1
Excavating the Song: Analytical Tools for Song Performance
Neal Richardson, MTEA 2013
[email protected]
[email protected]
I. Introduction to Critical Listening and Thinking about music
A. Why is it important?
B. Where do I start? The best place to start is with listening with an open mind and
attentive ears. It doesn’t require an advanced understanding of music theory.
II. Critical Listening: “Soliloquy”
III. Musical Components
A. Melody
B. Tempo
C. Rhythm
D. Orchestration
E. Form
F. Harmony
G. Musical symbols
IV. Analysis: listening while looking at lyrics. Sample #1: “Will He Like Me?”
V. Analysis: listening while looking at sheet music. Sample #2: “Painting Her Portrait”
VI. Conclusions
Contents of this handout:
Musical Components for Analysis (page 2)
Analysis of “Will He Like Me?” (page 3)
Analysis of “Lonely Room” (page 6)
Analysis of “Maybe This Time” (page 8)
Sample essays (page 10)
Sample lesson plans (page 18)
Sheet music for “Painting Her Portrait” (page 20)
2
Musical Components for Analysis
Use these Six components to guide you as you look for meaning in music.
1. Melody and melodic contour. This melody goes up while that melody goes down. This
melody is high while this melody is lower. A melody can be considered “melodic” if there is a
balance of contour (up motion and down motion) and step-wise motion contrasting with
leaps. Sometimes, as in the opening of “Will He Like Me?”, there is a purposeful lack of
traditional melody.
2. Tempo. This tempo is fast. This tempo is slower.
3. Rhythm can be predictable or smooth (“In My Own Little Corner” from CINDERELLA) or it
can be unpredictable or syncopated (“Something’s Coming” from WEST SIDE STORY). The
heartbeat rhythm is such a fundamental life-rhythm that when utilized can have powerful
meanings in songs like “Tonight” (West Side Story) or “The Story Goes On” (Baby). Rhythm
is an important component in understanding music that can sometimes be overlooked.
4. Orchestration can suggest moods and feelings. A flute can be sweet. A trumpet can be strong
and powerful. Timpani drums can be suggest majesty. A saxophone often is used to suggest
the sexual. A lone, high violin can suggest a plaintive quality. Listen to “Peter and the Wolf”
by Sergei Prokofiev for the ways that instruments can help to tell a story.
5. Form. Looking at the way a song unfolds in time with differing melodies and harmonies can
be a powerful tool for understanding a song. Before 1943, songs were fairly simple in
structure, usually in an AABA or ABAB form. After OKLAHOMA!, theatre songs like
“Lonely Room” and “Soliloquy” were often more complex as the situations and story-telling
grew in complexity.
6. Harmony. This can be intimidating to a lot of people but it doesn’t have to be. If you can do in
depth harmonic analysis, that’s great. But start by observing things like, “This is in a minor
mode” or “This music is dissonant” or “This music sounds exotic.”
7. Musical Symbols and representations. Music can represent or suggest things is time and
space. For instance, music that sounds like a March can represent a parade while a Waltz can
represent a genteel social gathering. A clock ticking can be represented in music because it is
essentially a musical figure of pitch and rhythm.
3
Will He Like Me? (She Loves Me)
Lyric divided by beat
Will he like me when we
meet? Will the shy and quiet
girl he's going to see be the
girl the he's imagined me to
be? Will he like me?
Action
Amalia questions if she will
be attractive to the man she
has been writing.
Musical notes
The simple, non-melodic
melody at the beginning is a
perfect analogue to the
questioning lyric. I’ll call the
motive back and forth
between D and E the
“questioning motive”. She’s
working out her problem. The
melody opens up and
encompasses a full octave. It
moves from non-melodic to
highly melodic within the
span of only 8 bars! This
soaring melody in the second
half of this section is Amalia
letting out her true feelings,
desires and hopes out into the
world.
Will he like the girl he sees?
She re-states her question in a
If he doesn't, will he know
new way.
enough to know that there's
more of me than I may always
show? Will he like me?
An exact melodic repeat. She
goes back to the problem.
The lyrics go deeper into her
worries and fears. She puts
the lid back on her hopes and
goes back to working out the
problem.
Will he know that there's a
world of love waiting to
warm him? How I'm hoping
that his eyes and ears won't
misinform him.
