Jesus Christ Superstar Songs: Could We Star Again Please Lyrics · Damned For All Time/Blood Money Lyrics · Everything's Alright Lyrics · Everything's Alright. Jesus Christ Superstar Do you think you're what they say you are? Voice of Judas: Tell me what you think about your friends at the top. Tracklist with lyrics of the album JESUS CHRIST SUPERSTAR  from Andrew Lloyd Webber, including the top songs: Heaven On Their.
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View Jesus Christ Superstar song lyrics by popularity along with songs featured in, albums, videos and song meanings. We have 0 albums and 38 song lyrics in. Judas's death Trial before Pilate Superstar The crucifixion. Lyrics . cicenorthlare.ga Rice Music. . MOB (outside) Jesus Christ Superstar! ALL He is. Lyrics for Jesus Christ Superstar Broadway musical. Complete soundtrack list, synopsys, video, plot review, cast for Broadway show.
If D represents the mortal side of Jesus, then E represents the divine side. The key of E appears at other moments as well. Judas here is more interested in the movement — symbolized by the tonal center of E — than in the man. E is also the tonal center when Jesus casts the moneychangers out of the Temple.
Act II is, of course, concerned primarily with the trial and physical death of Jesus and spends very little time or dramatic space discussing the divine side of the matter except perhaps mockingly, as in the appearances before Herod and Pilate. There are other key relationships that may be worth exploring, but space does not permit us to do so in the necessary detail. Table 2 contains a list of possible interpretations.
One last word about key centers: Note that some songs modulate, usually in conjuction with some sort of dramatic action. In the case of 26 ibid. In each case, the change in key center does not lessen the underlying argument. Possible key meanings in Jesus Christ Superstar. Example 2 shows the appearances of descending tetrachords complete and incomplete in the bass line.
The majority of these tetrachords can be classified as TTS — two descending whole steps followed by a descending half step, or 8- b7-b in a natural minor scale. This construction is almost as old as music itself; the ancient Greeks would have called this the diatonic tetrachord.
Descending tetrachords in Jesus Christ Superstar. The selected constructions are not shown arbitrarily; rather, the tetrachord makes an increasing number of appearances as the work continues. For example, the tetrachord 29 Mark R.
Even in that case, the tetrachord is obscured by an E pedal. There are two other tetrachords present and worth exploring. At this point, the tetrachord does not carry much structural weight — indeed, it only seems to exist to smooth out the bass line as the harmony returns to tonic, covering of a major scale — but it does affect the structure of the show in two important ways.
First, the location of the semitone is at the opposite end of the tetrachord, just as the location within the scale is at the bottom instead of the top. This gives the impression that Mary Magdalene exists as an oppositional character to the other apostles, especially Judas.
It lets the observer know that this character is different than the others. Finally, this particular tetrachord is located in a different 31 Sheen, Every other tetrachord has happened at the beginning of a phrase; this one occurs in the middle. Every other tetrachord consists of longer note values; this one consists of quarter notes.
To be sure, an incomplete TTS tetrachord appears in the third and fourth measures after rehearsal C, and an incomplete STT tetrachord appears three measures before D, setting up the return to D major, clearly reinforcing the tetrachord complete or incomplete, TTS or STT as an important construction for this music.
Two ideas connect this to the earlier discussion of keys. With that in mind, we can look at the tetrachords in the same way. The STT tetrachord and the TTS tetrachord 8- b7-b may each become the TST tetrachord expressed most often as 4-b by shifting the semitone toward the center. Example 4.
Semitone shift. In example 2j, the key centers of four important points in Act II were shown. As shown above, this tetrachord can be symbolic of the central act of Christianity — the death of Christ on the Cross. It also provides tonal closure to the show, returning to the opening key of D minor.
From the beginning, we never lose sight of the fact that we are watching a story, not a history. The bus creates a jarring image in its first appearance, when it drives up to the ruins. This symbol of the modern world intrudes on the silence and ancientness of the ruins, and this intrusion is magnified when the passengers disembark and begin bringing the props and costumes.
Noticeably, we do not see the bus drive off as the actors assume their places among the ruins; the implication is it is still there, though it is not seen again. Throughout the film, the ancient and modern are placed side-by-side, with such scenes as Roman soldiers holding machine guns and Judas being chased by a tank through the desert. Jesus is shown in the most traditional way white robe , but even he is not immune; when he cleanses the Temple of the moneychangers, we see modern postcards, hats, and drugs as part of the items available for sale in the holy place.
The bus is, in part, a framing device; it lets us know that we are seeing a show of some kind. A narrative is being established. This narrative is not explicitly intended as a theological narrative, but as shown in the discussion above, theological elements are present despite the stated intent of the authors. Because it is a narrative, a discussion of narrative theology is appropriate.
