These notes will support all GCSE specifications, although the Areas of Study refer to the Edexcel specification

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GCSE Music Listening Paper Revision notes General Advice Check the number of times you hear the extract. Whole sentences arent necessary - you can use bullet points if it helps you. Spelling isnt counted - but make sure it is at least understandable. Musical Devices Name the musical device used in the bass part at the beginning of the extract. There are only FOUR possible answers in the exam: Sequence - A repeating pattern which is transposed (moved up or down) a scale or

round a cycle. Imitation - A musical idea being passed around instruments or instrumental families. Pedal - A sustained note which can be either either low in the bass, or high in the

melody. Ostinato - A repeating musical phrase. Often heard in the bass. Playing Technique What playing technique is used by the strings throughout the extract? There are only THREE possible techniques. Pizzicato - Plucked strings. Tremolando - Rapid bowing of notes. Drum Roll Because of this, it will only ever refer to a member of the strings or percussion family - no brass, no woodwind. If the question refers to a specific instrument you should be able to either complete the question without hearing it, or narrow down the possible answers. Rhythmic Device What rhythmic device is used in the percussion? There is only ONE possible answer: Syncopation Rhythmic Feature What features are used in this extract? Triplets Swing/Swung rhythm Dotted rhythm Tempo This may be anything between Largo and Presto. Dont be afraid to use English words if you feel more comfortable! Tempo Changes Rit/Ritardando Rall/Rallentando Accelerando

Melodic Movement Step Leap Scalic Chromatic Melodic Shape Arpeggio or Broken Chord If the question is for two marks remember to say if it is ascending or descending. Phrasing/Articulation Legato Staccato Dynamics Can be pianissimo through fortissimo. You can however use English - but be precise! Dynamic Changes Crescendo Decrescendo Diminuendo Sforzando/Accent If the question is worth two marks, be specific about the change. E.g. The violin starts pianissimo then crescendos to fortissimo. Cadences In order of likeliness: Perfect Imperfect Interrupted Plagal Texture DONT write thick or thin. Either describe it or use the correct name: Monophonic Homophonic Hetrophonic/Melody and Accompaniment Polyphonic/contrapuntal Form Binary - ABC Ternary - ABA Verse & Chorus The answer could hypothetically include the following options, but realistically the extract be will be to short for them to be viable. Rondo Theme & Variations

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Tonality Major Minor Modal - Renaissance/church music. Atonal - 20th Century Most likely to be either Major or Minor. Never Pentatonic. Voices Soprano Alto Tenor Bass Ornamentation Trill Turn Mordent Passing Note - Not often asked as they are hard to identify. Intervals Unison Octaves Although these sound similar, they are different! Thirds/Sixths Fourths/Fifths Seconds and Sevenths sound to dissonant, so they probably wont be used.

Are

a O

f

Stu

dy

1

Mu

sic

al P

eri

od

s

Fo

rm/S

tru

ctu

reB

inary

- A

B

Te

rnary

- A

BA

!

Ro

ndo

- A

BA

CA

DA

Th

em

e &

Variations -

T V

1 V

2...

Makin

g a

Vari

ati

on

Deco

ration/O

rnam

enta

tion

Invers

ion

Cou

nte

rmelo

die

s

Instr

um

enta

tion

Dro

ne

/Peda

l/O

stinato

/Riff

Key c

ha

nge

(M

odula

tion

)

Tem

po

Rhyth

m

Harm

on

y

Tim

e S

ignatu

re

Instr

um

en

tal F

am

ilie

sS

trin

gs -

Vio

lin, V

iola

, C

ello

,

Double

Bass

Woodw

ind

- P

iccolo

, R

ecord

er,

Flu

te, C

larinet,

Oboe, B

assoon

Bra

ss -

Tru

mpet, T

rom

bone,

Horn

, T

uba

Pe

rcussio

n -

Tim

pan

i, S

nare

dru

m, C

ym

bals

, T

riangle

Te

ch

niq

ues/K

eyw

ord

sG

rou

nd

Bass

A b

ass lin

e/m

elo

dy w

hic

h r

epeats

thro

ughout th

e p

iece. It c

an b

e th

ought

off a

s longe

r ty

pe o

f ostinato

.

Basso

Co

nti

nu

o

This

is a

n im

pro

vis

ed a

ccom

panim

ent

perf

orm

ed b

y a

bass instr

um

ent (c

ello

,

bassoon, double

bass)

and a

chord

al

instr

um

ent (h

arp

sic

hord

, org

an o

r

lute

). T

he c

ontin

uo is r

ead fro

m a

bass

line w

ith n

um

bers

to indic

ate

the c

hord

needed.

