Road Map/Cheat Sheet

Music Theatre of Denton - October/November 2015

John Norine, Jr. Music Director

#1 Overture: starts in 4, moves into 2 at 19.

In 5 (3+2) at 80; the 8th note will be slower than previous section.
In 4 at 166.
In 3 at 180.
Direct segue into #2.

#2 When Youre an Addams: starts in 2; 8th note is faster than previous section.
Vamp at m. 5 is good.
Vamp at m. 9 is good.
Vamp at m. 13 is good watch for cutoff; m. 17 is in tempo, on cue.
Vamp in m. 52 is good, m. 54 is on cue.
Vamp in m. 143 is good, m. 145 is on cue and in 5 (3+2).
Play m. 147 twice (turns a 3 bar drum solo into a 4 bar solo).
M. 159 is in 4.
Cut m. 171 187.
Play m. 191 twice, and is in 5 (3+2).
M. 209 is in fast 4 (same quarter from previous section)
In 2 at m. 222 same tempo, just making my life easier.
M. 242 in 5 (3+2)
M. 243 in 4
M. 253 in 2 same tepo, may push slightly depending on if dancers drag at all.

#2a (We Have) A Problem: starts in fast 4.

All fermatas good watch for cue to proceed.

#3 Festers Manifesto: m. 1 is fermata

In 4 in m. 2.
Guitar: do you have cues for m. 2-9? Please play them if so.

#3a Two Things: In 4.

#4 Wednesdays Growing Up: in 4.

#5 Trapped: Starts in 4.
All fermatas in beginning are good.
In 4 at 7a.
Cut m. 36c
In 2 for 1 bar at 53, then back to 4.
Caesura after 68 is good. M. 69 on cue.

#5a Honor Roll: in 4.

#6 Pulled: Begins in 4.
Vamp in beginning is good singer starts last time through the vamp.
Dialogue break after caesura in m. 33 then faster tempo on beats 3+4.
Pull back in m. 43-44.

#6a Four Things: in 4.

#7 One Normal Night: starts in 2.

Stays in 2 at m. 7 (it says fast 4 it lies).
In 4 (and slower) at m. 48
Subito a tempo (in 2) at m. 54
Vamp in m. 60 is good
Vamp in m. 63a is good
Vamp in m. 63e IS NOT GOOD.
Vamp in m. 68 is good watch here, its tricky.
Vamp in m. 94 is good watch for cutoff.
M. 110 is a dead bar with a vocal pickup to m. 111, which will be in 3.
M. 126 is in 1.
Vamp in m. 156a is good.
Rall and going into 3 in m. 168
M. 170 is in 4.
M.176 is in 2 and faster.
M. 183 is in 3.
M. 196 is in 4.
Slower at m. 214.
Faster at m. 221, then almost half tempo at m. 224.

#7a Morticias Entrance: in 4.

#8 But Love Reprise #1 (yes, a reprise for a song that doesnt happen also, hahaha, butts):
In 2.
No caesura in m. 13.
#8a But Love Reprise #2 (say it out loud, then youll get the joke):
In 2.

#8b Alphonso the Enormous: in a fast 5.

#9 Secrets: it is, in fact, Faster than you think starts in 4.

Vamp in beginning is good, vocals last time through the vamp.
Faster at m. 106
Applause segue into #9a

#9a Secrets Playoff: in 4.

#10 Gomezs What If: Starts in 4.

In 1 at m. 7

#11 What If: Starts in 1.

Repeat between m. 1 and 4 is good (but its just a normal repeat).
Between m. 117 and 182, the cues are dialogue dependent just watch.
Vamp in m. 186 is good.
I might go into 3 for the last 3 bars. Itll be a surprise (?)

#12 Full Disclosure Part 1: Starts in 4.

Faster and in 2 beginning in m. 15, then fast and 4 in m. 16
Slowing in m. 36-37.
M. 38 is a (mostly) dead bar for dialogue long. There is a pickup to m. 39 in bass.
Cut the fermata from m. 54
M. 59 is a dead bar for dialogue, but quick.
M. 60 in 3
M. 68 in 2, then m. 69 in 4.
Vamp in m. 85 ist gut.
As is the vamp in m. 89 (alles gut).
M. 105 is a dead bar for dialogue pretty long.
M. 106 in 2, then m. 107 in 4 slightly slower than before.
M. 104 beats 1+2 in old tempo, then subito tempo 1 for beats 3+4.
Direct segue into #13

#13 Waiting: starts in 4.

Vamp in m. 10 is good and long.
Vamp in m. 12 is good and longer. Sop sax only plays 1st time (unless we get bored then go
nuts).
M. 40 in 1
M. 54 in 4
Put a caesura between m. 61 and 63 (yes those numbers are correct).
Applause segue to #14
#14 Full Disclosure Part 2: Begins in 2, moves to 4 in m. 1 (dumb measure numbering)
Fermata in m. 6 is good dialogue break after beat 2.
Vamp in m. 18 is you guessed it, good!
M. 39 is a dead bar for dialogue, with the only note being on beat 3 which will be on cue.
In 3 for m. 40-41, then 4 for m. 42
Vamp in m. 84 is good.
M. 85 is a dead bar for dialogue.
M. 89 is a tremolo note in keyboards, and m. 90 we finally go back into time.

