Khrystyna

‘'My favourite things’’

This song is a comedy pop song in Em key for children, which Mother Abbess song from her childhood - and Maria are
singing in the duet, so it’s a homophonic writing but there are a lot of solo passages. This is like a waltz, as time
signature is ¾ and ‘Con moto’ term, what means with motion.

Intro?

Verse 1 is in binary form and has 2 sections of 8 bars in ballad form.

•melody uses note 1,2,4 in E minor - Section A, Maria starts to sing her solo from ‘x’ phrase by 4 bars with piano no
piano, strings and harp accompaniment’s Em chord, which fits words “rain drops” with rise perfect 5th, as ‘T’ motif(hope
and happy mood). Using of perfect 4ths to word painting. Second phrase has same melody but with C major harmony C
major 7, again perfect 5th on the “bright copper” to convey mood. Good, but you need more examples of 4ths, 5ths,
appoggiaturas on words to show the mood and things she likes.

• Section B is in G major and starts with ‘y’ phrase, flute and clarinets are added to accompaniment and double melody
in 8ves, rest of instruments play a chordal accompaniment by harmonic O5ths what are the chords? Perfect 5ths to
convey mood as well, falling 3rd to make a mood of childhood. Leaps/intervals and appoggiaturas on which words? what
are the chords on specific words? ‘y’ phrase ends in the perfect cadence in C major. Second phrase starts with ‘z’-4 bar
phase. Flutes and clarinets still double melody in 8ves. Rising melody to help word setting “these are a few of my
favourite” and tritone for emphasis on “things”, as an end of phrase in the imperfect cadence in E minor my favourite
sings = scale, rising, = joy, auxiliary note, falling tritone, imp cadence (F#1/2dim7 – B79).

Good, but a lot of details missing.

Verse 3 also has 2 sections of 8 bars.

•Section A starts in E major happy joy - and with ‘x’ phrase, clarinets are an accompanist, bassoon acciaccaturas and
pedal? and cello play a dominant pedal long-held note waltz? Joy? Falling perfect 4th on “white dresses” for emphasis
and rising p4th on “blue satin” with 9th appoggiatura for emphasis in the end of first phrase. More of this, and chords
with words.

Second phrase is ‘x’ as well but in A major things they love - with a dominant pedal note. Falling melody on “stay on my
nose” for word painting, and end of phrase is with 13th appoggiatura. More intervals, chords etc on words to show the
mood and meaning.

•Section B starts with ‘y’ phrase in G major key. Flutes and trumpets double in 8ves above melody. There is a harmonic
O5ths (Am, D, Bm, C). Rising and falling p5ths is word painting. End of first phrase is in perfect cadence in C major. ʼzl’
phrase is in G major as well, starts with rising contour in melody with harmonic O5ths (G, C, F#, B) and rising chromatic
for emphasis of words. relate to words, mood and w.p.

E minor again – showing the sad things before mentioning favourite things - Chorus 1 is in a binary form with ‘poco
marcato’ feature (a little emphasising of the theme) has a 2 sections.
•Section A starts in E minor key with tutti staccato chordal accompaniment who? Fits the mood - and monotone solo
melody, falling p5th and an accent on “bites” is a word setting accents and E minor chord. There is a fall tritone on “bee
stings” and imperfect cadence for word painting – with F#1/2dim7 to B79 imp cad, accents too = w.p.

“Feeling sad” has a fall minor 6th and long-held note to make a sad mood and for emphasis, and flutes and clarinets play
a waltz motif again. Chords on words?

•Section B starts with anacrusis and in C major key. Clarinets and strings are doubling a 3rds without waltz
accompanying. Horns play a dominant pedal note. A7 13/C# makes a mood of love on “favourite” and root on “things”.
The long-held, high pitch, note on “feel” for emphasis, chromatic rise accompaniment by viola with imperfect cadence.
Falling major 3rd, as it’s a children song, perfect cadence in G, held emphasis. Mention lyrics, say what they mean/mood
then include this analysis against the words. Just a bit more detail and organisation of the analysis.

‘’Youʼll never walk alone’’

This song is about Julie, who is experiencing the death of her lover Billy husband, shot in a robbery, and she is pregnant.
Her cousin Nettie tries to support her by remembering their song from school, but Julia has trouble singing so Nettie
sings the song for her. So, this song is about sadness, support, hope, love, resilience and determination, and solidarity.

The introduction begins in C major key and Moderato tempo with the harp rising arpeggios = hope accompanied by the
piano no piano, it’s a piano rehearsal score - with an ascending arpeggio that creates a mood of hope and immediately
after it Julia begins to sing,

then the A section begins and then the violins make a double melody with harp. Julie’s first phrase has 4 bars, she starts
at monotone- ‘x’ phrase, to put emphasis on the words ‘when you walk’, 3rd on through? then there is a ‘T’ motif (falling
notes 2 crotchets and minim) to make a sad mood on the ‘storm’. After it immediately there is a ‘TI’ motif (rising notes
to make a hope mood) on the ‘keep your chin falling 4th hope up high’ with imperfect cadence and first phrase is
finished. Dissonant pedals (tonic and dom pedal points).

