There For You

Intention

I set out to write a musical theatre duet, where the characters befriend each other again. The operatic recitative introduction is followed by alternate solos before coming together as a duet.  I chose minor tonality depicting an unsettled relationship.

Process:

I started by considering the characters’ development throughout the song. I wanted the beginning to be unsettling and chose a recitative format and unrelated piano chords. Melodically, each character has their own theme in the verse; one rhythmically more active than the other, to express struggle. I discovered ‘word painting’ – everytime the word ‘floor’ is mentioned, the melody descends. 

Overall structure: ternary form, following musical theatre convention. I started in Cminor and modulated one tone up in verse2 to express the progression and growth of their friendship. I recorded the piano first and then the vocals. I learned to use EQ, panning and reverb to add warmth and space in the soundstage. Backing vocals were added for timbral variation. Initially, the bridge had a countermelody introduced by the 2nd character, but this made the music too crowded, thus the countermelody was moved to chorus 3. Chorus 2 was sung in piano and the ending had a crescendo a poco a poco to the chorus3 in forte, together with increasing backing vocals in each section to build dramatic tension. I experimented with melodic fragmentation at the end and really like the way it worked out in the coda.

Outcome:

I learnt that countermelodies need to be carefully written in order for both melodies to be heard and that making something too busy is counterproductive. Inspired by musical theatre, I enjoyed composing thematically for characters and developing their themes according to their emotional journey. If given time, I might have added more orchestration for further timbral variation.