Musical Theatre – Loesser: Guys and Dolls (Runyonland, Fugue for Tin Horns)

1. Runyonland
a) State the home key and structure of this opening.

Home Key:…………………………………………………………………..(C major)

Structure:…………………………………………………………………….(Episodic)

b) i. Give one word to describe the texture in bars 53 – 60: ……………………………………………………………..

(Homophonic).

ii. Give one word to describe the harmonies in bars 1 – 12: ……………………………………………………………..
(Chromatic).

c) Name the key at:

Bar 65:…………………………………………………………(E flat major)

Bar 29:…………………………………………………………(C major)

Bar 47:…………………………………………………………(D flat major)

d) Give bar numbers (and beats, if necessary), where the following devices may be found in this
piece.

Devices Bars/beats
Call and response
A pedal note
Melodic movement in 3rds
Glissandi in brass

Devices Bars/beats
Call and response 123+4 – 19
A pedal note 1 – 4, 43-46
Melodic movement in 3rds 45- 46
Glissandi in brass 43,44

e) How does the composer achieve the atmosphere of a bustling New York scene in this musical
opening?

…………………………………………………………………………………………………………………………………………………………

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 …………………………………………………………………………………………………………………………………………………………
…………………………………………………………………………………………………………………………………………………………
…………………………………………………………………………………………………………………………………………………………
………………………………………………………………………………………………………………………………………………………..
(A busy and frenetic opening, with lots of different musical ideas to depict different characters which
are introduced with each different structural episode. Overall, there are 5 episodes. The repeated
crotchet chords at the start of episode one represent a swift walking pace as characters enter.
Layers of ideas are added, all of which are linked with action and movement onstage. Arpeggio
figures and chromatic content found in bars 1- 12 and in episode 5, enhance a busy scene and a
sprightly melodic line at the start supports lots of movement onstage. There is orchestral interaction
of lines and timbres – as seen at the beginning of episode 2 where the interaction between lower
brass and saxes are followed by a unison call in trombones with a harmonic response in saxes.
Certain instruments become more prominent, i.e. the String Bass and additional layers add to the
effectiveness of the bustling activity. The changes of key from C upwards to D flat then E flat would
also support the build up of atmosphere. Homophonic movement such as that found in bars 53 – 60
would offer opportunities for performers onstage to unite in the same movement. Many of the
melodic ideas are angular and “quirky”, which further supports the ‘hurrying’ and bustling
atmosphere).

2. Fugue for Tin Horns.

a) Tick which three of the following are heard in the extract, and suggest a bar number where they
may be found.

DEVICE TICK BAR

Trill
Syncopation
Lower auxiliary note
Modulation to the dominant
Harmonics
Contrary motion

DEVICE TICK BAR

Trill
Syncopation  7, 8, 10 etc (in vocal line)
Lower auxiliary note  6 – vocal entry
Modulation to the dominant
Harmonics
Contrary motion  55 (accompaniment)

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b) The first chord in bar 1 is D¨ 7, a seventh chord on the tonic in root position. (Note: even though
this is cut/split common time, the beats of the bar have been referred to as four crotchet beats per
bar).

In the same way, describe the chords heard:

in bar 231,2 …………………………………………………………………………………………………………………..……………………

(E¨7,a ii7 chord in root position)

in bar 28 …………………………………………………………………………………………………………………………………………...
(D¨6, tonic root + added 6th)

in bar 533 ………………………………………………………………………………………………………………………………………….

(E¨9, supertonic 9th)

c) Identify three musical features to be found occurring throughout this piece (until the outro):

i. ………………………………………………………………………………………………….. (Same tune)

ii. ………………………………………………………………………………………………….. (Same chords)

iii. …………………………………………………………………………………………………. (Same rhythms i.e. off beat jazz).

d) i. What section begins at bar 1?

………………………………………………………………………………………………………..(Introduction)

ii. Comment on the musical style of the opening section.

………………………………………………………………………………………………………………………………………………………..
…………………………………………………………………………………………………………………………………………………………
…………………………………………………………………………………………………………………………………………………………
………………………………………………………………………………………………………………………………………………………….
(The key is D flat major. There is a distinctive tonic/dominant bass line, in a vamping pianistic style.
The clarinet is particularly prominent - quite Gershwinesque! The introduction is based on
chords of the 7th, and the triplet trumpet fanfare in bar 3 signals the start of the horse race. There is
a jazzy swing feel to the music. The texture is quite light and the opening is in a strict rhythmic
tempo).

