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LAB CREATOR OVERVIEW FOR:



Unit # 0 - Overview

               


There are no Exercises for this Unit.

Unit # 0 - Video # 1 - Overview
VIDEO: LENGTH of Video: 18:34

Unit # 0 - Video # 2 - Song Structure
VIDEO: LENGTH of Video: 4:27

Unit # 0 - Video # 3 - AABA STRUCTURE
VIDEO: LENGTH of Video: 5:20


Unit # 0 - Assignment # 1 - Overview Assignment
This assignment has 1 question(s) for 100 points each for a total of 100 possible point(s). The total points needed for a pass are: 80
Is this assignment Optional for Core? NO
PDF File: http://www.writingmusicaltheatre.com/wp-content/uploads/lyriclab1/AssignmentPrintouts/OverviewAssignmentPrintout.pdf
DOC File: http://www.writingmusicaltheatre.com/wp-content/uploads/lyriclab1/AssignmentPrintouts/OverviewAssignmentPrintout.doc
Online version of assignment text:

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.)





Unit # 0 - Assignment # 2 - Song Structure Assignment
This assignment has 1 question(s) for 100 points each for a total of 100 possible point(s). The total points needed for a pass are: 80
Is this assignment Optional for Core? NO
PDF File: http://www.writingmusicaltheatre.com/wp-content/uploads/lyriclab1/AssignmentPrintouts/SongStructureAssignmentPrintout.pdf
DOC File: http://www.writingmusicaltheatre.com/wp-content/uploads/lyriclab1/AssignmentPrintouts/SongStructureAssignmentPrintout.doc
Online version of assignment text:

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







Unit # 1 - The Idea

               



Unit # 1 - Video # 1 - The Idea
VIDEO: LENGTH of Video: 35 minutes


Unit # 1 - Assignment # 1 - Action Loops
This assignment has 1 question(s) for 100 points each for a total of 100 possible point(s). The total points needed for a pass are: 80
Is this assignment Optional for Core? NO
PDF File: http://www.writingmusicaltheatre.com/wp-content/uploads/admin/Book_Unit1_Assignment1_Printout.pdf
DOC File: http://www.writingmusicaltheatre.com/wp-content/uploads/admin/Book_Unit1_Assignment1_Printout.doc
Online version of assignment text:

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.





Unit # 1 - Assignment # 2 - Adaptation/Conflict
This assignment has 1 question(s) for 100 points each for a total of 100 possible point(s). The total points needed for a pass are: 80
Is this assignment Optional for Core? NO
PDF File: http://www.writingmusicaltheatre.com/wp-content/uploads/admin/Book_Unit1_Assignment2_Printout.pdf
DOC File: http://www.writingmusicaltheatre.com/wp-content/uploads/admin/Book_Unit1_Assignment2_Printout.doc
Online version of assignment text:

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).







Unit # 1 - Lyric Lab Overview

               


There are no Exercises for this Unit.

Unit # 1 - Video # 1 - Lyric Lab Overview
VIDEO: LENGTH of Video: 10 minutes

Unit # 1 - Video # 2 - Writing in a Structure
VIDEO: LENGTH of Video: 6 minutes


Unit # 1 - Assignment # 1 - Overview Assignment
This assignment has 5 question(s) for 20 points each for a total of 100 possible point(s). The total points needed for a pass are: 1
Is this assignment Optional for Core? NO
PDF File: http://www.writingmusicaltheatre.com/wp-content/uploads/admin/Lyricnew_Unit1_Assignment1_Printout.pdf
DOC File: http://www.writingmusicaltheatre.com/wp-content/uploads/admin/Lyricnew_Unit1_Assignment1_Printout.doc
Online version of assignment text:

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.)







Unit # 1 - Introduction

               

Unit # 1 - Handout # 1 - Lesson Overview
PDF File: http://www.writingmusicaltheatre.com/wp-content/uploads/admin/music_Unit1_Handout1.pdf
DOC File:

Unit # 1 - Handout # 2 - Sample Starter Outline
PDF File: http://www.writingmusicaltheatre.com/wp-content/uploads/admin/music_Unit1_Handout2.pdf
DOC File:


Unit # 1 - Exercise # 1 - Musical Models
PDF File: http://www.writingmusicaltheatre.com/wp-content/uploads/music_Unit1_Exercise1.pdf
DOC File:


Unit # 1 - Video # 1 - Introduction Video
VIDEO: LENGTH of Video: 8.5 minutes

Unit # 1 - Video # 2 - Musical Modeling
VIDEO: LENGTH of Video: 14.5 minutes


Unit # 1 - Assignment # 1 - Student Introduction
This assignment has 1 question(s) for 15 points each for a total of 15 possible point(s). The total points needed for a pass are: 10
Is this assignment Optional for Core? NO
PDF File: http://www.writingmusicaltheatre.com/wp-content/uploads/admin/music_Unit1_Assignment1_Printout.pdf
DOC File: http://www.writingmusicaltheatre.com/wp-content/uploads/admin/music_Unit1_Assignment1_Printout.doc
Online version of assignment text:

Please answer whichever of the following questions are of interest to you —
(from none to all of them)

1. Why do you compose music?
2. Why do you want to compose for the musical theatre?
3. Have any of your songs been performed, produced, or recorded?
(If so, please tell me a little about it.)
4. How does the musical theatre fit inro your professional and life-goals?
5. Please send me three of your songs you would like me to see.
Please include a very brief context for each song — who 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.)





Unit # 1 - Assignment # 2 - Sample Score
This assignment has 1 question(s) for 15 points each for a total of 15 possible point(s). The total points needed for a pass are: 10
Is this assignment Optional for Core? NO
PDF File: http://www.writingmusicaltheatre.com/wp-content/uploads/admin/music_Unit1_Assignment2_Printout.pdf
DOC File:
Online version of assignment text:

Obtain your own permanent copy of one piano/vocal score written by either Richard Rodgers, Frank Loesser or Stephen Sondheim. We encourage you to purchase this copy, but you may copy it from a library. Make sure it's the entire piano-vocal score — not excerpts. Send me a paragraph to tell me why you chose this score.

We are aware that the VIDEO for this unit says to acquire three scores, but that requirement has changed since the video was made. You now only need to obtain ONE score.







Unit # 1 - Overview – Why Outline?

               

Unit # 1 - Handout # 1 - Script for Gypsy
PDF File: http://www.writingmusicaltheatre.com/wp-content/uploads/admin/SCRIPT_Gypsy.pdf
DOC File:


There are no Exercises for this Unit.

Unit # 1 - Video # 1 - Why Outline?
VIDEO: LENGTH of Video: 20 minutes


Unit # 1 - Assignment # 1 - Overview
This assignment has 1 question(s) for 100 points each for a total of 100 possible point(s). The total points needed for a pass are: 80
Is this assignment Optional for Core? NO
PDF File: http://www.writingmusicaltheatre.com/wp-content/uploads/admin/Outline_Unit1_Assignment1_Printout.pdf
DOC File: http://www.writingmusicaltheatre.com/wp-content/uploads/admin/Outline_Unit1_Assignment1_Printout.doc
Online version of assignment text:

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!)







Unit # 1 - Advanced Lyric Overview

               


There are no Exercises for this Unit.

Unit # 1 - Video # 1 - Advanced Lyric Overview
VIDEO: LENGTH of Video: 8 minutes


There are no Assignments for this Unit.


Unit # 1 - The Ballad

               



There are no Videos for this Unit.

Unit # 1 - Assignment # 1 - The Ballad
This assignment has 1 question(s) for 100 points each for a total of 100 possible point(s). The total points needed for a pass are: 80
Is this assignment Optional for Core? NO
PDF File: http://www.writingmusicaltheatre.com/wp-content/uploads/admin/Songwriting_Ballad_Assignment.pdf
DOC File: http://www.writingmusicaltheatre.com/wp-content/uploads/admin/Songwriting_Ballad_Assignment.doc
Online version of assignment text:

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).







Unit # 1 - The Shape of Things

               

Unit # 1 - Handout # 1 - The Shape of Things – Handout
PDF File: http://www.writingmusicaltheatre.com/wp-content/uploads/admin/1.-The-Shape-of-Things-Text.pdf
DOC File:


Unit # 1 - Exercise # 1 - The Shape of Things – Exercise
PDF File: http://www.writingmusicaltheatre.com/wp-content/uploads/admin/1.-The-Shape-of-Things-X.pdf
DOC File:


Unit # 1 - Video # 1 - The Shape of Things – Book
VIDEO: LENGTH of Video: 5:14

Unit # 1 - Video # 2 - The Shape of Things – Lyrics
VIDEO: LENGTH of Video: 5:50

Unit # 1 - Video # 3 - The Shape of Things – Music
VIDEO: LENGTH of Video: 5:06


Unit # 1 - Assignment # 1 - The Shape of Things – Assignment
This assignment has 1 question(s) for 100 points each for a total of 100 possible point(s). The total points needed for a pass are: 80
Is this assignment Optional for Core? NO
PDF File: http://www.writingmusicaltheatre.com/wp-content/uploads/admin/1.-The-Shape-of-Things-Z.pdf
DOC File:
Online version of assignment text:

Please PRINT OUT the assignment to view the details.







Unit # 1 - Demo for Bookwriters

               

Unit # 1 - Handout # 1 - Sample Handout from Outlining Lab – 20 QUESTIONS TO ASK ABOUT YOUR STORY IDEA
PDF File: http://www.writingmusicaltheatre.com/wp-content/uploads/admin/Outline_Unit3_Handout1.pdf
DOC File: http://www.writingmusicaltheatre.com/wp-content/uploads/admin/Outline_Unit3_Handout1.doc



Unit # 1 - Video # 1 - Sample Video from Book Lab – THE IDEA
VIDEO: LENGTH of Video: 35 minutes


Unit # 1 - Assignment # 1 - Sample Assignment – EXPOSITION
This assignment has 1 question(s) for 100 points each for a total of 100 possible point(s). The total points needed for a pass are: 80
Is this assignment Optional for Core? NO
PDF File: http://www.writingmusicaltheatre.com/wp-content/uploads/admin/Book_Unit3_Assignment1_Printout.pdf
DOC File: http://www.writingmusicaltheatre.com/wp-content/uploads/admin/Book_Unit3_Assignment1_Printout.doc
Online version of assignment text:

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.







Unit # 1 - Progression

               



Unit # 1 - Video # 1 - Progressions
VIDEO: LENGTH of Video: 9:45

Unit # 1 - Video # 2 - Progression Examples
VIDEO: LENGTH of Video: 50:00


Unit # 1 - Assignment # 1 - Progression Assignment
This assignment has 1 question(s) for 100 points each for a total of 100 possible point(s). The total points needed for a pass are: 85
Is this assignment Optional for Core? NO
PDF File: http://www.writingmusicaltheatre.com/wp-content/uploads/lyriclab1/AssignmentPrintouts/ProgressionAssignmentPrintout.pdf
DOC File: http://www.writingmusicaltheatre.com/wp-content/uploads/lyriclab1/AssignmentPrintouts/ProgressionAssignmentPrintout.doc
Online version of assignment text:

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)







Unit # 2 - The Outline

               



Unit # 2 - Video # 2 - The Outline
VIDEO: LENGTH of Video: 26 minutes


Unit # 2 - Assignment # 1 - Sample Outline
This assignment has 1 question(s) for 100 points each for a total of 100 possible point(s). The total points needed for a pass are: 80
Is this assignment Optional for Core? NO
PDF File: http://www.writingmusicaltheatre.com/wp-content/uploads/admin/Book_Unit2_Assignment1_Printout.pdf
DOC File: http://www.writingmusicaltheatre.com/wp-content/uploads/admin/Book_Unit2_Assignment1_Printout.doc
Online version of assignment text:

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.





Unit # 2 - Assignment # 2 - Character Worksheet
This assignment has 1 question(s) for 100 points each for a total of 100 possible point(s). The total points needed for a pass are: 80
Is this assignment Optional for Core? NO
PDF File: http://www.writingmusicaltheatre.com/wp-content/uploads/admin/Book_Unit2_Assignment2_Printout.pdf
DOC File: http://www.writingmusicaltheatre.com/wp-content/uploads/admin/Book_Unit2_Assignment2_Printout.doc
Online version of assignment text:

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.







Unit # 2 - Rhyme

               



Unit # 2 - Video # 1 - Rhyme
VIDEO: LENGTH of Video: 41 minutes


Unit # 2 - Assignment # 1 - Rhyme
This assignment has 40 question(s) for 2 points each for a total of 80 possible point(s). The total points needed for a pass are: 70
Is this assignment Optional for Core? NO
PDF File: http://www.writingmusicaltheatre.com/wp-content/uploads/admin/lyricnew_Unit2_Assignment1_Printout.pdf
DOC File: http://www.writingmusicaltheatre.com/wp-content/uploads/admin/lyricnew_Unit2_Assignment1_Printout.doc
Online version of assignment text:

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.