During the Overture, we see various people assume costumes, props, and characteristics of the dramatis personae. The juxtaposition of ancient and modern, coupled with the Rock music, keeps us from fully believing that we are seeing an actual event. Rather, we are constantly told this is a narrative instead of a pure history. This story is not meant to be taken literally — instead, the 33 Paul Ricoeur, Figuring the Sacred: Religion, Narrative, and Imagination, translated by David Pellauer, ed.
Minneapolis: Fortress Press, , Laurence Scott, ed. Louis A. Austin: University of Texas Press, , Leiden: Brill, , As above, the frame reminds us that this is a story first and foremost. The third trait, the role of tradition, is the most challenging of the traits. After all, the costuming and props in the movie straddle the difference between the ancient and the modern.
While the viewer likely knows the story as it has been received, said viewer is not going to necessarily know — or appreciate — this new way of seeing it. We in the modern world are the intended subjects of this story, and the mode of transmission reflects that.
Noticeably absent is Ted Neeley, who portrays Jesus. Jesus, in the movie, transcends the narrative, in the same way that theologically the sacrifice of Christ transcends human existence. In his study, Baugh states that the theology of Superstar is non-traditional and explicitly humanist rather than Christian, and uses the scene in the Temple as one such example.
Leiden: Brill, Kansas City: Sheed and Ward, , Further discussion of the Messiasgeheimnis takes place in Cambridge; Cambridge University Press, Baugh, Lloyd. Kansas City: Sheed and Ward, Brover-Lubovsky, Bella.
Tonal Space in the Music of Antonio Vivaldi. Buchler, Michael. Ellis, Mark R.
Burlington, VT: Ashgate, I don't know why he moves me. He's a man. He's just a man. He is not a king, he is just the same as anyone I know. He scares me so.
When he's cold and dead, will he let me be? Does he love Does he care for me?
My mind is darkness now. My God, I'm sick. I've been used, and you knew, all the time. God, I'll never ever know why you chose me for your crime, your foul, bloody crime. You have murdered me. Every time I look at you I don't understand why you let the things you did get so out of hand.
You'd have managed better if you'd had it planned. Now why'd you choose such a backward time and such a strange land? If you'd come today, you would have reached the whole nation. Israel in 4 BC had no mass communication. Don't get me wrong, don't get me wrong, don't get me wrong now. I want to know, I want to know, I only want to know: Jesus Christ, Jesus Christ, who are you what have you sacrificed? Tell me what you think about your friends at the top.
Who'd you think besides yourself's was the pick of the crop?
Buddha, was he where it's at, is he where you are? Could Mohammed move a mountain or was that just PR? Did you mean to die like that? Was that a mistake or did you know your messy death would be a record-breaker? Peter[ edit ] You've got the wrong man lady, I don't know him. And I wasn't where he was tonight, never near the place.
I had to do it, don't you see? Or else they'd go for me. Simon Zealotes[ edit ] There must be over fifty thousand screaming love and more for you, everyone of fifty thousand would do whatever you ask him to do. Keep them yelling their devotion, but add a touch of hate at Rome. You will rise to a greater power, we will win ourselves a home. You'll get the power and the glory, for ever and ever and ever Mary Magdalene[ edit ] Try not to get worried, try not to turn on to problems that upset you, oh.
Don't you know everything's alright, yes, everything's fine. Should I bring him down? Should I scream and shout? Should I speak of love, let my feelings out? I never thought I'd come to this. What's it all about? I don't know how to love him, I don't see why he moves me, he's just a man, just any man. It's what he told us you would do. I wonder how he knew? While he starts a major war, we theorize and chatter.
The difference is they call him king. The difference frightens me. Put yourself in my place. I can hardly step aside. Cannot let my hand be tied. I am law and order. What about our priesthood?
Don't you see that we could fall? If we are to last at all, we cannot be divided. One thing I'll say for him, Jesus is cool. Fools, you have no perception! The stakes we are gambling are frighteningly high.
We must crush him completely, so like John before him this Jesus must die. He's just another scripture-thumping hack from Galilee. A trick or two with the lepers and the whole town's on its feet. Cut the protesting, forget the excuses.
We want information, get up off the floor. Pontius Pilate[ edit ] Then I saw thousands of millions crying for this man. And then I heard them mentioning my name, and leaving me the blame.
Ah, so this is Jesus Christ. I am really quite surprised. You look so small Well this is new: respect for Caesar? Who is this Jesus? Why is he different? You Jews produce messiahs by the sackful! Who is this broken man cluttering up my hallway? Who is this unfortunate? You hypocrites! You hate us more than him! Where are you from, Jesus?
What do you want, Jesus?