Overview Assignment

Please answer whichever of the following questions are of interest to you, including none or all of them.

1. Why do you want to write?

2. Why do you want to write lyrics?

3. Have any of your lyrics been performed, or produced, or recorded? If so, tell me a little about that.

4. How does musical theatre fit into your professional life and life-goals?

5. Send me three lyrics of yours which you’d like me to see. Please include a very brief context for each lyric -- who’s singing it, and what’s happened right before the music starts? (I won’t comment on them, I promise, but they might make for interesting points of reference in our feedback sessions.)

Structure Assignment

Part One -- For each of the following three scenarios, describe a possible song structure you might choose which matches the shape of the dramatic content. Don't worry about pretty prose; bullet points are fine. Once you've written the bullet points, assign letters A, B and C, which roughly correspond to the content.

Scenario 1. A monkey has always wanted to fly, and she's finally presented with an opportunity. The problem is that she'd have to join the Wicked Witch of the West's army in order to get the ability to fly. She's torn about signing the oath of allegiance being presented to her by the head Flying Monkey.

Scenario 2. We're onboard a tiny research vessel which has just hauled up a zillion dollars worth of old Spanish gold coins. The owner of the vessel has gone down to the ocean bottom for one last haul, presenting two crew members with the opportunity to stage an accident, and pocket some coins for themselves.

Scenario 3. Mom is suspicious about her grandson's bruises. Does she call Social Services, or give her son the benefit of the doubt one more time?

Example 1:
Scenario: Three friends are outside a polling station, and one of them is still undecided whether to vote yes, or no.
You write:
A - should vote yes
B - should vote no
A - really want to vote yes
B - I'm going to vote no

Example 2:
Scenario: It's a half-hour later; we're still outside the polling station. Two of the friends have long finished voting; but the third indecisive one (who sang the previous song) is still inside. One of the friends has run out of patience, and in fact, questions the friendship with such an indecisive person...and eventually storms away, breaking off the friendship forever.
You write:
A - what's taking so long
B - no friendship is worth this
A - taking way too long; I'm out of patience
C - I'm leaving; don't care if I see them again

Part Two. Sketch out three scenarios which might lend themselves to the structure ABAB.

Examples:

You write:
1. Someone's deciding whether to jump off a bridge.
A - jump?; pushed beyond breaking point
B - don't jump; afraid
A - jump; what do I have to live for
B - don't jump; here's what I have to live for

2. Someone's deciding whether to call Mom for Mother's Day.
A - call?; duty; expectation
B - don't call; bad treatment; history
A - call?; have to take care of Mom's psyche
B - don't call; have to take care of myself

3. The prosecution and the defense are making final arguments to the jury about an accidental murder case.
A - not guilty...look at the accused
B - guilty...look at the facts
A - not guilty...prey on jury's sympathy
B - guilty...prey on jury's sense of honor

Part Three. Sketch out three scenarios which might lend themselves to the structure ABAC.

Examples:

You write:
1. For the first time in 40 years, Jack's not going to go home for the holidays, and he's trying to explain why to his broken-hearted mother.
A - not looking forward to this year
B - love ya; family is great
A - other things/people need me right now
C - so I'm not coming home

2. This time, Pat is determined not to drink anymore...and ends up flushing the booze down the toilet.
A - I'm not doing well
B - blame the booze
A - have to stop blaming the booze; need to straighten my life
C - promise to self; so I'm flushing the booze away

3. The whistleblower agonizes whether to blow the whistle ruining the boss's life, and jeopardizing the entire company...many of whom are life-long friends. Eventually, the whistleblower can't do it, and deletes the email.
A - boss is corrupt; justice must be done
B - how'd I get myself into this?
A - if I do this, lose family, friends, job, security, reputation
C - can't do this to friends/family; so delete the email

In this assignment, you will be creating and analyzing Action Loops for a hypothetical musical called Zoo Guard: the Musical.

Tommy Redfeld is desperate to win a bet with his buddies that he can get past the zoo guard without paying. The musical is the story of his many attempts to slip past the zoo guard.

Tommy’s Unwavering Want: To get past the zoo guard without paying.

You are to create nine different tactics which Tommy might employ in order to get past the guard. All of them fail. And yet at the end of the musical, he somehow gets past the zoo guard without paying.

What temporary goals does Tommy try to accomplish in this room, in this moment to further his unwavering goal of getting past the zoo guard?

For each one of the nine different tactics, supply the following:
1. A one-sentence statement of his Unwavering Want.
2. A one-sentence description of a temporary goal which Tommy attempts in this room, in this moment to further his unwavering goal of getting past the zoo guard.
3. A description of one Action Loop sequence from that scene.
4. Conclude with the sentence “He still wants what he wanted in #1” and restate the want.
(Write NINE different Action Loop sequences.)

Please use the example on page two of the Assignment Printout for the format of your assignment. Hint: Part of the assignment is about following instructions.

1. Adaptation: Write a description of an adaptation of “The Three Little Pigs” using Personal Conflict (Man vs. His Society) as the dominant source of conflict. (Write one paragraph for the beginning of the story; one paragraph for the middle; and one paragraph for the end. One page maximum)

2. Write a description of a variation on the iconic “Boy meets girl; boy loses girl; boy gets girl back” storyline, and identify whether you are using Extra-Personal, Personal, or Inner Conflict as the main source of conflict. (Write one paragraph for the beginning of the story; one paragraph for the middle; and one paragraph for the end. One page maximum)

3. Model: Choose one of your favorite movies as a model, and write a description of an original story that uses the movie as a model. Put your main character into a situation where he/she has to choose between two evils; or two goods. (Write one paragraph for the beginning of the story; one paragraph for the middle; and one paragraph for the end. One page maximum).

Please answer whichever of the following questions are of interest to you, including none or all of them.

1. Why do you want to write?

2. Why do you want to write lyrics?

3. Have any of your lyrics been performed, or produced, or recorded? If so, tell me a little about that.

4. How does musical theatre fit into your professional life and life-goals?

5. Send me three lyrics of yours which you’d like me to see. Please include a very brief context for each lyric -- who’s singing it, and what’s happened right before the music starts? (I won’t comment on them, I promise, but they might make for interesting points of reference in our feedback sessions.)

Write a short paragraph or two to help me to get to know you. Please answer whichever of the following questions are of interest to you — (from none to all of them)

• Why do you compose music?
• Why do you want to compose for the musical theatre?
• Have any of your songs been performed, produced, or recorded? (If so, please tell me a little about it.)
• How does the musical theatre fit into your professional and lifegoals?

Please send me a couple of your songs you would like me to see. Please include a very brief context for each song — what character is singing and what has happened right before the music starts. (I do not plan to comment on them, but they can provide insight for me in my work with you.)

Please upload recordings of your songs from the second assignment.

Please obtain a copy of one of the scores listed below to use as a model in the Music Lab. In the case of a couple of these options, you’ll need to reference characters from another show by the same composer. Please be sure you get the entire piano-vocal score — not excerpts. Send me a short paragraph to let me know why you chose that particular score. Options include:

• Carousel — Richard Rodgers (With a reference to Nellie & Emile from Rodger’s South Pacific)
• Into the Woods — Stephen Sondheim
• A Little Night Music — Stephen Sondheim
• Les Misérables — Claude-Michel Schönberg
• West Side Story — Leonard Bernstein (With a reference to Cunegonde & Pangloss from Bernstein’s Candide)

Read the copy of the libretto for Gypsy (book by Arthur Laurents, lyrics by Stephen Sondheim) that is available as the Handout for this Unit. (NOTE: You will not receive any feedback for this assignment!)

Write a ballad for a specific moment in Act II, Scene 1 of David Lindsay-Abaire’s play The Rabbit Hole. In the play, this moment is a stage direction: Left alone, Howie is reeling but trying not to show it. He drinks his beer…

Before you begin writing, jot down some notes regarding the problem in the play from Howie’s point of view. Who is having a harder time with the mourning process – Howie or Becca? Why? What is the impact of this on the stage direction in question? What is Howie feeling at this exact moment, and how does it affect Howie’s behavior in the following pages of the scene, especially the sequence with Jason? The stage direction tells us he is “reeling” – which in itself suggests a level of discomfort. What is he feeling? Why does this feeling cause him to be “reeling?” The song must explore this moment in a way that the stage direction cannot.

The parameters: This is to be an A-A-B-A song. You may write a short intro to the song if you like. If you write more than one refrain consisting of A-A-B-A, you may write a contrasting C section between the refrains if you like. The song could have either of the following forms: A-A-B-A, A-A-B-A; A-A-B-A-C-A-A-B-A; or A-A-B-A-B-A (with or without intro in each case). You may invent other permutations of the form. However, make sure we hear once through A-A-B-A before you do anything creative with the form.

Lyricists: write the lyrics, as well as a description about what each stanza is hoping to accomplish. Include some notes about Howie's subtext, as well as perhaps some ideas of how much of his thoughts he can say out loud to Becca, and how much he must keep to himself.

