Section ten: This part begins when Seymour yells “wait a minute, wait a minute,” and the music stops. The do-wop chicks sing back up and repeat “a lot of folks deserve to die” after Audrey II sings the line, holding out the word “die.” Section nine: This section is short, beginning with “so if you wanna be profound.” This section is fast, almost frantic sounding. When Seymour sings his line “gee I’d like a Harley machine,” they sing “git it” after each of his lines of what he’d like. Section eight: This section begins with Audrey II singing “How’d you like a room at the ritz.” The do-wop chicks repeat “git it” over and over again under Audrey II’s singing, and then break into louder “Git its” in ascending pitch and increasing volume dynamic when he isn’t singing. Audrey II says the line “how about that Audrey” emphasizing the syllable making it sound like “Aauuuudddrey.” This section has the recurring instrumentation of the previous dialogue section, and I think the strange creek-y noise I mentioned before may be from an electric guitar. Section seven: This section goes back to dialogue between Audrey II and Seymour. At the end of this section he speaks the word “mutilations.” The melody in this section of the song seems familiar to me, but I’m not sure from where. Seymour’s lines are slow and jazzy and some of Seymour’s words as sung with melismatic syllabification. Section six: begins with Seymour’s line “I don’t know.” The piano tempo becomes very strong and the meter becomes douple. They repeat the words “your gonna get it.” When Audrey II sings the line “I’m your genie” the do-wop chicks sing 3 “ah’s” followed by a repeat of the the word “putz” and a shout out of “yeah!” Audrey II’s song has so many words in this section as he tries to manipulate Seymour into getting him his dinner. The do-wop chicks sing in the background first wit h “ooo” and then 4 “well” in ascending pitch. Section five: This section begins with Audrey II’s line “Would you like a Cadillac car?” There is a lot of rhyming in this section it’s a very fun part of the song. This section ends with Audrey II’s line “…like see that you get everything your secret greasy heart desires.” Audrey II’s line “Does this look inanimate to you punk?” has the loudest dynamics in this section. Section four: This section is dialogue between Seymour and Audrey II beginning with Seymour’s line “You eat blood Audrey two…”The instrumentation for this section is drums with some other sort of strange creek-y like noise. Louder drums come into the song with Audrey II’s line “cause if you feed me Seymour, I can grow up big and strong.” When Audrey II sings “feed me Seymour, feed me all night long,” the song becomes very jazzy despite what sounds like hand beat drums in the background. Each of Audrey II’s “feed me” lines are followed by a question from Seymour. Section three: Audrey II begins singing on his demand “Feed me.” The two chords (one for each word in feed me) are reminiscent of the three beats of Orin’s dentist song, showing that, like Orin, Audrey II is dangerous. This dialogue continues with no music until Audrey II says “Must be fresh” and Seymour responds, “I don’t want to hear this.” Section two: The musical accompaniment of the previous section stops as Seymour says “I’ll see you later.” This begins the first dialogue between Seymour and Audrey II. As the pretty piano accompaniment continues, Seymour’s singing turns to speaking. After Seymour sings the word “shop,” a strum of a harp or guitar is played. After the line “thanks to you sweet petunia,” four bell like sounds are played in descending pitches. After the line “thanks a million for making the magic you do,” a piece of the piano and flute accompaniment from Audrey’s song “Somewhere That’s Green” is played. Seymour begins to sing accompanied softly by chordal instrumentation. Section one: This section begins with a piano chord.
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