Diego Vazquez Gomez Bertelli

Prof. Priscilla Bagley

MUS-88A
April 27, 2019

Nicely-Nicely Johnson in “Fugue for Tinhorns” from ​Guys and Dolls​.

Guys and Dolls Film (1955):

● Very straightforward vocals with a rounded American dialect.

● Has a dull and repetitive approach to the news
● Singing mostly to the prop newspaper
● It’s funny jabbering about the horses
○ Establishes the noise with low stakes discussion
● Checks the sky on “Of course, it all depends if it rained last night.”
● Some light choreography at the end was tasteful

Bing Crosby, Gary, & Frank Jr. - "Fugue For Tinhorns"

● More of a concert style

○ You can tell the show is more about the people than it is about the song
● A more fluid tempo, not exactly “in the pocket.”
● Swingy syncopation on “can do”
● Jazz piano, it’s a variation on the number from the musical.
● All three have very distinct styles. The “Valentine” soloist has a beautiful Frank Sinatra-y
vibrato on the tail of his notes.
● Syncopated delay on the entrance for “Jockey’s brother”
● 3rd guy chimes in with alternative notes
● Comes off as cool in the sense that it’s dismissive. Maybe we can include elements of
this during the jazzier segment.

Fugue for Tinhorns ("Guys & Dolls," 2003)

● Repetitive movements, a lot ducking as a taller guy

● Spoken very passionately to the others, referencing the papers occasionally
● Sounds correct and it’s written to not get boring.
 ○ While they did that well^ the execution was not very crafted and the singing was
quite straightforward with strong New York accents.

Fugue For Tinhorns - Guys and Dolls, Ball State University 2013

● Nicely has a nice character-y voice

○ Nasal, kind of annoying stereotype (think “nyah”)
● Almost pinching their newspapers with how they point
● Makes for very clear harmonies
● Allowed me to Realize the importance of diction. They did a really good job of
exaggerating it in character so every cannon could be heard.

Fugue For Tinhorns - David Campbell

● All 3 parts sung by one man

● He goes into more specific characterizations and monologues how they are presented and
such.
● More of a comedy bit
● The voice is conversational and affected by the impersonations in a interesting but
negative way.

The Andrews Sisters - Fugue for Tinhorns

● Nice blend of voices

● They play around with the melody and timing to make the piece a lot more interesting.
● The background sisters back off during the introduction of a new part to accentuate it.
● They interact as they join which allows the piece to come alive and adds to the nature of
it.

Frederic in “A Paradox” from ​Pirates of Penzance

PARADOX/AWAY, AWAY Trios (Pirates of Penzance).

● Repeated use of straight tone on shorter notes

○ “At last I may atone in some slight measure”
● Prop swords for everyone!
● “I do not think I ought to listen to you”
 ○ A more direct and comedic take to the Pirate King
● Very dynamic blocking and a little rotating action on the Paradox Trio
● Sits to listen to the Pirate King’s solo
● “THE PARADOX” IS MY AGE
● “I am a little boy of 5” is more flippant

Pirates of Penzance (Film) - Paradox

● Fred has a very sharp and quick vibrato

● “I circumstance’s victim” is prayer like and in falsetto
● Sliding on notes is sloppy
● A very ingenue approach to Fred
● Dramatic use of consonants compensate for the lacking theatricality of his voice
● The pirate king does some grunting when he offers himself for Fred to stab him
● They go up to him and kiss his hands when he is merciful
● Very quick on the change into “A paradox” trio
● Very clear in the explanation of Frederic’s age
● Adding in little reaction lines
● “I am a little boy of 5” is a gaily smug inside joke
● The laughs are on pitch but sound like actual laughs

Jon English - Pirates of Penzance - A Paradox, Duty & Away, Away

● Very free with the notes while still keeping it tight

○ extending “rap” in “rapture unexampled”
● A slight trickle at the end of “atone”
● “Who calls is genuine and not sung”
● A little growl on “oh rash”
● Another sword
● The king stops me before I stab him
● “Say on” is giving in
● They lead Fred through choreography which he has NOT rehearsed.
● No breath through each of the segments after he finds out he’s 5
● Some nice choreography at the end.

Gilbert and Sullivan's Pirates of Penzance: Act II - A Paradox... Away, away (Trio)

● Very consistent and dramatic operatic tone.

 ● A very different interpretation of Frederic’s youth from the others
● They offer to shoot him which makes me be “merciful”
● Not much variety or dynamics in his vocal performance
● Choreo on the paradox trio (seems to be a common theme)
● Ruth finds everything absolutely hilarious
● Consistency throughout the little bits of the piece can really help bring it along

Gilbert and Sullivan's The Pirates of Penzance "A Paradox" sung by Peter Dawson, Derek
Oldham, and Dorothy Gill

● A nice faster tempo lifts it all up

● Very mature voices with a beautiful blend
○ It is nice to achieve that layered trio section
● A very beautiful tone from Frederic
○ Embraces his vibrato and the youth in his voice which makes it sound richer and
age-appropriate
● A connect between “do” and “a” in “With yours, my figures do agree!”
● Sharp vowels date this recording as older (e.g. “day” is pronounced “dee”)

Pirates of Penzance - A Paradox featured on Omnibus

● Frederic does not look at them until Ruth starts singing

● His forcibly open vowels discourage diction and some of the words are lost
● HIs voice is loud but one-punchy
● The first “ha” is a means of getting to the second “ha“
● His mannerisms indicate a much older man
● The actor playing Frederic is expecting the performance to work and not working for it
● His tone is quite damp when straight tone, the vibrato helps decorate and accentuate.
○ Consider it a tool I can add and take away
● There was no real dynamic movement. The whole thing was in a line and after the other,
more physically engaged performances, physical movement, and some tasteful
choreography goes very well with the piece.