Composers: write the music, as well as a brief description about the Howie's state of mind, and how you're hoping that is reflected in your music. Include some notes about how you're trying to use the music to convey the words which Howie is not speaking out loud (either to himself or to his wife Becca).

Please PRINT OUT the assignment to view the details.

Write an exchange of dialogue between Mr. and Mrs. Cherry, a husband and wife of 35 years, in which the audience learns information of which both husband and wife are fully aware. Write one exchange for EACH of the scenarios detailed below. Use no more than four sentences per exchange.

Write the exchange in two ways.

1. First, convey the information to the audience using inappropriate stranger exposition.
Be obvious, and exaggerate. Because Mr. and Mrs. Cherry are both aware of this information, use stranger exposition which results in an awkward, clunky exchange of information which they would not believably say to each other. Use no more than four lines per character.

2. Rewrite the same exchange, conveying the given information in believable dialogue, using neighbor exposition. Use no more than four lines per character.

Example #1:

Given Information: Someone robbed them last night.

Stranger exposition which they would not believably say to each other:

MRS. CHERRY: Did you call the insurance company to tell them we were robbed while we were away on vacation in Houston?

MR. CHERRY: They’re sending someone out to see what’s missing.
MRS. CHERRY: Did you tell them they took our wedding photo which always sits on the mantelpiece?

Neighbor exposition which they would say to each other:

MRS. CHERRY: Did you call the insurance company?

MR. CHERRY: They’re sending someone out..

MRS. CHERRY: I can’t believe the creeps took our wedding photo. Who’d want to steal that?

Example #2:

Given Information: The electrical company has cut off the electricity.

Stranger exposition which they would not believably say to each other:

MRS. CHERRY: So here we are sitting in the dark, unable to see each other.

MR. CHERRY: You blame me for not paying the electric bill, don’t you?

MRS. CHERRY: Well, yes, because as we just discovered ten minutes ago, the electrical company has cut off our electricity.

Neighbor exposition which they would say to each other:

MRS. CHERRY: You know I can’t see you in the dark, Hildie.

MR. CHERRY: How many times do I have to say I’m sorry?

MRS. CHERRY: Save your apologies. Just pay the electrical bill next time.

Scenarios for Assignment:

1. The Audience learns: The Cherry’s grandson has wrecked their car.

2. The Audience learns: The Cherry’s dog is pregnant.

3. The Audience learns: The Cherrys have just paid off their mortgage.

4. The Audience learns: The Cherry’s kitchen sink is clogged.

5. The Audience learns: The year is 2029.

Progression Assignment

For each of the following thesis statements, identify a progression which might convey its meaning in an AABA refrain, and then write a four-sentence outline, in prose, about the content of each of the A’s and the B. Don’t write the lyric itself; write the name of the progression, and a description of each of the sections.

Thesis 1 - My feelings about you have changed.

Thesis 2 - Everyone’s out to get me.

Thesis 3 - My dog goes completely insane when we get to the dog park

Example

Thesis: I can’t sleep unless you’re next to me.

Progession which will convey the thesis’ meaning: Problem/Solution

A - I can’t sleep unless you’re next to me. (identifies problem)
A - I’ve tried sleeping alone, but I’ve gotten so used to you next to me, and now you’re not there anymore (elaborates on the problem; contemplates what caused it)
B - Every night I hope I’ll fall asleep, if only for an instant, so I could at least dream you were next to me again (discusses a solution)
A - If you’ll come back to me, I’ll change my ways, and change my sheets (proffers an action)

1. Go through the first two steps of an outline (Three Phrase Beginning/Middle/End and Premise) for the show that you pitched in the Exercise for Unit #1, or for any other show you are currently working on.

2. Go through the next three steps (Swill Outline; Rough Outline; First Draft of Outline) for the first two scenes of your show.

1. Design a Character Worksheet listing the personality traits and background information you feel you should know about a character before trying to invent that person’s speech pattern(s). This can start with biographical information: Name, Age, Family relationships, etc. It can also include some physical information (big wart on nose, etc.) and then into cultural habits (movies, music, novels, hobbies, and the like). You might also include a famous actor or literary model (who would be the perfect person to cast in this role?). Feel free to be creative, and come up with as many items as you can. Create this worksheet as if it were an application, with blanks to fill in.

2. Fill in the blanks for the lead character of the show you outlined in Assignment #1.

1 Submit ten pairs of words which demonstrate masculine rhyme.

2 Submit ten pairs of words which demonstrate feminine rhyme.

3 Submit ten pairs of words which demonstrate triple rhyme.

4 Submit ten pairs of words which demonstrate near rhyme.

— Female Vocal Chart

Create a vocal chart for the three female characters (listed below) in the musical you chose in the previous unit.

• Carousel: Julie, Carrie, Nettie & Nellie (from South Pacific)
• Into the Woods: Rapunzel, Cinderella, Witch & Baker’s Wife
• A Little Night Music: Anne, Petra, Charlotte & Desiree
• Les Misérables: Cosette, Éponine, Madame Thénardier & Fantine
• West Side Story: Maria, Anita & Cunegonde (from Candide)

Explore two or three songs that each character sings and write a few words in response to the following questions. Focus on what differentiates the voice types of each character:

• Compare the ranges and tessituras for each voice type.
• What kinds of colors can you identify for each?
• What kinds of musical uses does the composer have for each?
• Do the differences in range reflect the dramatic/comedic structure of the show? If so, how?
• Are there differences in the vocal/musical writing between comedic and dramatic characters? If so, what are they?
• What kinds of general guidelines can you glean from these models?
o Is there a voice that does not fit into one of the types?
o If so, what is different?
• Are there any unconventional uses for female voices you found? If so, what are they?
• What kinds of other observations can you make about female voice types?

— Male Vocal Chart

Create a vocal chart for the three male characters (listed below) in the musical you chose in the previous unit.

• Carousel: Enoch, Billy & Emile (from South Pacific)
• Into the Woods: Baker, Jack, Mysterious Man & both Princes
• A Little Night Music: Henrik, Fredrik & Carl-Magnus
• Les Misérables: Jean, Javert, Marius, Thénardier & the Bishop
• West Side Story: Tony, Riff & Pangloss (from Candide)

Explore two or three songs that each character sings and write a few words in response to the following questions. Focus on what differentiates the voice types of each character:

• Compare the ranges and tessituras for each voice type.
• What kinds of colors can you identify for each?
• What kinds of musical uses does the composer have for each?
• Do the differences in range reflect the dramatic/comedic structure of the show? If so, how?
• Are there differences in the vocal/musical writing between comedic and dramatic characters? If so, what are they?
• What kinds of general guidelines can you glean from these models?
o Is there a voice that does not fit into one of the types?
o If so, what is different?
• Are there any unconventional uses for male voices you found? If so, what are they?
• What kinds of other observations can you make about male voice types?

— Exploring the NMI Glossary

Explore the NMI glossary and look up the following terms, listen to some examples in each and write a couple of short paragraphs for the female voices and a couple of paragraphs for the male voices. Consider the differences you hear between the voices in each group considering color, timbre, range, use in storytelling as well as your personal preferences.

• Coloratura soprano
• Soprano
• Mezzo-soprano
• Alto
• Belt
• Tenor
• Baritone
• Bass
• Baritenor

1. Write at least three different Three-Phrase Beginning/Middle/End groups for the
story idea that you plan to outline in this course.

2. For each Three-Phrase Beginning/Middle/End, identify the dominant source of
conflict.

Example:
Beginning: Maria tries hard - but isn't a good nun
Middle: Maria goes to Von Trapps - falls in love with Captain
End: Maria devotes life to Captain instead of God
Type of Conflict: Inner Conflict (Man v. Himself)

Character Through Diction

Assignment

Examine two of the “Sixteen Examples Of Lyrics Which Demonstrate Character Through Diction”

A. Write a one-paragraph prose analysis of the diction of each of the two characters you have selected. Address issues such as vocabulary, grammar, point of view, educational background, social status, regionalisms, etc. Don’t write a paragraph paraphrasing the character’s subtext and emotions; the thesis of your paragraph should be how the diction reveals character traits, and how choice of language provides clues about personality and psychological makeup.

B. Write two A’s of an AABA structure in the voice of one of the characters you selected in your analysis; you may use any rhythm and meter and rhyme scheme -- but you must use the content of the other character which you analyzed. (For example, you’ll have Madame Armfeldt trying to convince a crowd that pool halls are bad for them; or vice versa, you’ll have Harold Hill reminiscing about trysts in his past.) You may choose to employ metric substitutions; but if you do, each quatrain must have exactly the same substitutions in exactly the same locations.

C. Hand in two copies of your A’s: one which is clean, without any marks on it, and one which accomplishes the following:

Analysis

Scan your quatrain

Indicate all moras, ictuses, pickups and feet

Annotate all of the following:

• meter (e.g., “anapestic tetrameter”)
• rhyme scheme (e.g., small letters along the right side)
• metric substitutions
• intended progression (e.g., “problem/examination/solution”)
• alliteration, assonance, consonance
• For EVERY metric substitution, demonstrate how it metrically exactly matches the equivalent line in other stanzas.

