\chapter{The structure of verbal communication and the musical structure}
\section{Introduction}
In this chapter I will make a study of the structure of the verbal
communication in some numbers from {\ST}. I do this in order to investigate
the relationship between the musical structure and the structure of verbal
communication. How does music influence this structure, and in what ways
can this relationship be characterized? This is one of the elementary
questions in this thesis. In the previous chapter I did some
analyses, but those were analyses where I emphasized merely one aspect of
a verbal communication structure. In these analyses I will try to apply the
whole of the theoretical framework I laid out in the last chapter onto the
analyses of the differing songs.

The pieces I chose to analyze are chosen because they are either
problematical when it comes to describe the communication structures
involved, or because they are, in my opinion, the cornerstones of {\ST}.

One thing that is immediately apparent in {\ST} is that a song, or speech
in general, never stops the action. There are no long soliliquies or
lyrical songs. With every verbal utterance the drama progresses. That means
that all songs and speeches are actional speeches.

Another aspect of the verbal communication in {\ST} is that there are no
real solo-songs. There is always at least one addressee, and as soon as some-one
has sung a solo, there is an almost immediate reaction, either in speech or
in song.

The pieces I selected to analyze are the following:

\begin{enumerate}
\item The Ballad of Sweeney Todd
\item The Worst Pies in London
\item Poor Thing
\item Pirelli's Miracle Elixir \& The Contest
\item Kiss Me-sequence
\item Epiphany
\item Parlor Songs
\end{enumerate}

\section{Analyses}
\subsection{The Ballad of Sweeney Todd}
The first sung piece of {\ST} is the Ballad. It seems to be detached from the
dramatic progression. The Ballad is heard several times throughout the show.
I'll now concentrate on the first {\em Ballad} which forms the opening of
the show.

The whole song is constructed as retrospective, although it cannot be said
to be an exact account of all the events. It is more like a set of hints,
describing in rather vague terms the things that happened.

Describing the structure of the verbal communication structure of this
number is at times
problematic. The one obvious aspect of this Ballad is that it has a
phatic function. Its main use is to draw the attention of the
audience, or to put in other words: its main use is to create a channel of
communication between the singers and the audience.

Is the verbal communication structure employed in this ballad an example of
an epic communication structure? There are arguments to support such a
statement, the main one being the detachment of the dramatic progression.
On the other, the choir is not detached, because they are at the funeral of
Sweeney Todd and Mrs. Lovett. They must have known Todd and Mrs. Lovett at
one time or another. 

The solution to this problem I think, is that the whole Ballad, at least
the first one, is a retrospective(In that aspect it differs from all the
renderings of the Ballad that are to come.) So the Ballad is detached
chronologically, but not dramatically. Therefore I think we cannot
really describe the Ballad as an epic communication structure, as it is not
detached dramatically from the rest of the action. The Ballads that are to
come are based on the conventions of an epic communication structure
because they are detached from the dramatic progression.
Furthermore there is the fact that first and last Ballad are very much
alike. This gives {\ST} its closed structure.

However, when look at the lyrics, one is tempted to think that the Ballad
is an epic communication structure. Take for instance the first few lines:
\begin{quotation}
Attend the tale of Sweeney Todd\\
His skin was pale and his eye was odd\\
He shaved the faces of gentlemen\\
Who never thereafter were heard of again\\
He trod a path that few have trod\\
Did Sweeney Todd\\
The Demon Barber of Fleet Street\\
\end{quotation}

Apparently this lines could be sung by a balladeer, a singer of ballads.
It is only the dramatic situation that makes it into an eulogy. This piece
has its parallel in the {\em Ballad of Booth} or the {\em Ballad of
Czolgoz} from {\em Assassins}, the main difference is that the dramatic
situation in {\em Assassins} turns these ballads into elements of an epic communication structures,
while in this ballad the dramatic situation prevents the creation of such a structure.

To say that the Ballad is totally non-epic would be a misrepresentation of
facts. For instance, at the end of the Ballad Todd appears from the
grave, asking the audience to stay and listen to his tale:

\begin{figure}[ht]
\caption{The Ballad of Sweeney Todd}
\label{b3}
\centerline{\epsfysize=40mm\epsfbox{b3.eps}}
\end{figure}

\begin{tabular}{c c}
{\sc Todd} & {\sc Chorus} \\
Attend the tale of Sweeney Todd & \\
& Attend the tale of Sweeney Todd \\
He served a dark and a vengeful God & \\
& He served a dark and a vengeful God \\
What happened then, well that's the play & \\
And he wouldn't want us to give it away & \\
Not Sweeney & \\
Not Sweeney Todd & Not Sweeney Todd \\
The Demon Barber of Fleet Street & The Demon Barber of Fleet Street\\
\end{tabular}

Here a strange thing happens. The singer, playing Todd, suddenly is not Todd
anymore, but himself. He represents himself as an acquaintance of Todd, but
he is not Todd anymore. It is here that the communication structure becomes
really epic.

How does the music fit into all this? First of all, because it is the first
vocal piece in the show, it attracts the attention of the audience. The
melody seems to be built to attract and hold this attention. If we look at
the first two notes, we see a leap of a 4th, an interval which has a
signaling function. Many hymns and national anthems start with an
ascending 4th.

There is more, however. The Ballad begins with a solo-part sung by a
baritone or bass, a low voice-type, which helps to build and retain the illusion of an
eulogy. After that the melody is repeated, with different words, by
a tenor:

\begin{quotation}
He kept a shop in London Town\\
Of fancy clients and good renown\\
And what if none of their souls were saved\\
They went to their maker, impeccably shaved\\
By Sweeney\\
By Sweeney Todd\\
The Demon Barber of Fleet Street\\
\end{quotation}

The eulogy is continued. After that something happens, which would probably not
happen on a ''normal'' funeral: the choir begins to sing {\sl fortissimo
subito}. The theme is the {\em Dies Ir{\ae}} transposed up a third. Once
could think that, since the {\em Dies Ir{\ae}}-sequence is part of the {\em Missa
pro defunctis}, this could be considered part of the funeral service. The
lyrics are very Brechtian:

\begin{quotation}
Swing your razor, high Sweeney\\
Hold it to the skies\\
Freely flows the blood of those who moralize\\
\end{quotation}

Still the f$\sharp$ is sounding as an organ-point both in the bass as in one of the
middle voices, from m.59 to m.70, after that there is a strange dissonance.
In the accompaniment we find the f$\sharp$-minor accompaniment, we found in
the beginning of this ballad. And yet, in the vocal lines, we see a
g$\sharp$-c$\sharp$ consonant. Below the f$\sharp$ a c$\sharp$ has been
added. I am inclined to think that the chord from m.71 to m.74 is a
c$\sharp$ chord, or at least a dominant function for f$\sharp$. The fact
that the accompaniment differs so little from the accompaniment we saw in
the beginning, does nothing to  emphasize this function. The differing harmonic
functions are not really made clear in this piece. This makes the piece
sound like one stream of sound, really like a narrative, or better yet, as
one long phrase. Cadences are not accentuated much in this piece. And yet
the absence of clear harmonic functions lends this piece an esoteric
sound.

The most obvious question is: why would they sing at the funeral of a
murderer? Why would anyone come to the funeral of a murderer? The answer to
that question, in my opinion is, is that Sondheim wanted to create
sympathy for Sweeney. He, as an author, has a clear preference for Sweeney.
What Sondheim seems to say here is: it is bad what Sweeney has done, but it is
justifiable from his viewpoint. This section really sums up the essence of
the show. It is like a motto. It is no coincidence that Sondheim used the
{\em Dies Ir{\ae}}-motive here, which is the basic motive of the whole
show\footnote{For the thematic processing of the {\em Dies Ir{\ae}} motive
I refer to Banfield, p. 297ff}. Both the musical and the lyrical motto are brought together in this
section. 

The structure of verbal communication in this section is quite clear, I
think. The choir has one addressee, namely the audience in the theater.
But, as I said, even because there is a choir, there is no epic communication
structure, it is all dramatic communication, because all of the prologue
forms one section of dramatic progress. The structure of the verbal
communication lacks the detachment of an epic communication structure.

After that there seems to develop some sort of conversation between the
funeral-goers:\\

\begin{quotation}
{\sc Tobias:} His needs were few, his room was bare\\
{\sc 3rd Man (Baritone):} A lavabo and a fancy chair\\
{\sc 4th Man (Bass):} A mug of suds and a leather strop\\
An apron, a towel, and a mop\\
{\sc 2 Women (Mezzos):} For neatness he deserves a nod,\\
Does Sweeney Todd\\
{\sc All:} The Demon Barber of Fleet Street\\
\end{quotation}

The music is almost the same as the previous section, but with some
differences. In the upper voice there is a melody sounding, but instead of
just one note, there are several. If we look at the note-constellations we
see that although there are at time only two note, that the most probable
functions of this note groups is either dominant, or sub-dominant. This
makes the harmonic scheme in the upper voices relatively easy to follow.
The ostinato-pattern partly follows this. There is one difference with the
ostinato-pattern in m.1. In the bass a c$\sharp$ is added, and so one would
expect a ${\rm I}^6_4$ chord. But the function of the ornamental and chord
notes seems to have switched. The g$\sharp$ which had an ornamental
function in the f$\sharp$-chord in m.1 now becomes a chord-note while the
a, a chord note in m.1, now merely becomes a prolongation of the c$\sharp$.
So instead of being build on I, this section up to m.97 is built on V. In
m.98 the V resolves to I making the first audible cadence in the piece.

In the upper-voice {\em Dies Ir{\ae}}-like motives are sounding, which are
now harmonized. In many cases there is a V-I progression. But in many cases
there is no such progression. In m.88 there are even parallel 5ths, which
are permitted, in almost all the textbooks on voiceleading and harmony. Is that what Sondheim
is trying to do here? Maybe, the undermining of tonality, and the doing of
''illegal'' things, really are a characterization of Sweeney, who
undermines the established society, and to achieve that goal does highly
illegal things. Many of the sounds are dissonant and in my view that is
another pointer in that direction. If we take the upper notes as the melody
notes in the upper voice, we notice that the {\em Dies Ir{\ae}} is sounding
through in all of these ''melodies''.