The second phrase starts with anacrusis and minor 3rd - minor 3rd on which word? ‘y’ phrase and has only 2 bars, again
there is a ‘T’ motif on the ‘be afraid’ and Julie breaks off sobbing and there is a slight break. Then the A section is
continuing, and phrases is repeating but already Nettie sings it with accompanying by cello, viola, and English Horn,
which doubles melody showing support. But Nettie is finishing a melody, which Julie broke off, on the long-held note for
emphasis and end is in the imperfect cadence. 9ths? Chords om words? inner chromatic line = w.p?

Section B moves to D minor or F major key due to the mood – not settling in eith, this section is about support, love,
hope - and starts with anacrusis-’z’ phrase. Nettie continues to sing. Then there is a monotone on the ‘of the storm’ to
make emphasis and 3rd bar of the B section is in the interrupted cadence. ‘w’ phrase starts with 3 rising crochets and
melody becomes higher in pitch with ‘T I’ motif conveys all mood for ‘sweet’. T inverted used in sequence – shows the
moods. Golden sky = baby? Love?

Discuss the chords, leaps, motif T inverted on the actual words a bit more.
Phrase ‘And the sweet silver song of a lark’ has A and E chords to convey love the baby. T inverted here too? End of
section S is on the long-held note and in the imperfect cadence in A minor, which helps return to tonic C major, as A
minor is relative minor to C.

Starts F major to lower tensions - Section C, C major returns, starts with ‘p’ phrase and ‘T I’ motif T inverted used in
sequence 3 times. The phrase starts with hopeful perfect 4th - with long-held note on the ‘wind.’ ‘q’ phrase has also 2
rising crochets with minim, mention leaps on words, chords on words, T inverted on words. Wind has dim7 chord, rain
(tears) has 1/2dim7.

then high pitch conveys a sense of ‘dreams’ and it is falling by minims by major 3rd, perfect 4th, minor 3rd and perfect 4th.
End is section C is with long-held note on the ‘blown’ for emphasis and in the imperfect cadence, chords on tossed and
blown?

Section D starts with ‘a’ phrase at monotone to give music sense of determination lyrics? and woodwind instruments
playing above vocal in octave. Chords? ‘T I’ motif on the ‘in your heart.’ And on heart tritone in bass to show heart
break and D7 chord (imp cad in G major) - ‘b’ phrase starts with 2 crochets anacrusis and then there is a monotone for
emphasis and F#½7 chord in the orchestra to make sadness, long-held note on the ‘alone’ in the end of section. Alone
has an E minor chord = w.p

Dynamics? Accents? Chords? cadences? = all help the moods.

Coda has 4 bars and ‘m’ phrase, end is in falling Am7 arpeggio shows love resilience and sadness in one - and ends in the
perfect cadence and on dominant, which suggests support, whether from family, friends. Accompaniment at the end is
chordal to show solidarity and togetherness in times of pain.

Good, but a lot of fine details missing. Refer to the question in your answer and the moods/emotions a bit more.

Read the two essays below. I will send more to students when I have marked more.

18/30 C

Laura G

‘Musical theatre is a journey of emotions for the audience’. Using two published works by the same composer,
comment on how the contrasting emotional effects are achieved. Refer to how the drama is portrayed through the
musical elements and word painting.

I am going to analyse You’ll Never Walk Alone and The Sound of Music by Rodgers.

I am going to first focus on You’ll Never Walk Alone from the musical Carousel by Rodgers. This is sung by Nettie, Julie’s
cousin in Act 2 of the musical. After Billy’s death, Nettie is trying to comfort Julie by reminding her of a song they knew
from school. Julie is too distressed to sing the song, so Nettie takes over and sings it for her. The emotional mapping of
the song starts with sadness, then to support, hope, love, solidarity and then fighting on good, sadness, coming through
troubles, poignant, resilience, support, determination, solidarity….. these are the emotions, drama, and moods.

This is all represented through the musical elements and word painting that Rodgers has chosen. There is also some joy
as Julie is pregnant. The song is also reprised in the Finale when Julie’s daughter graduates as a chorus of singers.

The structure of this song is through composed- there is new music for each line of text. It begins with an introduction
then an A, B, C and D section with are all 8 bars that are split into 4 and 4. There is a coda that is 4 bars long.

Harp intro rising arps = hope - The song starts in C Major which is a bright key contrasting with the lyrics at the
beginning. The A section is where Nettie takes over from Julie as she is too upset to carry on singing and breaks off. The
melody is being doubled by an English horn instead of violins from before- the doubling of the instruments creates an
idea of support for Julie. The harp has constant rising arpeggios suggesting hope to the audience. Also uses an inner
dominant pedal point also tonic? - that creates dissonance which could suggest pushing through the storm. This use of
accompaniment throughout this section helps the words as it is constantly going upwards to show fighting on and hope.