The B section starts with the
same melodic motive but an
octave higher. The melodic
idea that was first presented
at the beginning is now
allowed to fully flower. It has
grown into a fully developed
melody.
She opens up her heart about
what she has to offer the
relationship and her wish that
he will see that within her.
4
Lyric divided by beat
Action
Musical notes
Will he like me, who can say?
How I wish that we could
meet another day. It’s absurd
for me to carry on this way.
I'll try not to. Will he like me?
He's just got to. Will he like
me? He's just got to.
She re-states her question and
responds to the question for
the first time.
Back to the A material. The
penultimate line in the A
section, “Will he like me” is a
fully step higher, intensifying
the question. The end of the
section, the melody is not
allowed to resolve. “He’s just
got to” ends on a dissonant
note, the second scale degree
of G major. A new
accompanimental idea is
introduced here, the steady
8th flow corresponds to the
ease she has when she writes
alone.
When I am in my room alone
and I write, thoughts come
easily, words come fluently
then. That’s how it is when
I’m alone, but tonight, there’s
no hiding behind my paper
and pen.
Amalia describes how easy it
is to write when she’s by
herself and faces the fact that
things will be much different
when she’s face to face with
him.
Here, Amalia takes stock of
the difference between the
two situations, writing when
she’s alone and the terrifying
thought of actually talking to
him. She’s much more at ease
when she writes to him alone.
“There’s no hiding behind my
paper and pen” has a steady
quarter note accompaniment.
This leads her back into the
last section of the song. The
accompaniment leading us
back is the questioning
motive, this time used to
broaden and expand.
Will he know that there’s a
world of love waiting to
warm him? How I’m hoping
that his eyes and ears won’t
misinform him.
She returns to her thoughts
about how much she can
offer this man.
Like before, the B section
allows us to see and hear the
full depth of her desires.
5
Lyric divided by beat
Will he like me? I don’t know.
All I know is that I’m tempted
not to go. It’s insanity for me
to worry so. I’ll try not to.
Will he like me? He’s just got
to. Will he like me? Will he
like me?
Action
Back to the initial questions;
questions that build in
intensity to the end.
Musical notes
Back to questioning. The
questions “Will he like me”
get progressively higher in
pitch, ending with the song’s
apex, F#. This dissonant note
helps to emphasize the lack
of resolution in the song. This
song has an “ending where
you start” arc.
Analysis you can use
The “questioning motive” at the beginning should be performed parlando, in a
rhythmically free, slightly non-legato manner. It’s a “non-melody” that opens up as she
moves higher and the question gets more passionate. There is a return to the “questioning
motive” as she goes back to working things out. Then there is a soaring melody as she
expresses her deepest wishes which can be more legato and non rubato. The rhythm in
the middle section is more flowing to express the ease she has when she’s alone. She
allows herself to express a completely different side to her character. As it moves back to
the low “questioning motive” we understand that she hasn’t really solved anything. This
music tells us that the arc is a “returning back where you start arc” or “spiral arc.” Be
aware that much of the melodic material is developed out of the two-note questioning
motive, reminding us that this moment is about her questions.
6
Lonely Room (Oklahoma)
Lyric divided by beat
Action
Musical notes
The floor creaks,
The door squeaks,
There's a field-mouse
a-nibblin on a broom
And I sit by myself
Like a cobweb on the shelf
By myself in a lonely room
Judd describes his world.
There is a repeated half-step
in the orchestra that suggests
Judd’s conflict and tension
supporting a small melodic
range indicative of Judd’s
world. There is a
preponderance of downward
melodic motion.
But when there's a moon in
my winder
And it slants down a
beam'crost my bed
Then the shadder of a tree
starts a-dancin on the wall
And a dream starts a-dancin
in my head
And all the things I wish fer
Turn out like I want them to
be
And I'm better'n that smart
aleck cowboy
Who thinks he is better'n me!
“But” indicates that he has
secret longings for something
better than his hum-drum
existence.
The accompaniment responds
to these images with 16th
notes. This is the dream
dancing in his head.
And the girl that I want
Ain't afraid of my arms,
And her own soft arms keep
me warm
He allows himself to
verbalize the what he most
wishes.
This new section becomes
much more melodic,
responding to the images of
love and embracing Laurey.
