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How to write a musical

How to write a musical. NOT a definitive guide!. The Showtune Structure. Verse and chorus (refrain) structure (such as the title song of Oklahoma!).

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How to write a musical

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  1. How to write a musical NOT a definitive guide!

  2. The Showtune Structure • Verse and chorus (refrain) structure (such as the title song of Oklahoma!)

  3. Brand new state! Brand new state, gonna treat you great! Gonna give you barley, carrots and pertaters, Pasture fer the cattle, Spinach and termayters! Flowers on the prarie where the June bugs zoom, Plen'y of air and plen'y of room, Plen'y of room to swing a rope! Plen'y of heart and plen'y of hope. Oklahoma, where the wind comes sweepin' down the plain And the wavin' wheat can sure smell sweet When the wind comes right behind the rain. Oklahoma, Ev'ry night my honey lamb and I Sit alone and talk and watch a hawk Makin' lazy circles in the sky. We know we belong to the land And the land we belong to is grand! And when we say Yeeow! Ayipioeeay! We're only sayin' you're doin' fine, Oklahoma! Oklahoma O.K.

  4. Showtune Structure - AABA • Gershwin’s ‘I Got Rhythm’from Crazy for You) • A – main melody (repeated) • B – ‘release’ or bridge – contrast • A – with a twist at the end

  5. A I got rhythm, I got music I got my man Who could ask for anything more? A I got daisies, in green pastures I got my man Who could ask for anything more?B Old man trouble I don't mind him You won't find him 'round my door A I got starlight I got sweet dreams I got my manTwist Who could ask for anything more ? Who could ask for anything more?

  6. Song Types in a Musical • Transition songs • Realisation songs • Decision songs

  7. Song types in My Fair Lady • Ballads – love songs (‘On the street where you live’) and emotional songs (‘I’ve grown accustomed to her face’)

  8. Charm songs (‘Wouldn’t it be loverly’) • Comedy songs (‘A little bit of luck’) • Musical scenes (‘You did it’)

  9. Bob Fosse’s three song types

  10. ‘I am’ songs You're never alone, You're never disconnected! You're home with your own: When company's expected, You're well protected! Then you are set With a capital J, Which you'll never forget Till they cart you away. When you're a Jet, You stay a Jet! • ‘Jet Song’ When you're a Jet, You're a Jet all the way From your first cigarette To your last dyin' day. When you're a Jet, If the spit hits the fan, You got brothers around, You're a family man!

  11. ‘I want’ songs • Love songs like ‘Something’s coming’ • Dramatic songs like the ensemble reprise of ‘Tonight’ (see next slide for words)

  12. RIFF The Jets are gonna have their day Tonight. BERNARDO The Sharks are gonna have their way Tonight. RIFF The Puerto Ricans grumble: "Fair fight." But if they start a rumble, We'll rumble 'em right. BERNARDO We're gonna hand 'em a surprise Tonight. RIFF AND JETS We're gonna cut 'em down to size Tonight. BERNARDO AND SHARKS We said, "O.K., no rumpus, No tricks." But just in case they jump us, We're ready to mix Tonight. ALL We're gonna rock it tonight, We're gonna jazz it up and have us a ball! They're gonna get it tonight; The more they turn it on the harder they'll fall! RIFF AND JETS Well, they began it! BERNARDO AND SHARKS Well, they began it! ALL And we're the ones to stop 'em once and for all, Tonight!

  13. ANITA Anita's gonna get her kicks Tonight. We'll have our private little mix Tonight. He'll walk in hot and tired, So what? Don't matter if he's tired, As long as he's hot Tonight! TONY Tonight, tonight, Won't be just any night, Tonight there will be no morning star. Tonight, tonight, I'll see my love tonight. And for us, stars will stop where they are. Today , The minutes seem like hours, The hours go so slowly, And still the sky is light . . . Oh moon, grow bright, And make this endless day endless night! RIFF I'm counting on you to be there Tonight. When Diesel wins it fair and square Tonight. That Puerto Rican punk'll Go down. And when he's hollered "Uncle" We'll tear up the town! RIFF (MARIA sings ‘Tonight’)So I can count on you, boy? TONY All right. RIFF We're gonna have us a ball. TONY All right. RIFF Womb to tomb! TONY Sperm to worm! RIFF I'll see you there about eight.

  14. (JETS, SHARKS, MARIA, TONY, and ANITA sing simultaneously) SHARKS We're gonna rock it tonight! They're gonna get it tonight, They began it, They began it, The began it. We'll stop 'em once and for all. The Sharks are gonna have their way, The Sharks are gonna have their day, We're gonna rock it tonight. Tonight! JETS We're gonna jazz it tonight! Tonight! They began it, And we're the ones to stop 'em Once and for all! The Jets are gonna have their way, The Jets are gonna have their day. We're gonna rock it tonight. Tonight! ANITA Tonight, tonight, Late tonight, We're gonna mix it tonight. Anita's gonna have her day, Anita's gonna have her day, Bernardo's gonna have his way Tonight, tonight, Tonight, this very night, We're gonna rock it tonight! MARIA Tonight, tonight, I'll see my love tonight. And for us, stars will stop where they are. MARIA AND TONY Today the minutes seem like hours. The hours go so slowly, And still the skiy is light. Oh moon, grow bright, And make this endless day endless night, ALL Tonight!