It is not certain that these statements are addressed at the audience. It
might well be that it is meant as kind of gossip at the grave. However, as I
stated in the previous chapter, the audience is always receiver of a verbal
utterance, even when it is not directly addressed. I think
that this section depicts some kind of gossiping and can be called a
polylogue. This impression is intensified by the following section:

\begin{quotation}
{\sc Women:} Inconspicuous Sweeney was\\
Quick and clean 'e was\\
Back of his smile\\
Under his word\\
Sweeney heard music that nobody heard\\
Sweeney pondered and Sweeney planned\\
Like a perfect machine 'e did\\
\end{quotation}

I can understand that in many productions this section the singers turn towards
the audience. But I think that it is perfectly defendable that this section
and the next section are seen as the gossiping of the inhabitants of the
neighborhood. It would also be in support of my claim that this is no
example of an epic communication structure. The next section is an even
stronger evidence that this is gossiping amongst funeral-goers:

{\tiny
\begin{tabular}{c c c c c}\\
Soprano & Alto & Tenor & Baritone & Bass\\
& & Sweeney was smooth & Sweeney was smooth & Sweeney was smooth\\
& & Sweeney was subtle & Sweeney was subtle & Sweeney was subtle\\
& & Sweeney would blink & Sweeney would blink & Sweeney would blink\\
& & and rats would scuttle & and rats would scuttle & and rats would
scuttle\\
& & Inconspicuous & Sweeney was smooth & Inconspicuous\\
& & Sweeney was & Sweeney was subtle & Sweeney was\\
& & Quick and quiet and & Sweeney would blink and & Quick and quiet and\\
& & like a perfect ma- & rats would scuttle & clean 'e was\\
& Sweeney was smooth & chine 'e was was & Inconspicuous & Sweeney!\\
& Sweeney was subtle & Sweeney! & Sweeney was & Clean 'e was was\\
Sweeney was smooth & Sweeney would blink and & Clean'e was was & Quick and
quiet and & Sweeney!\\
Sweeney was subtle & rats would scuttle & Sweeney! & like perfect ma- &
Keen 'e was was\\
Sweeney would blink and & Sweeney! & Sweeney! & chine 'e was was &
Sweeney!\\
rats would scuttle & Sweeney! & Sweeney! & Sweeney! & Sweeney!\\
Sweeney! & Sweeney! & Sweeney! & Sweeney! & Sweeney!\\
Sweeney! & Sweeney! & Sweeney! & Sweeney! & Sweeney!\\
Sweeney! & Sweeney! & Sweeney! & Sweeney! & Sweeney!\\
\end{tabular}
}
\begin{tabular}{c c}
{\sc Todd} & {\sc Chorus} \\
Attend the tale of Sweeney Todd & \\
& Attend the tale of Sweeney Todd \\
He served a dark and a vengeful God & \\
& He served a dark and a vengeful God \\
What happened then, well that's the play & \\
And he wouldn't want us to give it away & \\
Not Sweeney & \\
Not Sweeney Todd & Not Sweeney Todd \\
The Demon Barber of Fleet Street & The Demon Barber of Fleet Street\\
\end{tabular}

In the first four measures(m.114-m.117) we hear an unison male choir, with an
ostinato-accompaniment, which is, as in the ballad an embellished f$\sharp$
minor chord. From m.118 the contrapuntal texture begins to unfold itself.
The accompaniment stays basically the same: an embellished f$\sharp$ minor
chord. This whole section bears some some resemblance to a canon in the
unison (or the octave). In the next four measures as the contralto begins to
sing, a new tone is added to accompaniment, namely an e, as the sound
becomes more cluster-like. In the voices we see a new tone namely the
g$\natural$, a very sharp dissonance to the f$\sharp$. The f$\sharp$ is
used as a leading note towards the g$\natural$. But since the g$\sharp$ is
a dissonant in the whole of the chord structure, it is not heard as being
the tonic, but merely as a strange dissonance. The next few measures, the
accompaniment figure more or less stays the same, with exception of the a
which ascends to a b. Thereby the chord thought of as I becomes a V$^{\rm
ael}$ in b-minor it seems. In m.128 en m.129 the cluster becomes more
complicated with the return of the a. While the f$\sharp$ fixedly remains
the organ point, the whole cluster moves up one semi-tone. And m.129 the
was, but then in m.130, the cluster resolves at least in the vocal parts to
the long-awaited f$\sharp$ chord. In the accompaniment, there is also a
f$\sharp$ chord, but there is also a e-minor chord, as a kind of
prolongation. And in m.132 the vocal parts become a half-diminished chord
of c$\sharp$ while the oscillation f$\sharp$-e chords, still continues. In
the bass we see a pattern c$\natural$-g$\natural$-c$\sharp$-c$\natural$,
and this could be seen as a permutation of the Johanna-theme by the
Judge(see p.~\pageref{charjud}).

As a conclusion we can state that the communication structure of this piece
is peculiar. It seems to be a mixture of elements of dramatic and epic
communication structures. I think however that the dramatic communication
structure prevails over the epic communication structure. The use
of a choir could be construed as an element of an epic communication
structure. I think it is this mixture of elements of both communication
structures that gives this piece its special place amongst all the numbers
in {\ST}.
 
\subsection{The Worst Pies in London}
We see here again a piece with a high phatical content. Mrs. Lovett, in her
own way, tries to sell one of her pies to Todd. She does not recognize Todd
at the time she sings the song, it is only after this song that she recognizes
him. This song is so interesting because in it there is a whole
characterization of Mrs. Lovett.

Although the verbal communication is not much of a problem here, I would
like to analyze the change in function from phatical to emotive. The fact
that the emotive section at the end connects well with the ensuing {\em
Poor Thing} is one observation we can make. And there is of course the
actional content of this song, which gives it its own special communication
structure.

In this song, which is one of the few really solo-songs in this show, Todd
does nothing more than grunt. It is also because of the solo-character of
this song that I chose to analyze this.

The song begins as Mrs. Lovett notices or as the stage directions say:
\begin{quotation}
{\em Mrs. Lovett does not notice Todd until his shadow passes across her.
She looks up, knife in air, and screams, freezing him in his tracks}
\end{quotation}

And she begins to sing. I think that in most productions the first word
will be shouted, because that's more natural:

\begin{quotation}
{\sc Mrs. Lovett:} Wait!\\
What's yer rush?\\
What's yer hurry?\\
You gave me such a\\
fright, I thought you was a ghost!\\
Half a minute, can't-cher\\
Sit!\\
Sit ye down\\
{\em (Spoken)} Sit!\\
{\em (Pushes Todd on a stool)}\\
{\em (Sung)} All I meant is that I haven't seen a customer for weeks.\\
Did you come here for a pie, sir?\\
{\em (Todd grunts)}\\
{\em (Mrs. Lovett flicks some dust from a pie}\\
Do forgive me, if me head's a little vague\\
{\em (Spoken)} Ugh!\\
{\em (Plucks something of a pie)}\\
{\em (Spoken)} What is that?\\
{\em (Sung)} But you'd think we had the plague\\
{\em (Drops it on the floor)}\\
{\em (Stomps on it)}\\
from the way that people\\
{\em (Flicks at something on the counter)} keep a-voiding\\
{\em (Spots it moving)}\\
{\em (Spoken)} No, you don't!\\
{\em (Smacks it with her hand)}\\
{\em (Sung)} Heaven knows I try, sir!\\
{\em (Looks at her hand)}\\ 
{\em (Spoken)} Yich!\\  
{\em (Wipes it on her apron)}\\
{\em (Sung)} But there's no-one comes in even to inhale\\
{\em (Blows dust of the pie as she brings it to him)}\\
{\em (Spoken)} Tsk!\\
{\em (Sung)} Right you are, sir, would you like a drop of ale?\\
{\em (Todd nods and grunts)}\\
Mind you, I can hardly blame them\\
\end{quotation}

As we can see this is a highly actional speech, with all the actions
accounted for in the music. So there are, apart from the verbal
communication, two kinds of non-verbal communication are at work: musical and
gestive.

Furthermore, Mrs. Lovett seems to be doing two things at the same time: she
tries to make a pie for Todd, and she is busy telling Todd about the state
of her business. Both actions are separated.

Whenever there is a reference to her making a pie she speaks, instead of
sings. There are many directions and prescriptions concerned with the gestures she's supposed
to make and the music accompanies those gestures.

Whereas when there is talk about the state of business, she sings. Or
rather: she keeps pattering. The phrases she sings are highly irregular.
She has a gossipy way of talking. In most of the phrases she uses the
seduction motive. This is not surprising when one realizes that she has to
persuade Todd to eat one of her pies.

After this section, there is a strange section. The meter changes, and Mrs.
Lovett becomes very sentimental:

\begin{quotation}  
These are probably the worst pies in London.\\
I know why nobody cares to take them\\
I should know,\\
I make them,\\
But good? No,\\
The worst pies in London.\\
Even that's polite.\\
The worst pies in London.\\
If you doubt it, take a bite:\\
{\em (Todd bites into the pie)}\\
Is that just disgusting?\\
You have to concede it.\\
It's nothing but crusting.\\
Here drink this, you'll need it.\\
{\em (Gives him ale)}\\
The worst pies in London.\\
And no wonder, with the price of\\
\end{quotation}

What's she doing here? Could this section be called a reversal or {\em
Stimmungsbrechung}? I think so.
In the first section she tries to sell Todd one of her pies, and here she
tries to dissuade him from doing so. The question is: does she address
these words to Todd, or could they be called a monological aside? I think
that this section the latter is true. Some words are clearly meant
for Todd\begin{quote} Here drink this, you'll need it\end{quote}. But most
of this section is clearly not addressed at Todd. The audience is informed
about the real state of business and the real quality of Mrs. Lovett's pies,
and about Mrs. Lovett's feelings and emotions. 

In the music there is a strange thing happening. The key changes from
f$\sharp$ minor (A major) to G$\flat$-major. This is strange, as the tone of the
lyrics becomes more melancholic and sentimental. This key-change is a
reflection of the reversal in the text. The strange thing is that, since the
music begin in a minor key, the reversal would require a change to a major
key, which is what happens. However, since the words of the major-part are
much more sentimental, it sounds as if the music is contradicting the
meaning of the words, which it doesn't. The reversal in the lyrics and the
music is simultaneous.