Unit # 2 - The Female Voice

               

Unit # 2 - Handout # 1 - Vocabulary & Range
PDF File: http://www.writingmusicaltheatre.com/wp-content/uploads/admin/music_Unit2_Handout1.pdf
DOC File:

Unit # 2 - Handout # 2 - Musical Modeling
PDF File: http://www.writingmusicaltheatre.com/wp-content/uploads/admin/music_Unit2_Handout2.pdf
DOC File:


Unit # 2 - Exercise # 1 - Exploring Common/Optimal Range
PDF File: http://www.writingmusicaltheatre.com/wp-content/uploads/admin/music_Unit2_Exercise1.pdf
DOC File:


Unit # 2 - Video # 1 - The Female Voice
VIDEO: LENGTH of Video: 29 minutes


Unit # 2 - Assignment # 1 - Vocal Chart – Female
This assignment has 10 question(s) for 10 points each for a total of 100 possible point(s). The total points needed for a pass are: 70
Is this assignment Optional for Core? NO
PDF File: http://www.writingmusicaltheatre.com/wp-content/uploads/admin/music_Unit2_Assignment1_Printout.pdf
DOC File:
Online version of assignment text:

Create a vocal chart for all the female characters in the musical.

Write a few words about each of the following questions. Shorthand is possible; I am not looking for an essay in complete sentences, rather use bullet-point notes which demonstrate you are thinking about the answers to these questions.:

• 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?
• 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 female voice types?





Unit # 2 - Assignment # 2 - Color and Range – Female
This assignment has 10 question(s) for 10 points each for a total of 100 possible point(s). The total points needed for a pass are: 70
Is this assignment Optional for Core? YES
PDF File: http://www.writingmusicaltheatre.com/wp-content/uploads/admin/music_Unit2_Assignment2_Printout.pdf
DOC File:
Online version of assignment text:

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.

Mezzo-Soprano

• Carmen — Habañera. This aria may be found in Act I and is sung by the main character, Carmen. Although the opera is tragic, the early acts are lighthearted and Carmen is very flirtatious in this number. Composer: Georges Bizet.

• Samson et Dalila — Mon coeur s’ouvre à ta voix. This aria may be found in Act II and is sung by Delilah as she tempts Samson into telling her his secret. Composer: Camille Saint-Saëns.

CLICK HERE TO LISTEN

• Vanessa — Must the winter come so soon? This modern American opera is very dark and involves two women, Vanessa (sop.) and her niece Erika (mezzo). Vanessa is awaiting the return of her lover after twenty years. When his son arrives complications ensue. Erika sings the aria in the first act. Composer: Samuel Barber.(CLICK HERE TO LISTEN

Soprano

• The Magic Flute — Ach, Ich Fühl’s. This aria is may be found in Act II and is sung by Pamina who is in love with the tenor, Tamino. He is keeping a vow of silence and she does not understand why he will not speak to her. Composer: Wolfgang Amadeus Mozart.(http://www.youtube.com/watch?v=dmHyA4WsJAM)

• Porgy And Bess — Summertime. This aria may be found at the beginning of the opera and is sung by Clara as she trys to encourage her baby to sleep. Composer: George Gershwin.(http://www.youtube.com/watch?v=d1LAOQKwD54&feature=fvst)

• Susannah — The Trees On The Mountain. Based on the biblical story of Susannah, this opera is set in Appalachia. This folk song opens the second act. Composer: Carlyle Floyd. (http://www.youtube.com/watch?v=Vks4LNbIm1I&feature=related)

Coloratura Soprano

• The Magic Flute — Der Hölle Rache. This famous revenge aria may be found in Act II and is sung by the Queen of the Night. Composer: Wolfgang Amadeus Mozart. (http://www.youtube.com/watch?v=DvuKxL4LOqc&feature=related)

• Ariadne auf Naxos — Zerbinetta’s Aria. This aria plays out in the one act opera — though it is preceded by a lengthy prologue. A troupe of performers are forced to perform their comic and dramatic offerings at the same time. Composer: Richard Strauss. (http://www.youtube.com/watch?v=ezEEH-Ls1lU&feature=related)

• Ballad of Baby — Gold Is A Fine Thing. “The Silver Aria” is sung by Baby Doe toward the end of Act One. The opera takes place in 1880’s Colorado. Composer: Douglas Moore. (http://www.youtube.com/watch?v=gaiBfU5MnzU&feature=related)

• The Rake’s Progress — No Word From Tom/I Go To Him. Anne Truelove longs for her missing lover, Tom, and vows to go to London to search for him in this aria and cabaletta. Composer: Igor Stravinsky (http://www.youtube.com/watch?v=Xo2LtFXlgA8)







Unit # 2 - Step 1: 3 Phrase Beginning/Middle/End

               



Unit # 2 - Video # 1 - 3 Phrase Beginning/Middle/End
VIDEO: LENGTH of Video: 17 minutes


Unit # 2 - Assignment # 1 - Three Phrases/Types of Conflict
This assignment has 1 question(s) for 100 points each for a total of 100 possible point(s). The total points needed for a pass are: 80
Is this assignment Optional for Core? NO
PDF File: http://www.writingmusicaltheatre.com/wp-content/uploads/admin/Outline_Unit2_Assignment1_Printout.pdf
DOC File: http://www.writingmusicaltheatre.com/wp-content/uploads/admin/Outline_Unit2_Assignment1_Printout.doc
Online version of assignment text:

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)







Unit # 2 - Character Through Diction

               



Unit # 2 - Video # 1 - Character Through Diction
VIDEO: LENGTH of Video: 37 minutes


Unit # 2 - Assignment # 1 - Character Through Diction
This assignment has 1 question(s) for 100 points each for a total of 100 possible point(s). The total points needed for a pass are: 80
Is this assignment Optional for Core? NO
PDF File: http://www.writingmusicaltheatre.com/wp-content/uploads/admin/lyric2_Unit2_Assignment2_Printout.pdf
DOC File: http://www.writingmusicaltheatre.com/wp-content/uploads/admin/lyric2_Unit2_Assignment2_Printout.doc
Online version of assignment text:

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.







Unit # 2 - The Comedy Song

               



There are no Videos for this Unit.

Unit # 2 - Assignment # 1 - The Comedy Song
This assignment has 1 question(s) for 100 points each for a total of 100 possible point(s). The total points needed for a pass are: 80
Is this assignment Optional for Core? NO
PDF File: http://www.writingmusicaltheatre.com/wp-content/uploads/admin/Songwriting_Comedy_Assignment.pdf
DOC File: http://www.writingmusicaltheatre.com/wp-content/uploads/admin/Songwriting_Comedy_Assignment.doc
Online version of assignment text:

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.







Unit # 2 - The Devil is in the Details

               

Unit # 2 - Handout # 1 - The Devil is in the Details – Handout
PDF File: http://www.writingmusicaltheatre.com/wp-content/uploads/admin/2.-The-Devil-is-in-the-Details-Text.pdf
DOC File:


Unit # 2 - Exercise # 1 - The Devil is in the Details – Exercise
PDF File: http://www.writingmusicaltheatre.com/wp-content/uploads/admin/2.-The-Devil-is-in-the-Details-X.pdf
DOC File:


Unit # 2 - Video # 1 - The Devil is in the Details – Book
VIDEO: LENGTH of Video: 8:35

Unit # 2 - Video # 2 - The Devil is in the Details – Lyrics
VIDEO: LENGTH of Video: 5:24

Unit # 2 - Video # 3 - The Devil is in the Details – Music
VIDEO: LENGTH of Video: 5:20


Unit # 2 - Assignment # 1 - The Devil is in the Details – Assignment
This assignment has 1 question(s) for 100 points each for a total of 100 possible point(s). The total points needed for a pass are: 80
Is this assignment Optional for Core? NO
PDF File: http://www.writingmusicaltheatre.com/wp-content/uploads/admin/2.-The-Devil-is-in-the-Details-Z.pdf
DOC File:
Online version of assignment text:

Please PRINT OUT the assignment to view the details.







Unit # 2 - Demo for Lyricists

               



Unit # 2 - Video # 1 - Video Sample from Lyric Lab 1 – PROGRESSIONS
VIDEO: LENGTH of Video: 9:45


Unit # 2 - Assignment # 1 - Sample Assignment – PROGRESSIONS
This assignment has 1 question(s) for 100 points each for a total of 100 possible point(s). The total points needed for a pass are: 80
Is this assignment Optional for Core? NO
PDF File: http://www.writingmusicaltheatre.com/wp-content/uploads/lyriclab1/AssignmentPrintouts/ProgressionAssignmentPrintout.pdf
DOC File: http://www.writingmusicaltheatre.com/wp-content/uploads/lyriclab1/AssignmentPrintouts/ProgressionAssignmentPrintout.doc
Online version of assignment text:

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)







Unit # 2 - Prosody and Scansion

               



Unit # 2 - Video # 1 - Prosody
VIDEO: LENGTH of Video: 9:20

Unit # 2 - Video # 2 - Scansion
VIDEO: LENGTH of Video: 17:52

Unit # 2 - Video # 3 - Terms You’ll Never Need to Know
VIDEO: LENGTH of Video: 0:53

Unit # 2 - Video # 4 - Scansion Exercises
VIDEO: LENGTH of Video: 13:39


Unit # 2 - Assignment # 1 - Prosody Assignment Part 1
This assignment has 4 question(s) for 25 points each for a total of 100 possible point(s). The total points needed for a pass are: 80
Is this assignment Optional for Core? NO
PDF File: http://www.writingmusicaltheatre.com/wp-content/uploads/lyriclab1/AssignmentPrintouts/ProsodyAssignment1Printout.pdf
DOC File: http://www.writingmusicaltheatre.com/wp-content/uploads/lyriclab1/AssignmentPrintouts/ProsodyAssignment1Printout.doc
Online version of assignment text:

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!





Unit # 2 - Assignment # 2 - Prosody Assignment Part 2
This assignment has 8 question(s) for 10 points each for a total of 80 possible point(s). The total points needed for a pass are: 60
Is this assignment Optional for Core? NO
PDF File: http://www.writingmusicaltheatre.com/wp-content/uploads/lyriclab1/AssignmentPrintouts/ProsodyAssignment2Printout.pdf
DOC File: http://www.writingmusicaltheatre.com/wp-content/uploads/lyriclab1/AssignmentPrintouts/ProsodyAssignment2Printout.doc
Online version of assignment text:

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.





Unit # 2 - Assignment # 3 - Prosody Assignment Part 3
This assignment has 1 question(s) for 100 points each for a total of 100 possible point(s). The total points needed for a pass are: 75
Is this assignment Optional for Core? NO
PDF File: http://www.writingmusicaltheatre.com/wp-content/uploads/lyriclab1/AssignmentPrintouts/ProsodyAssignment3Printout.pdf
DOC File: http://www.writingmusicaltheatre.com/wp-content/uploads/lyriclab1/AssignmentPrintouts/ProsodyAssignment3Printout.doc
Online version of assignment text:

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).





Unit # 2 - Assignment # 4 - Prosody Assignment Part 4 – Optional
This assignment has 7 question(s) for 10 points each for a total of 70 possible point(s). The total points needed for a pass are: 50
Is this assignment Optional for Core? YES
PDF File: http://www.writingmusicaltheatre.com/wp-content/uploads/lyriclab1/AssignmentPrintouts/ProsodyAssignment4Printout.pdf
DOC File: http://www.writingmusicaltheatre.com/wp-content/uploads/lyriclab1/AssignmentPrintouts/ProsodyAssignment4Printout.doc
Online version of assignment text:

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).





Unit # 2 - Assignment # 5 - Scansion Assignment
This assignment has 40 question(s) for 2 points each for a total of 80 possible point(s). The total points needed for a pass are: 70
Is this assignment Optional for Core? NO
PDF File: http://www.writingmusicaltheatre.com/wp-content/uploads/lyriclab1/AssignmentPrintouts/ScansionAssignmentPrintout.pdf
DOC File: http://www.writingmusicaltheatre.com/wp-content/uploads/lyriclab1/AssignmentPrintouts/ScansionAssignmentPrintout.doc
Online version of assignment text:

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 /







Unit # 3 - The Rough Draft

               



Unit # 3 - Video # 3 - The Rough Draft
VIDEO: LENGTH of Video: 29 minutes


Unit # 3 - Assignment # 1 - Neighbor/Stranger Exposition
This assignment has 1 question(s) for 100 points each for a total of 100 possible point(s). The total points needed for a pass are: 80
Is this assignment Optional for Core? NO
PDF File: http://www.writingmusicaltheatre.com/wp-content/uploads/admin/Book_Unit3_Assignment1_Printout.pdf
DOC File: http://www.writingmusicaltheatre.com/wp-content/uploads/admin/Book_Unit3_Assignment1_Printout.doc
Online version of assignment text:

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.





