Every wonder why songs are written in certain keys? Of course, composers need to accommodate the range and tessitura of each character musical keys have always been associate with specific emotions and characteristics, especially with classical composers prior to the 20th century. However, many musical theatre composers still use a specific key signature that alines the dramatic intention of the piece with the affect of certain key signatures.
In 1806 Christian Schubart's published Ideen zu einer Aesthetick der Tonkunst which described the mood of each key. And it dives deeper much more into major or minor.
Take a look at these examples from the world of musical theatre (and pop!) that are perfectly inline with the characteristics of the key.
C Major - Pure, innocent and simple.
"Cockeyed Optimist" - South Pacific
C Minor - Declaration of love, but with a sense of lament and longing.
"My Funny Valentine" - Babes in Arts
D♭ Major - Somewhere in between grief and rapture. Complicated and usual feelings.
"Dont Cry for Me Argentina" - Evita and "If I Loved You" - Carousel
Ever wonder why key signatures are in a seemingly strange pattern? (I mean, why can't they just go in alphabetical order, right?) Well, there's actually a very methodical explanation and it's what we music lovers refer to as The Circle of Fifths!
Before we jump right in - let's define - a "fifth". It is often referred to as a perfect fifth and its extremely pleasing to the ear (think "do - sol - do" if you're into solfege or I - V - I if you're into chords). Pitches that are a perfect fifth apart, have frequencies in a ratio of 3:2 and are 7 semitones apart, based on a diatonic (12 tone) scale.
However, in it's simplest terms - just count the letters:
So, if you start with C major (with no sharps or flats in it's key signature) then go up by 5 letters including C (hold out your fingers and count thumb C, pointer D, middle E, ring F, pinky G.
G is one fifth above C.
You can do the same thing then starting on G and find the D is one fifth above D.
C D E F G
1 2 3 4 5
G A B C D
1 2 3 4 5
And guess what it works all the way around the circle!!!
**If you're using the strictly letter system to understand the circle of fifths - make sure to check the accidentals (sharps and flats) in your key signature. For example, if you're looking at B major (5 sharps) and you go up a fifth - if you just use letters you might think the next key is F major - but you have to check the key signature! You've already sharped the F, therefore the next key is F# sharp major.
Now you might be looking at that circle and say - now what the heck is going on with those sharps and flats?? They aren't following the same pattern. But in fact - THEY ARE.
Let's take G major for example (the dark orange block in the wheel). It has one sharp in it - which is F#. (Another blog post to come on why certain keys have certain accidentals...)
But, the key of G major has an F#, and the next key of D major has TWO sharps - F# and C# which are indeed A FIFTH APART.
Thus continues our circle of fifths!
Now, if you were to go counter clockwise on the circle - you're now going DOWN by a fifth. But, let's just conquer one direction at a time.
In the world of music theory, an interval is the difference in pitch between two sounds. When we sing we refer to a horizontal or melodic interval (the different between adjacent notes in a melody. In Western music based on a diatonic scale (12 notes) an interval is described by its quality and its number.
Quality refers to 5 options: perfect, major, minor, augmented and diminished. (We'll use another blog post to explain what each of those means but they refer to the number of semitones or half steps between letters).
Here are the main conventional intervals used in a chromatic scale that we refer to in the world of sight singing. The names we use not only tell us the difference in semitones between the first and second note, but also how the interval is spelled. (Basically, just what letters are involved!)
But at this point, your brain is probably starting to hurt and you're wondering what the heck this has to do with sight singing and how on earth am I going to memorize all of these! e answer is - the more and more you practice, the quicker you will become at identifying intervals.
For example, if you were given this piece of music you could quickly identify the intervals between each notes by counting the semitones and letters.
But then the next question is - how do we sing it and know what each of those intervals sound like? We could whip out our old VHS tapes of "The Sound of Music" and listen to 'Do-Re-Mi' on repeat until we learn all of our solfege syllables.
OR you can use a list like this dandy one below to help memorize the intervals based on songs you already know my heart. Then, when you see an ascending minor 6th in real life, you can access your best Anthony in Sweeney Todd and start singing "...I feel you....". And you'll get the interval right every time!