e) This piece can be divided into 6 sections. State the form of the piece, and outline the main
structure.
…………………………………………………………………………………………………………………………………………………………
…………………………………………………………………………………………………………………………………………………………
…………………………………………………………………………………………………………………………………………………………
…………………………………………………………………………………………………………………………………………………………

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 ………………………………………………………………………………………………………………………………………………………..
(The form of the piece is a Canon, with each voice singing the main tune 3 times. The structural
division into 6 sections may be realized as follows:

Intro Canon 1 Canon 2 Canon 3 Coda/Outro

rd
Nicely-Nicely Benny Rusty 2nd & 3
Entries
1-6 6-18 18-22 22-26 26-50 51-58

Instruments Main tune - Nicely-Nicely Completes the Completes Contrasting

only solo carries on first round remaining style to finish
with of canonic entries
second half of entries
tune in
counterpoint
with main
tune

3. Runyonland.

a) Name one theme from this show quoted in this opening, and give the bar numbers where it is
heard.

Theme:……………………………………………………………………………..(Luck be a Lady Tonight)

Bars:………………………………………………………………………………… (29 – 45; 47 -50).

b) Describe the types of chords found in the following bars:

Bars Chords
61
301
611
251

Bars Chords
61 G7, first inversion chord, 6/5
291 C major, tonic, root position, 5/3
611 F9, root position

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 251 E flat added 6th chord, E¨6

Fugue for Tin Horns.

c) Comment on the use of texture in this piece.

…………………………………………………………………………………………………………………………………………………………
…………………………………………………………………………………………………………………………………………………………
…………………………………………………………………………………………………………………………………………………………
(Thin/light to begin, but building up with each vocal entry. It is a canon for the three vocal parts so is
polyphonic texture – and it remains contrapuntal and dense throughout. However, it is homophonic
at the end for the outro, i.e. bars 52-56).

d) Describe what composition devices / features are found in the following bars:

Bars 124 - 613 ………………………………………………………………………………………(imitation)

Bars 104 – 13 ………………………………………………………………………………………(sequence)

Bar 3 …………………………………………………………………………………………………..(fanfare)

e) Identify six distinctive features of the main tune for example as sung by Nicely, bars 6 3 - 26

i. …………………………………………………………………………………………………………………

ii. ………………………………………………………………………………………………………………..

iii. …...............................................................................................................

iv. ……………………………………………………………………………………………………………….

v. ……………………………………………………………………………………………………………….

vi. ………………………………………………………………………………………………………………
(Anacrusis at the start; syncopation in certain bars; the dotted rhythms, giving the effect of a swing
beat; the chromatic triplet; sequential patterns; the falling 5th).

Musical Theatre – Bernstein: Westside Story (Tonight, Maria)

1. Tonight.

a) Comment on the tonality of this piece.

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………………………………………………………………………………………………………………………………………………………..
(The piece starts in A minor, the home key. It finishes in C major, the relative major).

b) Comment on any features of rhythmic interest, bars 53 – 68.

…………………………………………………………………………………………………………………………………………………………
…………………………………………………………………………………………………………………………………………………………
………………………………………………………………………………………………………………………………………………………..
(The time signature is unusual, and is 4/4 & 2/4 every other bar, the same way that the ensemble
actually starts; note some triplets in the vocal line which offsets the steady quavers of the
accompaniment; move to 3/8 in bars 62 and 65, which give a triple bar in the midst of the
quadruple/simple beat ).

c) Describe the chords heard in the following bars:

Bars Chords
691
84
1291
1401-2

Bars Chords
691 Supertonic major 7th, B maj chord in 3rd inversion, ii4/2
84 F major chord in 2nd inversion, 6/4
1291 Diminished 7th chord
1401-2 D maj 7 chord in 2nd inversion, 4/3

d) Identify the keys and cadences in the following bars:

Bars 1253 – 1261 Key: …………………………………..…… Cadence: …………..…………………......

(E flat major, perfect cadence).

Bars 1172 – 118 Key: ……………………………..………… Cadence: ………………………..……......

(C major, perfect cadence).

e) What do you understand by the term leitmotif? Explain, with reference to ‘Tonight’.
…………………………………………………………………………………………………………………………………………………………
…………………………………………………………………………………………………………………………………………………………
…………………………………………………………………………………………………………………………………………………………
…………………………………………………………………………………………………………………………………………………………

