The Room Where It Happens Sheet Music?
Oh ( The room where it happens) Oh, (I want to be in the room where it occurs) I want to be (Where it happens) I want to be (Where it happens) I want to be (Where it happens) I want to be (Where it happens) I have to be, I have to be (I wanna be in the room where it happens) In that specific room (The room where it happens) Within that enormous space (The room where it happens)
What is the song the room where it happens about?
Act 2 of the musical Hamilton, which is based on the life of Alexander Hamilton and had its world premiere on Broadway in 2015, has the song titled “The Room Where It Happens.” Alexander Hamilton’s life story is told through the lens of the musical, along with his interactions with his family and Aaron Burr.
Who sings the room where it happens in Hamilton?
Leslie Odom Jr., Lin-Manuel Miranda, Daveed Diggs, Okieriete Onaodowan, and the Original Broadway Cast of Hamilton are all included in this video. About the Location of the Action Within the Room Act 2 of the musical Hamilton, which is based on the life of Alexander Hamilton and had its world premiere on Broadway in 2015, has the song titled “The Room Where It Happens.”
Is the room where it happens based on a true story?
About the Location of the Action Within the Room Act 2 of the musical Hamilton, which is based on the life of Alexander Hamilton and had its world premiere on Broadway in 2015, has the song titled “The Room Where It Happens.” Alexander Hamilton’s life story is told through the lens of the musical, along with his interactions with his family and Aaron Burr.
What happens at the end of the room where it happens?
This is where Burr gives his dramatic account of the “Dinner Table Bargain,” commonly known as the Compromise of 1790, as well as his reaction to the announcement of the agreement. This song contains an extremely predictable number of food puns as well as metaphors that are specific to baseball, which is 100% linked.
- This song incorporates a larger variety of styles and genres than any other number in the performance, both musically and dramatically (and possibly any other number in Broadway history).
- There are echoes of minstrel shows (particularly from the banjo), vaudeville comedy (“Mister Secretary!”/”Mister Burr, sir!” and “Two Virginians and an immigrant walk into a bar”), Cab Calloway Cotton-Club raveups (heard especially in Burr’s ad lib “whoa’s” near the end), even industrial and New Wave music, in addition to hip-hop and Broadway big band sounds (the uniquely metallic clanks in the rhythm track bring to mind Kraftwerk, and the off-kilter chords and mournful textures in the verses recall art rockers from Depeche Mode to Frank Ocean ).
The bass line in the ecstatic homestretch is a little reminiscent of “Let’s Get It Started” by the Black Eyed Peas, which itself cleverly used a jazzy walking line to suggest bebop and jazz in a hip-hop context. This is a fun coincidence, and it’s a reminder that music is full of happy little accidents.
On top of the banjo, there’s echoey piano, bringing to mind both ragtime and the reverb of horror movies; vibraphone, recalling both 60’s spy movies and John Williams’ slinky score for the film Catch Me If You Can; and that sampled, processed fanfare, (an element of the “Dirty South” style of R&B, further adding to the Southern roots of the song), which amazingly for a Broacher, sounds like In this way, Burr is able to embody the slithery nature of his persona by marrying together parts of a wide variety of performing styles in a way that works well.
Nevertheless, there are a few major recurring themes: Boogie-woogie jazz was one of the earliest popular forms of African-American music, and as described in the article “What Did I Miss,” Thomas Jefferson’s musical style has aspects of the South’s take on boogie-woogie jazz.
Miranda has discussed that he chose Jefferson’s musical influences to represent how he was over a decade older than Hamilton and his cohorts — upstarts who embody 90s and contemporary hip hop/r&b styles — and that he had correspondingly more old-fashioned priorities. This was done by choosing Jefferson’s musical influences to represent the music that Jefferson would have listened to in his youth.
Here, Burr embraces New Orleans and Dixieland jazz, which is an iteration of the early jazz style that emerged a little bit later and was also (obviously) situated in the South. To put it simply, Burr’s manner is being affected by Thomas Jefferson, and it’s possible that Jefferson is corrupting Burr.
- This serves as a foreshadowing of his switch to the Democratic Republicans in the next song.
- Another thread that runs throughout the performance is the use of dark minor or blues chords in the ensemble portions of the song, which, when combined with a soulful choir, makes the song sound and feel more like a gospel hymn than any other song in the play.
Spirituals, ragtime, and even labor songs and chants from the time of the Civil War may be heard in the background. The harmonies, pace, execution, and even the choreography all call to mind the Leading Player’s melodies from Pippin, as well as other showstopper moments from Ain’t Misbehavin’ to Gospel of Colonus.
And the overall sound is minor, even if the concert is full of minor chords, which helps convey fairly accurately how feelings of envy, hatred, and ambition sound within our own thoughts. It gives the viewer a hint that they are about to witness a significant and maybe dangerous turning moment in the lives of both of the main protagonists.
It is at this juncture that they each make the fateful decision to conform more closely to the other, a set of decisions that dramatically bends and accelerates each of their own paths in the direction of hostility, conflict, and ultimately death. And you can move your body to it! In an interview with Grantland, Miranda stated that he believes that this to be one of the finest songs that he has ever written: I naively shared a good number of the finest tracks with him.
Both “Wait for It” and “The Room Where It Happens” are among the very greatest songs that I have ever written, and he is the lucky recipient of both of them. There are some striking parallels between the subject matter of this song and “Someone in a Tree,” a tune that appears in Stephen Sondheim’s Pacific Overtures.
When Miranda was in college, she sang the song there. Both works take on the difficult task of writing about an important historical occasion for which there were few witnesses. Burr, a character who speculates about the same things that have puzzled historians for centuries, takes center stage in “The Room Where It Happens,” which develops into a meditation on the nature of memory and historical record-keeping while “Someone In A Tree” becomes a meditation on the nature of memory and historical record-keeping.
- The model for “The Room Where It Happens” is really “Someone in a Tree,” which is a pretty peaceful piece, but “The Room Where It Happens” makes it more personal, more precise, and more urgent.
- By the time “Room” comes to a close, both Burr and Ham have realized that in order to achieve the goals they set for themselves, they need to undergo a personal transformation and abandon their previous routines and points of view on the world.
They begin to resemble one another more and more. When Burr begins to use personal pronouns, he significantly shifts his role in the story from that of a narrator to that of a player. The following song, “Schuyler Defeated,” reveals that Burr is no longer in the dark and that he is in a room where it happens, but that the room where it happens is not the room where Burr is.
At this time in the musical, not only Jefferson and Madison but also Burr are regarded to be foes of each other. The librettist of Pacific Overtures, John Weidman, served as a mentor to Lin-Manuel Miranda during the whole process of creating Hamilton. Stephen Sondheim was also a mentor to Miranda throughout the process.
Both musicals send a statement about race relations in the past and the present through the casting decisions they make.