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

Measures Tonal 
Center/Key 
Compositional Notes 
Lyric 
Subtext 
Form/Section 
mm. 1-4 
B
♭ major 
Static, minimal harmonic changes, 
prevalence of sixths in piano left-
hand, two voices in the bass clef. 
Intro 
mm. 5-15 
B
♭ major 
Harmonic rhythm varies between one 
and two chords within each measure, 
while melody operates in range 
between the tenor and alto voices in 
accompaniment. 
To search 
for purpose 
Verse 1 (A) 
mm. 16-17 B
♭ major 
Like the opening, syncopated push in 
upper three piano voices. 
Interlude 
mm. 18-29 B
♭ major 
Minimal changes in melody 
compared to verse one. Section is 
extended by one bar with the 
interjection of a rising clause (m. 28). 
Stoic, to 
endure 
Verses 2 (A’) 
mm. 30-31 B
♭ major 
Bass line in m. 31 anticipates move 
to E
♭ chord through use of I
6
inversion. 
Interlude 
mm. 32-39 E
♭ 
(subdominant) 
Dynamic marking of mezzo forte 
follows the crescendo in the second 
half of m. 31. Re-voicing of E
♭maj9 
repeats for three measures before a I-
ii-IV-ii-V-I harmonic sequence in 
which there is a sustaining function 
of V (E
♭/F moving to F7 on beat four 
of m. 39). 
To 
convince, to 
unpack 
Bridge (B) 
mm. 40-52 B
♭ major 
Minor changes to melody (which 
opens with middle voice F pickup) 
and extension of ending with two 
interjections delaying the V-I 
cadence between m. 52 and m. 53 by 
two measures. 
Cautiously 
optimistic 
Verse 3 (A’’) 
mm. 53-56 B
♭ major 
Tentative, gentle and plaintive 
atmosphere as the composition 
Outro 

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96 
returns first underscored pattern. 
Source: Data adapted from Jason Robert Brown, “Hope,” (Milwaukee, WI: Hal Leonard, 2006): 1-5.