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 ………………………………………………………………………………………………………………………………………………………….
(A leitmotif, used in a show, musical or opera is a short theme/musical idea associated with a
character, object or idea in the work. It is either quoted at appropriate moments to enhance the
dramatic effect, or it could be built up symphonically. The quaver triplet motif in the introduction is
an important feature and reappears elsewhere in the work, but the main leitmotif here is that
melodic idea given to the name ‘Maria’, e.g. the opening, but particularly that sung by the tenor e.g.
bars 144 - 15.This is a three note figure which consists of two characteristic intervals – the
tritone/augmented 4th between the E flat up to A natural, and the upward semitone interval from
the A natural to B flat. This rising augmented 4th (tritone) in the first two notes of this theme is also
known as the ‘devil’s leap’ because of the difficulty in singing the interval. It was avoided in early
ecclesiastical composition, but is widely used in atonal melodies today. Also, the following two note
rising semitone motif (resolution; cf. Jaws) – first heard across the bar lines in voice and strings (bars
9-11; 15-16), and finally in orchestral strings (bars 51-52).
The same motif is heard in the bass of the accompaniment in bars 15-17; 34-36).

2. Maria.

a). Comment on the overall tonality of this piece.

…………………………………………………………………………………………………………………………………………………………
…………………………………………………………………………………………………………………………………………………………
(The first, recitative-like section is in B major, while the song itself is in E flat major.

b) Identify and briefly describe the section which begins at bar 28.

…………………………………………………………………………………………………………………………………………………………
…………………………………………………………………………………………………………………………………………………………
………………………………………………………………………………………………………………………………………………………….
(This is section A1, a repeat of the opening A section first heard in bars 9 – 14. Here, the melody is
played by the orchestra while the tenor vocal line is broken up with the ‘Maria’ motif, repeated. The
tessitura – i.e. pitch – is high, with an alternative given from bars 36-40).

c) State the key and the cadence heard in the following bars:

Bars 16 – 181 Key: ……………………………………………………..Cadence: ………………………………………….

(E flat major, interrupted)

Bars 24 – 25 Key: ………………………………………………………Cadence: ………………………………………….

(F minor, plagal).

d) Describe the chords found in the following bars.

Bar 123 …………………………………………………………………………………. (Dominant root, V 5/3).

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 Bar 321 …………………………………………………………………………………. (F minor7th chord).

Bar 491 …………………………………………………………………………………. (Flattened submediant chord, root

position – G flat major chord, 5/3).

e) Comment on the writing for voice in this song.

…………………………………………………………………………………………………………………………………………………………
…………………………………………………………………………………………………………………………………………………………
…………………………………………………………………………………………………………………………………………………………
………………………………………………………………………………………………………………………………………………………..
(Parlando / recit style to start, quiet delivery. This first section introduces some of the motifs used in
the piece. The first section A opens with the main motif on ‘Maria’, with the tritone leap upwards
and a further semitone - otherwise note the stepwise movement and the triplet rhythms. This is to
be sung warmly, and sweetly. In the second section, A2, the tenor still has the tune (cresc) which is
now doubled in the orchestra. From bar 18 the opening note (E flat) is heard a tritone higher, as the
motif is inverted, more loudly and more demanding for the soloist. Bar 24, the soloist sings a sudden
pp. The middle section for the soloist is more of a countermelody –using the same motif but
inverted, with a downward direction. This song is operatic and extensive, with an alternative part
written for the more capable tenor singers. The final coda reverts to the soft parlando style of the
opening. A popular solo for tenors, very demanding in terms of technique, expression and effective
delivery).

3. Tonight.

a) Comment on the key and harmonies in bars 68 – 76.

…………………………………………………………………………………………………………………………………………………………
…………………………………………………………………………………………………………………………………………………………
…………………………………………………………………………………………………………………………………………………………
(This starts with a change of key signature and a perfect cadence to A major. Tonic pedal A in the
bass until bar 72.The syncopated accompaniment begins on the chord of the tonic with an added 2 nd
i.e. Amaj add 2), which moves to the chord of the supertonic 7 th in third inversion i.e. ii 4/2 –B7 with
the 7th in the bass. This progression is repeated in bars 70/71. In bar 72, the tonic with the added 2 nd
is again heard, and includes the 7th and 9th on the last beat of that bar. In bar 73, the music touches
on the chord of the submediant minor i.e. F# min, before settling on what logically appears to be the
dominant major 7th, without the root, in first inversion i.e. G#, B, D#. This slips to a chord of G, which
is the flattened seventh of the opening key A of this section. This G major chord in bar 75 then acts
in its own right as dominant preparation for a perfect cadence and modulation to C major.

b) Complete the following statements:

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 i. The layer of texture heard in the flute, clarinet and violin in bar 85 is known as a
……………………………………………………………………………………………….(countermelody).

ii. The rhythmic device heard in the accompaniment at bar 76 is known as

…………………………………………………………………………………………………(syncopation).

iii. The device heard in the part sung by the ‘Sharks’ in bars 130 -132 is known as
………………………………………………………………………………………………..(augmentation).

iv. The device heard in the bass part in bars 20 – 29 is known as an

………………………………………………………………………………………………..(ostinato).