“When you walk through a storm, keep your chin up high”. Some monotone? This begins with an anacrusis onto ‘walk
through’ which is a major 3rd rise which shows hope and strength to the audience. Also uses monotone notes to
emphasise the words as they are an important message to Julie- the rising arpeggio accompaniment also helps to show
this. There is then the first use of the ‘T’ motif on ‘through a storm’ which is a falling melody to show sadness. There is a
major 3rd rise between ‘storm keep’ which again is giving to support to Julie but could also resemble children’s songs as
this song is from their time at school. There is a 4th interval between ‘chin up’ which has a yearning quality to it and
shows hope and resilience to the audience. The range at the beginning is also only a 5th- this also shows it is a simple
tune taught to them at school and is a song for support. ‘Chin up high’ lands on an imperfect cadence as there is an
uncertainty. The tonic and dominant pedal accompaniment creates a dissonance which shows the troubles that Julie is
feeling. This is the start of the journey of emotions for the audience and by starting with a simple tune made up of a 5 th,
they can empathise lots with the character and the words being sung. Good, any chords with 9th? Possibly next phrase.

“And don’t be afraid of the dark”. Begins with a minor 3rd rise on ‘And don’t’ which switches to minor from the major in
the phrase before. There is a semi-tone fall on ‘afraid’ which shows Julie’s fear and how she’s scared. The ‘T’ motif is
back on ‘be afraid’ and the falling contour shows Julie’s fear again. The word ‘dark’ is held on for emphasis on the 5th of
the chord G Major at a low pitch. There are many features used that show darkness- a chromatic inner line, falling
melody and it lands on an imperfect cadential 6/4. These all convey to the audience Julie’s sadness and carries them
along the journey of the songs emotional journey. Good, any chords with dissonances?

Section B is an 8 bar phrases split into 4 and 4. It moves to D Minor or F Major without conclusively setting in either and
this ambiguous and unstable tonality portrays Julie’s sadness. The harmony also alternates major and minor chords to
show this instability.

“At the end of the storm is a golden sky”. The ‘T’ motif is used inverted on ‘at the end’- it is now rising to suggests there
is hope at the end of the storm and they are making their way through that. It is still very sad though so mainly minor
and diminished chords are used on ‘at the end of’- G minor to E1/2dim7 to D Minor. The word ‘storm’ lands on a Bb
Major chord because it is the end of the storm, so a major chord is used. There is also some chromatic movement to
show the storm in the accompaniment. There is a switch to using major 3rd intervals on ‘a golden sky’ to show Julie’s
variety of emotions. There is an F Major chord on the word ‘golden’. F Major is the sub-dominant of C Major and has a
calmness to it. This therefore portrays the brightness of a ‘golden sky’ and how it is tranquil and peaceful. Baby the
golden sky?
Sequence up a 4th from previous to show hope and resilience? “And the sweet, silver song of a lark”. From this point, the
melody starts to become higher in pitch which shows more hope. This phrase can be connected to Julie’s baby as it
portrays love. ‘And the sweet’ uses the ‘T’ motif inverted so rising to show hope. This phrase also uses lots of open
intervals that portray yearning- perfect 4th between ‘silver song’, perfect 5th between ‘of a’ and a falling minor 6th at ‘of a
lark’. 6th intervals are also associated with love songs so this helps the words to show love. ‘Lark’ is held on for emphasis
on an E Major chord- this chord is associated with love. There is also an imperfect cadence in A Minor which helps to
return to the tonic of C Major. E chord = love of baby?

Section C is another 8-bar phrase. This increases in dynamics here up to mf and C Major returns. Uses a C7 chord onto
an F Major chord- the subdominant which lowers the tension and has a calmness to it. Good

“Walk on through the wind, walk on through the rain”. There is a perfect 4th interval rise on ‘walk on’ to portray
resilience and strength. The ‘T’ motif is used inverted on ‘through the wind’ and ‘through the rain’ repeated few times in
rising sequence - to suggest carrying on through the tough times and troubles. The rising accompaniment is still going on
here which helps with the words as it is mainly rising in pitch now to show hope and resilience. The word ‘wind’ lands on
a Bdim7 chord to represent the troubles that wind represents. ‘Rain’ also lands on a D1/2dim7 chord to represent the
sadness. This phrase is another emotional development that the audience are taken on as it represents having hope and
resilience through the support of characters.

“Though your dreams may be tossed and blown”. ‘Though your dreams’ used ‘T’ inverted and ‘dreams’ is on the highest
pitch so far in the song to represent dreams as they are usually very bright and optimistic. There is a descending contour
on ‘dreams be tossed and blown’ using different intervals to fall- Major 3rd, perfect 4th, minor 3rd. The perfect 4th rise
between ‘and blown’ represents strength and resilience and carrying on. There are also accents in the accompaniment
which emphasise every word and show strength. There is no feeling of cadence or harmonic rest on ‘blown’ and it is
held for emphasis to suggest carrying on. It eventually lands on a B1/2dim7 chord which is like an imperfect cadence.
Good

Section D is where the pitch and dynamics increase again leading up to the climax.

“Walk on, walk on with hope in your heart”. The woodwind is now doubling the melody an octave higher than the voice.
This emphasises the support for Julie from Nettie to the audience. ‘Walk on walk on with’ is all monotone- it emphasises
the words but shows determination. There are lots of things that portray determination here such as- the C augmented
chord on ‘on with’, the crescendo, tenuto lines in the accompaniment and chromaticism in the bass. The rising arpeggio
accompaniment also portrays determination. The word ‘hope’ lands on chord IV which releases the tension. Imperfect
cadence on ‘your heart’ uses a tritone which suggest the ‘heart’ is broken. D7 chord on heart = imp cad in G = still some
pain?

