WB Music Corp., Pen and Perseverance and Hillsdale Music, Inc.
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All Rights Administered by WB Music Corp. All Rights Reserved Used By Permission of Alfred Music 100% Control in the World “Always Starting Over” from If/Then Lyrics by Brian Yorkey Music by Tom Kitt Copyright © 2014 Lonely Satellite Music (BMI) and Tom Kitt Music (BMI) All Rights Administered by Warner Tamblane Publishing Corp. (BMI) All Rights Reserved Used By Permission of Alfred Music 100% Control in the World “Go To Sleep Slumber Deep” from Babes in Toyland Words by Glen MacDonough Music by Victor Herbert Copyright© 1903 (Renewed) Warner Bros. Inc. . All Rights Reserved Used By Permission of Alfred Music 100% Control in the World (Public Domain in the United States) “Too Darn Hot” from Kiss Me Kate Words and Music by Cole Porter Copyright © 1949 by Cole Porter Copyright Renewed and Assigned to John F. Wharton, Trustee of the Cole Porter Musical and Literary Property Trusts Publication and allied rights assigned to Chappell & Co. Inc. . All Rights Reserved Used By Permission of Alfred Music 100% Control in the World “Pulled” from The Addams Family Words and Music by Andrew Lippa © 2009 Lippa Songs All Rights Administered by WB Music Corp. All Rights Reserved Used By Permission of Alfred Music For our 100% in the world “As Long as He Needs Me” from Oliver! Lyrics and Music by Lionel Bart © Copyright 1960 (Renewed) Lakeview Music Co., Ltd., London, England TRO-Hollis Music, Inc., New York, controls all publication rights for the USA and Canada International Copyright Secured Made in U.S.A. All Rights Reserved Including Public Performance For Profit “Someone Like You” from Jekyll and Hyde Lyrics by Leslie Bricusse Music by Frank Wildhorn © 1990, 1995 Reservoir Media Music (ASCAP), BMG Gold Songs, BMG Ruby Songs, LES Etoiles de la Musique and Stage and Screen Music Ltd. .
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279
All Rights for Reservoir Media Music (ASCAP) Administered by Reservoir Media Management, Inc. Reservoir Media Music (ASCAP) Administered by Alfred Music. All Rights Reserved Used By Permission of Alfred Music “I Got Rhythm” from Girl Crazy Music and Lyrics by George Gerschwin and Ira Gershwin © 1930 (Renewed) WB Music Corp. and Ira Gershwin Music All Rights Administered by WB Music Corp. By Permission of Alfred Music For our 100% in USA and Canada “Comedy Tonight” from A Funny Thing Happened on the Way to the Forum All Rights Administered by Chappell & Co., Inc. © 1962 (Renewed) Burthen Music Company, Inc. Music and Lyrics by Stephen Sondheim By Permission of Alfred Music For our 100% in USA and Canada “Time Stops” from Big Fish All Rights Reserved Words and Music by Andrew Lippa © 2013 Lippa Songs. All Rights Administered by WB Music Corp. By Permission of Alfred Music For our 100% in USA and Canada “Leavin”s Not The Only Way To Go” from Big River Words Copyright and © Music 1985 by Sony/Roger ATV Miller Songs LLC and Roger Miller Music. All This Rights Arrangement by Administered Copyright © Sony/ 2018 ATV Sony/Music ATV Publishing, LLC 424 and Church Roger Street, Miller Suite Music. I 200, Nashville, TN 37219 International Copyright Secured All Rights Reserved Reprinted by Permission of Hal Leonard LLC “Happy To Keep His Dinner Warm” from How to Succeed in Business Without Really Trying By Frank Laesser © This arrangement 1961 (Renewed) © 2018 Frank Music Corp. All Rights Reserved Reprinted by Permission of Hal Leonard LLC