And her long,yeller hair, falls
a-crost my face, Jist like the
rain in a storm!
This is the best thing he can
imagine. It is a simple,
human desire.
There is a swell in dynamics
supporting the passion he
feels. The melodic motive,
F#, G, A B, ends on the
melody’s apex, C#.
7
Lyric divided by beat
Action
Musical notes
The floor creaks, The door
squeaks
And the mouse starts anibblin on the broom
And the sun flicks my eyes
It was all a pack o'lies!
I'm awake in a lonely room.
But, here he is, as always, in
Almost an exact repeat of the
a drab room realizing that this first A section. He is back in
dream is not a reality.
his room, facing his
existence.
I ain't gonna dream 'bout her
no more!
I ain't gonna leave her alone!
Goin' outside, Git myself a
bride,
Git me a womern to call my
own.
He makes his decision: to
persue his heart’s desire and
not just dream about it.
Here, at the climax of the
song, we hear new music. A
melodic motive, (F#, G, A B),
is used on “Goin’ outside/Git
myself a bride,”. The song
ends on the melodic apex,
C#. This is a non-chord tone
of the home key, B minor.
The final chord is B, C#, F#,
an incomplete triad
corresponding to Judd’s
emotional state.
Analysis you can use
The use the tension of the 1/2 steps and the non-melodic melody create Judd’s existence.
Because the opening melody is a “non-melody”, it should be closer to speech. When the
orchestra opens up in the B section, that’s a clue for a more expansive vocal production and
active character choices. For the first time, we see Judd’s hopes and dreams. It builds to the first
climax on “Jist like the rain in a storm.. There is then an important return to the initial emotion
place–Judd’s life is the same as it always was. But after returning there for a little while, there’s
an abrupt change with “I ain’t gonna dream ‘bout her arms no more!” Judd makes a decision to
act on his wishes.
8
Maybe This Time Analysis
Kander and Ebb from the musical, Cabaret (movie, then revival)
In the sophomore Music Theory for Musical Theatre majors, I require students to write a short
essay on a song of their choosing with these guidelines. What follows is an example I use in
class and then a few sample essays from the students.
Structure for your three-page paper
1. An introduction which gives a context for the song and gives us an overview of what your
thesis is.
2. Supporting evidence for this thesis–the body of the paper.
3. A conclusion which gives specific ways you can use this analysis in a performance.
This song is a perfect pairing of music, lyrics, character and situation. Sally Bowles is the cabaret
singer who has had few breaks and fewer successes in her life. When she discovers she’s
pregnant with Cliff’s child, she begins to believe that her life can turn around.
The song’s vamp is a snapshot of her life to this place–it crawls up (by half-steps) and just as we
think it’s going to continue, it returns to where it begins. But this is just the beginning of her
“epic” journey.
Some points to consider:
•The song is in an ABAC form. After a half-step modulation the second half of the song repeats.
The song’s form helps to reinforce this journey by increasing the intensity little by little as the
song progresses.
•The quarter note in the bass suggests the Sally’s determination.
•The first 4 bars are repeated in the next 4 bars at a higher pitch level, suggesting Sally’s success
and determination
•In the B section, “He will hold me fast” is supported by “embrace motive” of half-steps above
and below “b3”
9
•The C section is a development of the B material which takes the melody higher than before.
•There’s a half-step modulation to A-flat and the last two sections from before are repeated.
•The vamp at the end changes to one of hopefulness by moving up to “f3” instead of down as
before.
Analysis you can use
John Kander’s music and Fred Ebb’s lyrics are an especially strong example of a perfect
marriage of the two components. The song was not part of the original production but was
instead added for the movie, written specially for Liza Minnelli, and as such, is one of the rare
cases where an added song is as unforgettable as the original material. “Maybe This Time” is
essentially Sally’s “I Want” song and it’s surprising that there wasn’t a moment like this in the
original production.
Both the music and the lyrics tell the same story–the story of a person who has been
down on her luck but is fighting to overcome the odds and will succeed.
