File - Rachel Marie Cawley

Down Once More
Rachel Cawley Music Analysis
Andrew Lloyd
Webber
Born March 22, 1948 in Kennington, LondonStill alive.
  Father, William Lloyd Webber was an organist and a
pianist.
  Mother, Jean Hermione Johnstone was a violinist and a
pianist.
  Little brother is a famous cellist.
  Raised in an environment of music and perfection.
  Was married himself 3 times and had 5 children.
As a child..
Andrew Lloyd Webber started
composing music at a young age.
First piece composed when he
was 9 years old.
He put on productions for
friends and family as a child.
  1965 he started at
Westminster College but
later dropped out to
pursue his interest in
musical theatre.
  In 2006 he was the 87-th
richest man in Britan with
a fortune of 700 million
euro.
 
He has won numerous
awards including a Academy
Award, a Golden Globe,
Grammy Awards, Tony
Awards, Olivier Awards, plus
numerous other awards. He
is still alive and working in
this current day.
 
Most famous works include
Cats, Phantom of the Opera,
Joseph and the Amazing
Technicolor Dream coat,
Jesus Christ Superstar.
Down Once MoreComposition History
  Timing: 12:46
  Version from Most recent
movie released in 2004
  Musical Written in 1986
  Orchestra over 100
members
  Phantom of the Opera one of the longest running
Broadway shows.
  Musical magic, words and music seem as though the
same entity.
  Perfectly exemplifies musical climax and resolution.
Vocals
  Emmy Rossum
  Gerard Butler
  Patrick Wilson
  “mob”
Link to Song
http://www.youtube.com/
watch?v=4MomeCr9LUs
 
0:00-0:16
 
The orchestra comes in full on in Allegro fashion. It is very fast and lively and
passionate matching the phantoms voice and words. The music waves with the
words.
 
0:17-0:30
 
The trumpets are heard loud and clear as the residing sound for the
movement. After their piece then the tempo speeds up to match the
phantoms words sung with vivance.
 
0:30-1:05
 
The horns and trumpets have a counter acting part to the vocals of the mob
coming in. This part of the song the organ is playing the melody and setting
the fast passed rhythm, along with the low strings playing in the background.
 
1:05-1:35
 
The form changes at this point with the organ becoming morendo. And the
mob sings a line echoing through the cave. The violins play softly in the
background until she starts singing then the violins play violently for a
moment and then stop.
 
1:35-2:05
 
The violins play the melody in the background while the phantom talk-sings.
The low strings pick up as the tempo changes into a quicker pace for a few
seconds before dropping again to the low stings and horns.
 
2:05-2:55
 
The pitch rises slightly and a clash of the violins coincide with the phantoms
voice then lowers again. Christine’s voice enters and the melody becomes
softer. The strings accompany her voice with no other instrument.
 
2:55-3:15
 
The rhythm changes instantly with a clash of the strings and the phantom
saying “wait!” The texture then becomes more dynamic with a clash of the
symbols and the high notes on the organ beating fast.
 
3:15-3:45
 
The horns come in dramatically when Raoul yells “free her”. The whole
orchestra comes in when this heat picks up. The phantom yells “the world
showed no compassion to me!” the violins play fast and give an anxious setting
when Roule is saying “Christine, Christine” over and over.
 
3:45-4:10
 
The form changes once again to repetitive violin notes matching the up down up down
beat the phantom is singing in. The horns come in again for the melody. The full
orchestra suddenly comes in when the Phantom gets louder. When the phantom yells
“Raise your hands to the level of your eyes!”
 
4:10-4:30
 
The beat is now very fast and the violins are growing in volume being accompanied by
the low strings. The fast tempo giving the feel of the anxiousness of the phantom. There
is a climax with the horns and the strings until the phantom yells “this is the point of no
return!” after which the low strings play a solid note.
 
4:30-4:45
 
The tone changes entirely when Christine starts singing. Suddenly the music is sweeter
and her voice is accompanied by a single violin. The tempo is much slower and specific.
 
4:45-5:15
 
Her sweet sound is crushed when she says “turn to tears of hate!” This is where the
orchestra enters full volume getting increasingly louder. And this is where the leitmotif
enters and ties the song to its origin. She is singing with Roule. There is now duel
singing and the strings accompaniment the harmony.
 
5:15-6:00
 
The harmony between the phantom and Roule is especially
embellished at this part. Christine joins the harmony singing
“angel of music”. The strings and the horns are adjoining in the
harmony. The symbols are crashing in the middle of the beats
 
6:00-6:30
 
The tone slows way down again, the harmony between the
phantom and Christine ending slowly and sadly. The trumpets
play quietly the overall sound being low.
 
6:30-7:00
 
Christine sings to herself at this point and this is where the second
leitmotif enters. It gets increasingly louder ascending with
Christine’s voice saying “you are not alone”
 
7:00-7:30
 
The complete orchestra comes in loud finishing the leitmotif. The
music plays with the horns coming in with a clash of the cymbals.
The overall sound is very dramatic and comes together incredibly.
 
7:30-8:05
 
The tempo completely changes at this point going back to anxious mood and
there are violins that are matching the phantoms words. There are a couple
pounds on the drum and the trumpets play a small piece.
 
8:05-8:25
 
The tempo gets increasingly faster as you hear the voices of the mob getting
further down the tunnel. The violins are setting the melody until the
phantom yells “go now and leave me!” Which is joined by the horns. This
happens a couple times.
 
8:25-8:40
 
At this point the low strings play the looming leitmotif in much darker way
than before.
 
8:40-9:10
 
The dark music suddenly stops and is replaced by the innocent twinkling’s of
a music box. The phantom is softly singing to the sweet melody of the music
box. The music box twinkling in and of itself is a leitmotif because of the
meaning in the movie. The twinkling of the box is often played at various
parts.
 
9:10-9:35
 
Strings join in with the twinkling of the music box. The tempo is very slow
and romantic as the phantom sings “Christine I love you.” The music draws
quite.
 
9:35-10:20
 
Again enters the leitmotif with the original phantom strings movement. The
increases in volume as the orchestra joins in. The French horns play the
melody.
 
10:20-11:00
 
A distant Christine sings a sweet song joined by soft violins. The tempo is slow
as the Phantom enters. The timbre is quite sweet and sad.
 
11:00-11:30
 
The entire orchestra enters with sforzando suddenly bringing the volume to
full height. The drums are leading up the ultimate climax of the song as the
phantom sings “the music of the night” At this point the dynamics of the song
are in full array and every instrument is filling its ultimate purpose in the
song. The Leitmotif enters again with the ultimate melody.
  11:30- 12:00
  The horns accompany the strings with a clash here and
there from the cymbals. The texture of this part of the
song is very rich. There are no vocals at this point, just
the full orchestra.
  12:00  A few stings from the quartets play the ending dramatic
notes from the leitmotif. The tempo has slowed
significantly and it adds to the dramatic ending effect.
The form has changed to a variety of repetitive strings
played by the low strings.
Bibliography
 
 
Andrew Lloyd Webber's Phantom of the Opera Movie Review (2004) | Roger
Ebert (All Content)
 
http://www.rogerebert.com/reviews/andrew-lloyd-webbers-phantom-of-theopera-2004
 
 
Andrew Lloyd Webber Biography. (n.d.). Retrieved October 23, 2015, from
http://www.biography.com/people/andrew-lloyd-webber-20825129
 
 
Citron, S. (2001). Sondheim and Lloyd-Webber the new musical. Oxford: Oxford
University Press.