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INDEX
I, IV, V progression 117–20, 137–8, 182–3 I, vi, ii, V, I progression 151–4, 167–8, 182–3 a tempo 47 accelerando (accel.) 47 accent 100 accidentals 18–20 adagio 47 Ahrens, Lynn and Flaherty, Stephen “Alone in the Universe” 78 “Your Daddy’s Son” 214 allegro 47 “Almost There” (Newman) 90 “Alone in the Universe” (Ahrens and Flaherty) 78 “Always Starting Over” (Kitt and Yorkey) 246 American note names 9–10 andante 47 Arlen, Harold and Harburg, E. Y. “Somewhere Over the Rainbow” 13, 64 arrangers 177 articulations 100 “As Long As He Needs Me” (Bart) 55, 56 augmented eighths (aug8) 86–7 augmented fourths (aug4) 85–7 augmented intervals 85–9 augmented seconds (aug2) 88–9 augmented sevenths (aug7) 88–9 augmented sixths (aug6) 88–9 augmented thirds (aug3) 88–9 augmented triads 146–7,160, 161 “Babes in Arms” (Rodgers and Hart) 25 Babes in Toyland (Herbert and MacDonough) 250–2, 255 backwards repeat signs 140 bar lines 10 Bareilles, Sara Waitress 249 bars 10 Bart, Lionel “As Long As He Needs Me” 55, 56
bass clef 111 beats 11 beats per minute (bpm) 47 Berlin, Irving “There’s No Business Like Show Business” 24, 25 Bernstein, Leonard, Comden, Betty, and Green, Adolph “Lucky to Be Me” 77 Bernstein, Leonard and Sondheim, Stephen “Maria” 87 “Somewhere” 78 Bock, Jerry and Harnick, Sheldon “Far From the Home I Love” 206 braces 112 breathing 106–7 bridges 223–4 British note names 9–10 Brown, Jason Robert “Still Hurting” 246 C major scale 7, 20 Carousal (Rodgers and Hammerstein) 250, 253–5 Children of Eden (Schwartz) 260–1, 263 choral analysis 176 chord symbols 158 chord tones 120–3 chords 109 (see also triads) I, IV, and V progression 117–20, 137–8, 182–3 I, vi, ii, V, I progression 151–4, 167–8, 182–3 diminished seventh chords 228–9, 230–2 dominant seventh chords 179–85, 217–20, 230–2 half-diminished seventh chords 227–8, 230–2 inversions of triads 157–61 major seventh chords 225–6, 230–2 minor chord progressions 209–15 281
282
minor seventh chords 226–7, 230–2 progressions with inversions 165–70 Roman numerals 165 suspended chords 188–90 transposing 127–8 V chords 182–3 V of V chords 185–6 V7 chords 180–3 choruses 223–4 chromatic scale, the 20 chromatic solfege 148 circle of fifths 29, 31, 33, 191 classical music 1 “Close Every Door” (Lloyd Webber and Rice) 77 codas 14, 223–4 colla voce 47 “Come With Me” (Rodgers and Hart) 24, 25 “Comedy Tonight” (Sondheim) 63, 119, 120 composers 177 compound time signatures 233–41, 243–8 copyists 177 crescendo 100 crotchets 9 cut-time 24, 147–50 D.C. (Da capo [from the beginning]) 151 D.C. al Coda (Back to the beginning and then to the Coda) 141 D.C. al fine (Back to the beginning until “fine”) 141 D.S. (Dal Segno [from the sign]) 141 D.S. al Coda (Back to the sign and then to the Coda) 141 D.S. al fine (Back to the sign until “fine”) 141 decrescendo 100 “Devil You Know, The” (Russell and Krieger) 205 diminished eighths (dim8) 86–7 diminished fifths (dim5) 85–7 diminished intervals 85–9 diminished seconds (dim2) 88–9 diminished sevenths (dim7) 88–9 diminished sixths (dim6) 88–9 diminished thirds (dim3) 88–9 diminished triads 145, 146–7, 160, 161 diminuendo 100 dominant seventh chords 179–85, 217–20 dotted notes 101–2 double flat notes 74 double sharp notes 74 dynamics 100
