Low male voice repertoire in contemporary musical theatre: a studio and performance guide of selected songs 1996-2020 by

Musical Content 
This piece is published individually in a modified strophic verse-refrain form, preceded by a 
presentational, introductory verse. Most of this song is in a 4/4 fast allegro, felt in two, with an 8vb 
notated bassline paired with the piano right-hand in bass clef which supports instead of overpowering a 
singer’s partials above C
4
. Harmonic rhythm of the accompaniment occurs primarily with movement 
twice per measure from m. 9 onward. A unique aspect about the construction of this piece is that it has 7-
measure phrases, imitating the frenetic energy of the suave antagonist. This is the rare up-tempo piece 
accessible to a classically trained bass-baritone or bass, also in which the pieces’ melody can show off all 
the colors of a chiaroscuro low voice. 
Table 4.4. Musical Sections and Lyrical Subtext of “Yesterday, Tomorrow and Today” 
Measures Lyric 
Subtext Form 
Measures Lyric 
Subtext 
Form 
mm. 1-8 
To present, to 
preen 
Introductory 
Verse 
mm. 35-48 
To distract, 
convince 
Verse 2 
mm. 9-12 
N/A 
Interlude 
mm. 49-56 
To confess 
Refrain 2 
14
Kathy Henderson, “Brian Stokes Mitchell on the Joys of Playing a Cad in Women on the Verge,” 
Broadway Buzz, December 10, 2010, accessed August 24, 2020, https://www.broadway.com/buzz/154524/brian-
stokes-mitchell-on-the-joys-of-playing-a-cad-in-women-on-the-verge. 

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27 
mm. 13-26 
To describe, to 
orate 
Verse 1 
mm. 57-64 
To profess 
Refrain 3 / 
Extended Verse 
mm. 27-34 To foresee, to 
seduce 
Refrain 1 
mm. 65-77 
To titillate 
Outro (Tag) 
Source: Data adapted from David Yazbek, “Yesterday, Tomorrow and Today,” (Milwaukee, WI: Hal Leonard, 
2011): 1-6. 
The following harmonic analysis and division of sections is in parallel with common processes 
for creating lead sheets (should an artist or student be tasked with creating arrangements of material for 
cabaret or recital with backing instrumentalists), or could be a model for a song study guide assignment 
for a singer with a strong theory background, or whose memorization can be aided by such analysis.
While most of the chords listed below are found in the published sheet music, the analysis of function and 
tonal centers can allow ease of transposition for collaborators with western music theory training.
Abbreviations include TTsub - tritone substitution, sec. dom. - secondary dominant, and alt. dom. - 
altered dominant to indicate harmonic functions of chords with non-diatonic chord tones. Bolded chords 
indicate tonic center, while a lowercase “m” changes the quality from major to minor (see Table 4.5).
Table 4.5. Harmonic Analysis and Compositional Sections of “Yesterday, Tomorrow and Today”