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

Musical Content 
This piece is through-composed, featuring stop and start melodies, accompanied speech, New 
Orleans jazz, extended harmonies and a ghoulish chorus. It functions is a perfect vehicle for a Disney 
villain, particularly one so tied to the environment and supernatural elements of the story. Randy 
Newman not only exhibits his compositional prowess, but pays homage to a tried and true method of 
delivery by Disney villains of the past – dramatic intent and emotion drive the moments of sonorous, 
declamatory singing, while the accompaniment features moments that allude to and strengthen the 
subjects and subtext of spoken word. There are very quick switches in Facilier’s actions, personality, and 
delivery throughout this piece, which not only foreshadow his character within the movie, but are aided 
dramatically by the styles and choices within Newman’s composition. 
Table 7.4. Composition Sections of “Friends on the Other Side” 
Measures Tonal 
Center/Key 
Compositional Notes 
Lyric 
Subtext 
Form/Section 
mm. 1-10 
A minor 
Slow harmonic rhythms in underscore 
also lead to monotonous chord. 
To entice 
Recitative 
accompagnato 
mm. 11-14 A minor 
A one measure vamp of I-V7 
sequence. 
Underscore 
with 
dialogue 
10
Ibid.
11
Ibid. 

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67 
mm. 15-32 A minor 
Continued harmonic pattern from m. 
11 defines first half of each eight 
measure section. Melodic rhythmic 
emphasis is on the fourth and sixth 
eighth note featured frequently in each 
lyrical phrase.
To entice 
Verses 
mm. 33-47 A minor 
Heightened range in melody occurs as 
Facilier showcases his business. The 
harmonization becomes more complex 
in this section. 
To present 
Arioso 
mm. 48-58 C - a 
A first short phrase pays homage to 
the Dvorak/Burleigh “Going Home” 
harmonization and melody, and the 
second phrases uses a diminished 
seventh chord to influence a melody
which incircles the fifth of C major.
Newman then uses a tritone 
substitution to heighten the dramatic 
arrival on C4 in m. 53. The 
subdominant major chord (D) in m. 54 
can be used as a pivot to return to A 
minor. 
To read 
To discern 
Recitative 
accompagnato 
mm. 58-65 Ambiguous 
Use of dominant ninth chords that 
descend and ascend with non-diatonic 
roots (F-E
♭-D♭) while holding a
common chord tone in F. Extended 
harmonies previously appeared in 
works from or influenced by the 
1910s and 1920s which showcased
European compositional methods in 
exoticism. The works of Puccini, 
Ravel, and Burleigh’s spiritual 
arrangements can serve as examples.
Port cities like New Orleans and 
Charleston served as places where 
European styles melded with the 
styles of the African diaspora, 
influencing the first forays into jazz. 
Scene