10
Scott James Smith
Epiphany Analysis
Stephen Sondheim’s Sweeney Todd: The Demon Barber of Fleet Street tells the tale of a
man whose life has been destroyed by a corrupt justice system and his revenge on society. Todd
lures Judge Turpin to his new barber shop, but as he’s about to exact his revenge and slit the
Judge’s throat, Anthony, the sailor who saved Todd, barges in, revealing a plan to marry the
Judge’s ward, Johanna (Todd’s daughter). Upon hearing this, the Judge accuses Todd of keeping
the wrong kind of company and leaves, vowing never to return. It is at this point that Todd,
having lost his only chance at punishing the Judge, plunges into darker despair and has his
Epiphany: that he must exact revenge on all of society.
The song begins with dissonant eighth notes, which represent Sweeney’s mind processing
this blow that just had him. He says, “I had him,” four times, breathing in the reality that the
Judge got away. These words are on eighth notes in rhythm with the accompaniment, which keys
the audience in that the accompaniment is Todd’s inner workings. As soon as Mrs. Lovett begins
her melody from her previous song, “Wait,” the accompaniment becomes staccato and accented,
with harsh quarter note chords (measure 10); this is him turning blame to her because he says,
“You told me to wait!” Interestingly, her line is sung very legato, which is in stark contrast to this
melody, reinforcing that this is HIS song.
The solo begins (16) with sixteenth note dissonance, which we hear when he first appears
in the show. Todd’s character is very calculating, very controlled, and this shows up because his
melody is on eighth notes while his inner tempo is sixteenth notes: he’s holding back what he
says, controlling it, being deliberate in his words. There are only two sections in the song with a
significant amount of silence in the vocal line, and when this shows up in measures 22-23, it is
important because it is his time to figure out exactly what he’s going to say next, to work out the
problem; this is the beginning of his epiphany.
The chorus, for lack of a better word, “They all deserve to die,” is the thesis of the song,
and is, essentially, the epiphany (24). Not just the Judge, but they ALL deserve to die. This thesis
is supported by a held chord in the accompaniment, which is the only time in the song the
accompaniment has sustained chords until the very end. In his explanation to Lovett (28), the
accompany turns to eighth notes again and his melody line is made up of mainly sixteenth notes.
This allows the words sung on eighth notes to pop out of the line: “two...two…one…proper
place…one…foot…one’s face…me…you.” These are the words that frame what he’s saying,
and gives the actor a clue into what is important and what he’s truly saying. The second and third
time he repeats the chorus, the whole thing is in a higher tessitura, which raises the stakes for
him and is an example of how this song is ever changing because he’s constantly thinking,
discovering, etc.
This next section introduces a 3/4 time signature (41), which recalls Mrs. Lovett’s
previous “Poor Thing” waltz, in which she tells Sweeney what happened to his wife and
daughter when he was sent away. In this section, he pines over Johanna and in each 3/4 section in
the song refers to his family or to his past life.
11
Next comes Sweeney’s confrontation with the audience (45). The accompaniment is a
series of individual eighth notes and eighth note chords, never being played while Sweeney’s
speaking. What this does for the song is it grabs the audience with the accented bumps, then
Sweeney speaks, then a bump, then his words; it forces the audience to pay attention and partake
in song with Sweeney. Also, in a couple of instances, there is a downward plunge in the
accompaniment, signifying Sweeney’s downward fall into this state of vengeance against the
world; in fact, he says his name (on two descending eighth notes) while this plays the second
time, reinforcing this idea.
Another brief waltz section lays out Sweeney’s reaction or response to having his family
taken away (51). So while it still is addressing past events, now he’s talking more about the
future and what he’ll do about them. A third waltz section (60), after one more bout with the
audience, ties all the ideas in the song thus far together: lyrically, Sweeney is still talking to the
audience, and he expands on his thesis by saying that no one will stop him, that he will put all of
humanity out of its misery. But musically he’s waltzing, which explains that the motivation for
all of this a response to the tragedy of losing his family and his life. The accompaniment after
this gets very short and staccato, giving a sneaky feel to this next brief section, in which Todd
has it all figured out. Each short eighth is deliberate, which reinforces his calculation and
determination.
The finale of the song is predominantly the 3/4 of the other waltz sections (72). However,
a pointed difference is that as it starts, the orchestra has a violin soaring above everything else on
very shrill high notes, which are actually hard on the ears, allowing the audience to share in and
empathize with Sweeney’s pain, which reaches a climax here. The other difference is that a 2/2
time signature gets introduced all of a sudden (76), when he talks about the future and moving
on. If the 3/4 represents the past, this new 2/2 represents the future. He says, “…the work
waits…I’m full of joy!” The song actually ends in a 2/2 as well, leaving him moving on, thinking
forward. This last lyric, “I’m alive at last, and I’m full of joy!” is the first positive thing that’s
said in the whole song, setting the stage for a Sweeney’s success in the rest of the show.
