Song Character Analysis Worksheet - The University of North ...
Song Character Analysis Worksheet - The University of North ...
Song Character Analysis Worksheet - The University of North ...
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<strong>The</strong> phrases are positioned to show grammatically complete thoughts rather than<br />
the original poetic phrasing. In the application <strong>of</strong> “phrasing from the lyric” to Kern’s<br />
music it is obvious that he had this technique in mind when he set the melodies to the<br />
text; they correspond almost exactly. <strong>The</strong> few instances where Kern introduces a rest<br />
within a phrase group are needed for clear articulation <strong>of</strong> the ending consonant for the<br />
previous word, not for a breath.<br />
Applying a subtext as the next step is a personal choice for the performer. I will<br />
<strong>of</strong>fer some suggestions rather than impose my ideas on that process. Some general<br />
scenarios include remembering childhood games <strong>of</strong> “pretend,” or imagining career<br />
possibilities after finishing one’s degree, or a reconciliation <strong>of</strong> any kind. <strong>The</strong> singer<br />
should remember that the goal <strong>of</strong> the subtext is to relate the essence <strong>of</strong> the lyric to a<br />
personal experience, or emotion, that provokes a physical response.<br />
<strong>The</strong> formal structure <strong>of</strong> the Verse is periodic in six sections (A-A’-B-B’-C-C).<br />
Kern provides great clues to the naiveté and playfulness <strong>of</strong> Magnolia’s ingénue character<br />
in the contrasting sections <strong>of</strong> the verse. <strong>The</strong> first section is set in a slow waltz in the key<br />
<strong>of</strong> C major, as if feigning a sophisticated nobility for the text, “We only pretend.” <strong>The</strong><br />
“B” section (“<strong>The</strong> game <strong>of</strong> just supposing”) is a sprightly allegretto in duple meter,<br />
reminiscent <strong>of</strong> the piano tune that Magnolia was practicing during Gaylord’s previous<br />
song. <strong>The</strong> melody has modulated to F major with a quicker melodic rhythm and an<br />
“oom-pah” accompaniment. <strong>The</strong> final section <strong>of</strong> the Verse is the most revealing <strong>of</strong><br />
Magnolia’s innocent, yet knowing sophistication. In the performance practice tradition<br />
<strong>of</strong> text painting, the audience should anticipate a melodramatic musical style for the text,<br />
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