Each example is referencing the first two notes of the vocal line unless otherwise noted.
Most of us who were ever in elementary school music class, dabbled in middle school band or watched the music segments of Sesame Street are vaguely familiar with basic rhythm. (But just in case, here's a quick review...)
However, things get a little wonky when we let RESTS, DOTS and TIES, come into our measures. All of the sudden, counting isn't as straight forward, we're constantly coming in at the wrong time and they are making us feel self conscious about our ability to do simple math. Let's beat that fear, so we're never in a chorus just waiting for someone else to come in because we're not really sure what beat we enter on...(and then all of the sudden the entire soprano section is silent for insecurity in counting)
Let's check in with RESTS first. A rest represents moments of silence in a piece of music. Each of them shares a duration with their corresponding notes. For example, a quarter note is worth 1 beat and a quarter rest is one beat of silence. Here's what they all look like...
Just like notes (8ths and 16ths being the most common) - rests can have flags. One flag represents an 8th note, two flags a 16th, etc) pictured below:
Still with me?? Let's move on to DOTS and TIES. Both are a way to elongate a notes duration (and also fun ways to make fashion statements)
A dot increases the duration by 1/2 of the note value that comes before it. While that sounds complicated, it's not too crazy. If a quarter note is worth 1 beat, and we add a dotted 1 ÷ 2 = 1/2, so 1 +1/2 = 1.5 beats.
Even more simple as an example is a dotted half note. A regular half note is 2. Half of 2 is 1. 1 + 2 = 3 beats.
Thankfully a dot is ALWAYS worth one half of the note value that comes before it. Just sometimes it takes a little math.
And our last little music theory friend for the day - TIES. Ties are a way augment the duration of a note across bar lines. They always merge two notes of the same pitch. They do not alter the way that we count the measures, but it does mean that we hold the notes for the duration of both notes that are tied together, rather than replaying the same pitch.
Any type of a note can be tied, and often times you'll see notes of long duration (such as whole notes at the end of a song) tied together multiple times, simply to tell us to hold a beat for a certain number of beats.
For example - here are two whole notes tied together. If one whole note is worth 4 beats, and its tied to another whole note worth 4 beats - we simply hold the note for 8 beats. Easy as pie!
Now that you've gotten a taste for RESTS, DOTS and TIES (basically the three things that make our rhythms a little spicer) you can walk into those sight reading auditions or choir rehearsals and count out those beats so you enter STRONG and hopefully avoid the dreaded chorister entrance that is strong and WRONG.
We all know that the vast majority of musical theatre composers out there are men - and they have some amazing things to offer! But let's take a moment to explore and celebrate the breadth of work by female composers and lyricists gracing the world with their stories and melodies.
First up?
Lucy Simon: The Secret Garden, (with Marsha Norman), Doctor Zhivago
Strangely enough, I found myself sitting next to Lucy Simon while watching The Secret Garden and to say it was a very, very cool experience would be an understatement. I was the swing for the show at Shakespeare Theatre Company in DC and she and Marsha were tweaking the show quite a bit. I was in the audience since I was required to come in and see next tracks once a week and she was still tweaking the orchestration.
Written in a semi-classical style (but also with a pop flair perhaps influenced by her sister Carly) - there area plethora of beautiful songs to choose from in The Secret Garden and Doctor Zhivago but my top Lucy Simon pick for an audition is for those beltresses out there:
"Hold On" from The Secret Garden
Jeanine Tesori: Violet, Shrek, Caroline or Change, Fun Home, Throughly Modern Millie, Blue
Of course we can’t talk about female composers without exploring Jeanine Tesori! Her contemporary style is accessible to all audiences but more musically interesting and complex than you’d expect. Really you can’t go wrong with anything by Jeanine but what can be more heart warming that our favorite green ogre at his most vulnerable:
“Who I’d Be” from Shrek
Lynn Ahrens:Ragtime, Seussical, Anastasia, Once on this Island (lyricist)
In my travels, I’ve also had the opportunity to have dinner with Lynn Ahrens and as you might expect, she is delightful with an air of a childlike innocence and sincerity. This comes across in her music that is reminiscent of your favorite Disney tune or lullaby. Most epic pick?