Chordally, his last “joy!” is dissonant at first, but the accompaniment then resolves as he holds it
out. But of course the song can’t just end simply because he hasn’t actually carried out this plan.
There is a chordal suspension at the end of the song, reminding the audience that the story is not
over.
Stephen Sondheim himself said that he worked on this song for a month before he got it
right. It is a pivotal part of the story because it is the discoveries and decisions Sweeney makes in
this song that guide and dictate the rest of the action in the show. For the actor, there is so much
information, musically, in this song that can help him understand and figure out what exactly is
going through Sweeney Todd’s head for these three or four minutes. This analysis fleshes out the
givens of the piece and the structure, the journey, so that it is easy, now, to see how he goes from
wanting revenge solely on Judge Turpin, to vowing vengeance upon all of humanity.
12
Jordan Parente
Musical Analysis of “C’est Moi”
“C’est Moi” written by Lerner and Loewe and from the musical Camelot, has a great
correlation between the style of music, theory and the text. In the song, Lancelot du Loc has
heard of King Arthur’s plan to create the Knight’s of the Round Table and has come to Camelot
to prove that he is a perfect fit.
There is clear evidence that Lerner and Loewe examined medieval music, which revolves
around the time of Camelot’s setting. Medieval music was known to be very sacred. Not only
are there sacred references in the text of the song, but in the music as well. Hints of the genre are
seen specifically in the fourth and fifth intervals pertaining to the lyrics, “But where in the world,
is there in the world, a man so extraordinaire?” The notation of the rhythm has a structure but
also has a free feel to it as many abided as a rule back then. The rhythm also gives some subtext
of the character. The vocal part of the score runs in parallel motion with the accompaniment for
the most part which was referred to as organum.
Textually, the piece has many references of Christian and mythical stories. Liturgical
drama was a new transition forming during the era. From the song we see references in, “a
French Prometheus unbound…” and “Had I been made the partner of Eve, we’d be in Eden
still.” It was starting to become more and more common which is probably while Lerner and
Loewe incorporated it into their music.
The introduction to the song sounds similar to something trumpets would do. Back then
trumpets were used in fanfares to resemble an introduction or to notify people that someone of
great importance has arrived. The tempo is marked Tempo Rubato meaning speeding up then
down at the soloists’ discretion. This shows that Lancelot is in charge. The dynamics of the
introduction are marked as forte and loud. This pertains to Lancelot in the sense that he has
arrived and wants all of the attention to be focused on him. The key change form D major to F
major symbolizes a tactic change for the character to pursue his objective. People may not be
listening and this is one of his ways to change their focus.
Time signatures also change at various times throughout the song. During the first
refrain, “A knight of the table round…” they switch from cut time to 2/4. The 2/4 feels like more
of a march giving the accent on the downbeat. The piano part starts playing staccato chords
while Lancelot picks up the tempo. The staccato dynamics show his security and the sharpness
of the character. The sharpness is also present because he is the kind of person that wants every
single word he says to be heard. As Lancelot sets up his vision on the ideal knight, there are
simply only chords playing under him. When he discusses finding someone, “…but where in the
world…” the piano part picks back up with a more flowing line making the listeners question
where a person like this could be found. The music also slows down in tempo as if Lancelot was
searching for a knight and is left with himself.
The discovery of the first, “C’est moi,” switches the time signature to 6/8, which has
more of a waltz feeling. It is similar to a building up bragging feeling. The rhythm in the piano
is the same as the vocal part and doubled in the piano. The switching from 6/8 to 3/8 is very
subtle that it can barely be heard but gives Lancelot more of a sense of ease.
13
The ending of the song has a ritardando which gives Lancelot the opportunity to brag
once more. The slowing down of the music builds to something more rapid. It is as if he were in
a battle and he was on the verge of losing and everyone is waiting moment to moment and at the
last possible second (in both parts of the music) he speeds back up and wins, “C’est Moi!”
These last to words are shouted to really reinforce his victory and successfulness.