Co

un

terp

oin

t

Tw

o o

r m

ore

separa

te m

elo

dic

lin

es

pla

yed a

t th

e s

am

e tim

e.

Ch

rom

ati

cis

m

Move

ment by s

em

itone -

the s

malle

st

possib

le s

tep in W

este

rn m

usic

.

Baro

qu

e c

.1600

-1750

Instr

um

ents

/Ensem

ble

s

Sm

all

cham

ber

gro

ups,

Harp

sic

hord

, flute

, re

cord

er,

oboe,

Baro

que

tru

mp

et, v

oic

e.

Tech

niq

ue

s/C

hara

cte

ristics

Gro

und

Bass, B

asso C

ontin

uo,

Ostin

ato

, C

ou

nte

rpoin

t, W

ind/

bra

ss n

ot u

sed p

rom

inan

tly.

Com

posers

J.S

Bach

, P

urc

ell,

Core

lli,

Pach

elb

el, V

ivald

i.

Cla

ssic

al

c.1

75

0-1

825

Instr

um

en

ts/E

nse

mble

s

Big

ger

orc

hestr

as; bassoon, h

orn

,

cla

rinet, P

iano.

Techniq

ues/C

hara

cte

ristics

More

use o

f str

ing

pla

yin

g

techniq

ues.

Com

posers

Mozart

, H

aydn, B

eeth

oven

Ro

man

tic c

.1825-1

900

Instr

um

ents

/Ensem

ble

s

Even larg

er

orc

hestr

as; harp

,

perc

ussio

n, tr

om

bones.

Te

chniq

ues/C

hara

cte

ristics

Exte

nded h

arm

ony/c

hord

s,

chro

maticis

m.

Com

posers

Mahle

r, W

ag

ner,

Bra

hm

s

Are

a o

f

Stu

dy 2

Seri

alis

m -

The

Se

cond V

iennese

School: S

ch

oenberg

,

Berg

, W

ebern

.

Keyw

ord

s

Ato

nali

ty -

The lack o

f a tonalit

y (

majo

r/m

inor)

or

a tonal ce

nte

r (t

he "

feel"

of a c

ert

ain

key).

Tri

ton

e -

An a

ugm

ente

d fort

h o

r dim

inis

hed fi

fth. V

ery

dis

sonant unle

ss tre

ate

d c

orr

ectly.

Dis

co

rd -

A c

om

bin

ation o

f note

s w

hic

h c

onta

ins d

issonant in

terv

als

(m

9th

, tr

itone e

tc)

and s

o

sounds "

wro

ng".

The o

pposite o

f a c

oncord

.

En

harm

on

ic E

qu

ivale

nt

- T

he o

ther

possib

le n

am

e for

a s

ingle

ab

solu

te p

itch. E

.g. C

= B

# =

Dbb.

Min

imalism

To

tal S

eri

alism

- A

ll

music

al e

lem

ents

are

pre

de

term

ined,

not ju

st th

e

pitches.

Bo

ule

z, M

ilton

Babbitt.Pri

me R

ow

- A

lso c

alle

d

ton

e r

ow

, note

row

, &

se

rie

s.

The p

rim

e r

ow

is

the

seed o

f se

rial

co

mpositio

ns.

Retr

og

rad

e -

Revers

ing the o

rder

of

a r

ow

.

Inv

ers

ion

- R

evers

ing th

e

dire

ction o

f th

e inte

rvals

in

the r

ow

. E

.g. U

p a

third r

ath

er

than d

ow

n.

Retr

og

rad

e I

nv

ers

ion

-

Co

mbin

ing b

oth

retr

ogra

de

an

d invers

ion.

Vert

ica

lis

ati

on

-

Bre

akin

g r

ow

s u

p

into

in

to c

hord

s.

Ph

asin

g -

Rhyth

mic

ally

separa

ting

and then r

ejo

inin

g p

art

s o

f m

usic

. C

an

be s

udde

n (

rhyth

mic

dis

pla

cem

ent)

or

gra

dual (t

em

po d

ispla

cem

ent)

.

Rh

yth

mic

Tra

nsfo

rmati

on

-

Augm

enta

tion

(e.g

. changin

g

quavers

to m

inim

s)

& D

imin

ution

(min

ims to q

uavers

)

Ostinati a

nd

repetitiveness

cre

ate

a h

ypnotic

sound.

