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Crunchy Granola Suite's Music Analysis

822 Words4 Pages

Crunchy Granola Suite’s music is by G. Harrell ("Fosse - the Musical."). This specific piece of work is recognized by many dance critics to be one of the strongest pieces in the revue. The exciting piece, danced by twelve dancers is described as a showstopper. Two company members sing Crunchy Granola Suite: Brad Anderson and Eugene Fleming. These two members have been seen in previous numbers dancing, which is yet another example of the versatility Fosse expected from his dancers. This specific piece is a part of part one, which ironically is the second section of Fosse. It begins with one single dancer on the stage. This dancer sets the entire mood simply by stylistically moving her arm, slowly. After she begins to move from her opening position, other dancers slowly come on either one by one, or in small groups. Each dancer has an eight count or two to showcase their given choreography. The mood is extremely dream sequence-like. Everything is moving really fluidly. The dancers movement quality is delicate and for the most part at a slower tempo. The movement is not the normal “Fosse style”. It consists of more tricks than normal such as high leg extensions, numerous amounts of turns, and partnering lifts (Fosse). Roughly three minutes into the …show more content…

It is an upbeat fun-loving piece that overall is meant to make people smile, which it does indeed accomplish. This piece is one of the only pieces from Dancin’ in which the entire cast of dancers is singing the entire time. Not only is there singing and dancing, but also there are numerous rhythmic sections, which involve a lot of brain muscles. Harry Warren wrote the music and the Lyrics are by Johnny Mercer ("Fosse - the Musical."). The piece begins with seemingly simple but extremely stylized movements with the cast in complete unison. This is the first and last time that the cast is in unison throughout this piece

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The stage lighting is subtle and just enough to spotlight the dancer who stands tall with her arms extended to the sky and hands clasped together. A long, white sheet-like scarf drapes the dancer’s hands. As the music begins the solo dancer starts to sway then slowly she starts walking back and forth across the stage only ever taking one or two steps in each direction. With each step crossing one foot in front of the other. Her arms are still outstretched but now they are open; the audience can see the dancer’s face.

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In 1877, Edgar Degas painted multiple oil paintings of ballerinas and one, the Rehearsal Before the Ballet, can be found in George Walter Vincent Smith Art Museum in Springfield, Massachusetts. Degas paints the backstage moments for the ballerinas before they enter the stage for a performance. The legs and feet of seven ballerinas create the curving movement across the composition of the scene. In the foreground, an older ballerina has been cropped off in the right corner with her head down and her hands on her hips. Her large yellow tutu overlaps a dancer who is in the act of performing a jump with her arms swinging downwards towards the next dancer behind her.

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It invites the listener in to participate with hand claps and finger snaps. Its friendly groove catches the audience tapping along on whatever is in front of them and often start stomping their feet. Several may even find themselves getting the urge to stand up and dance. We can relate with the singer belting out, "Cecilia, you 're breaking my heart" (Simon, 1969) and leaves us agreeing that she certainly is, but we are going to keep on dancing nonetheless. This song has the perfect balance of bass and acoustics that give it a well-rounded sound.

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