tring sections, firmly placing the audience in the appropriate setting, i.e. the African plains. As the characters are introduced, they each will be given a motive, in Wagners style. Wilsons should be very strong with bass drums and even a borrowed phrase from God Save the Queen. Margots motive should be a melodic one, but played primarily on the strings in a high register. Francis should be in mid register using the entire orchestra with a sense of melancholy. In the next scene, that of the lion hunt, the music should start out slow and rhythmic, then progress into a kind of fugue where the three main characters begin singing the same line then branch off into their own dialogue. When the lion charges and Francis panics, the music should become frenzied and near bebop in style with a beat thats difficult to discern, played in a high register on the woodwinds and strings. As the next scene opens, we return to the camp and find the Macombers bickering about Margots infidelity. The music should take on a jazzy feeling while maintaining a consistent, repeated melody with variations. Harkening back to Weils Threepeney Opera, this sequence should be a rest for the audience, as it were, with music thats easy to comprehend along with modern qualities, such as a call and response singing style between Francis and Margot. In the final scene, the musical accompaniment should return to the regular rhythm found at the beginning of the opera, followed by quicker low range melodic music to describe the killing of the buffalo. Because Francis has undergone his transformation by this point, his motive should be played again, in a deeper register and without the hint of melancholy found in it up until this point. When the hunters begin to stalk the bull in the brush, the music should imitate the music leading up to the frenzy of the lions attack, then become more melodic and quick as the charge takes place to represent Francis altered state. Up until no...