Unit # 3 - Assignment # 2 - Character Through Diction/Subtext
This assignment has 1 question(s) for 100 points each for a total of 100 possible point(s). The total points needed for a pass are: 80
Is this assignment Optional for Core? NO
PDF File: http://www.writingmusicaltheatre.com/wp-content/uploads/admin/Book_Unit3_Assignment2_Printout.pdf
DOC File: http://www.writingmusicaltheatre.com/wp-content/uploads/admin/Book_Unit3_Assignment2_Printout.doc
Online version of assignment text:

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!







Unit # 3 - Alliteration

               

There are no Handouts for this Unit.


Unit # 3 - Video # 1 - Alliteration
VIDEO: LENGTH of Video: 22 minutes


Unit # 3 - Assignment # 1 - Alliteration
This assignment has 21 question(s) for 5 points each for a total of 105 possible point(s). The total points needed for a pass are: 80
Is this assignment Optional for Core? YES
PDF File: http://www.writingmusicaltheatre.com/wp-content/uploads/admin/lyricnew_Unit3_Assignment1_Printout.pdf
DOC File: http://www.writingmusicaltheatre.com/wp-content/uploads/admin/lyricnew_Unit3_Assignment1_Printout.doc
Online version of assignment text:

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!







Unit # 3 - The Male Voice

               

Unit # 3 - Handout # 1 - Vocabulary & Range
PDF File: http://www.writingmusicaltheatre.com/wp-content/uploads/admin/music_Unit3_Handout1.pdf
DOC File:

Unit # 3 - Handout # 2 - Musical Modeling
PDF File: http://www.writingmusicaltheatre.com/wp-content/uploads/admin/music_Unit3_Handout2.pdf
DOC File:


Unit # 3 - Exercise # 1 - Exploring Common/Optimal Range
PDF File: http://www.writingmusicaltheatre.com/wp-content/uploads/admin/music_Unit3_Exercise1.pdf
DOC File:


Unit # 3 - Video # 1 - The Male Voice
VIDEO: LENGTH of Video: 28.5 minutes


Unit # 3 - Assignment # 1 - Vocal Chart – Male
This assignment has 10 question(s) for 10 points each for a total of 100 possible point(s). The total points needed for a pass are: 70
Is this assignment Optional for Core? NO
PDF File: http://www.writingmusicaltheatre.com/wp-content/uploads/admin/music_Unit3_Assignment1_Printout.pdf
DOC File:
Online version of assignment text:

• 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?





Unit # 3 - Assignment # 2 - Color And Range – Male
This assignment has 10 question(s) for 10 points each for a total of 100 possible point(s). The total points needed for a pass are: 70
Is this assignment Optional for Core? YES
PDF File: http://www.writingmusicaltheatre.com/wp-content/uploads/admin/music_Unit3_Assignment2_Printout.pdf
DOC File:
Online version of assignment text:

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)







Unit # 3 - Step 2: Premise Paragraph

               



Unit # 3 - Video # 1 - The Premise/Twenty Questions
VIDEO: LENGTH of Video: 33 minutes


Unit # 3 - Assignment # 1 - Premise Paragraph
This assignment has 1 question(s) for 100 points each for a total of 100 possible point(s). The total points needed for a pass are: 80
Is this assignment Optional for Core? NO
PDF File: http://www.writingmusicaltheatre.com/wp-content/uploads/admin/Outline_Unit3_Assignment1_Printout.pdf
DOC File: http://www.writingmusicaltheatre.com/wp-content/uploads/admin/Outline_Unit3_Assignment1_Printout.doc
Online version of assignment text:

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







Unit # 3 - Substitution

               



Unit # 3 - Video # 1 - Substitution – Part 1
VIDEO: LENGTH of Video: 40 minutes

Unit # 3 - Video # 2 - Substitution – Part 2
VIDEO: LENGTH of Video: 30 minutes

Unit # 3 - Video # 3 - Substitution – Test Hints
VIDEO: LENGTH of Video: 22 minutes

Unit # 3 - Video # 4 - Substitution – Assignment Hints
VIDEO: LENGTH of Video: 11 minutes


Unit # 3 - Assignment # 1 - Substitution
This assignment has 30 question(s) for 3 points each for a total of 90 possible point(s). The total points needed for a pass are: 75
Is this assignment Optional for Core? NO
PDF File: http://www.writingmusicaltheatre.com/wp-content/uploads/admin/lyric2_Unit3_Assignment1_Printout.pdf
DOC File: http://www.writingmusicaltheatre.com/wp-content/uploads/admin/lyric2_Unit3_Assignment1_Printout.doc
Online version of assignment text:

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!







Unit # 3 - The Conflict Duet

               



There are no Videos for this Unit.

Unit # 3 - Assignment # 1 - The Conflict Duet
This assignment has 1 question(s) for 100 points each for a total of 100 possible point(s). The total points needed for a pass are: 80
Is this assignment Optional for Core? NO
PDF File: http://www.writingmusicaltheatre.com/wp-content/uploads/admin/Songwriting_Duet_Assignment.pdf
DOC File: http://www.writingmusicaltheatre.com/wp-content/uploads/admin/Songwriting_Duet_Assignment.doc
Online version of assignment text:

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.







Unit # 3 - The Voice of the Character

               

Unit # 3 - Handout # 1 - The Voice of the Character – Handout
PDF File: http://www.writingmusicaltheatre.com/wp-content/uploads/admin/3.-The-Voice-of-the-Character-Text.pdf
DOC File:


Unit # 3 - Exercise # 1 - The Voice of the Character – Exercise
PDF File: http://www.writingmusicaltheatre.com/wp-content/uploads/admin/3.-The-voice-of-the-Character-X.pdf
DOC File:


Unit # 3 - Video # 1 - The Voice of the Character – Book
VIDEO: LENGTH of Video: 6:12

Unit # 3 - Video # 2 - The Voice of the Character – Lyrics
VIDEO: LENGTH of Video: 5:47

Unit # 3 - Video # 3 - The Voice of the Character – Music
VIDEO: LENGTH of Video: 5:53


Unit # 3 - Assignment # 1 - The Voice of the Character – Assignment
This assignment has 1 question(s) for 100 points each for a total of 100 possible point(s). The total points needed for a pass are: 80
Is this assignment Optional for Core? NO
PDF File: http://www.writingmusicaltheatre.com/wp-content/uploads/admin/3.-The-Voice-of-the-Character-Z.pdf
DOC File:
Online version of assignment text:

Please PRINT OUT the assignment to view the details.







Unit # 3 - Demo for Composers

               

Unit # 3 - Handout # 1 - Sample Handout from Music Lab – FORM AND SUBSTITUTION
PDF File: http://www.writingmusicaltheatre.com/wp-content/uploads/admin/music_Unit5_Handout3.pdf
DOC File:


Unit # 3 - Exercise # 1 - Sample Exercise from Music Lab – BUILDING A PIANO ACCOMPANIMENT
PDF File: http://www.writingmusicaltheatre.com/wp-content/uploads/admin/music_Unit5_Exercise1.pdf
DOC File:


Unit # 3 - Video # 1 - Video Sample from Music Lab – SETTING A LYRIC
VIDEO: LENGTH of Video: 45.5 minutes


Unit # 3 - Assignment # 1 - Sample Assignment – STRUCTURE & SUBSTITUTIONS
This assignment has 10 question(s) for 10 points each for a total of 100 possible point(s). The total points needed for a pass are: 70
Is this assignment Optional for Core? NO
PDF File: http://www.writingmusicaltheatre.com/wp-content/uploads/admin/music_Unit5_Assignment1_Printout.pdf
DOC File:
Online version of assignment text:

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.







Unit # 3 - Scansion Subtleties

               


There are no Exercises for this Unit.

Unit # 3 - Video # 1 - Scansion Subtleties
VIDEO: LENGTH of Video: 34:16


Unit # 3 - Assignment # 1 - Scansion Subtleties Assignment
This assignment has 50 question(s) for 2 points each for a total of 100 possible point(s). The total points needed for a pass are: 84
Is this assignment Optional for Core? NO
PDF File: http://www.writingmusicaltheatre.com/wp-content/uploads/lyriclab1/AssignmentPrintouts/ScansionSubtletiesAssignmentPrintout.pdf
DOC File: http://www.writingmusicaltheatre.com/wp-content/uploads/lyriclab1/AssignmentPrintouts/ScansionSubtletiesAssignmentPrintout.doc
Online version of assignment text:

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 │ /







Unit # 4 - Incorporating Songs

               



Unit # 4 - Video # 4 - Incorporating Songs
VIDEO: LENGTH of Video: 15 minutes


Unit # 4 - Assignment # 1 - Incorporating Songs
This assignment has 1 question(s) for 100 points each for a total of 100 possible point(s). The total points needed for a pass are: 80
Is this assignment Optional for Core? NO
PDF File: http://www.writingmusicaltheatre.com/wp-content/uploads/admin/Book_Unit4_Assignment1_Printout.pdf
DOC File: http://www.writingmusicaltheatre.com/wp-content/uploads/admin/Book_Unit4_Assignment1_Printout.doc
Online version of assignment text:

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, 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

 







Unit # 4 - Prosody

               


There are no Exercises for this Unit.

Unit # 4 - Video # 1 - Bad Prosody
VIDEO: LENGTH of Video: 22 minutes

Unit # 4 - Video # 2 - Euphony
VIDEO: LENGTH of Video: 22 minutes

Unit # 4 - Video # 3 - Poetic Meter versus Spoken Meter
VIDEO: LENGTH of Video: 29 minutes

Unit # 4 - Video # 4 - Prosody Assignment Video
VIDEO: LENGTH of Video: 11 minutes


Unit # 4 - Assignment # 1 - Euphony
This assignment has 19 question(s) for 5 points each for a total of 95 possible point(s). The total points needed for a pass are: 80
Is this assignment Optional for Core? YES
PDF File: http://www.writingmusicaltheatre.com/wp-content/uploads/admin/lyricnew_Unit4_Assignment1_Printout.pdf
DOC File: http://www.writingmusicaltheatre.com/wp-content/uploads/admin/lyricnew_Unit4_Assignment1_Printout.doc
Online version of assignment text:

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.





Unit # 4 - Assignment # 2 - Prosody Assignment 1 – Repairing Prosody
This assignment has 4 question(s) for 25 points each for a total of 100 possible point(s). The total points needed for a pass are: 80
Is this assignment Optional for Core? NO
PDF File: http://www.writingmusicaltheatre.com/wp-content/uploads/admin/Lyricnew_Unit4_Assignment2_Printout.pdf
DOC File: http://www.writingmusicaltheatre.com/wp-content/uploads/admin/Lyricnew_Unit4_Assignment2_Printout.doc
Online version of assignment text:

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!





Unit # 4 - Assignment # 3 - Prosody Assignment 2 – Matching Accents
This assignment has 8 question(s) for 10 points each for a total of 80 possible point(s). The total points needed for a pass are: 60
Is this assignment Optional for Core? NO
PDF File: http://www.writingmusicaltheatre.com/wp-content/uploads/admin/Lyricnew_Unit4_Assignment3_Printout.pdf
DOC File: http://www.writingmusicaltheatre.com/wp-content/uploads/admin/Lyricnew_Unit4_Assignment3_Printout.doc
Online version of assignment text:

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.





Unit # 4 - Assignment # 4 - Prosody Assignment 3 – Hark the Herald Angels
This assignment has 1 question(s) for 100 points each for a total of 100 possible point(s). The total points needed for a pass are: 75
Is this assignment Optional for Core? NO
PDF File: http://www.writingmusicaltheatre.com/wp-content/uploads/admin/lyricnew_Unit4_Assignment4_Printout.pdf
DOC File: http://www.writingmusicaltheatre.com/wp-content/uploads/admin/lyricnew_Unit4_Assignment4_Printout.doc
Online version of assignment text:

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.