Are

a o

f

Stu

dy 2

Exp

res

sio

nis

m

Exp

eri

me

nta

l M

usic

Ele

ctr

on

ic M

usic

Sam

plin

g -

Usin

g p

re-

record

ed b

its o

f sound a

s

an instr

um

ent. A

sam

ple

r is

used to p

lay b

ack w

hen

trig

gere

d b

y a

contr

olle

r

such a

s a

keyboard

.

Syn

thesis

- A

pie

ce o

f

hard

ware

or

softw

are

whic

h g

enera

tes a

range

of

sounds. A

n e

lectr

onic

keyboard

is a

n e

xam

ple

of

this

.

Lo

op

ing

-

Repeating a

sam

ple

.

Eff

ects

- E

Q,

Com

pre

ssio

n,

Dela

y, R

everb

,

Pannin

g.

Mu

ltit

rac

kin

g -

Usin

g a

com

pute

r to

layer

reco

rdin

gs o

n t

op o

f

each o

ther.

Ad

va

nced

in

str

um

en

tal

tech

niq

ues -

Over-

blo

win

g,

pre

pare

d p

iano, key n

ois

es,

harm

onic

s, m

ulti-phonic

s.

Often incorp

ora

tes

ele

ments

of

ele

ctr

onic

music

,

Som

etim

es incorp

ora

tes

atm

ospheric/

environm

enta

l re

cord

ings.

A b

ackla

sh a

ga

inst

Rom

antic m

usic

al id

eals

,

with n

ew

a fo

cus o

n

sound

and t

imb

re r

ath

er

than

melo

dy.

Harm

on

ic e

xplo

ration

,

movin

g a

way fro

m th

e

tra

ditio

nal ke

ys.

Fre

quen

tly u

ses g

raphic

score

s o

r w

ritte

n

instr

uctions in p

lace o

f

tra

ditio

na

l nota

tion

.

Incid

en

tal M

us

ic -

Music

al

ele

ments

cho

sen b

y c

hance

alo

ne.

Bri

tpo

p

Gu

itars

- E

lectr

ic a

nd

Aco

ustic

Bas

s g

uit

ar

Dru

m k

it

Vo

ca

ls -

Lea

d a

nd

backin

g

Str

uctu

reIn

str

um

en

tio

n

Mu

sic

al

Ch

ara

cte

risti

cs

His

tory

/Co

nte

xt

Keyw

ord

s

Vers

e C

ho

rus

Fo

rmIn

tro

Vers

e 1

(Pre

-choru

s)

Choru

s

Vers

e 2

(Pre

-choru

s)

Choru

s ...etc

Bridge

Instr

um

enta

l/S

olo

Outr

o

Ho

ok -

Catc

hy

melo

dy o

r rh

yth

mic

figure

whic

h 'h

ooks'

the lis

tener.

Rif

f -

Po

pula

r m

usic

's v

ers

ion

of th

e o

stin

ato

. A

re

peating

me

lodic

or

ha

rmo

nic

un

it.

Can b

e a

ho

ok in its

elf

Fil

l -

A 'm

usic

al

pun

ctu

ation

ma

rk' u

se

d

to h

ighlig

ht

the e

nd o

f a

ph

rase o

r se

ctio

n. D

rum

Fill

s a

re t

he m

ost

com

mon

, a

lthoug

h b

ass

an

d g

uitar

often 'fi

ll'.

4/4

Tim

e

Sim

ple

, catc

hy

melo

die

s.

'Pow

erc

hord

s' -

Roo

t &

Fifth S

imp

le c

hord

pro

gre

ssio

ns. I IV

& V

- in

fluenced b

y b

lues.

Lyrics a

bout lif

e.

Use

of sla

ng.

'Raw

' vo

cal

techniq

ue -

Accents

.

Driven b

y

dis

tort

ed

guitars

.

Infl

uen

ces

R&

B

Blu

es.

Rock &

Roll

Key B

an

ds

The K

inks

The B

eatles

Oasis

Blu

r

Pulp

Is there a repeating bass

line?

Ground Bass & Variations

Ternary(A B A1)

Does the first section return?

Are there subsequent contrasting episodes?

Theme & Variations

Does the first section return

in between each?

Rondo(A B A C A D...)

No

Yes

No

No

Yes

Yes

Classical Variation Forms

Da

nce

Mu

sic

Sty

les

Keyw

ord

s

Sta

b -

A s

harp

and

short

chord

.

