에피파니

I had him!
His throat was there beneath my hand.

(상황에 대한 묘사로 시작)

(러빗 대사에 대한 no)
No, I had him!(I had him!이 반복되면서 음악적 효과)
His throat was there and now he'll never come again.()

Mrs. Lovett: Easy now, hush love hush
I keep telling you, Whats your rush?

Todd: When? Why did I wait? (단음절, 고함치는 듯한)
You told me to wait -
Now he'll never come again.

(상황에 대한 상대의 반응에 대한 반응)

(대사로 인트로)

There's a hole in the world like a great black pit
And it's filled with people who are filled with shit
And the vermin of the world inhabit it.

(사색)

(빽빽한 레시터티브, it 각운)

But not for long...
(전환의 가사)

They all deserve to die.

(사상)
Tell you why, Mrs. Lovett, tell you why.

(tell you why 반복 운율)

Because in all of the whole human race
Mrs. Lovett, there are two kinds of men and only two
There's the one staying put in his proper place
And the one with his foot in the other one's face

(ace 각운)

(사유)

Look at me, Mrs Lovett, look at you.

(상대 배역에게 주는 가사)

No, we all deserve to die(중요한 모티브 반복으로 강조)

Tell you why, Mrs. Lovett, tell you why.
Because the lives of the wicked should be made brief
For the rest of us death will be a relief

(각운…도 각운인데 내용 전개)

We all deserve to die.

(반복되는 주장)

And I'll never see Johanna

(감정적인-트라우마틱한 부분)

(급전개!)
No I'll never hug my girl to me - finished!

(혼란스러운 내면을 자기가 작곡가라서 그런지 혼란스럽게 분절적으로 작사)
Alright! You sir, you sir, how about a shave?
Come and visit your good friend Sweeney.
You sir, too sir? Welcome to the grave.

I will have vengenance.
I will have salvation.

(중요한 극 모티브 선율)

Who sir, you sir?
No ones in the chair, Come on! Come on!
Sweeney's. waiting. I want you bleeders.

(객석-가상의 청자를 대상으로 하는 가사)
You sir! Anybody!
Gentlemen now don't be shy!

Not one man, no, nor ten men.
Nor a hundred can assuage me.

(뒤로 갈수록 커지는 강조법)
I will have you!

(중요한 가사는 단독으로 작곡되도록 파트를 나누기)

And I will get him back even as he gloats
In the meantime I'll practice on less honorable throats.

And my Lucy lies in ashes
And I'll never see my girl again.

(조안나의 경우와 다르다)

But the work waits!

I'm alive at last!
And I'm full of joy!

(이 결론으로 오기 위해 가사를 전개함)

(좋은 뮤지컬 넘버는 처음과 끝의 인물 상태가 달라야 함)