The marked up copy is likely to be a big sloppy-looking mess by the time you’re done with it. That’s fine. Just be sure to include a clean copy as well.

Write a comedy song for the character of Becky to sing in Act 2 Scene one from Gina Gianfriddo’s play Becky Shaw. The moment will be for the character of Becky at the very beginning of the scene, when she's describing her awful night.

In this scene Becky is “rehearsing” a story she plans to tell her employer, trying to determine how best to use the story to her advantage. The employer, Andrew enters immediately, and she gets right on with her plan.

You will not let Andrew enter. Instead, you will write a comedy song for Becky to sing, as she deals with her “problem.” Remember, the source material is a play, not a musical. That means the characters are not necessarily transparent. You will have to read the entire play to fully understand why Becky is “rehearsing” at the top of this scene. Her rehearsal may or may not be the topic of your song. Whatever topic you choose for the song, the song will be about Becky trying to solve her problem, her complaint, if you will.

Make a list of aspects of the character’s personality that might affect the song. Put some specific language on the list, nouns, verbs, and OK, if you must, adjectives and adverbs, that relate to the moment in the scene. Outline the progress of the song: What is the thesis, how does it develop and where does it end (beginning, middle, end). Do this before you begin writing.

Lyricists: write the lyrics, as well as a description about what each stanza is hoping to accomplish. Include some notes about Becky's subtext, and what kind of reaction she's hoping to get from Andrew.

Composers: write the music, as well as a brief description about the Becky's state of mind, and how you're hoping that is reflected in your music. Include some notes about Becky's subtext, and what kind of reaction she's hoping to get from Andrew.

Please PRINT OUT the assignment to view the details.

Progression Assignment

For each of the following thesis statements, identify a progression which might convey its meaning in an AABA refrain, and then write a four-sentence outline, in prose, about the content of each of the A’s and the B. Don’t write the lyric itself; write the name of the progression, and a description of each of the sections.

Thesis 1 - My feelings about you have changed.

Thesis 2 - Everyone’s out to get me.

Thesis 3 - My dog goes completely insane when we get to the dog park

Example

Thesis: I can’t sleep unless you’re next to me.

Progession which will convey the thesis’ meaning: Problem/Solution

A - I can’t sleep unless you’re next to me. (identifies problem)
A - I’ve tried sleeping alone, but I’ve gotten so used to you next to me, and now you’re not there anymore (elaborates on the problem; contemplates what caused it)
B - Every night I hope I’ll fall asleep, if only for an instant, so I could at least dream you were next to me again (discusses a solution)
A - If you’ll come back to me, I’ll change my ways, and change my sheets (proffers an action)

Prosody Assignment - Part 1

Repairing Prosody

In the Prosody test, there were four examples of lyrics which, if set to strict and absolutely regular music, would result in poor prosody. Your assignment is to re-examine those lyrics and repair the line which is going to cause the problem. As in the test, assume that each and every line is set to music which is strict and absolutely regular, ta-TUM, ta-TUM, ta-TUM, ta-TUM (iambic tetrameter). Find the line which is going to have prosody issues. That is to say, which line is going to have an unaccented syllable fall in an accented location (fa-mi-LY), or vice-versa, which line is going to have an accented syllable fall in an unaccented location? Re-write the line.

1.1
In all the towns and cities fair
On Merry England’s broad expanse,
No swordsman ever compared well
To Thomas Winterbottom Hance.

1.2
Whene’er he heard a tale of woe
From client A or client B,
His grief would overcome him so,
He’d not really then charge his fee.

1.3
Who cares if I’m an oafish man?
Who cares that folken laugh at me?
I’ve plenty stacks of gold coin saved
And thumb my nose and stir my tea.

1.4
The other night, from cares exempt,
I slept. And what d’you think I dreamt?
I dreamt that I had come
To dwell in Topsy-Turveydom!

Prosody Assignment - Part 2

Part Two - Matching Accents

Assuming each of the following is the first stanza of a refrain. Write a second stanza, matching the prosody exactly. That is to say, if there is a subtle accent in the third foot of the second line, match that same subtlety with a similarly subtle word in the same location in the second stanza. Match the syllables, one for one, and the accents which are associated with them. Exactly. No fudging whatsoever; the point of this exercise is to distinguish subtleties of accent, and to sharpen your skills at replicating them.

Don’t worry about rhyme.

Example: Here’s what you’re to match

The fly that’s in my soup
Is taunting me to death.

So here’s what you write:

The waiter that I’ve called
Will say I put it there.

(Note the “IN” of the first line, a weak syllable sitting in a potentially accented location...it’s matched with “THAT” -- equally weak.)

2.1
The people who have gone the distance
Have an excellent existence.

2.2
My family has always been
Of great support to you and me.

2.3
Terrible rainstorms are gathering by the shore:
Everyone hurry inside for the barbecue.

2.4
Why the hurrying, young fella?
Can’t ya help a Cinderella?

2.5
A college dorm has always had
Such great appeal for guys like me.

2.6
Methinks I saw a black black cat.
I’m frightened what will come of that.

2.7
Six sprinklers spray the cars
And wash them clean again.

2.8
Nipping my nose with an icicle,
Jack Frost is making me shivery.

Prosody Assignment - Part 3

Hark the Herald Angels Sing/America the Beautiful

The lyrics to two famous compositions have been swapped, and the result is bad prosody. Your assignment is to alter the lyrics as little as possible so as to restore good prosody.

Repair the lyric in both songs.

Each phrase is to retain as much of its original meaning as possible. For example, you might need to rewrite “amber waves of grain” as “amber oceans of grain” or “grain in waves of tan” to allow it to scan correctly, or you might need to find a different color of grain; but try to retain the water/wave metaphor if possible.

You are not to change a single note of music.

Note: in the music of Hark! the Herald Angels Sing, several of the measures call for a melisma (more than one note on a single syllable). In your rewrite of the lyric, try to preserve this musical idea. For example, in the last two notes of measure 2, the original lyric was “si-ing” on two notes--attempt in your rewrite to find a new single syllable to function as a melisma, just as in the original.

NOTE: You will find the MUSIC for this assignment in the Prosody Assignment Part 3 PRINTOUT (link below).

Prosody Assignment - Part 4

Optional COMPOSERS’ Assignment: There are voices in my head

Examine the tiny tune “There are voices in my head.” Re-set the lyric “There are voices in my head” seven different ways so that the meaning is “no, no, there aren’t voices in your head, there are voices in MY head.” That is to say, set the lyric to emphasize the syllable “my.” Re-set the lyric seven different ways, so as to explore each of the following musical ways to accent:

Original setting - no accents
1. Dynamic - created by notation
2. Dynamic - created by syncopation
3. Dynamic - created by regular meter (accented syllables falling on accented beats)
4. Tonic - higher pitch perceived as emphasized
5. Tonic - lower pitch perceived as emphasized
6. Agogic - Accent perceived because of duration
7. Harmonic rhythm - change of harmony on accent (include chord symbols or accompaniment)

NOTE: You will find the MUSIC for this assignment in the Prosody Assignment Part 4 PRINTOUT (link below).

Scansion Assignment

Part One

Scan the following verses, marking: ictus, mora, virgule.
Label each with its metrical form (e.g., “trochaic tetrameter”)

Whene’er he heard a tale of woe
From client A or client B,
His grief would overcome him so,
He’d scarce have strength to take his fee.

meter:_________________________

Tokyo weather is mercifully
Windy and blows away pessimists.

meter:_________________________

What though I’m in a sorry case?
What though I cannot meet my bills?
What though I suffer toothache’s ills?
What though I swallow countless pills?

meter:_________________________

When the moon hits your eye like a big pizza pie
You are feeling Italian and amorous, si?

meter:_________________________

The other night, from cares exempt,
I slept. And what d’you think I dreamt?
I dreamt that somehow I had come
To dwell in Topsy-Turveydom!

meter:_________________________

You ask if sugar’s good for little boys
And yet you buy them danger-laden toys.

meter:_________________________

Bark. Bark. Woof. Woof.
Rats. Cats. Bats. Food!

meter:_________________________

You’ll see my name in lights again
I’ll go from dark to brights again
My spirits high as kites again
I’ll never suffer slights again
I’ll taste those sweet delights again
No plethora of plights again
No blossoming of blights again
No frantic fits or frights again.

meter:_________________________

“When do we eat?” said the master ventriloquist,
Drinking a glassful of water and gargling.

meter:_________________________

Part Two

Scansion Assignment 2.1 - Write and scan eight lines of perfect iambic tetrameter using only masculine rhymes. Mark ictus, mora and virgule.

Scansion Assignment 2.2 - Write and scan eight lines of perfect trochaic trimeter using only feminine rhymes. Mark ictus, mora and virgule.

Scansion Assignment 2.3 - Write and scan eight lines of perfect dactylic trimeter using triple rhymes in even numbered lines. Mark ictus, mora and virgule.

