L. Bernstein: ‘Something’s Coming’ from West
Side Story (1958)
AIMS - In the study of this set work you will learn about:
 Different types of musicals in the 20th Century
 Some background to the life and works of Leonard Bernstein
 The plot of the musical ‘West Side Story’
 Bernstein’s compositional style

How the solo song ‘Something’s coming is constructed, through an
analysis of the music

The key features of the music
The origins of the musical
Music theatre has a long and colourful history and can
be traced back to ancient Greece.
Over the last 300 or so years, the musical has
gradually evolved from many styles of
entertainment, both musical and non-musical.
 vaudeville
 burlesque
 opera-bouffe
 operetta
The origins of the musical
 Vaudeville - popular in 1700’s. Comprised of popular
songs from other works but with new, often comical and
vulgar words set to the music. The idea was to shock and
entertain the audience. E.g. The Beggar’s opera (A tale
about thieves and prostitutes)
 Burlesque - similar to vaudeville but more restrained
and classical in style. The subject matter was often a
parody of other serious plays.
The origins of the musical
 Opera-Bouffe – Comic opera – music was specially
composed rather than borrowed. The musical style was like
light opera and contained some spoken dialougue.
 E.g. The works of Gilbert and Sullivan.
 Most popular between 1850 - 1918.
 Operetta - (Light opera) similar to opera-bouffe but
more romantic and nostalgic.
Musical theatre in America
 Extravaganzas – Mixed variety shows containing singing,
dancing, musicians etc. Most popular in the U.S between 1860 – 19oo.
 Minstrelsy - popular in the late 1800’s. White people were
made to ‘black up’ to imitate black people in a parody and
exaggeration of any character traits. Also poked fun at the rich and
powerful.
 Melodramas – Essentially stage plays that included some
musical cues for different scenes. Dialogue replaced songs but music
was used to add dramatic effects to a situation.
The rise of the musical in the 20th century
 American Broadway musicals – Rise of the 20th century
musical was led in America. Famous examples include Show Boat
(1927), Oklahoma (1943), The Sound of Music (1959). Many musicals
were later turned into highly successful films.
 British West End musicals – Oliver! (1960) revived the
fortunes of the British musical. However, it was the partnership of Andrew
Lloyd-Webber and Tim Rice that changed the face of musical theatre in
Britain with musicals such as, Joseph and the Amazing Technicolour
Dreamcoat, Jesus Christ Superstar and Evita.
 Rock Operas - Tommy (1969), The Rocky Horror Picture Show
(1973), Grease (1978), Mamma Mia (1999) and We Will rock You (2002)
West Side Story
 West Side Story - composed in 1958. It is one of the most
famous musicals ever written.
 There are many diverse styles found in the musical
including the popular music of the day, jazz, western classical
music and Latin American music.
 However, the forms used all come directly from the structures
and methods employed for three hundred years or so in
opera.
 These include the solo aria (solo song), duets, trios, quintets,
choruses and extended dance numbers too.
Leonard Bernstein
Born in USA in 1918
Studied composition and conducting at Harvard
University
Became assistant conductor and then principal of
the New York Philharmonic Orchestra (1958-69)
At same time developed a career as a composer.
Excelled in writing for the ballet and the musical.
He also composed film music and symphonies.
Died at age 72 in 1990.
Leonard Bernstein
Worked closely with
Stephen Sondheim
(Lyricist) on West Side
Story
Married to Fellicia
Monteleagre
Died of lung cancer
Background to West Side Story
Bernstein’s music reflects the styles of his age – Bebop Jazz
and Blues
 From Bebop we can see Bernstein’s use of dissonances
and fast, driving rhythms
 From Blues the use of syncopation and ‘blue’ notes
 West side Story fuses together these elements as well as
several Latin American dance rhythms.
Background to West Side Story
 The idea for West Side Story came from the American
choreographer, Jerome Robbins.
 His idea was to create a musical based on Shakespeare’s tragic
drama Romeo and Juliet.
 The romantic world of Renaissance Italy was to be
transformed into the run-down, violent world of the West
Side of New York.
 This appealed to Bernstein who wanted to write hard-
hitting, jazz-inspired music about real human conflicts
and tensions in a harsh inner-city environment.
The Plot of West Side Story
 The plot mirrors the Shakespeare play, although the
Montagues and the Capulets are transformed to become two
opposing street gangs, the ‘Jets’ and the ‘Sharks’.
 West Side Story - Prologue [www.keepvid.com].mp4
 The basis of the tension is racially motivated.
The Jets are white Americans led by Riff
The Sharks are Puerto Ricans led by Bernardo,
They are both protecting their own ‘territory’.
Romeo becomes Tony and Juliet is Maria, who is Bernardo’s
sister.
 West Side Story-Jet Song [www.keepvid.com].mp4
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The Plot of West Side Story
 The drama hinges around the love affair of Tony and Maria who meet at a
dance. The love affair creates tension as Tony and Maria are from opposing
street gangs.
 The set work (Something’s Coming ) appears near the beginning of the story.
It is a solo song.
 Tony is looking forward to a new life away from the gang. He wants to leave the
Jets.
 However, Riff, the leader of the Jets, is determined to challenge Bernardo to a
fight that night at the dance. He calls on Tony just before he sings the song
‘Something’s Coming’ to persuade him to help in the planned ‘rumble’ (fight).
 Tony agrees but insists on no future part with the gang. However the drama is
set in motion , and the tragic storyline inevitably unfolds.