In the next section, Mrs. Lovett tries to rat on her competitors:
\begin{quotation}
{\em (Slams a lump of dough on the counter and begins pounding it)}\\
Meat what it is\\
{\em (grunt)}\\
When you get it.\\
{\em (grunt)}\\
Never\\
{\em (grunt)}\\
thought I'd live to see the day\\
men'd think it was a treat finding\\
{\em (grunt)}\\
animals\\
{\em (grunt)}\\
wot are dying in the street.\\
Mrs. Mooney has a pie-shop\\
Does a bus'ness, but I notice something weird:\\
Lately all her neighbors' cats have disappeared\\
Have to hand it to her.\\
{\em (grunt)}\\
{\em (Rolls the dough)}\\
Wot I calls\\
{\em (grunt)}\\
enterprise,\\
{\em (grunt)}\\
Popping pussies into pies.\\
Wouldn't do in my shop.\\
{\em (Pounds the dough)}\\
Just the thought of it, is enough to make you sick\\
{\em (Again)}\\
And I'm telling them pussycats is quick\\
No denying, times is hard, sir\\
\end{quotation}

Again she is advertising her own pies, as the best, with good meat, instead
of the remnants of pets. Although the main reason behind this seems to be
that Mrs. Lovett isn't quick and agile enough to catch the cats Mrs. Mooney
uses to make her pies:\begin{quote}And I'm telling you them pussycats is
quick\end{quote}

In this section the action is not as extensively prescribed as in the
previous section. That may have something to do with the fact that the
action of telling Todd about the state of business prevails over the making
of the pies. There are almost no spoken fragments in this section, apart
from Mrs. Lovett's grunts.

After this section there is the same kind of reversal:
\begin{quotation}
Even harder than the worst pies in London.\\
{\em (As Todd gamely tries another mouthful)}\\
Only lard and nothing more.\\
Is that just revolting?\\
All greasy and gritty.\\
It looks like it's molting\\
And tastes like\ldots Well, pity\\
A woman alone\\
With limited wind\\
And the worst pies in London\\
Ah, sir,\\
Times is hard\\
Times is hard\\
\end{quotation}

As I said about the previous reversal. It does not seem to be addressed at
Todd. He certainly doesn't pay much attention to what Mrs. Lovett is saying
as he {\em gamely tries another mouthful}. Only in the one of the last
lines, she addresses Todd directly. The rest of this section could be seen
again as a monological aside.

As we see there is a constant change from the phatical f$\sharp$-minor to
the emotive, monological G$\flat$-major. The change to the emotive {\em
Poor Thing} is prepared in {\em The Worst Pies in London}. This alternation
between emotive and phatical content seems to be another characteristic of
Mrs. Lovett persona. For instance, in {\em A Little Priest} she has
utterance with a highly phatical content, while in {\em Not While I'm
Around} she has a highly emotive speech. And there are more examples of
this in this show.

\subsection{Poor Thing}
This piece is an example of a monological dialogue. Mrs. Lovett takes most
of the time, with short interruptions from Todd. She tells him what
happened in the room Todd has pointed and asked about. Again she reveals herself to like gossip. The way she
narrates the story has a conspiratory tone. This piece has a ballad-like
construction, and is in that aspect a parallel of the first {\em Ballad}. And
like the first Ballad it is a retrospective. Again, like the first {\em
Ballad},
it is not immediately clear whether we have an epic communication structure
here. I think not, since the piece fits in perfectly with the dramatic
action.
    
In order to analyze this piece it is necessary that we take a look at the dramatic context
of this song. After Mrs. Lovett has drawn Todd into her pie-shop,
he asks her:
\begin{quotation}
{\sc Todd:} {\em (Spoken)} Isn't that a room up there? If times are so hard, why don't
you rent it out? That should bring in something.\\
{\sc Mrs. Lovett:} {\em (Spoken)} Up there? Oh, no one will go near it. People think
it's haunted. You see -- years ago, something happened up there.
Something not very nice. 
\end{quotation}

The last phrase arouses the interest of Todd and, I expect, that of the
audience as well. Fortunately for the audience Mrs. Lovett needs little encouragement to tell the story:
\begin{quotation}
{\sc Mrs. Lovett:} There was a barber and his wife\\
And he was beautiful.\\
\end{quotation}
``And he was beautiful'' is the first expression of affection towards Sweeney. He
shows no reaction to this. The
music can be said to be ominous, not to say
foreboding. The e-b pedal point which is sustained for several measures,
provides (see figure~\ref{Pt1}, p.~\pageref{Pt1}) us with some haunting dissonances. The undertone of impending
doom may be detected.

\begin{figure}[ht]
\caption{{\em Poor Thing}: m. 28-31}
\label{Pt1}
\centerline{\epsfysize=30mm \epsfbox{pt1.ps}}
\end{figure}


Mrs. Lovett continues with the same musical motive:
\begin{quotation}
{\sc Mrs. Lovett:} A proper artist with a knife\\
But they transported him for life\\
And he was beautiful\\
\end{quotation}

For the second time, she airs her feelings towards Benjamin Barker, but
Todd still seems impervious to this. She tries to remember his
name:\begin{quote} Barker his name was-- Benjamin Barker\end{quote} The
following exchange of words can hardly be dramatically motivated:
\begin{quotation}
{\sc Todd:} Transported? What was his crime?\\
{\sc Mrs. Lovett:} Foolishness\\
\end{quotation}

Did Todd not already know this? However, this works quite well as an
expository note for the audience. Since Mrs. Lovett can not possibly know
anything about Todd's life after his deportation, she now concentrates
on those who have been left behind:
\begin{quotation}
{\sc Mrs. Lovett} He had this wife you see\\
Pretty little thing\\
Silly little nit\\
Had her chance for the world\footnote{The OCR (Original Cast Recording) has 'moon' here, the score
has 'world'} on a string.\\
\end{quotation}

Her tone of voice reveals true femininity here: short phrases with only a
single longer phrase at the end. A reminiscence of the ``e-b'' pedal point is still
maintained. At the end of this musical phrase is a ``b-e'' sound, an
inversion of the original pedal point (figure~\ref{Pt2} on
page~\pageref{Pt2}). After this the ``b-e$\downarrow$''
interval is sung. It appears that this interval is one of the pivotal
intervals of this number. If we take a look at the harmonic progression
from m. 28 to m. 31 (figure~\ref{Pt3} on page~\pageref{Pt3}) we still see the
``e-b'' organ-point with a ``d'' added in
m. 29. In this way not only the verbal, but the musical construction
is held together. This factor alone helps keep the narrative
consistent.

\begin{figure}[ht]
\caption{{\em Poor Thing}}
\label{Pt2}
\centerline{\epsfysize=60mm\epsfbox{pt2.eps}}
\end{figure}

\begin{figure}[ht]
\caption{{\em Poor Thing}}
\label{Pt3}
\centerline{\epsfysize=40mm\epsfbox{pt3.eps}}
\end{figure}

From m. 29, the previous phrase is repeated with the same words but with
two important changes in the music. The first is the melodic line
in the middle voice. In the previous phrase one had
``a$\sharp$---g$\sharp$---f$\sharp$''. Now this is transposed a semi-tone
lower to ``a-g-f$\sharp$'', instead of the ``f$\natural$'' one would expect.
Apparently this sets the tone for the events yet to happen:
\begin{quotation}
{\sc Mrs. Lovett:} There were these two you see\\
Wanted her like mad\\
One of'em a judge\\
One of'em his beadle\\
Everyday they'd nudge and they'd weadle\\
Still she wouldn't budge from her needle\\
\end{quotation}

The music accompanying these words is the same as that which Mrs.
Lovett used to describe Todd's wife. In this way a relationship between Todd's wife and the Judge and the Beadle
is implied. The
following two exclamations are descriptive of Todd's wife:
\begin{quotation}
{\sc Mrs. Lovett:} Too bad, Pure thing\\
\end{quotation}

Especially 'Pure thing' has some descriptive music. The chord used on
``Pure'' is an E-dominant-seventh without any additions. In
other words: it is pure. This kind of descriptive music only amplifies the
referential function. The ``a$\sharp$'' on 'thing' can be seen as an
anticipation of the ``b'' (see figure~\ref{pt4} on page~\pageref{pt4}).

\begin{figure}[ht]
\caption{{\em Poor thing}}
\label{pt4}
\centerline{\epsfysize=30mm\epsfbox{pt4.eps}}
\end{figure}

As Mrs. Lovett continues, the dramatic tension heightens:
\begin{quotation}
{\sc Mrs. Lovett:} So they merely shipped the poor blighter off south
they did,\\
Leaving her with nothing but grief and a year old kid\\
Did she use her head even then, Oh no, God forbid\\
Poor fool!\\
Ah, but there was worse yet to come, poor thing\\
\end{quotation}
In this section we see a third reference to Todd's deportation. Within
the framework of the referential function, this fact appears to  be very
important. Apart from the anacrusis at the beginning, we see a cluster of
five notes in this section: ``g-a-b-d-e'' (figure~\ref{pt5}, p.~\pageref{pt5}). An attempt to explain this
cluster must begin with an examination of the action, that is: we must
examine the activity on stage. 

The stage directions are very
clear:
\begin{quotation}
{\it In the shadows of the stage, people appear dimly lit. They wear
formal clothes and the masks of animals and demons. Barker's wife takes
an imaginary baby from an imaginary cot and sits on the floor, cradling
the child and sobbing}
\end{quotation}

\begin{figure}[ht]
\caption{{\em Poor Thing}}
\label{pt5}
\centerline{\epsfysize=15mm\epsfbox{pt5.eps}}
\end{figure}

This reference to the child is very important. If we analyze the melodic
line we note that the first two measures the melody oscillate around the
notes ``g-a-b''. One of the characteristics of children's songs is their limited ambitus and a tendency towards
repetition and oscillation
of patterns. So this kind of melody is both a reference to the child and to the somewhat childish {\em na\"{\i}evet\'e} of Barker's wife.
Even more indicative of this is the pentatonic structure of the material
used: ``g-a-b-d-e'' is a pentatonic scale on e. Pentatonic structures are
quite common in children's songs\footnote{Sondheim uses the same scale
in {\em Into the woods}, see Banfield, p. 381ff}. Furthermore the sharp cluster-like dissonances
in the accompaniment sound ominous. We can observe that not only the
content especially the referential content of the lyrics, is evoked in
the music, but also a reference to events yet to come:\begin{quote}
Ah, but there was worse yet to come\end{quote}
One could say that the music has the role of a mediator in an epic
communication structure. 