Scansion Assignment 2.4 - Write a quatrain, each line of which scans in exactly the following way:
u u / │ u u / │ u u / │ u u /

Write an exchange of dialogue between Mr. and Mrs. Cherry, a husband and wife of 35 years, in which the audience learns information of which both husband and wife are fully aware. Write one exchange for EACH of the scenarios detailed below. Use no more than four sentences per exchange.

Write the exchange in two ways.

1. First, convey the information to the audience using inappropriate stranger exposition.
Be obvious, and exaggerate. Because Mr. and Mrs. Cherry are both aware of this information, use stranger exposition which results in an awkward, clunky exchange of information which they would not believably say to each other. Use no more than four lines per character.

2. Rewrite the same exchange, conveying the given information in believable dialogue, using neighbor exposition. Use no more than four lines per character.

Example #1:

Given Information: Someone robbed them last night.

Stranger exposition which they would not believably say to each other:

MRS. CHERRY: Did you call the insurance company to tell them we were robbed while we were away on vacation in Houston?

MR. CHERRY: They’re sending someone out to see what’s missing.
MRS. CHERRY: Did you tell them they took our wedding photo which always sits on the mantelpiece?

Neighbor exposition which they would say to each other:

MRS. CHERRY: Did you call the insurance company?

MR. CHERRY: They’re sending someone out..

MRS. CHERRY: I can’t believe the creeps took our wedding photo. Who’d want to steal that?

Example #2:

Given Information: The electrical company has cut off the electricity.

Stranger exposition which they would not believably say to each other:

MRS. CHERRY: So here we are sitting in the dark, unable to see each other.

MR. CHERRY: You blame me for not paying the electric bill, don’t you?

MRS. CHERRY: Well, yes, because as we just discovered ten minutes ago, the electrical company has cut off our electricity.

Neighbor exposition which they would say to each other:

MRS. CHERRY: You know I can’t see you in the dark, Hildie.

MR. CHERRY: How many times do I have to say I’m sorry?

MRS. CHERRY: Save your apologies. Just pay the electrical bill next time.

Scenarios for Assignment:

1. The Audience learns: The Cherry’s grandson has wrecked their car.

2. The Audience learns: The Cherry’s dog is pregnant.

3. The Audience learns: The Cherrys have just paid off their mortgage.

4. The Audience learns: The Cherry’s kitchen sink is clogged.

5. The Audience learns: The year is 2029.

Download the short scene from the Assignment Printout which is purposefully written without much character in the dialogue. Rewrite the scene, giving the dialogue more specificity, with clues telling us what kind of people are talking (use the Character Sketches below as the basis for your two characters).

Your objective here is to infuse the dialogue with character, using language specific to the character. This will help the lyricist create a song with the characters’ language patterns, and even using some of the actual specific language of the dialogue if appropriate. It will also help the composer create music that is pertinent to these particular people.

Please think about the following questions before you write each line of dialogue:

1. Who is speaking (refer to the thumbnail character sketch on this page)?

2. What does the character who is speaking want?

3. How does what the character want affect what the character can or will say?

4. What are the characters who speak willing to reveal to the other person in the scene?

5. How will their background (small town, middle-America, somewhat reduced finances and education, etc.) affect their language?

CHARACTER SKETCHES

HE is a young machinist in Paducah. He is good at his job, using computers to design and create small parts for a manufacturer of custom aircraft interiors. He has ambitions to be a full-fledged mechanical engineer someday, but he had to interrupt his education after two years at a local community college in order to go to work and help out the family when his father died. He likes jazz and action-adventure movies. And he really likes HER.

SHE is a native of Paducah also. She and he grew up in the same neighborhood. They’ve known each other since they were infants. She is still in school, planning to open a day care center and take care of the children of working parents. She enjoys working with children and hopes to have several of her own one day. She likes him, but is afraid that his sense of responsibility to his family will put off any possibility of a serious relationship for a long time…and she’s ready now.

Let the characters’ language accomplish basically the same scene as the one that follows on the next page, but with much more information about who they are and what they want from each other. Remember, the key to dialogue is subtext. Let us learn what the characters really think and feel through what they say, but don’t let them articulate exactly what they really think and feel. But REMEMBER: You don’t have to get ALL the information about these people into this one scene. Use the information to give a flavor to the characters and to their diction.

Note: Make sure you use ANMT’s standard formatting for this scene. Get used to it!

Alliteration Assignment

Using the lyric “Falling in Love with Love” (from The Boys from Syracuse), identify the following:

1. Seven examples of alliteration

2. Seven examples of consonance

3. Seven examples of assonance

Indicate each instance by capitalizing the letters which are involved. (Example, from assonance: dAnce, And keep your hAnd out of romAnce)

(feel free to use that one, if you wish)

Falling in Love with Love

(Lorenz Hart)

I weave with brightly colored strings

To keep my mind off other things;

So, ladies, let your fingers dance,

And keep your hand out of romance.

Lovely witches,

Let the stitches

Keep your fingers under control.

Cut the thread, but leave

The whole heart whole.

Merry maids can sew and sleep;

Wives can only sew and weep!

• Create a chart similar to the chart you built for your musical modelling in the exercise for this chapter for three singing male characters from the shows of Richard Rodgers. If possible, pick one character each from the three voice types: Bass, Baritone, and Tenor.

• Create a similar chart for three singing male characters from the shows of Frank Loesser.

• Create a similar chart for three singing male characters from the shows of Stephen Sondheim.

• Create a similar chart for one additional male character that does not seem to fit an exact definition of one of the three voice types.

• Compare the ranges for each voice type.

• Compare the tessitura for each voice type.

• What kinds of colors can you identify with each character’s music?

• What kinds of musical uses does the composer have for each voice type?

• Do the differences in range reflect the dramatic/comedic structure of the show? If so, how?

• Does the use of range reflect differences of style between the three composers? If so, how?

• Are there differences in the vocal/musical writing between comedic and dramatic characters?

• If there are differences between comedic and dramatic uses, what are they?

• What kinds of general guidelines for each voice type can you glean from these models?

• How does the voice that does not fit the exact model compare to the other characters?

• What is different about that voice/character?

• Are there unconventional uses you found in the scores for each voice type? If so, what are they?

• What other kinds of observations can you make about male voice types?

In this assignment, let us compare operatic uses of these voice models in order to better understand their distinctions. Even if you are less familiar with opera the comparison may be useful since many composers of music theatre have been very familiar with uses of the voice types in opera and operetta or also composers in that genre. Just listen to the following examples and make notes on your thoughts.

Bass

• Don Giovanni — Don Giovanni! a cenar teco m'invitasti. This music may be found at the end of the opera and is sung by the Commendatore who has come to drag Don Giovanni down to hell. Composer: Wolfgang Amadeus Mozart. (http://www.youtube.com/watch?v=pophzoEXQF8)

• Porgy And Bess — Bess You Is My Woman. This duet may be found in Act II and is sung by Porgy and Bess as they prepare for the church picnic. Composer: George Gershwin. (http://www.youtube.com/watch?v=ApZ0lqGIF74)

• The Magic Flute — O Isis und Osiris. This aria is may be found at the beginning of Act II and is sung by Sarastro. It is a quintessential bass sound. Composer: Wolfgang Amadeus Mozart. (http://www.youtube.com/watch?v=K_IaJDqz2Zo)

• Susannah — I’m A Lonely Man, Susannah. Based on the biblical story of Susannah, this opera is set in Appalachia. This aria in act II is an example of bass-baritone. Composer: Carlyle Floyd. (http://www.youtube.com/watch?v=Cm37jLJm1GM&feature=related)

Baritone

• The Marriage of Figaro — Se vuol ballare, signor contino. This aria is may be found at the end of Act I. Figaro sings of his plans to outwit the Count (also bass-baritone). Composer: Wolfgang Amadeus Mozart. (http://www.youtube.com/watch?v=_i9H4HeiSGg)

• The Old Maid And The Thief — When The Air Sings of Summer. Originally a radio opera, a thief wanders into the lives of three women. Composer: Gian Carlo Menotti. http://www.youtube.com/watch?v=tSbSVCXrFxA)

• Ballad of Baby — Warm as the Autumn Light. This aria may be in Act I and is sung by Horace Tabor to his beloved Baby Doe. Composer: Douglas Moore. (http://www.youtube.com/watch?v=C-SK4RO7Jvo)

Tenor

• The Magic Flute — Dies’ Bildness ist bezaubernd schön. This aria opens the opera and is sung by the hero,Tamino, when he finds a picture of the woman he will come to love. Composer: Wolfgang Amadeus Mozart. (http://www.youtube.com/watch?v=0TnruLf_haY)

• Street Scene — Lonely House. This aria is in the first act when Sam addresses the loneliness he has come to feel in a very crowded lower east side neighborhood in New York City. Composer: Kurt Weill. (http://www.youtube.com/watch?v=adVHUTI7R5w&feature=related)

• The Rake’s Progress — Here I Stand. This aria is sung by Tom Rakewell as he refuses to settle down with a job to support his intended wife, Anne Truelove. Composer: Igor Stravinsky http://www.youtube.com/watch?v=qn8P5175dHw — about 5 minutes in)

Referring back to the Three-Phrase Beginning/Middle/End attempts from the last
unit, expand your story idea into three different Premise paragraphs.

