Hammerstein’s lyrics were inspired by the characters, the plot, settings, and more as he mapped out the scenes for the shows. Hammerstein usually wrote the book and lyrics first, often writing shows based on pre-existing works. Rodgers then composed melodies to which Hart later added lyrics.Īnd while Rodgers composed before Hart wrote the lyrics, the opposite was true for Rodgers’ collaboration with Oscar Hammerstein II. Lorenz Hart and Richard Rodgers (along with sometimes co-librettist Herbert Fields), talked through the structure of the musical, deciding where songs would go, who would sing them, and how they advanced the show. Gilbert penning the complete book and lyrics (subject to revisions) before Arthur Sullivan composed the music.
Creation is a personal process that differs from person to person, from lyricist to librettist to composer.Īccording to John Kenrick of, the Gilbert and Sullivan operettas began with William S. There is really no one way to start a musical or a song in that musical. For some it may be an idea for a plot or theme, for others it could be an idea for a song or a character. Writing a musical, as with any story, starts with an idea.
A “very good place to start!” Every endeavor has a beginning, whether singing with “Do-re-mi,” reading with “A-B-C,” counting with “1-2-3,” or journeying on a new adventure. The beginning of a new month, a new year, a new decade.Ī beginning.
