I do think you're right about Hammerstein's tendency toward 'almost' in his love songs. He was just such a genius, so ahead of everyone else, wasn't he?
But yeah, I also have to concur about that tiny detail with the diminished chord under "all other men." Richard Rodgers has an ability to move me with the tiniest grace notes and harmonic shifts... more than any of the other Golden Age composers, I must admit.
For me, it's the women ensemble's harmony in the reprise of "Mister Snow," when they sing "you can hardly see." It's the altos' harmony on -ly of "hardly" that totally gets me.
Who can explain it, who can tell you why?
I cain't.
- GMB |