“And you’ll never walk alone”. Uses monotone pitch which emphasises the words of support to Julie. There are lots of
dissonant chords used in sequence here- C Augmented on ‘never’ and F#1/2dim7 on ‘alone’ portray Julie’s sadness still.
There is also a tritone in the accompaniment on ‘walk alone’ to suggest the loneliness and sadness. The melody is based
on a mediant pedal which adds emphasis to the words. It also increases to a forte dynamic here- the loudest so far as
we are reaching the climax of the song. ‘Alone’ is held for emphasis and lands on an E Minor chord which is the
mediant- there is no feeling of rest or cadence to suggest support is ongoing. Horns also get added on ‘alone’- this
increase in texture shows more support for Julie.

The Coda is 4 bars, and it is up to fortissimo as it is the climax of the song.

“You’ll never walk alone!”. There are no longer arpeggios in the accompaniment, just block chords. These give an
impression of surety now. All throughout rising arpeggios have been used to show determination and hope and now
there is definite hope and support for Julie. ‘You’ll never’ is emphasised by the perfect 4th onto the highest pitch of the
song. ‘Never walk alone’ descends via an Am7 arpeggio (love, melancholy, determination?) - anything to do with A
minor suggests love and support for Julie. ‘Alone’ lands on the dominant of C Major not the tonic- this lack of resolution
suggests support will be ongoing whether from family, friends, departed loved ones or God. There is also a perfect
cadence onto ‘Alone’ which is the only one in the song.

Probably the best student analysis/essay of this song so far!

Overall, Rodgers uses various musical elements and word painting to take audience on a journey of emotions through
this song. It increases in pitch, dynamics and intensity throughout to create an emotional journey of how Julie is feeling.
Rodgers encapsulates the feelings of being hopeful and resilient and having support through various things such as
rising arpeggios and textures to show support.

The second song I am going to focus on is ‘The Sound of Music’, the titular song in the musical. The song is the second
song in the show and is sung by Maria after she has been out in the hills in Austria all day long and doesn’t want to
leave. It is an informational song about Maria not wanting to go back to the Abbey as she is studying to be a nun. It is a
solo song.

Regarding the structure of the song- it has an orchestral introduction for 8 bars. There is a vocal prelude which is section
1 in Binary Form which is 18 bars split into 12 and 6 bars. Then section 2 is in Ternary form ABA1- called the refrain. I am
going to focus on all of section 1 and the AB parts of section 2.

The song starts in D Major and begins with a rising arpeggiated, chordal accompaniment in the strings to set the scene
for the audience and represent the size of the hills. This chordal accompaniment has an inverted pedal and trills which
could represent bird calls in the hills. There is then descending arpeggios in harp and strings and sustained notes with
Tremolo in the violins which represents a stream or a brook. This whole introduction is used to set the scene for the
audience.

The A section of section 1 is an introductory section which uses syllabic word setting and a very narrow vocal range and
conjunct melody as it is an informational song and is supposed to sound conversational- the audience are being
introduced to the character of Maria.

“My day in the hills has come to an end, I know”. This is a mostly conjunct vocal melody to have a conversational effect
to it. To show the loneliness she is feeling, there is a thin texture in the accompaniment- clarinets are doubling the
melody in 3rds. It is also on the tonic chord of D Major to suggest the loneliness and has a falling contour. “To an end”
rises up and lands on an E Minor chord- suggests she is unhappy about having to leave the hills. It also sounds
conversational on “I Know” as it falls and sounds like a sigh. It also lands on an imperfect cadence as she doesn’t want to
leave and there is a rest between “end” and “I know” to fragment the melody and show how she doesn’t want to leave.

“A star has come out to tell me it’s time to go”. The star in this case could represent herself suggesting a lonely star, out
alone yearning to find herself. The lower auxiliary note on “come” emphasises the idea of a lonely star. There is also
sparse texture, and it is on the tonic chord to suggest idea of lonely star again. There is a major 2nd rise on “come out” as
it is appearing, so the melody rises. There is a modulation up a semi-tone to Eb Major on “it’s time to go” which brings
tension to the song. Eb Major is also a key associated with things people love- Maria loves the hills. It is also the
Neapolitans 6th key. Further tension is created with the false relation of Eb and E natural across this phrase. This phrase
also ends with a perfect cadence as she is finishing her time in the hills for the day. “Time to go” falls by step as she
doesn’t want to leave so is sad about it.

“But deep in the dark green shadows are voices that urge me to stay”. There is a modulation back to D Major. Going
onto “deep” there is a tritone interval to suggest she is lonely and sad about going back to the Abbey. There is an
increase in texture at this phrase with woodwind, harps and strings joining the chordal accompaniment. There is also an
octave with dominant and inverted pedal ostinato in the accompaniment- the rocking octaves represents the waterfall
or a stream/brook on a mountain- this really sets the scene for the audience on what she loves and how tranquil it is. On
“But deep” there is a semi-tone rise which creates intrigue for the audience. There is a monotone vocal line on “But
deep in the dark green shadows” which proclaims what she is saying. The A7/G chord creates tension with the lyrics
about being in darkness. Dissonant chord with 7th in the bass- creates tension and represents the dark. The melody also
falls a 3rd at “green shadows” which creates a sense of darkness and unknowing. The chords on “voices that urge me to
stay” are very dissonant creating a sense of darkness- A7d/G- A713d/G. Perfect cadence onto “stay” which ends of the A
part. Fab

The B part of section 1 carries on the emphasis on her time in the hills and the informational section of her time there.

