Godspell. by Stephen Schwartz, John-Michael Tebelak. Full Length Musical, Drama / 5m, Music Material Rental Packages 3 band parts: bass, guitar, drums. See also the full Godspell page for sheet music, CDs, etc. rehearsals at varying tempos and parts, separate parts for rehearsal in Karaoke style, and more. Stephen Schwartz (who is obviously Jewish) from writing the music to the .. about Lamar, but this role, like all of the roles in GODSPELL, is non-ethnic specific.

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Please take into consideration the fact that something you request may not exist. There is riffing to be done near the end if your singer is equipped in that godspepl.

Cut off 71, 75, and 87 and so forth on the downbeat. Follow the posting guidelines. The cast then plays charades to finish several statements posed by Jesus, including “If a man sues you for your shirt In fact, all the vocals near the end are flexible, so you can give singers whichever parts suit their ranges.

Have a great time with it!

Godspell 2012

But in Godspellparable after parable are presented using gendered names and pronouns, and female actors often play men in those parables without any explanation or even acknowledgement. Skip to main content. Measures 5 and 6 are tough to coordinate. Jessica Rabbit would be taking things too far, I think. If you feel as I do about these matters, we will find many things to agree upon here! The first Broadway production opened on June 22, at the Broadhurst Vodspell.

Notes For Performers and Directors

Email required Address never made public. I also think that awkward eighth note C against the vocal D in both hands at the end of is ill advised. Production Details Time Period: In an ideal world, John the Baptist physically plays the note, but in reality, a sound cue will be far more reliable and easier to cue musically.


Cast the person who can best and most sincerely sing Day by Day. In the garden, Jesus implores God to let the burden be lifted from his shoulders if there parfs another way.

Because of its small technical demands and minimal cast size, it has become a staple of theatre companies, large and small.

In these places, Schwartz uses traditional musical storytelling devices to ground the clowning in a narrative structure. Any mention of trading happening through this sub will be removed.

Godspell Godspell Promote your show with the godspdll licensed logo. I want to pick up and develop a theme Joseph Swain points out in the clever way Schwartz has dealt with modality here. The melody here opens with the doorbell motiveand for the most part it traces the root to third of each chord, sometimes playing in the godspel from the 3rd to the 5th.

They do not have stage names; rather, they carry their own real names, but only first names, so as not to specify their characters too much.

Godspell – Wikipedia

Godspell opened in MaseruLesotho in and ran for five months. We transposed this number for our female Jesus into Bb.

Victor Garber in the film gets through it well, having gone pretty sharp on the F at the end of the previous phrase. The drop in measure 7 and elsewhere from the F natural to the G is often out of tune.


Because we had a female Jesus and a Sonia with a higher belt, I changed the key for both singers, which required a slightly different modulation.

But in the case of Schwartz, you had someone with a pretty banv knowledge of how show music works, even very early in his career.

Light of the World. Schwartz understands such a diverse variety of popular styles that the term Rock Musical is not simply a musical with a lot of snare on two and four in it, but a musical that does its job using the tools of many different kinds of rock music. Show Essentials Book by. It was set to music by Holst, who requested the text to replace another for a motet he had written.

Evidently the earlier gosdpell, before Schwartz came in was worse.

Godspell (original version): A Rough Guide for the M.D. | Music Directing the School Musical

In the Broadway revival, the audience was offered bqnd on the stage. But when we drop back to E for the last phrase, we come to hear that F chord as some kind of Phrygian idea, dropping us from bii back to I, only to encounter that same raised 4th scale degree, then in quick succession, minor iv chord, padts by a conventional V-I cadence.

The lobby card from the production I music directed at Villanova, beautifully directed by Matt Pfeiffer.

I hear a lot of Carole King in this song, and her greatest hits come right in this time period.