“Make Them Hear You” from Ragtime
Sara Bareilles: Waitress, Spongebob Squarepants
Well of course we love Sara! Crossing over from pop singer-songwriter to Tony-award-nominated composer and star of her own show! And then working on a musical about Spongebob? Pretty awesome. We all know “She Used to Be Mine” but I prefer a slightly more comedic choice from Waitress:
“When He Sees Me” from Waitress
Mindi Dickstein - Little Women, Benny and Joon
Anyone else a HUGE fan of anything Little Women related? Don’t we all want to somehow be the perfect combination of the women in this show - to be as ambitious and intelligent as Jo, sweet as Beth, kind as Meg, confident as Amy, and generous and strong as Marmee. You could always whip out “Astonishing” but if you want something short and sweet try this out.
“Better” from Little Women
Betty Comden: On the Town, Singing in the Rain, Bells Are Ringing, On the 20th Century, Wonderful Town (lyricist)
Cheers for a female Golden Age musical theatre librettist! Betty collaborated with some of the most famous composers of her time (Bernstein and Jule Styne to name a few) with her long-time partner Adolph Greene. Opposite sides of the coin to choose from with my favorites from Betty:
“A Little Bit in Love” from Wonderful Town
“A New Town is a Blue Town” from On the Town
Mary Rodgers: Once Upon a Mattress, Hot Spot, Working, Freaky Friday
Richard’s Rodgers daughter? Adam Guettel’s mom??? I mean this has musical talent in her blood like no other.Mary isn’y nearly as prolific as her father or son, but she has some very solid tunes out there - my favorite being from Hot Spot - a collaboration with Stephen Sondheim. If you’ve ever accidentally stepped into a manhole on the street and made it come off as quirky and endearing - this is the song for you.
We all know that the vast majority of musical theatre composers out there are men - and they have some amazing things to offer! But let's take a moment to explore and celebrate the breadth of work by female composers and lyricists gracing the world with their stories and melodies.
Georgia Stitt
Ever been at the beginning of a relationship and stepped in ever so lightly and took things really slow? You might related to this fun, sincere contemporary power ballad.
“Not Yet” from Mosaic
Lisa Lambert, The Drowsy Chaperone
Let’s see those high kicks, splits, belting chops and anything else you list under “special skills” on that resume in this song from the hilarious Drowsy Chaperone by Lisa Lambert.
“Show Off” from The Drowsy Chaperone
Cyndi Lauper: Kinky Boots
It doesn't get much better than Billy Porter, and he delivers this vulnerable and powerful song with grace and sincerity that will break your heart and make you feel warm and fuzzies all at once.
“Hold Me in Your Heart”from Kinky Boots
Zina Goldrich (and Marcy Heisler), Ever After, Dear Edwina, Junie B Jones
Although my heart still swells thinks of my 8th grade production of Dear Edwina and my glorious rendition of “Say No Thank You”, this female dream team has a new musical making it’s way to Broadway based on the film and loosely following the Cinderella story.
“My Cousin’s Cousin” from Ever After
Kait Kerrigan (…Samantha Brown, Tales from the Bad Years)
Kerrigan and Lowdermilk are a dream team for contemporary musical theatre that pulls at your heart strings. If you don’t swoon over “Run Away with Me”, I’m not sure what will.
“Run Away With Me” from The Unauthorized Biography of Samantha Brown
Kristen Anderson-Lopez: Frozen, In Transit
Well, of course, there’s Frozen, which needs no introduction or explanation. For your next audition, you could join the ranks of every pre-teen girl and bust out “Let It Go” or you could choose something from Kristen Anderson-Lopez’s slightly lesser known musical - In Transit. Give it a listen next time you’re on the metro.
“Do What I Do” from In Transit
Nell Benjamin: Legally Blonde, Mean Girls
If you're a fierce contemporary MT belter, of course you could look to "World Burn" from Mean Girls, but if you're look for a sweet character ballad, try this on for size
