Little shop of horrors

• prologue instrumentation and sonority

  - god-like voiceover

  - drum kit

  - piano

  - organ (synth)

  - bass
• prologue metre/rhythm

  - drumroll beginning

  - 4/4

  - moves on the beat
• Prologue - Harmony and Tonality

  - e flat major

  - chord progression- I-V-VI-II-IV-V
• Prologue - Texture

  • homophonic chords played by piano and synthesiser in intro
• prologue dynamics

  - drumroll- crescendo

  - loud at beginning then becomes quiet as voice comes in
• little shop of horrors section A, metre/rhythm/ tempo

  - syncopation in bass and vocals 'oh no'

  - drumfill in bar 12

  - 4/4 metre

  - lively upbeat tempo- 160bpm
• lsoh section A harmony/tonality

  - key signature modulates from eb major to G major

  - minimal chords used- G. -Am7. - Dm7, - G. which creates a childish lyrical hook

  - use of chromatic notes
• lsoh section A texture

  - homophonic in vocal parts

  - melody and accompaniment
• lsoh section A melody

  - syllabic

  - gospel

  - soul

  - 2 bar phrase repeated 3 times
• lsoh section B metre rhythm and tempo

  - melody begins on 2nd beat of the bar
• lsoh section B harmony and tonality

  - change of chords- C and G- every 2 bars

  - dissonance on the word 'beware'- word painting

  - backing vocals mostly in 6ths
• lsoh section B texture

  - homophonic

  - influenced by doo-wop- style of backing
• lsoh section B melody

  - call and response

  - mostly syllabic but with some melisma at the ends of phrases 'air', 'thing
• lsoh section A (aabA) metre/rhythm/tempo

  - continuous quavers

  - syncopated bass line
• lsoh section a ( aabA) harmony and tonality

  - augmented 4th

  - song ends on G major vocals over Eb mjor instruments which creates a sense of unease for the listener
• lsoh section a (aabA) texture

  - homophonic

  - tradic singing

  - accompaniment has become more chordal/homophonic
• mushnik and son verses metre/rhythm/tempo

  - 4/4

  - lively upbeat tempo

  - syncopated, tango-like rhythm throughout

  - running quavers are a feature of the melodic rhythm

  - verse 1 begins in free-time, then the rhythmic backing kicks in bar 2
• m&s verses harmony/tonality

  - same pattern in all verses

  - altered chords

  - chromatically rising chord sequence: Cm - Db - Dm7 then G7 - I - VI7 - G7

  -
• m&s verses dynamics

  - The first sung phrase of Verse 1 is sung fairly-loudly (mezzo forte) and begins with an anacrusis
• m&s verses texture

  - verse 1 and 2- melody and accompaniment

  - one vocalist at a time- conversational call and response

  - verse 3- begins with two singers in unison
• m&s verses melody

  - the same in each verse

  - often scalic

  - syllabic

  - begins with a rising figure

  - a close sequence begins in the vocal part in bars, repeated a major 3rd higher in bar 6- altered end
• m&s choruses metre/rhythm/tempo

  - 4/4

  - lively upbeat tempo

  - anacrusis

  - more use of crotchets
• m&s choruses harmony/tonality

  - anacrusis accompanied by G7- Am7-G7

  - first half- moves towards a brief modulation the relative major Eb

  - second half- stays in c minor
• m&s chrouses texture

  - polyphonic texture

  - melody and accompaniment

  - harpsichord- like sound plays counter melody

  - chorus 2- polyphonic

  - seymour singing in 3rds
• m&s choruses melody

  - ascending pattern

  - melody flowing

  - syllabic
• m&s coda rhythm

  - based on bouncy, syncopated rhythm
• m&s coda texture

  - antiphoponal between vocalists and band

  - solo vocal call and response section

  - vocal homophony to end

  - unison chromatic scale in the band to end the song
• feed me verse 1 metre/rhythm

  - 4/4

  - one 2/4 bar to accomodate the Am chord

  - verse is driven along by two quavers heard at the start of each bar

  - syncopation in the vocal line
• feed me verse 1 harmony/ tonality

  - c major

  - adapted 12-bar blues pattern
• feed me verse 1 texture

  - melody and accompaniment
• feed me verse 1 melody

  - heavily influenced by blues

  - use of blue notes

  - vocal slides

  - mostly syllabic
• feed me verse 2 sonority

  - guitar- chanking technique

  - glissando technique on pianos before final A section
• feed me verse 2 structure

  a- Would you like a cadillac car

  a- howd you like to be a big wheel

  b- im your genie

  a- come on seymour dont be a putz
• metre/rhythm feed me verse 2

  - 4/4

  - syncopation in accompaniment chords

  - use of drum fill before final A section
• feed me verse 2 - harmony/tonality

  - mostly based around c

  - syncopated chords in bar 3
• feed me verse 2 texture-

  homophonic chords bar 3 and 7
• feed me verse 2 melody

  - narrow range of notes

  - syllabic

  -rhythmic

  - b section- lots of use of minor 3rd interval

  - bass is more melodic with walking bassline

  - vocals stop
• feed me bridge sonority

  - seymours vocals

  - electric guitar solo
• feed me bridge metre/rhythm

  - 12/8- compound time

  - metre and rhythm very similar to a previous solo of seymours 'grow for me
• feed me bridge harmony/texture

  - polyphonic with lead vocals

  - guitar solo

  - arpeggio bass line