INDEX
eighth note triplets 128–30 eighth notes 9 eighth rests 78 enharmonic keys 33 enharmonic notes 19 Estefan, Emilio, Estefan, Gloria and Miami Sound Machine On Your Feet 250 F clef 111 “Far From the Home I Love” (Bock and Harnick) 206 fermata 100 fifths 29, 49, 50, 61 final bar lines 10 fine (the end) 141 First Date (Zachary and Weiner) 260, 261–3 five-line staff 5 flat keys 31–2, 34, 44 flat notes 19, 74 forte 100 fortissimo 100 forward repeat signs 140 fourths 49, 50, 61 G clef 3 Gershwin, George and Gershwin, Ira “I Got Rhythm” 231 “Treat Me Rough” 90 “Go To Sleep, Slumber Deep” (Herbert and MacDonough) 250–2, 255 “Good Morning Baltimore” (Shaiman and Wittman) 133 “Graduation Scene” (Rodgers and Hammerstein) 250, 253–5 grand staff 112 half notes 9 half rests 78 half steps 17–20, 27, 76 “Happy to Keep His Dinner Warm” (Loesser) 131 harmonic minor scales 199–202, 205, 209–11 “Hello!” (Parker, Lopez and Stone) Hello Dolly (Herman) 249 Herbert, Victor and MacDonough, Glen Babes in Toyland 250–2, 255 “Go To Sleep, Slumber Deep” 250–2, 255 Herman, Jerry Hello Dolly 249 “It Only Takes a Moment” 153 “Home” (Menken and Rice) 223–4
INDEX
“I Got Rhythm” (Gershwin and Gershwin) 231 “I Will Prevail” (Wildhorn and Murphy) 213 “In the Beginning” (Schwartz) 260–1, 263 intervals 17–18, 41, 49–59, 73–8, 95–8 augmented 85–9 chart 88 diminished 85–9 drawing 53–4, 62, 75 inversions 95 perfect intervals 61–4 spelling differences 88 transposing by 125–6 inversions 157–61, 175 “It Only Takes a Moment” (Herman) 153 Jacobs, Jim and Casey, Warren “Summer Nights” 119, 120, 187–8 John, Elton and Rice, Tim Lion King, The 249, 250 key signatures 29, 34–7, 44, 191–2 transposing by 126–7 keyboards 249 Kiss Me Kate (Porter) 255–9 Kitt, Tom and Yorkey, Brian “Always Starting Over” 246 largo 47 “Leavin’s Not the Only Way To Go” (Miller) 119, 189–90 ledger lines 6–7 Leigh, Mitch and Darion, Joe “Man of La Mancha” 212 Lerner, Jay and Lane, Burton “What Did I Have That I Don’t Have?” 131 Lion King, The (John and Rice) 249, 250 Lippa, Andrew “Pulled” 205–6 “Time Stops” 77, 107 listening augmented chords 147 compound time signatures 241, 248 diminished chords 147 half steps and whole steps 27 intervals 59, 71, 82, 94, 99 major chords 145, 147 melody 83, 99–100, 108, 115, 164, 232, 241, 248 minor chords 145, 147 minor melodies 207 minor scales 207
283
rhythm 59, 71, 83, 99, 108, 163, 232, 241, 248 seventh chords 232 Lloyd Webber, Andrew, Hart, Charles and Stilgoe, Richard Phantom of the Opera, The 249 Lloyd Webber, Andrew and Rice, Tim “Close Every Door” 77 Loesser, Frank “Happy to Keep His Dinner Warm” 131 “Sit Down You’re Rockin’ the Boat” 223 “Lucky to Be Me” (Bernstein, Comden and Green) 77 major intervals 51–6 major key signature method of drawing a major triad 137–8 major keys 29–37, 44 major scales 7, 20–4, 41–3, 193–8 major seconds (M2) 51–2, 76 major sevenths (M7) 74–8 major sixths (M6) 73–8 major thirds (M3) 52–4, 76 major triads 109–10, 112, 117, 135–7, 