“So, I pause, and I wait, and I listen for one more sound”. These words are proclaimed through the monotone melody on
“I pause, and I wait”. There is also a B1/2dim7 chord on these words for emphasis. “And I listen” falls for emphasis.
There is a semi-tone rise on “for one more sound” as she is yearning and desiring to listen to the sounds of nature for
longer. It is like an addiction for Maria, and she is obsessed with the hills. This is also emphasised through the Am7
chord on “I listen” as she loves it and yearns for her favourite thing. There is an imperfect cadence to finish the phrase
as she is yearning for more sounds.

“For one more lovely thing that the hills might say”. “One more lovely thing” is accentuated by monotone writing. She
desires for one more sound, so it rises a semi-tone. There is also harmonic yearning with the B1/2dim7/F chord onto
Am7/E. “Hills” rises up a major 2nd symbolically. “Say” lands on an imperfect cadence to end section 1.

This first section takes the audience through what Maria loves and where she loves to go. It introduces her character for
the musical and the use of tension through music adds a sense of yearning for the audience to want to know more
about her life.

Section 2 is the refrain part and is in ternary form- ABA1. Each part is 16 bars split into 4×4 phrases. It has the musical
term ‘con espressione’ to emphasise Maria’s love for the hills. I am only going to focus on the AB sections.

“The hills are alive with the sound of music”. This now follows an antecedent, consequent phrase structure and this is
the antecedent phrase. It has a very scalic and conjunct vocal melody. We are now introduced to a recurring motif- the
‘a’ motif for ‘the hills are alive’- the falling gives an impression of a hill and is also slightly melancholy as she adores the
hills. “Hills” is on a 13th appoggiatura to emphasise the size and her love for them. The harp and flute antiphonally
imitate the vocal line to suggest she is one with nature. There is a tonic and dominant arpeggiated ostinato in the bass
which represents the shape of the hills in how it is written and how it sounds. Accompaniment has a series of sustained
notes with parallel 5ths which relate to folk music and open intervals to represent hills and open space. “With the sound
of music” is expressed through dissonant appoggiaturas- 9th on “with”, 7th on “sound” and 13th on “of”. “Music” is held
on for emphasis as it is what she loves. There is also a A#5#7911 chord on “music” as it is what she loves.

“With songs they have sung for a thousand years”. ‘a’ motif is used but a 5 th down from the phrase before. Has rising
contour as her love and the songs are everlasting. “Years” is held on for emphasis and horns are added. There is also a
syncopated rhythm in accompaniment to suggest the folk-like atmosphere and the different sounds of the mountains.
Horn fanfare figure? Imp cad? More on harmonies here.

“The hills fill my heart with the sound of music”. This is the consequent phrase. It is basically the same as “the hills are
alive with the sound of music” just with different words. so any particular w.p that needs a mention?

“My heart wants to sing every song it hears”. This has rising contour to have a heaven-like sound to it. Accompaniment
has now changed to block chords. There is a minor 7 th interval between “every song” which expresses a yearning quality
that Maria feels. “Song” lands on a V13 chord with a 13th appoggiatura in the bass- it adds a magical feel to the music.
“Song it” has a semi-tone rise because she wants to hear the music and have it carry on forever. On “hears” the flute
and harp have the ‘a’ motif through antiphony and the horns are added here to build the texture as she feels less lonely
being where she loves. Perfect cadence on “hears” to end the A section.

Section B continues to go more into depth of her love for the hills. The accompaniment moves to an oompah striding
rhythm to emphasise Maria’s joy and love for the hills.

“My heart wants to beat like the wings of a bird that rise from the lake to the trees”. “Heart” lands on the tonic so have
a calm quality to it. It falls chromatically on “my heart wants to beat” which has a colourful and magical quality to it as
she loves the sound of music- also could sound like a bird. There is a chromatic rise on “wings of a bird that” which
represents a bird flying up. The variation in rising and falling contour follows a bird's movement. The music also follows
the words on “that rise” with a major 3rd interval. The melody on “to the trees” rises up to represent the bird flying up
to the trees. There is a perfect cadence on “trees”. Chords with words?

“My heart wants to sigh like the chime that flies from a church on a breeze”. To represent the “sigh” in the words there
is a C#dim7 chord- Rodgers uses a diminished chord to show Maria’s frustration and annoyance at having to leave the
hills. The “chime” she is singing about represents the bell in a church as she is training to be a nun. It is on a major chord
to represent a ring for joy and a joyous sound. “That flies” is on a perfect 5th leap which has a yearning quality to it.
Modulation to A Major on “church”- anything using the key of A represents what she loves. There is a dominant pedal of
A Major on “church on a breeze” which is monotone and emphasises the words. There is a tritone interval on the held
notes in the accompaniment- the chromatic harmony creates a magical feel to it. There is a perfect cadence on “breeze”
to end the phrase. Good, but on a breeze E7b5-A perfect cad etc..