Substitution Assignment

What follows in the first part of this assignment (#1-16) are examples of regular (perfect) meter. But then you are to assume your composer has come along and set the phrase to music in such a way that one of the feet no longer fits into a regular pattern. This causes at least one foot to get mispronounced (for example, GIRaffe, instead of girAFFE). You are to make a substitution which will fix the problem. In most cases, this will mean that you’ll have to scan the original words, then scan the foot which your composer has altered, and then find a substitution which repairs the prosody.

Part One: Avoiding/Ensuring accents (substitutions in the third foot)

Avoiding an accent. In each of the following lines, assume that music has made the third foot a perfect trochee, causing an accent which the original line can’t support. Scan these as tetrameter, and make substitutions in the third foot only. Your substitution should retain as much of the original meaning as possible.

Example. In the following, assume that music has made the third foot trochaic. Make a substitution in the third foot which will repairs the prosody.

Original: You see how well that kids can get along.

Substitution: You see how well children can get along.

1. You see how well that men can get along.
2. Having dessert is the highpoint of mealtime.
3. I make up things to say to you.
4. Cucumber sandwiches smothered with mayonnaise
5. Love fooled me. Shame!

Avoiding an accent (iambic). In each of the following lines, assume the music has made the third foot a perfect iamb. Make a substitution which will avoid the accent. Scan these as tetrameter, and make substitutions in the third foot only. Your substitution should retain as much of the original meaning as possible.

Example: In the following, assume the music has made the third foot iambic. Make a substitution in the third foot which will ensure the accent.

Original: Thousands of daffodils hemorrhage yellowness

Substitution: Thousands of daffodils secrete yellowness

6. Heaven can see that you really are wonderful
7. Chicks and ducks and geese better scurry
8. I just came back. Lisbon was great.
9. Up in the morning! Ya gotta love hangovers!
10. If you think I will blink when you shout, you are wrong.
11. I love this family of mine.

Ensuring an accent. In the following, assume the music has made the third foot iambic. Make a substitution which will ensure the accent.

12. Thousands of daffodils hemorrhage yellowness
13. Life is dreary, deadly boring
14. O, all that good money wasted
15. Modern major generals with vegetables are fascinating.
16. Wow, that woman’s snoring loudly.

Part Two: Supporting the Meaning

Supporting the meaning (slowing down). In the following, assume the music slows down at the tail end of the phrase. Make a substitution at the end of the second line which will support the meaning by causing the rhythm to slow down. You are to rewrite each pair of lines twice: first by substituting a spondee; then secondly by substituting a single syllable for the bisyllable second-to-last foot.

Example: You are to rewrite each pair of lines twice: first by substituting a spondee; then by substituting a single syllable for the bisyllable second-to-last foot (“push it”)

Original:

Over and over he rolled the slow wagon
Until he could push it no more.

Substitute a spondee:

Over and over he rolled the slow wagon
Until he could slog mud no more

Substitute single syllable

Over and over he rolled the slow wagon
Until he could roll no more.

17/18. Over and over he rolled the slow wagon
Until he could push it no more.

19/20. We stayed up too late; until
The wall clock sounded midnight.

21/22. I couldn’t bear it any longer.

Would she? Wouldn’t she? I held my breath.

Supporting the meaning (speeding up). In the following, speed things up by making a substitution at the end of the second line.

23. I couldn’t bear it any longer.
Would she? Wouldn’t she? I held my breath.

Supporting the meaning (subtext). In the following, make substitutions to support the meaning. Don’t rewrite the line. Substitute one or two feet with alternate meter. Emptying a foot out completely is an allowable substitution. Retain as much of the original meaning as possible, but with substitutions, emphasize the subtext.

Example:

Original:

You have asked a question
And I hardly think I know the answer.

(Meaning: I want to stop and think about this....)

Substitution:

You asked a question.
I hardly know the answer.

24. Well, ain’t that fine news!
I can buy some shoes.

Meaning: I’m so excited I can’t sit still!

25. Don’t look so wise,
Don’t show your scorn:
Watch yourself,
I warn.

Meaning: I’m going to get you, if it’s the last thing I do!

26. Remember when you first reached for my hand?
Remember how cold and trembling you said it was?

Meaning: I’m so filled with emotion, I’m having troubles speaking.

27. There have been a thousand raggy, draggy dances
That are danced in every hall.

Meaning: I’m so-o-o bored!

28. There have been a thousand raggy, draggy dances
That are danced in every hall.

Meaning: Ooo, those dancing women are so naughty....

Part Three: Allowing the Phrase to Breathe

Allowing the phrase to breathe. In the following, find a natural break in the meaning, and open up the phrase. You are to rewrite the following quatrain twice: first by deleting a syllable or two at the break; then secondly, by substituting a word or two with fewer syllables at the break. (This might also necessitate changing the last foot or two of the final line to accommodate a new rhyme.) Don’t rewrite the whole quatrain; just make substitutions to make the phrase breathe. Rewrite the quatrain twice: first with deletions, then with substitutions.

29/30. Oh, the magic of the barracks and the battle and the clamor
And the magic of the travel and the drill and oh the glamour!
Oh, the military builds a man with lots of manly attributes
But even they can make mistakes and when they do, boy, they are beauts!

Write a duet for a specific moment in the pilot episode of The Big Bang Theory by Bill Prady and Chuck Lorre.

One of the ongoing conflicts in the series is the constant bickering between Sheldon and Leonard, one always correcting or disagreeing with the other, often on nit-picking grounds nobody else would care about or even be interested in. After reading the entire pilot, go back and analyze the scene that begins on page 20 (scene 5), where Sheldon and Leonard are in the car, preparing to rescue Penny’s TV from her former boyfriend. We can assume the ex-boyfriend is somewhat more aggressive than either Sheldon or Leonard …and probably both of them combined. Still, they are bickering – why are we doing this, should we be doing this, can we actually do this, etc. There are also other points of conflict between the two in other areas of the script that might be employed here.

Parameters:

Write the song with these parameters: 1) The basic shape of the song will be A-A-B-A. However, there may be contrasting sections, melodic and harmonic development along the way. As always, it's best if the audience is treated to once through the “tune” of a song before including variations, but this is not a hard and fast rule. 2) Characterize the song. It is being sung by two very different people - this means the music and words must reflect these differences. Examples of this sort of characterization include I’ll Never Be Jealous Again from The Pajama Game and Like Everyone Else from Side Show. In the Pajama Game example, the music is quite different for each character, whereas in the Side Show example the two characters are delineated more by words and orchestration. In order to provide contrasting music to reflect the different attitudes of Sheldon and Leonard, you may want to create contrapuntal singing. Call and response might also work in this instance, especially if the response is contrary to the call. Other ways of providing subtextual information include reharmonizing portions of the song when the singer’s attitude changes, or creating different accompaniment figures to indicate underlying emotional intentions. These are tools, not requirements. The composer must decide how to characterize this conflict musically, just as the lyricist must decide how to explore the conflict with words.

Lyricists: write the lyrics, as well as a description about what each stanza is hoping to accomplish.

Composers: write the music, as well as a brief description about how you're hoping the characters' states of mind are reflected in your music.

Please PRINT OUT the assignment to view the details.

Using the song you created in the exercise for this unit with a simple harmonization, create a more complex harmonization. Consider the following:

• Harmonic Rhythm: Do the chords increase in frequency toward the end of phrases?
Ø Try substituting ii-V for V.
Ø Try using a tritone substitution.
Ø Try using a tritone ii-V substitution for V.

• Feel:
Ø Try altering the feel.
Ø Try altering the meter.

• Tonality:
Ø Try altering the modality (if in major, switch to minor)
Ø Try altering the modality in only certain sections

• Cadences:
Ø Try the substitutions listed under Harmonic Rhythm
Ø Try weakening the cadences by moving from IV to I
Ø Try strengthening the cadences by creating perfect authentic cadences

• Harmonization:
Ø Try altering the openings of phrases
Ø Try using neighboring chords to expand the tonic
Ø Try using inversions to create a smoother bass line

• Motion:
Ø Try establishing strong contrary motion between bass and voice
Ø Explore where the bass line suggests the harmony could go

Once you have explored several options, create a second version of your song with substitutions and structures. Does the altered song version work as well or better than the original? Submit both versions for evaluation and discussion.

Scansion Subtleties Assignment - Part One

Scan the following verses, marking: ictus, mora, virgule.