Unit # 4 - Assignment # 5 - Optional for Composers – Voices in My Head
This assignment has 7 question(s) for 10 points each for a total of 70 possible point(s). The total points needed for a pass are: 50
Is this assignment Optional for Core? YES
PDF File: http://www.writingmusicaltheatre.com/wp-content/uploads/admin/Lyricnew_Unit4_Assignment5_Printout.pdf
DOC File: http://www.writingmusicaltheatre.com/wp-content/uploads/admin/Lyricnew_Unit4_Assignment5_Printout.doc
Online version of assignment text:

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)







Unit # 4 - Setting a Lyric

               

Unit # 4 - Handout # 1 - Vocabulary
PDF File: http://www.writingmusicaltheatre.com/wp-content/uploads/admin/music_Unit4_Handout1.pdf
DOC File:

Unit # 4 - Handout # 2 - Musical Modeling
PDF File: http://www.writingmusicaltheatre.com/wp-content/uploads/admin/music_Unit4_Handout2.pdf
DOC File:

Unit # 4 - Handout # 3 - Rhythm Background
PDF File: http://www.writingmusicaltheatre.com/wp-content/uploads/admin/music_Unit4_Handout3.pdf
DOC File:

Unit # 4 - Handout # 4 - Multiple Voice Settings
PDF File: http://www.writingmusicaltheatre.com/wp-content/uploads/admin/music_Unit4_Handout4.pdf
DOC File:

Unit # 4 - Handout # 5 - Types of Songs in Musical Theatre
PDF File: http://www.writingmusicaltheatre.com/wp-content/uploads/admin/music_Unit4_Handout5.pdf
DOC File:


Unit # 4 - Exercise # 1 - Identify Types of Musical Theatre Songs
PDF File: http://www.writingmusicaltheatre.com/wp-content/uploads/admin/music_Unit4_Exercise1.pdf
DOC File:


Unit # 4 - Video # 1 - Setting a Lyric
VIDEO: LENGTH of Video: 45.5 minutes


Unit # 4 - Assignment # 1 - Working With Meter in Lyrics
This assignment has 10 question(s) for 10 points each for a total of 100 possible point(s). The total points needed for a pass are: 70
Is this assignment Optional for Core? NO
PDF File: http://www.writingmusicaltheatre.com/wp-content/uploads/admin/music_Unit4_Assignment1_Printout.pdf
DOC File:
Online version of assignment text:

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?





Unit # 4 - Assignment # 2 - Metrical Analysis in Lyrics
This assignment has 10 question(s) for 10 points each for a total of 100 possible point(s). The total points needed for a pass are: 70
Is this assignment Optional for Core? NO
PDF File: http://www.writingmusicaltheatre.com/wp-content/uploads/admin/music_Unit4_Assignment2_Printout.pdf
DOC File:
Online version of assignment text:

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.





Unit # 4 - Assignment # 3 - Setting Lyrics — A Sections
This assignment has 10 question(s) for 10 points each for a total of 100 possible point(s). The total points needed for a pass are: 70
Is this assignment Optional for Core? NO
PDF File: http://www.writingmusicaltheatre.com/wp-content/uploads/admin/music_Unit4_Assignment3_Printout.pdf
DOC File:
Online version of assignment text:

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





Unit # 4 - Assignment # 4 - Setting Lyrics — Subsequent Sections
This assignment has 10 question(s) for 10 points each for a total of 100 possible point(s). The total points needed for a pass are: 70
Is this assignment Optional for Core? NO
PDF File: http://www.writingmusicaltheatre.com/wp-content/uploads/admin/music_Unit4_Assignment4_Printout.pdf
DOC File:
Online version of assignment text:

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







Unit # 4 - Step 3: Swill Outline

               



Unit # 4 - Video # 1 - The Swill Outline/Structure
VIDEO: LENGTH of Video: 31 minutes


Unit # 4 - Assignment # 1 - Swill Outline
This assignment has 1 question(s) for 100 points each for a total of 100 possible point(s). The total points needed for a pass are: 80
Is this assignment Optional for Core? NO
PDF File: http://www.writingmusicaltheatre.com/wp-content/uploads/admin/Outline_Unit4_Assignment1_Printout.pdf
DOC File: http://www.writingmusicaltheatre.com/wp-content/uploads/admin/Outline_Unit4_Assignment1_Printout.doc
Online version of assignment text:

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.







Unit # 4 - Linear Prosody

               


There are no Exercises for this Unit.

Unit # 4 - Video # 1 - Linear Prosody
VIDEO: LENGTH of Video: 41 minutes


Unit # 4 - Assignment # 1 - Linear Prosody
This assignment has 1 question(s) for 100 points each for a total of 100 possible point(s). The total points needed for a pass are: 80
Is this assignment Optional for Core? NO
PDF File: http://www.writingmusicaltheatre.com/wp-content/uploads/admin/lyric2_Unit4_Assignment1_Printout.pdf
DOC File: http://www.writingmusicaltheatre.com/wp-content/uploads/admin/lyric2_Unit4_Assignment1_Printout.doc
Online version of assignment text:

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.







Unit # 4 - The Ensemble

               



There are no Videos for this Unit.

Unit # 4 - Assignment # 1 - The Ensemble Song
This assignment has 1 question(s) for 100 points each for a total of 100 possible point(s). The total points needed for a pass are: 80
Is this assignment Optional for Core? NO
PDF File: http://www.writingmusicaltheatre.com/wp-content/uploads/admin/Songwriting_Ensemble_Assignment.pdf
DOC File: http://www.writingmusicaltheatre.com/wp-content/uploads/admin/Songwriting_Ensemble_Assignment.doc
Online version of assignment text:

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.







Unit # 4 - The Inside Dope

               

Unit # 4 - Handout # 1 - The Inside Dope – Handout
PDF File: http://www.writingmusicaltheatre.com/wp-content/uploads/admin/4.-The-Inside-Dope-Text.pdf
DOC File:


Unit # 4 - Exercise # 1 - The Inside Dope – Exercise
PDF File: http://www.writingmusicaltheatre.com/wp-content/uploads/admin/4.-The-Inside-Dope-X.pdf
DOC File:


Unit # 4 - Video # 1 - The Inside Dope – Book
VIDEO: LENGTH of Video: 5:37

Unit # 4 - Video # 2 - The Inside Dope – Lyrics
VIDEO: LENGTH of Video: 5:36

Unit # 4 - Video # 3 - The Inside Dope – Music
VIDEO: LENGTH of Video: 5:28


Unit # 4 - Assignment # 1 - The Inside Dope – Assignment
This assignment has 1 question(s) for 100 points each for a total of 100 possible point(s). The total points needed for a pass are: 80
Is this assignment Optional for Core? NO
PDF File: http://www.writingmusicaltheatre.com/wp-content/uploads/admin/4.-The-Inside-Dope-Z.pdf
DOC File:
Online version of assignment text:

Please PRINT OUT the assignment to view the details.







Unit # 4 - Demo for Teams

               


Unit # 4 - Exercise # 1 - Sample Exercise from Master Class – THE INSIDE DOPE
PDF File: http://www.writingmusicaltheatre.com/wp-content/uploads/admin/4.-The-Inside-Dope-X.pdf
DOC File:

Unit # 4 - Exercise # 1 - Sample Exercise from Song Lab – THE COMEDY SONG
PDF File: http://www.writingmusicaltheatre.com/wp-content/uploads/admin/Songwriting_Comedy_Exercise.pdf
DOC File: http://www.writingmusicaltheatre.com/wp-content/uploads/admin/Songwriting_Comedy_Exercise.doc


Unit # 4 - Video # 1 - Video Sample from Master Class – SONG SPOTTING
VIDEO: LENGTH of Video: 6:04


Unit # 4 - Assignment # 1 - Sample Assignment – DEVIL IN THE DETAILS
This assignment has 1 question(s) for 100 points each for a total of 100 possible point(s). The total points needed for a pass are: 80
Is this assignment Optional for Core? NO
PDF File: http://www.writingmusicaltheatre.com/wp-content/uploads/admin/2.-The-Devil-is-in-the-Details-Z.pdf
DOC File:
Online version of assignment text:

Please PRINT OUT the assignment to view the details.







Unit # 4 - Rhyme

               



Unit # 4 - Video # 1 - Rhyme
VIDEO: LENGTH of Video: 5:50

Unit # 4 - Video # 2 - Marking Rhyme Schemes
VIDEO: LENGTH of Video: 6:08

Unit # 4 - Video # 3 - Importance of Rhyme
VIDEO: LENGTH of Video: 40:00

Unit # 4 - Video # 4 - Rhyme Exercises
VIDEO: LENGTH of Video: 16:31


Unit # 4 - Assignment # 1 - Rhyme Assignment
This assignment has 40 question(s) for 2 points each for a total of 80 possible point(s). The total points needed for a pass are: 70
Is this assignment Optional for Core? NO
PDF File: http://www.writingmusicaltheatre.com/wp-content/uploads/lyriclab1/AssignmentPrintouts/RhymeAssignmentPrintout.pdf
DOC File: http://www.writingmusicaltheatre.com/wp-content/uploads/lyriclab1/AssignmentPrintouts/RhymeAssignmentPrintout.doc
Online version of assignment text:

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.





Unit # 4 - Assignment # 2 - Refrain Structure Review Assignment
This assignment has 1 question(s) for 100 points each for a total of 100 possible point(s). The total points needed for a pass are: 80
Is this assignment Optional for Core? NO
PDF File: http://www.writingmusicaltheatre.com/wp-content/uploads/lyriclab1/AssignmentPrintouts/RefrainStructureReviewAssignmentPrintout.pdf
DOC File: http://www.writingmusicaltheatre.com/wp-content/uploads/lyriclab1/AssignmentPrintouts/RefrainStructureReviewAssignmentPrintout.doc
Online version of assignment text:

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.







Unit # 5 - Revisions

               



Unit # 5 - Video # 5 - Revisions
VIDEO: LENGTH of Video: 20 minutes


Unit # 5 - Assignment # 1 - Ten Minute Play
This assignment has 1 question(s) for 100 points each for a total of 100 possible point(s). The total points needed for a pass are: 80
Is this assignment Optional for Core? NO
PDF File: http://www.writingmusicaltheatre.com/wp-content/uploads/admin/Book_Unit5_Assignment1_Printout.pdf
DOC File: http://www.writingmusicaltheatre.com/wp-content/uploads/admin/Book_Unit5_Assignment1_Printout.doc
Online version of assignment text:

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







Unit # 5 - Scansion

               



Unit # 5 - Video # 1 - Scansion Vocabulary
VIDEO: LENGTH of Video: 10 minutes

Unit # 5 - Video # 2 - Scansion
VIDEO: LENGTH of Video: 38 minutes


Unit # 5 - Assignment # 1 - Scansion Assignment
This assignment has 40 question(s) for 2 points each for a total of 80 possible point(s). The total points needed for a pass are: 70
Is this assignment Optional for Core? NO
PDF File: http://www.writingmusicaltheatre.com/wp-content/uploads/admin/lyricnew_Unit5_Assignment1_Printout.pdf
DOC File: http://www.writingmusicaltheatre.com/wp-content/uploads/admin/lyricnew_Unit5_Assignment1_Printout.doc
Online version of assignment text:

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 /







Unit # 5 - Creating A Piano Arrangement

               

Unit # 5 - Handout # 1 - Vocabulary
PDF File: http://www.writingmusicaltheatre.com/wp-content/uploads/admin/music_Unit5_Handout1.pdf
DOC File:

Unit # 5 - Handout # 2 - Musical Modeling
PDF File: http://www.writingmusicaltheatre.com/wp-content/uploads/admin/music_Unit5_Handout2.pdf
DOC File:

Unit # 5 - Handout # 3 - Form & Further Substitutions
PDF File: http://www.writingmusicaltheatre.com/wp-content/uploads/admin/music_Unit5_Handout3.pdf
DOC File:


Unit # 5 - Exercise # 1 - Building A Piano Accompaniment
PDF File: http://www.writingmusicaltheatre.com/wp-content/uploads/admin/music_Unit5_Exercise1.pdf
DOC File:


Unit # 5 - Video # 1 - Creating A Piano Arrangement
VIDEO: LENGTH of Video: 43 minutes


Unit # 5 - Assignment # 1 - Structure (Harmonization)
This assignment has 10 question(s) for 10 points each for a total of 100 possible point(s). The total points needed for a pass are: 70
Is this assignment Optional for Core? NO
PDF File: http://www.writingmusicaltheatre.com/wp-content/uploads/admin/music_Unit5_Assignment1_Printout.pdf
DOC File:
Online version of assignment text:

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.





Unit # 5 - Assignment # 2 - Structure (Advanced)
This assignment has 10 question(s) for 10 points each for a total of 100 possible point(s). The total points needed for a pass are: 70
Is this assignment Optional for Core? NO
PDF File: http://www.writingmusicaltheatre.com/wp-content/uploads/admin/music_Unit5_Assignment2_Printout.pdf
DOC File:
Online version of assignment text:

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.







Unit # 5 - Step 4: Rough Outline

               



Unit # 5 - Video # 1 - Rough Outline/Wants and Goals
VIDEO: LENGTH of Video: 20 minutes


Unit # 5 - Assignment # 1 - Rough Outline/Wants and Goals
This assignment has 1 question(s) for 100 points each for a total of 100 possible point(s). The total points needed for a pass are: 80
Is this assignment Optional for Core? NO
PDF File: http://www.writingmusicaltheatre.com/wp-content/uploads/admin/Outline_Unit5_Assignment1_Printout.pdf
DOC File: http://www.writingmusicaltheatre.com/wp-content/uploads/admin/Outline_Unit5_Assignment1_Printout.doc
Online version of assignment text:

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.







Unit # 5 - Conversational Prosody

               


There are no Exercises for this Unit.