“To laugh like a brook when it trips and falls over stones on its way”. Modulates back to the tonic, D Major. This phrase
is basically the same as “My heart wants to beat like the wings of a bird that rise from the lake to the trees” but the
flute, harp and cor anglaise has falling arpeggios to represent what she is singing about. The antiphonal arpeggios help
the mood with intervals of 4ths and 5ths to represent “trips and falls over stones”. Rising on – on its way. Maybe
analyse the w.p, otherwise it look like you are dismissing the harmonies/w.p here.

“To sing through the night like a lark who is learning to pray”. In this phrase, Maria is the lark praying to return to the
hills- she yearns to be back where she loves. There is a modulation to F# Minor on “sing” which represents the night as it
is dark so modulates to a minor key and she sad to not be there? There is then a modulation to A Major at “like a lark”
which represents her love for the lark and yearning to go back to the hills. The keys are modulating in a circle of 3rds: D
Major- F# minor- A Major. There is a major 3rd rise on “through the” emphasises going through something. “The night”
also falls a perfect 4th to emphasise the words. There is a plagal cadence landing on “night”- chord B Minor to F# Minor
which is a connection to church and being a nun as plagal cadences are used in hymns. There is then a perfect cadence
landing on “pray”. Her spiritual connections with the hills?

Part A from before is repeated again using different words.

Overall, there is a contrast in how the emotional effects are achieved in each song. You’ll never walk alone takes the
audience on an emotional map of different emotions. The song starts with sadness, then to support, hope, love,
solidarity and then fighting on. These all represent the support Julie is getting from her cousin. Rodgers uses similar
musical devices in both songs- using the accompaniment to emphasise the words being sung and to create a variety of
textures throughout. You’ll never walk alone is a big moment in the musical, so Rodgers increases pitch, dynamics and
intensity throughout and although the song is of support, it is very melancholy compared to “The Sound of Music”. In
“The Sound of Music”, there is a hint of sadness and loneliness but ultimately, Maria is yearning for the hills, and it is an
informational song about her love of nature and music. Overall, Rodgers writing is highly effective at taking the audience
on a journey of emotions in both songs, through the use of musical elements highlighted and word painting used.
Brilliant analysis, only a few bits you skated over, in the exam probably best going to a new phrase to show that variety
of analysis and to answer the question with a variety of sections.

29.9999/30 A*

Sam B
‘Musical theatre is a journey of emotions for the audience’
Rodgers demonstrates this idea well in the song ‘You’ll never walk alone’ from the musical ‘Carousel’. The song is
preceded by a scene in which Julie’s husband, Billy, has been shot dead during robbery, and largely sung as a solo by
Nettie, her cousin, as a song the pair knew from school. Rousingly through-composed, the song begins with a section
sung by Julie, which is cut off in crying, then is picked up by Nettie, who restates the section before moving to three
others, then a coda. Phrases are mostly comprised of 4-bar sections. Julie pregnant.

Song about – sadness, coming through troubles, poignant, resilience, support, determination, solidarity….. these are the
emotions, drama, and moods.

Intro – AABCD coda – all 8 apart from coda, each 2x4 bar phrases.

Intro? Sets the tone. Tempo? Key?

‘When you walk through a storm,

Keep your chin up high’
Added cor anglais, cello viola (to harp and violins) Nettie here commences the (second) A section, with a monotonous
tonic note on the first three words, emphasizing her support for Julie. The piano dynamic and lulling harp arpeggio rising
= hope - ostinato also contribute to the comforting feel. A stable and calming atmosphere is established in the 4/4
metre and moderate tempo, as well as the overall low pitch of this melody; the major 3rd leap between ‘walk’ and
‘through’ is word painting for progress made, and yet the fall back down on ‘through a storm’ is indicative of the
struggle Nettie depicts (in a motif we shall call ‘t’ – three stepwise falling crotchets two crotchets and minim). ‘Keep
your chin’ rises triumphantly once more, but is combatted by the sadness of the fall to ‘up high’, allowing the audience
to feel the characters’ perfect 4th shows hope and resilience - nuanced emotions. The English horn doubles the melody
throughout this section, bringing a sense of hope and support also wrought by the alternation between the tonic and
dominant chords of the optimistic C major tonality; the harp’s dominant and tonic? Adds some dissonance inner pedal
also achieves this. Any specific chords, cadences, dissonances on words?

‘And don’t be afraid of the dark’

The anacrusis on ‘And’ picks us up into another 4-bar phrase with a note of optimism, although the falling contour of ‘be
afraid’ (another use of the ‘t’ motif) and a fall onto ‘dark’, along with the final word’s sustained low pitch, bring a
somewhat ominous quality. Similarly, the imperfect cadence which ends the phrase leaves the audience wondering
whether everything will be alright for these characters; the move on the harp inner pedal to the tonic indicates a
growing strength and support. Chromatic inner line = w.p. dissonances – 9th? Minor 3rds?