Other random instances in the song that are noticeable include how the target words seem
to have been given the longer notes, the transitions almost always specify a new idea and how
the music makes the audience feel as if the lyrics were occurring right in front of it, the action.
Another noticeable figure in the music are the horse steps during “A knight of the table round...,”
silent triplets can be imagined as if a knight were riding along on his journey.
In conclusion, the music and lyrics by Lerner and Loewe fit so well together that we are
able to pick apart so many common ideas. Specifically through their genius ideas of referring
back to the medieval time period one playing this character can really get a sense of how the
music related to the magical lyrics. With such poetic lyrics and along with the similar music the
story being told can very easily be painted. We can even see some foreshadowing in the final
words of the song giving the person playing Lancelot even more knowledge than they might
have known. Following the research of the similarity of the song and medieval music will give
the singer so much more of an advantage and more to play with than if they were just singing the
song for the first time.
14
Dakota Mackey-McGee
Many a New Day Song Analysis
“Many a New Day” is from the musical Oklahoma! and it is sung by the leading women
Laurey Williams. It is her first solo song and it shows the audience what kind of women she is.
Before Laurey is prompted to sing this song all the men and women from around the area have
gathered at Aunt Eller and Laurey’s house to get ready before they go off to the party and
Laurey’s love interest is seen flirting with Gertie Cummings and one of the girls mentions that
Curly has taken up with Gertie and Laurey overhears and everyone becomes worried that Laurey
will be upset. To prove them all wrong and make herself feel better she sings “Many a New
Day”. The song explains why Laurey does not care about Gertie and Curly, while also showing
us that she does care but without letting anyone on to her secret until the end of the song.
“Many a New Day” is a song that really shows not just how Laurey is dealing with a
certain unfortunate situation but also how she deals with everything in her life. She begins the
song with the lyrics “Why should a women who is healthy and strong…” and with in that phrase
Why is the longest note so it really starts the scene with the question of why? It is the reference
point (note wise) of the Verse and it will jump back and forth around the scale but always come
back to the F# that started the song reaffirming the original question of why?
The next interesting music and lyric phrase is the “A weeping and a wailin”, the a’s are a
step down from the Wa sounds making the “a weeping and a wailin” sound like crying. Going
along with that with in the verse all the quarter notes are the strong words and she reaffirms her
self in quarter notes at the end of the a section with Why…healthy…strong…man…done her
wrong, “That’s one thing you’ll never hear me say”. Rogers and Hammerstein also wrote the
music and lyrics to make sure that every syllable of a word got a note so it’s very easy to
understand what Laurey is saying. When she says “I’ll snap” the note for “snap” Is on a Bb
making the snap really stand out as if Laurie really has snapped because the Bb is not in the key
signature. When Laurey begins to talk about what she will do to get over the man she goes higher
with D’s and E’s to show that she is not scared to do these things. On the lyrics “To start all over
again” the melody becomes playful and fun, so it’s clear she is not sad about having to start all
over again. At least that is what she wants to convey.
The refrain is marked con grazia- non legato which means with grace but playful not
smooth and connected. This is perfect because the rhythm makes the whole refrain seems very
childlike and fun. The refrain tells the story of how a women, maybe even herself, falls for a
man. First you see him and then you fall in love with him, then you kiss, then he fly’s away, then
you look for him, then you chase after him and then you cry when he leaves you. This would
leave a girl wear and pathetic and Laurey wants to prove to her friends that she is not that girl.
Every phrase ends with “many a new day will dawn before I do” explaining again that many
days will go by before she starts to act like a lovesick girl. At the end of the song she says Many
a new day with dawn and the note stops on ti leaving a feeling of unresolved quality a longing
for the tonic. The “Many’s” at the end of the song climb up higher than the one before and end
15
triumphantly on the tonic. Which shows her strength and ability to get over a man. There is a
caesura before “I do” stating that there is a shift and then like a march Laurie declare for a final
time that she is “fine without Curly” ending on the tonic sounding strong and in control.
The relationship between the lyrics and music are so close that not only do they just tell a
story they set the whole mood of the scene and give us insight into the character. If I were ever to
play Laurey I would need to show her strength and togetherness that is so apparent in this song.