After the last line has been sung, dissonances become even sharper,
as they fit into a single chord, that is c$\sharp$-major-$7^{\rm th}$. Because
this chord is played in a high pitch and in 2-position, it is made to
sound sharper. This chord is sustained for a number of measures with the
``d$\sharp$'' and the ``f$\sharp$'' as anticipations for the ``e$\sharp$''
(figure~\ref{pt6}, p.~\pageref{pt6}).

\begin{figure}[ht]
\caption{Poor Thing}
\label{pt6}
\centerline{\epsfysize=30mm\epsfbox{pt6.eps}}
\end{figure}

As Todd urges Mrs. Lovett to continue the story, the key shifts.
Not to f$\sharp$-minor as one would expect after a c$\sharp$-chord but there
is a short transitory passage in D-major and after that the song modulates to
E$\flat$(m. 124). At the same time the time signature changes from 3/4 via 3/2
to 6/8.

Dramatic tension heightens as we now approach the climax. In the
accompaniment we see a motive not totally unlike that of the
ballad-accompaniment, and an ostinato in the bass. The lyrics are:
\begin{quotation}
{\sc Mrs. Lovett:} Well\footnote{Anacrusis}, Beadle calls on her all
polite\\
Poor thing, Poor thing\footnote{Descending 4th}\\
The Judge, he tells her, is all contrite\\
He blames himself for her dreadful plight\\
She must come straight to his house tonight\\
Poor thing, poor thing\footnote{Descending 4th}\\
\end{quotation}

In the fourth line there is a modulation to ``D'', a semi-tone lower
than E$\flat$. Is this an indication of the motives of the judge or
more likely is it pointing forward to the final disaster? If we look at
the accompaniment we observer the ballad motive is retained throughout this
section. This would suggest that the Judge's intentions were probably not as
sincere as Todd's wife believed them to be.

The ostinato-motive in the bass gives this section a special 'drive'. This
has more rhythmic function than a harmonic function, but more a rhythmic function.
This drive (and therefore the dramatic tension) seems to break down when
the {\em Minuet} begins. This break, or interruption could be called a
reversal, and 
makes the contrast between Todd's wife's innocence and the Judge's evil
plans even greater. And even as the ostinato resumes playing the {\em
Minuet}
is still heard\footnote{The reprise of the minuet was omitted in the
OCR}. The lyrics describe the masked ball:
\begin{quotation}
{\sc Mrs. Lovett:} Off course when she goes there,\\
Poor thing, Poor thing\\
They're having this ball all in masks\\
There's no-one she knows there\\
Poor dear, poor thing\\
The Judge has repented\\ 
She thinks poor thing\\
Oh, where is Judge Turpin, she asks\\
\end{quotation}

Mrs. Lovett's narrative points to the future.  During her speech Mrs.
Lovett's and probably our emotions, are aroused. This higher emotional
tension is reflected in the melody by an almost complete absence of
step-wise motion in the melody (figure~\ref{pt7}, p.~\pageref{pt7}). All
this leads to the following
exclamation:
\begin{quotation}
He was there all right!\\
Only not so contrite!\\
\end{quotation}
Stepwise motion has been replaced by broken chords. If we analyze the
following 
three measures we see a Tonic-Dominant movement. Otherwise stated, one
experiences an increase in tension. The ensuing text represent to a greater
or lesser degree the climax of
the song: the rape of Todd's wife by the Judge.

\begin{figure}[ht]
\caption{{\em Poor Thing}}
\label{pt7}
\epsfysize=50mm\epsfbox{pt7.eps}
\end{figure}

At that moment, the music is a combination of cluster-harmonies and 
ostinato. The sharp dissonances provoked by this combination are also
indicative of this climax. We see now that the referential and the
emotive functions can overlap as Mrs. Lovett continues:
\begin{quotation}
{\sc Mrs. Lovett:} She wasn't no match for such craft, you see\\
And everyone thought it so droll\\
They figures she had to be daft, you see\\
So all of'em stood there and laughed, you see\\
Poor soul, Poor thing\\
\end{quotation}

In this section Mrs. Lovett tries to generate compassion for Todd's
wife. Her utterances are therefore directed more towards the audience
than towards Todd, already quite emotionally aroused.
At this point the perspective is sufficiently heightened as to understand
the actions which are to follow.

Furthermore it is necessary to state that although at the moment this song
is heard we already witnessed a fair amount of action in Act I. I
consider this song to be part of the exposition. Without it, the
audience would not be able to understand the background of some of the actions. 

Most noticeable in this song is the shift in predominant functions:
from referential to emotive. Also the fact that it changes from a
monological dialogue to a real monologue. Todd's interruptions stop after a
while. We see the same shift in function as in {\em The Worst Pies in London}.

\subsection{Pirelli's Miracle Elixir \& The Contest}
The function of this speech is
to make people by a so-called hair-growing elixir. So the function would be
highly phatical one with a shift to the appellative function as soon as the
communication channel has been established. The form is a polylogue between Tobias, the crowd,
Todd and Mrs. Lovett. 

As I mentioned this verbal utterance is a polylogue. What is strange about
this polylogue, is that the participants are not spatially separated. They
stand close together, and what quite often happens in a polylogue, namely
the division into smaller groups, doesn't happen here. The whole utterance
remains a unit throughout this number. This unification
of the different participants was the object of Tobias' initial speech. At the end
however Tobias becomes detached and the crowd's attention turns to Todd and
Mrs. Lovett. Todd works disruptive on the communication-channel Tobias has
just created. 
 
To sell this hair-growing elixir, Tobias,
the person who is trying to sell this stuff first has to establish
communicative contact with his prospective buyers. The first line is
more or less designed to arouse the curiosity of the crowd:
\begin{quotation}
{\sc Tobias:} Ladies and gentlemen! May I have your attention, perlease?
\end{quotation}

In the music we see a steady but consistent quick rhythmic movement.
Tobias has to speak quickly lest the audience loses its attention(figure~\ref{me1} on page\pageref{me1}). There
are no repeated pitches. This also meant to maintain attention. But this
is not enough. The buyers must be convinced that they need Pirelli's
elixir. In order to convince the crowd of that, Tobias asks a
question:
\begin{quotation}
{\sc Tobias:} Do you wake ev'ry morning\\
in shame despair?\\
To discover your pillow\\
Is covered with hair,\\
Wot ought not to be there?\\
\end{quotation}

\begin{figure}[ht]
\caption{{\em Pirelli's Miracle Elixir}}
\label{me1}
\centerline{\epsfysize=30mm\epsfbox{me1.eps}}
\end{figure}

And Tobias immediately answers this question:
\begin{quotation}
{\sc Tobias:} Well Ladies and gentlemen,\\
From now on you can waken at ease\\
You need never again have a worry or care\\
I'll show you a miracle marvelous rare\\
\end{quotation}

This intensifies the crowd's curiosity, and the next phrase is a kind of
climax:
\begin{quotation}
{\sc Tobias:} Gentlemen, you are about to see something\\
That rose from the dead\ldots --
\end{quotation}

Seen from the perspective of the time this play is set in, this phrase
is quite extraordinary. No wonder a woman in the crowd
gasps\footnote{That's in the stage directions}. The conflict caused by
this phrase is solved quickly enough:
\begin{quotation}
{\sc Tobias:} On the top of my\footnote{OCR has 'me' i.s.o. 'my'} head.
\end{quotation}

He then goes on to explain what happened:
\begin{quotation}
{\sc Tobias:} Scarcely a mont ago\\
I was struck with a horrible\\
Rare Oriental\footnote{The OCR has here 'dermatologic'} disease\\
Though the finest physicians\\
In London were called\\
I awakened one morning\\
Amazed and appalled\\
To discover with dread\\
That my head was as bold\\
As a novice's knees\\
I was dying of shame\\
Till a gentleman came\\
An illustrious barber\\
Pirelli by name\\
He gave me a liquor as\\
Precious as gold\\
I rubbed it in daily\\
like wot I was told\\
And behold\\
Only thirty days old\\
\end{quotation}

More or less a success-story so far. A look at the music reveals that
the pace of speech hardly has been slowed down but because there are now
much more repeated pitches and stepwise motions, this music is more
suited to a short narrative.

The sole purpose of this narrative is to persuade the crowd that what
apparently had happened to Tobias could happen to them as well, and
therefore it would be a good idea, if they have a similar problem, it might
to buy this elixir. But to get rid of the last doubt in the
crowd Tobias makes an obvious conclusion:
\begin{quotation}
{\sc Tobias:} 'T was Pirelli's miracle elixir\\
That's what did the trick, sir\\
True, sir, true\\
Was it quick, sir?
Did it in a tick, sir\\
Just like an elixir ought to do\\
\end{quotation}

In the music we see an ostinato-like-pattern with an a-b organpoint.
This strange dissonant organ-point is most probably used to intensify
the meaning of the words. In the vocal score a drum is indicated. Apart
from the a-b organ point the harmonic is quite normal. There is another
way in which the meaning of the words are intensified: namely by the use
of square, unsyncopated rhythms(figure~\ref{me2} on page~\pageref{me2}).

\begin{figure}[ht]
\caption{{\em Pirelli's Miracle Elixir}}
\label{me2}
\centerline{\epsfysize=40mm\epsfbox{me2.eps}}
\end{figure}

After this section Tobias tests whether his messages has been heard:
\begin{quotation}
{\sc Tobias:} How about a bottle, mister?\\
Only costs a penny, guaranteed\\
{\sc 1st Man:} Penny buys a bottle, I don't know\\
{\sc 2nd Man:} You don't need\\
{\sc 1st Man:} Ah, let's go!\\
\end{quotation}

Tobias feels that the crowds attention is slipping away, so he employs
another mean, used in advertising, namely: repeat the message:
\begin{quotation}
{\sc Tobias:} Does Pirelli's stimulate the growth, sir?\\
You can have my oath, sir,\\
'T is unique\\
Rub a minute\\
Stimulating i'n' it?\\
Soon you'll have to thin it\\
Once a week\\
\end{quotation}  

\begin{tabular}{l l}\\
{\sc 1st Man:} Penny buys a bottle & {\sc Tobias:} How a about a sample?\\\
well & \\
{\sc 2nd Man:} Wotcher think? & {\sc Tobias:} Have you ever smelled\\
{\sc 1st Woman:} Isn't it a & a cleaner smell\\
crime, they let & That's enough sir, ample\\
those urchins clog & \\
the pavements \\
{\sc 2nd Woman:} Go ahead and try it, wot the hell & {\sc 3rd Man:}
Penny buys a\\
 & bottle doesn't it?\\
\end{tabular}
Tobias gets encouraged:
\begin{quotation}
{\sc Tobias:} Gently dab it\\
Get to be a habit\\
Soon there'll be enough sir\\
Somebody can grab it.\\
See that chap with hair like Shelley's\\
You can tell 'e's used Pirelli's\\
\end{quotation}