Label each with its predominant metrical form (e.g., “trochaic tetrameter”
or “trochaic tetrameter, alternating with trochaic trimeter”)

Gather round me, everybody
Gather round me while I preach some.
Feel a sermon comin’ on me.

meter:_________________________

In all the towns and cities fair
On Merry England’s broad expanse,
No swordsman ever could compare
With Thomas Winterbottom Hance.

meter:_________________________

Let’s meet on the road to Morocco,
Instead of the tunnel of love.

meter:_________________________

There's a bright, golden haze on the meadow
There's a bright, golden haze on the meadow.
The corn is as high as an elephant's eye
And it looks like it's climbing clear up to the sky.

meter:_________________________

What do you do with a B.A. in English?
What is my life going to be?
Four years of college and plenty of knowledge
Have earned me this useless degree.
I can't pay the bills yet, 'cause I have no skills yet.
The world is a big scary place...

meter:_________________________

Columbus and his men, they say,
Conveyed the virus hither,
Whereby my features rot away
And vital powers wither;
Yet had they not traversed the seas
And come infected back,
Why, think of all the luxuries
That modern life would lack!

meter:_________________________

All around the cobbler's bench
The monkey chased the weasel
The monkey thought 'twas all in fun
Pop -- goes the weasel!
Johnny's got the whooping cough and
Mary's got the measles
That's the way the money goes
Pop -- goes the weasel!

meter:_________________________

Oh, what a beautiful mornin'
Oh, what a beautiful day.
I've got a beautiful feelin'
Everything's goin' my way.

meter:_________________________

Don’t be afraid of the future,
All of our plans will come true.
How can they fail with love on our side?
They’ll never fail, we won’t be denied.

meter:_________________________

Scansion Subtleties Assignment - Part Two

Scansion Assignment 2.1 - Write and scan eight lines of iambic tetrameter which are perfect except for even numbered lines in which you are to use iambic trimeter. Use only masculine rhymes. Mark ictus, mora and virgule.

Scansion Assignment 2.2 - Write and scan eight lines of perfect trochaic tetrameter which are perfect except for even numbered lines in which you are to use trochaic trimeter. Use only feminine rhymes. Mark ictus, mora and virgule.

Scansion Assignment 2.3 - Write a quatrain which scans in the following way:

u u / │ u u / │ u u / │ u /
u / │ u u / │ u /

u u / │ u u / │ u u / │ u /
u / │ u u / │ u /

Scansion Assignment 2.4 - Write a quatrain which scans in the following way:

/ u u │ / u u │ / u u │ / u
u / u u │ / u u │ /

/ u u │ / u u │ / u u │ / u
u / u u │ / u u │ /

You and collaborators have decided that the New York City scene (from the Exercise for this Unit) will end with a solo from SHE. The following song is the one that your collaborators deliver to you. Go back and revise your New York City scene to lead elegantly into this song.

Feel free to insert dialogue into the song (i.e. between stanzas) if that feels right for your scene. (for example: SHE might make a phone call at some point during the song that points forward to how she will respond to her current feelings). Also make sure you use proper formatting for your scene and song, in preparation for an integrated script and score, referencing the Handout on Formatting from Unit 2.

OLD IN NEW YORK CITY

Friends come to visit through the years
Convenient side trips and vacation times
They come to watch while their dreams unfold
And magic takes hold in New York City

They come to see the great parade
Fashions and festivals and finery
Brazen and bold – just like they’ve been told
How quickly they’re sold on New York City

They say how lucky I am that I live here
And what they would give just to be in my place
Keeping apace
They’ve never tried

They will not take a moment to look at me
To see what this town does to people they’ve known
See how I’ve grown
The new girl in town grows old all alone

I’ve got to get away from here
Maybe some place for just a holiday
I’d go back home – but all of my friends
Say I belong in New York City

I need to go home – to be with my friends
I’m getting so old in New York City

To listen to a recording of this song, CLICK HERE

Euphony Assignment

1.1 Examine excerpt #7 on the handout (Color and Light from Sunday in the Park with George), and identify in it examples of:

• sounds formed by similar regions of the singer’s lips or mouth
• consonance (list several examples)
• assonance (list at least two examples
• “tiny” syllables
• initial consonants repeating preceding consonant (you might need to read it out loud to find these; we found FOUR)

1.2 Create three short euphonious phrases in which the sounds are formed by similar regions of the singer’s lips or mouth (e.g., “Not a Todd, a Donatello” or “Oh, the old folks of yore.”)

1.3 Create three short euphonious phrases formed from “tiny” syllables which are easily articulated with the tip of the tongue or the front of the lips (e.g., “pit a pat o’ butter” or “bitter batter bitter batter”)

1.4 Create three short euphonious phrases in which initial consonants repeat preceding consonants. (e.g., “lonely yellow window washer.”)

1.5 Create three short UN-euphonious phrases which use clustered consonants, probably requiring a distracting amount of diction in order to be understood. (e.g., “couch scratch”)

1.6 Create three slightly longer phrases in which the first third is euphonious, the middle third is UN-euphonious, and the final third is euphonious again. In other words, glunk up the middle parts of three otherwise perfectly lovely phrases.

Part One - Repairing Prosody

In the Prosody test, there were four examples of lyrics which, if set to strict and absolutely regular music, would result in poor prosody. Your assignment is to re-examine those lyrics and repair the line which is going to cause the problem. As in the test, assume that each and every line is set to music which is strict and absolutely regular, ta-TUM, ta-TUM, ta-TUM, ta-TUM (iambic tetrameter). Find the line which is going to have prosody issues. That is to say, which line is going to have an unaccented syllable fall in an accented location (fa-mi-LY), or vice-versa, which line is going to have an accented syllable fall in an unaccented location? Re-write the line.

1.1

In all the towns and cities fair

On Merry England’s broad expanse,

No swordsman ever compared well

To Thomas Winterbottom Hance.

1.2

Whene’er he heard a tale of woe

From client A or client B,

His grief would overcome him so,

He’d not really then charge his fee.

1.3

Who cares if I’m an oafish man?

Who cares that folken laugh at me?

I’ve plenty stacks of gold coin saved

And thumb my nose and stir my tea.

1.4

The other night, from cares exempt,

I slept. And what d’you think I dreamt?

I dreamt that I had come

To dwell in Topsy-Turveydom!

Part Two - Matching Accents

Assuming each of the following is the first stanza of a refrain. Write a second stanza, matching the prosody exactly. That is to say, if there is a subtle accent in the third foot of the second line, match that same subtlety with a similarly subtle word in the same location in the second stanza. Match the syllables, one for one, and the accents which are associated with them. Exactly. No fudging whatsoever; the point of this exercise is to distinguish subtleties of accent, and to sharpen your skills at replicating them.

Don’t worry about rhyme.

Example: Here’s what you’re to match

The fly that’s in my soup

Is taunting me to death.

So here’s what you write:

The waiter that I’ve called

Will say I put it there.

(Note the “IN” of the first line, a weak syllable sitting in a potentially accented location...it’s matched with “THAT” -- equally weak.)

2.1

The people who have gone the distance

Have an excellent existence.

2.2

My family has always been

Of great support to you and me.

2.3

Terrible rainstorms are gathering by the shore:

Everyone hurry inside for the barbecue.

2.4

Why the hurrying, young fella?

Can’t ya help a Cinderella?

2.5

A college dorm has always had

Such great appeal for guys like me.

2.6

Methinks I saw a black black cat.

I’m frightened what will come of that.

2.7

Six sprinklers spray the cars

And wash them clean again.

2.8

Nipping my nose with an icicle,

Jack Frost is making me shivery.

Part Three - Hark the Herald Angels Sing/America the Beautiful

The lyrics to two famous compositions have been swapped, and the result is bad prosody. Your assignment is to alter the lyrics as little as possible so as to restore good prosody.

Repair the lyric in both songs.

Each phrase is to retain as much of its original meaning as possible. For example, you might need to rewrite “amber waves of grain” as “amber oceans of grain” or “grain in waves of tan” to allow it to scan correctly, or you might need to find a different color of grain; but try to retain the water/wave metaphor if possible.

You are not to change a single note of music.

Note: in the music of Hark! the Herald Angels Sing, several of the measures call for a melisma (more than one note on a single syllable). In your rewrite of the lyric, try to preserve this musical idea. For example, in the last two notes of measure 2, the original lyric was “si-ing” on two notes attempt in your rewrite to find a new single syllable to function as a melisma, just as in the original.

Optional COMPOSERS’ Assignment: There are voices in my head

Examine the tiny tune “There are voices in my head.” Re-set the lyric “There are voices in my head” seven different ways so that the meaning is “no, no, there aren’t voices in your head, there are voices in MY head.” That is to say, set the lyric to emphasize the syllable “my.” Re-set the lyric seven different ways, so as to explore each of the following musical ways to accent:

Original setting - no accents

1. Dynamic - created by notation

2. Dynamic - created by syncopation

3. Dynamic - created by regular meter (accented syllables falling on accented beats)

4. Tonic - higher pitch perceived as emphasized

5. Tonic - lower pitch perceived as emphasized

6. Agogic - Accent perceived because of duration

7. Harmonic rhythm - change of harmony on accent (include chord symbols or accompaniment)

Evaluate the following poem by Lord Byron. Pick one stanza and mark the strong and weak syllables.

SHE walks in beauty, like the night
Of cloudless climes and starry skies,
And all that's best of dark and bright
Meets in her aspect and her eyes;
Thus mellow'd to that tender light
Which Heaven to gaudy day denies.