‘At the end of the storm is a golden sky’ – hope, support, resilience, the baby, family etc…
The 4-bar phrase here begins with harmonic excitement – a flattened 3rd makes a G minor chord, then E ½dim7 for the
semitone lean from ‘the’ to ‘end’, heightening the emotional jeopardy. The monotone for ‘of the storm’, emphasizing
newfound calm, is matched by a tonal move to either D minor or F major, with a Bb major chord signalling the ‘end’ of
said storm, followed by F major on ‘golden’. An ascending chromatic inner line (as well as the ascending arpeggios
throughout) reinforce a sense of hope – as do the major 3rd now major, not minor as earlier - leaps between the
syllables of ‘a golden’. An interrupted cadence finishes the phrase with a slightly turbulent feel, enhancing the
audience’s emotional journey. T inverted?

‘And the sweet silver song of a lark’ this phrase up 4th? And has T inverted? = Sequence – hope etc…
A higher phrase here – beginning a 4th up from the previous – reassures the character of Julie (and vicariously the
audience), as well as the continued homophony between vocal line and orchestra, and the inverted ‘t’ motif
representing the sweetness in ‘and the sweet’. Perfect 4ths and 5ths appear between ‘silver’ and ‘song’, and ‘of’ and ‘a’,
respectively, reinforcing the sense of strength and hope; further emotion is brought in the minor 6th fall to ‘lark’, and the
accompanying E major chord, love? Baby? Imp cad in Am - both of which have a yearning, and loving quality. The
rallentando preceding ‘lark’ builds anticipation, while the C7 establishes a brief modulation to F major, releasing said
tension in doing so.

Maybe a bit more on chords on some words?

‘Walk on through the wind through troubles

Walk on through the rain’ through tears

The return of the key of C major at the start of this 4-bar phrase, paired with the mf dynamic, portray the support which
Nettie is providing through this song, as the melody continues to explore higher pitches. For both ‘wind’ and ‘rain’,
which represent the struggles which Julie may face, diminished chords not detailed enough, which ones? are utilised,
demonstrating future pain in their dissonance, but the former is resolved by a tonic chord representing the resilience of
the word ‘on’; the two ‘through the ___’ phrases use the hopeful t inverted motif. The perfect 4th of the initial ‘walk on’,
and the rising sequence, show the pair’s building hope. T inverted 3 times in sequence? Which words is the T inverted
against? Also chords on wind and rain to show word painting – Bdim7 and D1/2dim7? Cadence?

‘Tho’ your dreams be tossed and blown’

A crescendo begins this phrase, leading the audience into the climactic E of ‘dreams’, highest point so far =
heaven/dreams - and accented falling arpeggiated minims, which seem to reflect a loss of hope, before a dramatic
perfect 4th leap to ‘blown’, restoring the hope. This word is held for emphasis over the continuous harp arpeggio, which
is audibly imitative of the persistent wind; and E minor chord for ‘tossed’ enforces the potential sadness of forsaken
dreams. Cadence? Descending contour? Discuss further details.

‘Walk on, walk on, with hope in your heart’

‘On, walk on, with hope’ is a monotonous phrase, brought strength by it being an inverted tonic pedal, provides a sense
of determination, and solidarity, using a crescendo to further emphasize this. The woodwind section shows similar
solidarity in their doubling the melody an octave above, following the hopeful tI motif of ‘in your heart’; the tonic chord
becomes augmented at ‘on, with’, perhaps showing the needed ability continue to ‘walk’ through any struggle.
Cadence? Heart has tritone in bass = broken. D7 chord om heart (imp cad in G dom)

‘And you’ll never walk alone, support

You’ll never walk alone!’ solidarity and togetherness.
A ‘sempre cresc’ from forte establishes the strength of this closing section (a 4-bar coda beginning at the latter ‘you’ll
never’), which starts by repeating the inverted t motif on which words? the melody rising toward the climactic
monotone of ‘never walk alone’, whose final syllable is sustained for dramatic effect. Accented minims accompany, and
the horns join, creating a somewhat triumphant atmosphere despite the bleak circumstances (hinted at by the E minor
chord ending ‘alone’ w.p). A rising inner line, with a III inner pedal, sustains the building, supportive feel, ending on a
tritone – matched by a ½dim7 chord on which words? – which reminds the audience of the overwhelming grief Julie
must feel at such ‘alone’-ness; the coda is fortissimo, with a fully chordal texture, and the melody rising to its highest
point at ‘never’. Resolving the lack of cadence and rest, we have our first perfect cadence as the piece ends, although
the melody ending on the dominant suggests to the audience that support will solidarity (or must) be ongoing. All lines
crescendo towards a closing fermata – after such emotional turbulence, the audience is reassured that these characters
may make it ‘through the storm’. Falling Am7 arpeggio at end for contour of melody = sadness, love, support all in one.

‘My Favourite Things’ from ‘The Sound of Music’ is also a keen example of this idea. The story follows an ex-nun not yet,
Maria, who is employed as governess to seven children by an initially hard-hearted father. This song is a duet (with
many solo passages) between Maria, and a nun, Mother Abbess, who recall this song from childhood. The modified
strophic form contains six verses and three choruses, mostly sung individually by one of the two characters, and is
comprised largely of 4-bar phrases. How long a verse and chorus (structure AB?)

Song mood and emotions? – comedy song, with reference to when sad and how to change those emotions.

Intro?