And just as Tobias is about to sell his first bottles, Todd and Mrs.
Lovett enter the scene:
\begin{quotation}
{\sc Todd:}{\em (Loudly to Mrs. Lovett)} Pardon me, ma'am, what's that
awful stench?\footnote{I left out the chattering of the other figures
for the sake of clarity}\\
{\sc Mrs. Lovett:} Are we standing near an open trench?\\
\end{quotation}
\begin{tabular}{l l}
{\sc Mrs. Lovett:} & {\sc Todd:}\\
{\em (To a man in the crowd)} & \\
Pardon me, sir, & Must be standing near an open \\
What's that awful stench & trench \\
\end{tabular}

Tobias does not yet know how dangerous Todd is for his commercial
undertakings and innocently hands Todd a bottle for further inspection.
In the meanwhile, the appellative function of this scene is still the
prevalent function:
\begin{quotation}
{\sc Tobias:} Buy Pirelli's Miracle Elixir\\
Anything what's slick, sir,\\
Soon sprouts curls''
Try Pirelli's!\\
When they see how thick, sir\\
You can have your pick, sir\\
Of the girls\\
\end{quotation}

Todd immediately deflates this rather swollen language:
\begin{quotation}
{\sc Todd:} What is is?\\
{\sc Mrs. Lovett:} What is this?\\
{\sc Todd:}{\em (Handing the bottle back distastefully)} Smells like
piss\\
{\sc Mrs. Lovett:} Smells like--phew!\\
\end{quotation}
\begin{tabular}{l l}
{\sc Todd:} & {\sc Mrs. Lovett} \\
Looks like piss & Wouldn't touch it if I was\\
 & you dear \\
This is piss, & \\
Piss with ink & \\
\end{tabular}

The crowd now begins to take notice. In other words, their attention
shifts. That means that the speeches of Todd and Mrs. Lovett have an
equally appellative function too, and as it seems a stronger
appellative function:
\begin{quotation}
{\sc Tobias:} Let Pirelli's active your roots, sir.\\
{\sc Todd:} Keep it of your boots, sir\\
Eats right through\\
\end{quotation}

Tobias is rapidly losing the communicative link he had with the crowd:
\begin{quotation}
{\sc Tobias:} Get Pirelli's!\\
Use a bottle of it!\\
Ladies seem to love it!\\
{\sc Mrs. Lovett:} Flies do, too!\\
\end{quotation}

The mood of the crowd has now changed entirely from willingness to anger.
Tobias frantically tries to save his boss and himself:
\begin{quotation}
{\sc Tobias:} See Pirelli's Miracle Elixir\\
Grow a little wick,sir\\
Then some fuzz\\
The Pirelli's\\
Soon'll make it thick, sir,\\
Like a good elixir\\
Always does\\
Trust Pirelli's\\
If your hair is sick, sir,\\
Fix it in a nick, sir,\\
Don't look grim!\\
Just Pirelli's\\
Miracle Elixir\\
That'll do the trick, sir!\\
{\sc 3 Men:} What about the money?\\
{\sc Tobias:} If you've got a kick, sir!\\
\end{quotation}

This section is a diminution of the previous 'advertising' speeches.
It's exactly twice as fast to indicate a frenetic tone. After this
section a more or less contrapuntal, and confused, section follows, in
which the crowd demands its money back and Tobias really gets desperate
and at the end of it he cries out:
\begin{quotation}
{\sc Tobias:} Tell it to the mixer\\
Of the Miracle Elixir\\
If you've got a kick, sir\\
{\em (Exhausted)} Talk to him.\\
\end{quotation}
This section is even faster than the previous section. 

As I mentioned in the previous chapter, the phatic function often overlaps
with the appellative function. In this case the creation of communicative
contact, which is the domain of the phatic function, is followed by acts
of persuasion, which are the domain the of the appellative function. 

The structure of the verbal communication becomes somewhat more problematic
in the Contest. The main verbal utterances are by Pirelli, and that makes
this piece into a monological dialogue. In the contest Todd never gets any
music, while Pirelli sings more or less a bel-canto aria. Both the crowd on
stage as the audience in the theater are intended to be addressees.

The Contest really begins as Pirelli enters\footnote{No. 10 in the vocal
score}
\begin{quotation}
{\em (Pirelli bursts through the curtain flamboyantly. The crowd falls
silent, stunned. Pirelli poses splendidly for a moment)}\\
{\sc Pirelli:}{\em (Sung)} I am the Adolfo Pirelli\\
Da king of da barbers,\\
Da barber of kings,\\
E buon giorno,\\
Good day.\\
I blow you a kiss.\\
{\em (He does)}\\
And I,\\
Da so famous Pirelli,
I wish-a to knowa\\
who has-a da nerve-a to say\\
My elixir is piss!\\
Who says this?\\
\end{quotation}

The characterization of Pirelli is almost done in this small fragment.
He is shown to be an Italian, who likes to boast about the things he has
done, who is a charmer, and a person who is easily offended. His voice-type
as I mentioned before is that of a bel-canto tenor, a voice which makes
the characterization complete. 

Although this speech is addressed at the crowd, it is indirectly addressed
to Todd, to impress him. Todd however is not impressed (the next section
is completely spoken):

\begin{quotation}
{\sc Todd:}I do. {\em (He holds up the bottle of the elixir)}
I am Mr. Sweeney Todd and I have opened a bottle of Pirelli's elixir, and I
say to you it is nothing but an arrant fraud. {\em (Mrs. Lovett takes the
bottle from Todd, sniffs it)}\\
{\sc Mrs. Lovett:} He's right. Phew! Better to throw your money down the
sewer. {\em (She tosses the bottle to the ground. The onlookers ''ooh'' and
''aah'' with shocked excitement)}\\
{\sc Tobias:} {\em (Beating agitatedly on the drum)} Ladies and gentlemen,
pay no attention to that madman. Who's to be first for a magnificent
shave?\\
{\sc Todd:} {\em (Breaking in)} And furthermore\ldots {\em Glaring at
Pirelli)} I have serviced no kings, yet I wager that I can shave a cheek
and pull a tooth with ten times more dexterity than any street mountebank!
{\em (He holds up his razors for the crowd to see)} You see these razors?\\
{\sc Mrs. Lovett:} The finest in England.\\
{\sc Todd:} {\em (To Pirelli)} I lay them against five pounds you are no
match for me. You hear me, sir? Either accept my challenge or reveal
yourself as a sham.\\
{\sc Mrs. Lovett:} Bravo, Bravo. {\em (The crowd laughs and cheers,
obviously on Todd's side. Pirelli as imposing as ever, holds up a hand for
silence. Slowly he swaggers toward Todd, takes the razor case, opens it and
examines the razors carefully)}\\
{\sc Pirelli:} {\em (He speaks with a fairly obvious put-on foreign accent,
barely concealing an Irish underlay)} Zees are indeed fine razors.
Instruments like zees once seen cannot soon be forgotten. {\em (Takes out a
tooth-extractor)} And a fine extractor too! You wager zees against five
pounds, sir?\\
{\sc Todd:} I do.\\
{\sc Pirelli:} {\em (Addressing the crowd)} You hear zis foolish man? Watch
and see how he will regret his folly. Five pounds it is!\\
{\sc Todd:} {\em (As the music starts, surveying the crowd)} Friends,
neighbors, who's for a free shave?\\
{\sc First Man:} {\em (Heavily bearded, stepping forward eagerly)} Me, Mr.
Todd, sir.
{\sc Second Man:} {\em (Stepping forward eagerly, too)} And me, Mr. Todd,
sir.\\
{\sc Todd:} Over here. Bring me a chair.\\
{\sc Pirelli:} {\em (To Tobias)} Boy, bring ze basins, bring ze towels!\\
{\sc Tobias:} Yes, sir\ldots\\
{\sc Pirelli:} Quick! {\em (He kicks Tobias. The boy hurries off into the
caravan)}\\
{\sc Todd:} Will Beadle Bamford be the judge!\\
{\sc Beadle:} Glad as always to oblige my friends and neighbors. {\em (As
another man comes on with a wooden chair and Tobias emerges from the
caravan with basins, towels, etc., the Beadle instantly takes over. To man,
indicating where to set the chair)} Put it there. {\em (The Bearded Man sits
on Todd's chair. The 2nd Man is ensconced on Pirelli's chair. Pirelli
shakes out a fancy bib with flourish and covers his man. Todd takes a towel
and tucks it around his man's neck)} Ready?\\
{\sc Pirelli:} Ready!\\
{\sc Todd:} Ready!\\
{\sc Beadle:} The fastest, smoothest shave is the winner. {\em (He blows his
whistle)}
\end{quotation}

The semantic oppositions are very clear in this section. Todd doesn't
bother to convince Pirelli that he is the best. Pirelli however does
everything to impress Todd. That Pirelli is an imposter can be seen in the
stagedirections: {\em He speaks with a fairly obvious put-on foreign accent,
barely concealing an Irish underlay}. In the next section, Todd has only
gestive utterance while Pirelli excels in an abundance of great, boisterous words:

\begin{quotation}
{\em (Pirelli strops his razor quickly and starts whipping up lather
furiously. Todd also strops his razor, but with painstaking slowness)}\\
{\sc Pirelli:} {\em (Sung)} Now signorini, signori, we mix-a da lather\\
But first-a you gather\\
around,\\
Signorini, signori, you looking a man who have had-a da glory\\
to shave-a da Pope!\\
{\em (Lathering his man)} Mister Sweeney whoever\\
{\em (To the customer as he accidentally lathers his nose)} I beg-a your
pardon'll\\
probably say it was only a cardinal.\\
Nope! {\em (Finishes lathering the man)}\\
It was-a da Pope! {\em (Exchanges his brush for a razor)}\\
To shave-a da face {\em (Shaves his man with flourishes)}\\
To pull-a da toot'\\
Require da grace\\
And not-a da brute,\\
For if-a you slip,\\
you nick da skin,\\
you clip-a da chin\\
you rip-a da lip\\
a bit,\\
and dat's-a da trut'\\
{\em (Todd strops his razor slowly and deliberately, disconcerting, Pirelli
and drawing the crowd's attention.)}\\
{\sc Pirelli:} {\em (Getting the crowd's attention back)} To shave-a da
face\\
Or even a part\\
Widout it-a smart\\
Require da heart\\
It take-a da art.\\
{\em (Gesturing to Tobias, who pulls down an elaborate anatomical chart of
the head.)}\\
I show you a chart\\
I study-a start-\\
ing in my yout'\\
{\em (Again, Todd slowly strops his razor.)}\\
{\sc Pirelli:} {\em (Gaining confidence as he sees Todd so far behind)} To
cut-a da hair,\\
To trim-a da beard,\\
To make-a da bristle\\
clean like a whistle\\
Dis is from early infancy\\
Da talent give to me\\
by God!\\
It take-a da skill,\\
It take-a da brains,\\
It take-a da will\\
To take-a da pains,\\
It take-a da pace,\\
It take-a da grace!\\
{\em (Todd, with a few deft strokes, lathers and shaves his man, and
signals the Beadle)}
{\sc Beadle:} {\em (Spoken)} The winner is Todd!\\
\end{quotation}

Quite an elaborate exposition of one's talents, as we can see. Instead of
using verbal communication to top this, Todd, simply by his deeds,
convinces the crowd of his superiority. It could be called a demonstration
{\em ad oculos}. But the contest has two parts. We have now seen the shaving.

