Section I: Exploration of Diverse Musical Material

I have two selected pieces of music that vary in style, language, origin, and purpose. My first piece is
Tipitin originally by Maria Grever (1938), however I will be examining the choral SATB arrangement by
Raul Dominguez (2020). Tipitin is a Mexican Waltz (vals Mexicano) in ¾ time. I will be examining the
Dominguez arrangement which holds true to the original waltz feel and Mexican influence. My second
piece is No One is Alone from the musical Into the Woods (Stephen Sondheim, 1986). This piece features
musical motifs and interesting forms which propel compelling storytelling narrative. Both pieces convey
different stories and messages through lyrics, but most importantly composition. I have selected these
pieces as I feel a strong connection to the origin stories and messages. I will examine how Tipitin
reimagines the original composition and the effectiveness and how Grever opened opportunities for
culturally different music to be shared across countries and cultures. I will also examine how No One is
Alone cleverly conveys overall themes and how Sondheim uses musical elements as symbolism in the
storyline of the musical.

Tipitin (0:00- 0:42)

Growing up in an extremely diverse community, I have found myself immersed with many different
hispanic cultures, specifically Mexican culture. This has led to my strong interest in Mexican music and
the Spanish language. Grever, originally from the United Mexican States, immigrated to New York City
in 1916 where she strove to share Mexican culture with Americans through music (Alfred Music). The
piece was popularized by Raymond Leveen, Horace Heidt, and the Andrews Sisters. However, these
artists arranged and presented the song in 4/4 time, changing the influence of the Mexican Waltz and
Mexican influence.

In this arrangement by Dominguez, it is clear that he pulls inspiration from the original composition by
Grever. There is a clear imitation of traditional Spanish music and the Mexican waltz. The original
composition is polyphonic. The soprano voice serves as the lead with the melody; the guitar serves as a
drone and bassline; the flute provides ornamentation and reflects the common improvisation that is seen
in Mexican music. The song was sometimes performed with innervoices (most commonly two male
voices) which is common in Mexican music. These voices create a counterpoint. I will be exploring how
Dominquez imitates these elements using an SATB a cappella arrangement and how each part functions
within the arrangement.

The soprano line sings the melody just as the original does. In Figure 1 below, the melody can clearly be
seen and heard. Also to be noted, the soprano line features ornamentation (quick triplets) which is
common in traditional Mexican and Spanish music. This is once again an example of Dominguez’s efforts
to maintain the cultural aspects of the piece. Figure 1 also shows examples of this.

Fig. 1: Tipitin, m5-11

(Source: https://musescore.com/chiefyblues/tipitin-arr-raul-dominguez)
The alto and tenor voices create the countermelody. Dominguez creates a call and response form between
the soprano line and the alto/tenor harmonies. In Figure 2, the alto and tenor line imitate the soprano
melody with lower harmonies repeating the proceeding melodic phrase. Figure 2 shows the same
measures as Figure 1 but is the alto/tenor line underneath the soprano line.

Fig. 2: Tipitin, m5-12

(Source: https://musescore.com/chiefyblues/tipitin-arr-raul-dominguez)

The most interesting adaption in this arrangement is the bass part. The bass part works independently as a
drone to imitate the guitar from the original. The bass part consists of sustained notes under the quick
movement of the melody and harmonies. This provides stark contrast in the sound as well as maintaining
a strong bassline to accompany the rest of the piece. In Figure 3 it can be observed that the sustained
notes of bass lines function independently to support the other voices in the song. Just like Figure 2,
Figure 3 shows the same measures but is the bass part under the soprano/alto/tenor line.

Fig. 3: Tipitin, m5-11

(Source: https://musescore.com/chiefyblues/tipitin-arr-raul-dominguez)

The flute from the original version is imitated by the optional solo towards the end of the arrangement. In
the original the flute works independently to in a way “dance” around the other parts of the song. It
follows no particular melody already in the song, but rather creates its own. Flutes play in a high register
which is imitated by the high soprano descant. The descant features ornamentation and grace notes which
is common in Mexican music. In Figure 4 the descant is sung above the other parts independently on its
own melody

Fig. 4: Tipitin, m108-114

(Source: https://musescore.com/chiefyblues/tipitin-arr-raul-dominguez)