One shade the more, one ray the less,
Had half impair'd the nameless grace
Which waves in every raven tress
Or softly lightens o'er her face,
Where thoughts serenely sweet express
How pure, how dear their dwelling-place.

And on that cheek and o'er that brow
So soft, so calm, yet eloquent,
The smiles that win, the tints that glow,
But tell of days in goodness spent,—
A mind at peace with all below,
A heart whose love is innocent.

• Are there the same number of poetic feet in each line?
• Do the lines match each other in terms of stress?
• Do the lines that rhyme match each other in feet and stress?

If the following exist —
• Identify the rhyme scheme.
• Identify any alliteration.
• Identify any internal rhymes.
• Identify any other poetic devices a composer should observe.

Examine the other two stanzas.
• How does each relate to your initial analysis?
• Is the entire poem rhythmically the same?

Select two songs from the show you chose to model from the list in Unit One and type the lyrics out double spaced on a page. Print the page, then go back through and identify strong and weak syllables in each line. Consider the same questions as above on the right.

Next, select one other new lyric you do not know from one of the following sources:
• Songs from a second show you do not know from the list in Unit One.
• Select a song or songs you do not know from a collection of lyrics by a lyricist you do know (Such as Alan Jay Lerner, Frank Loesser, or Stephen Sondheim)

Follow the same pattern as above:
• Identify the strong and weak syllables;
• Identify the poetic feet;
• Determine the similar lines;
• Identify any kind of rhyme, alliteration, or other scheme that a composer would need to observe.

Take two songs from your work in the previous assignment.

Create a melody based on the metrical analysis you have completed.

Before you begin an “A” section:
• Determine the emotional climax of the quatrain or section
• Determine the exact word (and syllable) which is the peak
• Determine the relationship between the lines either leading up to the climax or falling off from it
• Observe any rhyme, alliteration, or other poetic device.

Create a melody, phrase by phrase. Be sure to:
• Be sure to create a good phrase shape for each line
• Account for a melodic cadence in the choice of your melody notes
• Create a cadence structure that will create a good movement from phrase to phrase
• Reach the musical climax of your setting to coincide with the poetic climax you found above
• Do the subsequent A sections fit the same music?
• If all other A sections fit, adjust the cadence at the end of each to acknowledge its location in the lyric

Continue the two songs from your work in the previous assignment.

Continue creating a melody for any B, C or D sections in your lyric.

• Should you set subsequent sections in the same key center?
• If you move to another key, is it a neighboring key or a foreign key?
• Does the melody you create (or alter) at the end of a section lead you to the new key?

Assemble the song.

• Do all the sections fit together smoothly?
• Do you have proper structural harmonies implied in your melody to move from one section to the next?
• Does the climax in the melody match the climax in the lyric?
— line by line
— section by section
— in the song as a whole

Using a premise you have previously written, expand the idea into a two-page swill outline.
Time yourself: don't give yourself any longer than one hour to complete this. If you aren't done in one hour, rip up what you've written and start over again from the top.

Note: any feedback you receive on this Swill Outline will be strictly about how it functions as a Swill - not about content. Normally, you would not show this document to anyone.

1. Analyze the excerpt from Now (Excerpt #10) from A Little Night Music, marking where Sondheim has stops. Where does the first phrase drive to? Where does the second phrase drive to? Mark each of the stopping points, and note the three separate structures (Hint: the middle section beginning with the word “Say”.)

2. That’s the easy part. Now the hard part. Duplicate the length of the entire excerpt with a lyric of your own, in which a character is deciding between two options, imitating the drive of EACH of the phrases. Match your phrases to Sondheim’s phrases: wherever you marked a driving point in #1, above, make sure your lyric drives to there, without any stops along the way, and without barrelling through the stop. Use Sondheim’s phrases in length and meter exactly. If he has nine stops, so should you have nine stops. (Hint: he does have nine.) You should be able to lay a transparency of your lyric directly on top of his, and you will have no more or fewer stops than he does. The trick is not to ignore the little stops along the way...drive to the end of each phrase, and no further.

The topic can be anything, but keep the word Now where it appears, and keep the options A and B where they appear. So that, you should have something which could be sung to Sondheim’s music, and also resembles the “A, I could _______, B, I could ______” structure of the lyric.

Hit all and only the points you identified in part #1.

Assignment: write a song for the ensemble of characters in Act II, Scene 3 of Anna In The Tropics by Nilo Cruz. (begins on page 49 in the Dramatist Play Service acting edition)

This scene is an opportunity for an ensemble number, where the characters are all united in a single activity - the celebration to introduce a new product. There is also, however, some dissent, some potential for contrapuntal activity.

Before you begin writing:

Jot down some notes outlining the “plan” for the song - what will happen during the song, how will the audience know more about the characters, their struggles, aspirations, fears, etc. at the end of the song than they did at the beginning. Include thoughts about your ideas about how to contain dramatic development within the song, a movement from condition A to condition B for at least one character (but maybe for several characters). Remember, this is an ensemble play, rather than a play about one person. At the center of this ensemble moment there should be a recognizable AABA tune - but once that shape has been identified, you are free to develop and vary it as the drama seems to require.

Whatever you all do - you will realize that this is not an old-fashioned “merry villagers” moment. Everyone on the stage has something at stake in this scene, and these stakes should be attended to in the song.

Please PRINT OUT the assignment to view the details.

Please PRINT OUT the assignment to view the details.

Rhyme Assignment

Rhyme 1.1 Submit ten pairs of words which demonstrate single rhyme.
Rhyme 1.2 Submit ten pairs of words which demonstrate double rhyme.
Rhyme 1.3 Submit ten pairs of words which demonstrate triple rhyme.
Rhyme 1.4 Submit ten pairs of words which demonstrate near rhyme.

Refrain Structure Review Assignment

You are to write an AABA refrain in perfect meter and form, following a progression structure.

1. Outline the idea for an AABA refrain. Sketchy sentences are fine; this stage is informal but critical.

2. Select a progression which suits your diea, then bullet-point the fuction of each A sesion, and the B-section.

3. Write a AABA refrain in perfect meter (e.g., perfect trochaic trimeter) and perfect rhyme.

4. Scan.

5. Identify the meter.

6. Identify the rhyme scheme. e.g.:

a
a
b
b

c
c
b
b

Note: This can duplicate another assignment or project of your own.

1. Write an outline for a ten-minute play for five characters and a specific location.

Choose a location from the list below – then choose two characters from the “Men” category, two from the “Women” category, and one from the “Either” category. Make sure you designate one of these characters as your lead character.

2. Revise your outline until you feel it has a clear beginning, middle and end, and that your lead character either accomplishes their unwavering want; or learns something important; or undergoes a significant change (or all three). Don’t forget to include a compelling conflict or obstacle for your lead.

3. Once you are happy with your outline, write the actual short play. (ten pages maximum)

Make sure you use ANMT standard formatting.

LOCATION/EVENT
In the elevator stuck between floors
The bridal suite on the honeymoon night
Grandma’s 90th birthday
A window ledge during the Great Depression
The day of the wedding
A cemetery
The Titanic five minutes after the ice-berg hit
Friday the 13th

MEN
The man with something in his backpack
The hunky pizza delivery boy
The stuttering priest
The man from another planet
The man with a disease
Osama bin Laden
The man who plays organ at the silent movie theatre
The theatre usher
The man who took too much Viagra this morning
The man with an ear-trumpet (or hearing aid)
The man who forgot his galoshes
The prince-in-disguise
The man who’s a picketing union worker
Matt Damon’s stand-in
The marine
The man whose wife blew up in a hot-air balloon accident
The man with the toupee

WOMEN
The girl from Ipanema
The girl who cannot tell a lie
The color-blind woman
The bridesmaid
The ghost of Ethel Merman
Barbara Walters
The nun
The woman whose implants need fixing
The overweight stripper
The girl who received honorable mention in the beauty pageant
The woman whose bunions are killing her today
The girl who’s lost her contact lens
The woman who was paid to giggle on the laugh-tracks for TV sit-coms

EITHER (you get to choose – Male or Female)
The famous chef
The Orthodox Jew
The oboe player who’s lost a reed
The Siamese twins (played by one person)
The crooked banker
The singing telegram delivery person
The ex-TV soap opera star
The mayor of a very small town
The redhead with a secret

Scansion Assignment - Part One

Scan the following verses, marking: ictus, mora, virgule.

Label each with its metrical form (e.g., “trochaic tetrameter”)

Whene’er he heard a tale of woe

From client A or client B,

His grief would overcome him so,

He’d scarce have strength to take his fee.

meter:_________________________

Tokyo weather is mercifully

Windy and blows away pessimists.

meter:_________________________

What though I’m in a sorry case?

What though I cannot meet my bills?

What though I suffer toothache’s ills?

What though I swallow countless pills?

meter:_________________________

When the moon hits your eye like a big pizza pie

You are feeling Italian and amorous, si?

meter:_________________________

Here’s a story, told by twenty women,

All of whom have had a visitation.

meter:_________________________

The other night, from cares exempt,

I slept. And what d’you think I dreamt?