Maria.

c) Identify two distinctive features of the accompaniment in this piece.

i. …………………………………………………………………………………………………………………………

ii. …………………………………………………………………………………………………………………………
(i. The ostinati syncopated rhythms in the bass)
(ii. The doubling of the vocal line by the orchestra)

d) The following musical directions appear on the score of ‘Maria’. Explain what they mean, and
suggest a bar number where they may be found.

Sign / direction Meaning Bar

pizz.
con sord.
tremelo
8va….:

Sign / direction Meaning Bar

pizz. Pizzicato –plucked strings 244
con sord. With the mute 5 (violins)
tremolo Rapid alternation between (in this case) the two notes 8 (accomp)
8va….: Play an octave higher than written 514(accomp)

e) Describe the musical style of the first eight bars.

…………………………………………………………………………………………………………………………………………………………
…………………………………………………………………………………………………………………………………………………………
…………………………………………………………………………………………………………………………………………………………

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 …………………………………………………………………………………………………………………………………………………………
…………………………………………………………………………………………………………………………………………………………
…………………………………………………………………………………………………………………………………………………………

(This functions as an introduction to the song. It is in a recitative, parlando type style as the main
character Tony, whispers the name ‘Maria’. The texture is very light and sparse – very delicate as he
whispers his inner thoughts. The triplet idea of the main theme is introduced immediately above a
held note in horn, and a gentle descending stepwise line in the bassoon part. Note chromatic
movement upwards in the bass in bar 3. Bar 5 and 6 are based on the opening 2 bars, but a cresc. Is
heard in bar 7 and 8 which builds up to the opening of the song itself. The accompaniment in bars 7
and 8 echo the falling two note motif associated with Ma-ri-a in this introduction. Interestingly, this
becomes inverted in the actual song e.g. bar 9.This passage is in B major, heard p, is in common
time with a tempo instruction of ‘slowly and freely’.

Musical Theatre – Boublil and Schoenberg: Les Miserables (On My Own, One Day More)

1. On My Own.

a) Complete the following table to show the structural details of this piece. Include all sections, with
bar numbers. The first section has been completed for you.

Introduction
Bars 1 - 2

Introduction Section A Section A Section B Section A Section A Coda

Bars 1 - 2 3 - 10 3 - 10 11 - 18 19 - 26 27 - 34 35 - 38

b) Describe the texture in bars 11 – 18.

…………………………………………………………………………………………………………………………………………………………
…………………………………………………………………………………………………………………………………………………………
………………………………………………………………………………………………………………………………………………………….
(The texture here is melody dominated homophony. It becomes thicker in this section, and the
heavier tread of the crotchet chords in the accompaniment is the main reason why.).

c) i. Explain what is meant by the term modulation.

………………………………………………………………………………………………………………………………………………………
(Modulation means when the music moves to a key other than the home key).

ii. Give the bar numbers of two modulations, identifying the new key and its relationship to the
home key (e.g. F# minor, dominant minor).

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 Example 1 ……………………………………………………………………………………………………………………………..
(C major, bar 30 – flattened leading-note).
Example 2 ……………………………………………………………………………………………………………………………...
(A major, bars 53 – 6,- dominant).

d) Tick four of the following devices which are present in this piece, and suggest a bar number
where an example may be found.

Device Tick Bar

A fugal entry
A syncopated accompaniment
A descending chromatic bass
A tonic pedal
Harmonics
An anacrusis

Device Tick Bar

A fugal entry
A syncopated accompaniment  R.H. piano, bars 3-5
A descending chromatic bass  L.H. piano, bars 6 – 7
A tonic pedal  L.H. piano, bars 1-3
Harmonics
An anacrusis  24,44,104 etc

e) Identify any features of rhythmic interest in this piece.

…………………………………………………………………………………………………………………………………………………………
…………………………………………………………………………………………………………………………………………………………
…………………………………………………………………………………………………………………………………………………………
…………………………………………………………………………………………………………………………………………………………
(Common Time; syncopated r.h. accomp e.g. bars 1 – 5 etc; syncopation also evident in vocal line
e.g. bars 8, 10 etc; time sig and accent shift change to 2/4 in bars 8, 24 and 32; accent shift change
from 3/4 to 4/4 in bars 9 -10, 25 -26 and 33 -34; rhythms used throughout are mainly quavers,
dotted quavers and semiquavers).

