Musical Theatre Revision Guide - Rodgers and Hammerstein

REVISION GUIDE
Chapter 1 - Richard Rodgers (Rodgers and Hammerstein)

MUSICAL KEYWORD BAR NUMBER/LYRICS MEANING/EFFECT
= 1 mark
Best known
works
What made
them
innovative?
Oklahoma
Carousel
Allegro
South Pacific
The King And I
Oklahoma!
Lonely Room
Judd
The establishment of the integrated musical (Oklahoma!) & Songs which emerge
seamlessly from the plot and contribute to character development E.g. Lonely
Room in Oklahoma!
Hammersteins lyrics - Deceptively simple Particularly in his last musical, The
Sound of Music/Apt and penetrating. Subtle use of structure and rhyme
communicates complex ideas or emotions quickly and clearly
A strong storyline and forthright approach to moral and social issues, e.g.
Carousel
Clearly drawn, realistic characters, e.g.: Ado Annie in Oklahoma!
Long musical scenes E.g. the Bench Scene in Carousel
Dance scenes used for narrative purposes, e.g.: The Dream Ballet in
Oklahoma!
Rodgerss musical style = Romantic
Effective use of chromaticism, e.g. his use of augmented chords in The Carousel
Waltz from Carousel
Effective large-scale constructions; increasingly complex and continuous forms,
e.g.: The first scene after the Prologue in Carousel is a long continuous
construction which features spoken dialogue rhythmically co-ordinated with the
accompaniment; sung dialogue; melodrama (natural speech with
accompaniment); song; parlando Reprise is a large-scale relationship used to
further dramatic flow: Curly and Laureys second act reprise of Let People Say
Were in Love is played by the orchestra for its first three phrases, after which
Curly joins in with the title phrase
Revolutionary opening scenes which do not open traditionally with an opening
chorus (Oklahoma!)
Effective musically detailed songs Subtle, nuanced rhythm and harmony, e.g.:
Use of dotted rhythms for music associated with Julie and her daughter in
Carousel
A Section
B minor (sadness)
Characteristic discordant crotchet ostinato
Recitative-like melody with limited pitch range (of a 4th in the opening)
Limited pitch range expands upwards as he resolves to liberate himself from his
circumstances
B Section (Bar 11)
Oklahoma!
Oh What a
Beautiful
Mornin
Introduction of descending semiquavers in the harp (day dream like)

Tonic to dominant bass of CHORD I JUXTAPOSED with a cluster version of chord
V over the top which causes some dissonance (instability)
Series of unconventional chords in this section, and it has minor and major swells
throughout. E.g.Shadder of a tree sounds major and Dancin in my head sounds
minor (confusing world)
Range increases and climaxes in bar 26 with a high B on thinks he is better than
me!
Bar 27 Firmly in a major key, chords G7 C (Unrelated to B minor). Change of
mood as he starts to think about having Laurie as his own.
This section climaxes again and end with an even higher note, top C# over a C#
major chord on the word Storm. The choice to go to the major version of chord
II is an odd one, and shows how delusional his dream is.
Bar 27 Also a tutti and use of block chords that glissando into one another. This
sounds heavy, passionate and intentional (his strong desires to win over Laurie)
After the climax there is a return to section A and the characteristic discordant
crotchet ostinato and limited pitch range returns.
This section develops into a new idea/stream of Judds though at bar 44 where we
see the B minor tonic chord with no alterations (dissonance) for the first time (less
confused than the beginning as he has made a decision).
It goes through a series of ascending unrelated chromatic chords with leaping
octaves at aint gonna leave her aloneas this thoughts become uncontrollable
and his intentions out of hand.
The last 6 bars finish with the glissando block chords, again highlighting his strong
intentions and desires).
The piece climaxes on the top C# again which clashes with the tonic bass. The
accompaniment ends with chord V and I juxtaposed. This again highlights the
instability of Judd and the uncertainty of the future.
First 12 bars are firmly in the tonic chord E major, with a pedal note on the tonic
and dominant notes = Safe, grounded, homely
High pitched orchestration such as the oboes and the trilling flutes and represent
the birds and wildlife/the outdoors.
Dotted rhythms and lack of an ostinato gives a laid back free feeling.
Bar 13, Curly sings a capella which brings the audience into his personal world.
This was innovative for the time as audiences were used to opening choral
numbers.
His opening melody lazily goes up and down the scale in STEPWISE movement
which reflects his laid back attitude.
Bar 29, repeated Bs on Looks like its climbin clear up to the sky reflect wide
open spaces of Oklahoma.
This is underpinned by four chromatically ascending chords, ending on the
dominant = word painting on climbing up to the sky
Bar 29, Curly breaks into the chorus. The swung feel of and the descending and
ascending triads/arpeggio figures, reflect Curlys enthusiasm and positive
outlook.
Chromatically altered notes on poignant words such as morning (D natural),
makes feeling (D#) sound elevated.
Detail in instrumentation at bar 84. All the sounds of the earth are like music.
Staccato bells, strings, harp and horn.
Other points
to note from
Oklahoma!
Carousel
Whats the
use of
Wondrin Julie
Other points
from
Carousel
Annie in Oklahoma!, indecisive adolescent temperament is shown in metre

changes, contrasting textures, some syncopation and touches of chromatic
harmony and melody
The AABA chorus of The Surrey with the Fringe on Top, from Oklahoma!; the
persistent rhythms suggest the sound of horses hooves.
Db major A soft key (love)
Julies dotted rhythms representative of her and her daughter (Julie more emotionally
restless), as opposed to Carrie who has placid even 8 note rhythms
Again, Chromatically altered notes on poignant words such as the D naturals on the way
he wears his hat and and you love him indicating she loves his quirks.
Love him also ends on a D diminished chord indicating something is still bothering Julie
despite her positive words.
Thats all there is to that Ends on a perfect cadence = Julie making a firm decision and
trying to brush off any doubts.
Bar 21 Modulation to Gb (the Subdominant), there is a change in accompaniment with
soft chords and decesding tripliet melody. This and the Gb sus2 chord give a very tender
feel to the music as she is trying to understand him Something made him the way that
he is
Bar 28, One of those things is you Ends on a descending chromatic sequence in the
accompaniment which sounds dissonant and indicates the downward spiral that is soon
to come.
Repeat of the A section with chorus Unites women in general and makes a point of the
vunrebility of the female sex in domestic abuse situations
Julie uses the words thats all there is to that and the chorus girls sing Thats all there is
to say this suggests that Julie is not very well educated.
In I Caint Say No Billy in Carousel; his Soliloquy contrasts simple, obvious musical
ideas showing his own idea of himself with more complex, chromatic ideas illustrating
some hidden depths
Sondheim called If I loved you the most integrated piece of musical drama in American
history.
The modulation to B flat minor, from an augmented pivot chord, in the B section of If I
Loved You in Carousel Strong melodies, e.g.:
Use of the waltz, e.g.: The Carousel Waltz establishes the musical style for the whole
of Carousel, providing distinctive musical material to be used in other numbers

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How did Rodgers and Hammerstein make their musicals innovative?

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REVISION GUIDE

Chapter 1 - Richard Rodgers (Rodgers and Hammerstein)

B Section (Bar 11)

Introduction of descending semiquavers in the harp (day dream like)

Annie in Oklahoma!, indecisive adolescent temperament is shown in metre

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