I dreamt that somehow I had come

To dwell in Topsy-Turveydom!

meter:_________________________

You ask if sugar’s good for little boys

And yet you buy them danger-laden toys.

meter:_________________________

Bark. Bark. Woof. Woof.

Rats. Cats. Bats. Food!

meter:_________________________

You’ll see my name in lights again

I’ll go from dark to brights again

My spirits high as kites again

I’ll never suffer slights again

I’ll taste those sweet delights again

No plethora of plights again

No blossoming of blights again

No frantic fits or frights again.

meter:_________________________

“When do we eat?” said the master ventriloquist,

Drinking a glassful of water and gargling.

meter:_________________________

Scansion Assignment - Part Two

Scansion Assignment 2.1 - Write and scan eight lines of perfect iambic tetrameter using only masculine rhymes. Mark ictus, mora and virgule.

Scansion Assignment 2.2 - Write and scan eight lines of perfect trochaic trimeter using only feminine rhymes. Mark ictus, mora and virgule.

Scansion Assignment 2.3 - Write and scan eight lines of perfect dactylic trimeter using triple rhymes in even numbered lines. Mark ictus, mora and virgule.

Scansion Assignment 2.4 - Write a quatrain, each line of which scans in exactly the following way:

u u / │ u u / │ u u / │ u u /

Using the song you created in the exercise for this unit with a simple harmonization, create a more complex harmonization. Consider the following:

• Harmonic Rhythm: Do the chords increase in frequency toward the end of phrases?
Ø Try substituting ii-V for V.
Ø Try using a tritone substitution.
Ø Try using a tritone ii-V substitution for V.

• Feel:
Ø Try altering the feel.
Ø Try altering the meter.

• Tonality:
Ø Try altering the modality (if in major, switch to minor)
Ø Try altering the modality in only certain sections

• Cadences:
Ø Try the substitutions listed under Harmonic Rhythm
Ø Try weakening the cadences by moving from IV to I
Ø Try strengthening the cadences by creating perfect authentic cadences

• Harmonization:
Ø Try altering the openings of phrases
Ø Try using neighboring chords to expand the tonic
Ø Try using inversions to create a smoother bass line

• Motion:
Ø Try establishing strong contrary motion between bass and voice
Ø Explore where the bass line suggests the harmony could go

Once you have explored several options, create a second version of your song with substitutions and structures. Does the altered song version work as well or better than the original? Submit both versions for evaluation and discussion.

Using the song you created in the previous assignment, create yet another version working with even more adventurous choices. Consider the following:

• Harmonic Rhythm: Do the chords increase in frequency toward the end of phrases?
Ø Change a chord with every beat moving into the cadence.
Ø Continue changing chords with every beat in the cadential resolution.
Ø Do not use an authentic cadence until the very end of the song.

• Feel:
Ø Juxtapose two opposing feels. Use one in the A sections and another in the B sections.
Ø Realize the feels in varying ways within the piano accompaniment.

• Tonality:
Ø Alter the modality of the B section to contrast to the A section.
Ø Alternatively, move to the relative minor or major for the B section.

• Cadences:
Ø Do not use an authentic cadence until the end of the song.
Ø If you use a tritone substitution, use a chromatic bass motion.
Ø Experiment with sections that push one into the next for lack of a cadence.

• Harmonization:
Ø Import chords from distant modes or keys.
Ø Borrow chords to start each phrase, then find a way into the resolution.
Ø Use inversions to create the smoothest basss line possible.

• Motion:
Ø Use similar or parallel motion in one section to contrast to another.
Ø Write a bass line for one section, then create the melody to match. Substitute it into your song.

Once you have explored several of these further reaching options, create another version of your song with the altered piano arrangement. Does the altered song version work as well or better than the original? Submit all three versions for evaluation and discussion.

Using your swill outline as a basis, write a rough outline for your story idea.

Make sure that you know what your Lead character wants; not only for the entire show (Unwavering Want), but for each individual scene (Temporary Goal), and that he is doing something specific in each scene to accomplish his goal.

Note: you are still free to be developing multiple stories; but at the next stage you will be asked to continue with only one story idea. Once again- your feedback will be on style only - not content.

PART ONE

1. Analyze the excerpt below from Ya Got Trouble from The Music Man. It’s a prose version of the lyric; in the libretto, these words appear in verse. Read the paragraph out loud. Seriously, read it out loud...you’re not going to get anything out of this assignment if you read it inside your head. Read it a second and a third time. Listen to its rhythms, feel its cadences.


2. That’s the easy part. Now the hard part. The assignment is to write a second prose paragraph which would follow immediately, only now the topic is some other gambling vice: playing cards, dice, betting on a dog race, or jumping frogs, etc. Write it in prose. Don’t write it in verse. Unlike you did in Now in the Linear Prosody assignment, here you’re not to trying to match Meredith Willson’s specific cadences or length. But it should have a similar bounce to it, and if you can include a section which includes the sequence “one, two, three, four five, six,” that would be instructive.

3. Read the paragraph out loud. Seriously, read it out loud...just like you did the original. After you’ve read it out loud once or twice, re-write it a little bit; nourish it; polish it. But keep it in prose. Then re-read it out loud again, and polish it again, until you’re satisfied that it has euphony, drive, and a conversational quality to it. Only after you’re satisfied with the cadences and euphony are you allowed to move on to the step. Please please don’t rush into step #4. The value of this assignment is in the nurturing and loving of the prose version.

4. Now, read the original verse version out loud. (You can find the verse version in Excerpt #23 in your printout for this unit.) There’s likely to be a difference in your head, both psychologically, and actual, in the way you read these. Contemplate the two experiences: reading prose or verse out loud. Note where the verse version has hard returns.

5. Mark some hard returns in your second paragraph about gambling. Don’t be arbitrary. The hard returns should be meaningful, most likely signifying packets of meaning.

6. Type the final verse version of your paragraph. Read it out loud. How does that experience compare to reading your prose version.

7. Submit the following:
a. Your prose version
b. Your verse version
c. A brief paragraph about your experience reading the various versions out loud.

from The Music Man

I say that any boob kin take ‘n’ shove a ball in a pocket. And I call that sloth! The first big step on the road to the depths of degrega -- I say, first it’s a little ah, medicinal wine from a teaspoon, then beer from a bottle. And the next thing you know, your son is playing fer money in a pinchback suit and list’nin to some big outta town jasper hearing him tell about horserace gamblin Not a wholesome trottin’ race, no! But a race where they se’ down right on a horse! Like to see some stuck-up jockey boy settin’ on Dan Patch? Make your blood boil? Well I should say. Now friends, lemme tell you what I mean. Ya got one, two, three, four, five, six pockets in a table. Pockets that mark the difference between a gentleman and a bum with a capital B, and that rhymes with P, and that stands for pool.

PART TWO

Write an extended section of an original lyric which demonstrates conversational prosody. The section should be 20-30 lines long. We recommend that you write a paragraph/prose version first, but that step is optional if you find it burdensome or unhelpful. Topic: Our face-paced society.

Write a duet for the final moments of The Little Dog Laughed by Douglas Carter Beane. Start any time after the moment in which Diane says: “Mitch, you want to be a movie star.” (page 48 in the Dramatists Play Service, Inc. acting version)

Before you begin writing: Jot down some notes about what is happening in the scene. It is complex in the way it plays with space and time - not at all linear in the conventional sense. Make some decisions about how to musicalize this scene: What will be the central musical idea? The central lyric idea? How can you take an AABA tune and manipulate it for these 4 characters to differentiate both their speech patterns and their attitudes in the moment of the play? Who is feeling what? How can the music and lyrics help communicate those feelings and, more importantly, transfer those feelings to the audience?

Who is feeling the most? What is that character feeling? How can you make the audience experience that feeling? Also: what can or should be spoken rather than sung - why? How can this be integrated into the musical scene? What, if anything, can be omitted?

This will end the play. Make sure the audience feels something at the end: Happy, sad, hopeful, hopeless, etc. You ought to be able to answer the following questions;

• Which character has the most to gain?
• Which character has the most to lose?
• Which character has the most promising future?
• Which character is least likely to be happy next year?

Lyricist and Composer: Create an AABA tune with a recurring lyrical and musical anchor that can be used by all four characters. This can be a phrase that means different things to different people, or a phrase that means the same thing to all four of them. Develop the musical scene around this anchor (musically and lyrically). Note that you are also free to add musically contrasting additional C or even D sections.

Use underscored dialogue where and if necessary. Make sure there is adequate space in the music for any underscored dialogue. If possible, truly underscore the dialogue - that is, punctuate the dialogue with musical riffs and decorations at the appropriate points rather than just keep playing the tune while people are talking. This means there may be measures of little musical activity, perhaps only a sustained note in the strings, for instance, punctuated by an orchestral sting or clarinet riff to emphasize a word or phrase with particular import. (NOTE: Also make sure that pertinent stage directions are clearly indicated in the score.)

Please PRINT OUT the assignment to view the details.