Just now on CBC Music I heard the Paul McCartney single "Come On To Me" then, streaming Hit Musicals, heard "Matchmaker" from Fiddler on the Roof. I invite you to compare rhymes in the two songs. You might find that too many rhymes like McCartney's drive you nuts. If so, you are convinced that precision of rhyming--the search for pure rhyme--is essential for the selling of any song to its audience. A musical theatre audience, that is. If a character has broken into song, it had better work.
Of course, I have nothing against consuming some good Paul McCartney and listening to pop hits. But when I'm writing a musical, I need to work in a different way, rhyme-wise.
A related point, re Oak Floors! Once in a while someone asks me what style of music I've written. I say, well it's a mixture, or some such thing. Not a great answer, I admit, but I can't think of what else to call it. Until now. It's pop--songs that are simple harmonically, rhythmically, melodically (yikes, enough of that list) but work, maybe, if they have the right drive. Maybe I've held the piece back by trying to make the music for it.
The maybes come thick and fast, in the Oak Floors! trip.
Speaking of which, tomorrow I start a week of determined tour though the whole piece, checking scenes, lines, tunes and lyrics and the rest, preparing for the workshop on December 8th (those seven actors I've hired, if you remember, Dear Reader).
But tonight, The Hobbit opening at Globe Theatre.