146–7, 159–60 “Man of La Mancha” (Leigh and Darion) 212 “Maria” (Bernstein and Sondheim) 87 “Maybe” (Strouse and Charnin) 55, 56 measures 10 melodic minor scales 202–5, 213 melodic musical phrases 56 melody, harmonizing 121–2, 154–5 Menken, Alan and Feldman, Jack “Santa Fe” 154, 186–7 Menken, Alan and Rice, Tim “Home” 223–4 meno mosso 47 metronomes 12, 47 mezzo forte 100 mezzo piano 100 Miller, Roger “Leavin’s Not the Only Way To Go” 119, 189–90 minims 9 minor chord progressions 209–15 minor intervals 51–6 minor keys 191–2, 195–6 song analysis 205–6, 222–3 minor scales 193–8, 221 harmonic minor scales 199–202, 205, 209–11
284
melodic minor scales 202–5, 213 natural minor scales 199, 209–11 song analysis 205–6 minor seconds (m2) 51–2, 76 minor sevenths (m7) 73–8 minor sixths (m6) 73–8 minor thirds (m3) 52–4, 76, 191 minor triads 143–5, 146–7, 160, 209 moderato 47 music departments 177 music directors 177 music supervisors 177 musical phrases 120 “My Favorite Things” (Rodgers and Hammerstein) 64 natural minor scales 199, 209–11 natural signs 19 neumonic for major keys 34 Newman, Randy “Almost There” 90 “No One Mourns the Wicked” (Schwartz) 206 non-chord tones 120–3 notes 3–4 beats 11 heads 10 names 9–10 recognition 39 octaves 49, 61, 63 off-beat 90–1 “Oklahoma!” (Rodgers and Hammerstein) 25 “On My Way” (Tesori and Crawley) 170 On Your Feet (Estefan, Estefan and Miami Sound Machine) 250 one-bar repeat signs 140 one-line staff 14 orchestras 249–50, 255, 260 orchestration 249–63 orchestrators 177 parallel minor keys 195–6 parallel minor scales 193, 195–6 Parker, Randolph, Lopez, Robert, and Stone, Matthew “Hello!” 56 percussion clef 14 perfect eighths (P8) 63–4, 76 perfect fifths (P5) 61–2, 63–4, 76 perfect fourths (P4) 61–2, 63–4, 76 perfect intervals 61–4
INDEX
performance tips 47, 100, 140, 177, 223 performers 2–3 Phantom of the Opera, The (Lloyd Webber, Hart and Stilgoe) 249 phrase shapes 56 pianissimo 100 piano 100 piano accompanists 249 piano keyboard 1, 17–20, 41 major scales 22 pitch 5, 6 (see also transposition) piu mosso 47 “Popular” (Schwartz) 148, 149 Porter, Cole Kiss Me Kate 255–9 “Too Darn Hot” 255–9 practice 3 presto 47 “Pulled” (Lippa) 205–6 quarter note triplets 131–3 quarter notes 9 quarter rests 78 quavers 9 raised seventh scale degree 199–200 rallentando (rall.) 47 rehearsal pianists 177 relative minor keys 195–6 relative minor scales 195–6 repeat signs 140 rests 78–80 rhythm 9–14, 39–40, 65–71, 162 dotted notes 101–2 practice 139 song analysis 106–8 syncopation 90–1 ties 90, 101–2 triplets 128–33 rhythm clef 14 rhythm section 250 ritardando (rit.) 47 road map, the 140–1 Rodgers, Richard and Hammerstein, Oscar, II Carousal 250, 253–5 “Graduation Scene” 250, 253–5 “My Favorite Things” 64 “Oklahoma!” 25 “Soliloquy” 206 Sound of Music, The 7 “Surrey With The Fringe On Top, The” 148
INDEX