It would apply to all of her as a living breathing person. One of the really cool things about the
song and Laurey is that she has an outer façade of being nonchalant about Curly and needing
anyone in general when in fact she really does care and have deeper feelings than she wants to
admit, but it is not in her nature to show that she can be hurt. The arc of the song brings out the
truth in Laurey even though she has tried to mask it and hide it, and convince herself other wise.
Laurey really does go through a lot in this song in her own head about how much she really does
like Curly and care that he is interested in another girl. Especially since she has been so resistant
to Curly before, she had to fight for his attention. I think this song helps Laurey realize that you
can’t keep playing hard to get because the guy you love could give up. But of course she ends on
a strong note of being independence because she is still slightly in denial.
16
An In-Depth Look at “TALENT” from Road Show
Scott Joy
Stephen Sondheim is often regarded as the most complex and intricate writer in the
musical theatre. Aside from the challenges of his melodic lines and rhythms, his music is rich
with strong imagery that the listener often isn’t aware of because of the strong marriage of the
music and the lyrics. The song “Talent” which was part of a show first entitled “Wise Guys”,
then “Bounce”, and in its final incarnation “Road Show”, was written in the twenty-first century
when many considered Sondheim over-the-hill and is a perfect example that even with age,
Sondheim has not lost his sense of precision, or his brilliance.
It comes early in the second act and serves as an introduction to the character of Hollis.
The show is about two brothers named Willy and Addison Mizner who undergo many failed
business ventures in their lives and the rocky relationship that they have. At this point in the play,
Addison has started to make a name for himself in architecture and is traveling to Florida on a
train because there has been a significant boom in land development. It is on that train that he
meets Hollis Bessemer, the son of a wealthy industrialist who has been cut-off from his father
because he does not desire to entire the family business, as he is stricken with a love for art.
The form of the song is A-B-A-C-B. The A section begins with this driving pulse of
quarter notes which is present throughout the entire song. This pulse represents Hollis’s nonstop
determination to succeed and make something of himself, and also to prove to his father that he
can make it without his money. Also, in a more literal sense, it represents the sound and feel of
the train where the song is taking place. When Hollis starts singing the lines “looking at
paintings, going to plays…,” both the melody line and the accompaniment start rising which
signifies a swelling of excitement and mimics the thought pattern of Hollis where this discovery
of his love for art is building. At the end of that section the pulse is hit twice at a loud and blaring
volume, kind of like trumpets going off in his head about his love of art, and in the latter part of
the song his idea for this colony.
The B section grows to be more legato and lush, which contrasts with the fast and
staccato feel of the A section. However, underneath the flowing strings that pulse remains
signifying Hollis’s determination even through his discovery of not being good enough to pursue
a life as an artist, “just enough talent to know that I hadn’t the talent.” The accompaniment
creates a lot of images for Hollis of the wonderful and important works of art that he will never
be able to create. He sees them in his head, and in their majesty which is reflected in the music, it
takes a slightly saddened tone as he realizes that he just isn’t good enough to create these things,
which is why the pulse stops, for a moment, when he decides to “put my dreams and my selfesteem to rest.”
Immediately after this moment, the pulse returns to as it was during the first A section for
this second A section. One way to look at this is that Hollis has come out of his own thoughts and
17
his own story to talk to Addison whom he has dialogue with in this section. In the other realm of
thought, Hollis has gone up and up with his interest and his dreams in art, but the realization of
his lack of the necessary talent has brought him back down to the same level where he must reevaluate and find a new path (which is what this section is about). The driving pulse reflects his
continued determination to be a success, though it will have to be in a different vain. He then
comes up with the idea of the artist colony in Palm Beach, which creates the same swelling as in
the first A section as he becomes excited with the idea and the vision of this colony.
This next C section is completely unlike anything we have heard in the song. Except for
that driving pulse, the accompaniment gives a sense of a controlled chaos going on inside of
Hollis’s head as he literally constructs this colony in his mind. The step by step rise and fall of
the accompaniment, which is all over the map, is Hollis building these buildings and organizing
what will go where. The rise also mimics the rise of his excitement over this prospect, and his
passion for this place for him to put his love for art into is in the music which reflects that
passion with full and resonant chords. The climax of this chaotic sequence is a high note which
may be Hollis reaching the highest point of the highest building in his colony.