The second part, the tooth-pulling, follows the same pattern. Pirelli is
quite elaborate in showing off his so-called talents. And again Todd's
answer is a purely gestive one.

The speeches by Pirelli are more or less monologues, with some short
interruptions by Tobias, especially in the tooth-pulling-scene, where
Sondheim even set Tobias' cries of pain to music. Because Pirelli's
speeches have the sole purpose of convincing the public that he is the best,
his utterances are highly appellative. Even when it is apparent that he is
inferior to Todd, he keeps on boasting. Again this is part of the
characterization: Pirelli is shown to be a very shallow man. And he is, as
we can observe later in the play, because he's really from Ireland, and
Pirelli is just a mask he's putting on. He needs the boasting and the grand
words to convince not only the audience, but himself as well, that he is an
Italian barber.

\subsection{Kiss Me-sequence}

This piece begins as a dialogue with monological tendencies. It develops to
be a polylogue with four participants: Johanna, Anthony, Judge Turpin and
Beadle Bamford.
 
\begin{tabular}{l l}\\
{\sc Johanna} & {\sc Anthony}\\
He means to marry me Monday. & \\
What shall I do? & \\
I'd rath- & \\
er die & I have \\
 & plan \\
{\em (Not listening to him)} I'll swallow poison on Sunday, & \\
that's what I'll do, & \\
some lye. & I have a \\
& plan \\
Oh, dear what a noise & \\
& A plan \\
I think I heard a noise & A plan \\
It couldn't be, He's in court, & \\
he's in court today. & \\
Still that was noise, & \\
Wasn't that a noise? & \\
You must have heard that\ldots & \\
\end{tabular}

What we see here is not so much a dialogue but a combination of two
monologues, with Johanna given the most dominant part. She's is obviously not
listening to Anthony, as she seems to be wrapped up in her own deliberations.
She is quite nervous, as the music indicates: short phrases with a small
ambitus. But finally she realizes that Anthony is talking to her:

\begin{tabular}{l l}\\
{\sc Johanna} & {\sc Anthony}\\
 & Kiss me! \\
{\em (Shyly)} Oh, Sir\ldots & \\
& Ah, miss\ldots \\
Oh, sir\ldots & \\
\end{tabular}

We see here a hocket-like construction in the music, which indicates that
they listen to each other. But this is just a short interlude, because
after that Johanna resumes her frenzy:

{\tiny\begin{tabular}{l l}\\
{\sc Johanna} & {\sc Anthony}\\
{\em (Pacing again)} If he should marry me Monday, & \\
What will I do? & \\
I'll die & \\
of grief. & We fly to- \\
& night. \\
'Tis Friday, virtually Sunday, & \\
What can we do with time & \\
so brief? & We fly to\ldots \\
{\em (Covering Anthony's mouth)} Behind the curtain, quick! & Tonight. \\
I think I heard a click & \\
& Tonight! \\
It was a gate. It's the gate & \\
We don't have a gate & It's not a gate. There's no \\
Still there was a\ldots & gate, You don't \\
Wait! There's another click, You must have heard that\ldots & have a gate.
If you'd only listen miss, And \\
& Kiss me! \\
Tonight? & \\
& Kiss me! \\
\end{tabular}}

We see here how music can blur the semantic structure. Johanna is still
confused and worried, while Anthony tries to calm her down. Instead of
speaking in turn, they speak simultaneously, which can be rather confusing
for the listener. Maybe this was done to emphasize the confusion the
young couple is in. After this section Anthony finally seems to succeed in calming down Johanna:

\begin{tabular}{l l}\\
{\sc Johanna} & {\sc Anthony}\\
You mean tonight? & \\
& The plan is made, \\
Oh, sir! & \\
& So kiss me. \\
I feel a fright. & \\
& Be not afraid \\
Sir, I did & Tonight I'll \\
love you even as I & steal \\
saw you. Even as it & you, Jo- \\
did not matter that I & han- \\
did not know your & na, I'll \\
name & steal \\
& you \\
\end{tabular}

Their confusion appears to make room for some decisiveness, as they express
the love they feel for each other. Anthony sings his {\em Johanna}-theme
with Johanna singing another counter-theme. This presents itself like a subject and a
counter-subject within a fugue. Finally, Anthony manages to get Johanna to listen to him:

{\tiny
\begin{tabular}{l l}\\
{\sc Johanna} & {\sc Anthony}\\
& It's me you'll marry on Monday,\\
& That's what you'll do!\\
And glad- & \\
ly, Sir. & St. Dunstan's, \\
& noon. \\
I knew I'd be with you one day, & \\
Even not knowing who you & \\
were & Ah, miss, mar- \\
I feared you'd never come, & me, marry me, miss, Oh, mar-\\
That you'd been called away & ry me Monday! Fa-\\
That you'd been killed, had the plague, were in debtor's jail, & vor me,
favor me with your hand. Promise, \\
Trampled by a horse, gone to sea again, arrested by the\ldots & marry me,
marry me, Please oh, marry me, Monday\ldots \\
\end{tabular}}

Again Anthony sings a motive he has used before to get Johanna's
attention. Johanna no longer worries about her marrying the Judge, but is
worried about all the things that could have gone wrong with Anthony.
Although her phrases are connected rhythmically: there are no rests
between them, her textual phrases are short, little more than
exclamations. But again Anthony succeeds in calming Johanna down:

{\tiny\begin{tabular}{l l}\\
{\sc Johanna} & {\sc Anthony}\\
Kiss me! & \\
& Off course. \\
Kiss me! & \\
& You're sure? \\
Kiss me! & \\
& I shall \\
Kiss me\ldots oh, Sir\ldots{\em (He takes her in his arms and they fall
back onto the couch.)} \\
\end{tabular}}

Johanna finally succumbs to Anthony's wishes. After that, an
interlude follows: {\em Ladies in their sensitivities}. The stage
directions at the beginning are as follows: {\em Light rises and the Judge
and the Beadle are seen still walking together}.

\begin{quotation}
{\sc Judge:}{\em (Spoken)} Yes, yes, but surely the respect that she owes me as her
guardian should be sufficient to kindle a more tender emotion. 
\end{quotation}

The ensuing melody sheds some light on the mental disposition of the Beadle:
\begin{quotation}
{\sc Beadle:} Excuse, my Lord, \\
May I request my Lord,\\
Permission my Lord,\\
To speak?\\
Forgive me if I suggest, my Lord, \\
You're looking less than your best, my Lord, \\
There's powder upon your vest, my Lord,
And stubble upon your cheek.\\
And ladies my Lord, are weak.\\
\end{quotation}

First of all there is little rhythmic stability in this piece. It oscillates
between 5/8, 4/8, and one bar 6/8. Furthermore we
discover a limited choice of notes in the melody, it could be said to be almost
pentatonic, and it reminds me very strongly of a children's song: he is using almost the same scale as the pentatonic scale in {\em
Poor Thing}. This rhythmic instability may be said to signify the seemingly mental
instability of the Beadle while the use of the "pentatonic" scale lends him
a certain kind of infantility. Both characteristics make up for a very
submissive personality. This submissiveness is obviously a farce, the Beadle is
very
well aware of what he is doing, as we learn in the next section:
\begin{quotation}
{\sc Judge:} {\em (Spoken)} Perhaps if she greets me cordially upon my return, I should
give here a small gift\ldots\\
{\sc Beadle:} {\em (sung)} Ladies in their sensitivities, my Lord\\
Have a fragile sensibility.\\
When a girl's emergent,\\
Probably it's urgent\\
You defer to her gentility, my Lord.\\
Personal disorder cannot be ignored,\\
Given their genteel proclivities.\\
Meaning no offense, it\\
happens they resents it,\\
Ladies in thier sensitivities my Lord.\\
\end{quotation}

Although the range of the Beadle's song is still somewhat limited, he turns out
not to be as stupid as we thought at the beginning of the song. He knows
very well what the Judge wants. The limited ambitus could again signify as a form of restraint. The seductive semi-tones amplify the
sensuality of the melody\footnote{Compare this with the {\em Haba\~nera} from
Bizet's {\em Carmen} where semi-tones are used to raise sexual tension}.
The Judge is quite sensitive to this kind of seduction:
\begin{quotation}
{\sc Judge:}{\em (Feeling his chin)} Stubble, you say? Perhaps at times at
times I am a little overhasty with my morning ablutions\ldots\\
{\sc Beadle:}{\em (sung)} Fret not, though, my Lord,\\
I know a place, my Lord,\\
A barber, my Lord,\\
of skill.\\
Thus armed with a shaven face, my Lord,\\
Some eau de cologne to brace my Lord,\\
And musk to enhance the chase, my Lord,\\
You'll dazzle the girl until\\
She bows to your ev'ry will\\
\end{quotation}

The mood of this section is the same as the first section of this song.
The Beadle uses the same notes, and with these, we can clearly see the
seduction motive. After this song the Beadle leads the Judge to Todd's
tonsorial parlor. And with the different figures thus lined up, the second
part of {\em Kiss Me} can begin.