In “Tipitin” arranged by Raul Dominguez, the soprano, alto, tenor, and bass line work together to imitate
the original sounds and instruments present in the original composition by Maria Grever. In this
arrangement, the soprano line functions as the melody or vocalist, the alto/tenor line functions as a
countermelody and creates call and response or backup singers, the bass line functions as a pedal tone
type foundation or guitar, and the solo functions as an imitation of a flute in traditional Mexican music.
No One Is Alone (0:44-1:30)
From a young age I have participated in theatre, primarily musicals. After recently playing Little Red
Riding Hood in a production of Into the Woods by Stephen Sondheim, I found myself most connected to
the song “No One Is Alone.” I admire Sondheim's musicality and compositional complexity throughout
his entire collection of musicals. He is known for his usage of musical motifs and Into the Woods is no
exception to this expectation.

In the entire score of Into the Woods, three main motifs are featured: “The motif”, “the witch’s” motif,
and “the wish” motif. The motif featured in “No One Is Alone” is “the wish” motif. Through the show,
this two note motif makes appearances when the characters desires are mentioned. “No One is Alone”
takes place during the climax of the show. At this point, the character's wishes have been granted, but now
have changed as Cinderella, Little Red, Jack, and the Baker form their chosen family. In the original
score, “No One Is Alone” is split into two-parts. I will be exploring “No One Is Alone, Part 2”. Diving
deeper into “the wish” motif, it consists of two notes, played by piano, flute, or sung, separated by one
ascending whole step to create a quick–almost whimsical–burst. At the beginning of the piece, the wish
motif plays in the piano part in trios: ascending, descending, and again ascending. The phrases end in the
ascending version, symbolizing that their original desires are still present, however the presence of the
descending inversion shows that there is some form of reflection occurring. Figure 5 displays the first
appearance of the triple wish motif. It is also observed in Figure 5 that the left hand of the piano plays a
pedal tone to create a foundation for the rest of the parts.

Fig. 5: No One Is Alone, m1-2

(Source: Music Theatre International - Into the Woods Official Score [2009], Author’s licensed score)

In combination with the wish motif, this song features conversations occurring simultaneously; one where
Cinderella sings to Little Red and one where the Baker sings to Jack. Note that only Cinderella and the
Baker are singing at this point. This creates polyphony as two melodies are sung at once. The polyphonic
texture creates a conversational lullaby feeling; the song is written in 4/4 but the gentle sound is felt in 2.
The ascending, descending, ascending combination is consistent through the first two pages (m1-10, note
Figure 5) when Cinderella and the Baker are singing separate melodies to their respective listeners.
Figure 6 displays the polyphony mentioned.

Fig. 6: No One Is Alone, m3-7

 (Source: Music Theatre International - Into the Woods Official Score [2009], Author’s licensed score)

However, at the chorus of the song Cinderella and the Baker sing the same melody in a call and response
form. At this point, the wish motif disappears to symbolize reflection. The significance of this is that after
the transition into the chorus the wish motif is absent, they sing in unison to represent resolution and
unity. Figure 7 shows the conversational form mentioned.

Fig. 7: No One Is Alone, m10-13

(Source: Music Theatre International - Into the Woods Official Score [2009], Author’s licensed score)

The wish motif returns after the chorus. The last “normal” wish motif (ascending) appears at m35 (Figure
8). These are the final times that the wish motif appears in its original ascending form.

Fig. 8: No One Is Alone, m35

(Source: Music Theatre International - Into the Woods Official Score [2009], Author’s licensed score)

Fi
Starting at m43 (Figure 9), the wish motif is sung by all four characters rather than played in the piano
part. Note that this is also call and response (Little Red and Jack in response to Cinderella and the Baker).
It is sung descending for the rest of the piece.
 Fig. 9: No One Is Alone, m43-45
(Source: Music Theatre International - Into the Woods Official Score [2009], Author’s licensed score)

Another element of this song and the last I will explore today is the use of thirds throughout the chorus.
The use of thirds makes the melody memorable and creates a significant pattern which creates familiarity.
Figure 10 shows examples of where thirds are significantly used in the chorus.