2. One Day More.

a) Identify the opening tonality and structure of this extract.

Tonality: …………………………………………………………………………………………………………………………
(A major).

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Structure: …………………………………………………………………………………………………………………………
(Through composed: an introduction followed by seven sections).

b) Identify the chords in the following bars. Explain fully e.g. A major chord, root position, 5/3.

Bar 341 ……………………………………………………………………………………………………………………………..

(E flat major chord, root position, 5/3).

Bar 323 ……………………………………………………………………………………………………………………………..

(B flat major chord, first inversion, 6/3).

Bar 61 ……………………………………………………………………………………………………………………………….
(F# minor seventh chord, root position, F#7).

Bar 621 …………………………………………………………………………………………………………………………….

(G# diminished 7th chord).

Bar 632 ……………………………………………………………………………………………………………………………

(D7 chord, first inversion, 6/5).

c) State the key in bar 29 and its relationship to the opening tonality.

Key: ………………………………………………………………………………………………. (F major).

Relationship to opening tonality: ……………………………………………………… (Flattened submediant).

d) Using bar numbers and beat divisions (e.g. bar 103 meaning the bar 10 beat 3), locate an example
of:

i. Antiphonal vocal writing Bar: …………………………………………. (17 - 25).

ii. An ostinato pattern Bar: …………………………………………. (1-2).
iii. A sequence Bar: …………………………………………. (28 - 32).
iv. An accent shift Bar: ………………………………………… (61 - 64).

e) This ensemble provides an exciting climax to the first act of Les Miserables. How does the
composer build up the intensity and the drama in the music?

…………………………………………………………………………………………………………………………………………………………
…………………………………………………………………………………………………………………………………………………………
…………………………………………………………………………………………………………………………………………………………
…………………………………………………………………………………………………………………………………………………………
…………………………………………………………………………………………………………………………………………………………
…………………………………………………………………………………………………………………………………………………………

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 …………………………………………………………………………………………………………………………………………………………
………………………………………………………………………………………………………………………………………………………….
(This finale starts with the main motif and character of the musical, in a powerful opening solo. The
ensemble then builds up by introducing other characters, each singing their own theme tunes. In all
there are seven characters: Jean Valjean, Marius and Cosette, Eponine, Enjolras and the
revolutionaries, the Thenardiers and Javert. The themes, all of which have been introduced by these
characters earlier in the act are cleverly combined into a complex and multi-dimensional musical
texture, and there is vocal interaction between the characters. The themes are interwoven from
various solos, e.g. ‘I dreamed a dream’. The ensemble follows the operatic traditions with strong
ensemble singing based on the primary triads. The result is very dramatic, with the singing
supported by a rich accompaniment from the orchestra. The tessitura is high, the dynamic is ff, and
there is added percussion to enhance the tension. The strong unison statement in bar 62 delivers the
final message and the final burst of vocal harmonies in the final 3-note motif is powerful.

3. On My Own.

a) Tick four of the following cadences which are present in this piece, and suggest a bar number
where an example may be found.

Device Tick Bar

Perfect cadence in D major
Perfect cadence in D minor
Perfect cadence in A major
Perfect cadence in A minor
Perfect cadence in B major
Perfect cadence in B minor

Device Tick Bar

Perfect cadence in D major  24 – 3 1
Perfect cadence in D minor  313,4 -32
Perfect cadence in A major  53,4 - 6
Perfect cadence in A minor
Perfect cadence in B major
Perfect cadence in B minor  73,4 - 8

a) Comment on the texture in this piece.

…………………………………………………………………………………………………………………………………………………………
………………………………………………………………………………………………………………………………………………………….
(The texture throughout is melody dominated homophony i.e. a melody based on a chordal

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accompaniment. To begin with, the texture is light with quite sparse instrumentation –however, the
texture becomes much thicker in Section B. The final coda is again very light and almost ethereal).

One Day More.

c) Name the section and key at bar 36.

Section: ……………………………………………………………..(This is section 4: Valjean and Javert).

Key: ……………………………………………………………………(A major).

d) Identify a feature of harmonic interest, Bar 343,4 – 35.

……………………………………………………………………………………………………………………………………………………
(The change of key here is from an A flat chord to an E major chord which becomes the dominant
chord preparing for a perfect cadence in A major. The pivot note, or note in common, is A flat - the
root of the chord in bar 343,4; this is rewritten and incorporated into the next chord as a G#, the
third of the E major chord).

e) State the tonality of the following bars. Your answer should be one of the following:

major / atonal / modal / minor

Bar Tonality
13
17
22
26
27

Bar Tonality
13 major
17 major
22 minor
26 major
27 minor

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