{\tiny
\begin{tabular}{l l l l}\\
{\sc Beadle} & {\sc Johanna} & {\sc Anthony} & {\sc Judge}\\
The name is Todd & & & {\em (Spoken)} Todd, eh?\\
& & We'd best not wait until Monday & \\
& Sir, I concur and ful- & & \\
Sweeney & -ly too & It isn't & \\
Todd & & right, We'd best be married on Sunday & \\
{\em The Judge and the Beadle move past the house)} & & & \\
& Saturday would al- & & \\
& so do. & Or else to- & \\
& & night & \\
& I think I heard a noise & & \\
& & Fear not. & \\
& I mean another noise. & & \\
& & Like what? & \\
& Oh, never mind, just a & & \\
& noise, just another noise & You mustn't mind, It's a & \\
& Something in the street & noise, Just another & \\
& I'm a silly, little ninny noddle, & noise, Something in the street, you
silly\ldots & \\
& Kiss me! & Kiss me! & \\
\end{tabular}
}

There has been a major change in the way Johanna and Anthony communicate with
each other. In the first part of {\em Kiss Me} before {\em Ladies in Their
Sensitivities} they spoke but did not listen, and now they are listening to each
other. Johanna seems to have more self-confidence and seems to be less
nervous and evidently it is now Anthony who seems to be a bit nervous:

{\tiny
\begin{tabular}{l l l l}\\
{\sc Beadle} & {\sc Johanna} & {\sc Anthony} & {\sc Judge}\\
& Oh, sir\ldots & & \\
& & We'll go to Paris on Monday. & \\
& What shall I wear? I dare- & & \\
& n't pack & We'll ride a train & \\
& With you beside me on Sunday & & \\
& What will I care what things & & \\
& I lack & Then sail to spain &  \\
& I'll take my reticule & & \\
& & Why take your reticule? & \\
& I'll need my reticule & & \\
& & We'll buy a reticule & \\
& You mustn't & & \\
& think me a fool & I'd never think & \\
& But my reticule & you a fool but a & \\
& Never leaves my side, It's the & reticule\ldots Leave it all a- & \\
& my mother gave me\ldots & side and begin again and\ldots & \\
& Kiss me! & Kiss me! & \\
The name is & & & \\
Todd & Kiss me! & I know a & Todd? \\
Todd, & & place where we can go & \\
Sweeney & We'll go there & tonight & Sweeney \\
Todd. & Kiss me! We have a & Kiss me! We have a & Todd? \\
Todd, Sweeney & place where we can go tonight I loved & place where we can
go tonight & Sweeney \\
Todd. & loved you even as I & loved you even as I & Todd. \\
Todd. & saw you, Even as it & saw you, Even as it, & Todd. \\
Todd. & does not not matter that I & did not matter that I & Todd. \\
& Still don't & did not & \\
Sweeney & know your & know your & Sweeney \\
Todd. & name, sir, Even as I & name. Jo- & Todd. \\
Todd. & saw you, Even as it does & hanna! Jo- & Todd. \\
Todd. & does not matter that I & hanna! Jo- & Todd. \\
& still don't know your & hanna! & \\
& name & {\em (spoken)} Anthony & \\
\end{tabular}
}

Although this section at first sounds rather confused, the semantic changes
of direction are not really substantial. The Judge and the Beadle do nothing more
than repeat Todd's name, while Anthony and Johanna make a reprise of the
first part of {\em Kiss Me}. So instead of having four different semantic
directions competing with each other, we have two, living quite peacefully
next to each other. The situation gets more complicated as the song continues:

{\tiny
\begin{tabular}{l l l l}\\
{\sc Beadle} & {\sc Johanna} & {\sc Anthony} & {\sc Judge}\\
& & & {\em (spoken)} Todd? \\
{\em (spoken)} Todd. & & & \\
& {\em (spoken)} Anthony! & & \\
& & & {\em (spoken)} Todd, eh? \\
Ladies & & & \\
in their sensi- & I'll marry Anthony Sunday! & & \\
tivities, my lord, & That's what I'll do, no matter what! & That's what
you'll do, no matter what! & Pray lead the \\
Have a & & & way. \\
fragile sensi- & I knew you'd come for me one day, & I knew I'd come for
you one day & \\
bility & Only afraid that you'd forgot. & Only afraid that you'd forgot. &
Just as you \\
When a girl's emergent & I feared you'd never come, that you'd been called
away & Marry me, marry me, miss, Oh marry me Sunday! \\
Probably it's urgent & That you'd been killed, had the plague, were in
debtors jail. & Favor me, favor me with your hand! Promise & \\
Ladies in their sensi- & marry me, marry me, That you'll marry me, Enough
of all this\ldots & \\
tivities & & & \\
& {\em (Anthony crushes Johanna to him. They kiss)} Oh, sir\ldots & & \\
& & {\em (Anthony and Johanna sink onto the couch, embracing)} Ah,
miss\ldots & \\
Sensi- & Oh, sir\ldots & Ah, & \\
tivities & Oh, sir\ldots oh, sir\ldots & miss\ldots ah, miss\ldots 
ah,\ldots & \\
& oh, sir\ldots oh, sir\ldots & miss\ldots ah, miss\ldots ah, & Todd\ldots
\\
& oh, sir\ldots oh, sir\ldots & miss\ldots  ah, miss\ldots ah, & \\
& & miss\ldots & \\
\end{tabular}
}

Here the semantic contrasts are more emphasized. The Beadle again uses his
seduction melody, which he used to support the Judge in his plans of
marrying Johanna, while Anthony and Johanna again proclaim their love for
each other. It may be significant that this is the third time they do so.
Perhaps this casts light on the kind of love they feel for each
other. Anthony and Johanna end up cooing to each other while the Beadle
sings a rather deformed version of his original melody.

\subsection{Epiphany}
If we are to analyse the {\em Epiphany} from it seems
sensible to have a look at the dramatic context. Before the {\em
Epiphany} begins, Todd has the Judge sitting in the chair. Todd is
preparing to kill the Judge when Anthony comes
running in. As the Judge discovers what Anthony and Todd are up to, he
leaves the barbershop, saying that he'll never return. Todd, who has
come so close to his revenge, sings out his frustration, while Mrs.
Lovett unsuccesfully tries to calm him down. This is the {\em Epiphany}
The main emotion in the song, frustration, changes during the song to
anger.

The first motive the audience hears is the {\em Nemesis-theme} 
which is
an indication of Todd's mood. The motive is sustained while Todd makes
the following exclamations:
\begin{quotation}
{\sc TODD:} I had him\\
His throat was bare beneath my hand!\\
{\sc MRS. LOVETT:} There, there dear, don't fret\\
{\sc TODD:} No, I had him\\
His throat was there and he'll never come again\\
\end{quotation}

At that moment Mrs. Lovett tries feebly to soften Todd's mood:
\begin{quotation}
{\sc MRS. LOVETT:} Easy now, hush, love, hush\\
I keep telling you, what's yer rush?\\
\end{quotation}

These words may sound friendly but their effect is partially undermined
by the fact that they are accompanied by some fierce dissonant
harmonies. These kind of harmonies are used more probably used to
accentuate the rhythmic drive of the piece than as pure functional
harmonics in the Riemannian sense of the word. They could also be signified
as signs for the frustration Todd feels.

This kind of harmonic use is one of the
characteristics of \ST\ . In the end, however Mrs. Lovett's words are
undermined by these harmonies. The same harmonies are retained for quite
a long time while Todd airs his frustration:
\begin{quotation}
{\sc TODD:} When? Why did I wait?\\
You told me to wait!\\
Now he'll never come again.\\
\end{quotation}

The same harmonies, instead of weakening the content of the words, in
this section amplify the content. The words ''Now he'll never come
again'' is sung on a combination of two scales which are used in the
harmonies (figure~\ref{ep1} on page~\pageref{ep1}).

\begin{figure}[ht]
\caption{Epiphany}
\label{ep1}
\centerline{\epsfysize=60mm\epsfbox{ep1.eps}}
\end{figure}

After that Todd expresses his view on mankind in general and on the
inhabitants of London specifically. Here a return of the {\em nemesis}-motive
predicts impending doom. The motive c-f-c-d could be seen as a
derivative of the inversion of the {\em Dies Ir{\ae}}-motive\footnote{In
that light even the ballad accompaniment could be seen as being
derivative of the {\em Dies Ir{\ae}}-motive} (figure~\ref{ep2} on
page~\pageref{ep2}). The music matches the
words:
\begin{quotation}
There's a hole in the world\\
Like a great black pit\\
And it's filled with people\\
Who are filled with shit\\
And the vermin of the world
Inhabit\ldots\\
But not for long\footnote{{\em Dies Ir{\ae}}-inversion derivative}
\end{quotation}

\begin{figure}[ht]
\caption{{\em Epiphany}}
\label{ep2}
\centerline{\epsfysize=15mm\epsfbox{ep2.eps}}
\end{figure}

The {\em Dies Ir{\ae}}-motive is now sounding in one of the
middle-voices while in the upper voices clusterlike sounds can be found
with only the g and b$\flat$ in common with the lower voices(figure~\ref{ep3}
on page~\pageref{ep3}). I don't
think this is done so much as to display Todd's frustration but more to
display he's determined to kill those who did him wrong. In the
meanwhile, even if we take the cluster into account the music has a
tendency to move to the dominant key. The words are also indicative of
this change:
\begin{quotation}
They all deserve to die!
Tell you why, Mrs. Lovett, tell you why:
\end{quotation}

\begin{figure}[ht]
\caption{{\em Epiphany}}
\label{ep3}
\centerline{\epsfysize=50mm\epsfbox{ep3.eps}}
\end{figure}

While these words are sung the {\em Dies Ir{\ae}} keeps sounding in the middle
voices\footnote{I have some serious doubts whether this can be heard}.
If we take a look at the melodic line we see as the first step a minor
$7^{\rm th}$, a melodic jump which can be considered dissonant. The
whole phrase is based on dominant-7-chord (with the a as an anticipation
of the g) This leaves the audience with a feeling that something has to
be resolved\footnote{Compare this with the jump of a minor $7^{\rm th}$
in {\em Somewhere} from {\em West Side Story} It's also used in a situation
where severe problems need to be solved}. In the meanwhile Todd's view
of humanity is completely clarified:
\begin{quotation}
Because in all of the human race, Mrs. Lovett,\\
There are two kinds of men and only two\\
There's one staying put in his proper place\\
And the one with his foot in the other one's face\\
Look at me, Mrs. Lovett, look at you\\
No, we all deserve to die!\\
Even you, Mrs. Lovett, even I!\\
\end{quotation}