West Side Story-Something_s Coming [www.keepvid.com].mp4
The music
)
‘Something’s Coming’ from West Side Story (1958
 This is a ‘solo song’.
 In opera it would be called an ‘aria’
 The music is sung by the character Tony.
 Tony is the co-founder of the Jets gang.
However, he has found a job and wants to move on
with his life and leave the gang.
‘Something’s Coming’– KeyPoints
 Metre/Time signature - The piece starts in 3/4 time
but has sections in 2/4 time
 Structure – the movement is in ABB1A1 form with a
short introduction and outro
 The key is a bright and happy D major at the start.
This later changes to C major. The piece alternates
between these two key centres.
 The tempo is a fast one–in-a-bar feel (176 crotchets per
minute)
The Orchestra (30 players)
 A mixture of classical instruments and those found in jazz.
 5 woodwind players (all doubling on a second instrument eg.
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Clarinet and saxophone)
2 horns
3 trumpets
2 trombones
7 violins
4 ‘cellos
2 double basses
drum-kit
2 other percussionists,
piano
guitar (acoustic and electric)
‘Something’s Coming’– Key Point
 Texture - is many layered. There are lots of things
going on in the orchestral accompaniment.
‘Something’s Coming’– Key point
 Tonality/Key
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The first section of the song is in the key of D major (2
sharps). The major key reinforces the happy excited mood.
This later changes to C major
The music alternates between these two keys and finishes in
D major
Much use is made of the interval of a tritone both melodically
and harmonically
The piece uses a wide range of added note chords.
The song ends with a fade-out
‘Something’s Coming’– Key Point
Tempo –
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The song is marked fast (176 crotchets per minute)
It is basically fast throughout
‘Something’s Coming’– Key Points
Dynamics –
 The dynamics often reflect the words. When Tony is
asking a question the music is usually quiet. The louder
sections are usually preceded by a crescendo.
 the ending gradually gets quieter and the music fades
out
Structure of ‘Something’s Coming’
The song does not follow a conventional verse-chorus structure, but has
several musical ideas and sections that recur.
In broad terms the structure is as below
Length
Part of song
Introduction
Bars 1-3 (bar 3 is repeated ad lib.)
Section A
Bars 4-39
Section B
Bars 40- 105
Section B1
Bars 106-140 (shortened version of B)
Section A1
Bars 141-157 (shortened version of A)
Outro
Bar 158 is a slow fade-out
intro + A B B1 A1 +Outro
Introduction (bars 1-3)
Section
Details
Intro
Bernstein sets the breathy and excited mood in
the repeated riff in the accompaniment.
(bars 1-3)
Bar 3 is
repeated
several times.
• The riff pervades the song and the melody is used by the singer
(Tony)
• The key is a bright and happy D major.
• The tempo is a fast one –in-a-bar feel (176 crotchets per minute)
Features of the riff
• The tritone used harmonically in the first chord (G# to D)
• The syncopated rhythm of the ‘push’ on the third beat of the
bar
• the jazz inspired harmony
• the three note bass ostinato up to bar 20.
Section
A (bars 1-39)
4-12
Details
•A quiet section.
‘Could be’ and ‘Who knows?’ are two strong statements of tonic
(D) to dominant (A) under which the insistent opening riff is played by the orchestra.
These driving rhythms create a sense of urgency and
excitement.
•Notice how Tony comes in with a syncopated ‘push’ on the third
beat. Again Bernstein creates an air of expectancy and anticipation.
•On ‘Who knows’ at bars 8-9, the interval of the tritone is used again, this
time melodically.
13-20
•Tony sings a melody based on the opening riff.
This is
constructed of short, two-bar phrases – one bar answered by the next.
• ‘Soon as it’ in bar 17 melodically outlines the tritone again on
G# and D. This leads to a long crescendo on a ‘blue’ note
(flattened 7th in D major) on the word ‘shows’.
21-39
•Fast, loud declamatory phrase. The orchestra chords just punctuate the
music.
•The chords have added notes to spice up the harmony.
Section
Details
B (bars 40-
40 -51 – Like the idea heard at bar 13 BUT
• phrases are extended
• It is down a tone (C major instead of D major)
• 2/4 instead of ¾
• On- beat accompaniment
105)
52-72 – Repeated 1 tone higher at 63-73. Mixture of straight and
syncopated rhythms
Modulates back to D major at bar 70.
72-105 - This is an expansive, lyrical section marked, ‘warmly,
freely ‘etc. This contrasts with the ecitement of the snappy onebar phrases heard earlier. There is a sense of line and of four
bar phrases.
B1 (bars 106 -
Similar to section B but shorter. Different lyrics.
144)
A1
Similar to section A but shorter. Gradually gets quieter
towards the end.
Outro
One bar repeated many times and faded out.
Piece gets quieter at the end and fades out.
(bars 81-89)
Page 73. Answer questions 1-10 in full sentences
1.
2.
3.
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7.
8.
9.
10.
How does Bernstein create a sense of excitement and expectancy in this
song?
Mention two techniques or devices that the composer uses in this song and
throughout the musical itself.
Describe the harmony used in this song.
What is a ‘push’ rhythm? Give an example.
What is a ‘blue note’? Give an example.
Describe the orchestration of the piece.
7. How are the words ‘the air is humming’ depicted by the orchestra.
How does the piece end?
This is a solo song or aria. Name two other types of vocal forms used in a
musical.
What makes the subject matter of West Side Story different and new from
other Broadway musicals of this time?