This paper is an analysis of the poem, “Dear March, Come In!” in a musical setting. It will explain the choices made in order to place the song in a musical setting. It will then compare the poem with a recorded version of the song, “Dream Variations” and finally draw conclusions on whether there were any effects of the recorded version of the song to the poem. Part I: Poem Analysis in a Musical Setting The poem, “Dear March, Come In!” is a cheerful song, one in which the author expresses joy and happiness in the arrival of the month of March. In the poem, the speaker, while expressing his joy to the arrival of March, uses different expressions and words to explain his feelings. In a musical setting, I would use the through-composed form of music in order to express these feelings of the speaker. Since through-composed form contains different music for every stanza, and the poem has different ideas and mixed feelings in the various stanzas, then, this would be the best way to go about the song. In a musical setting, using the correct singers, combined with the right instruments is the best way of creating the best record song. In a musical setting, due to the high range of the poem, I would use singers with a high range of voice, signifying the mood of the song, which is cheerful. As the song starts, I would use baritone, which is the voice falling between tenor and bass. Coupling this with tenor, which is the highest male voice, I would get a good combination expressing the speaker’s feelings in the song. The entire sing would then have a rich tenor. However, there would be the harmony in the singer’s voices in the last stanza. These, combined with the piano, a saxophone and a violin would blend well enough to make a great piece. While creating a musical setting of the poem, I would use a number of musical elements in order to get the right combination and come up with a great piece. Texture in a song, often regarded as the density, thickness, range, or width between the lowest and the highest pitches, determines the relationship between the various voices in a particular song (Stein 64). A song texture comprises of the monophony, homophony or polyphony. While monophony describes a clear text setting, polyphony describes a less clear setting. Since the poem, “Dear March, Come In!” has a clear text setting, I would use monophony in the first and second stanzas, but later switch briefly to homophony at the beginning of the third stanza to the line, “As soon as you have come”, but pick up homophony from the line, “That blame is just as dear as praise.” Tone in a song describes the system or the language of music, describing the hierarchical relationship between the pitch, based on the key centre. Tone in a song could be either happy or sad (Rumery web). In a musical setting of the poem, “Dear March, Come In”, there are tonal variations in the verses, as the singer expresses his emotions to March. At the beginning, the author indicates a cheerful tone, one that shows delight and the happiness of the singer, in celebration of March. However, after the stay and April knocks on the door, the author shows reluctance in opening the door. This shows some of sadness, after realizing that match is about to leave. Analysis and Comparison After listening to the recorded version of the song, it is possible to draw a number of conclusions.