Rodgers, Richard and Hart, Lorenz “Babes in Arms” 25 “Come With Me” 24, 25 rubato 47 Russell, Bill and Krieger, Henry “Devil You Know, The” 205 “Safer” (Zachary and Weiner) 261–3 “Santa Fe” (Menken and Feldman) 154, 186–7 scales major 7, 20–4 patterns 20–5 Schwartz, Stephen Children of Eden 260–1, 263 “In the Beginning” 260–1, 263 “No One Mourns the Wicked” 206 “Popular” 148, 149 Wicked 249 seconds 49–52 semibreves 9 seventh chords diminished seventh chords 228–9, 230–2 dominant seventh chords 179–88, 217–20, 230–2 half-diminished seventh chords 227–8, 230–2 major seventh chords 225–6, 230–2 minor seventh chords 226–7, 230–2 sevenths 49, 50–1 “Seventy Six Trombones” (Willson) 246 Shaiman, Marc and Wittman, Scott “Good Morning Baltimore” 133 sharp keys 29–30, 34, 44 sharp notes 18, 74 sight-singing 25–7, 80–2, 98–9, 113–14 C major scale 7–8 compound time signatures 239–40, 247–8 dotted notes 104–5 harmonic minor scales 201–2 intervals 57–8, 92–3 inversions of triads 162–3 major keys 35, 45–6 melodic minor scales 204–5 minor scales 196–8 rhythm 14–16, 69–70 time signatures 1045 simple time signatures 233 single bar lines 10 “Sit Down You’re Rockin’ the Boat” (Loesser) 223 sixteenth notes 65–8 sixteenth rests 78
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sixths 49, 50–1 Sklar, Matthew and Beguelin, Chad “Someday” 55, 106 smooth voice leading 166–7 snowman method of drawing a major triad 135–6 solfege 7–8, 148 “Soliloquy” (Rodgers and Hammerstein) 206 “Someday” (Sklar, and Beguelin) 55, 106 “Someone Like You” (Wildhorn and Bricusse) 64 “Somewhere” (Bernstein and Sondheim) 78 “Somewhere Over the rainbow” (Arlen and Harburg) 13, 64 Sondheim, Stephen “Comedy Tonight” 63, 119, 120 song analysis 2, 249–63 compound time signatures 246 melodic musical phrases 56 minor keys 205–6, 222–3 minor scales 205–6 musical phrases 120 rhythm 106–8 scale patterns 25 song form 223–4 Soprano Alto Tenor Bass (SATB) configuration 168, 176 Sound of Music, The (Rodgers and Hammerstein) 7 staccato 100 stacking thirds method of drawing a major triad 135–6 staff 5, 15 stems 10 “Still Hurting” (Brown) 246 Strouse, Charles and Charnin, Martin “Maybe” 55, 56 “Summer Nights” (Jacobs and Casey) 119, 120, 187–8 “Surrey With The Fringe On Top, The” (Rodgers and Hammerstein) 148 suspended chords 188–90 syncopation 90–1 tempo 12, 47 tempo alterations 47 tempo markings 47 tenuto 100 Tesori, Jeanine and Crawley, Brian “On My Way” 170 “There’s No Business Like Show Business” (Berlin) 24, 25
286
thirds 49–50, 52–6 ties 90, 101–2 time signatures 10–14, 102–4, 147–50 compound time signatures 233–41, 243–8 cut-time 24, 147–50 simple time signatures 233 “Time Stops” (Lippa) 77, 107 To Coda (To the Coda) 141 tonic, the 35 “Too Darn Hot” (Porter) 255–9 transpositions 125–8 “Treat Me Rough” (Gershwin and Gershwin) 90 treble clef 3 triad formulas 171–4 triads 109 augmented triads 146–7, 160, 161 diminished triads 145, 146–7, 160, 161 formulas 171–4 inversions of 157–61, 175 major triads 109–10, 112, 117, 135–7, 146–7, 159–60 minor triads 143–5, 146–7, 160, 209 triplets 128–33 triton 85–7 unisons 49
INDEX
V chords 182–3 V of V chords 185–6 V7 chords 180–3 vamp 140 verses 223–4 vocal parts 168–70 Waitress (Bareilles) 249 “What Did I Have That I Don’t Have?” (Lerner and Lane) 131 whole notes 9 whole rests 78 whole steps 17–18, 20, 27 Wicked (Schwartz) 249 Wildhorn, Frank and Bricusse, Leslie “Someone Like You” 64 Wildhorn, Frank and Murphy, Jack “I Will Prevail” 213 Willson, Meredith “Seventy Six Trombones” 246 “Your Daddy’s Son” (Ahrens and Flaherty) 214 Zachary, Alan and Weiner, Michael First Date 260, 261–3 “Safer” 261–3
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