Unit # 5 - Video # 1 - Conversational Prosody
VIDEO: LENGTH of Video: 20 minutes


Unit # 5 - Assignment # 1 - Conversational Prosody
This assignment has 1 question(s) for 100 points each for a total of 100 possible point(s). The total points needed for a pass are: 75
Is this assignment Optional for Core? NO
PDF File: http://www.writingmusicaltheatre.com/wp-content/uploads/admin/lyric2_Unit5_Assignment1_Printout.pdf
DOC File: http://www.writingmusicaltheatre.com/wp-content/uploads/admin/lyric2_Unit5_Assignment1_Printout.doc
Online version of assignment text:

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.







Unit # 5 - The Musical Scene

               



There are no Videos for this Unit.

Unit # 5 - Assignment # 1 - The Musical Scene
This assignment has 1 question(s) for 100 points each for a total of 100 possible point(s). The total points needed for a pass are: 80
Is this assignment Optional for Core? NO
PDF File: http://www.writingmusicaltheatre.com/wp-content/uploads/admin/Songwriting_Scene_Assignment.pdf
DOC File: http://www.writingmusicaltheatre.com/wp-content/uploads/admin/Songwriting_Scene_Assignment.doc
Online version of assignment text:

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.)







Unit # 5 - Love Makes the World Go Somewhere

               

Unit # 5 - Handout # 1 - Love Makes the World Go Somewhere – Handout
PDF File: http://www.writingmusicaltheatre.com/wp-content/uploads/admin/5.-Love-Makes-the-World-Go-Somewhere-Text.pdf
DOC File:


Unit # 5 - Exercise # 1 - Love Makes the World Go Somewhere – Exercise
PDF File: http://www.writingmusicaltheatre.com/wp-content/uploads/admin/5.-Love-Makes-the-World-Go-Somewhere-X.pdf
DOC File:


Unit # 5 - Video # 1 - Love Makes the World Go Somewhere – Book
VIDEO: LENGTH of Video: 5:23

Unit # 5 - Video # 2 - Love Makes the World Go Somewhere – Lyrics
VIDEO: LENGTH of Video: 5:28

Unit # 5 - Video # 3 - Love Makes the World Go Somewhere – Music
VIDEO: LENGTH of Video: 5:23


Unit # 5 - Assignment # 1 - Love Makes the World Go Somewhere – Assignment
This assignment has 1 question(s) for 100 points each for a total of 100 possible point(s). The total points needed for a pass are: 80
Is this assignment Optional for Core? NO
PDF File: http://www.writingmusicaltheatre.com/wp-content/uploads/admin/5.-Love-Makes-the-World-Go-Somewhere-Z.pdf
DOC File:
Online version of assignment text:

Please PRINT OUT the assignment to view the details.







Unit # 5 - Formatting

               



Unit # 5 - Video # 1 - Formatting Script and Score
VIDEO: LENGTH of Video: 28:51

Unit # 5 - Video # 2 - Formatting Guidelines Annotation
VIDEO: LENGTH of Video: 33:45


Unit # 5 - Assignment # 1 - Formatting Assignment
This assignment has 1 question(s) for 100 points each for a total of 100 possible point(s). The total points needed for a pass are: 80
Is this assignment Optional for Core? NO
PDF File: http://www.writingmusicaltheatre.com/wp-content/uploads/lyriclab1/AssignmentPrintouts/FormattingAssignmentPrintout.pdf
DOC File: http://www.writingmusicaltheatre.com/wp-content/uploads/lyriclab1/AssignmentPrintouts/FormattingAssignmentPrintout.docm
Online version of assignment text:

Formatting Assignment

The link below will take you to a poorly formatted scene and lyric from a musical. You are to reformat these pages according to the Format Guidelines.

DOWNLOAD FILE







Unit # 6 - Finishing Touches

               



Unit # 6 - Video # 6 - Finishing Touches
VIDEO: LENGTH of Video: 18 minutes


Unit # 6 - Assignment # 1 - Pitch
This assignment has 1 question(s) for 100 points each for a total of 100 possible point(s). The total points needed for a pass are: 80
Is this assignment Optional for Core? NO
PDF File: http://www.writingmusicaltheatre.com/wp-content/uploads/admin/Book_Unit6_Assignment1_Printout.pdf
DOC File: http://www.writingmusicaltheatre.com/wp-content/uploads/admin/Book_Unit6_Assignment1_Printout.doc
Online version of assignment text:

Write a one-page pitch for a one-act or full-length project that you want to develop next season.

Make sure your pitch has a beginning, middle, and end.

Make sure your pitch has a lead character (or characters) with a clearly defined goal and compelling obstacle(s).

Do not make your pitch a “cliff-hanger”. Cliff-hangers are for promotional material – this pitch is meant to interest potential collaborators.

Feel free to write multiple pitches.







Unit # 6 - Scansion Subtleties

               

There are no Handouts for this Unit.

There are no Exercises for this Unit.

Unit # 6 - Video # 1 - Scansion Subtleties
VIDEO: LENGTH of Video: 56 minutes


Unit # 6 - Assignment # 1 - Scansion Subtleties Assignment
This assignment has 50 question(s) for 2 points each for a total of 100 possible point(s). The total points needed for a pass are: 84
Is this assignment Optional for Core? YES
PDF File: http://www.writingmusicaltheatre.com/wp-content/uploads/admin/lyricnew_Unit6_Assignment1_Printout.pdf
DOC File: http://www.writingmusicaltheatre.com/wp-content/uploads/admin/lyricnew_Unit6_Assignment1_Printout.doc
Online version of assignment text:

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 │ /







Unit # 6 - Formatting A Song

               

Unit # 6 - Handout # 1 - Formatting Guidelines
PDF File: http://www.writingmusicaltheatre.com/wp-content/uploads/admin/music_Unit6_Handout1.pdf
DOC File:

Unit # 6 - Handout # 2 - Modeling Formatting
PDF File: http://www.writingmusicaltheatre.com/wp-content/uploads/admin/music_Unit6_Handout2.pdf
DOC File:


Unit # 6 - Exercise # 1 - Formatting Your Song
PDF File: http://www.writingmusicaltheatre.com/wp-content/uploads/admin/music_Unit6_Exercise1.pdf
DOC File:


Unit # 6 - Video # 1 - Formatting A Song
VIDEO: LENGTH of Video: 42 minutes


Unit # 6 - Assignment # 1 - Formatting A Solo
This assignment has 10 question(s) for 10 points each for a total of 100 possible point(s). The total points needed for a pass are: 70
Is this assignment Optional for Core? NO
PDF File: http://www.writingmusicaltheatre.com/wp-content/uploads/admin/music_Unit6_Assignment1_Printout.pdf
DOC File:
Online version of assignment text:

Prepare one of your solos for submission. Consider all the points covered in the unit. The final product should be readable page after page, with no turning back pages in the score. Use the following as a checklist to ensure that you have addressed every point.

Page Margins
Title
Percentage
System Margins
Page Size
Page Numbers
Header
Footer
Clefs
Lyrics
Repeats
Stanzas
Measure Numbers
Rehearsal Letters
Character Names
Tempo Markings
Dynamics & Phrase Marks
Expressive Markings
Binding
Paper Weight
If you upload your submission for evaluation, binding and paper weight will not be issues. Instead, consider how a pdf presentation of your song might be comparable. In certain musical circles it is already possible to submit a pdf score. This is not yet true in musical theatre, but may soon be coming. At this point, work on all of the other elements and prepare the song you submit so that it may easily be printed double-sided and three-hole punched.
Remember to use both a Grand Staff for the piano and a vocal staff for the singer.
Submit your song!





Unit # 6 - Assignment # 2 - Formatting An Ensemble
This assignment has 10 question(s) for 10 points each for a total of 100 possible point(s). The total points needed for a pass are: 70
Is this assignment Optional for Core? NO
PDF File: http://www.writingmusicaltheatre.com/wp-content/uploads/admin/music_Unit6_Assignment2_Printout.pdf
DOC File:
Online version of assignment text:

Prepare one of your ensembles for submission. Consider all the points covered in the unit. The final product should be readable page after page, with no turning back pages in the score. Use the following as a checklist to ensure that you have addressed every point.

Page Margins
Title
Percentage
System Margins
Page Size
Page Numbers
Header
Footer
Clefs
Lyrics
Repeats
Stanzas
Measure Numbers
Rehearsal Letters
Character Names
Tempo Markings
Dynamics & Phrase Marks
Expressive Markings
Binding
Paper Weight
Remember to use a Grand Staff for the piano and vocal staves for the singers. Is it clear where and what each character sings? Have you balanced the sound through the use of dynamics and expression markings?
If you upload your submission for evaluation, binding and paper weight will not be issues. Instead, consider how a pdf presentation of your ensemble number might be comparable. In certain musical circles it is already possible to submit a pdf score. This is not yet true in musical theatre, but may soon be coming. At this point, work on all of the other elements and prepare the ensemble you submit so that it may easily be printed double-sided and three-hole punched.
Submit your ensemble!







Unit # 6 - Step 5: Outline

               



Unit # 6 - Video # 1 - The Outline/Language
VIDEO: LENGTH of Video: 26 minutes


Unit # 6 - Assignment # 1 - Outline/Language
This assignment has 1 question(s) for 100 points each for a total of 100 possible point(s). The total points needed for a pass are: 80
Is this assignment Optional for Core? NO
PDF File: http://www.writingmusicaltheatre.com/wp-content/uploads/admin/Outline_Unit6_Assignment1_Printout.pdf
DOC File: http://www.writingmusicaltheatre.com/wp-content/uploads/admin/Outline_Unit6_Assignment1_Printout.doc
Online version of assignment text:

Convert your rough outline into a first draft of an Outline.

You will be receiving detailed feedback on the content of your Outline. Before you read (or listen to) this feedback - please read the following disclaimer:

A DISCLAIMER FROM YOUR DRAMATURGE:

Thank you for being brave enough to share your initial thoughts on your project.

My notes and questions are intended to act as food for thought as you are working on the next draft of your outline. Please do not feel that you need to defend your choices, or to directly answer the questions. If you feel that I have misinterpreted something in the outline - then ask yourself: is
there something you can strengthen or clarify to make sure that your audience doesn't make the same misinterpretation? If you find yourself saying "that will become clear in the writing", stop for a moment and see if you can find a way to clarify the moment in the outline.

When I offer solutions - they are meant as examples of possible solutions only: they are not directives that you are expected to follow.

Keep working toward an outline that simply describes the action of the scene. Deal only with what your audience will see and hear - not with what you hope they will think.

Remember, a rock-solid outline with a clear beginning, middle, and end, and a clearly defined arc for your main character, will be an invaluable blueprint to refer to once you begin to write your first draft.







Unit # 6 - More Progressions

               


There are no Exercises for this Unit.

Unit # 6 - Video # 1 - More Progressions
VIDEO: LENGTH of Video: 13 minutes


There are no Assignments for this Unit.


Unit # 6 - The Disappointment Song

               



There are no Videos for this Unit.

Unit # 6 - Assignment # 1 - The Disappointment Song
This assignment has 1 question(s) for 100 points each for a total of 100 possible point(s). The total points needed for a pass are: 80
Is this assignment Optional for Core? NO
PDF File: http://www.writingmusicaltheatre.com/wp-content/uploads/admin/Songwriting_Disappointment_Assignment.pdf
DOC File: http://www.writingmusicaltheatre.com/wp-content/uploads/admin/Songwriting_Disappointment_Assignment.doc
Online version of assignment text:

For this assignment, you're to write a ballad for the character of Catherine Givings in the play In the Next Room or the vibrator play by Sarah Ruhl. In an imagined musical version of the play, your song takes place during a scene which doesn't exist in the play. It would occur about midway through the first scene, when Mrs. Givings goes out for a walk in the gardens with Mr. Daldry. In the TCG publication, this offstage scene occurs when Mrs. Givings exits on page 18.

In the scene you're to imagine, Mrs. Givings goes for a walk with Mr. Daldry, who is married to one of Dr. Giving's female patients. Neither Mrs. Givings nor Mr. Daldry understands what exactly the doctor is doing "in the next room" with his patients. At the moment in the show in which your song is to take place, Mrs. Givings is slowly beginning to admit secretly to herself that she's unfulfilled and that there's probably more to life than what she's experiencing. In the walk in the garden, clearly Mrs. Givings opens up a little to Mr. Daldry, for she comes back "laughing and drenched," having cavalierly thrown off the need for an umbrella while walking in the rain. Your song takes place somewhere in that offstage scene, in the garden.

Lyricists: write the lyrics, as well as a description about what each stanza is hoping to accomplish. Include some notes about Mrs. Givings’ subtext, as well as perhaps some ideas of what she might be thinking about how her future might or might not change after the thoughts she voices on this walk.

Composers: write the music, as well as a brief description about Mrs. Givings’ 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 future that Mrs. Givings is contemplating, or resigning herself to go without.