  15. Another type of ‘I want’ song is ‘A boy like that’, where Anita and Maria clash, only to wind up in harmonious agreement on the power of lov • New songs which serve special dramatic needs (such as light relief, in ‘Gee Officer Krupke’)

  16. Song placement in a show Emotional high points – when dialogue isn’t enough (such as in ‘Hello Dolly’)

  17. Characterisation – making stronger points than mere words can (such as ‘Pineapple Song’ in Cabaret)

  18. Important points in a show • Opening number (an example of a ‘Production Number’) – either to wow the audience, or to set the scene (such as ‘Tradition’ in Fiddler on the Roof)

  19. The main ‘I want’ song – usually early in Act 1 such as ‘I have confidence’ from The Sound of Music or ‘King of Broadway’ from The Producers

  20. MAX:I used to be the king... WORKMAN, BUM, BAG LADY:The King? MAX:The king of old Broadway... My praises they would singA Ziegfeld so they'd say My shows were always filled with classThe best champagnes would fill my glassMy lap was filled with gorgeous assYou couldn't call me crass in any way! We believe you, thousands wouldn'tWe believe you, ev'ry word We believe you, thousands couldn'tWe believe each word we've heard MAX:There was a timeWhen I was young and gay...But straightThere was a time when I was boldThere was a timeWhen each and ev'ry play I touchedWould turn to gold CHORUS:There was a timeHe wore the finest clothesHis shoes were always newAhh! MAX:Now I wear a rented tuxThat's two weeks overdue! CHORUS:Poor Bialy, what a shmoozerPoor Bialy, what a shamePoor Bialy, what a loserPoor Bialy, goodbye fame

  21. The ‘Ten o’clock number’ – towards the end, in order to keep audience interest (ballads such as ‘Memory’ in Cats or comedy showpieces like ‘Brush up your Shakespeare’ from Kiss me Kate) • The Finale - an emotional wallop, leaving a powerful last impression (often a reprise, like ‘Old Man River’ in Showboat)

  22. The reprise – when all or part of a song is repeated to make a dramatic point (such as ‘I don’t know how to love him’ in Jesus Christ Superstar) (see video clip)

  23. Composers’ considerations • Composers must be careful to make sure they do not mask the lyrics (listen to the clarity of ‘Mix Tape’ from Avenue Q)

  24. Showstoppers – all musicals must have one! Sometimes these will be a chart hit and earn more money for the show. Often, they can make or break a musical (e.g. ‘The Circle of Life’ from The Lion King)

  25. To rhyme or not to rhyme? • Rhyme is one of a lyricist’s most potent tools • Watch to the clever internal rhymes in ‘You won’t succeed on Broadway’ from Spamalot http://www.youtube.com/watch?v=DHwjmyGP1N4

  26. ROBIN:Well...let me put it like this.In any great adventure,that you don't want to lose,victory depends upon the people that you choose.So, listen, Arthur darling, closely to this news:We won't succeed on Broadway,If you don't have any Jews.You may have the finest sets,Fill the stage with penthouse pets,You may have the loveliest costumes and best shoes.You my dance and you may sing,But I'm sorry, Arthur king,You'll hear no cheers,Just lots and lots of boos.ENSEMBLE:Boo. ROBIN:You may have butch men by the scoreWhom the audience adore,You may even have some animals from zoos,Though you've holes and krauts instead,You may have unleavened bread,But I tell you, you are dead,If you don't have any Jews.They won't care if it's witty,or everything looks pretty,They'll simply say it's shitty and profuse.Nobody will go, sir,If it's not kosher then no show, sir,Even Goyem won't be dim enough to choose!Put on shows that make men stare,With lots of girls in underwear,You may even have the finest of reviews.The audience won't care, sir,As long as you don't dare, sir,To open up on BroadwayIf you don't have any Jews.

  27. You may have dramatic lighting,Or lots of horrid fighting,You may even have some white men sing the blues!Your knights might be nice boys,But sadly we're all goys,And that noise that you call singing you must lose.So, despite your pretty lights,and naughty girls in nasty tights,and the most impressive scenery you use...You may have dancing mana-mano,You may bring on a piano,But they will not give a damn-oIf you don't have any Jews!

  28. Once in every showThere comes a song like thisIt starts off soft and low And ends up with a kissOh where is the songThat goes like this?Where is it? Where? Where?A sentimental songThat casts a magic spellThey all will hum alongWe'll overact like hellFor this is the song that goes like thisYes it is! Yes it is!Now we can go straightRight down the middle eightA bridge that is too far for me I'll sing it in your face While we both embraceAnd thenWe changeThe keyNow we're into E!*hem* That's awfully high for meBut as everyone can seeWe should have stayed in DFor this is our song that goes like this!I'm feeling very proudYou're singing far too loudThat's the way that this song goesYou're standing on my toesSinging our song that goes like this!

  29. I can't believe there's moreIt's far too long, I'm sureThat's the trouble with this songIt goes on and on and onFor this is our song that is too long!We'll be singing this til dawnYou'll wish that you weren't bornLet's stop this damn refrainBefore we go insaneFor this is our song that ends like this!

  30. END

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