Usually

pla

yed b

y

bra

ss instr

um

ents

Ho

rn S

ecti

on

- A

gro

up

of bra

ss a

nd

woodw

ind

instr

um

ents

used for

sta

bs a

nd m

elo

die

s.

Usu

ally

consis

ts o

f

trum

pets

, tr

om

bones a

nd

saxes, although t

hey c

an

be a

synth

esis

ed 's

ection

'

sound.

Ho

ok -

A

catc

hy p

art

of

a tune,

usually

repeate

d.

Du

b

Instr

um

en

tal re

mix

es o

f

music

mad

e b

y m

ixin

g

diffe

rent re

co

rds

toge

ther.

Ho

us

e

- F

our

on

th

e F

loo

r

- L

ots

of sa

mple

s,

so

metim

es v

ocal.

Fu

nk

- G

roove b

ased.

- S

lap B

ass

- S

yncopa

ted r

hyth

ms

Dis

co

- F

our

on the F

loor.

- C

atc

hy s

ingable

melo

dys.

Hip

-ho

p

- R

ap v

ocals

- M

Cs

Tech

no

- F

ou

r on

the fl

oo

r.

- P

ure

ly s

ynth

esis

ed

.

- Little

harm

onic

mo

vem

ent.

Tech

no

log

y

Seq

uen

cin

g/M

ult

i-tr

ackin

g

- S

oftw

are

that le

ts y

ou laye

r

diffe

rent re

co

rded a

nd

synth

esis

ed t

racks toge

ther.

Eff

ects

Re

ve

rb

EQ

Co

mp

ressio

n

Sa

mplin

g

Lo

opin

g

Vo

code

rS

yn

thesis

ers

-

Equip

ment

or

softw

are

that

either

rep

roduces o

r

ma

kes s

ounds.

Reco

rd S

cra

tch

ing

-

contr

olli

ng a

record

man

ually

to

rep

eat

part

s

an

d a

dd

a p

erc

ussiv

e

'scra

tch

ing' s

oun

d.

Str

uctu

re

Mix

In

Main

Bre

akdow

n

Reprise

Fo

ur

on

th

e F

loo

r -

Clic

h d

ance

music

dru

m b

eat. C

hara

cte

rised b

y

a b

ass d

rum

hit o

n a

ll fo

ur

be

ats

.

Fu

sio

ns

On

e w

ill a

lways b

e a

W

este

rn m

usic

al

sty

le!

Afr

ica

Ind

ia

Instr

um

en

tsS

itar

- A

plu

cked,

multi-str

ing instr

um

ent, w

ith

sym

path

etic s

trin

gs that re

so

nate

. Loo

ks lik

e

a g

uitar.

Tan

pu

ra -

Sim

ilar

to a

bass. D

rones.

Tab

la -

Usua

lly a

pair o

f d

rum

s w

hic

h a

re

tunable

an

d p

rovid

e m

any d

iffe

rent sounds

dependin

g o

n h

ow

they a

re s

truck.

Harm

on

ium

- R

eed o

rgan. D

rone

s.

Saro

d -

Sim

ilar

to a

ce

llo.

Sh

eh

nai -

Sim

ilar

to a

n o

bo

e.

Str

uctu

reA

lap

- S

low

, m

ed

iative. A

n

explo

ration o

f th

e R

ag

a. S

om

etim

es

has a

dro

ne, but

often

unacco

mpan

ied.

Jh

or

- A

puls

e is intr

oduce

d, but no

metr

e. G

ets

fa

ste

r.

Jh

ala

- T

he fi

nal section. H

eavily

impro

vis

ed b

ut usua

lly featu

ring a

gat. T

he tab

le join

s.

Gat

- A

mem

orised c

om

positio

n

base

d o

n th

e R

ag

a.

Ban

dis

h

Vo

ca

l S

tyle

sD

hru

pad

- F

ree o

f

em

be

llish

ment. M

en.

Kh

ay

al

- H

ea

vily

orn

am

en

ted.

Keyw

ord

sT

ala

- R

epeating

rhyth

mic

pattern

.

Dro

ne

- L

ow

repetitive

accom

panim

ent

note

.

Rag

a -

A s

ele

ction o

f

note

s (

like a

scale

) w

hic

h

rep

resent

a m

ood, tim

e

or

fee

ling.