Unit # 6 - And the Beat Goes On

               

Unit # 6 - Handout # 1 - And The Beat Goes On – Handout
PDF File: http://www.writingmusicaltheatre.com/wp-content/uploads/admin/6.-And-The-Beat-Goes-On-Text.pdf
DOC File:


Unit # 6 - Exercise # 1 - And the Beat Goes On – Exercise
PDF File: http://www.writingmusicaltheatre.com/wp-content/uploads/admin/6.-And-the-Beat-Goes-On-X.pdf
DOC File:


Unit # 6 - Video # 1 - And the Beat Goes On – Book
VIDEO: LENGTH of Video: 5:18

Unit # 6 - Video # 2 - And the Beat Goes On – Lyrics
VIDEO: LENGTH of Video: 5:24

Unit # 6 - Video # 3 - And the Beat Goes On – Music
VIDEO: LENGTH of Video: 5:43


Unit # 6 - Assignment # 1 - And the Beat Goes On – Assignment
This assignment has 1 question(s) for 100 points each for a total of 100 possible point(s). The total points needed for a pass are: 80
Is this assignment Optional for Core? NO
PDF File: http://www.writingmusicaltheatre.com/wp-content/uploads/admin/6.-And-the-Beat-Goes-On-Z.pdf
DOC File:
Online version of assignment text:

Please PRINT OUT the assignment to view the details.







Unit # 6 - Song Spotting

               



Unit # 6 - Video # 1 - Song Spotting
VIDEO: LENGTH of Video: 22:55

Unit # 6 - Video # 2 - Character Change
VIDEO: LENGTH of Video: 24:47

Unit # 6 - Video # 3 - Songs Not Driven By Story
VIDEO: LENGTH of Video: 25:57

Unit # 6 - Video # 4 - Spotting Checklist
VIDEO: LENGTH of Video: 4:45

Unit # 6 - Video # 5 - A Spotting Session With Scott
VIDEO: LENGTH of Video: 18:49


Unit # 6 - Assignment # 1 - Song Spotting Assignment
This assignment has 1 question(s) for 100 points each for a total of 100 possible point(s). The total points needed for a pass are: 80
Is this assignment Optional for Core? NO
PDF File: http://www.writingmusicaltheatre.com/wp-content/uploads/lyriclab1/AssignmentPrintouts/SongSpottingAssignmentPrintout.pdf
DOC File: http://www.writingmusicaltheatre.com/wp-content/uploads/lyriclab1/AssignmentPrintouts/SongSpottingAssignmentPrintout.doc
Online version of assignment text:

Spotting a Script: Assignment

You are to spot the script entitled Happily Ever After: When Fairy Tales Go Bad.

To do this, you will need to download a copy of the SONG SPOTTING SCRIPT and then replace portions of the book with descriptions of songs which might stand in their stead. You don’t need to write the lyrics, just a description of each of the songs you suggest.

There are about a dozen scenes in this script; begin spotting with Scene Two. (Don’t spot the first scene; it’s likely to become a long musical scene, and therefore beyond the scope of this Lyric Lab.) You will probably end up with about 10-14 descriptions of song possibilities.

There doesn’t have to be a song in every scene, and neither does there have to be only one song in any given scene. Some of the scenes in the script have a lot of action, and you might discover you’ll want to keep some of it, while the song is being sung. That’s fine; just indicate that’s a possibility you’re considering.

Your description for each song should include the following:

Working Title(s) of the Song
Scene Number, Character(s) singing the song
Page number (of original script)
1-3 sentence narrative version of the lyric
First line of dialogue which this song replaces
Last line of dialogue which this song replaces
Purpose of song (e.g., exposition, action, etc. If character, also indicate self-discovery, decision, resolve conflict or enflame conflict.)
Suggested Structure (e.g., AABA, ABAC, etc.)
Suggested Progression (e.g., Pronoun Progression), if any
Description of the purpose of each A, B section
Do you think some dialogue will be included during this song? Yes/No/Maybe

To complete this assignment, you may hand in either:

1. A new version of the edited script, excluding all the material from the book which you cut, and including all the information requested above. If you’re handing in the script electronically, it must be in Microsoft WORD. Please insert an inch of blank space (five carriage returns) before and after each song description, so they stand out on the page.

OR

2. A description of songs, including a description of the section you’ve cut and all the information requested above.

See Spotting a Song Example (below) for additional reference.

Spotting a Script: Example

Spotting a Song Assignment

Working Title(s) of the Song: Believe in the Small; The Small and Mighty; Believe in Me; Deep Down Inside; Look at Me

Scene Number: Act Two, Scene Four

Character(s) singing the song: Chicken Little

Page number: 2-4-10

1-3 sentence narrative version of the lyric:

Chicken Little complains that no one pays any attention to him because he’s so small. He knows he can help people, if they’d just give him a chance. He contemplates going home and giving up, but pulls himself up by his bootstraps and vows to carry out his rescue plan anyway.

First line of dialogue which this song replaces:

I could’ve helped, I really really could’ve.

Last line of dialogue which this song replaces:

I pick...rescue!

Purpose: Character (decision)

Suggested Structure: AABA

Suggested Progression: Problem/Solution

Description of the purpose of each stanza (i.e., each A, each B or C)

First A: Problem: No one believes in me because I’m so small.
Second A: Elaboration: Even though I have a plan, no one’ll give me a chance.
B-section: Contemplated Solution: I could give up and go home.
Final A: Action: Chicken Little to the rescue! (climbs castle wall)

Do you think some dialogue will be included during this song? No.







Unit # 7 - Progressions

               


There are no Exercises for this Unit.

Unit # 7 - Video # 1 - Overview of Structure
VIDEO: LENGTH of Video: 9 minutes

Unit # 7 - Video # 2 - Progressions
VIDEO: LENGTH of Video: 42 minutes


Unit # 7 - Assignment # 1 - Progression Assignment
This assignment has 1 question(s) for 100 points each for a total of 100 possible point(s). The total points needed for a pass are: 85
Is this assignment Optional for Core? NO
PDF File: http://www.writingmusicaltheatre.com/wp-content/uploads/admin/Lyricnew_Unit7_Assignment1_Printout.pdf
DOC File: http://www.writingmusicaltheatre.com/wp-content/uploads/admin/lyricnew_Unit7_Assignment1_Printout.doc
Online version of assignment text:

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/Examination/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)







Unit # 7 - Composing Incidental Music

               

Unit # 7 - Handout # 1 - Vocabulary
PDF File: http://www.writingmusicaltheatre.com/wp-content/uploads/admin/music_Unit7_Handout1.pdf
DOC File:

Unit # 7 - Handout # 2 - Musical Modeling
PDF File: http://www.writingmusicaltheatre.com/wp-content/uploads/admin/music_Unit7_Handout2.pdf
DOC File:

Unit # 7 - Handout # 3 - Underlining Subtext
PDF File: http://www.writingmusicaltheatre.com/wp-content/uploads/admin/music_Unit7_Handout3.pdf
DOC File:

Unit # 7 - Handout # 4 - Unscoring Samples
PDF File: http://www.writingmusicaltheatre.com/wp-content/uploads/admin/music_Unit7_Handout4.pdf
DOC File:


Unit # 7 - Exercise # 1 - Underscoring a Dramatic Scene
PDF File: http://www.writingmusicaltheatre.com/wp-content/uploads/admin/music_Unit7_Exercise1.pdf
DOC File:

Unit # 7 - Exercise # 2 - Underscoring a Comic Scene
PDF File: http://www.writingmusicaltheatre.com/wp-content/uploads/admin/music_Unit7_Exercise2.pdf
DOC File:


Unit # 7 - Video # 1 - Composing Incidental Music
VIDEO: LENGTH of Video: 21.5 minutes


Unit # 7 - Assignment # 1 - Underscoring a Dramatic Scene
This assignment has 10 question(s) for 10 points each for a total of 100 possible point(s). The total points needed for a pass are: 70
Is this assignment Optional for Core? YES
PDF File: http://www.writingmusicaltheatre.com/wp-content/uploads/admin/music_Unit7_Assignment1_Printout.pdf
DOC File:
Online version of assignment text:

Consider the scene from A Doll’s House by Henrick Ibsen.

HELMER: I would gladly work night and day for you, Nora—bear sorrow and want for your sake. But no man would sacrifice his honour for the one he loves.
NORA: It is a thing hundreds of thousands of women have done.
HELMER: Oh, you think and talk like a heedless child.
NORA: Maybe. But you neither think nor talk like the man I could bind myself to. As soon as your fear was over—and it was not fear for what threatened me, but for what might happen to you—when the whole thing was past, as far as you were concerned it was exactly as if nothing at all had happened. Exactly as before, I was your little skylark, your doll, which you would in future treat with doubly gentle care, because it was so brittle and fragile. [Getting up.] Torvald—it was then it dawned upon me that for eight years I had been living here with a strange man, and had borne him three children—. Oh, I can't bear to think of it! I could tear myself into little bits!
HELMER: [sadly]. I see, I see. An abyss has opened between us—there is no denying it. But, Nora, would it not be possible to fill it up?
NORA: As I am now, I am no wife for you.
HELMER: I have it in me to become a different man.
NORA: Perhaps—if your doll is taken away from you.
HELMER: But to part!—to part from you! No, no, Nora, I can't understand that idea.
NORA: [going out to the right]. That makes it all the more certain that it must be done. [She comes back with her cloak and hat and a small bag which she puts on a chair by the table.]
HELMER: Nora, Nora, not now! Wait till tomorrow.
NORA: [putting on her cloak]. I cannot spend the night in a strange man’s room.
HELMER: But can't we live here like brother and sister—?
NORA: [putting on her hat]. You know very well that would not last long. [Puts the shawl round her.] Good-bye, Torvald. I won't see the little ones. I know they are in better hands than mine. As I am now, I can be of no use to them.
HELMER: But some day, Nora—some day?
NORA: How can I tell? I have no idea what is going to become of me.
HELMER: But you are my wife, whatever becomes of you.
NORA: Listen, Torvald. I have heard that when a wife deserts her husband’s house, as I am doing now, he is legally freed from all obligations towards her. In any case, I set you free from all your obligations. You are not to feel yourself bound in the slightest way, any more than I shall. There must be perfect freedom on both sides. See, here is your ring back. Give me mine. NORA: Listen, Torvald. I have heard that when a wife deserts her husband’s house, as I am doing now, he is legally freed from all obligations towards her. In any case, I set you free from all your obligations. You are not to feel yourself bound in the slightest way, any more than I shall. There must be perfect freedom on both sides. See, here is your ring back. Give me mine.
HELMER: That too?
NORA: That too.
HELMER: Here it is.
NORA: That’s right. Now it is all over. I have put the keys here. The maids know all about everything in the house—better than I do. Tomorrow, after I have left her, Christine will come here and pack up my own things that I brought with me from home. I will have them sent after me.
HELMER: All over! All over!—Nora, shall you never think of me again?
NORA: I know I shall often think of you and the children and this house.
HELMER: May I write to you, Nora?
NORA: No—never. You must not do that.
HELMER: But at least let me send you—
NORA: Nothing—nothing—
HELMER: Let me help you if you are in want.
NORA: No. I can receive nothing from a stranger.
HELMER: Nora—can I never be anything more than a stranger to you?
NORA: [taking her bag]. Ah, Torvald, the most wonderful thing of all would have to happen.

HELMER: Tell me what that would be!
NORA: Both you and I would have to be so changed that—. Oh, Torvald, I don't believe any longer in wonderful things happening.
HELMER: But I will believe in it. Tell me? So changed that—?
NORA: That our life together would be a real wedlock. Good-bye. [She goes out through the hall.]
HELMER: [sinks down on a chair at the door and buries his face in his hands]. Nora! Nora! [Looks round, and rises.] Empty. She is gone. [A hope flashes across his mind.] The most wonderful thing of all—?
[The sound of a door shutting is heard from below.]

• Write out a point by point list of the subtext moments for the short scene
• Determine which might be reinforced or countered by music
• Determine whether a single melodic line or a fuller musical sound would best serve the moment
• Compose incidental music for the scene
• Create a piano score
• Indicate what instrumental colors might be useful for the sound

Submit your list, score, and notes on instrumentation.





Unit # 7 - Assignment # 2 - Underscoring a Comedic Scene
This assignment has 10 question(s) for 10 points each for a total of 100 possible point(s). The total points needed for a pass are: 70
Is this assignment Optional for Core? NO
PDF File: http://www.writingmusicaltheatre.com/wp-content/uploads/admin/music_Unit7_Assignment2_Printout.pdf
DOC File:
Online version of assignment text:

Consider the scene from The Importance of Being Earnest by Oscar Wilde.

