In his music, Rodgers sought to give some of the music an Asian flavor. This is exhibited in the piercing major seconds that frame "A Puzzlement", the flute melody in "We Kiss in a Shadow", open fifths , the exotic 6/2 chords that shape "My Lord and Master", and in some of the incidental music. [ 23 ] [ 150 ] The music for "The Small House of Uncle Thomas" was for the most part written not by Rodgers, but by dance music arranger Trude Rittmann, though "Hello, Young Lovers" and a snatch of "A Puzzlement" are quoted within it. [ 151 ] Before Rodgers and Hammerstein began writing together, the AABA form for show tunes was standard, but many of the songs in The King and I vary from it. "I Have Dreamed" is an almost continuous repetition of variations on the same theme, until the ending, when it is capped by another melody. The first five notes (a triplet and two quarter notes ) of "Getting to Know You" also carry the melody all the way through the refrain. According to Mordden, this refusal to accept conventional forms "is one reason why their frequently heard scores never lose their appeal. They attend to situation and they unveil character, but also, they surprise you." [ 151 ] According to Rodgers' biographer William Hyland , the score for The King and I is much more closely tied to the action than that of South Pacific , "which had its share