Fig. 10: No One Is Alone, m47-49

(Source: Music Theatre International - Into the Woods Official Score [2009], Author’s licensed score)

Section II: Statement on Creating Exercise

Resolution (0:00 - 0:45)
After exploring many of Sondheim’s works and musical composition methods, I will be pulling
inspirations from the following elements utilized by the composer:
1. Musical motifs and inversions of said motifs.
a. Used to narrate the emotions/motivations of the piece.
2. Four parts with call and response.
a. Two parts acting as one unit whilst the other two do the same in response.
3. Pedal tones/drones.
4. Lullaby/gentle feel.
5. Major key.
6. Frequent use of thirds within the melody.
Acknowledging these observations, I aimed to create a narrative through music in my own way titled
“Resolution” (in reflection of the goal of the motifs).

I began with the creation of a common motif to be used throughout my composition. I fiddled with a
couple of different motifs, but eventually landed on a motif I believed would function well inverted as
well as in the original form. The motif also features a third as seen in Figure 11. Figure 11 also displays
that the piece is in 4/4 (88 bpm) and in the key of E flat major.

Fig. 11: Resolution, m1

(Source: author’s own)
The first motif within a call and response appears in m4-5 in the alto line. It is slightly altered to fit the
rhythms/echo; in the original, there are two quarter note E flats, however in m4, there is only one E flat.
Followed by the alto response, the soprano line inverts the motif (m5-6). Figure 12 displays the motif in
the alto line (red) and the inversion (yellow). The purpose of the inversion following the original is to
mock a story telling method. The original being some sort of confusing, and the inversion representing
resolution. So, the juxtaposition shows the thought process.
 Fig. 12: Resolution, m4-6
(Source: author’s own)
The parts continue to work together to convey the narrative. Figure 13 highlights the motifs and
inversions within all parts throughout the entire piece. The parts play both the motif and inversions
sometimes independently, but also at the same time reflecting the opposite part (note m10-11, alto and
tenor line). In the soprano line (note m8), the motif is played an octave higher to display extremities in the
dilemma/narrative of the piece. To resolve the motif, m13 displays all four parts playing the motif in their
respective octaves, and then m14 displays the parts playing inversion to show the final resolution of the
piece. After the metaphorical resolution, a 2-4-6-2 chord that leads into a literal resolution in a V chord.

Fig. 13: Resolution, m1-16

(Source: author’s own)
The last element acknowledged are frequent pedal tones in the bass line. The provides a solid base and
harmonic accompaniment to the moving harmonies above it. The baseline strictly plays sustained notes
(with transitional movement to the next chord) until m14 when all four parts come together before the
resolution. Figure 14 features the pedal tones of the bass line. These are apparent through the entire piece,
however Figure 14 shows m8-16.

Fig. 14: Resolution, m8-16

(Source: author’s own)

Section III: Performance Adaption

Stimulus (0:47 - 1:45), Performed Adaptation (1:48 - 3:44)
For my performance adaptation of “Tipitin”, my main goal was to showcase the areas that showed the
largest range of voice parts that imitate instruments. The most diverse section of the piece occurs starting
at m108 when the soloist “flute” begins to sing. Leading up to that section, I chose to sing the soprano
part as that is the vocal part I feel most comfortable in; it also transitions easily into the soprano solo. I
strived to maintain as many characteristics of the Mexican influence as possible. As an IB Spanish
student, I ensured my pronunciations, syllabic stresses, and ellisions were accurate as well as the use of an
accent. To imitate the Vals Mexicano feel, I moved fluidly through phrases and ornamentation and paid
special attention to the articulation of notes (legato). In the original song by Grever, her voice is very light
and soft. However, because this is a choral arrangement I opted to sing with a broader and more choral
tone. I did this using vowel shapes, placement, and strategic breath support. During the solo portion (3:12
- 3:44), I aimed to imitate the flute inspiration as efficiently as possible. During this section, I leaned more
towards the light and bouncy side of my voice while still maintaining a choral sound.

While learning this piece, I found the hardest parts to be maintaining tone and placement. The chorus
(2:00 - 2:19 and 2:55 - 3:12) moves on and around an A natural which is my passaggio (transition from
chest voice to mix/head voice). I find that this area of my vocal range is the most difficult for me to
maintain a clear tone as well as stay in tune. In order to aid this struggle, I focused on breath support and a
more forward placement. However, my passaggio also made it more difficult to maintain the gentle,
almost lullaby feel as I was most focused on the obstacles mentioned before.