GWENDOLEN: Do you allude to me, Miss Cardew, as an entanglement? You are presumptuous. On an occasion of this kind it becomes more than a moral duty to speak one’s mind. It becomes a pleasure.
CECILY: Do you suggest, Miss Fairfax, that I entrapped Ernest into an engagement? How dare you? This is no time for wearing the shallow mask of manners. When I see a spade I call it a spade.
GWENDOLEN: [Satirically.] I am glad to say that I have never seen a spade. It is obvious that our social spheres have been widely different.
[Enter MERRIMAN, followed by the footman. He carries a salver, table cloth, and plate stand. CECILY is about to retort. The presence of the servants exercises a restraining influence, under which both girls chafe.]
MERRIMAN: Shall I lay tea here as usual, Miss?
CECILY: [Sternly, in a calm voice.] Yes, as usual. [MERRIMAN begins to clear table and lay cloth. A long pause. CECILY and GWENDOLEN glare at each other.]
GWENDOLEN: Are there many interesting walks in the vicinity, Miss Cardew?
CECILY: Oh! yes! a great many. From the top of one of the hills quite close one can see five counties.
GWENDOLEN: Five counties! I don’t think I should like that; I hate crowds.
CECILY: [Sweetly.] I suppose that is why you live in town? [GWENDOLEN bites her lip, and beats her foot nervously with her parasol.]
GWENDOLEN: [Looking round.] Quite a well-kept garden this is, Miss Cardew.
CECILY.:So glad you like it, Miss Fairfax.
GWENDOLEN: I had no idea there were any flowers in the country.
CECILY: Oh, flowers are as common here, Miss Fairfax, as people are in London.
GWENDOLEN: Personally I cannot understand how anybody manages to exist in the country, if anybody who is anybody does. The country always bores me to death.
CECILY: Ah! This is what the newspapers call agricultural depression, is it not? I believe the aristocracy are suffering very much from it just at present. It is almost an epidemic amongst them, I have been told. May I offer you some tea, Miss Fairfax?
GWENDOLEN: [With elaborate politeness.] Thank you. [Aside.] Detestable girl! But I require tea!
CECILY: [Sweetly.] Sugar?
GWENDOLEN: [Superciliously.] No, thank you. Sugar is not fashionable any more. [CECILY looks angrily at her, takes up the tongs and puts four lumps of sugar into the cup.]
CECILY: [Severely.] Cake or bread and butter?
GWENDOLEN: [In a bored manner.] Bread and butter, please. Cake is rarely seen at the best houses nowadays.
CECILY: [Cuts a very large slice of cake, and puts it on the tray.] Hand that to Miss Fairfax.
[MERRIMAN does so, and goes out with footman. GWENDOLEN drinks the tea and makes a grimace. Puts down cup at once, reaches out her hand to the bread and butter, looks at it, and finds it is cake. Rises in indignation.]
GWENDOLEN: You have filled my tea with lumps of sugar, and though I asked most distinctly for bread and butter, you have given me cake. I am known for the gentleness of my disposition, and the extraordinary sweetness of my nature, but I warn you, Miss Cardew, you may go too far.
CECILY: [Rising.] To save my poor, innocent, trusting boy from the machinations of any other girl there are no lengths to which I would not go.
GWENDOLEN. From the moment I saw you I distrusted you. I felt that you were false and deceitful. I am never deceived in such matters. My first impressions of people are invariably right.
CECILY. It seems to me, Miss Fairfax, that I am trespassing on your valuable time. No doubt you have many other calls of a similar character to make in the neighbourhood.
[Enter JACK.]
GWENDOLEN. [Catching sight of him.] Ernest! My own Ernest!
JACK. Gwendolen! Darling! [Offers to kiss her.]
GWENDOLEN. [Draws back.] A moment! May I ask if you are engaged to be married to this young lady? [Points to Cecily.]
JACK. [Laughing.] To dear little Cecily! Of course not! What could have put such an idea into your pretty little head?
GWENDOLEN. Thank you. You may! [Offers her cheek.]
CECILY. [Very sweetly.] I knew there must be some misunderstanding, Miss Fairfax. The gentleman whose arm is at present round your waist is my guardian, Mr. John Worthing.

• Write out a point by point list of the subtext moments for the short scene
• Determine which might be reinforced or countered by music
• Determine whether a single melodic line or a fuller musical sound would best serve the moment
• Compose incidental music for the scene
• Create a piano score
• Indicate what instrumental colors might be useful for the sound

Submit your list, score, and notes on instrumentation.







Unit # 7 - Step 6: First Revision

               



Unit # 7 - Video # 1 - First Revision/Feedback
VIDEO: LENGTH of Video: 29 minutes


Unit # 7 - Assignment # 1 - First Revision
This assignment has 1 question(s) for 100 points each for a total of 100 possible point(s). The total points needed for a pass are: 80
Is this assignment Optional for Core? NO
PDF File: http://www.writingmusicaltheatre.com/wp-content/uploads/admin/Outline_Unit7_Assignment1_Printout.pdf
DOC File: http://www.writingmusicaltheatre.com/wp-content/uploads/admin/Outline_Unit7_Assignment1_Printout.doc
Online version of assignment text:


Revise your outline based on the notes from your dramaturge.







Unit # 7 - List Songs

               


There are no Exercises for this Unit.

Unit # 7 - Video # 1 - List Songs
VIDEO: LENGTH of Video: 24 minutes


Unit # 7 - Assignment # 1 - List Songs
This assignment has 1 question(s) for 100 points each for a total of 100 possible point(s). The total points needed for a pass are: 75
Is this assignment Optional for Core? NO
PDF File: http://www.writingmusicaltheatre.com/wp-content/uploads/admin/lyric2_Unit7_Assignment1_Printout.pdf
DOC File: http://www.writingmusicaltheatre.com/wp-content/uploads/admin/lyric2_Unit7_Assignment1_Printout.doc
Online version of assignment text:

1. Write a list song, with minimal introduction. Here are some possibilities for topics, or you may choose your own:

Characters from Harry Potter
Graduates from a high school
Fruits
States, or state capitals
Countries
Medical conditions
Movie titles
Bands

2. Optional. Write an additional stanza to You’re the Top, with one of two goals in mind. Either write a new stanza which would fit in perfectly alongside the rest of the existing stanzas, or incorporate contemporary images, if you desire, without concern whether the new images would fit into the original context. However, whichever goal you select, be consistent: don’t mix old with new.







Unit # 7 - Putting It Together

               

Unit # 7 - Handout # 1 - Putting It Together – Handout
PDF File: http://www.writingmusicaltheatre.com/wp-content/uploads/admin/7.-Putting-It-Together-Text.pdf
DOC File:


Unit # 7 - Exercise # 1 - Putting It Together – Exercise
PDF File: http://www.writingmusicaltheatre.com/wp-content/uploads/admin/7.-Putting-It-Together-X.pdf
DOC File:


Unit # 7 - Video # 1 - Putting It Together – Book
VIDEO: LENGTH of Video: 5:38

Unit # 7 - Video # 2 - Putting It Together – Lyrics
VIDEO: LENGTH of Video: 5:33

Unit # 7 - Video # 3 - Putting It Together – Music
VIDEO: LENGTH of Video: 5:21


Unit # 7 - Assignment # 1 - Putting It Together – Assignment
This assignment has 1 question(s) for 100 points each for a total of 100 possible point(s). The total points needed for a pass are: 80
Is this assignment Optional for Core? NO
PDF File: http://www.writingmusicaltheatre.com/wp-content/uploads/admin/7.-Putting-It-Together-Z.pdf
DOC File:
Online version of assignment text:

Please PRINT OUT the assignment to view the details.







Unit # 8 - The Chorus

               


There are no Exercises for this Unit.

Unit # 8 - Video # 1 - The Verse, Chorus & Refrain – an introduction
VIDEO: LENGTH of Video: 6 minutes

Unit # 8 - Video # 2 - The Chorus
VIDEO: LENGTH of Video: 28 minutes


Unit # 8 - Assignment # 1 - Chorus Assignment 1
This assignment has 1 question(s) for 100 points each for a total of 100 possible point(s). The total points needed for a pass are: 75
Is this assignment Optional for Core? YES
PDF File: http://www.writingmusicaltheatre.com/wp-content/uploads/admin/Lyricnew_Unit8_Assignment1_Printout.pdf
DOC File: http://www.writingmusicaltheatre.com/wp-content/uploads/admin/Lyricnew_Unit8_Assignment1_Printout.doc
Online version of assignment text:

Please note: some of the videos refer to a different order of units (they mention Verse, then Chorus, then Refrain). The order of the units and assignments has altered since the videos were edited. The order of units is correct on the syllabus: 1) the Chorus; 2) the Verse; 3) Refrain.

Chorus Assignment 1

Write an original 17th-century English folk song, with multiple verses and a repeating chorus. Italicize/indent the words you mean to be the chorus. Chorus can be 1-4 lines long, and can include some nonsense syllables, as you desire. Verses can be as short as 2 lines long. Topic: Walking down a country road at midnight, a young man meets a maiden who turns out to be Death.

For an example, see the Printout of Chorus Assignment 1.





Unit # 8 - Assignment # 2 - Chorus Assignment 2
This assignment has 1 question(s) for 100 points each for a total of 100 possible point(s). The total points needed for a pass are: 75
Is this assignment Optional for Core? YES
PDF File: http://www.writingmusicaltheatre.com/wp-content/uploads/admin/Lyricnew_Unit8_Assignment2_Printout.pdf
DOC File: http://www.writingmusicaltheatre.com/wp-content/uploads/admin/Lyricnew_Unit8_Assignment2_Printout.doc
Online version of assignment text:

Chorus - Assignment 2

The Traditional Chorus in traditional Broadway musicals

Write a chorus which a series of wedding guest soloists might sing in a traditional Broadway musical , and include at least three verses sung by the soloists which changes the perspective or dramatic context of the words of the chorus. Include a brief prose set up, so we understand who’s getting married; and also include before each of the verses who’s to sing this particular verse/chorus, and how (s)he feels about the bride and groom. We’re not looking for an AABA Refrain. This should be a “chorus,” as explored in this unit. You may use the following set-up, if you wish, or create your own. But in either case, write the chorus and all the verses.

Example:

Set-up: A 21-year-old is marrying an 86-year-old billionaire.

Verse 1: The billionaire is positive this is true love, and is happy to have his final years on earth be happy ones. He has never been married before.

Billionaire’s verse

Chorus, sung by the billionaire

Verse 2: The bride is afraid all this excitement is going to give her husband-to-be a heart attack before they actually get to the words “I do,” so she’s hurrying everyone along, faster, faster, faster. She doesn’t love the guy; she just wants his money.

Bride’s verse

Chorus, sung by the bride

Verse 3: Sung by an 80-year-old woman, who truly loves the 86-year-old billionaire. She has just told the guy how she feels, for the first time in her life, and he has just said he’ll drop all his plans and marry her right now! But she doesn’t have the self-esteem to believe him, and is now trying to talk him into forgetting about her, and marrying the golddigger.

80-year-old woman’s verse

Chorus, sung by the 80-year old

Verse 4: The billionaire stands up to the golddigger, and announces his intentions to marry the 80 year old, to the shock of the golddigger, and the delight of the crowd.

Billionaire’s final verse

Chorus, sung by the billionaire





Unit # 8 - Assignment # 3 - Chorus Assignment 3
This assignment has 1 question(s) for 100 points each for a total of 100 possible point(s). The total points needed for a pass are: 75
Is this assignment Optional for Core? YES
PDF File: http://www.writingmusicaltheatre.com/wp-content/uploads/admin/Lyricnew_Unit8_Assignment3_Printout.pdf
DOC File: http://www.writingmusicaltheatre.com/wp-content/uploads/admin/Lyricnew_Unit8_Assignment3_Printout.doc
Online version of assignment text:

Chorus Assignment 3

Write a musical scene meant for an original contemporary Broadway musical, which includes at least three instances of a chorus of 4-12 bars (e.g., the repeating stuff is not very long). Include material in the concluding lines of the chorus which loops repeatedly in its final iteration.

Describe in prose the function of the sections between choruses, and then write the entire scene, including verses, dialogue, stage action and chorus. Explore combinations of music/dialogue/recit/verse. Conclude the scene with some or all of the chorus repeating multiple times, eventually exploding into a dance sequence.

Topic: Someone has big plans for Saturday night; but his plans are dashed, and the words which begin the scene come back in a new light. A dance breaks out.