Verse 1 - ‘Raindrops on roses and whiskers on kittens,

Bright copper kettles and warm woollen mittens’
This song’s ¾ waltz metre and fairly quick tempo establish a light-hearted mood, while the E minor tonality is indicative
of a low mood, which this song aims to combat. A perfect 5th leap from ‘rain’ to ‘drops’ is accompanied by a staccato
tonic chord, lending a jaunty feel, added to by the lilting appoggiatura on ‘roses’ (and ‘kittens’). The melody is child-like,
reliant on only the 1st, 2nd and 5th pitches of the scale; the falling and rising perfect 4th in ‘and whiskers’ have an
optimistic quality despite the minor harmony. The sparse string and woodwind accompaniment leads us to the next 4-
bar phrase (‘Bright…’) which is melodically identical to the previous, but moves to the 6th of the scale both tonally and
harmonically, implementing a C maj7 chord on ‘bright’, creating a suddenly ‘brighter’ atmosphere. Any 5ths, 4ths,
appoggiaturas on particular words in 2nd phrase – give the examples?

‘Brown paper packages tied up with strings,

These are a few of my favourite things.’
Flutes and clarinets double the melody in octaves, while a harmonic circle of 5ths ensues chords on words and leaps
etc.. , building excitedly. More appoggiaturas – on ‘PAper’, ‘PACKages’, and ‘up’ – contribute to this excited tone, as
does the piano dynamic. We modulate through G major and back to C at ‘strings’, first phrase could be analysed in more
detail - before the scalic melody on favourite and auxiliary note? beginning ‘These…’ drives the music forward in G
major, rising joyfully, and ending with an F# dim7 chord, resolving to a B7, demonstrating the ability of such things to
bring happiness to sad times. The crotchet rhythms throughout maintain a pulsing sense of metre, enforcing the waltz
feel, and are simple, as in a children’s song, while the melody ends with a tritone, with an accompanying 9-8 suspension,
both for emphasis and to provoke an emotional reaction from the audience.
Verse 3 – E major = love, things she likes and loves. ‘Girls in white dresses with blue satin sashes,
Snowflakes that land on my nose and eyelashes’ A major not C, shows love again.
Who joins accomp? Any acciaccaturas in accomp? This phrase begins the third verse: with an oompah-pah
accompaniment reminiscent of the Austrian setting, the audience’s excitement increases as this verse is in E major,
rather than minor, alleviating previous doubt or sadness. It is melodically identical to the first verse, but has a fuller
texture – clarinets are added here – although there is no doubling of the melody, to allow for a lighter, freer feel. An
acciaccatura under ‘snowflakes’ portrays their lightness, added to by the dominant chord, A major, and V pedal, the
audience now assured in the brightness of the song. Leaps, appoggiaturas on words – show the w.p, don’t brush over.

‘Silver white winters that melt into spring lots of w.p – show, discuss.
These are a few of my favourite things.’
With a sudden A minor chord, the piece moves back to G major, and continues largely as it did at ‘brown paper
packages…’ – the oompah-pah stopping at ‘these are…’ creates anticipation, matched by the sudden change in melody:
‘favourite things’ dramatically rises chromatically to the highest yet pitch shows joy and favourite thongs as it’s changed,
and the music crescendos, as Maria appears overcome by the following fears and worries. The brass’ harsher tones add
to this feeling at ‘things’. Verse ends with imp cad again. This phrase isn’t analysed enough – leaps, contour, chords to
particular words.

Chorus ‘When the dog bites, when the bee stings,

When I’m feeling sad’
The orchestra plays a tutti chordal accompaniment with the melody, sharp staccatos and accents emulating Maria’s
pain: her intervals diminish, ‘dog bites’ falling a perfect 5th, then ‘bee stings’ a harsh tritone. The tonality returns to a
brooding E minor E minor chord when dog bites, , and the F# dim7 chord returns, preceding the B7 these two chords on
– when the bee stings = imp cad - to make an ominous imperfect cadence; ‘feeling’ has a yearning falling minor 6 th, and
the oompah-pah returns, bringing some hope that Maria may rediscover her happiness – a hope which is continued in
the tonal move to C major. The flutes and clarinets antiphonally answer the sustained ‘sad’ with a C major arpeggio,
exacerbating this hope.

‘I simply remember my favourite things and then I don’t feel so bad’

An anacrusis on ‘I’ resumes the excitement, along with the alternation between two notes in ‘simply remember my’ –
clarinets and strings double the melody in 3rds, continuing to build anticipation. ‘Favourite’ has an appoggiatura against
an A major chord, which represents affection and love, then the melody climbs to the tonic of this chord. The
triumphant conquering of fear is felt most here, with a fast harmonic rhythm at the cadence point, the orchestra
alternating between G and C major on every crotchet before settling on a forte C major chord on the 4-beat ‘feel’. A
brass-led antiphonal chromatic rise continues the triumph, landing on D maj7b913, the V of the new key, G major:
joyously expectedly, the music – excitedly piano then forte – creates a perfect cadence in G, with a long held note over
the top conveying Maria’s – and thus the audience’s – overt excitement.

Again, a little more on what happens on individual words – contour, leaps, dissonances, chords.
Well done, just some details missing and expanding here and there.

24/30 A (only just though)