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

Musical Content 
This is the rare selection from my research to be in a compound meter while providing an 
incredibly varied texture underneath the voice in just under two minutes. From the vocalists first 
entrance, this piece is approximately in verse-verse-chorus form. The piano reduction in the selections 
score clearly showcases a variety of ways to voice and rhythmically drive the pulse of music. This 
includes quartal or suspended harmonies in the right hand, and closely voiced dissonance and intervals in 
the left hand. Prior to m. 28 a lot of the melodic line is found in or below the range of the bass clef piano 
part, which means there is little direct sonic competition for an LMV. There is varied instrumentation 
(strings, flute) in the less rhythmically complex introduction and first verse, then an addition of both 
rhythmic guitar (m. 18) and pulsing left hand piano (m. 29). Each section is unique in that they do not 
match phrase length; an analysis could reach the conclusion the melody is in 12-measure sections with 
bars interspersed ad libitum for augmented resolutions or as breaks before a change in texture. Jason Tam 
describes the composer as being able to write complex, “unexpected, yet totally hummable” music
21
and 
that this piece is a perfect example. Additional summation can be found in Table 5.4. 
Table 5.4. Compositional Sections of “What Would You Do?” 
Measures Tonal 
Center/Key 
Compositional Notes 
Lyric 
Subtext 
Form 
m. 1-4 
Ambiguous 
Repeated 2-measure pattern features 
dissonance and add2 qualities to major 
19
“If/Then,” Music Theatre International. 
20
Tom Kitt, “What Would You Do?,” in If/Then – A New Musical: Vocal Selections (Milwaukee, WI: Hal 
Leonard, 2014): 101-104. 
21
Joel Markowitz, “Introducing the Cast of ‘If/Then’ at The National Theatre-Part 1: Jason Tam,” DC 
Metro Theater Arts, October 28, 2013, accessed September 16, 2020, 
https://dcmetrotheaterarts.com/2013/10/28/introducing-the-cast-of-ifthen-at-the-national-theatre-part-1-jason-tam. 

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42 
chords. 
m. 5-17 
A major -
Repeated harmonic choices and 
movement from introduction until a 
half cadence in m. 12. 
Slow, predominantly stepwise bass 
line descent m.9-16 from G#3 to G2.
Melody uses the A pentatonic scale up 
until m. 15. Harmonic arrival in m. 16 
on VII precedes the later use of the 
minor v chord and use of mixolydian 
mode. 
To 
encourage, 
console 
Verse (12 bars) 
Additional 1 bar 
of static 
harmony 
m. 18-30 
A major 
12-measure phrase length under a 
modified melody that slowly adds 
larger leaps and longer sustained notes 
in m. 23, m. 26, corresponding to 
lyrical intensity. 
To ease 
2
nd
Verse 
m. 30-35 
E minor 
moving to A 
E minor replaces the previous verses 
arrival to G major at the end of the 
section (m. 16, m. 30), and also brings 
in a depth and thickness of texture 
before the chorus. 
To 
emphasize 
Pre-chorus 
m. 35-44 
D major 
The chorus regresses to the previous, 
softer, mezzo-piano dynamic, though 
adds a hemiola in both melody and the 
right hand of the piano. The melodic 
phrases also lengthen to three and a 
half bars. The accented notes in the 
melody line form a stepwise descent 
(C#-B-A-G-F#) in three subsequent 
phrases. 
To soothe 
Chorus 
m. 44-51 
Ambiguous 
Repeat of opening 4 measure 
statement, happens a second time with 
higher voicing (mm. 48-51) 
Outro 
Sources: Data adapted from Jason Tam, “What Would You Do?,” track 21 on If/Then – A New Musical, Sony Music 
Entertainment, 2014, Amazon Music streaming audio, 
https://music.amazon.com/albums/B00JOIMVMO?trackAsin=B00JOIND3U&ref=dm_sh_4692-9012-dmcp-eaf4-
5e0d5&musicTerritory=US&marketplaceId=ATVPDKIKX0DER; Tom Kitt, “What Would You Do?,” in If/Then – 
A New Musical: Vocal Selections (Milwaukee, WI: Hal Leonard, 2014): 101-104.