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

Measures Tonal 
Center 
Compositional Notes 
Lyric 
Subtext 
Form 
mm. 1–12 Ambiguous, 
moving to F 
major mm. 
8-12 
Use of lower neighbor tones and 
triadic harmonies outside of the 
diatonic scale in the underscoring 
themselves support a chromatic 
melody and the use of sprechstimme.
The pedal point of C alludes to the 
tolling of a clock and gives the 
vocalist a tonal point of reference. 
Self-
reflection 
Introductory 
verse 
mm. 13–30 F major, 
moves 
briefly to B
♭ 
Each sixteen-bar progression supports 
each verse, with a two-bar tag that 
functions to re-establish the dominant 
chord prior to verse two. The samba 
groove is established with pattern in 
the left hand, the majority of which is 
notated in the octave below C
2
.
Frequent mix of minor and dominant 
Incredulity 
Verve 
A (verse) 
17
Matthew Sklar, “Barry is Going to Prom,” in The Prom: Vocal Selections from Broadway’s New Musical 
Comedy (Milwaukee, WI: Hal Leonard, 2019): 99-100. 

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90 
chord qualities allow for the diatonic 
melody to function in dissonance 
briefly with the piano harmonization, 
adding to the conflict-resolution 
nature of the singer’s text. 
mm. 31-48 F major 
The chord progression repeats the first 
sixteen bars of the previous A section, 
while the two measure tag sets up the 
use for a higher vocal and 
instrumental range with a F major 
scale from F
3
-E
4
while also leaving 
the extreme bass line range going into 
m. 49. 
Describing 
one’s own 
excitement 
and situation 
A (verse) 
mm. 49-56 B
♭ major 
Flourish of quick eight notes on 3-3-2 
and 3-3-3-3-2-2 subdivision patterns 
in mm. 39-52. While scales and 
harmonies would indicate an arrival 
from F pedal to Bb, the F pedal point 
continues up until the key change. 
Longing 
Reminisce 
B (bridge) 
mm. 57-68 D major to G 
major 
Similar rhythmic patterns exist while 
the melody and harmony leap by a 
major third. An arrival into G major 
as tonic is delayed four measures as 
the score varies chord quality over a D 
pedal point (V
sus4
/G, to v
7
/G, to V
7
/G) 
Incredulity B 
(cont.) 
mm. 69-92 A
♭-F-G♭ 
Melody is interspersed throughout 
with homophonic left and right hand 
on piano 
To proclaim Inserted Dance 
Break 
mm. 93-
110 
G major 
Arrival at m. 93 is anticipated by 
crescendo and glissando. Final verse 
and tag feature close, high right-hand 
voicings, delaying cadential arrivals 
with the change in chord quality in 
both tonic and dominant
Bursting 
Head over 
heels 
A’ (verse) 
mm. 111-
118 
G and A
♭ 
major 
Dominant pedal points with closed 
voicings of IV, V, and V
7sus
in right 
hand piano. Direct modulation of 
sequence. 
Rejoice Interlude 
mm. 119-
128 
G major 
Rhythmic hits re-establish dominant 
in G major, outro that follows features 
syncopation leading into beat 1, 2 and 
To 
Announce 
Outro 

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91 
3 of m. 122, 124, and 126 
Sources: Data adapted from Matthew Sklar, “Barry is Going to Prom,” in The Prom: Vocal Selections from 
Broadway’s New Musical Comedy (Milwaukee, WI: Hal Leonard, 2019): 97-104.