He uses here a motive not totally unlike that used in {\em There's no
place like London} when he sings "There a hole in the world like a great
black pitt\ldots" and since these words have the same atmosphere as those
above, the fact that they are set to the same music is not strange.
Todd is getting more and more excited as is shown by the faster rhythmic
movement. The {\em Dies Ir{\ae}}-motive is sounding again under "They
all deserve to die" as an amplification of those words. Todd continues
even more fanatical:
\begin{quotation}
Because the life of the wicked should be made brief\\
For the rest of us, death will be a relief\\
We all deserve to die!\\
\end{quotation}

The rhythmic excitement reaches a climax here. It follows more or less
the pattern of the last three lines. And suddenly he thinks of his
daughter:
\begin{quotation}
And I'll never see Johanna,
No I'll never hug my girl to me
Finished!{\em (loudly)}
\end{quotation}
Strangely enough he uses here the same motive he'll use later for Lucy
later in the piece. This theme has connections with two other themes(see
figure~\ref{Am2} on page~\pageref{Am2}):
\begin{enumerate}
\item The Alms-theme
\item And {\em Johanna} as sung by Anthony
\end{enumerate}

\begin{figure}[ht]
\caption{{\em Johanna(Anthony)}}
\label{Am2}
\centerline{\epsfysize=20mm\epsfbox{Am2a.eps}}
\caption{{\em Alms}}
\centerline{\epsfysize=20mm\epsfbox{Am2b.eps}}
\caption{{\em Lucy}}
\centerline{\epsfysize=20mm\epsfbox{Am2c.eps}}
\end{figure}

If we take a look at the dramatic configuration at that moment the
reason for these connections is clear.

After this sentimental interlude, Todd addresses the audience directly.
This poses an interesting problem concerning the communication
structures. Normally when a dramatic figure adresses the audience
directly he detaches himself of the action and becomes part of an epic
communication structure. The problem in this case is that Todd doesn't
consider the audience to be the audience. He sees them as possible
customers or even representants of the society he despises so much. If
we take this into account the normal dramatic communication structures
are maintained. When he addresses the audience he uses a kind of
exclamated recitative(figure~\ref{ep4} on page~\pageref{ep4}):

\begin{figure}[ht]
\caption{{\em Epiphany}}
\label{ep4}
\centerline{\epsfysize=40mm\epsfbox{ep4.ps}}
\end{figure}

\begin{quotation}
All right!\\
You, sir!
How about a shave?\\
Come and visit your good friend Sweeney!\\
You, sir!
Too, sir!
Welcome to the grave\\
\end{quotation}
These are more exclamations than a running text. Not unlike someone who
is on the edge of sanity. His frequent and sudden changes of mood
already point in this direction. Even the theme he sang so lovingly when
he referred to his daughter gets deformed:
\begin{quotation}
I will have vengeance\\
I will have salvation\\
\end{quotation}
Here he equals vengeance with salvation. This is another indication of
his declining mental sanity and his increasing monomany. The pattern
repeats itself:
\begin{quotation}
Who, sir?\\
You, sir?\\
No one in the chair,\\
Come,on!\\
Come,on!\\
Sweeney's waiting\\
I want you bleeders!\\
You, sir!\\
Anybody!\\
Gentlemen don't be shy!\\
\end{quotation}
This section is written in fragmented exclamation style of m.45-m.50.
And then again there follows another change of mood:
\begin{quotation}
Not one man,no\\
Nor ten men\\
Nor a hundred\\
can assuage me,\\
I will have you!\\
\end{quotation}

By this time the audience understands enough, I think, of Todd's
frustration and resolvedness. As we progress towards the end of the
song, Todd makes up his mind:
\begin{quotation}
And I will get him back, even as he gloats\\
In the meantime I will practice on less honourable throats\\
\end{quotation}
The resolve Todd now shows is mirrored in the rather square rhythms of
this section. And again his mood changes suddenly:
\begin{quotation}
And my Lucy lies in ashes\\
And I'll never see my girl again\\
But the work waits\\
I'm alive at last\\
And I'm full of joy\\
\end{quotation}

The descending semitone is now used in abundance. If we look at the
melody the last interval poses a problem. The interval
(c$\sharp$-f$\natural$) can be enharmonised as (d$\flat$-f). This a
major $3^{\rm rd}$. Why this note? I think that there are two reasons to
choose this tone, or why this tone has been chosen. The first is that
the word 'joy' gets extra emphasis this way. The fact that the
f$\natural$ is out of tune, or at least isn't in the scale, gives this
emphasis something sad, even though the step is enharmonically
equivalent to a major 3$^{\rm rd}$

If we look at the two notes just before the f$\natural$ we see
d-c$\sharp\downarrow$, the descending semitone motive on which this
section is built. Sondheim wanted to have the step of a major $3^{\rm
rd}$ to work as wordpainting for joy. The obvious choice then is
f$\natural$. But the fact that this intervall on these tones contradicts
the meaning of this word, only serves to get a better picture of Todd's
mental disposition.

As for the transition from wanting to kill one man to killing all men
Sondheim has said that 
\begin{quotation}
it took a month to get the tone of it right. I had to motivate Todd from wanting to
kill one man to wanting to kill all men, the moment at which we felt Bond's
play was weakest. To demonstrate musically that his mind is cracking I
switched between violent and lyrical passages, and had rapid rhythmic
shifts, from quick to slow. His murderous vengeance announced to a chugging
engine-like theme (the {\em Dies Ir{\ae}} disguised) alternates with a
keening threnody for his wife and daughter. \footnote{Hirsch, {\em Harold
Prince and the American Musical Theatre}, 1989, 125}
\end{quotation}

Finally we may conclude that the whole of the {\em Epiphany} has a
strong emotive function in which both words and music participate. On
the other hand we can observe that there is much more subdued
appelative function in this song. Todd tries to influence himself, Mrs.
Lovett and the audience that what he's going to do is in the name of
justice.
\subsection{Parlor Songs}

I choose to analyze this piece because the function of music differs from
the rest from the rest of the show, in that the dramatic figure's are aware
that they are singing. And because of the fact that the music is seemingly
produced on stage. This piece begins as follows:

\begin{quotation}
{\sc Beadle:}{\em (Singing from a songbook, accompanying himself)} Sweet
Polly Plunkett, lay in the grass,\\
Turned her eyes heavenward, sighing,\\
``I am a lass who alas loves a lad\\
Who alas has a lass in Canterbury.\\
'Tis a row dow diddle dow day,\\
'Tis a row dow diddle dow dee\ldots ''
\end{quotation}

Is the music here part of the action? In a sense it is, if we take the
action to be making music and singing. In this case this piece differs from
the rest of the show, where the music supports the action, and the actors
are seemingly unaware of the music. 

If we were to draw a communication structure for this piece, it would be
quite different from the ones we've seen before (figure~\ref{parlo} on
page~\pageref{parlo})

\begin{figure}
\caption{Diegetic music in {\em Parlour Songs}}
\label{parlo}
\input{parlo.eepic}
\end{figure}
 
Instead of working only in the external communication system, this time
the music works in the internal communication system as well. As we can see in
the figure, Mrs. Lovett isn't only the sender of the music, but a receiver
as well. This use of music is called diegetic. This is almost the only
example of this use of music in {\ST}. It is arguable whether the serenades
sung by lovers, as {\em Johanna} by Anthony, could be called diegetic. Do
they know they are singing? Is the music working in the external
communication system, as well as the external communication system? I find
this highly debatable. 

In the case of a love-song sung by one or both of the lovers, the music
works only in the external communication system, in most cases. I will make
one possible exception from {\ST} which is {\em Green Finch and Linnet
Bird}. 

It is obvious that Johanna is singing, and it is this singing that attracts
Anthony in the first place. We could say that this is only other use of
diegetic music in {\ST}.

What is remarkable about both the {\em Parlor Songs} and {\em Green Finch}
is the fact that they are written in styles which differ greatly from the
rest of {\ST}. {\em Green Finch} is a small operatic coloratura aria, while
in {\em Sweet Polly Plunkett}
\begin{quotation}
he recalls not only the Sullivan ''madrigal'' convention with its pert cadences
but also the rambling melodiousness of eighteenth-century song and even the
renaissance madrigal or lute song itself with its touches of Lydian and
Mixolydian modality, to which the Dorian mode is added in {\em The Tower of
Bray.} ) (There were more overt madrigal references in the lyric sketches
for {\em Parlor Songs} including in ``In the garden of life there are
thistles \& thorns / Falalala\ldots'' and ``A lover lay with his lass / In
the grass\ldots'')\footnote{Banfield {\em Ibid} 293}
\end{quotation}

It's often not clear whether music is uses diegetically or not. In this
case it's clear because of the fact that the Beadle is seen to play an
instrument to accompany himself. It is the gesture that makes the music
diegetic. 

There are other ways to diegetize music. One of them is to place
music in a certain location. We can expect to hear monks singing in a
monastery, and when we make our location an opera-house we can expect to
hear some opera-aria's, as in the {\em Phantom of the Opera}. 

As I said, the one criterion which we can use to discern diegetic from
non-diegetic music is the fact that diegetic music works in the internal as
well as the external
communication system, while non-diegetic music works on the external
communication system only. The fact that there is so little use of diegetic
music in {\ST} may have several reasons. The main reason is the fact that the
show is constructed like a film-score. Sondheim realized that if this piece
was to work it had to ``function the way 'old movie scores'
do''\footnote{Hirsch {\em Ibid} 1989, 124}. Sondheim realized that ''the only way to
sustain tension was to music continually, not to let the heat out, so that
even if they're talking, there's music going on in the
pit''\footnote{Zadan C. {\em Sondheim \& Co.}, 1990, 248} Music that is
constructed with these ideas in mind can never be diegetic, because the
dramatic figures can never be aware of the music, as the characters in a
movie are never aware of the music. It's only in {\em Parlour Songs} that
the characters become aware of the music, and the music is used in such a
way to prevent the beadle from inspecting the bake-house. Although not
quite succesfully Mrs. Lovett comes up with different excuses, but as soon
as Tobias joins in the song, the beadle becomes quite suspicious and Mrs.
Lovett has to cook up a story about Tobias being locked in ''for his own
security''. She changes the subject, to the songbook, and this distracts
the Beadle enough, for Todd to return, persuade the beadle to have a shave
first. This gives him the opportunity to kill the beadle. If Mrs. Lovett
hadn't stalled the beadle by means of music, their plans would have been
completely messed up.