END ACT 1!

#15 Opening Act 2: starts in 2.

M. 43a is a LOOOOONG dead bar for dialogue.
m. 44 is back in 2.
Caesura after m. 51 is good m. 52 is chorus only.
In 2 at m. 76

#16 Just Around the Corner: Starts in 4.

The vamp in m.3 IS NOT GOOD. IT IS BAD. BAD I SAY.
The vamp in m. 34 may or may not be good. It depends. I think its not but well see.
Applause segue into #16a

#16a Just Around the Corner Playoff:

m. 1 is in 2and is drums/percussion only.
m. 2 is in 4.

#16b All is Black Inside My Face: in 4.

#16c Into The Moon and Me: in 3.

The vamp in m. 4 is good.
Put a fermata on your last note in m. 29.
Direct segue into #17

#17 The Moon and Me: in 4.

Singer starts after the fermata on beat 3, so first real downbeat is m. 2
In m. 77, beasts 2 and 3 are on cue.
M. 78 is in 3 watch; its a little free with time.
Applause segue into #17a

#17a Into Happy Sad: in 3.

Vamp in m. 1 is not used. No Vamp in m. 1
Yes vamp in m. 5.
#18 Happy Sad: in 3 at opening.
In 2 at m. 9 (half note gets the beat)
Back into 3 at m. 24
Vamp in m. 26 is good singer comes in last time through after beat 2.
M. 96 is a mostly dead bar with a fermata singer has 3 eighth note pickups into m. 97
In 4 for 1 bar at m. 117, then back to 3.

#19 Crazier Than You: Whoo boy, hold on to your butts

In 4 fast.
Vamp in m. 2 is good vocals start last time through the vamp.
M. 61a is played 4 times total.
M. 61b is a vamp.
M. 61c is dead for dialogue, with a bass pickup on beat 4.
Vamp in m. 61H (seriously, h??) is good.
Play m. 69-70 3 times total.
Vamp in m. 71 is good. (sigh)
M. 78a is a LOOOOONG dead bar for dialogue.
Vamp in m. 81 is (sing along, you know the words) good. The vocals start last time through the
vamp.
Suddenly faster in m. 94
Applause segue into INSERT NO. 1 (Whaaaaaa?)

Insert No. 1 Grandmas But Love Reprise (seriously, I cant make this up):
In 4 fast-ish.

#19a Bedtime Story: Starts in 3.

Watch the fermatas progress is dictated by dialogue.
In 2 in m. 37

#20 Not Today: In 4.

Vamp in m. 3is good vocals start last time of vamp.
Vamp in m. 54 is good and in 2!
Back into 4 at m. 56
Vamp in m. 75 is good and in 2! (Deja vu!)
Back into 4 in m. 82
Applause segue into #20a

#20a After Not Today: in 4.

Slower at m. 4
Only fermatas that are good: m. 3, m. 15, m. 17. All others are out.

#21 Live Before We Die: Starts in 4

Play repeat in m. 1-2 as a normal repeat so 2 times total.
Direct segue into #22
#22 Tango de Amor: starts in 4.
Anyone who has violin cues play them!
In 2 for 1 bar at m. 14, then back to 4 in m. 15
In 6 in m. 45
In 4 in m. 60
In 5 (3+2) in m. 64
Caesura after m. 75 is good, but short-ish.
In 2 for 1 bar at m. 76, then into 4.
The bar of 5/bar of 6 fun starts in m. 84. The 5s will always be 3+2 and the 6s will be 3+3.
Caesura in m. 93 is good beats 5+6 are dead.
Ill dictate each note in the last bar.

#22a Before Move Towards The Darkness: in 4. Mind the fermatas.

Direct segue into #23.

#23 Move Towards The Darkness: there is another insert I have for you here, which will be in 2.
Its 15 bars long and goes in between #22a and the printed #23.
In 4 in m. 16 (see it works out!)
1 bar of 2 in m. 17 then back to 4 in m. 18
Major rit in m. 31 just watch.
A tempo in m. 32
Major rit in m. 46 just watch.
Slightly faster than a tempo in m. 49
Vamp in m. 54H (theres that H again!) is good.
Vamp in 54I is good vocals happen last time of the vamp.
Rall. in m. 54M is good
M. 54n is slower
Back to tempo 1 in m. 54R (R seriously? Pony up the money to have a copyist fix the bar
numbers!)
Aaaand the vamp in m. 54R is good.
M. 54T is a dead bar back in time in m. 64
Caesura after m. 106 is good!
M. 107 is slow watch for fermatas.
M. 109 is not in time, per se its a vocal cue and Im basing it off how the note settles.
I will dictate each note in m. 114-115.

#24 Bows: TBD. Not sure were using it yet.

#25 Exit Music: As it comes.