soundtrack – Page 4

Till We Reach That Day (from “Ragtime”)

We have featured a number of songs from Ahrens and Flaherty’s Tony-winning score for the 1996 Broadway musical Ragtime here at MotD; the score is considered one of the masterpieces of the Broadway canon, integrating a diverse array of musical styles into an organic tapestry reflecting the roots of American music at the start of the 20th century.

“Till We Reach That Day” closes the first act of the show. It flips back and forth between Bb major, its relative G minor, and G major throughout until a final modulation up a half step to Ab major at 3:03.

The show is currently in a limited revival at City Center in New York City.

With One Look (from “Sunset Boulevard”)

“With One Look” is from Andrew Lloyd Webber’s musical adaptation of the 1950 film Sunset Boulevard, directed by Billy Wilder. The story focuses on the diva Norma Desmond, an aging former film star who is living out her final days in Los Angeles. This song depicts her reminiscing about her past as a successful actress. A new revival of the show opened on Broadway last weekend.

The track begins in A and shifts briefly up to D leading into the instrumental break at 2:07. It then modulates back down to B at 2:31, where it stays until the end.

Dusty Springfield | Sweet Ride

“There’s something odd about Dusty Springfield’s (rightly earned) position in the pantheon of great female vocalists. She’s up there with Aretha Franklin and all the best soul singers, but she began her career as a pop folkie with her brothers in The Springfields,” (BBC). “She’s cited as an influence on the new generation of gutsy stars like Adele and the late Amy Winehouse, but she was a model of vocal restraint and subtlety. And, in a medium where honesty and passion are almost slightly overrated, Dusty was discreet about her feelings and her life to the point where her Pet Shop Boys-produced 1989 hit ‘In Private’ might have been about her entire life.

Despite, or because of or nothing to do with, these contradictions, the former Mary O’Brien was one of the best singers of her era – which was a decently long one, from her recordings with The Springfields to the great duet ‘What Have I Done to Deserve This’ … she was a singer very much rooted in a showbiz tradition that’s come round again to some extent.”

“Sweet Ride,” the theme to the 1968 movie of the same name, was written by Lee Hazlewood. Starting in C# major, the tune shifts up a half step to D major at 1:30. Many thanks to regular contributor Jamie A. for this submission!

My Days (from “The Notebook”)

The show-stopping “11 o’clock number” from new Broadway musical The Notebook, “My Days” quickly became the most popular song from the show. The song, written by Ingrid Michaelson and performed by Joy Woods, has been streamed nearly 4.5 million times on Spotify. The musical recently announced it will close in December.

The songs begins in C and modulates to D at 2:31.

What Dreams Are Made Of (from “The Lizzie McGuire Movie”)

Written by Dean Pitchford and Matthew Wilder, “What Dreams Are Made Of” is featured at the end of the 2003 Disney film The Lizzie McGuire Movie and performed by Hilary Duff. The disco-infused track begins in Eb and modulates up to E at 2:54.

Run Away With Me (from “The Mad Ones”)

“Run Away With Me” is from Kait Kerrigan and Bree Lowdermilk’s 2017 musical The Mad Ones about a girl who is preparing to go off to college. Performed here by Broadway actor and director Michael Arden, the song modulates at 2:38 and and 2:53.

Building Momentum (from “How To Dance In Ohio”)

Composer Jacob Yandura and lyricist/bookwriter Rebekah Greer Melocik adapted the 2015 HBO documentary How To Dance in Ohio into a musical of the same name, which premiered on Broadway late last year. The story follows a group of autistic teenagers as they prepare to attend their first spring formal. It was the first Broadway show to cast autistic characters with autistic actors. A UK production is planned for next year.

“Building Momentum” comes near the end of the show. It begins in Ab, shifts up to A at 1:04, and modulates again to Bb at 2:05.

Take Me As I Am (from “Jekyll & Hyde”)

“Take Me As I Am” is from the 1990 Broadway musical Jekyll & Hyde, featuring a score by Frank Wildhord (music), Leslie Bricusse and Steve Cuden (lyrics). Wildhorn in particular is known for his ballads, most of which include a dramatic key change or two. This tune begins in Bb major and shifts up to B at 2:12.

Once Upon a Time (from “Brooklyn”)

“Once Upon a Time” is from the 2004 Broadway musical Brooklyn by Mark Schoenfeld and Barri McPherson. The story follows a group of five homeless musicians in New York City who put on a play about a singer named Brooklyn under the Brooklyn Bridge in New York. The original production ran for 284 performances.

The track, which features Eden Espinosa in the lead role, begins in Bb and shifts up a half step to B at 2:14.

If This Is Love (from “The Notebook”)

Nicholas Sparks’ 1996 novel The Notebook was adapted into a film in 2004, and a musical based on the book, with a score by Ingrid Michaelson, opened on Broadway earlier this year. “If This Is Love” comes in Act 1 of the show, and modulates from Gb up to Ab at 2:00.