Then the music resolves back into the B section, which is musically identical to the one
before it. This is where Hollis lets his adrenaline subside in order to take a full look at the colony
he has created in his head/will create in Florida and feel a majestic and proud sense of
accomplishment, like he is looking at a finished painting. The music creates the colony as a large
scale and grandiose paradise, and Hollis’s lyrics reflect how proud he’ll be of this place and of
how he will have finally found his calling in life. Then for the very last part of the song, the
music breaks out of the form and returns briefly to the pulse heard at the beginning of the A
section signifying Hollis’s determination to take this finished idea of his to Florida and make it a
reality, as well as the pulse of the train. And for the last line of the song, Hollis sings a unique
line “And my father can go stick it up his ass!” which completely breaks form and ends on a high
note that soars above the rest of the song, as this desire to prove his father wrong soars over all
other sources of inspiration in this project of his.
The song is rich, full of musical imagery, and creates an impeccably strong sense of
character where the content of what he has to say at this moment dictates the musical form (one
of Sondheim’s golden rules of writing). It is the perfect introduction to the character of Hollis
and provides a deep understanding of his background and of what he wants in a two-and-a-half
minute song that could not be achieved in a normal section of dialogue. Sondheim is a genius in
that he can capture an entire novel’s worth of ideas and emotion in one lyric, or one chord
progression, as is evident in “Talent.”
18
Sample Lesson Plans
Lesson Plan #1
Objective: To allow students an opportunity to discover and discuss the ways that music helps to
tell a story through Critical Listening.
Materials: A recording of “Soliloquy” and a white board.
Introduction: Briefly describe the story and characters in Carousel focusing specifically on
Billy’s turning point at the end of Act I. Say: “As we listen to this song, I would like for you to
simply listen for the ways that music helps to tell Billy’s story. There are many different sections
in this song. For each one, write a few words about what the music seems to be ‘saying.’ Don’t
try to be too technical. You might include a lyrical phrase or two to help you remember the
different sections.”
Procedure:
1. Play “Soliloquy” while having students take notes. You might consider calling out “new
section” at section changes.
2. Say “There is a major turning point in the song. How does the music change after that point?”
3. Play the song again while having students take notes.
4. Class discussion. Say “What did you hear? How does the music help to tell the story?”
Throughout the discussion, encourage students to draw connections between the music and
Billy’s situation. Write observations on the board.
5. Conclusion. Sum up the different musical building blocks that have been discussed, filling in
any that may have been left out. The primary musical building blocks to be concerned with are
melody, tempo, rhythm, orchestration, form and harmony.
Additional questions: Compare recordings of “Soliloquy.” Are some better than others at telling
the story through music?
Consider this: it's common to have strong positive or negative feelings about recordings and not
be able to articulate why you feel a certain way. Could the "storytelling through music" be a
factor in our feelings?
Lesson Plan #1 variations
Other songs that work particularly well for this activity are “Rose’s Turn” (Gypsy) and “Lot’s
Wife” (Caroline, or Change). The reason I’ve chosen such long, complex pieces is that it is easier
for students to identify the musical changes and to discuss how they relate to the character’s
changes.
Lesson Plan #2
Objective: To allow students an opportunity to discover and discuss the ways that music helps to
tell a story through Critical Thinking and analysis.
Materials: A recording of the chosen song with a score for each student.
Introduction: Briefly describe the situation of the song. You may also find it appropriate to
discuss the show, the composer and other pertinent historical details.
19
Procedure:
1. Remind students of the musical components that help to tell a story.
2. Play the song, having students take notes on the sheet music.
3. Discuss what they have heard while reminding them that the most important question is to ask
how this information can help the actor and the singer tell the story more effectively.
Feel free to use any of the songs I’ve analyzed or choose your own. Some outstanding
possibilities are listed below:
Astonishing (Little Women)
Breathe (In the Heights)
Sweet Liberty (Jane Eyre)
Waiting for Life (Once On this Island)
Be On Your Own (Nine)
One White Dress (A Catered Affair)
The Simple Joys Of Maidenhood (Camelot)
Just You Wait (My Fair Lady)
My White Knight (The Music Man)
It’s a Perfect Relationship (Bells are Ringing)
Something’s Coming (West Side Story)
Maria (West Side Story)
C’est Moi (Camelot)
A Quiet Girl (Wonderful Town)
Molasses to Rum (1776)