By her third album in 1990, Anything Is Possible, Gibson’s chart fortunes were diminishing; only the lead single, the album’s title track, made any headway, peaking at #26. It would be her final U.S. top 40 entry. She shed the wholesome teen image for 1993’s Body, Mind, Soul, and later appeared in a Playboy magazine pictorial. Despite her diminished profile, another seven albums followed between 1995 and 2022. In 2006, she reached # 24 on the U.S. adult contemporary chart with "Say Goodbye,” a duet with Jordan Knight. Gibson has also had starring roles on Broadway and touring musicals, including playing Eponine in Les Misérables and Sandy in Grease, as well as television and independent film work.
Interlude / Tony's Rehearsal
Debbie Gibson Lyrics
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(conductor) Yeah, that's a G minor major chord there. G Minor. It's fine. Should we play 32 - bar 32?
(musician) Let's play 31 again.
(conductor) Bar 31 to 33. 1, 2, 3, 4...{orchestra plays three bars and stops}
In Debbie Gibson's song "Tony's Rehearsal," the lyrics depict a scene of a musician and a conductor discussing musical chords and arrangements during a rehearsal. The scene opens with the musician questioning an inversion in the arrangement, asking whether there should be a G instead. The conductor affirms the correctness of the G minor major chord and suggests proceeding to Bar 32. However, the musician insists on replaying Bar 31, indicating the need to revisit the previous chord before proceeding. The conductor agrees and establishes the 32-bar from 31 to 33, after which the orchestra plays.
In the next line, the conductor identifies the sound produced as an E-flat major seventh chord, with the violas holding a D sustained throughout. The lyrical exchange highlights the precision required during rehearsals, with musicians and conductors paying minute attention to every note, pitch, and chord. The rhythm and melody must align flawlessly to produce a harmonious sound that is pleasing to the ears, a feat that requires patience, expertise, and attention to detail, as captured in Gibson's lyrics.
Line by Line Meaning
(musician) Shouldn't there be an inversion between the bases and us?
The musician questions if the arrangement is correct, as they believe there should be a switch between the bass and melody.
Can we put a G?
The musician asks if it's possible to include a G note within the chord progression.
(conductor) Yeah, that's a G minor major chord there. G Minor. It's fine.
The conductor confirms that the chord the musician suggested is a G minor major chord and that it's suitable for the piece being played.
Should we play 32 - bar 32?
The musicians consider if they should play a specific section of the song, bar 32.
(musician) Let's play 31 again.
The musician suggests the group repeats the previous section, bar 31, for additional practice.
(conductor) Bar 31 to 33. 1, 2, 3, 4...{orchestra plays three bars and stops}
The conductor guides the orchestra to play bars 31-33, then stops them after three bars for further instruction.
(conductor)That's it. That's an E flat major seventh chord. The um...the violas are sustaining a D through the two chords. That's right. Yeah...
The conductor confirms that the chord played was an E flat major seventh chord, and notes that the violas held a D note throughout the progression.
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