Ins

tru

me

nts

Dje

mbe

Dundun

Kid

i

Agogo B

ells

Mara

cas

Cabassa

Guiro

Keyw

ord

sIm

pro

vis

ati

on

. -

Makin

g m

usic

up.

Pen

tato

nic

Melo

die

s. -

Usually

vocal lin

es. B

uilt

from

5-n

ote

scale

s.

Osti

nato

. -

Re

peating fi

gure

s.

Call a

nd

Resp

on

se. -

Mu

sic

al question a

nd a

nsw

er.

The a

nsw

er

is s

om

etim

es b

ased o

n the q

uestion.

Cro

ss R

hyth

ms. -

Tw

o o

r m

ore

conflic

ting r

hyth

mic

ideas. E

.g. quavers

again

triple

ts.

Rep

eti

tio

n w

ith

vari

ati

on

. -

Develo

pin

g a

n idea

thro

ugh r

epetition.

Dru

m T

ech

niq

ues

Use o

f hands, e.g

. sla

ppin

g.

Use o

f sticks.

Str

etc

hin

g the s

kin

.

Lis

ten

ing

Pap

er

"M

usic

al

Devic

e"

"Rec

ord

ing

/T

ech

no

log

ical

eff

ect"

EQ

Com

pre

ssio

nR

everb

Dela

yP

annin

g

Ostinato

/Riff

Sequence

Peda

l

Imitation

"Pla

yin

g T

ech

niq

ue"

Str

ing

sP

izzic

ato

Tre

mo

lando

Perc

us

sio

nD

rum

Roll

"Rh

yth

mic

Devic

e"

Syn

copation

"Rh

yth

mic

Featu

re"

Triple

t

Dotted R

hyth

m

Sw

ing R

hyth

m

"Melo

dic

Sh

ap

e"

Bro

ken C

hord

/Arp

eggio

Gu

itar

Pu

ll-off

Ham

mer-

on

Slid

eS

trum

min

gP

luckin

gV

ibra

toB

en

dM

uting

Ascendin

g

or

Descendin

g

So

ng

s f

rom

Mu

sic

al

Th

eatr

e

Infl

uen

ce

of

Po

pu

lar

Mu

sic

Ty

pe o

f M

us

ica

l

Ty

pe

of

So

ng

Co

nte

xt

Era

s &

C

om

po

se

rs

Mu

sic

al

Ele

men

ts

To

nality

- M

ajo

r or

Min

or?

How

does

this

effect th

e s

ong's

"message"?

Mo

du

lati

on

- D

oes the

song g

o u

p o

r dow

n in k

ey?

By h

ow

much? W

hat effect

does it have o

n the

liste

ner?

Instr

um

en

tati

on

-

Is it

for

a r

ea

so

n?

Is it

tryin

g to

su

gg

est

a s

tyle

or

se

ttin

g?

Ly

rics

- W

ha

t a

re t

he

y

sin

gin

g?

Wh

at d

oe

s it te

ll us?

Do

th

ey u

se

sla

ng?

How

is it

mea

nt

to b

e

taken

; sa

rca

stically

,

sin

ce

rely

etc

?

Is t

he

re a

"H

oo

k"?

Vo

cal S

tyle

- Is there

an

accent?

Is it 'O

pera

tic'?

Are

there

sections o

f

dia

log inste

ad o

f sin

gin

g?

Tem

po

- W

hat

mood/s

tyle

does the

tem

po s

uggest?

Does it change, if

so, w

hy?

Ric

hard

Rogers

& L

ore

nz

Hart

Georg

e G

ers

hw

in

Jero

me K

ern

Ro

ck O

pera

-

A m

ore

mo

dern

sty

le.

Th

ese

norm

ally

in

clu

de

songs

in r

ock/p

op s

tyle

s a

nd

mo

re c

onte

mpo

rary

sto

ry lin

es.

E.g

. Jesu

s C

hrist

Supers

tar,

Hair

Bo

ok

Mu

sic

al

- U

su

ally

fro

m t

he

firs

t h

alf o

f th

e

20

th c

en

tury

. T

he

mu

sic

is

no

rma

lly in

flu

en

ce

d b

y

cla

ssic

al/ja

zz m

usic

.

E.g

. W

est

Sid

e S

tory

,

Okla

ho

ma

!

Ju

keb

ox M

usic

al -

A

colle

ction

of already

po

pula

r son

gs m

ade

into

a m

usic

al.

E.g

. W

e W

ill R

ock Y

ou,

Mam

ma M

ia

Jazz

Ro

ck/

Po

p

Instr

um

en

ts -

Use

s m

ode

rn

rock/p

op instr

um

enta

tion.

