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| re: What are the great stand-alone instrumental pieces in musicals? (not overtures) | |
| Last Edit: EvFoDr 05:17 pm EDT 06/25/18 | |
| Posted by: EvFoDr 05:09 pm EDT 06/25/18 | |
| In reply to: What are the great stand-alone instrumental pieces in musicals? (not overtures) - Chazwaza 04:45 pm EDT 06/25/18 | |
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| I love love love what is called on the Encores 1995 recording "Ballet--Joey Looks Into the Future" from Pal Joey. Not sure if that's what it was called in the original. In fact, many of the songs in this show transition into dance/instrumental sections before ending. I love them all but the Joey Ballet is my favorite. Everybody loves to hate Cats, but I think The Jellicle Ball is a lot of fun. :-) It was called "Chess" in the London production and was then featured as part of the Endgame in the Broadway production with lyrics added. If you know what I mean. The extended instrumental section in Folies Bergeres from Nine. It doesn't have a name, but the finale of Steel Pier from the time he says "you still owe me a dance" until the end. In a similar vein the end of Titanic. It's a short musical interlude as it transitions from the survivors into the final tableau where they rejoin those who have died, before they start the reprise of "sail on". Also short, about the last 1:20 of the Danced With a Girl track of Marie Christine. Beautiful piano, close dissonant chords, plus lush orchestra. |
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| re: What are the great stand-alone instrumental pieces in musicals? (not overtures) | |
| Posted by: Chromolume 11:26 am EDT 06/26/18 | |
| In reply to: re: What are the great stand-alone instrumental pieces in musicals? (not overtures) - EvFoDr 05:09 pm EDT 06/25/18 | |
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| In a similar vein the end of Titanic. It's a short musical interlude as it transitions from the survivors into the final tableau where they rejoin those who have died, before they start the reprise of "sail on". In the actual show, most of this (called "The Foundering," even though it's really just after the sinking happens) is underscoring - the recording decided to omit the dialogue, which is fine, though the dialogue itself is very moving, as the survivors try to tell what happened in the final moments. The tune used most of the way through is "Autumn," giving way to a bit of "No Moon" before the vocals start. Tony award-winning Jonathan Tunick also starts this sequence with the really evocative effect of "shivering" tremolo violins and violas underneath the melody. Such a beautiful sensorial touch - but of course the score is full of those little expert touches. |
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| re: What are the great stand-alone instrumental pieces in musicals? (not overtures) | |
| Posted by: sf 06:15 pm EDT 06/25/18 | |
| In reply to: re: What are the great stand-alone instrumental pieces in musicals? (not overtures) - EvFoDr 05:09 pm EDT 06/25/18 | |
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| "It was called "Chess" in the London production and was then featured as part of the Endgame in the Broadway production with lyrics added. If you know what I mean." It was part of the Endgame with (different, better) lyrics in the original London production as well. It was present as an instrumental - twice - in the recent London revival, and with an orchestra of 67, it sounded *stunning*. |
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| re: What are the great stand-alone instrumental pieces in musicals? (not overtures) | |
| Posted by: monty4rudy 05:19 pm EDT 06/25/18 | |
| In reply to: re: What are the great stand-alone instrumental pieces in musicals? (not overtures) - EvFoDr 05:09 pm EDT 06/25/18 | |
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| Speaking of Steel Pier, I've always said the all-too-short prelude, with that plaintive piano solo, was the most beautiful music on Broadway that season. I'd also include the Bolero from Grand Hotel. And I have a fondness for the Pick-Pocket Tango from Redhead, which I used to play a lot while waiting for the Grand Hotel recording to finally be released, because it sorta-kinda reminded me of the Bolero in places. |
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| re: What are the great stand-alone instrumental pieces in musicals? (not overtures) | |
| Posted by: EvFoDr 05:25 pm EDT 06/25/18 | |
| In reply to: re: What are the great stand-alone instrumental pieces in musicals? (not overtures) - monty4rudy 05:19 pm EDT 06/25/18 | |
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| OMG yes on the Bolero. I have sometimes listened to that on repeat too many times to admit and still sound sane :-). I've always wanted to ask someone (paging CHROMOLUME) how to count that. I know it's the melody from What You Need, but I cannot for the life of me figure out the time signature. Parts of it remind me of Liaisons--odd but go with me. So maybe it's 3/2 or something like that. Agreed on Steel Pier. And actually the part I mentioned at the end starts with the same plaintive piano solo you like from the beginning (you probably already know that) but it is developed more fully with the orchestra, ending on a few blasting chords that are to remind us of "Second Chance". I don't know the Redhead number. I 'll check it out. Thanks! |
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| re: Grand Hotel Bolero | |
| Posted by: selmerboy 01:17 am EDT 06/26/18 | |
| In reply to: re: What are the great stand-alone instrumental pieces in musicals? (not overtures) - EvFoDr 05:25 pm EDT 06/25/18 | |
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| It is in a slow 3/4. Like Ravel’s, the quarter note is so slow (about 64 bpm) that it almost feels like it could be in 6. The prominent triplets can also make it tricky to stay with in a few spots, but the underlying bolero rhythm never stops, even when the melody stretches a bit. Such a great moment! | |
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| re: Grand Hotel Bolero | |
| Last Edit: Chromolume 11:34 am EDT 06/26/18 | |
| Posted by: Chromolume 11:33 am EDT 06/26/18 | |
| In reply to: re: Grand Hotel Bolero - selmerboy 01:17 am EDT 06/26/18 | |
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| In the actual score, it is in 3/2, not 3/4. (So, EvFoDr, great guess!!) It's a minor difference in terms of overall feel - it's really just a notation issue (easier to notate without all the 16th note triplets you'd have to have in 3/4, and I suppose it "looks" more stately on the page) - but the effect is still that of a slow 3. ;-) | |
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| re: Grand Hotel Bolero | |
| Posted by: EvFoDr 12:22 pm EDT 06/26/18 | |
| In reply to: re: Grand Hotel Bolero - Chromolume 11:33 am EDT 06/26/18 | |
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| Ha! 10 points for me. Although to be fair it was only the similar feel to Liaisons (which I HAVE seen on the page and played on the piano in 3/2) that allowed me to make that guess. Even though it's just a notation, I have always had a terrible time feeling and counting 3/2. | |
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| re: Grand Hotel Bolero | |
| Posted by: EvFoDr 10:35 am EDT 06/26/18 | |
| In reply to: re: Grand Hotel Bolero - selmerboy 01:17 am EDT 06/26/18 | |
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| Thank you! YES, it is because the count is so slow that it feels like it has extra beats or an unusual meter. I shall listen again and TRY to count it all in a really slow 3/4. | |
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