LLOYD-WEBBER’S USE OF CONCEPTS

Major and minor tonalities, most commonly the use of flat keys- Db minor, Eb major and Db major.

Use of recurring melodic motifs- varied for interest, eg. Don’t Cry For Me Argentina.

Arpeggiated quaver accompaniment lines, eg. Unexpected Song Use of seventh chords, suspended fourths and add nine chords, eg. I

Don’t Know How To Love Him Common use of a dominant theme, used with the introduction and coda

or final refrain, eg. Don’t Cry For Me Argentina Common use of a key signature and definite pitch. Modulation to primary related keys, eg. Wishing You Were Somehow

Here Again- Bb major to G major (dominant). Wide use of instrumental range, eg. Vocally in Memory- low G to high E

over 1.5 octaves. Use of key signatures, with regular pulse and regular phrasing. Common, traditional notation for voice, piano and orchestral. Use of a verse/chorus structure. Most commonly a homophonic texture between piano and voice, with

the piano treble line doubling the voice line. Dense texture with orchestral tuttis, commonly used in Don’t Cry For Me

Argentina and Wishing You Were Somehow Here Again. Transparency evident with light harp and treble piano arpeggios. A monophonic line is evident in I Don’t Know How to Love Him, with use

of an opt tacet, (optional acapella, vocal solo). Tone colour is varied with use of playing techniques:

- Vocally- Colla voce, - Strings- Arco-bowed, Tremolo- rapid repetition of a note

Writing in tempos including, slowly and moderately slow. Tempo changes throughout pieces with indications including, a tempo,

faster, freely, rallentando and ritardando.