Dru

mkit, e

lectr

ic g

uitars

,

keyboard

s, synth

esis

ers

etc

Jazz H

arm

on

y/"

Jazz C

ho

rds

" -

These a

re c

hord

s tha

t h

ave

had

oth

er

note

s a

dded to

th

em

to

make t

hem

so

und d

iffe

ren

t;

brighte

r, d

ark

er,

dis

co

rda

nt,

etc

.

The

y m

ight be h

eard

on a

sin

gle

instr

um

ent,

or

acro

ss a

se

ction

of

instr

um

ents

.

Sw

ing

- T

his

is

whe

re r

hyth

ms a

re

giv

en a

slig

ht

'skip

pin

g' f

ee

l in

ste

ad

of b

ein

g p

laye

d

co

mple

tely

str

aig

ht

on t

he

be

at.

Wh

at

is 'P

op

ula

r M

usic

'? A

sty

le o

r sty

les o

f m

usic

that a

re

curr

en

tly p

opula

r w

ith the

genera

l public

, and is

pro

pagate

d b

y the m

ass m

edia

.

Instr

um

en

ts -

Bra

ss, sa

xes e

tc.

Ro

ck

Dru

mb

eat

-

Bass d

rum

on

1

& 3

, sn

are

on

2

& 4

.

Ch

ara

cte

r S

olo

- M

usic

al

monolo

gues.

A s

ing

le

chara

cte

r e

ither

exp

lain

ing

ho

w t

hey a

re feelin

g, w

hat

they a

re thin

kin

g, o

r add

ing

info

rma

tion to

the p

lot.

Du

et

- In

tera

ctions

betw

een

tw

o

chara

cte

rs. D

uets

are

oft

en c

lich

rom

an

tic s

ongs.

Ch

oru

s N

um

bers

- T

he

se

are

no

rma

lly t

he

big

me

mo

rab

le s

on

gs,

invo

lvin

g a

la

rge p

art

of

the

ca

st.

Wh

at

is

the

mu

sic

al's

sto

ry?

Wh

ere

do

es t

his

so

ng

fit

wit

hin

th

e

plo

t?

Str

uctu

re/F

orm

- W

hat

is the s

tructu

re o

f th

e

song?

Are

there

repea

ting

part

s? v

ers

es?

choru

ses?

etc

Te

xtu

re -

Wha

t is

the

textu

re?

Doe

s it

ch

an

ge

? W

hy?

Do

es a

so

lo b

eco

me a

ch

oru

s

num

ber>

Th

e "

Ro

ari

ng

Tw

en

ties"

& 1

930s

Mo

tion P

ictu

res b

egan,

bu

t

did

n't

really

po

se a

thre

at to

the s

tage

.

Th

e "

Go

lde

rn

Ag

e"

(19

43

to

19

68)

Ro

ge

rs &

Ha

mm

ers

tein

Le

on

ard

Be

rnste

in

Irvin

g B

erlin

Co

le P

ort

er

197

0s -

Pre

sen

t D

ay

Ro

ck M

usic

als

com

e into

be

ing w

ith Hair. B

oth

sto

ry

an

d m

usic

takes a

more

conte

mpora

ry turn

.

Cla

ude-M

iche

l S

chon

berg

&

Ala

in B

oib

lil

An

dre

w L

loyd W

ebber

Dis

ney

Hair,

Jesus C

hrist S

upers

tar,

Gre

ase, A

Choru

s L

ine,

Ca

ba

ret,

Chic

ago, E

vita,L

es

Mis

era

ble

s, M

iss S

aig

on, T

he

Ph

anto

m o

f th

e O

pera

, T

he

Lio

n K

ing,

Little S

hop o

f

Horr

ors

, B

lood

Bro

thers

,

Ma

mm

a M

ia!

Lady B

e G

ood

, F

unny

Face, S

ho

w B

oat,

The

Begga

r's O

pera

, O

f T

hee I

Sin

g, P

org

y a

nd B

ess

Okla

ho

ma

!, C

aro

usel,

So

uth

Pa

cifi

c,

Th

e S

ou

nd

of

Mu

sic

, K

iss M

e,

Ka

te,

Gu

ys a

nd

Do

lls, M

y F

air

La

dy,

We

st

Sid

e S

tory

,

Fid

dle

r o

n t

he

Roo

f, H

ello

Do

lly!

Tim

e

Sig

natu

re