Page 48 →Example 2.6. Opening of “Happiness (Part I)” (Passion, No. 1).

Example 2.7. “Farewell Letter” (Passion, No. 16, titled “Scene 13” in the vocal score): (0148) and polychord at beginning and end.

Example 2.8. End of “No One Has Ever Loved Me” (Passion, No. 17, mm. 39–43, titled “Scene 14” in the vocal score).

Example 2.9. Transition from opening flourishes into “Sunday in the Park with George” (Sunday in the Park with George, No. 3, mm. 1–3).

Example 2.10. Reduction of “Sunday in the Park with George.”

Example 2.11. (0148) sets in “The Day Off” (Sunday in the Park with George, No. 12, mm. 55–56).

Page 53 →Example 2.12. Flourishes leading into “Sunday” (Sunday in the Park with George, No. 24, mm. 9–26).

Example 2.13. The return and resolution of (0148) in “Sunday” (mm. 41–45).

Example 2.14. Tonic with persistent 4 in the “Into the Woods” theme (Into the Woods, No. 1A, mm. 1–2).

a) “I Know Things Now” (No. 6, mm. 9–10).

b) “Giants in the Sky” (No. 9, mm. 7–8).

c) “On the Steps of the Palace” (No. 13, mm. 23A–25). Page 55 →Example 2.15. Accompaniments to the three “lesson” songs from Into the Woods.

Page 57 →Example 2.16. “No More” (Into the Woods, No. 23, mm. 69–70): appearance of 3 within a tonic 3–4 oscillation.

Example 2.17. “No One Is Alone” (Into the Woods, No. 25, mm. 1–12): prominent 3.

Example 2.18. “Children Will Listen” (Into the Woods, No. 26B, mm. 80–84, titled “Finale (Part III)” in the vocal score): resolution of 1–2–4–5 to 1–2–3–5 in final section.

Figure 3.1. Mirka’s semiotics of topical signification (modified).

Figure 3.2. Common associations with the waltz.

Figure 3.3. Summary of numbers, characters, musical characteristics, and social-class divisions.

Figure 3.4. Semiotic representations of folk associations in The Secret Garden.

Example 3.1. Melody of “A Fine White Horse,” mm. 1–4, re-barred.