Examples:

The Riddle Song in Floyd Collins

Saturday Night in the City from The Wedding Singer







Unit # 8 - Formatting a Score

               

Unit # 8 - Handout # 1 - Formatting Guidelines
PDF File: http://www.writingmusicaltheatre.com/wp-content/uploads/admin/music_Unit8_Handout1.pdf
DOC File:

Unit # 8 - Handout # 2 - Modeling Formatting
PDF File: http://www.writingmusicaltheatre.com/wp-content/uploads/admin/music_Unit8_Handout2.pdf
DOC File:


Unit # 8 - Exercise # 1 - Formatting Score Exercises
PDF File: http://www.writingmusicaltheatre.com/wp-content/uploads/admin/music_Unit8_Exercise1.pdf
DOC File:


Unit # 8 - Video # 1 - Formatting A Score
VIDEO: LENGTH of Video: 24 minutes


Unit # 8 - Assignment # 1 - Formatting A Score – Solo Numbers
This assignment has 10 question(s) for 10 points each for a total of 100 possible point(s). The total points needed for a pass are: 70
Is this assignment Optional for Core? NO
PDF File: http://www.writingmusicaltheatre.com/wp-content/uploads/admin/music_Unit8_Assignment1_Printout.pdf
DOC File:
Online version of assignment text:

Select one of the songs from your show:

• Format your engraving document with all of the elements:
- The title on the first page and all subsequent ones
- The number of the song cue
- Proper page numbers
- Character names in boxes
- Initials to the left of staves — if desired
- Engrave your music so that the pages keep turning to the right (without repeats)
- Include the cue to start the song (along with any necessary safties or vamps)
- Include any internal cues

• Mock up title pages for your show including the solo song above
- Include the title page with all the authors and copyright notice
- Include the title and cast list on the second page
- Include the title and the musical synopsis on the third page
- Include the title and vocal ranges for all the characters on the fourth pages

Submit your score and mock title pages.





Unit # 8 - Assignment # 2 - Formatting A Score – Ensemble Numbers
This assignment has 10 question(s) for 10 points each for a total of 100 possible point(s). The total points needed for a pass are: 70
Is this assignment Optional for Core? YES
PDF File: http://www.writingmusicaltheatre.com/wp-content/uploads/admin/music_Unit8_Assignment2_Printout.pdf
DOC File:
Online version of assignment text:

Select one of the songs from your show:

• Format your engraving document with all of the elements:
- The title on the first page and all subsequent ones
- The number of the song cue
- Proper page numbers
- Character names in boxes
- Initials to the left of staves — if desired
- Engrave your music so that the pages keep turning to the right (without repeats)
- Include the cue to start the song (along with any necessary safties or vamps)
- Include any internal cues
- Consider the clarity of who sings what throughout the ensemble
- Optimize the pages to exclude empty staves while still maintaining the clarity of who sings

• Mock up title pages for your show including the solo song above
- Include the title page with all the authors and copyright notice
- Include the title and cast list on the second page
- Include the title and the musical synopsis on the third page
- Include the title and vocal ranges for all the characters on the fourth pages

Submit your score and mock title pages.







Unit # 8 - Second Revision

               



Unit # 8 - Video # 1 - Second Revision/Definitions
VIDEO: LENGTH of Video: 13 minutes


Unit # 8 - Assignment # 1 - Second Revision
This assignment has 1 question(s) for 100 points each for a total of 100 possible point(s). The total points needed for a pass are: 80
Is this assignment Optional for Core? NO
PDF File: http://www.writingmusicaltheatre.com/wp-content/uploads/admin/Outline_Unit8_Assignment1_Printout.pdf
DOC File: http://www.writingmusicaltheatre.com/wp-content/uploads/admin/Outline_Unit8_Assignment1_Printout.doc
Online version of assignment text:

1. Revise your outline based on the notes from your dramaturge.

2.
Write a one liner, one-sentence synopsis, and logline for your idea.







Unit # 8 - Twist Songs

               


There are no Exercises for this Unit.

Unit # 8 - Video # 1 - Twist Songs
VIDEO: LENGTH of Video: 24 minutes


Unit # 8 - Assignment # 1 - Twist Songs
This assignment has 1 question(s) for 100 points each for a total of 100 possible point(s). The total points needed for a pass are: 80
Is this assignment Optional for Core? NO
PDF File: http://www.writingmusicaltheatre.com/wp-content/uploads/admin/lyric2_Unit8_Assignment1_Printout.pdf
DOC File: http://www.writingmusicaltheatre.com/wp-content/uploads/admin/lyric2_Unit8_Assignment1_Printout.doc
Online version of assignment text:

Write the complete lyrics to a twist song.







Unit # 8 - Song Spotting

               

Unit # 8 - Handout # 1 - Song Spotting – Handout
PDF File: http://www.writingmusicaltheatre.com/wp-content/uploads/admin/8.-Song-Spotting-Text.pdf
DOC File:


Unit # 8 - Exercise # 1 - Song Spotting – Exercise
PDF File: http://www.writingmusicaltheatre.com/wp-content/uploads/admin/8.-Song-Spotting-X.pdf
DOC File:


Unit # 8 - Video # 1 - Song Spotting – All
VIDEO: LENGTH of Video: 6:04


Unit # 8 - Assignment # 1 - Song Spotting – Assignment
This assignment has 1 question(s) for 100 points each for a total of 100 possible point(s). The total points needed for a pass are: 80
Is this assignment Optional for Core? NO
PDF File: http://www.writingmusicaltheatre.com/wp-content/uploads/admin/8.-Song-Spotting-Z.pdf
DOC File:
Online version of assignment text:

Please PRINT OUT the assignment to view the details.







Unit # 9 - The Verse

               


There are no Exercises for this Unit.

Unit # 9 - Video # 1 - The Verse
VIDEO: LENGTH of Video: 41 minutes


Unit # 9 - Assignment # 1 - Verse Assignment 1
This assignment has 1 question(s) for 100 points each for a total of 100 possible point(s). The total points needed for a pass are: 80
Is this assignment Optional for Core? YES
PDF File: http://www.writingmusicaltheatre.com/wp-content/uploads/admin/Lyricnew_Unit9_Assignment1_Printout.pdf
DOC File: http://www.writingmusicaltheatre.com/wp-content/uploads/admin/Lyricnew_Unit9_Assignment1_Printout.doc
Online version of assignment text:

Refer to the Handout labeled "Examples of Verse and Intro."

1. Identify which four of the examples are mislabeled “verse,” and actually should be called “intro.”

2. Identify for each example in the Handout whether it is an example of Physical, Narrative or Interpretive, and to which subset(s) of that category it belongs:

By the Light of the Silvery Moon

I’ve Got Rings on my Fingers

I Walk a Little Faster

Heaven Will Protect the Working Girl

Row, Row, Row

I Cain’t Say No

When You're Good To Mama

Mr. Cellophane

Looking Out the Window at the Rain

Oh Lady, Be Good

I May Be Wrong

A Cottage for Sale

Little Tin Box

Sunrise, Sunset





Unit # 9 - Assignment # 2 - Verse Assignment 2
This assignment has 1 question(s) for 100 points each for a total of 100 possible point(s). The total points needed for a pass are: 70
Is this assignment Optional for Core? YES
PDF File: http://www.writingmusicaltheatre.com/wp-content/uploads/admin/Lyricnew_Unit9_Assignment2_Printout.pdf
DOC File: http://www.writingmusicaltheatre.com/wp-content/uploads/admin/Lyricnew_Unit9_Assignment2_Printout.doc
Online version of assignment text:

Sketch a prose description of a new song which would demonstrate an obvious and blatant use of each of the following:

Physical/Physical location. Verse describes a particular place.

Physical/Time Change. The verse indicate passage of time, either forward or backward.

Narrative/Character. Verse makes it clear who is singing the refrain, or about whom the refrain is referring. Subsequent verses, therefore, might change characters.

Narrative/Narrator. An entirely different narrator sings a subsequent verse, allowing us to understand the meaning of the refrain differently.

Narrative/Declamatory. The verse consists of a narrator “I have to tell you something.” Often, the purpose of a verse is merely declamatory, an intro is used instead, and there are no subsequent verses.

Narrative/Storytelling. As the story progresses via a series of verses, the refrain in between the verses either gives us respite during which to contemplate the consequences of the story, or perhaps the refrain gains in irony or drama in context of the new circumstances described in the story.

Interpretive/Point of View. Subsequent verses might set up a different way of looking at things, casting a whole new light to the meaning of the refrain.

Interpretive/Double Entendre. Subsequent verses might lead us to interpret words with a sexual tone which is not apparent in the first instance of the refrain.

Interpretive/Opposite. Subsequent verses lead us to understand that the exact opposite meaning of the refrain is intended.

Interpretive/Mood. The verse shifts mood of the lyric.

This needn’t be very formal prose; even bullet points will suffice. The point of this assignment is to demonstrate an understanding of the several variations of verse, rather than “how to outline a song,” so please don’t feel the need to polish your actual text. Just make it clear what the content of each verse would be. In most instances, this will mean sketching out ideas for additional verses as well.

Don’t be subtle. Demonstrate a obvious and blatant use of the verse.

Optional: If you’re particularly inspired by one of your ideas, write the full lyrics for the song.







Unit # 9 - Integrating Script And Score

               

Unit # 9 - Handout # 1 - Composer’s Check List
PDF File: http://www.writingmusicaltheatre.com/wp-content/uploads/admin/music_Unit9_Handout1.pdf
DOC File:

Unit # 9 - Handout # 2 - Modeling Formatting
PDF File: http://www.writingmusicaltheatre.com/wp-content/uploads/admin/music_Unit9_Handout2.pdf
DOC File:


Unit # 9 - Exercise # 1 - Integrating Script & Score Exercises
PDF File: http://www.writingmusicaltheatre.com/wp-content/uploads/admin/music_Unit9_Exercise1.pdf
DOC File:


Unit # 9 - Video # 1 - Integrating Script And Score
VIDEO: LENGTH of Video: 22.3 minutes


Unit # 9 - Assignment # 1 - The Opening of Your Show
This assignment has 10 question(s) for 10 points each for a total of 100 possible point(s). The total points needed for a pass are: 70
Is this assignment Optional for Core? NO
PDF File: http://www.writingmusicaltheatre.com/wp-content/uploads/admin/music_Unit9_Assignment1_Printout.pdf
DOC File:
Online version of assignment text:

Consider your own integrated script and score:

Submit the opening of your show:

• Prepare the integrated script and score from the exercise in this unit;
• Once you have completed the integration and written running numbers on the bottom of each page;
• Submit a pdf of all of the pages up through the end of the second song in the show.







Unit # 9 - Third Revision

               



Unit # 9 - Video # 1 - Third Revision/Pitch
VIDEO: LENGTH of Video: 15 minutes


Unit # 9 - Assignment # 1 - Third Revision
This assignment has 1 question(s) for 100 points each for a total of 100 possible point(s). The total points needed for a pass are: 80
Is this assignment Optional for Core? NO
PDF File: http://www.writingmusicaltheatre.com/wp-content/uploads/admin/Outline_Unit9_Assignment1_Printout.pdf
DOC File: http://www.writingmusicaltheatre.com/wp-content/uploads/admin/Outline_Unit9_Assignment1_Printout.doc
Online version of assignment text:

1. Revise your outline based on the notes from your dramaturge.

2.
Write a premise and a pitch for the musical you have been outlining.







Unit # 9 - Philosophy of Metaphor

               

There are no Handouts for this Unit.


Unit # 9 - Video # 1 - Philosophy of Metaphor
VIDEO: LENGTH of Video: 22 minutes


There are no Assignments for this Unit.


Unit # 10 - Refrain Structure

               


There are no Exercises for this Unit.

Unit # 10 - Video # 1 - Refrain Structure – AABA
VIDEO: LENGTH of Video: 19 minutes


Unit # 10 - Assignment # 1 - Refrain Structure – AABA
This assignment has 1 question(s) for 100 points each for a total of 100 possible point(s). The total points needed for a pass are: 80
Is this assignment Optional for Core? NO
PDF File: http://www.writingmusicaltheatre.com/wp-content/uploads/admin/Lyricnew_Unit10_Assignment1_Printout.pdf
DOC File: http://www.writingmusicaltheatre.com/wp-content/uploads/admin/Lyricnew_Unit10_Assignment1_Printout.doc
Online version of assignment text:

AABA Refrain Assignment

1.
Write a AABA refrain in perfect meter (e.g., perfect trochaic trimeter).

2.
Scan.

3.
Identify the meter.

4.
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.







Unit # 10 - Final Revision

               

There are no Handouts for this Unit.


Unit # 10 - Video # 1 - Final Revision/Next Steps
VIDEO: LENGTH of Video: 11 minutes


Unit # 10 - Assignment # 1 - Final Revision
This assignment has 1 question(s) for 100 points each for a total of 100 possible point(s). The total points needed for a pass are: 80
Is this assignment Optional for Core? NO
PDF File: http://www.writingmusicaltheatre.com/wp-content/uploads/admin/Outline_Unit10_Assignment1_Printout.pdf
DOC File: http://www.writingmusicaltheatre.com/wp-content/uploads/admin/Outline_Unit10_Assignment1_Printout.doc
Online version of assignment text:

Revise your outline based on the notes from your dramaturge.







Unit # 10 - Simile

               


There are no Exercises for this Unit.

Unit # 10 - Video # 1 - Simile
VIDEO: LENGTH of Video: 11 minutes


Unit # 10 - Assignment # 1 - Creating Similes
This assignment has 36 question(s) for 3 points each for a total of 108 possible point(s). The total points needed for a pass are: 84
Is this assignment Optional for Core? NO
PDF File: