Professional Documents
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The Ultimate Guide to !
Musical Theatre Skills and Repertoire!
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Neal Richardson
January 2016
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Table of Contents
1 Introductions
2 Excavating the SongIntroduction to Song Study
3 A Model Excavation
4 Guidelines for Different Song Types
5 Creating Situations For Songs
6 The Post Millennium Style
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Chapter 1 Introductions!!
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Excavating the Song is a guide to musical theatre performance and repertoire for the modern
singing actor. Strictly speaking, it is not an acting book, a singing book or an audition book, but
instead it looks at all three and examines the ways they interact and impact one another. Musical
Theatre is a beautifully complex craft. As a writer and a teacher, I try to address the complexity
by looking at it as a whole rather than as separate tasks. If youre a world class singer, great! But
that skill alone won't take you very far. The same goes for acting and auditioning. I am most
interested in how you can integrate these skills as you work toward your career goals.
Even if you dance beautifully and are a strong actor, in most cases, the skill that will help you
stand out is an ability to sing a song honestly, with a strong objective, a connection to your
partner, with a clearly devised and actable situation and sing it well. If you can do that and have
us believe you are creating the song in the moment, you can create a bit of magic in a small
audition room or on the big stage. Of course, it doesn't guarantee you will get cast, but it will go
a long way toward getting you in the "Yes pile" more often. Your dancing and acting skills matter
a great deal, but your ability to sing a song with these attributes is the secret that will help you
more than anything.
The exercises and activities in Excavating the Song were created to provide a structure and
process to insure that you leave no stone uncovered as you prepare a song for performance. It is
your tour guide through the astonishing and heart-stirring things that can happen when you sing
the great songs in the musical theatre canon. The word, excavating, conjures up the image of an
archeologist scientifically digging into a significant artifact. I've chosen this word mindfully to
remind us that as singers, it is too easy to think of a great performance as something mysterious
and illusive. It is tempting to think of a masterful interpretation as something like alchemy or
magic. It is not. It can be understood and achieved with practice, time, and thoughtful
excavation.
We can use the image of a pyramid when talking about great works of art to remind us of the
immense time and effort required to build, step-by-step, block-by-block something significant
and lasting. In the work I will lead you through, we are using the building blocks of text, music,
physicality and emotion to create a meaningful and significant song performance. But if we step
back for a moment, we can look at the song itself as the pyramidas something that a composer
and lyricist worked very hard to get just right. Lyrics are a special kind of language, most likely
rhymed, created in a syntax that strikes a balance between prose and poetry and containing
complex allusions that go beyond the surface of the words. In addition, the composer has crafted
a melody and accompaniment which support the lyric and help to tell the story even more
clearly. Good songs and especially good theater songs are more than nice tunes. The music
assists the lyric by providing a structure that the audience can make sense of in the moment.
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I begin using the ideas in this book when I started teaching over 20 years ago. I would often see
strong acting in scenes from actors who could sing well, but when it came time for the song, the
character, which had been presented in a clear and truthful manner, disappeared. Musicals are
unique and special in the way a truthful, naturalistic scene can flow directly into something that
can't be explained with mere wordsmusic. When a character sings in the middle of a scene,
something remarkable happens. The audience is allowed inside the character's mind and heart
and we are privy to a life that goes beyond words.
Considering the vast numbers of Broadway and Off-Broadway musicals, not to mention
theatrical songs from un-produced or unfinished works, knowing the repertoire can be
overwhelming. Finding the right song for the right situation is daunting. In my work as a teacher
and coach, Ive made discovering great under-sung songs a high priority as well as matching
songs with singers. This book can help everyone, no matter your voice type, character type or
skill level to find material that suits you and shows off your best qualities.
We all have favorite singersones who inspired us and helped us to decide to follow the dream
of musical theatre. Your favorites may include Patti LuPone, Idina Menzel, Sutton Foster, Liz
Callaway, Audra McDonald, Laura Osnes, Norbert Leo Butz, Marc Kudisch, George Hearn,
Brian Stokes Mitchell or Jeremy Jordan. These Musical Theatre actors are unquestionably great,
but why? Is it simply their voices? Their acting skills? Their personality? Or is it a combination
of these? And what do they have in common? Did they attend one of the great training
institutions? Do they share similar interpretative styles? Did they study with the same acting
teachers? No, each of their journeys was different and so was their training. Your path will be
your own as well.
You may say, I am a good singer and a good actor, what else do I need except the chance for a
breakthrough role? While you may have many skills in your back pocket, there are probably
still some things you have difficulty with. You may struggle with what to do with your hands
when you sing, finding material that shows you off, or difficulty in auditions. Each of these
difficulties relates to problems in skill integration which is what the resource you hold in your
hand is about.
There is a great chance that some of the things discussed here will be things you already know
and do well. There may be, however, other things that will inspire an aha moment. Some of the
things I ask you to do may frustrate you. Other times they may inspire you. Some things may
bore you and some things may just be the break-through you need in your performance. I
encourage you to engage in the tasks fully and give them a chance to work. Without question,
becoming a singing actor today is an enormous challenge. The objective of this resource is to
name and explore the tasks you will be doing on a daily basis for the remainder of your career.
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As you read this book, I encourage you to keep a journal of thoughts and questions. Given
enough time and investigation, you will be able to answer many questions yourself. A computer
or smart phone will also be helpful as you will want to listen to the songs I discuss. Buy cast
albums, borrow them from the library, use YouTube, Spotify, or Pandora. You will get much
more out of the book if you track down these songs and listen to them. I also encourage you to
keep this book with your audition materials and refer to it when you are stuck or in need of a bit
of inspiration and encouragement. Put it in your audition bag and browse as youre waiting. Each
topic discussed is presented in a way that can be digested in one sitting. The book is filled with
many repertoire lists and reference guides that will help you find great songs that you dont know
yet.
No other singer working today has more asked of them than the musical theatre singer. You are
asked to belt, sing legit, sing pop and rock, asked to be funny, asked to dance, and more. You are
also asked to do the work of an actor: to be in the moment, to pursue objectives, and to
embody the life of your character. This is a Herculean task! My objective is to help the singing
actor do each of these tasks more confidently and with more integration. I want to help you dig
so deeply into a song that it becomes a part of you.
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Table of Contents!
Introductions ..........................................................................................3
Do I need new headings? Telling the song's story, singing musically, story telling through song,
singing well with musicality, finding the best material for you
Acting the Song
Repertoire
Creating your Audition book ......................................................................
Include topics from Creating the perfect audition book
Audition Book Song Categories .................................................................
Audition Repertoire ....................................................................................
Cabaret Repertoire ......................................................................................
Standards .....................................................................................................
Vaudeville (And Other Songs from the 10s and 20s) .................................
Gilbert and Sullivan ...................................................................................
Film songs ...................................................................................................
Standard Literature......................................................................................
Choice songs ...............................................................................................
Sondheim ....................................................................................................
Glossary ......................................................................................................
Bibliography ...............................................................................................
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Acknowledgements .......................................................................................................
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Chapter 2!
Excavating the Song: An Introduction to Song Study!
Excavate [eks-kuh-veyt]to expose or lay bare as if by digging
I NEED TO WRITE MORE ABOUT THE NATURE OF CONFLICT IN THE WHOLE FIRST
SECTION. SHARE THAT THIS SECTION BUILDS ON THE ACTING SKILLS YOUVE
DEVELOPED THROUGH ACTING CLASS. SONGS REQUIRE A SPECIAL UNDERSTANDING
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Excavating the Song is about creating memorable, specific and entertaining live performances of
songs. But before we get into the nuts and bolts, I want to share an exemplary performance with
you. Do a YouTube search for "Kate Baldwin" and "I Don't Need a Roof." As you watched, what
did you notice? Did you notice the subtle ways she colored important words and how she led us
on a clear journey from beginning to end? Did you notice how she's fighting for something and
the way she didn't give into the sadness of the situation? Did you notice the way her physicality
communicated subtext? What else did you see?
I have been fortunate to see Kate Baldwin in four great leading roles in four wildly differing
productions: Kathy in The Last Five Years at The Repertory Theatre of St. Louis, Babe in The
Pajama Game at The Muny, Sharon in Finians Rainbow and Sandra Bloom in Big Fish on
Broadway. From a small black box theatre in St. Louis to an 11,000 seat outdoor auditorium to
the finest Broadway houses, Kate Baldwin has demonstrated a superb synthesis of strong acting
and singing skills in every production. As someone who lives for great performances, I've asked
myself what makes her so great in everything I've seen. Is it purely her acting? Her voice,
whether singing legit or belt? Is is something less tangible? While her acting, singing and
dancing are outstanding, what makes her performances so compelling, to me, is that she
completely lives in her characters (rendering her acting invisible) while giving her songs shape
and variety and utilizing vocal colors that communicate the inner meaning of what her character
is thinking and feeling. I'm sure you could add more qualities to this list.
We could do this exercise with any number of great performances but I wanted to start with a
single, clear example of the things I will be discussing. Kate Baldwin did not read
this book, nor do I know her process. But as the video demonstrates, she knows how to use a
song to communicate something beyond words and music. We could be left speechless by the
skill that she brings to her work or we can learn from it. I believe the craft of theatrical singing
can be discussed objectively and that when we have fully excavated a song to discover as much
about it as possible, the act of performance is easier. My goal is to help you do this with every
song you sing.
Nearly every written or taught system of acting theatrical songs is Stanislawski-based, asking
who, what, when, where and why questions. Based on twenty years of research and teaching, the
system Ive devised is a method of sorting through the many things to be considered when you
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prepare a song for performance. You may be doing many of the things I'm asking you to do
already, but by following these guidelines, you might be able to go even further, thoroughly
excavating your song and leaving no questions unanswered. There may be some activities that
seem new and strange, but they will pay off.
This paragraph needs revision for clarity.
First, we want to ask questions about the text. We want to know who you, the singer is, who you
are singing to and what you need. We want to know who the singer is, where they are, what
they're doing and who they are singing to. It's very important to start with this text work first so
that we don't allow the sensuous nature of music to cloud critical questions. We must start with
the text, making thoughtfully considered decisions based on our insight, intuition and instincts.
Next, we want to look at the song as a monologue, separate from its music. At this point, the
music is disregarded and we can rehearse and explore the monologue as we would if it were
from a straight play. The most important piece of the puzzle is understanding our objective,
which we will discover by asking, What am I really saying? What am I doing to my partner?
Why do I need to do it? and What do I need to accomplish by saying these words?
We will also want to pay special attention to the physicality that we bring to the monologue.
Pursuing an objective will cause the body to move and move in a manner that is congruent with
the text being communicated. If you give yourself over completely to pursuing your objective,
you won't be bothered with the common nagging question, "What do I do with my hands?"
Before we perform the song, we will do some preliminary work with the music in order to pay
special attention to phrasing, musical inflection and pacing. This is a specialized part of the
process that is not often written about or discussed. Phrasing comes quite naturally to some
people, while for other people it is more of a challenge. But phrasing is not mysterious. It is
something that can be learned with practice. With practice and text analysis, phrasing is
something you will learn to do.
Before we move on, it's important to mention that while some songs will suit you well, others
will not. This is a fact that we cannot change and one that has nothing to do with talent. I like to
use this image with my students. Imagine that youve visited a department store to pick out a suit
or a dress for an important event. You go to the racks and pick out what you think will look best,
but it is only after trying on the clothes that you can tell which one looks best on you. It is the
same with songs. Give songs a period of time to settle before you sing them for an audition or
you choose to discard them. Later in the book, I will give you a broad survey of song literature
from the 1900s to today, theatrical and non-theatrical, to help you choose the perfect song for
every occasion.
Excavating The Song
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What follows is a guide through the process of preparing a song for performance. By answering
simple questions and doing some guided activities, I intend to help you create a performance that
is detailed, specific and personalized.
The trouble with school is they always try to teach the wrong lesson. Believe me, Ive been kicked
out of enough to them to know. They want you to become less callow, less shallow, but I say,
Why invite stress in? Stop studying strife and learn to live the unexamined life Dancing
through life, skimming the surface, gliding where turf is smooth. Lifes more painless for the
brainless. Why think too hard when its so soothing? Dancing through life? No need to tough it
when you can slough it off as I do. Nothing matters, but knowing nothing matters. Its just life so
keep dancing through Dancing through life, swaying and sweeping, and always keeping cool.
Life is fraughtless when youre thoughtless. Those who dont try never look foolish Dancing
through lifeMindless and careless, make sure youre where less trouble is rife Woes are
fleeting, blows are glancingwhen youre dancing through life Lets go down to the Ozdust
Ballroom. Well meet there later tonight. We can dance till its light. Find the prettiest girlGive
er a whirl right on down to the Ozdust BallroomCome on follow me, youll be happy to be
thereDancing through life, down at the Ozdust, if only because dust is what we come to
Nothing matters but knowing nothing matters. Its just life so keep dancing through.
Im frequently asked why we would need to write the lyric in longhand in an age of
computers and Google. Writing the lyrics in prose will slow you down to consider the lyric
more deeply. In a good lyric, every word is significant. Until you take the time to consider
each word, image and allusion, it is too easy to miss something. You will be more apt to learn
a lyric correctly the first time and to be able to say it verbatim if you write it. With theatre
music, the lyric is everything. There are many more steps before a final performance, but if
you dont do this first one, your performance is guaranteed to be lacking.
What is the difference between a period, comma, em dash and ellipses? What purposes do
each serve? Which gets more space? How does punctuation impact inflection?
2. What are the facts of the song? Before inserting your personal interpretation, what
can we deduce about the character and situation? We will call this the objective
interpretation.
"Dancing Through Life" is about a guy who thinks that life shouldnt taken too seriously and
that just having fun is the best way to live.
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3. Once we assimilate these facts, we can ask questions which will will lead to a new,
original song reading I call the subjective interpretation.
A. Who is the Singer? Describe your idea of the character and situation using specific and
precise statements in first person.
I'm a freshmen at California State University. I barely made the grades to get into school but I
need this degree so I can be a lawyer like dad. I'm scared of failing but of school right but I'm
in my second month of college and I love having a good time. Girls say I'm good-looking and
I've come to accept that. I had lots of girl friends in high school. I lost my virginity at 16. I
prefer to be with my friends or out with a girl because when I'm alone, I get sad.
B. Who are you singing to? Choose a person or persons that will create interest and
conflict.
I am singing to the most beautiful girl I know, Samantha Collins. I can also tell she's really
smart but I don't know much else about her. English class is a blur because I just want to stare
at her and imagine being with her.
C. When is it?
It's 4:00 and we just finished English class. After class I watched her flirt with the biggest
arrogant jerk I know from my floor, Roger.
D. Where are you? The more specific your location, the more real it will be for you.
We are on the third floor of the English Building.
E. Why do you need to say these words? The stronger the need, the better.
I broke up with my girlfriend from home last week. Homecoming is this weekend. The idea of
not going to the dance is unthinkable. If I dont, Ill be a complete failure and my new friends
will tease me mercilessly.
F. What changes during the song?
Im able to convince Samantha to go with me. At first she resists but I turned on my charm. Of
course she agreed!
G.What do you want? What will happen if you dont get it?
I need her to say yes because if she doesn't, my status as the popular, cool guy will be lost.
My self-worth will plummet.
H. Why sing this song now and not yesterday or tomorrow?
I cant wait until tomorrow because she might go to the dance with Roger.
Notice that I'm not using the story or character from Wicked and how I've answered each
question quite specifically. Don't be satisfied with easy answers. Dig into the story and make it
interesting and exciting.
Write a defining sentence. The defining sentence is a concise summation of the songs action
you will say to yourself before you sing.
This is a song about a boy (a girl, a man, Dr. Monroe) who _______________________.
These words should sum up in a concise sentence or two your version of what happens during
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the song and what your objective is. The defining sentence may include both the objective
observations about the lyric and your subjective interpretation.
Defining sentence for "Dancing Through Life": This is a song about Frank, me, who needs to
hold on to his status as the coolest guy in school. I must convince Samantha to go with me to the
dance or risk losing that status.
Songs Arcs!
Songs tell stories and stories have a dramatic shape. Consider two contrasting songs in Wicked:
the comedic character number "Popular" or the private moment of reflection and growth when
Elphaba claims her power in "Defying Gravity." Both songs have an important function in the
overall shape of the show. There is a back story that leads us to each song and each song
continues the story. I'm sure you've seen a performance where nothing happens dramatically. It's
simply not the way songs are meant to function. All novels, short stories, plays and films have an
arca sequence of rising and falling action that brings the story to a satisfying conclusion. Think
of your song as a 3 minute, one-act play that has been crafted by a gifted playwright, you, to
entertain, instruct and delight an audience. There are four distinctly different story arcs:
1. Winning Arc
A winning arc is the most common shape. The song ends with your character achieving their
objective and getting what theyve been fighting for. But, as in life, you must confront conflict.
Perhaps you believe your boyfriend is being negatively influenced by his mother and you must
convince him that the two of you are perfect for each other. Or perhaps you must confront a
crumbling marriage because a work assignment is keeping your wife away from home. Romantic
comedy films share this story arc. In these films, the couple has to work through conflict to be
together. You may have to confront former boyfriends, a job that requires you to relocate or a
complication with your sex life. Overcoming these obstacles gives the film a shape that leads to a
satisfying conclusion. There are moments of loss but in the end, there is triumph.
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2. Losing Arc
The losing arc is like the winning arc, only inverted. There is a final losing moment but there are
also some wins before that. One of my favorite examples of a losing arc song is Good Thing
Going from Merrily We Roll Along. This song of a failed relationship ends with We had a
good thing going, going gone. But the ending is a brilliant surprise because throughout the
song, the relationship has been described in mostly positive terms. It started out like a song,/We
started quiet and slow with no surprise./And then one morning I woke to realize:/We had a good
thing going.
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3. Spiral Arc
The spiral arc begins and ends in the same place. The Wizard of Oz is the clearest cinematic
example of this type of story. It starts and ends in a place of comfortable familiarity. But the
journey to get there is quite an adventure and the character goes many places before arriving
back home. I see the spiral arc as a sort of variation on the winning arc but with the beginning
and ending linked. It's possible for this arc to feel like a losing arc depending on the emotional
place at the start. The most important thing is that the middle sections need to contrast to the
outer sections.
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4. Serendipity Arc
This final story arc is rare but powerful. There is a logical, predictable beginning and middle but
the ending is a complete surprise. The element of surprise is the key to making it a satisfying
arc. What purpose does the surprise serve? Usually it's to highlight a special discovery of some
sort. The audience believes you are telling us one kind of story, but near the end you reveal what
the story was about all along. The character's discovery is mirrored in the audience. This is the
toughest arc to pull off, but it's quite special when you do. .
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Further Exploration:
Im Not Afraid from Songs For a New World is a unique song in that all four types of arcs are
possible. Explore these questions:
For a winning arc, what are the obstacles, how do you overcome them and what is the nature of
the victory at the end?
For a losing arc, what do you lose at the end and what are the wins before that?
For a spiral arc, what is the beginning and ending place? Where do you go in the middle?
For a serendipity arc, what is the ending surprise? Where do you start and what does the middle
look like?
This concludes the text work for "Dancing Through Life." Lets move to song with a losing arc.
I had a dream about you, we were together again as we had always been. It was the happiest
dream I think I ever have had that you and Ive been in. It was a dream I dont need to explain.
Were in the car and were driving in Maine. Its so incredibly beautiful I dont know where to
begin. Were driving into the night and from a magical height we see two orange moons, theyre
hangin up in the sky like a pair of contented balloons. And as we stare into space in
astonishment, I turn to look at your face and you kiss me All in an instant inside of a wonderful
dream. Oh, I remember two orange moons rise in the sky to sound of loons and you were there,
my dream. I had a dream about you, we were together again, an old familiar pair. It was the kind
of a dream so absolutely convincing you believe youre there. The open road and the dotted white
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lines, the crispy smell in the air of the pines, the overwhelming sensation youre up and awake
everywhere And when we look in the sky, theyre getting higher and higher, those two orange
moons. Theres one for you and for me and, impossibly, both of them gleam. And I am holding
your hand for eternity and youre beginning to say that you love me. If only it really had
happened, if only it all really happened. I had a dream about you but, of course i t was only a
dreamIt was only a dreamIt was only a dreamI had a dream about you but, of course, it
was only a dream.
Subjective interpretation: Who is the singer? Describe the character and situation using
definite statements in first person. The subjective interpretation is the story of your account
of the song.
My name is Francine Story and I and work in a Connecticut independent bookstore I own. Im
28. Intelligence is my best trait. I work long hours and it's been a strain on my relationships. But
I met Giorgio three years ago and we moved in together after a year. It was great and I felt I had
finally found the one great love of my life. Our breakup two months ago was very hard and I've
been depressed.
Who are you singing to? Choose a person or persons that will create interest and conflict.
I am singing to my former partner, Giorgio. We broke-up over our disagreements about having a
child and the amount of time we can spend together. He wanted a child and I am not ready.
When is it?
Its 11:00 AM after seeing my therapist.
Why do you need to say these words? The stronger the need, the better.
Ive just come from my therapist where we were talking about my relationship with Giorgio. We
did not, however, talk about this recurring dream because we ran out of time. The dream has
been going through my mind constantly. Ive been trying to figure out what the two moons in the
song mean. When I see him, I cant help myself. Im so happy and without thinking about the
wisdom of it, I start telling him my dream.
trying to make fun of myself and make light of the fact that Im in my head again. By the end
of the song, its as if Im waking from the dream of us ever being together.
What do you want? What will happen if you dont get it?
Im 28. Im not ready to have a child but I am more than ready to have my one great love. I
thought Giorgio was it. I thought we could work through our issues with children. Ive placed
everything, my hope for security, my dreams for a house and financial security on him. If I dont
win Giorgio back, and this is my last chance, I will work in the bookstore all my life and never
fulfill my dreams of becoming a writer.
Write your defining sentence. These words should sum up in a concise sentence or two your
version of what happens during the song and what your objective is. Note that this sentence
may include both the objective observations about the lyric and your subjective
interpretation.
This is a story about me, Francine, who needs to seize this opportunity to win back the man I
love in order to achieve the security I am lacking.
Power
Love
Validation
Happiness
Survival
Francines super-objective is happiness. Here is I Had a Dream About You in beats and actions.
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Lyric
Action
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Avoiding Traps!
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Every song has a trapsomething that must be avoided when you rehearse the song so that it is
successful. The key to avoiding traps is to answer this question: What is the most obvious
interpretation of the song? The most obvious things are to be avoided. Your audience is smart
and you need to stay well ahead of them.
The danger in singing a losing arc song such as I Had a Dream About You is to play the losses
from the very beginning. The actor, who knows how the song will end, needs to be careful not to
give the ending away. The character doesnt know how it will end. Playing the end of the song
from the beginning is the trap of this song. It is your job to identify the trap of the song and not
fall into it. Good Thing Going, as discussed earlier has a similar trap. In the song, the singer
speaks of all the good things that were part of their lives together. He tempers it with some
clarifications that not everything was perfect. It is not until the very last word of the song,
going, going, gone, that the singer must face the truth of the end of the relationship. If you play
the end of the relationship at the beginning of the song, there is no arc, only a straight line.
Identifying the trap of songs is something you'll learn to do in time, but I want to bring up
common traps for two classes of songs. In general, the trap of romantic love songs like "Some
Enchanted Evening," "Do I Love You Because You're Beautiful," "My Romance," "I'll Be Seeing
You," "What More Can I Do?" "I Chose Right" or "If I Didn't Believe in You" is fail to consider
the conflict. All good stories have conflict and when it comes to theatrical love, there is always
something in the way. The complications are usually just beneath the surface in good love lyrics.
When they aren't in the lyric, it's up to you to supply.
With comedy songs, the trap is usually to not consider the high stakes or the cause of the humor.
The formula, "Comedy is tragedy plus time" has been attributed to Steve Allen but the formula is
evident in the comedy of Carol Burnett, Woody Allen, Lenny Bruce, Louis C.K. and many
others. Consider the stakes and root cause for humor in "Adelaide's Lament," "Happy To Keep
His Dinner Warm," "You Must Meet My Wife," "Getting Married Today," "I Am Aldolpho," and
"Taylor the Latte Boy." Another aspect of the comedy song trap is to play the song as a comedy
song. Characters singing these songs don't know they are funny.
Actions!
For each beat, choose an action verb that will give shape to your physicality for that beat. Choose
verbs that are actable that will inspire your body to move. Below you will find a list of wellchosen verbs that work. You can begin by thinking about what you are doing to you partner. Are
you lifting them or pushing them down? Are you reaching out to them or drawing them to you?
There are four broad categories of action verbs in two pairs of opposing categories: helping verbs
vs. hurting verbs and reaching verbs vs. gathering verbs.
Helping verbs
to uplift
Hurting verbs
to destroy
Reaching verbs
to share
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Gathering verbs
to invite
to build
to excite
to crush
to bombard
to open
to push
to welcome
to seduce
to support
to overwhelm
to mock
to annihilate
to reassure
to encourage
to pull
to caress
to celebrate
to paint
to belittle
to punish
to convince
to overwhelm
to charm
to prepare
to suppress
to inspire
Use a thesaurus to help you find others. Actions: The Actors Thesaurus by Marina Caldarone
and Maggie Lloyd-Williams is an especially good resource. Choose words that can be
physicalized easily. Remember, these are things that you are doing to achieve your objective.
Most of the time, your actions will be performed on your unseen scene parter, your other. Many
acting texts will say something like, the actions should be "rooted or grounded in your partner."
You are mocking them, or reassuring them or caressing them. But you may also choose actions
that you are performing to affect your partner but aren't on them directly. You could paint a
picture of what your life will be together or you could build a world that you two could share or
you annihilate an obstacle that stands in your way.
I need to mention the kinds of actions that don't work. To instruct or to teach (him the way to
love you), to show (him how I feel), or to tell (him he's wrong) are weak choices because they
wont cause the body to move in specific ways. To be angry or to be hurt are emotional states that
are impossible to play. You want each action you choose to inspire your body and mind.
Optimally, the body doesn't move unless there is an overwhelming need to move. If there is, the
physicality will be natural and organic. Stillness is the most powerful action and a lack of
physical motion doesn't necessarily mean there is a lack of action.
I am asking you to create and follow a map that is defined and shaped by the actions of each
beat. In essence, you are blocking the physical and emotional life of your song as a director
blocks a play. Thinking visually by actually diagraming your performance will help. By doing
this, you can avoid playing emotions and attitudes like sad or angry. The physical life will be
spontaneous and you will easily maintain connection to your partner.
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Further Exploration:
Here is an exercise for combining lyric and physical actions. Choose any relatively short song
you know well such as "Somewhere Over the Rainbow" and divide the lyric into approximately
four or five beats (see below). Choose an action from page 18 for each beat as I have done. For
this exercise, the actions don't need to correspond to the lyric or to a specific story. Maybe you
selected "To crush" for the second beat and think it's strange for that lyric and that action to be in
harmony. We will choose our actions more carefully later, but for now, just pick random actions.
Write the lyrics and the actions on chalkboard or piece of paper. As you sing, engage in each
physical action completely.
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EXCavATE: The Monologue!
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Exploring the song as a monologue will allow you to look at the lyrics separately from the music.
In doing so, you will allow the time needed to take note of the lyric's construction and content,
without distraction. Without this separation the music has a way of taking control and lyrics can
become mere placeholders.
After much experimentation with song monologues, I've devised an efficient six-part process that
will help you become more intimately acquainted with your lyrics. You'll be looking at rhyme,
imagery, pacing, subtext, physicalization, syntax, memorization and more. I've created a
pneumonic device to help you remember each activity in order.
E-Energized speech
X-EXplore objectives through movement
CAV-Combine action and verse
A-Act. True monologue
T-Tune. Accuracy of phrasing
E-Elevate your performance. Everything combined
1. Energized speech. Using a high level of vocal energy, speak the words without inflection
with speed so that the words form on your tongue without stops and starts.
The purpose of this is to aid in memorizing and getting the words securely into your muscle
memory. Do this until you can do it without any hesitation. Do not do this, however, so
quickly that the words have no meaning or cant be understood.
Additional activities:
A. You may also choose to speak the lyrics as a dramatic recitation, savoring the images
and biting into the words as you might bite into an apple. Imagine that youve written
the lyrics and are reading them at a poetry reading. Savor every image, rhyme and
alliteration.
B. Locate the images in your song. As you do the monologue, physicalize the images such
as love, heaven or fear. At this point, its preferable that you go too far in indicating the
images. This will help you to see the images in later steps. In other places in the book, I
discuss the pros and cons of indicating in a song. Dont worry about that for now.
2. EXplore objectives through movement. Physicalize the active verbs in each beat hearing the
lyrics in your head but without speaking them.
Once a section is finished, move on to the next verb. If it will be helpful, have a friend hold
up cue cards with that verb written on it to remind you. Start in a neutral position (focus
forward Center, weight on both feet and arms to your side) by saying to yourself the defining
sentence. Then when you see the inciting event, begin to hear the monologue in your head
while employing complete physical involvement. Don't plan what you are going to do. Let it
be spontaneous. It should have the appearance of a modern dance.
3. Combine action and verse. Physicalize the monologue while saying the lyrics.
Start in a neutral position (focus forward, Center, weight on both feet and arms to your side)
by saying to yourself the defining sentence. When you see the inciting event, begin to speak
the monologue with complete physical involvement. This is not a verbal exercise, it is
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physical. Whisper or shout if you need to. Get down on the floor or stand on a chair if it is
appropriate. The lyrics are of secondary importance to the physical life. Be sure to make a
clear distinction between each action. To check this, have a friend watch and then list the
actions that they saw you do. If they dont tell you the correct actions, that means that you
can be more specific.
4. Act. Next, speak the monologue keeping in mind the active verbs you assigned to each beat.
The words to the monologue become more important than in the previous exercise but allow
your body to respond to the action of the monologue. You may use the cue cards again. Keep
your focus forward, center and on your partner. Have a friend stand in for you scene partner
if you find that helpful. Do an improvisation with a friend standing in for the scene partner to
clearly establish the moment before.
5. Tune. Having the pianist only play chords or a simple, out of tempo, accompaniment, sing the
song repeating step 4. Take the same pauses you would take while doing the monologue. You
are doing the same monologue but simply adding pitch. This is an excellent way to work on
phrasing and pacing the song. The goal of this activity is to take full possession of the song
and make it yours. In songs, music can have the tendency to take over the story-telling. You
must avoid this at all costs. Strive for making this activity feel like a monologue with pitch.
6. Elevate your performance. Next, have the pianist play the actual accompaniment as you sing
the song. Physicalize each moment to the degree you feel is appropriate. Do not allow the
accompaniment to make your work less specific.
Further Exploration:
Watch the videos on the Excavating the Song app that demonstrate each step. Choose a song in
your repertoire and apply the process. Its important that each activity is secure before moving on
to the next. When you get to step 4 or 5, I suggest returning to earlier activities to refresh your
work. Its likely that they will be stronger now.
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The Moment Before!
!
Ive mentioned saying to yourself the defining sentence before beginning each the six activities
above. Repeating the defining sentence is an efficient way to remind you of the objective of the
song and the arc. Once you have done that, there is another step before you begin singing, living
the moment before. The Moment Before is what happens before you sing and consists of three
separate events:
1. Seeing the Inciting Event 2 (what do you see?)
2. Taking it in (what effect does it have on you?)
3. Responding to it (what is your response?)
In I Had a Dream About You, the inciting event is the surprise of seeing Giorgio at The
restaurant. Francine has been in her head after coming from the therapists office. She is still
trying to put all the pieces together and shes distracted. She sees Giorgio. Shes surprised and
2
The Inciting Event is the event which elicits or causes the beginning of the song to be inevitable.
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happy. Take this moment in. Respond to it. This response is called the active first beat and this is
the moment when the pianist begins playing the introduction. In this song, the introduction is
short but youll need to fill this moment with an action. You must always remember to give some
consideration to the introduction of a song and the ride-out. The ride-out is the music after you
complete your last note. The first verb in our analysis is to awaken. You are awakening Giorgio
during the first chunk of the lyrics but the piano introduction is you awakening from the haze
youve been in. .
I find that doing an improvisation with a fellow actor helps tremendously to make this active first
beat more solid. Choose a partner and explain the situation, giving them an idea of what you
need for them to do. Improvise the scene before the song begins. On the active first beat, the
pianist starts the introduction. The scene partner stays in the scene. Your focus is on them but,
just as a gentle reminder, we dont always look at the person were talking to. Your focus,
however, is still on them. Once the moment before is secure and you are confident in knowing
what this moment is, repeat the exercise without the scene partner.
Further Exploration:
Choose a standard ballad or any simple love song that is open to differing interpretations. You'll
find many great options in the Standard Ballad section to follow. Locate beat changes, assign
actions to each and think about the moment before. Youre Nearer or Our Love is Here to
Stay are good choices. Sing the song given these three following contrasting situations and
compare the results.
Sing the song given these three following contrasting situations and compare the results.
Song: Love is Here to Stay by George and Ira Gershwin
Situation #1. Im going away on a work assignment for 9 months and we wont be able to see
each other during that time. The objective is convince my wife of 5 years that things will be okay
and our relationship will stay secure while Im gone. Suggested actions: to reassure, to paint, to
caress, to pull, to uplift.
Situation #2. My wife has given me hints that shes going to end the relationship. The objective
is heal over any of the problems that we have and convince her that our relationship is meant to
last. Suggested actions: to reassure, to crush, to celebrate, to open, to pull.
Situation #3. My fianc and are having dinner in our favorite restaurant and this is a proposal.
My objective is to convince her that our love can withstand any problem that we face. Suggested
actions: to prepare, to caress, to pull, to paint, to celebrate.
Begin by physicalizing the actions as you say the lyrics without music. Without talking
beforehand, have a friend watch and identify each action. Remember that the actions are there to
specify the objective in each beat. When you feel secure, add music. How did singing the song
with these three differing situations change the vocal colors? Did it change you tempo? The
stakes? The transitions?
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Conclusion!
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A major challenge to musical theatre singing is sculpting an interpretation that is unique and
special to you. Nearly every song we sing has been sung by a countless number of singers before
us. But the Musical Theatre repertoire is rich and resilient. There is an infinite variety of subtle
choices available to you which can make your performance distinct. The work you've read about
in this chapter will help you toward that goal. The process may seem long and arduous, but you
will see the benefits. You'll be better able to personalize the material and to dig deeper into its
emotional life. The more you apply the process, the faster it will go.
You will discover the need to make adjustments for songs in other contexts, such as preparing a
role in a full musical or preparing for a cabaret or similar setting where you are singing as
yourself. You will find guides for these situations in the following pages. Consider the work we
have done in this chapter to be the essential steps in any song excavationthe foundation to
build your pyramid on.
I had the privilege of visiting the Alcott's Orchid House in Concord, Massachusetts--the home of
Louis May Alcott and place she wrote and set Little Women. I was impressed by our tour guide, a
college-aged woman who was was obviously passionate about sharing the story of the house and
its inhabitants. Her knowledge of the history was impressive, but I most remember how she told
the story with love for everyone and every thing involved.
Because I had been thinking about the musical, Little Women, and because my companion and I
joked that "here was where she sang 'Astonishing'," I couldn't help but make the connection
between our tour guide and the readers of this book. I don't remember all of the historical facts,
but I do remember the way our guide demonstrated how this story was signifiant to her
personally: the way that Louisa, an ordinary girl, determinedly wrote a personal story that people
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around the world have responded to. Through this tour guide, I was connected to the life of
Louisa May Alcott.
In the course of an afternoon, I saw how the history of this house had a direct influence on the
life of someone living today. The songs you sing say something significant about our shared
humanity. Ask yourself, "How does what happens in the song intersect with my life?" Even if
you haven't experienced it, you must imagine the details of that experience physically and
emotionally. This is the "What If" Stanislavsky wrote about.
The more you love and invest in the music you perform, the more your audience will take away.
They will notice how well you sing but they will remember how you revealed what was most
meaningful and the way that impacts you. Have you seen a performance of a song you knew well
and thought, " The performance was so good that it was like I'd never heard the song before?" It's
possible to achieve that quality with everything you sing.
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Chapter 3!
A Model Excavation: "Ev'ry Time We Say Goodbye"!
I am aware that the previous chapter might be a little overwhelming and technical. I threw a
number of difficult concepts and activities at you. I may have asked you to do things you had
never considered before, even if you've been singing for a while. Please don't be discouraged. I
want to take a step back and focus on a single song, looking at specific ways we can shape a
unique and singular performance.
As there have been innumerable singers of nearly every song we sing, we all struggle with being
fresh and memorable. One of the primary goals for this book is to address how we might do this
consistently. The first step toward a strong interpretation is a thorough understanding of the
music and lyrics as well as how the two are interrelated. A nuanced, original and specific
performance is dependent on careful analysis and smart, well-reasoned choices.
2.
3.
4.
5.
some ways. Later on in the book when I discuss "I Am Songs," I will help you prepare when
you've chosen to make the character yourself.
Who are you singing to? You may be singing to someone who is not physically present. Find a
way to visualize your partner, even if youre singing to yourself. In those cases, imagine that
one part of you is singing to another part. Maybe your timid side is singing to your braver self.
Or, perhaps your intellect is singing to your heart.
What do you want? Whats at stake? What will happen if you don't get it?
Imagine in detail the world in which your character exists and needs to say these words.
Where are you? When is it? What are you wearing? The more detailed you are, the more the
story will be real and visceral to you and your audience.
What changes happen during the song? Musical Theatre songs are special moments in which a
character undergoes some kind of change or the world around them does. One of the benefits
of taking songs out of context is you get to sculpt the outcome of your actions
Begin by reading the lyric. No matter how much you like the music, a song is not a good choice
for you if you do not connect meaningfully to the lyric. I have chosen Evry Time We Say
Goodbye by Cole Porter as a great song to start with due to its classic structure, rich lyrics and
significant melodic shape. This beautiful and touching song tells the story of how absence affects
the heart. The trap of the song is to fall under the spell of the sad lyrics and play only the
negative. An interpretation made from a single color only is deadly dull--especially if the
emotion is sadness or anger. I encourage you to always make an attempt to find the positive in
every song. A losing arc is certainly possible for this song considering the poignant lyric, but you
will do well to remember that a winning arc is usually preferable.
This song is in the traditional musical form for Standards. I will discuss Standards in much detail
later but for now you just need to know that a Standard is any enduring song from the first part of
the 20th C. It opens with a short Verse that sets up the conflict of the story followed by a Refrain
in which 4 eight-bars sections explore the emotional and sensuous aspects of the story. This
refrain is an ABAB form, meaning the first and third eight-bar units are alike musically while the
second and fourth eight-bar units are alike. Verses, because they are expository and less
emotional, frequently have a less melodic outline and are rhythmically closer t the freedom of
speech. It's important when singing Standards that you understand the stylistic differences
between Verse and Refrain. In general, Verses are more parlando (speech-like) and more
rhythmically free, while Refrains are more rhythmically stable, melodic and emotionally potent.
Common performance practice indicates a new acting choice at each structural marker and beat
change. This means a new choice for each of the four sections in the ABAB Refrain. But the
biggest change should happen between the Verse and Refrain since the objective changes from
setting up the story to actually living it. It's important to mention that at the performer's
discretion, the Verse may be skipped. If you do, remember that the backstory is still there tacitly.
Standards are usually in an AABA or ABAB form. The form matters as it will impact your
choices in a number of ways. In the AABA form there are two repetitions of the same melody
with different lyrics. The melodic repetition allows for a sense of familiarity when you are
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hearing the song for the first time. Usually the lyric content of the first two A sections are similar.
You will want to find some contrast between these sections but not too much. The B section is
the real chance for something new in the Refrain since we get brand new music and a lyric that
moves us in a new direction emotionally. The contrasting third beat beautifully sets up the return
to the final A. We come back to familiar music, but because we have been taken to a new
emotional place in the B section, we experience the final beat very differently from the first two.
It may seem like a simple structure but the AABA form is every bit as ripe for drama and beauty
as the Shakespearean sonnet is for poetry. Approximately 85 percent of standards are in AABA
form, sometimes called Song Form.
The ABAB structure found in "Ev'ry Time We Say Goodbye" is balanced and elegant but
ultimately, less dramatically complex than the AABA form. Here we get straightforward
alternating material. To make this song form satisfying, we will want to find an interesting
contrasting action with every beat.
Standards are a terrific introductory song to the sort of work we are doing because they have a
wonderful combination of specific action and story mixed with a certain openness to
interpretation. These songs have never left the repertoire due to their enduring qualities.
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!
Verse:
We love each other so deeply / That I ask you this, sweetheart
Why should we quarrel ever, / Why can't we be enough clever,
Never to part?
Refrain:
Ev'ry time we say goodbye / I die a little
Ev'ry time we say goodbye / I wonder why a little
Why the gods above me / Who must be in the know
Think so little of me / They allow you to go
When you're near / There's such an air of spring about it
I can hear a lark somewhere / Begin to sing about it
There's no love song finer,
But how strange the change from major to minor
Ev'ry time we say goodbye
Ev'ry single time we say goodbye
It is traditional to take classic American popular songs from the first half of the 20th century out
of their show contexts, even when they were written for a stage musical. Evry Time We Say
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Goodbye first appeared in Seven Lively Artsan interesting musical revue that celebrated the
art forms of music, theatre, ballet and painting. The context of this song in its original setting,
while interesting, is of no real value to a modern audience. It will be much more interesting and
valuable for you to create your own story. Of course, there will be opportunities when you will
want to sing a song using the givens of the show that it is from, but for now, lets be creative with
the storytelling.
Read the lyric carefully. Look for keywords, phrases and allusions. Also look for the songs
conflict. All great dramatic literature has conflict and that conflict is the fuel for a strong
performance. Great lyrics are akin to poetry, and as such, they contain hidden treasures that you
must discover through thoughtful excavation. Failure to excavate these treasures runs the risk of
a performance lacking specificity and nuance. A few keywords or phrases in the verse are love,
deeply, sweetheart, quarrel, clever, and never to part. These key words are excellent
opportunities to employ the kind of Vocal Color work I describe in chapter ??. They can have an
onomatopoeic effect: sounding like the literal meaning of the word. The allusions to aural events
outside the song, "lark" and "major to minor," are quite beautiful and poetic.
It is useful to think about how the Verse/Refrain song form came about and how verses function
in relationship to the refrain. The Verse/AABA and Verse/ABAB song forms originate in early
20th C. musical theatre as a way to transition seamlessly from dialogue into true song. Without
the verse, the transition could be awkward or even laughable. We can understand the verse as
having a characteristic more closely aligned with speech: more free rhythmically, less about
melody and more about setting up the context for the refrain. The Verse is a bridge between
dialogue and true song.
In the following analysis, I make a clear differentiation between objective and subjective
observations. The objective observations are based directly on meanings inherent in the words of
the lyrics. The subjective observations are the ones you, the performer, make about a song. You
must begin with the objective observations which are in black and white in the text. These are the
ones that any singer coming to the material, no matter their interpretative differences will or
should see. From the lyric, we can draw the conclusion that the singer has a significant love for
the other, enough to use the word sweetheart. But there is a conflict involving something that
causes them to be separated. With this separation comes quarreling. The singer wishes that they
could be smart enough, or clever enough, to find a way to not be separated. This is the objective
observation. Next comes the subjective interpretation.
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Subjective Interpretation
!
The subjective interpretation is your unique version of the story as opposed to the objective
interpretation, or the simple facts given in the lyric. In the subjective interpretation, you fill in
the blanks the lyric does not supply. Consider the questions that remain unanswered which will
lead to a more satisfying, specific performance. What is not in the lyric? In Evry Time We Say
Goodbye you may ask, Why are these two separating? and What is the nature of the
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relationship? and How long have they known each other? and How long are they
separated? Other questions may occur to you. The big question that is among the first that must
be answered is Who is the other? Who are you singing to? The answer to this question will
inform nearly every other question and answer.
I find that many singers new to acting songs tend to choose the most obvious answers to their
questions. The conventional wisdom is that the choices with the most angst provide the greatest
fuel for a performance. There is a logic to this way of thinking and finding the conflict in songs
is excellent. But Evry Time We Say Goodbye, with its slow tempo and static melody, has a
musical and an emotional intensity that may lead you down the wrong path. Remember, the
positive choice is usually the better one. Some may choose a situation where the other is a spouse
and that the two are separating due to irreconcilable differences. Maybe there is a divorce
looming or maybe a lover is choosing to enter the military during a time of war to avoid a
marriage proposal. While these kinds of choices may result in a useful analysis leading to a
satisfying interpretation, I will ask you to look for positive choices, where possible.
Situation 1: A 20-year old college student with a girlfriend of one year has to say goodbye to his
sweetheart, Grace, for summer break. Grace wanted them to stay at college during the summer
and take classes together and spend time at the beach. Fredrick needs to work to earn money for
college and the best place for him to do this is at home in his familys business. They quarrel
over this repeatedly. The reason he needs to sing this now is because it is the last day before
summer break and his father needs him for a big project in the morning. Fredrick must catch the
train and convince his sweetheart that he will call her everyday, that he will miss her terribly and
that his love for her is real and lasting.
Lyrics such as I die a little are evidence of how enduring his love is for her. The gods who
think so little of him is perhaps not so much from a sense of desperation or sadness but a
somewhat comic hyperbole. Maybe he is using poetry and humor at the same time. It is an
excellent tactic. The lyric They allow you to go must be reinterpreted in the singers mind to
mean They allow us to be separated. You will need to do minor reinterpretations such as this
often in your work if it does not destroy the intent of the lyric.
Situation 2: A young mother must say goodbye to her 7-year-old daughter who is going to
summer camp. She must sing these words to comfort her daughter before she gets on the bus.
The daughter feels as if she is being punished by being sent away. The mother sings this song to
reassure her that shes not being punished and that she will be missed terribly. She will be
coming back in a month and everything will be the same when she returns.
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The benefit in choosing a situation like this is that the moment is quite rich. The mother is upset
about having to say goodbye but must put on a brave face to comfort the child and to keep her
from crying. While there is sadness and longing, it becomes more about the love the mother has
for the daughter than the separation. It has conflict, but it is more positive than negative.
As a side note, we are often asked to make life and death choices in our acting. This is wise
advice, but can lead us to a morass of angst and feeling sorry for ones self. This is a trap to
avoid at all costs. I've had many students whose idea of a life and death situation involves a
serious illness of a loved one. The problem is there is nothing we can do to change a diagnosis of
cancer or brain tumor. Cancer could be a part of the story but not the main focus. Musical theatre
songs are at their most powerful when characters work through a problem by making positive,
life-affirming choices. The sunll come up tomorrow/bet your bottom dollar that tomorrow
therell be sun and Look for the silver lining/wheneer a cloud appears in the blue are two
great examples. These songs may seem a little corny but they are great theatre.
Once you have created the situation for your song, the real work of interpretation begins. Often
people make the mistake of ending their questions when the situation is set. This is only the
beginning of the process. You will need to analyze the lyric, analyze the form, consider the ways
that the music and the lyrics are related, then look for ways to keep the song in motion and
active. You must find ways for the song to progress through time such that discoveries are made
and that there is a clear beginning, middle and end. Remember, lyrics are like poetry. Lets look
at the poetic devices in the refrain.
Rhyme
Ev'ry time we say goodbye / I die a little
Ev'ry time we say goodbye / I wonder why a little
Musical
scheme form
A
A
A
BB
B
DB
D
E
E Coda
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The refrain falls into a common scheme of four pairs of rhymed couplets (A,A,B,B,C,C,D,D)
with a coda. The Coda, or tag, has two lines, each of which ends with goodbye. The rhymes in
each A section are notable because they are quadruple rhymes die a little rhymes with why a
little and spring about it rhymes with sing about it. A good rhyme emphasizes important
words. The italicized words are made more important because of their rhyme. You will want to
consider why these rhymed words are important. The two B sections contain the rhyming pairs
of know/go and finer/minor.
Most American popular songs of this period were composed first and the lyrics were added later.
But since Cole Porter was both the composer and lyricist for this song, we are not sure which
came first. According to at least one source, Porters lyrics may have come first. Whichever the
case, it is clear that there is much word painting in the refrain. Each A section is notable in that
the melody stays fixed on a single note (eight repetitions!) before changing pitch (figure 1). The
note change always corresponds with an important word like die and why.
Figure 1
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This static melody may suggest a sense of hesitation or a desire to make time stop. The B
sections are much more melodic and higher in pitch (see measure 19 and following in the full
song reproduced in figure 2, below). This musical change is in response to the lyric, Why the
gods above me . . . Think so little of me and Theres no love song finer. At the end of the
second B section, there is a remarkable musical moment when the lyric, the change from major
to minor is reflected in a change in harmony from A-flat major to A-flat minor. Other instances
of word painting are discussed in figure 2 (below).
You might wonder why this is important or how someone without an advanced degree in music
theory can find such connections between the music and lyric. The reason this is important is that
great songs work on multiple levels. When the art forms of music and poetry are combined, the
results are complex and subtle. When you are singing a great song, it is your responsibility to
understand it to the best of your ability. Finding these kinds of connections does not take any
special knowledge but it does take critical listening and time..
Now that you have a better understanding of the refrains structure, you can put your actor hat
back on. You have answered many of the questions from the Actors Homework such as Who is
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the singer?, Who are you singing to?, Where are you?, and Why do you need to say these
words? But we have not addressed the all-important question: What changes during the song?
I have chosen my first story from the two possibilities: A college student with a girlfriend of one
year has to say goodbye to her for the summer.
A 20-year old college student with a girlfriend of one year has to say goodbye to his
sweetheart, Grace, for the summer. Grace wanted them to stay at college during the
summer and take classes together and spend time at the beach. He needs to work to
earn money for college and the best place for him to do this is at home in his
familys business. They quarrel over this constantly. The reason he needs to sing
this now is because it is the last day before summer break and his father needs him
for a big project in the morning. He must catch the train and convince his
sweetheart that he will call her everyday, that he will miss her terribly and that his
love for her is real and lasting.
These are the givens. They are the things that I must accomplish during the song. They are my
objectives. Once you have done this work, you can create the defining sentence: This is a song
about a college student, me, who needs my girlfriend to understand that I must work during the
summer so that I can be with her in the fall. I need her to understand that our relationship can
stand three months of separation. The defining sentence incapsulates your story in a concise
way so that you can repeat it to yourself before beginning to sing.
What follows is an example of how I might assign different actions, based on our givens, to each
section to give the song a clear shape.
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!
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Work to achieve a sequence of actions that vary in texture and emotion and support the story arc.
The actions will delineate beats and give structure to the song. Notice that in my sequence there
is a variety of tactics. Creating this kind of variety will give your interpretation distinctive
qualities that will set it apart from other interpretations.
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1. Energized speech. Using a high level of vocal energy, speak the words without inflection
with speed so that the words form on your tongue without stops and starts.
The purpose of this is to aid in memorizing and getting the words securely into your muscle
memory. Do this until you can do it without any hesitation. Do not do this, however, so
quickly that the words have no meaning or cant be understood.
Additional activities:
A. You may also choose to speak the lyrics as a dramatic recitation, savoring the images
and biting into the words as you might bite into an apple. Imagine that youve written
the lyrics and are reading them at a poetry reading. Savor every image, rhyme and
alliteration.
B. Locate the images in your song. As you do the monologue, physicalize the images such
as love, heaven or fear. At this point, its preferable that you go too far in indicating the
images. This will help you to see the images in later steps. In other places in the book, I
discuss the pros and cons of indicating in a song. Dont worry about that for now.
2. EXplore objectives through movement. Physicalize the active verbs in each beat hearing the
lyrics in your head but without speaking them.
Once a section is finished, move on to the next verb. If it will be helpful, have a friend hold
up cue cards with that verb written on it to remind you. Start in a neutral position (focus
forward Center, weight on both feet and arms to your side) by saying to yourself the defining
sentence. Then when you see the inciting event, begin to hear the monologue in your head
while employing complete physical involvement. Don't plan what you are going to do. Let it
be spontaneous.
3. Combine action and verse. Physicalize the monologue while saying the lyrics.
Start in a neutral position (focus forward, Center, weight on both feet and arms to your side)
by saying to yourself the defining sentence. When you see the inciting event, begin to speak
the monologue with complete physical involvement. This is not a verbal exercise, it is
physical. Whisper or shout if you need to. Get down on the floor or stand on a chair if it is
appropriate. The lyrics are of secondary importance to the physical life. Be sure to make a
clear distinction between each action. To check this, have a friend watch and then list the
actions that they saw you do. If they dont tell you the correct actions, that means that you
can be more specific.
4. Act. Next, speak the monologue keeping in mind the active verbs you assigned to each beat.
The words to the monologue become more important than in the previous exercise but allow
your body to respond to the action of the monologue. You may use the cue cards again. Keep
your focus forward, center and on your partner. Have a friend stand in for you scene partner
if you find that helpful. Do an improvisation with a friend standing in for the scene partner to
clearly establish the moment before.
5. Tune. Having the pianist only play chords or a simple, out of tempo, accompaniment, sing the
song repeating step 4. Take the same pauses you would take while doing the monologue. You
are doing the same monologue but simply adding pitch. This is an excellent way to work on
phrasing and pacing the song. The goal of this activity is to take full possession of the song
and make it yours. In songs, music can have the tendency to take over the story-telling. You
must avoid this at all costs. Strive for making this activity feel like a monologue with pitch.
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6. Elevate your performance. Next, have the pianist play the actual accompaniment as you sing
the song. Physicalize each moment to the degree you feel is appropriate. Do not allow the
accompaniment to make your work less specific.
Use this pneumonic device to help you remember the order of the monologue steps.
E-Energized speech
X-EXplore objectives through movement
CAV-Combine action and verse
A-Act. True monologue
T-Tune. Accuracy of phrasing
E-Elevate your performance. Everything combined
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!
Conclusion
I realize that I am asking you to do quite a lot to sing a song. Are you exhausted just reading
about it? I would invite you to watch the associated videos to help you understand how each part
of the process works and how it will help your performance. It may seem time-consuming or
frustrating but it will lead you to a more specific, detailed and nuanced performance. If you do it,
step-by-step, and build it layer upon layer, it promise it will show in your work. You will find
that the song will be shaped organically, unfolding moment to moment with a clear beginning,
middle and end. There will be a clear pursuit of objective. You will also find that being specific
will keep you from getting distracted with thoughts such as, How am I doing? or Do I sound
okay? or What do I do with my hands? Your singing will be more effortless and your work
more specific.
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Figure 2
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The sets of questions which follow will guide you in preparing three different kinds of songs for
three different settings. The first is for creating an original situation. It is recommended that you
do this for most of your songs, including songs for an audition. The second is for preparing a role
in a show. The story and situation is supplied for you and it is your job to bring the character to
life and for the song to make sense at that exact location in the show. The last guide is for what I
call "Disclosure Songs" and can be used anytime it is desirable for the character to be YOU. A
solo cabaret is a good example. This process is especially beneficial when you want to
personalize material, no matter the context.
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Objective Interpretation
What is this song about objectively? Looking at the lyrics, and without adding your
interpretation, what is the song about and what happens? One or two sentences.
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Subjective Interpretation
Who is the singer? Describe the singer using clear, definite statements.
Who are you singing to? Choose a person or persons that will create interest and conflict.
When is it?
Where are you? The more specific your location, the more real it will be for you.
Why do you need to say these words? Obviously, the stronger the need, the better.
What changes during the song?
What do you want? What will happen if you dont get it?
Why sing this song now, and not yesterday or tomorrow?
Defining Sentence
This is a song about_____________________that (continue the sentence below)
Song Analysis
What is the arc of your song? Winning, losing, spiral, or a serendipity arc?
Do an analysis of the music, making specific note of the relationship between the lyric and the
music. Make mention of the songs formal structure, changes in tempo, changes in style and
changes in accompaniment.
Read the lyric and make decisions as to where beat changes occur. Deciding where beat changes
happen is a delicate balance between musical understanding, dramatic understanding and
intuition. Summarize the beats below. You may want to include a few lyrics that indicate beat
changes. Choose a strong, active verb for each beat.
Helping verbs
to uplift
Hurting verbs
to destroy
Reaching verbs
to share
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Gathering verbs
to invite
Helping verbs
to build
Hurting verbs
to crush
Reaching verbs
to open
Gathering verbs
to welcome
to excite
to support
to bombard
to mock
to push
to reassure
to seduce
to pull
to overwhelm
to celebrate
to annihilate
to belittle
to encourage
to convince
to caress
to charm
to paint
to punish
to suppress
to overwhelm
to inspire
to prepare
Describe the three moment before events: Inciting Event (what do you see?), taking it in (what
effect does it have on you?) and responding to it (what is your response?).
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Do the EXCavATE Monologue work.
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Talk about Tim OCEL's point. Actors in musical theatre have a second language
that they communicate in.
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Write the lyrics in prose form, carefully observing punctuation marks.
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Character Analysis
1. List and briefly describe the significant relationships your character has with other characters
in the musical. (For example: Curley in OKLAHOMA!)
Laurie - the love of my life.
Judd - my adversary. He's the guy that stands in the way of my happiness with Laurie.
Aunt Eller - My parental figure.
2. In one paragraph, write the essential story of your character from their first entrance to their
last scene. What is their story arch and super objective?
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3. Describe the important details about the location and time period of the events in the musical.
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Song Analysis
1. Why have the show's creators decided that this moment in the musical is better sung than
spoken? This question is subjective but important to consider.
2. What information about the character and situation is revealed in the song?
3. Do an analysis of the music, making specific note of the relationship between the lyric and the
music. Make mention of the songs formal structure, changes in tempo, changes in style and
changes in accompaniment.
Defining Sentence
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The form of the defining sentence is slightly different for book musicals. Follow this model.
Soliloquy is the moment where Billy decides that he will do whatever it takes to provide for his
child.
Looking at the sheet music, do a simple analysis of the form. What does the music
communicate about the character and the situation?
Read the lyric, observing where the beat changes occur. Look for musical changes as well as
changes in the lyric. Summarize the action of the song in one or two paragraphs making note of
the beat changes.
Considering what you now know about the character, situation and the songs arc, choose a
strong, active verb for each beat. I would advise you to choose actions that support what the
character is doing with their words and body for each beat.
Describe the three moment before events: Inciting Event, taking it in, and responding to it.
Consider your characters history, story arch and super objective as you think about the moment
before.
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So far, we have looked at acting Standard songs with an original situation and theatre songs
using the givens of the show. Having the skills to do both enables you to tackle nearly every
circumstance you will face as a singer. For a general audition or in showcase situations, telling a
story that you have crafted and are personally connected to may be your best option. When
preparing a role or doing a callback, you will of course want to use the givens from the show.
The last skill set I would like to discuss is for what I call "Songs of Disclosure." These are the
powerful songs where characters share secret information with another character or the audience.
They advance the story by allowing the character to tell us who they are (I Am songs) or what
they want (I Want songs). Both challenge the actor to make a truthful connection and to tell a
personal story. This is easier said than done. To personalize material, I encourage you to practice
incorporating your essence and experiences into your work. I believe this is one of the greatest
secrets of masterful performances and a quality shared by many of the artists we love. That's why
I believe it's important to master this skill too. Personalization simply means that empathy can
guide us to greater believability and specificity. The question to ask is, "How would I feel in this
situation?" When we do this well, the audience may wonder if your story was something that
really happened to you or even if you wrote the song.
According to Bob Fosse, the message of "I Am" songs may be I feel good about life (A
Cockeyed Optimist from South Pacific), Im in love (I Feel Pretty from West Side Story), or I
am capable of dealing with what appears to be a failed relationship (Many a New Day from
Oklahoma!)3. What is the message of these "I Am" songs? The Jet Song (West Side Story), All
I Care About is Love (Chicago), Im Alive (Next to Normal), Some People (Gypsy) and
Cest Moi (Camelot).
Fosse also said that from a director's point of view, there were only three types of theatre songs
http://www.musicals101.com/1950bway3.htm
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In addition to Fosse's three song types, I would like to add the following clarifying designations.
Each can function as one of the three primary types while establishing specific boundaries and
dramatic functions.
1. Expository songs. The opening number establishes the ground rules for the show, its style
and permissions. Some expository numbers like, "Tradition," "Christopher Street," and "In
The Heights" give us specific information about characters while songs like "Magic To Do,"
"Ragtime," and Titanic's opening sequence give us only a thumbnail sketch. The theme
should be clear from the first song but sometimes as in "Try to Remember" and "We Dance,"
we aren't told much more than theme. Expository songs can function as "I Am" songs, "The
Jet Song" (West Side Story), as "I Want" songs, "Belle (reprise)" (Beauty and the Beast), or as
book numbers, "Six Months Out Of Every Year" (Damn Yankees).
2. Songs of romance. Since most shows involve romantic love as a primary or a secondary plot
point, love songs allow an opportunity for the couple to connect romantically. "One Hand,
One Heart" is an example of a romantic song that is also an "I Want" song: "I want to be
joined with you forever." Others like "Twin Soliloquies" or "Sue Me" are romantic Book
numbers.
3. Song and Dance. Any time the emotions become stronger than can be expressed with only
the voice, characters dance. This can happen in Expository songs like "All That Jazz" and "I
Hope I Get It." It may also happen in "I Am" songs like "I Can Do That" (A Chorus Line) or
"Kansas City" (OKLAHOMA!). "Shall We Dance" is a romantic song and dance.
4. Songs of extravagance are the exciting songs near the end of Act II where the central
character (in nearly every case 5) expresses themselves fully at a climactic moment. Emotions
are expressed extravagantly with no restraint, following either the "I Am" or "I Want"
models. Traditionally they were called "11 o'clock Numbers" because the second act needed
a jolt of electricity around 11:00 to keep the audience's attention to the end. It was common
for celebrity performers like Ethyl Merman and Al Jolson to have contract provisions that
mandated a rousing number at the show's climax. Some of the most famous "11:00 Numbers"
are: "Roses Turn," "This Nearly Was Mine," "Send in The Clowns," "Being Alive," and
"Memory." In modern practice, "Defying Gravity" and "Astonishing" are 11 o'clock numbers
moved to the end of Act I. "Don't Rain on My Parade" did this same structural adjustment
some 40 years earlier.
Because "I Want" and "I Am" songs are about a character sharing important, heretofore
undisclosed truths with the audience or another character, I've created the term, "Songs of
Disclosure," to indicate both types. By this point, it should be clear how important Songs of
Disclosure are to theatrical storytelling and why it's important to learn to do them effectively.
They are an indispensable part of your book as they can reveal your essence better than any other
type. The work we do with disclosure songs will lead very naturally to the Cabaret work we do
later.
5
Molasses to Rum, The Miller's Son and The Ladies Who Lunch are for secondary characters.
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When singing a Disclosure song, I suggest using personal experiences to shape your
interpretation around. One caveat: please dont sing about truly painful feelings or situations too
revealing. This will lead to a performance that is too inward looking and uncomfortable to your
audience. An actor friend of mine calls this "picking wounds." Steer clear of playing mood or
emotion, something many people do naturally when first singing personal material. It's easy to
fall into the trap of simplistic thinking, "This song is sentimental" or "This song is sad." Nothing
in life of any worth is about one thing only. Our thoughts and feelings about people and things
we love or hate are invariably a jumble of complex, conflicting information.
But I am not saying that you should only use happy situations for a Disclosure Song. Tears may
come from your work and that is not necessarily a bad thing. But crying during a performance is
to be avoided for all the obvious reasons. Tears come when we make a connection to something
or someone and when a connection is broken. My advice is that you should allow the tears to
come if you're singing about a lost connection but only during rehearsal. Let them flow freely
because in doing so, you'll be able to work through the situation in a healthy manner that will
help the song. The feelings you felt in your rehearsal will still be evident in the final performance
but you'll be able to avoid tears. I like this image: think of tears and the situations that cause
them as a fire. If you feel cold or lacking connection, move toward the fire. If you feel too warm,
move away by thinking of something more positive. I want to share a beautiful Disclosure song
performance by Karen Mason illustrating this point beautifully. Youtube: Karen Mason We
Never Ran Out of Love. How does she handle the emotional complexity of this personal
story?
Youll want answer the following questions and do the associated activities reminding yourself to
keep the work very personal--so personal that youll want to keep it private.
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INCLUDE THE SONG TYPE DIAGRAM. DO I MEED A LIST OF MORE I WANT SONGS.
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The Actor's Homework: The Song Of Disclosure
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Write the lyrics in prose form, carefully observing punctuation marks.
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Beginning Questions
Why are you the perfect person to sing this song? What it is about the song that makes it a good
choice for you?
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What do you want to say through the song?
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What are the traps of the song?
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Are there ways that the music, accompaniment or melody, could or should be adjusted to better
tell the story you want to tell?
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Describe the three moment before events: seeing the event, taking it in, and responding to it.
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Do the EXCavATE Monologue work.
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Inner Monologue
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Write an Inner Monologue that tells the story of your song. An inner monologue is the
conversation we have with ourselves at a conscious or semi-conscious level. In writing an inner
monologue, we will create a tangible representation of the thoughts we have as we sing.
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Here are the thoughts of an actor we will call Reuben.
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This is a very personal song and one that I have trouble speaking about because it means so
much to me. Ive always been a dreamer. Even as a kid, I imagined doing great things that would
make significant changes in the world. I now see this quality as a positive but it hasnt always
been that way. When I was in my teens and 20s, I didnt have a sense of direction. Although they
never said it, my family and friends thought I was strange and hard to understand. I heard this
song when I was about 13 and it stuck with me. When I would randomly hear it as an adult, I
would feel a strange combination of sadness and relieflike someone understood me. Now that
Ive decided to sing it, I need to unpack those feelings and use them in my work.
The story of the song, as I see it, is about figuring out who I am and claiming that identity with
pride. I see it from the perspective of someone who is a dreamer but trying to be realistic at the
same time. In the song, the rainbow suggests the ideas about what life might become. These
ideas are grand, somewhat magical and likely to cause me a great deal of grief. When I was
younger, I dreamed about making a living creating art and affecting people for positive change. I
wanted to be engaged fully in the world around me. I needed to find a way to be a realistic
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dreamer. Now that Im in my 30s, I can take stock of my life and see that Ive been largely
successful in achieving my goals. I feel a sense of accomplishment, pride and humility.
My inner monologue will be about my journey to get where I am today. The monologue is a
conversation I have with myself as I am checking to see if Ive reached the goals I set for myself
when I was younger. The song asks a lot of questions. Whats so amazing that keeps us stargazing and what do we think we might see? and "Have you been half asleep and have you heard
voices?" When I sing, I want to ask those questions in an honest way. I really dont know the
answer at the time. The journey of the song is realizing that I have achieved my goal and its
something I should be happy about. That's what the rainbow connection means to me. The
connection is one with myself and to everything around me. The song starts when I am 13 and
ends in the present moment.
Why are you the perfect person to sing this song? What it is about the song that makes it a
good choice for you? This song has been with me for what seems like my whole life. It
describes my inner conflict in a way that I couldnt.
What do you want to say through the song? Being a dreamer is a good thing when you can
also be realistic. I want to encourage others to dream too.
What are the traps of the song? This isnt a sad song but the wistful lyrics and haunting
melody could lead me toward a sad affect. I need to keep it positive and affirming.
Are there ways that the music, accompaniment or melody, could or should be adjusted to
better tell the story you want to tell? The original version is accompanied by a banjo and has a
sing-song, child-like quality. I want my version to be more adult by making the accompaniment
smoother and the melody more free. The freedom of my singing should reflect my process in
figuring out my questions.
Describe the situation. I had a conversation with a close friend this morning. They said
playfully, Youre such a dreamer. When are you going to grow up? My first response was to
get mad but I decided that I needed to take some time at home to really answer her question.
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Why sing this song now and not yesterday or tomorrow? My friends question has bothered
me all day. I have to have some answers so I can sleep well.
What is the arc of your song? A winning arc.
Describe the three moment before events: seeing the event, taking it in, and responding to it.
I remember my friends question and at first I feel a sense of shame. As I think about it, I come to
the conclusion that I shouldnt feel shame, but what do I feel instead? I have to go back to a time
when I first starting thinking this way and take an honest look at those patterns from then until
now.
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Inner Monologue
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Lyric
Inner Monologue
To Build. Im
building a model of
the world so I can
examine and
understand it. I pick
up each piece and
examine it for the
magic it contains.
To Push. I am
resisting the ideas
that go against the
way I understand the
world.
To Convince. I am
convincing myself of
a new way of
understanding. I have
to abandon my old,
childish way of
thinking.
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Action
Lyric
Inner Monologue
Action
To Push. I am
pushing against a
system that goes
against what my heart
says. I need to push
the negative thoughts
out of my head.
To Celebrate. I have
to celebrate because I
am at peace and now
Im happy.
To Uplift. I will
show everyone what
Ive found. I know
that it will make a
difference in the
world.
Working in this way can be scary and vulnerable, but there is great power in personalizing
material to this degree. When you tell your story, the acting will be organic and natural. And
remember, songs are an extraordinary synthesis of words and music that transcend our every-day
existence. Something exceptional can happen when we personalize our material and share our
truest selves.
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In musicals, songs exist in specific locations and contexts to move the story to new places
dramatically. All the details about the character, the story, the relationships and the reason for
singing are supplied by the librettist and lyricist. But, creating an original story that supplies the
framework for your songs will help you give a more specific, personal performance and will
likely make the song even more enjoyable to sing.
Without a doubt, you will have the opportunity to sing the same song many times over a period
of time. Enjoying a long run of a show is a wonderful thing but keeping the material fresh each
night is a challenge. I encourage you to look at every chance to sing as an opportunity to
authentically share a slice of your life as it is that day--the joys and pains, the successes and
failures. It's a good idea to check in with yourself before you sing. Is there a particular joy or
pain that inhabits your thoughts. Spend some time thinking about those things and then decide to
temporarily put those aside so you can tell other stories. Quite likely, your work will be more
grounded in your body and more authentic.
Are we going against the writer's intentions by changing the song's story? Why not simply use
the story from the show? Beyond the fact that sometimes the original story associated with a
song is either uninteresting or unplayable, creating a new situation can open up space for a
singular, unique performance--one where it will appear to your audience as if you are creating
the song in the moment. This is what all theatre writers want from their songs. They hope that
they are authentic to the character and that they tell an engaging, specific story. The purpose of
auditions is to evaluate your ability to share honestly, to connect with a partner and to inhabit a
vividly drawn character while singing. Since you won't be doing a scene from the auditioned
show, it is helpful to those casting to see your imagination and creativity at work. When you tell
an original story that you have an intimate connection to, you will be better equipped to reveal
your full potential and essence. Youll also be living in the moment. Because a great situation
does much of the preparatory work for you, strive for a story that gets your creative juices
flowing and engages you completely.
Creative storytelling may or may not be a skill that comes naturally to you. But, I've never met
an actor who didn't have a vivid imagination and wasn't fascinated by the human condition. All
I'm asking you to do is to imagine what it would be like to be in your song's story and to use
some simple storytelling guides.
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Make sure that these sections are parallel to the 5 characteristics.
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Earlier, we looked at both the objective and subjective interpretation of songs. In like fashion,
there is an objective and a subjective conflict in songs. Every good theatre piece has a conflict
embedded within its fabric. Some songs are quite specific about the nature of the conflict. In
"Breathe (In the Heights)," Nina must face her family's disappointment after dropping out of
Stanford. She must gather her strength and confront what her failure means for her and her
future. The conflict is much less specific in "Waitin' For the Light To Shine" (Big River).
Obviously, when the givens are not specific, they must be very specific in our minds.
The conflict we write when we create original situations can be called the subjective conflict.
When creating an original story, we must be aware of the original objective conflict and shape
our story with it in mind. It is exciting when an actor can pay homage to the song's original
context but make the subjective conflict significantly different. The objective conflict of "Not
While I'm Around" (Sweeney Todd) is "Because I can sense evil all around me, I must protect the
person who has protected me." When you create a new situation, you can use the idea of
protection from bad things but turn it around to something like this: "I must comfort my best
friend through her divorce and remind her that she has a reason to remain productive and open.
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6
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Many songs are concerned with sharing something intimate about ourselves or something private
about the world and how it can and should change. I wrote about "Songs of disclosure" in the last
chapter. I consider "Somewhere Over the Rainbow" the first important disclosure song. Dorothy
is telling us (the audience, even though we aren't acknowledged) that she knows there's
something beyond her present existence. The search for what that means is what the remainder of
the film is about. "Somewhere Over The Rainbow," "Part of Your World," "Where is Love?"
"Corner of the Sky," "Simple Little Things" and "The Wizard and I" are sometimes called "I
Want" songs because the character's burning desires are the subject. While Songs of Disclosure
reveal any important, unknown information, "I Want" Songs are a subset which reveal the
specific desires of the character. "I Want" songs are important structurally because they clue the
audience into the show's most important issue and create an emotional bond between audience
and leading player.
When what is wished for isn't clear to the character, the expressed "want" isn't specific either. I
still consider them "I Want" songs when there is a desire for life changes. "It Might As Well Be
Spring," "Lonely Town" and "Somewhere Over the Rainbow" are classic examples. The great
thing about these songs is that since the wish isn't specific, the listener is allowed to substitute
their personal desires into the song. When you do one of these songs, you, the actor, should have
a specific, personal desire in mind but the audience will subconsciously insert their own wish.
This is part of the reason why "Somewhere Over the Rainbow" is one of the most enduring
songs.
When singing a disclosure song, your partner could be the audience but more than likely, it is
yourself. But how do you connect with yourself? You must, in a sense, separate yourself into
two parts and have one part act upon the other. Have the intellect sing to the heart or the
other way around. Or have your brave side act on the cowardly side. You could have the "body"
sing to the "brain." You can play the scene in the same way you would if you were talking to
another character. You are acting upon the character of your "brain" or "heart."
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Disclosure songs: CHECK EACH OF THESE. MOVE THIS TO THE PREVIOUS CHAPTER.
I Could Have Danced All Night
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I Want Songs:
Wouldn't It Be Loverly
My White Knight
Simple Little Things
Maybe
Tonight At Eight
Waitin' For My Dearie
One Song Glory
Much More
Maybe This Time
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Graph an image of disclose songs, I want songs, character songs
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Change happens
Composers, lyricists and book writers create songs for moments of volatility. We love to see
characters transform and work through problems. The nature of theatrical songs, because they are
exceptional, begs for a significant change within characters.
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New Heading
Throughout the preceding chapters you have read some situations I have created. Perhaps you
are already getting the hang of it. Lets look at "I Got the Sun In The Morning" specifically with
the idea of creating a situation that brings life to the song and stirs creative juices.
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I Got the Sun in the Morning from Annie Get Your Gun
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Or perhaps your other is yourself. You are sad because you fear that you arent as successful as
you could be. The song affirms that success is measured by many standards and that you dont
need money to be happy. Your heart could sing to your head. A choice that isnt as strong is
that you are singing to your best friend who has lost his job. If you arent careful, these words
could make him feel as if you think you are superior because you understand life better. I've
chosen a situation where I have a wealthy brother who needs to enjoy the simpler things in life to
be happy.
Conflict
The conflict is in your brothers actions that you fear will lead him to a life without the rewards
of love and happiness.
Interesting details
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Youve invited your brother and his wife over for dinner. Youve spent most of dinner hearing
him brag about how much money he makes even though he doesnt have the opportunity to
spend much time with his wife or doing the things he used to enjoy. You are a visual artist who
tries her best to live life to its fullest in good times and bad. He has criticized you because you
dont have a retirement plan and only a small savings account. You want to convince him that
even through this is true you are as happy as you can imagine being.
It has a Why
This is probably obvious by now but the Why is your need to change your brothers mindset.
Its vitally important because you fear he is headed toward a life of great unhappiness.
Id like to talk about creating a situation that isnt strong for a song. Im Old Fashioned is a
tender, simple song that extolls virtues that are perhaps out of date. Ive worked with several
singers who wanted to make the subtext of this song: I dont want to have sex with you until we
are married. This story line is very modern and while I celebrate giving older songs a modern
touch, it takes the song in a very negative direction. The song is about reaching out to someone
and celebrating old-fashioned qualities. Making the song about abstinence ignores the song's
essence. There is no room for change within either character and disregards the "positive choices
are better" adage.
Im Old Fashioned
I am not such a clever one
About the latest fads
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Conclusion
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Theatre is the art of empathy. We take on the skin of someone else and tell their story. Empathy
is why we tell stories in the first place. When you write a situation, you become the playwright
for the musical you will star in. At bedrock, we are alike and songs tell the story of our shared
condition: love, heartbreak, failure and triumph. These are the things that make up each of our
lives. When you tell a story well, you allow an audience to find themselves and see their lives
more clearly.
Further Exploration:
Create a situation for Johnny One-Note (Rodgers & Hart). This is a song about appreciating
the unusual and quirky things in each of us. Its about loving the things that make us special.
Maybe youre singing to someone who feels that they arent gifted in a way that makes them
unique. Your job is to convince them that they are special so that they will decide to do
something extraordinary. Don't make fun of Johnny. You must love him. Try making it a story
you are telling in order to give your partner courage.
Create a situation for I Remember from Stephen Sondheim's Evening Primrose. This is a very
good song to do because its such an unusual song from an unusual show. Because it's so strange,
you would never want to sing it in context of the show it's from. It would be too confusing
without an explanation.
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Choose a song in your repertoire to create a new situation for. Check to see that you can covered
all the bases for creating a strong situation.
Watch a strong performance of a song on YouTube thats not from a full production of a musical.
I suggest Liz Callawayss performance of It Might As Well Be Spring," Audra McDonald's
performance of "Stars and Moon" or Marc Kudisch's performance of "I Was Here." Do your best
to figure out the situation they are using. What is the story? Who is the other? What is the
conflict?
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Chapter 6!
The Post-Millennium Style!
You are probably well aware of an incredibly popular stream of Musical Theatre and an
associated performance style that gained popularity in the late 2000s. While related to earlier
styles, I believe it stands apart in some fascinating ways. I became aware of this shift through the
newer material my students would bring me and through YouTube. I can trace it to a single song
and performance. In 2008, a student brought in Kerrigan and Lowdermilk's, "Come Away With
Me" and said I should watch Michael Arden's video. It had only been online a short while, but
many people in my circle were talking about it. I don't believe I'm overstating the point when I
say the video opened possibilities to me as a musical director, composer, coach and musical
theatre lover. Mr. Arden's performance for this pop/country moving ballad seemed fresh and
original to me. I find it to be beautifully simple, truthful, touching and powerful. Please watch it
if you haven't seen it.
You are also likely aware that Kerrigan and Lowdermilk are just one of many new musical
theatre composers or composer/lyricist teams who are publishing performances of their music on
YouTube. The teams are young, but to date, only a few have had widespread commercial
success. That is changing rapidly however with more frequent productions, recordings and a very
visible presence in the television series, Smash. Some of the significant commercial recordings I
recommend are Kerrigan and Lowdermilk's Our First Mistake, Kooman and Dimond's Out of
Our Heads, Jonathan Reid Gealt's Thirteen Stories Down and Joe Iconis's The Rock & Roll
Jamboree and Things To Ruin. Successful productions of musicals by this group include
Dogfight (Pasek and Paul, Off-Broadway), Ordinary Days (Adam Gwon, Off-Broadway), and
35MM (Ryan Scott Oliver, Off-Broadway). I recommend that you spend a pleasant evening
watching a couple hours of YouTube videos. Pick a suggested video after each one plays. To help
you get started, I've listed some important composers below. But because there are new ones
arriving practically daily, I'm sure there are some that I've overlooked.
I would be remiss to not mention that many in the Post-Millennium orbit are graduates of the
New York University Graduate Musical Theatre Writing degree. This MFA program which
boasts a faculty that has included William Finn, Michael John LaChiusa and Mindi Dickstein,
has made a lasting contribution to the face of modern theatre music. This program and The BMI
Lehman Engel Musical Theatre Workshop are the most significant programs where composers
can learn the craft of creating musicals. Maury Yeston, Ahrens & Flaherty, Alan Menken, Tom
Kitt & Brian Yorkey, Michael Korie and Robert Lopez attended BMI Workshop.
When I began teaching this literature, I struggled with what to call it. "Contemporary" is a
generic term that has lost any real meaning. "Cutting edge musical theatre" didn't do it for me.
The best place to discover and buy this music is newmusicaltheatre.com but I felt that I could do
better than "New Musical Theatre." I wanted a term that captured this moment in time and
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distinguished it from other modern musical theatre. In reading about millennials and teaching
them every day, I was struck by the fact that this music "belongs" to the current generation of
folks in their teens and twenties. It captured the gestalt of today's youth brilliantly and feels
especially suited to singers born after 1984 or so.
Since most of this music appeared after 2000, I settled on the label, "Post-Millennium." To be
clear, I don't consider all musical theatre since 2000 to be Post-Millennium. The songs of great
younger composers like Andrew Lippa, Jason Robert Brown, David Yazbek, Adam Guettle and
others belong to a different stream I would call contemporary Musical Theatre. While decidedly
modern and original, their songs are more closely connected to earlier storytelling modalities and
structures. I believe there is something unique about Post-Millennium style and performance
practice. Before you read what I have to say, take a moment to articulate your thoughts on the
attributes of "Post-Millennium" songs and the performance style of the artists you'll inevitably
stumble across: Natalie Weiss, Jeremy Jordon, Lindsay Mendez, Nick Blaemire, Derek Klena,
Whitney Bashor and many others.
I most often see truthful, intimate and highly personalized performances. Because the
performances are usually in relatively small venues with a stand microphone, the style has much
in common with the one I discussed earlier in Disclosure songs and will describe in an upcoming
Cabaret chapter. With its simplicity and honesty, the acting is akin to film acting. The audience is
close and the scale is on the smaller side. The physicality is minimal and trust is placed on the
lyrics to do the storytelling. There are a wide variety of Post-Millennium song types: heartfelt,
emotional ballads, hilarious comedy numbers, story songs and powerful belt numbers. Each type
has specific expectations. The comedy numbers can be quite physical but most of the others
aren't. Both women and men usually sing in their mix except when belt is needed for moments of
higher stakes. Because the performance practice indicates smaller audiences and the use of
microphones, a quiet volume that would be unthinkable in other styles is welcome here. Above
all, it wants to feel like we are watching a person in and of the current time period, physically
and vocally.
These composers and lyricists have carved out a space that balances musical theatre and popular
idioms. One gets the sense that the creators could be equally comfortable with the structure and
expectations of both theatre music and modern pop. The pop and rock influenced musicals of the
70s and 80s were by theatre composers, not commercial pop composers. I'm referring to Stephen
Schwartz, Cy Coleman, Richard Maltby & David Shire and Alan Menken. Their most significant
accomplishment was opening up popular idioms to dramatic storytelling. In contrast, the 90s saw
many examples of shows containing songs by established Pop/Rock composers with no previous
theatrical experience. This group contains Elton John (The Lion King, Aida), Pete Townshend
(The Who's Tommy), Frank Wildhorn (Jeckyll & Hyde, The Civil War) and Tom Snow and Dean
Pitchford (Footloose). The difference between that period and the Post-Millennium is that
current composers seem to be comfortable writing in both stage and radio-friendly styles. Instead
of focusing their energies on either true Pop or theatre music, they have chosen for artistic
reasons to straddle the line between the two camps.
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My advice when performing this style is similar to "Original Situation" and "I Am Song"
preparations with a few differences. First, you'll want to ensure that the monologue work is very
secure as this style is dependent on absolute honesty whether the story is comedic or dramatic.
The fifth step in the EXCavATE process will be extremely helpful because the songs should feel
spontaneous and personalized. Much of the charm and power is lost if the audience feels like the
performance is in any way pre-planned. The "T" or Tune step will help the lyrics and story to feel
unencumbered by the rhythms on the page. As with every other song, you must first learn to sing
the song with rhythmic faithfulness to what the composer has given you. As Ryan Scott Oliver
says in the notes for his songbook, WHATS THE QUOTE. But after securing the song musically,
you will want to work toward making the song so natural that it sounds like the words are
flowing from you in the moment.
The X (Exploring objectives through movement) and Cav (Combine action and verse) are
important but remember that the physicality here is fairly muted. It's especially crucial that you
move only if the need is especially great. A natural, "every day" quality is one of the common
characteristics shared by the best singers of this style. A connection to partner and having a
strong need to sing are the final acting considerations I feel I need to mention before I discuss
vocal qualities.
It's exciting to be living in a time where there is a large body of new and significant material
being created and performed. Considering the doldrums of the 80s and 90s, this movement has
restored the place of musical theatre as one of our most vital art forms. For at least 20 years, I
sensed that the population at large thought showtunes were second rate and old-fashioned. When
I was coming up the ranks, true Musical Theatre lovers were rare. But in the last ten years, we
have witnessed how well-written songs attuned to today's world can energize a new generation of
audiences and singers.
Here are some of the most significant Post-Millennium composers. A Google search will take
you to their websites where you can discover how to get sheet music. Please do check out
newmusicaltheatre.com and contemporarymusicaltheatre.com for a wealth of information about
the composers as well as leads on brand new songs.
Other composers
Drew Gasparini
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Post-millennium Composers
www.aaronjafferis.com
www.adamgwon.com/
Adam Wachter
Adam Wagner
Alexander Sage Oyen
www.adamjwagner.com
Anthony King
www.theanthonyking.com
Barbara Anselmi
Benj Pasek and Justin Paul
www.pasekandpaul.com/
Beth Blatt
Bobby Cronin
Brad Alexander
bobbycronin.com/
www.bradalexander.com/
Brad Ross
Brett Macias
Carmel Dean
www.reverbnation.com/brettmacias
www.charlesbloomusic.com/
www.danielgreenmusic.com/
Dave Malloy
David A Austin
David Dabbon
www.dabbonbruett.com/
David Kirshenbaum
Deborah Abramson
davidkirshenbaum.com
www.deborahabramson.com
Drew Fornarola
Drew Gasparini
www.drewfornarola.com
Eli Bolin
elibolin.net/
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Gaby Alter
Georgia Stitt
gabyalter.com/
www.georgiastitt.com
J Oconer Navarro
Jack Aaronson
http://www.joconernavarro.com
www.aaronsonco.com
Jake Wilson
Jared M Dembowski
Jeff Blumenkrantz
Jeff Bowen
Jeff Thomson and Jordan
Mann
www.jeffblumenkrantz.com/
[title of show] and Now.Here.This. are
published
www.thomsonandmann
Jenny Giering
Jeremy Schonfeld
Joe Iconis
www.jeremyschonfeld.com/
www.mrjoeiconis.com
www.jonathan-reid-gealt.com/
www.salzmanandcunningham.com/
Joy Son
Julianne Wick Davis
Kait Kerrigan and Brian
Lowdermilk
kerrigan-lowdermilk.com
Kirsten Guenther
Lewis Flinn
Mark Allen
Matt Gould
www.markallenmusic.com/
Michael Arden
Michael Friedman
www.michaelarden.net
Michael Mahler
www.michaelmahler.com/
www.mikepettry.com/
www.bartramandhill.com
Nick Blaemire
Niko Tsakalakos
www.jamesandnick.com/
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Paul Fujimoto
Paul Gordon
Peter Hilliard and Matt Boresi
hilliardandboresi.com/
Peter Mills
Rob Baumgartner
Rob Hartmann
robbaumgartner.com/
robhartmann.com
Rob Rokicki
Robert Bartley and Danny
Whitman
Ryan Scott Oliver
bartleywhitman.com/
www.ryanscottoliver.com
Sam Davis
Sam Willmott
Scott Alan
www.samwillmott.com
www.scottalan.net
www.stephaniejohnstone.com/
Timothy Huang
Will Reynolds
Will Van Dyke
Zack Zadek
Zina Goldrich and Marcy
Heisler
www.goldrichandheisler.com/
Zoe Samak
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Where do the composers come from? What do they have in common? NYU.
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'A Gentleman's Guide To Love and Murder'--written by GMTWP alums Steven Lutvak and
Robert Freedman (Cycle 1)--won 4 Tony Awards last Sunday at the 68th Annual Tony Awards!
After receiving 10 Nominations, 'A Gentleman's Guide...' won the Tony Award for Best Musical.
Freedman also took home the award for Best Book of a Musical. The show took home awards
for "Best Direction" and "Best Costume Design" as well.
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http://www.contemporarymusicaltheatre.com/directory
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Chapter 7!
Singing in Musical Theatre Today!
As one of the growing numbers of young artists who dream of doing professional musical
theatre, I'm sure youve listened to cast albums, seen as many shows in New York and regionally
as you can, watched DVDs and spent hours on YouTube. Watching and listening is the best way
to learn and get inspired. But perhaps it has also left you a bit confused or even frustrated. You
might wonder, How could I ever sing as beautifully as he does? or "Will I ever be able to belt
as high as she can? You might even wonder how some actors landed the role in the first place. I
will attempt to address these questions.
You may have wondered about the expectations in professional Musical Theatre today? If youve
listened to cast albums from the past, you must have observed that there were some outstanding
singers and then some singers who, lets face it, were not great. Does that mean that anything
goes and that you just have to be in the right place at the right moment? Please know that the
performance standards and expectations of the past were dramatically different than they are
today. Today, expectations of range, flexibility, stamina and vocal variety are exceedingly high.
But do not fret. I want to help you identify the skills for you to be aware of as you work toward
your career goals. No one expects you to be able to do everything when you start.
Forty or fifty years ago, the magical, mythical ideal of the so-called Triple-Threat did not exist as
it does today in people like Sutton Foster and Gavin Creel. Performers from earlier generations
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were often actors who could sing (Alfred Drake, Mary Martin, Angela Lansbury) or singers with
acting skills (Barbara Cook and Julie Andrews) or dancers who could sing (Ray Bolger and
Gwen Verdon). They might also be people with big, star-making personalities who could also
sing (Ethyl Merman and Carol Channing). But in the last 20 years, the art of musical theatre has
changed. In most cases, you will be expected to sing, dance and act with great skill. The
expectations especially for singers has risen dramatically in our lifetimes because music, and
especially vocal music, has inundated the public's consciousness. American Idol and Broadway
smashes like Wicked and The Book Of Mormon have changed the landscape. The rapid growth of
university Musical Theatre training means there are more singers ready to work. Musical Theatre
as an art form isnt something that people studied 25 years ago, but universities and
conservatories are graduating large numbers of well trained young professionals who are ready to
work.
What are the expectations for younger artists entering the business today? How can I integrate
my talent, curiosity and passion. I advise starting with knowing your art form. This would
include knowing the most important shows, possessing a deep knowledge of the literature and a
familiarity with the singing actors who are working today and in the last twenty years (or more.)
Become a student of their recordings and live performances by dissecting their performances and
applying it to your work. You will want to devote a considerable percent of your energies toward
being a better singer, actor and dancer. This is a daily discipline. Take voice lessons, get into an
acting class, take as many dance classes as you can. Then you must go out there and do it. Take a
role in a small production. Go to auditions. Join an improv group. Know that failure at each step
along the way is part of the process. Embrace it and keep a positive attitude.
!
Now lets break down the industry expectations so you can know what to work toward.
!
The Necessary Musical Skills
!
Strong musicianship
In order to work and work consistently, you will need a solid understanding of the mechanics of
music and have the ability to translate notation into a performance. In the past, there were any
number of working professionals who didn't read music. But now, with the rising costs of
mounting a production and the speed at which shows are rehearsed, things are different. You are
not expected to sight read music flawlessly, but you are expected to read music, understand all
the symbols and terminology and to be able to learn music independently. If you cannot do this,
you are expected to hire a coach. There simply isn't enough time for a musical director to teach
you every note. A good rule of thumb is that you should be able to learn a new song, not
memorized necessarily, in two days or less. If you can't, you will frustrate yourself and the folks
who hire you.
In an upcoming chapter I will give you some techniques to help to learn music more quickly and
to sight read more effectively. I've also included an index of the most frequently used musical
terms in musical theatre scores. The Excavating the Song app has games you can play to learn
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the terms. It also has has resources for reading music better and learning songs more quickly.
Sopranos should be able to sing comfortably from G3 (below middle C) to C6 or D6 (above the
staff) in Bel Canto style. Bel Canto is a style of singing characterized by beauty of tone. Legato
and evenness across the registers are its trademarks. Sopranos should also have a strong mix able
to carry the chest voice up moderately high with volume and minimum vibrancy but without
pushing. If you are able to move over into belt, that's great but a very strong, powerful mix that
can sound like belt is the bread and butter for the modern soprano.
Mezzos should be able to sing comfortably from E3 (below middle C) to A6 or B6 (at the top of
the staff) in Bel Canto. They should also have a very strong mix able to carry the chest voice up
moderately high with volume and minimum vibrancy but without pushing. Belt is expected with
true mezzos but avoid unnecessary strain on the voice at all costs.
Tenors should be able to sing comfortably from G2 to C5 or D5 in Bel Canto. The challenge for
tenors is always singing above the staff. Work to be able to produce a variety of sounds in the
upper range that includes a lyrical sound, a soft/tender sound (approaching falsetto without being
too flute-y) and a powerful high range, sometimes called male-belt. Fairly or not, the quality at
the top of the range is how tenors are evaluated.
Baritones should be able to sing comfortably from E2 to Bb5 in Bel Canto. Okay young
baritones, are you sitting down? This might seem like bad news, but it doesn't have to be.
Traditionally, the baritone is usually associated with older character types like the Antihero (Billy
in Carousel, Sweeney in Sweeney Todd or Paul in Carnival), Leading Man (Curley in
OKLAHOMA!, Emile in South Pacific or Coalhouse in Ragtime) or the buffo (Trevor Greydon in
Thoroughly Modern Millie or Ivan in Women on the Verge of a Nervous Breakdown). These roles
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usually go to men in their 40s or older. But there are many working younger baritones who have
found a new, more youthful approach that is closer to what we generally think of from tenors.
Sometimes this range is referred to as the Baritenor. The Baritenor is one of the most frequent
ranges in modern theatre. It combines the best qualities of eachstrong singing in the lower
range mixed with the ability to sing beautifully above the staff. If you are a true baritone, don't
try to be a tenor but, unless you are singing one of these older roles, lighten up as you go higher.
!
!
For many modern shows, the ensemble is required to have an expansive range. For ensemble
singing in recent shows like Wicked, In the Heights and The Book of Mormon, vocal arrangers
are asking the ensemble to sing much higher than in the past. Sopranos will need an easy C or D,
tenors are kept above the staff much of the time and baritones are treated like second tenors.
Part Singing
All singers should to be able to sing parts and hold down their part securely. Men should be able
to sing both tenor and bass depending on the needs of the ensemble and women need to be able
to sing soprano and alto. Creating a balanced ensemble can be challenging for musical directors
since casts aren't assembled with an eye toward equal forces on each part. You won't be asked to
sing outside your range but you will be expected to be flexible.
Rock Styles
In most cases now, singers are expected to be able to sing in Rock styles and be able to riff. You
might think that people are simply gifted with the Rock sound but this is a singing style, like
others, that can be learned. I would encouraged you to pick up Sherry Saunders book, Rock the
Audition, for more information about Rock singing.
Vocal Colors
Vocal colors is a term I like to use when describing the virtually infinite ways the voice can
produce sound. Changes in dynamics, vibrancy, resonance and host of other things create
dramatically different sounds. In dramatic singing, vocal colors are an incredibly powerful tool in
communicating meaning and subtext. In a later chapter, I discuss Vocal Colors in detail.
In classical singing, traditionally there is a focus on unity across registers with a similar color
throughout that is fully vibrant and resonant. The best opera and art song singers are aware of the
power of allowing colors to change for the sake of communication, such as varying the rate of
vibrato, brilliance, the prominence of consonants and others ways. But, by and large, the Bel
Canto style values beauty at all costs. But for the musical theatre singer, character, text and story-
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telling are more important than pure sound. Beauty of sound is valued if the moment calls for it.
But more than anything, the singer must sing in a manner that is consistent with their character's
truth in that moment. If the character is fearful, the voice can and should reflect it. If you are
joyful, the voice wants to sound joyful too.
!
Skills Needed for a Professional Career!
!
You will need to possess a knowledge of the Musical Theatre literature that includes Musical
Theatre composers and the most significant musicals. See chapter ?? for an overview of the
changes in style. The Excavating the Song app will help you learn more of the history.
You will need a process for preparing a song for theatrical performance. You read about the
acting component earlier in the book and the musical aspects of reading and learning music is
upcoming. The app will help you in both areas.
You will need to know how to prepare a role. This was discussed earlier and in the Book
Musical guideline but work in acting classes and getting more roles under your belt is the only
way to master this skill.
You will need to be able to sing in all, or at least many, of Musical Theatre styles: Legit musical
theatre, Musical Comedy style, Rock and Pop, Contemporary musical theatre and PostMillennium).
You will need to be able to riff. See chapter ?? for a hands-on approach. Strictly speaking, the
skill won't be required of absolutely everyone in the market today, but it will put you a step
ahead of your competition if you can do it.
You will need to be a dancer, or at least a mover, and be able to combine movement with
singing. You will need this skill to be a good ensemble member. Dancing is beyond the focus of
this book and my skill set. You can only acquire this skill by disciplined dance class attendance
and doing productions. But I can't overemphasize competence in this skill as nearly everyone
gets their start in the ensemble.
You will need strong audition skills as well as an understanding of the business of theatre. A
well crafted book of songs you love to sing which highlight your particular brand and skill set is
perhaps your best asset. The focus of my book isnt to comprehensive in discussing auditions.
There are many great auditions books listed in the bibliography. I suggest beginning with the
Joanna Merlin book then the two Jonathan Flom books. They are all great.
You will need to know who you are as an artist and what makes you unique and special. You
can read about this in just a bit.
You will need an understanding of music theory and posses strong musicianship. If you went to
school for Musical Theatre, you took Theory and Musicianship classes. If you didn't, you will
need to work on this skill on your own. The app can help you. It's really not as hard as you
might think.
You will need to understand how to create and perform a cabaret. There are two upcoming
chapters that will give you the basics but the only real way to learn is seeing cabaret shows if at
all possible or at least watching cabaret videos on YouTube. You'll find a list of my favorite
artists later and they have many videos online. This isn't a skill I would have listed 10 years ago,
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but in New York, doing a couple of songs at an open mic or a full show has become an
outstanding way to become known.
Who Are You? I address each of these skills in the book with one exception: How am I to
discover what makes me unique and special and how can I use that information in my career?
Self-awareness can be difficult and some people have it more naturally than others. You can
begin by taking stock of your best attributes--both your skills and your best personal attributes.
Engage your friends and family to help by comparing your list of your best qualities to how they
see you. Include attributes like your sense of humor, how you engage with the world and how
you handle conflict. What are the things you are not good at? Now let's ask some tougher
questions. Are you a person of faith? What is your sexual identity? What are you most passionate
about? These are precisely the kinds of things you would never share with a stranger and you
might not even share it with some friends. But these are precisely the things that make us who
we are. I strongly believe you are a complex, talented, beautiful, and sometimes messy person
every time you walk into an audition room. You can celebrate your integrated humanity with a
stranger in an audition but only if you have taken the time to know and accept yourself,
completely.
I invite you to do engage in auditioning with the knowledge that you are an interesting and
worthwhile person. Be yourself, completely. But don't be a prideful jerk about it. Putting other
people down for their differences or weaknesses is completely unacceptable. Shaming other
people, even subtly, is not allowed. The musical theatre community is very small and like other
small communities, we must work hard to share the same space. If you get a name for being
rude, condescending or arrogant, it will stick for a long time. If you get a name for being less
than hardworking or unprepared, it will follow you even to places where you thought you were
anonymous.
When you go into an audition, present your best self without any masks and be willing the share
an honest moment with another human being. No one will affirm this choice but it will be
appreciated. I spoke about second circle earlier in the book. You'll want to be in second circle
when you greet the auditioners. Eye contact, tone of voice, and body language will be affected by
your choice of circles. In most auditions, but not all, you'll be able to introduce yourself and say
what you're singing. Use that opportunity to connect with someone at the table. Before you
begin, take the time to create the world you will inhabit. You may worry that you are wasting
those 15 or 20 seconds but that time is valuable to you and the auditioner. On the Active First
Beat, connect with your partner. When you have sung, connect with the table again, maybe to
someone different this time.
Casting agents want to see interesting and unique people. Don't try to be like everyone else. This
is good news and bad news. It's hard to be open and vulnerable at an audition. You're being
judged after all. But do it. Be open and be yourself. I encourage you to pick up Act Like It's Your
Business: Branding and Marketing Strategies for Actors by Jonathan Flom. Jonathan
understands as well as anyone how young artists can figure how they fit in today's market.
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Conclusion
The amount of preparation you do before you make your first steps into Musical Theatre world is
up to you. The daily work it requires is also up to you. You are your own boss. Be a good, patient
and inspiring boss that is a pleasure to work for. But also be a good employee--one that's
cheerful, hardworking and willing to go the extra mile for success. I'll conclude this chapter with
a reminder of what a professional Musical Theatre actor looks like.
Hallmarks of Professionalism !
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A professional in the performing arts...
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has an endless curiosity about the world around them and the people with whom they share the
planet.
has empathy for others.
is passionate about their work without becoming obsessive and self-destructive.
has the ability to work when tired, angry, frustrated or distracted.
is capable of dealing with adversity in their career and relationships.
has strong opinions but is able to see another side of things without losing their own point of
view.
seeks to find the positive in every experience.
has strong characterthe complex of mental and ethical traits marking quality and resilience.
is disciplined, even when they don't see immediate results.
is responsible and carries through on agreed tasks.
There will be times when you are unsuccessful in one or more of these areas, but dont allow
failure to become habit. Work on the things you have trouble with. Success with each skill will
accumulate and promote success and personal satisfaction in your life and career.
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Chapter 8!
Musical Theatre Singers Of Note!
You can learn a great deal about becoming a stronger singing actor by studying the recordings
and live performances of current and historical musical theatre figures. With careful observation,
you'll discover the subtle differences between singing styles, some strategies for negotiating
technical challenges, and the ways one can tell a story through song. Acquiring a collection of
cast albums can be expensive but resources like public libraries, DVDs, Spotify, and YouTube
are valuable.
I want to first mention the legendary singers that are in a class of their own at the top of the list.
Each has had such a significant career on Broadway and frequently in film and television, that
they are known by general public. In my mind, one's education isn't complete without a
knowledge of each of these legend's recordings and career. The actors who follow are fascinating
and worthy of study. Paring down the list was difficult and many folks I really like are not here
for the sake of manageability. I've included only those who have originated a role in a Broadway
or Off-Broadway production. (R) refers to a revival.
Ive listed one song for each performer that I believe is essential listening. (R) indicates a revival.
Make note of the actors who have won a Tony award.
Angela Lansbury
Audra McDonald
Bernadette Peters
Kristin Chenoweth
Ethel Merman
Idina Menzel
Kelli OHara
Liza Minnelli
Mary Martin
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Patti LuPone
Sutton Foster
Barbara Cook
Christiane Noll
Christine Andreas
Christine Ebersole
Daphne Rubin-Vega
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Debbie Gravitte
Debra Monk
Dee Hoty
Dolores Gray
Donna Lynne
Champlin
Donna McKechnie
Donna Murphy
Dorothy Loudon
Eden Espinosa
Elaine Paige
Elaine Stritch
Elizabeth Stanley
Ellen Greene
Emily Skinner
Erin Davie
Erin
Dilly
Erin Mackey
Faith Prince
Florence Lacey
Gwen Verdon
Heather Headley
Jan
Maxwell
Jane Krakowski
Jenn Gambatese
Jennifer Damiano
Jessica Molaskey
Jessie Mueller
Jill Paice
Joanna Gleason
Judith
Blazer
Judy Kaye
Judy Kuhn
Julia
Murney
Karen Akers
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Karen Olivo
Karen Ziemba
Kate
Baldwin
Kate Shindle
Kecia Lewis-Evans
Kerry Butler
Krysta Rodriguez
LaChanze
Laura Bell Bundy
Laura Benanti
Laura Osnes
Lauren Bacall
Lauren Kennedy
Lauren Ward
Lea Salonga
Leslie Kritzer
Lillias White
Linda Balgord
Lindsay Mendez
Lisa Howard
Liz Callaway
Madeline Kahn
Mandy Gonzalez
Mara Davi
Maria Schaffel
Marin Mazzie
Mary Beth Peil
Mary Louise Wilson
Mary Testa
Megan Hilty
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Megan McGinnis
Megan Mullally
Melissa Errico
Michele Pawk
Montego Glover
Nancy Opel
Nancy Walker
Natascia Diaz
Nikki M. James
Orfeh
Pam Myers
Patina Miller
Priscilla Lopez
Rachel York
Randy Graff
Rebecca Luker
Sally Mayes
Sally Murphy
Sara Ramirez
Sarah Brightman
Sarah Uriarte Berry
Sherie Rene Scott
Shoshana Bean
Sierra Boggess
Stephanie
DAbruzzo
Stephanie J. Block
Susan Egan
Terri White
Theresa
McCarthy
Tonya Pinkins
Vanessa Williams
Victoria Clark
The Mystery of Edwin Drood, The Boy from Oz, The Pirate
Queen, 9 to 5, Anything Goes (R) (replacement)
Beauty and the Beast, Triumph of Love, Cabaret (R)
(replacement),
Follies (R), Finians Rainbow (R), Barnum
Titanic, Queen of the Mist
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Alysha Umphress
On the Town (R), American Idiot, On a Clear Day You Can Lovable (Thirteen Stories Down,
See Forever (R), Bring It On, Make Me a Song
recording)
Ciara Renee
Brynn O'Malley
Emily Padgett
Janet Dacal
Heidi Blickenstaff
!
Aaron Lazar
Aaron Tveit
Adam Pascal
Alexander Gemignani
Alfred Drake
Andy Karl
Anthony Crivello
Barrett Foa
Ben Vereen
Billy
Porter
Bobby Steggert
Boyd Gaines
Brent Barrett
Brent Carver
Brent
Brian
Spinerd'Arcy James
Brian Stokes
Mitchell
Brooks
Ashmanskas
Bryce Pinkham
Chad Kimball
Cheyenne
Jackson
Chip
Zien
Christian Borle
Christopher
Fitzgerald
Gypsy (R) (Tony), Contact (Tony), Company (R), She Loves Tonight at Eight (She Loves Me,
Me (Tony) (R)
revival)
Closer Than Ever, Silence! The Musical, Grand Hotel
New Words (The Maury Yeston
Songbook, recording)
Parade (Tony), Kiss of the Spider Woman (Tony), My Life
Its Hard to Speak My Heart
With Albertine, Jesus Christ Superstar (R),
(Parade)
Sunday In The Park With George, Big River, 1776 (R)
Is Anybody There? (1776)
Something Rotten!, Shrek, The Sweet Smell of Success,
At the Fountain (The Sweet Smell
Titanic, The Apple Tree (R), Giant
of Success)
Ragtime, Kiss Me, Kate (R) (Tony), Man of La Mancha (R), Coalhouse's Soliloquy (Ragtime)
Women on the Verge of a Nervous Breakdown
Something Rotten!, Martin Short: Fame Becomes Me,
On My Bedside Table (Its Only
Promises, Promises (R), Songs For a New World, Bullets
Life)
A Gentleman's Guide To Love and Murder, Ghost, the
Sibelia (A Gentlemens Guide to
Musical, Bloody, Bloody Andrew Jackson
Love and Murder)
Memphis, Lennon, Good Vibrations, Into the Woods (R). My Memphis Lives In Me
Life With Albertine, Godspell (R)
(Memphis)
All Shook Up, Xanadu, Finians Rainbow, Altar Boyz,
Roustabout (All Shook Up)
Into The Woods, It Shoulda Been You, Falsettos, The Boys
No More (Into the Woods)
From Syracuse (R), A New Brain, It Shoulda Been You, The
People In the Picture, Chitty Chitty Bang Bang
Something Rotten! (Tony), Legally Blonde, Mary Poppins
When the Earth Stopped Turning
(replacement), Spamalot, Elegies, Prodigal
(Elegies)
Finians Rainbow (R), Young Frankenstein, Wicked, Amour When I'm Not Near the Girl I Love
(Finians Rainbow)
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Christopher
Sieber
Chuck Cooper
Chuck
Wagner
Colm
Wilkinson
Constantine
Maroulis
Danny Burstein
Darius de Haas
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Jerry
Orbach
Joel
Grey
John Cameron
Mitchel
John
Cullum
John Gallagher Jr.
John
Lithgow
John Raitt
John
Rubenstein
Keith
Byron Kirk
Ken Page
Kevin Chamberlin
Kevin Earley
Kevin Kline
Larry Kert
Lee Roy Reams
Len Cariou
Malcolm Gets
Mandy Patinkin
Marc Kudisch
Mark
Jacoby
Matt Cavanaugh
Matthew Broderick
Matthew Morrison
Michael Ball
Michael Cerveris
Michael
Crawford
Michael McElroy
Michael McGrath
Michael Rupert
Nathan Lane
Norbert Leo Butz
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Norm Lewis
Raul Esparza
Richard Kiley
Robert Cuccioli
Robert Goulet
Robert Morse
Robert Preston
Robert Westenberg
Roger Bart
Ron Bohmer
Ron Raines
Shuler Hensley
Stephen Bogardus
Stephen Buntrock
Steve Kazee
Steven Pasquale
Terrence Mann
Theodore Bikel
Titus Burgess
Tom Hewitt
Tom Wopat
Tony Yazbeck
Tyler Maynard
Victor Garber
Will Chase
Will Swenson
Zero Mostel
Michael Arden
The Times They Are A-Changin', Hunchback of Notre Dame, Big River (revival)
"Run Away With Me" (Our First Mistake, recording)
!
Janet Dacal. Wonderland. In the heights, good vibrations
!
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Erin Mackey
Chaplin, Amazing Grace, Anything Goes (replacement), Sondheim on Sondheim
"What Only Love Can See" (Chaplin)
Ciara Renee
Big Fish. Pippin (revival) (replacement). Hunchback of Notre Dame
I Know What You Want (aka The Witch) (Big Fish)
Michael Arden
The Times They Are A-Changin', Hunchback of Notre Dame, Big River (revival)
"Run Away With Me" (Our First Mistake, recording)
Brynn O'Malley
Honeymoon in Vegas, Annie (revival), Sunday in the Park with George (revival)
"Anywhere But Here" (Honeymoon in Vegas)
Rob McClure
Honeymoon in Vegas, Chaplin, Avenue Q (replacement), Irma La Douce (revival)
"Where Are All the People?"
!
Company revival Joanne. Barbara Walsh
!
Nicki M. James Bernarda Alba
!
Ramin karimloo
!
Euon Morton. Taboo. Sondheim on Sondheim
!
Kecia Lewis Drowsy Chaperone
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!
!
!
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Further Exploration:
Who are you like? Research the performers of your gender and find two or three that you are
most like. Your decision could be based on their personality, skill set or vocal type. Read as
much as you can find about them. Search for the songs they performed on stage. Do any of the
roles they've played suit you? A careful search might reveal the songs they frequently sang in
auditions. Watch as many of their live performances as possible. What archetypes do they tend to
play? Do those archetypes suit you?
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Listen to as many recordings as you can find. Describe their voice in specific technical terms like
bright, contemporary, casual, Broadway baritone, breathy, or heavy belt. Can you replicate their
sound? What ways you can incorporate their sound into your arsenal of vocal colors?
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Read about their training and the beginning of their professional career.
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!
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Chapter 9!
Vocal Colors!
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The human voice is an astonishing instrument capable of a nearly infinite variety of sounds.
Because of unique makeup of each persons anatomy, no two voices are acoustically alike. In
addition to our physical makeup which would include each singers voice type (such as Lyric
Soprano, Dramatic Soprano or Mezzo), our sound is influenced by the kinds of music we listen
to, our favorite singers who we knowingly or unknowingly emulate, regionalisms and many
other considerations.
In classical singing, there is traditionally a focus on unity across registers with a similar color
throughout that is fully vibrant and resonant. The better opera and art song singers are aware of
the power of allowing the text and the music to influence subtle or not so subtle changes to the
sound for the sake of better communication. These changes may include varying the rate of
vibrato, the brilliance, prominence of consonants, the ratio of head voice to chest voice and any
number of others ways. But, by and large, the classical Bel Canto aesthetic is concerned with
obtaining beauty and uniformity of sound above all else. I would be remiss to not point out how
imperative it is to have a strong technique based in classical vocal training for without technique
you will be limited in what you are able to doespecially when it comes to achieving a variety
of vocal colors that you will need in order to tell the story you want to tell.
But for the musical theatre singer, character, situation and text are of supreme importanceof
perhaps more importance than beauty of sound. Beautiful singing is valued, even demanded, if
the moment calls for it. But there would be very little worse than singing a song like "You Could
Drive a Person Crazy" or "You Can Always Count On Me" with the beauty you find in a
classical art song or aria. More than anything, the singer must sing in a manner that is consistent
with their character's truth in that moment. If the character is fearful, or mocking, or in love, the
voice can and should reflect that. If they are triumphant, hopeful, or in the pit of despair, the
voice should reflect that.
Vocal colors is a term I like to use when describing the virtually infinite ways the voice can
produce sound. Imagine a simple song such as "Happy Birthday" sung by an operatic soprano, or
as a young boy, or as a folk song, or as Marilyn Monroe famously sang to John F. Kennedy. The
changes in dynamics, vibrancy, resonance, intention and host of other things create dramatically
different versions of the song. In dramatic singing, vocal colors are an incredibly powerful tool in
communicating meaning and subtext.
you instead to think about the images and colors in the song's lyrics and music and allow those
images and colors to influence the sounds you make.
When describing a singers vocal colors , some people might choose to use actual colors like
bright yellow, vibrant orange or deep navy blue. Or you might use words like brilliant, dark,
warm, clear, breathy, vibrant, crisp or accented. Both kinds of descriptors are perfectly valid. Use
the words that are clearest and most meaningful to you.
Further Exploration:
Choose a recording by a singer you greatly admire of your gender.
1. What colors do you hear?
2. How easily do they change between colors or does the sound stay largely the same
throughout?
3. Do color choices seem to correspond to images in the lyrics? To the tessitura? Do they
correspond to something else?
4. Now answer the same questions for singers of the opposite gender or singers who are not your
favorite.
I would like to discuss an example of excellent use of vocal colorGimme, Gimme, sung by
Sutton Foster in Thoroughly Modern Millie. Follow along as you listen to the original cast
album.
!
!
Lyric
Vocal Color
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Lyric
Vocal Color
Growing confidence in
knowing what she wants.
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Lyric
Vocal Color
I need it.
Gimme that thing called love.
I wannit!
Of course, we can not know what Sutton Foster was thinking about when she recorded this. We
can only speculate. But we can be fairly certain that she was imagining the difference between
the two types of love that are possible in her life and the world she could imagine with the one
she choose. Using imagery will help you find new colors and new ways to bring life to a song.
Further Exploration:
Examine the following recordings for changes in vocal colors. What are the colors? How are
they achieved? Speculate about why the colors are used. What do they communicate?
1.Painting Her Portrait - Maria Schaffel (Jane Eyre)
2.Simple Little Things - Audra McDonald (110 in the Shade)
3.At the Fountain - Brian dArcy James (Sweet Smell of Success)
Some of the factors that influence vocal color are dynamics, resonance, nasality, diction,
brightness/darkness, the amount of vibrancy and the amount of breath in the voice. As I
mentioned earlier, there are some vocal attributes in very singer that are intrinsic to them based
on anatomy. We can call this vocal identity, meaning those things which differentiate one singer
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from another intrinsically. But every voice is capable of a wide variety of colors. Our goal at this
point is to find more colors and to explore ways we can utilize them.
Further Exploration:
1. Sing a passage softly then loudly. A song like Oklahoma or something similar uptempo is a
good choice.
2. Sing a passage with no vibrancy (i. e. Straight-tone), then with minimal vibrancy then full
vibrancy. Choose your favorite ballad like Once Upon a Dream.
3. Sing a passage at differing ages: 5, 16, 25, 45 and 65. A comedy song like Broadway Baby
or novelty song like "I Wanna Be Loved By You" are good choices.
4. Sing a passage with complete legato using the syllable, "loo." Then sing it with a "Tat"
syllable. Oh What a Beautiful Morning a great on to use for this. Try another ballad. With this
exercise we are exploring articulation or how a note is attacked and whether it is sustained or not.
In these activities, you have explored many of the different kinds of colors that are possible.
Altering the dynamics will affect resonance and possibly diction and vibrancy. In order to sing
loudly, the voice will usually increase the amount of vibrato. Louder singing also tends to use a
greater amount of diction as we do when we really want to be understood. Singing without
vibrancy can also lead singers toward adding more breath in the sound. Singing at differing ages
will affect articulation, vibrancy, breath/tone ratio, nasality , and resonance. Little kids tend to
sing with more nasality. We're you more nasal when you sang like a 5 year old? Did you use less
nasality when you sang as a 65 year old. Older singers, in general, tend to place the voice farther
back with less nasality.
The last exercise above is primarily about articulation--the ways that pitches are begun, end and
the way they connect to each other. In ballads, the most common articulation is completely
connected or legato. In uptempos, especially uptempos from 1910 to 1945, the articulation is
often not legato or non legato. A legato articulation can communicate things like love or
determination, while a non legato articulation can communicate such things as playfulness or
anger.
So, how do we apply this to our work as a singer? Do we decide to make the first passage orange
and the next magenta? I don't think that this is the most productive way because it can put us in
our head and be distracting. Instead, I think the better way is to examine the song for images and
emotions.
Let's look at Much More, the great ingnue song from The Fantasticks. What are the images
you find? Do you see specific colors? What are the emotions in this song?
Youtube: Much More The Fantasticks
In a golden gown,
And have my fortune told.
Just once,
Just once,
Just once before I'm old.
I'd like to be not evil,
But a little worldly wise.
To be the kind of girl designed
To be kissed upon the eyes.
I'd like to dance till two o'clock,
Or sometimes dance till dawn,
Or if the band could stand it,
Just go on and on and on
Just once,
Just once,
Before the chance is gone!
I'd like to waste a week or two
And never do a chore.
To wear my hair unfastened
So it billows to the floor.
To do the things I've dreamed about
But never done before!
Perhaps I'm bad, or wild, or mad,
With lots of grief in store,
But I want much more than keeping house!
Much more, much more, much more.
In this song you have two specific opening images with associated colors.
A. Clear blue stream, icy cold
B. Town, golden gown, fortune teller
The first image could be sing with a sound that is brighter (suggested by ice), less vibrant (light
blue), and legato (suggested by the flowing stream). The second image could be sung with a
slightly darker tone (with the change of location from rural to urban and the color gold), more
vibrant (suggested by royalty and worldliness). I think it too much for the singer to think about
all these things technically. Instead, simply see the images and changes will naturally occur. Let's
look for other clues in the lyric or music for colors.
With the lyric, "I'd like to dance till two o clock" the music makes a dramatic shift from a
flowing legato to more non legato, separated sound in the accompaniment. Also notice that the
character of the melody transitions from a beautifully contoured tune to this passage that is
largely on a single pitch. Why is that? I can only speculate that the notion of dancing suggests a
more articulated, rhyming quality while the idea in this section of the lyric is about getting out of
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of her fantasies and into the world and more into her body. The melody is lower and rhythmic.
What colors are consistent with these qualities. I would suggest a much less legato articulation
with increased diction which will help to make the interesting, syncopated rhythm stand out.
Questions:
Who is the character? How old are they? Education? Life experience. (Contrast Louisa and
Petra). What are you wearing? Where are you? Outside is a different color than in a library.
Music. What does the music communicate? Soliloquy from Carousel is a case study in the way
music can and should effect vocal color. There a many different colors in one song.
A. Questioning
B. Playful
C. Disgusted
D. Loving
E. Determined
Images
What are the images in the lyric and do they suggest specific vocal timbres?
The last aspect of vocal color I'll address is belting. I've chosen to speak about it last to remind us
that as alluring and exciting as belt is, it is something to be used only when the moment requires
it. Modern belt in its various forms comes from two wildly different sources: the first is the field
holler associated with the African-American experience of the 17th and 18th centuries. The field
holler is a way of communicating across wide distances. The vocal manipulation required to
accomplish this finds its way into work songs and gospel and later into the Blues and then into
Rhythm and Blues. It begins as a distinctly African-American sound that begins to be picked up
by Elvis and Jerry Lee Lewis. It is accomplished by using the lower part of the voice (the
speaking range or chest voice), lowering the soft pallet and singing at a higher volume level with
minimal vibrancy.
The second source of modern belting is from theatre singers in the earlier part of the 20th C with
Ethyl Merman being the most identifiable. In the time before amplification, singers had to
project over an orchestra and fill a large Broadway house. There are only two ways to do it: the
way operatic singers have done for centuries or with belt (using the chest voice in the speaking
range with lowered soft pallet and singing with force). Operatic singers traditionally sing in a
higher tessitura with a raised pallet and with consistent legato and vibrancy. Lower voiced
Baritones and Mezzos use the same technique but stay out of chest voice, even when it's low.
The required volume is achieved through resonance, space, legato and vibrancy.
Contemporary theatrical belt, especially for Rock scores, owes something to both sources. Make
no mistake: great belting is exciting. It communicates that this moment is extraordinary. The
times when I've experienced successful theatrical belting are unified by the character's desire to
say something beyond the ordinary. When the moment and the acting justifies belt, there is very
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little that is more exciting. One only needs to recall any good performance of "Defying Gravity"
or "Astonishing" to know what I'm talking about.
Because it is forceful and puts the voice in a less than natural position, belting takes its toll on the
voice. It's like any strenuous exercise such as a chin-up or push-up. It requires strength and
energy and if it's not done correctly, it can cause damage. An untrained singer can certainly belt.
One hears examples on the radio all the time. But since we work in a business that demands
consistency, we must find a way to belt in a manner that is healthy, predictable and regular. Three
things that are impossible without some training.
We all assume that to be a good technical dancer one needs a foundation in ballet. The technique
learned in ballet is necessary to do all other forms of challenging dance. The same holds for
singing. Your natural skill and anatomy may allow you to produce beautiful sounds, just as a
similarly skilled dancer may be able to do spins and leaps without training. But to be consistent,
technique is required to train the body to join the physical demands of the activity with the
natural way the body moves and functions. The body is capable of tremendous feats but only if
you know it well and how it functions at its best.
Classical voice training, regardless of the specific philosophy implored, will train the less
experienced singer to balance between upper and lower registers, to employ consistent vibrancy,
to create the space needed for the sound to be resonance and to sing in a wider range. Singers are
more or less naturally inclined to each of these but they can improve with practice and time. So
does this mean I need to sound like an opera singer to be healthy or consistent? Absolutely not. I
believe each of us has been gifted with a natural way of singing that I call "Vocal Identity." It's
just the way you sound. This is a good thing and it is to be treasured and protected. It is obvious
to an audience when a singer isn't using their authentic voice. When we so highly prize truth
telling in our work, singing with anything other than your Vocal Identity is artistic death.
I advise my students to venture carefully into the land of belting. We are given only one voice
and we must protect it from anything that could cause harm. Starting with legit. (or classical)
technique, I will encourage exploration into Mix. For me, Broadway mix is a balance between
head voice and chest that incorporates a more speech-like approach. I have students say a
sentence of moderate length that sounds like something they would say on an average day.
Usually, the energy level starts fairly low but I encourage them to continue saying the sentence at
an increasingly higher energy level while maximizing the ups and downs of inflection. Hear the
ups and downs as melodic. Then I will have them sing the sentence on one mid-range pitch and
experiment with resonance. We are after an exciting, commanding sound that demands notice. A
brighter, more forward resonance is a tool for achieving this. I will have them improvise a simple
melody of a few notes in the middle of their range. For women, the octave above middle C is
good. For men, the octave above E-flat. As you move up and down the scale, keep the balance
between upper and lower voice consistent.
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Broadway mix is a very particular thing that requires listening and practice. Who are your
favorite mixers? The line between belt and mix is sometimes fuzzy but for me the sound is most
frequently bright, pretty, with a lifted pallet, vibrato or not and speech-like. The best mixers are
very connected to the text. The other thing that identifies them is a consistency across the range.
The low and high are identical. This is the mixer's superpower. They can sing high and low
without the distraction of range shifts that would break the illusion of the actor as character. The
actors I'll suggest sometimes sing legit., sometimes mix and sometimes belt. Your task is to
identify when each is present. Sutton Foster, Stephanie J. Block, Sherie Rene Scott, Erin Davie,
Lauren Kennedy, Stephanie J. Block, Kerry Butler, Krysta Rodriguez, Liz Callaway and Lindsay
Mendez. Aaron Tveit, Bobby Steggert, Jeremy Jordan and Norbert Leo Butz are excellent role
models for male mix.
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Chapter 10!
Qualities of a Great Musical Theatre Performance!
In all candor, I'm sometimes at a loss for where to begin when critiquing singing actors. Do I
start with addressing the voice, the acting, the physicality, the overall impact of the song or how
it affects me? It's difficult to shift through each of these to find words that can inspire, encourage
and improve an actor's work. In reviewing my notes over many years, I discovered that my
suggestions fell into patterns and that those categories of patterns could be labeled and
characterized. In an effort to be the best teacher I could be, I decided I need to put these patterns
down on paper and organize them.
Your first reaction to reading these could very well be to be overwhelmed. We know that great
performances are made of many individual factors and that there's no way of thinking about them
all at the same time. Please don't try. When you're singing, your objective should be singular: to
affect your partner. But when taking a hard, evaluative examination of ones work, I do believe
that this list can be helpful in remembering to consider each of them.
My advice is to do the work we did in the first major section of the book, seeking to make the
work active and specific. Address technical issues related to singing separately from the acting
work. But once you've presented your work and feel satisfied, look at these qualities to see if
there is anything you've forgotten. In my class, once the student has had time to allow the
performance to "congeal," I'll video record and watch it back with them. As I watch, I'm
considering each of these qualities and deciding which ones are the ones that would be helpful to
talk about. But more than this, I'm curious to see what the student thinks are the best and weakest
aspects. By doing this, we can look at the bigger picture while remaining focused on the tangible
and manageable steps we can take to address the issues.
!
Explain each of these qualities.
!
A great musical theatre performance has these qualities.
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Musical
All pitches and rhythms are correct7
The performer is aware of indications such as fermatas, tenutos, caesuras and dynamics
The changes in the music are motivated by the actor
There is an absence of decrescendos at the end of a long pitches, especially at the end
The last note has length and is sung without a decrescendo
The ending of the song has a button, especially in up-tempos
!
7
In special cases, sometimes rhythms may be altered if the lyrical phrasing mandates a change
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Vocal
Vocal colors change in response to the lyric and acting choices
The singer does not listen to themselves while singing.
The vocal energy affects the partner and, as a result, reaches the audience.
There is a clarity of diction that does not draw attention to itself
The singing style is appropriate to the song
When a spoken lyric happens during a song, the energy is greater than the sung lyric, not
lesser.
When employing riffs, there is a spontaneity and it supports the lyric and moment.
Text Analysis
There is specificity in the songs story8
The phrasing takes the lyrics punctuation into consideration
The performer knows their super-objective
The performer knows what the conflict of the song and their situation
The performer knows the journey of the song and is able to live the life of the song
moment-to-moment
There is a beginning, middle and end
There is knowledge of the songs original context, even if the song is sung with a newly
created situation
The images in the song are clear to the audience
Physicality
There is physical energy
The energy of the performance matches the energy of the song
The physicality is that of the character, not the singer.
The physicality does not distract from the song
The arms are not disconnected from the body
There is breath in the body that supports the singing voice
The physicality is spontaneous and not choreographed
The action and physicality of the character is present and specific even if there is no
singing
The physicality has variety
The moment before launches the song
The physicality does not distract or draw attention away from the face
There is a lack of tension, especially in the eyebrow, forehead, and hands
Performance
The breaths that are the breaths of the character, not the singer
There is specificity in focus that is not too high, too low or too off center
8
The listener may not know all the details of your situation, but they will understand the essentials.
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There are changes in action that respond to and motivate the musical changes
Avoids finding the negative but instead fights for the positive outcome
Does not play emotion
There are a variety of emotions
The action precedes the corresponding lyric, not the reverse
Has proper scale, not too big for the song or too small
Has stakes that are appropriate for the song and situation
Energy and volume are not equated.9
There is joy in the act of singing
Other
Clothes do not distract from the song or performance
Hair is not allowed to distract from the face and eyes
The eyes are not closed, except in special cases
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Learning Songs!
The goal of this chapter is to give some helpful suggestions for preparing a song musically for a
performance. The order of the steps you take as you begin exploring a new song is up to you but
you must find a process that you are comfortable. There are those that advocate starting with
music and those that say you must begin with the lyrics. My preference is to begin with learning
the basics of the song (pitches and rhythms) before working with the lyrics or the acting. Once
youre secure with the acting, its smart to come back to the music and work on things such as
phrasing and exploring how the musical information in the song can inform the overall
performance.
I will describe learning a song from two perspectives. The first is for those who do not read
music. The second is for those who understand basic music theory and have at least rudimentary
skills at the piano. At whatever skill level you are currently, do your best to improve your skills
and knowledge in music theory, musicianship and piano. It will benefit you greatly and make
learning a new song much easier.
Have a pianist record your melody on to a recording device at a moderate tempo and very
precisely. Then have the pianist record the accompaniment. Oftentimes sheet music is published
with the melody in the piano accompaniment. If that is the case, this accompaniment will be
easier to follow as you will be able to hear the melody. If this is not the case, they should record
the actual accompaniment or add some melody if they have that skill. Listen for a sense of style,
beat, rhythm and tempo. You may want the pianist to record just the introduction to the song in
addition so you can isolate the music you will hear before you sing.
1. While looking at the sheet music, sing the melody on a neutral syllable while the recording
plays. Choose an open vowel like such as lah or dee. We do this to separate music from
lyrics and to concentrate solely on the melody. It is very easy to move too quickly and miss a
step along the way.
2. When you have mastered this, begin singing the lyrics with the melody-only recording.
3. Now move to the recording of full accompaniment. Sing with this recording on a neutral
syllable.
4. Then sing the lyrics with the full accompaniment.
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When beginning a new song, I suggest starting with rhythm. Study the song in small chunks
before doing the whole song. If anything is confusing for you, take the time to figure it out
before moving on. Practice until you can speak the melodic rhythm in tempo. Many people find
it helpful to study rhythms by assigning numbers corresponding to their placement in the bar
such as 1, 2, 3, 4 in 4/4 time. Eighth-notes are subdivided by placing an and between each
number. 1 & 2 & 3 & 4 &. Sixteenth-notes are further subdivided in this manner: 1 e & a, 2 e &
a, and so forth.
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4. Have a pianist record the accompaniment. Listen for a sense of style, beat, rhythm and
tempo. Study the introduction of the song so that you know what you will hear before you
sing.
5. Sing the song with accompaniment on a neutral syllable.
6. Sing the song with accompaniment using the lyrics.
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Space does not allow for a full investigation of Solfge but this system is not difficult.
Essentially, every pitch of a scale has a Solfge syllable or number. Im sure you know Do-ReMi from The Sound of Music which uses this system in a clever and memorable way. Use
Solfge or number the scale degrees 1 through 7, depending on which seems easier to you.
Example 1 shows how the system works in different keys. Be sure to identify the correct key and
tonic pitch before numbering your music. The key signature will give you the key. This chart will
assist you.
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Example 2 offers some warm up exercises. Do these exercises slowly until you feel comfortable
and can find the pitches easily. Check your accuracy at the keyboard.
Finally, example 3 is a song with Solfge and numbers. I hope the familiarity of the song might
aid you in mastering this skill.
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You will notice that some of the pitches in this example have an accidental before it. The pitch
and the syllable, but not the number changes due to the accidental. I dont think its important to
know these new syllables but if youre interested, here is the full system
Scale degree
Name
Pitch in C major
Pitch in Eb major
Pitch in A major
1
Raised 1
Lowered 2
2
Raised 2
Lowered 3
3
4
Raised 4
Lowered 5
5
Raised 5
Lowered 6
6
Raised 6
Lowered 7
7
Do
Di
Ra
Re
Ri
Me
Mi
Fa
Fi
Se
So
Si
Le
La
Li
Te
Ti
C
C#
Db
D
D#
Eb
E
F
F#
Gb
G
G#
Ab
A
A#
Bb
B
Eb
E
Fb
F
F#
Gb
G
Ab
A
B-double flat
Bb
B
Cb
C
C#
Db
D
A
A#
Bb
B
B#
C
C#
D
D#
Eb
E
E#
F
F#
F-double sharp
G
G#
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Scale degree
Name
Pitch in C major
Pitch in Eb major
Pitch in A major
Do
Eb
To practice these skills, choose songs that you know well and write the syllables above. This will
help you connect the sound of the syllable to its name.
Further Exploration
1. Choose a song and sit with the sheet music at the piano. Sing a word or syllable and play the
pitch on the piano after you sing it. Move to the next word or syllable, gradually increasing
tempo.
2. Explore singing the song at different tempos. Faster for ballads, slower for up tempo songs.
Dont go too fast or too slow. We do this to make sure the musicianship is secure.
3. If the sheet music has chord symbols that you know how to interpret, accompany yourself
with simple chords.
Too often, singers do not take adequate time in learning a song accurately. It is crucial to your
success that you do this. Directors and music directors have little patience with someone who
should be ready to sing a song but is singing a passage with wrong notes. You will be working
with professional musicians and you are expected to interact with them a colleague and
professional musician.
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Music Terms To Know!
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Sheet music is populated with many different kinds of indications that the composer or editor has
placed in the music to communicate how the song should go. In time, you will learn and
memorize these terms, but for now, refer to this section anytime you see something in the music
you dont understand.
Tempi
Largo
Larghetto
Adagio
Andante
Moderato
Allegretto
Allegro
Presto
Maestoso
Tempo-related terms
Lunga
Long, generally referring to a long pause
Caesura
(//) Indicates a break or stop before proceeding
Listesso tempo The same tempo as before
Ritardando
Getting slower (rit.)
Ritenuto
(riten.) Getting slower but more sudden and extreme than rit.
Rallentando
(rall.) Gradual slowing of the tempo
Accelerando
(accel.) Gradually getting faster
A tempo
Returning to original tempo, usually after a rit. or rall.
Alla Breve
Two beats per measure with the half-note getting the beat (cut-time)
Pi mosso
More motion
Articulations
Fermata
Legato
Staccato
Accent
Marcato
Sforzando
Tenuto
Trill
G.P.
Arpeggio
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Form
Da Capo
Indication to return to the beginning (D.C.). D.C al Coda means go back to the
beginning and then at the indication (to Coda), skip to the Coda.
D.S. al Coda
Dal Segno al Coda. Indication to return to the sign and then to Coda at the
indication (to Coda).
Coda
The ending of a piece indicated by the symbol below.
Verse
The first part of a Standard song, setting up the dramatic situation
Refrain
The main body of a Standard song, almost always carrying the title
Vamp
A repeated accompanimental phrase
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Style
Fermata
Segno. Sign, or structural signpost used to indicate form. See
Coda
Con moto
A piacere
Ad libitum
Risoluto
Sempre
Rubato
Animato
Con brio
Dolce
Divisi
Molto
Parlando
With motion
Literally, as you please, similar to ad lib. but referring to tempo rather than pitch
Left to the performers discretion (ad lib.), often implying improvisation
Resolute, energetic
Always
Rhythmically free, literally means robbed
Lively, spirited, animated
With fire and dash, spirited
Sweetly
Divided, indication of divided parts, the opposite of unison
Very (molto rit., becoming very slow)
Indication that the singer should take on a more speech-like manner
Dynamics
Forte
Fortissimo
Mezzo forte
Piano
Pianissimo
Mezzo piano
Crescendo
Decrescendo
Diminuendo
Morendo
A niente
f, loud
ff, very loud
mf,medium loud
p, soft
pp, very soft
mp, medium soft
getting louder
getting softer
(dim.) getting softer
Dying away, getting softer
Dying away to nothing
Other Terms
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Con
Poco
Moto
Assai
Hemiola
Colla Voce
You may wish to purchase an inexpensive dictionary of musical terms such as The Hal Leonard
Pocket Music Dictionary. New York: Hal Leonard, 1993.
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Locate and identify as many symbols and terms in this music.
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Chapter 11!
Learning to Riff!
Embellishing and improvising on a pop/rock melody, frequently called riffing, can sound
intimidating but its not as difficult as you might think. Riffing has increasingly become a skill
needed by musical theatre performers as more and more shows are in a pop/rock style. This
chapter will help you with the basics of riffing. It is important that you begin slowly and resist
the temptation to try to have a finished product too quickly.
Riffing is a style of vocal embellishment that came out of African American work songs from the
early 19th century as well as early Blues and black Gospel singers in the early part of the 20th
century. It was further developed by R&B and Soul singers in the 50s and 60s. Elvis Presley
famously took Hound Dog, first recorded by Big Mama Thornton, an African American
Rhythm and Blues singer, and made it his own. The influence of an African American singing
style heavily influenced Pop and Rock singers in the 60s and 70s to today.
It is crucial that the serious students listens to early great Blues singers such as Bessie Smith,
Robert Johnson, and Ma Rainey. Some of the great Gospel singers to listen to are Mahalia
Jackson, Shirley Caesar and Bertha Houston. Soul singers to listen to are Ray Charles, Aretha
Franklin, Eta James, Solomon Burke, Otis Redding, Fats Domino and James Brown. More recent
Soul-inspired singers are Prince, Sade, Eryhah Badu, Macy Gray, India.Arie, Alicia Keys, Bettye
LaVette, Maria Carey, Beyonce and Lauryn Hill.
In the late 80s and 90s, a new kind of riffing becomes popular in pop music. It is characterized
by very fast vocal melismas done to the extreme. Britney Spears, Christina Aguilera, Justin
Timberlake, NSync and the Backstreet Boys are examples. While this kind of riffing can be
exciting, it can feel dated. It also has the effect of minimizing the importance of the lyric.
Riffing should come from a need to express the text more fully. In Musical Theatre, you will
need to have a strong dramatic reason and need to riff. This isnt always the case in purely pop
music where riffing can sometimes be simply what is expected.
The first step is to sing the melody softly, simply and accurately, without embellishments. You
must be secure with the melody before you know how to embellish it. Knowing the actual
melody in modern practice is can sometimes be difficult because sheet music is often published
today with the riffs written out. If you have learned a song by listening to a recording first, use
your intuition and musical judgement to decide what the unadorned melody is. Try to simplify
and smooth out the melody. For this chapter, we will begin with the Gospel song, His Eye is On
the Sparrow (Fig. 1) because the melody is published and because so many singers have` found
ways to make their performance unique.
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As you sing, have a pianist play simple chords. Sing slowly and notice which tones are chord
tones and which are non-chord tones. The non-chord tones are labeled in the given example.
Learn the three primary types of non-chord tones as they will be useful to you as you create your
version of the melody. Listen carefully to the supporting harmony as you will want to be sure
that your riffs stay within the harmonic structure.
Neighbor tone - a non-chord tone which steps away from a chord tone and back to a chord tone
Passing tone - a non-chord tone which steps between two chord tones
Appoggiatura - a skip from one chord tone that resolves by step to a chord tone
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Fig. 1
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Once you have mastered the basic song, it is time to begin looking at some ways to
change the melody. The most fundamental embellishments are found in Fig. 2.
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After you have mastered these six techniques, you can begin experimenting with free
compositiona recomposition of the melody using the above techniques with additional liberties.
Be careful that the new melody agrees with the harmony. Sing slowly and listen carefully. (Fig.
3)
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Notice that the shape of the melody stays largely the same.
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In example 1, eye is on the is treated with simple neighboring tones, above and below,
then sparrow moves downward like the original melody, but not as far. In example 2, why
should I feel is recomposed by moving in the opposite direction. Discouraged is also
recomposed. Why should the shadows come is first embellished by moving upward more
quickly, and then reversing direction before moving up to C. Come is treated with a simple
neighbor tone.
Blue Notes
The flat 3rd, flat 5th (or sharp 4) and the flat 7th are pitches which give the Blues its
flavor. In the key of His Eye is On the Sparrow, C major, the flat 3rd is E-flat, the flat 5th is Fsharp (or enharmonically G-flat) and the flat 7th is B-flat. You should always know the key you
are singing in and know what the blue notes are as they are especially expressive.
Theoretically, Blue Notes are sung closer than a semitone away from their closest
neighbor note. For example, the E-flats in Fig. 4 may be closer to the D neighbor tone than they
would be in other situations. This alteration from standard tuning systems evokes the pain that
is inherent in Blues.
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Figure 5 shows one possible riff melody created from the various techniques. Try to
identify each of them. Notice that there are several places where a word or two has been added.
Also notice the places where the melody stays the same but the rhythm has been changed
slightly.
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Now
it is your turn to create your own version of His Eye is On the Sparrow. Again, dont try to go
too quickly. Have a copy of Fig. 2 close by so that you can recall and incorporate each of the six
techniques. Combining techniques will yield interesting and fresh results. Let your imagination
and voice be free and dont try to be too complex at first. Once you have done this, listen to the
recordings of the song by Marvin Gaye, Mahalia Jackson, The Five Blind Boys of Mississippi
and Lauryn Hill.
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After doing this work, feel free to move on to these Musical Theatre songs. For women
Whatever Happened To My Part? (Spamalot), Find Your Grail (Spamalot), I Am Changing
(Dreamgirls), And I Am Telling You Im Not Going (Dreamgirls), Too Beautiful For
Words (The Color Purple), Raven (Brooklyn: The Musical), Once Upon a Time (Brooklyn:
The Musical), Small Town Girl (Debbie Does Dallas), Feels Like Home (Randy Newmans
Faust), I Got Love (Purlie), I'm Just Movin' (Working) Take Me Or Leave Me (Rent) and
Im Not Alone (Carrie). For men All Good Gifts (Godspell), Go the
Distance (Hercules), Beethoven Day (Youre a Good Man, Charlie Brown, Revival), Let Me
Drown (Wild Party), Heaven on their Minds (Jesus Christ Superstar), Boy with
Dreams (Edges), Lost in the Wilderness (Children of Eden), Memphis Lives in
Me (Memphis) and Someone Elses Life (Tales From the Bad Years).
Some pop songs that are especially good for women to explore riffing are Hero (Maria Carey),
(You Make Me Feel Like) A Natural Woman (Aretha Franklin), If I Were a Boy (Beyonc). For
men, I Believe I Can Fly (R. Kelly), Signed, Sealed, Delivered (Im Yours) (Stevie Wonder), You
Are the Sunshine of My Life (Stevie Wonder) and Ill Be There (Jackson 5).
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Chapter 12!
Cabaret Styles!
You may have an opportunity to perform a Cabaret at various times in your career. Cabaret is a
very special art form where you can explore what is unique and special about you as a performer
and as a person. This chapter will help you understand the art form, what it is and what it is not.
Your skills as an actor and a singer are vital to a great performance and yet what you do in this
opportunity is very different from performing in a musical or doing an audition. You are not
preparing a role or presenting a character. You are you on the stage. This can be scarylike
working without a net. But, it can be thrilling for you and your audience.
What is a Cabaret?
Cabaret has meant many things at different times to different people. In general, the term today
simply means a solo singer with piano singing songs in a small room. There are a small number
of cabaret houses in New York. 54 Below, Cafe Carlyle, Dont Tell Mama, Joes Pub, The
Duplex, Metropolitan Room are among the most famous. Other cities host cabaret singers too.
Cabaret houses usually seat fewer than 150 people. The intimacy of these smaller rooms is
important in contemporary cabaret.
One of the best ways to think of cabaret is as a great first date. It is as if someone who you really
like has said, So tell me about yourself. Im really interested. On a first date there are things
that are appropriate to reveal and things you want to save for later. One common trap is to share
too much intimate detail about you. Instead, keep it light, interesting, authentic, genuine, and
most of all, you. In an interview with Playbill, Sherie Rene Scott said about her autobiographical
show, which in many respects is a cabaret, Everyday Rapture, everything is true it's the
whole truth, nothing but the truth, only better. In other words, its okay to take some liberties in
your effort to tell the most genuine and entertaining story.
A cabaret is not a concert or a one-person show. It is not about your voice. The cabaret audience
wants to hear your thoughts more than hear you sing. Cabaret is about the lyrics and the story
that you tell through the lyrics. No matter what you sing, you must have a personal connection to
it and a point of view.
A cabaret needs to be personal but it does not have to be exclusively about you. If it is too much
about your life then it runs the risk of appearing selfish. You should always being thinking of
how the lyrics and patter intersect with the lives of your audience. One way to look at it is to
think about what is universal about what you want to say. Without being preachy, it is helpful to
think about the life lessons you've learned or are learning and weave them into your show. Some
of the themes I am referring to could be to take time to appreciate the good things about life or
celebrating what is unique about each of us or we can learn to take the bad with the good in
life without letting it get us down. You can personalize the material while still allowing the
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Your relationship with the music director is very important in helping you tell your story better.
Share your story with your music director and allow them to create a backdrop that allows you to
tell your unique story. Its important that you listen to what the piano is giving you and respond
to it. You will prepare with your music director arrangements for your show, which may be very
different from the way we are used to hearing a particular song. This is one of the great joys in
seeing a showfor the audience to hear a song in a brand new way that is from your unique
perspective.
The First Question
The first thing you need to ask yourself is, What do I want to say? What is special about my life
experience that can hold the attention of someone that does not know me? This last thing is very
important since there is nothing worse than a cabaret of inside jokes and stories about things that
an audience member may not know anything about. The difficulty is in editing your patter and
presenting it in a way that is interesting, compelling and entertaining. There isnt time to tell your
complete life story. Instead, choose one or two specific things to share that you think will be
interesting.
You will be doing your show for an audience that includes many of your friends. Put that aside
for this opportunity and prepare your cabaret as if you dont know anyone. Do your cabaret for
the people you do not know. Look for ways that you can tell positive stories that are universal in
nature so that the audience can relate to you.
Song Selection
The songs you choose for your cabaret can come from anywheremusical theatre, standards,
modern standards, contemporary pop, childrens songs, folk songs, etc. You will need to shape
your ideas so that every song is there for a reason, tells a specific story and fits into the arc of
your cabaret. There needs to be a beginning, middle and an end to your cabaret. A variety of
styles, tempos and moods is crucial. Dont choose too many ballads. It is good to choose a
mixture of well-known and less well-known material. Present familiar songs in ways that the
listener can hear it afresh and such that it tells your story. A upcoming chapter will give you
many ideas for choosing songs.
Patter
Patter is the spoken material used to link song to song. It should be well-written and memorized.
Do not try to improvise your patter. It should be a mixture of funny and serious. Don't give away
too much about a song in the patter before. Don't interpret the song or give away the ending. If
you don't need patter between two songs, don't use it. Patter shouldn't be too long at any given
time.
One useful tip for writing patter is to write stream of conscious about what a song means to you
and how it touches your life and reflects your experience. Then, hone it down to the barest
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minimum of information. The edited writing you've done then becomes the subtext of the songs
performance. Stop short of telling us what the song will be and how we should understand it. Let
the audience draw its own conclusion.
In cabaret, we use a microphone so that one doesnt need to project in the same way you must do
if you are in a big theatre. Think of the audience as being very close to you. It is an intimate art
form. Keep these things in mind as you are preparing your show vocally. Your blocking and
movement choices need to be informed by the use of a microphone. Economy of movement is
key. Less is more.
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There are essentially four positions for cabaret singing:
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Standing with the microphone in your hand. This position has a certain performance energy that
is especially good for the opening song.
Standing with the microphone in the stand. This is perhaps the most powerful position best
reserved for your most powerful moment.
Seated with the microphone in your hand. This communicates a casual intimacy with the
audience.
Seated with the microphone in the stand. This communicates that the lyric is very important.
Nothing in this position distracts from the ideas in the song.
Emotion
There is a delicate balance at work in terms of emotional display. We, the audience, want to
know there is a living, breathing human, like us, on stagesomeone that has experienced the full
range of life's ups and downs. But too much sad emotion is out of place and can make the
audience uncomfortable. In terms of emotional colors, once again, variety is encouraged. The last
thing you want from your show is to allow self-indulgence to creep in.
A Final Word
The audience wants to be moved, wants their hearts be touched, and may even want to be moved
to tears. Mostly though, they want to be entertained. We might think of entertaining as a bad
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word or an unworthy objective. But most audience members who go to a show go to hear a few
good tunes, to laugh and to have a few drinks. They want to feel, but mostly, they want to be
entertained. Your audience should be your first priority.
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Chapter 13!
Critical Listening and Analytical Tools !
for Song Performance!
Understanding theatre music at a deep level is something everyone can do once you learn to
actively listen and understand how theater music is put together. Good theatre music is written to
enhance and support the lyric. The best theatre music tells the same story as the lyric, amplifying
it and adding subtext. When you see a musical for the first time, one of the most affecting and
exciting qualities is that there is almost too much to make sense of 10. You have actors, costumes,
lights, sets, and an orchestra. You also have a book that is concise and packed with action, back
story and subtext. You hear 15 or more songs that you've never heard and must process. Today,
we have the luxury of listening to pop songs as many times as we would like. The theatre doesn't
allow for that.
Due to the fast paced nature of most musicals, the book has to do a lot without slowing forward
momentum. Much happens in a short time. That's why it's crucial that the composer write music
that doesn't distract from the lyric. In fact, the music should amplify the lyric and point us toward
important information. The history of Musical Theatre has shown us that composers of all types
and periods have been successful at achieving this goal.
For Girl Crazy (1930), George Gershwin wrote "Somebody Loves Me," a beautifully simple 32bar refrain that is almost completely diatonic, has regular and predictable rhythms and a simple
accompaniment. During the 40s and 50s, Richard Rogers expanded the ways that music could
function in shows. From the aria-like song, "Lonely Room" (Oklahoma!, 1943) to a complex
musical scene that includes "If I Loved You" (Carousel, 1945) to a boisterous, instantly familiar
children's song, "Do-Re-Me" (Sound of Music, 1959), he demonstrated a compositional style that
could easily transform itself around the needs of a scene and show. In Sweeney Todd (1979),
Stephen Sondheim continued Rodgers' expansion of what is possible. His score is dissonant and
the songs are formally complex, but it is on many people's list of favorite scores because the
music, as well as the book and lyrics, tells an exciting, original story.
The music of these three composers couldn't be more different, but in each, the function of their
music is the same: support and amplify the lyric, add subtext through music and provide a
structure that an audience can understand with one hearing. Thinking about music in this way
may be something that you've never done before. It can be difficult and technical. But I want to
assure you that it does not require special music theory knowledge. It only requires good
listening and reasoning skills. Think of it as a branch of the text analysis you would do when
analyzing a lyric.
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Goggle Mike Isaacson TED Talk The Power of Musicals for more about the complexity of musicals
and their power.
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Critical Listening is a self-guided, self-disciplined way of listening that is active and involves
reasoning to give meaning to what we hear. It is something that can be turned on and off
depending on the situation. Use Critical Listening when you're seeing a musical, listening to a
cast album or listening to a speaker. Turn it off if you want to listen to music for pleasure or
watch something for purely entertainment reasons. Like anything worthwhile, it takes practice
which eventually leads to a certain degree of failure, then to the decision to try again and
ultimately to success.
I want to mention specifically the kinds of things we can listen for when we study a musical
score. When you're in an audience, this process is autonomic. You can trust that the information
is being processed subconsciously. But when you are working toward being a well-prepared
actor, we want to engage in detailed observation and listen critically.
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Melody
Melodies are connected to either the emotional life or the physical life of the character singing. A
slow melody with a balanced contour can communicate love, sadness or other deep emotion. A
quick melody with many repeated pitches can communicate worry, anger or some other more
negative emotion. Patter songs are quick songs that leave little room to breathe, evoking
excitability or a resolute decision. Sometimes there is an avoidance of traditional melody and
characters can stay on one or two notes for a while when the moment calls for a more
conversational quality or lack of emotion.
Listen to contour, or the up and down motion of a melody. A highly contoured melody tends to
communicate more emotion and a less contoured melody communicates less emotion. Lastly,
listen for range. A higher tessitura could communicate increased passion, love or excitement.
Lower tessitura could communicate relaxation, a conversational quality or ease.
Please notice that I am not being scientific or exhaustive in discussing what is communicated.
Naming every possible meaning is unachievable. Trust yourself. Actors are highly intuitive.
Remember that songs are written to be understood on one hearing.
Listen to Many a New Day (Oklahoma!) for the way Laurey expresses a carefree, flippant
attitude as she sings about a failed relationship which is of no importance. If you listened to the
music without lyrics, you would still know what is happening. Listen to My White
Knight (The Music Man) for the way the deep longings of an intelligent young woman are
expressed in a highly contoured melody at a high tessitura. The character of the melodic writing
changes to express the various things she is thinking and feeling.
Harmony
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Harmony supports melody. Music can be completely diatonic and lacking in dissonance or
highly discordant and filled with tension. Less dissonant music can communicate positivity or
familiarity while dissonance can communicate tension, fear, hate or a high degree of passion. I
need to mention that not all theatre composers are equally adept at using harmony to
communicate in the same way most use melody. Some composers before 1965 composed only
the melody and allowed the orchestrator to fill in the harmony. Outstanding orchestrators like
Robert Russell Bennett (Oklahoma!, Kiss Me, Kate, South Pacific) were quite sophisticated
musically and theatrically and their work is filled with subtext. The rate at which harmony
changes (called harmonic rhythm) can be fast, indicating excitement or nervousness or it can be
slow, indicating calm, ease, love, or boredom.
Listen to Oh, What a Beautiful Morning (Oklahoma!). The harmony evokes a simple, folk-like
quality that captures Curlies character. And This is My Beloved from Kismet has a rich
harmonic world that suggests the exotic, far removed world of Baghdad.
Rhythm
Rhythm can be predictable and smooth or unpredictable and syncopated. The tempo is that speed
at which a song is sung and generally corresponds directly to the internal tempo of the character
at that moment. The heartbeat (weak STRONG, pause) is a fundamental life rhythm. It appears
in songs like Tonight (West Side Story) and The Story Goes On (Baby) in places of nervous
excitement or deep connection.
Listen to A Wonderful Guy (South Pacific) for the driving, insistent rhythm at the beginning as
Nellie sings about being fearlessness. The rhythm becomes more lilting and uplifting as she sings
about a love that makes her happy. In Somethings Coming from West Side Story, Tonys music
is unpredictable and syncopated in response to the anticipation he feels for an unexpected future.
Orchestration
Orchestration, or the practice of deciding what instruments play and how they are used,
frequently tells us a great deal about the character and situation. A full string section can
communicate passion or sorrow. Fast woodwinds can communicate nervousness. A flute can be
sweet. A trumpet can be strong and powerful. Timpani drums and a big brass section can be
majestic. A saxophone is often used to suggest the sexual. A lone, high violin can suggest a
plaintive quality. Listen to Peter and the Wolf by Sergei Prokofiev for the ways that instruments
can help to tell a story. Most Broadway composers do not orchestrate their music. They supervise
an orchestrator who decides, using the composer's musical intentions, exactly what each
instrument plays.
In Another Hundred People, the orchestration consists of an angular keyboard part, skittering
woodwinds, high violins sustaining long notes punctuated by punchy brass. The variety of
textures represents the chaos of life in New York City. The orchestra emulates the sounds and
suggests the backbreaking labor of Titanics stoker in Barretts Song (Titanic).
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Musical Symbols
Music can represent or suggest things is time and space. For instance, music that sounds like a
March can suggest a parade while a Waltz suggests a genteel social gathering. A ticking clock
can be represented in music to indicate passing time.
At the beginning of A Little Priest (Sweeney Todd), the high, dissonant sustained chord before
Mrs. Lovett sings represents the light bulb of an idea she has before she sings about the
solution to their problem. Commencing in Chattanooga (The Scottsboro Boys) emulates the
choo-choo and the track sounds of a train.
Let's practice our Critical Listening skills by listening and responding to "Soliloquy" (Carousel),
Billy's reaction to learning that he and Julie are having a baby. Listen for what is being
communicated through the music. Is the composer communicating through rhythm, through
melody, through harmony or some combination? Use many adjectives to describe the music and
what you felt and thought. I would suggest listening three of four times to allow your thinking to
become clearer. When you have finished, read my response to Soliloquy for comparison.
!
Critical Listening Response to "Soliloquy"
!
Soliloquy begins hesitantly as Billy gets used to the idea of becoming a father. The melody is
low in his speaking range, and conversational. The rhythms are free, similar to the rhythms of
speech. The music is in a minor key and the dissonance reflects Billy's discomfort. The "I
wonder" in the lyric is echoed in the lack of musical resolution.
As he adjusts to the idea, the tempo picks up and the mood becomes lighter. When he sings of
playing in the ocean, the melody is playful as it bobs up and down. He starts to like the idea of
having a son. This leads to a patriotic, happy March that gives us the image of Billy proudly
parading his son through town to show him off. "My boy Bill, I will see that he's named after me,
I will!" Trumpets toot-toot after his first line to remind us we are at a parade. The section ends
with a humorous line, "No pot bellied, baggy eyed bully 'll boss him around." The most
important words are accented to underscore the father's determination to protect.
A comfortable, casual patter section with thin orchestration follows, explaining that he only cares
that his son is happy. The melody is again in the speaking range. The simplicity and ordinariness
of the music as he sings of the jobs his son could have reflects Billy's acceptance of his new life.
When he thinks of his son carrying on his career as a carousel barker, we slow down to savor "Of
course it takes talent to do that well." Slowing down will provoke a chuckle that wouldn't happen
without slowing.
Then we get into the son's romantic life. When he sings about what he doesn't want for his son,
the accompaniment is off balance and has biting dissonance ("I'll be damned if he'll marry his
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bosses daughter"). When he thinks of a good love life for his son, he sings the most melodic and
beautiful melody so far. "I can see him when he's seventeen or so." This is their love song and is
supported by warm strings. It ends with the dramatic turning point of the song where the thought
occurs to him for the very first time that his child could be a girl. In a transitional passage, we
return to the music from the beginning as he sings, "You can have fun with a son but you got to
be a father to a girl." The reprise reminds us that Billy is still afraid of what all this means for he
and Julie. He is still the same.
But the image of his daughter as a "tin-type of her mother" does finally change his mind to
acceptance and love. The climax, 5 1/2 minutes into the song, is a gorgeous, melodic ballad, "My
little girl, pink and white as peaches and cream is she." Billy softens in a way we never expected
as he opens his heart to her through this melody. The dnouement follows when he realizes with
horror that his life must change drastically to prepare for her. The low strings suggest that this is
a conviction from his soul. The music drives rhythmically toward the conclusion and leads us to
his decision, the turning point of the musical at the end of Act I: "I'll go out and make it or steal it
or take it or die." The triumphant nature of the music with full orchestra and sung in the highest
tessitura plays in contrast to the irony of his final words.
At the beginning of the song, allow the rhythms a great deal of freedom as this isn't a song as
much as it is a conversation with your partner. The audience is your partner as this is a soliloquy.
Knowing this will remind you of the appropriate physicality for a conversation. You will likely
become less introspective and more boisterously exuberant vocally and physically during the
parade section. You might underscore the accents during "No pot bellied, baggy eyed bully 'll
boss him around" with your body. The idea behind the passage listing the jobs he might have is
that you are returning to the conversation. Talk to the audience as you would a friend. There
should be a physical response to the pride you feel in "Of course it takes talent to do that well."
When you imagine the horrible image of your son marrying a shrew with a lorgnette, the voice
will change. Listen to the off kilter music before you sing to remind you of how terrible it would
be. Everything changes immediately when you think of his first date with pride. Maybe you
remember your first date. Seeing the two of them walking off together might bring a smile to
your face. But it doesn't last for long because the image of your son is instantly transformed into
a daughter. This is a nightmare. You would be a terrible father to a girl.
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You've been through a great deal during the song. You thought you were getting someplace and
you've had some fun. Now it's all gone. You're back where you started but worse. You despair.
But then you look at your daughter and see the resemblance to the woman you adore. You soften
as you fall in love. This dramatic change will make adjustments in your body and your voice.
You sing the most beautiful love song you know. So far, the song has been more like a
monologue, but now you really sing. Your voice is warm and resonant while your body becomes
more still. When you realize your life must change forever, the body becomes more animated
and an urgency comes into the voice. You end with conviction and passion.
This moment has Amalia thinking about finally meeting the man shes been writing and fallen in
love with.
Action
Amalia questions if she will
be attractive to the man she
has been writing.
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Musical notes
The simple, non-melodic
melody at the beginning is a
perfect analogue to the
questioning lyric. Ill call the
motive back and forth
between D and E the
questioning motive. Shes
working out her problem. The
melody opens up and
encompasses a full octave. It
moves from non-melodic to
highly melodic melody within
the span of only 8 bars! This
soaring melody in the second
half of this section is Amalia
letting out her true feelings,
desires and hopes out into the
world.
Action
Musical notes
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Action
Musical notes
!
Will He Like Me?: Analysis you can use
!
without rubato. The rhythm when she sings about what her life is like when she writes
him is more flowing to express the ease she has when shes alone. She allows herself to
express a completely different side to her character. Then as it moves back to the low
questioning motive, we understand that she hasnt really solved anything. This music
tells us that the arc is a spiral arc. Be aware that much of the melodic material is
developed out of the two-note questioning motive, reminding us that this moment is
about her questions.
!
Lonely Room (Oklahoma)
!
This is the song near the end of Act I as Judd considers the nature of his life alone in his room.
!
Lyric divided by beat
Action
Musical notes
He allows himself to
verbalize the what he most
wishes.
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Action
Musical notes
Conclusion
This kind of work can be applied to all the songs you sing. Musical theatre songs since the 40s
will be the richest sources. You might be frustrated with light, pop-influenced musical theatre
and standards from the first part of the twentieth century. With all due respect, songs from
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Mamma Mia, Footloose, All Shook Up, Jersey Boys and similar shows will not yield much. The
same goes for Memphis, American Idiot, Billy Elliot and The Producers. But other contemporary
shows like Wicked (especially "The Wizard and I" and "Defying Gravity"), In The Heights
(especially "Breathe), Little Women (especially "Astonishing) and Jane Eyre (especially Sweet
Liberty and "Painting Her Portrait") are rich in the ways music is used to tell the story. For this
opportunity, success isn't measured in the volume of cool things you find. It is measured in
finding useful things that will enhance your acting and singing.
Here are some other songs where the music does a great job of telling the story.
A Cockeyed Optimist
A Little Bit in Love
A Quiet Girl
A Trip to the Library
At the Fountain
Barretts Song
Dont Rain on My Parade
Everybody Loves Louis
Everythings Coming Up Roses
Far From the Home I Love
Finishing the Hat
Geraniums in the Winder
Giants in the Sky
Goochs Song
He Plays the Violin
How Are Things in Glocca Morra?
I Caint Say No
I Could Have Danced All Night
I Enjoy Being a Girl
I Have Confidence
Ill Show Him
Im In Love With a Wonderful Guy
Is It Really Me?
Its a Perfect Relationship
Just You Wait
Many a New Day
Mister Snow
Moments In the Woods
Much More
My White Knight
One Hundred Easy Ways to Loose a Man
One White Dress
Ribbons Down My Back
Roses Turn
Show Me
Simple Little Things
Some People
Somebody, Somewhere
Somethings Coming
The Gentleman is a Dope
The Music That Makes Me Dance
The Simple Joys of Maidenhood
South Pacific
Wonderful Town
Wonderful Town
She Loves Me
Sweet Smell of Success
Titanic
Funny Girl
Sunday in the Park With George
Gypsy
Fiddler on the Roof
Sunday in the Park With George
Carousel
Into the Woods
Mame
1776
Finians Rainbow
Oklahoma!
My Fair Lady
Flower Drum Song
The Sound Of Music
Plain and Fancy
South Pacific
110 in the Shade
Bells are Ringing
My Fair Lady
Oklahoma!
Carousel
Into the Woods
The Fantasticks
The Music Man
Wonderful Town
A Catered Affair
Hello Dolly
Gypsy
My Fair Lady
110 in the Shade
Gypsy
The Most Happy Fella
West Side Story
Allegro
Funny Girl
Camelot
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Chapter 14!
Musical Style through History!
Throughout the book, I have assumed my readers have a general understanding of musical
theatre history and the styles associated with each period. But if you have never had the chance
to study this rich history, this chapter will give you an overview of the changing styles while
leaving out historical details. It will not replace reading a history or taking a class, but it will help
you connect the dots. Its important for you to posses at least a general understanding of how
styles changed since 1900 so you can understand how the songs you sing relate and differ. I
recommend you pick up one of the histories listed in the bibliography.
You will find a brief description of some of the major trends in Musical Theatre along with a
description of some of the most significant composers and stylistic trends. For the sake of
brevity, I've included the the top four or five composers in each period. If you really want to
learn how styles change over time, take the time to listen to these songs to discover how they
relate to each other. Using your critical listening skills, observe how melody, harmony, rhythm,
and the relationship between lyric and music changes through time. Your goal should be to
acquire the skills to identify the approximate time period of any theatre music you hear.
Victor Herbert (1859-1924) Babes in Toyland, Naughty Marietta, The Red Mill
Rudolf Friml (1879-1972) Rose-Marie, The Vagabond King, The Three Musketeers
Sigmund Romberg (1887-1951) The Student Prince, The Desert Song, The New Moon
Musical Theatre in New York in the first 30 years of the 20th C. fell into essentially two camps:
Operetta and Musical Comedy. These three Operetta composers wrote in a relatively similar
manner, so rather than talking about each of these composers separately, I will give you some
stylistic traits for operetta in general. More than anything, operetta style is distinguished by its
melody, often written fairly high, meant to be sung by classically-trained singers. The harmony is
relatively simply in an early to mid-19th C. European style. The rhythm of operettas is also often
simple with frequent use of waltz and other European dance music incorporated. The lyrics, with
few exceptions, are usually flowery, highly poetic and usually not particularly memorable. The
music is often indistinguishable from European opera with one important difference. Opera
commonly featured sung recitatives to advance the story while Operetta had spoken dialogue.
Songs to Know
Deep in My Heart, Dear. The Student Prince (Sigmund Romberg)
Ah, Sweet Mystery of Life. Naughty Marietta (Victor Herbert)
Indian Love Call. Rose Marie (Rudolf Friml)
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Questions to Consider
What did you observe about the singer's use of vibrato?
What would you imagine is the acting style?
What can you say about the way the lyrics are written?
Before Musical Theatre developed its own musical style in the mid-40s, the music of The New
York theatre district was quite similar to the popular music of its time. Melodies were very
singable and rhythms were often danceable. Consumers bought sheet music by the droves and
sang the songs at home. I hope you can hear in I Wanna Be Loved By You that the vocal style
associated with this kind of music was quite the opposite of operetta. Commonly the singers
were untrained and they simply belted out the tunes. On Broadway, the vocal could also have
elements left over from the beautiful Operetta sounds. The harmony is simple and
straightforward and the rhythms borrow from ragtime. In addition to toe-tapping uptempos, there
were also quite a number of sentimental love song ballads. The lyrics were about common
people in prosaic and humorous situations. With the exception of Jerome Kern, there wasnt an
effort to match the musical style to the character or situation in this early style. That would come
later in the 40s. At this time, composers were just trying to write warm and beautiful ballads or
memorable, entertaining uptempos. Please find more about the history of Vaudeville in
chapter ??.
Songs to Know
Shine On, Harvest Moon, a vaudeville song by Nora Bayes and Jack Norworth. (1908)
I Love a Piano is one of Irving Berlins first hits (1915).
I Wanna Be Loved By You from the musical Good Boy (1928) by Herbert Stothart and Harry
Ruby.
"I Want to Be Happy" from No, No, Nanette (1925) composed by Vince Youmans.
Questions to Consider
In terms of formality or informality, how does this period differ from Operetta?
What can you say about the use of rhythm in these songs?
Imagine that you are in the audience of a Vaudeville or 1920s Broadway house. What is your life
like?
Early Musical Theatre Composers
In the early days of Broadway, the style was fast and comedic. Plot lines were slight, often with a
romantic tilt. Songs were not expected to advance the plot. They were there to entertain, dazzle
or romance the audience. The idea of Broadway as America's entertainment is solidified at this
time.
Jerome Kern
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Style
Kerns style is exemplified by the importance of melody above harmony and rhythm. He
stands at the cross-roads of operetta and the emerging American theatre style. His early
works sound like operetta.
His melodies are unexpected. The melodies seems simple but rarely are. All the Things
You Are includes all 12 chromatic tones and is in three different keys!
Show Boat prefigured the advances made by Oklahoma with an integrated score that
advanced the plot.
His songs are among the first to reflect the character that sings it. Old Man River, for
instance, sounds like a spiritual and Cant Help Lovin Dat Man sounds like a Blues song.
Songs to Know
George Gershwin
Major shows: Girl Crazy, Lady, Be Good, Strike Up the Band, Porgy and Bess (Opera)
Style
Rhythm and harmony are more important than melody
He often has melodies with repeated notes
He experimented with larger forms (Porgy and Bess, a piano concerto and orchestral music
like Rhapsody in Blue and American in Paris). More than anyone else of his time, he
wanted to be known as a serious composer.
He wanted to study composition with the French master Ravel, but Ravel said he couldnt
teach Gershwin anything.
He wanted to create a quintessentially American sound based in jazz.
His melodies often contain blue notes. These are the special scale degrees, flat 3 and flat 7,
that come from jazz and the blues. The Man I Love" is a great example of this tendency.
Songs to Know
I Got Rhythm (Girl Crazy)
Nice Work If You Can Get It (Damsel In Distress, film and Nice Work If You Can Get It)
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Style
Melody is more important than rhythm or harmony.
There are many melodic surprises
All of his songs are theatre songs, never pop songs. He is the standard bearer for great
theatre ballads.
He uses straight forward forms like AABA and ABAB.
His melodies are less Operetta-like than Kerns but still quite lush and beautiful. Its
important to note that the music he wrote with Hart is very different from the music he
wrote later with Hammerstein. The earlier music is lighter and the uptempos are jazzier.
He didnt strive for importance like Gershwin. He just wanted to write great theatre
songs.
Songs to Know
Manhattan (Garrick Gaieties)
My Funny Valentine (Babes in Arms)
My Heart Stood Still (A Connecticut Yankee)
Bewitched (Pal Joey)
Questions to Consider:
How is the music of Jerome Kern different from his contemporaries? Consider the kinds of
characters who are likely to sing his music as apposed to Rodgers or Gershwin.
What elements of Gershwin's sound make it sound American?
For the sake of time, I'm not discussing the great work of Cole Porter, Vernon Duke, Harry
Warren, Hugh Martin or the other notable figures of this period.
Section 21943 to the late 60s: The Golden Age of Musical Theatre
Oklahoma ushered in a period commonly called The Golden Age, which lasted, depending on
who you ask, for the next 20 or 30 years. These first six song-writing teams are the most
recognizable and identifiable Golden Age composers and lyricists. The teams that follow either
have fewer major shows or dont have a single, identifying style.
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Songs to Know
Oklahoma (OKLAHOMA!)
"Oh, What a Beautiful Mornin'" (OKLAHOMA!)
Youll Never Walk Alone (Carousel)
Something Wonderful (The King and I)
A Wonderful Guy (South Pacific)
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As compared to Rodgers and Hammerstein, their songs are more for the mind and less
from the heart. Lyrics are witty and ironic. Shall kith not kill their kin for me, for
example.
They seem less American because of the locations, both musically and lyrically.
Unlike Rodgers and Hammerstein, the songs feel less like they could fit only in their
respective show. Almost Like Being in Love could fit in other shows.
Some choral work but less than Rodgers and Hammerstein.
Songs to Know
Ascot Gavotte (My Fair Lady)
I Could Have Dance All Night (My Fair Lady)
The Simple Joys of Maidenhood (Camelot)
Almost Like Being in Love (Brigadoon)
Frank Loesser
Majors shows: Guys and Dolls, Most Happy Fella, How To Succeed in Business Without Really
Trying
Songs to Know
Adelaide's Lament (Guys and Dolls)
Sit Down, You're Rockin' the Boat (Guys and Dolls)
I Believe in You (How To Succeed in Business Without Really Trying)
Brotherhood Of Man (How To Succeed in Business Without Really Trying)
My Heart Is So Full Of You (Most Happy Fella)
!
!
The music is Jazz based. His songs really establishes the sound of the show tune.
More rhythmic than Rodgers and Hammerstein or Lerner and Loewe
Incorporates the sound of popular music
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Songs tell the stories of their characters and each of his shows has their own world with
internal style like Rodgers and Hammerstein.
Almost no choral singing.
Could possibly be confused with Loesser or Bernstein.
Songs to Know
Some People (Gypsy)
Roses Turn (Gypsy)
Im Going Back (Bells are Ringing)
Dont Rain On My Parade (Funny Girl)
Leonard Bernstein
Major shows: West Side Story, On the Town, Wonderful Town
Candide is unlike the others in style and scope
Songs to Know
I Can Cook, Too (On the Town)
Ohio (Wonderful Town)
Jet Song (West Side Story)
Somewhere (West Side Story)
Almost as much as Rodgers and Hammerstein, their music is at one with the shows. Like,
Loesser, every show has a language of its own based on the location and the kind of story it
is.
Songs come directly from the character.
Their music is less grand or formal than Rodgers and Hammerstein
High degree of emotionalism.
You can't imagine putting their songs in any other show.
Can be confused with Rodgers and Hammerstein
Frequent group numbers
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Songs to Know
If I Were a Rich Man (Fiddler on the Roof)
Matchmaker, Matchmaker (Fiddler on the Roof)
When Did I Fall In Love (Fiorello)
Tonight at Eight (She Loves Me)
!
Section 31970 to the Present: Post-Golden Age
!
Stephen Sondheim
Major Shows: Company, Sweeney Todd, A Little Night Music, Sunday in the Park with George,
Into the Woods, Passion
Style
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His songs set a high standard for theatre music and lyrics
Many of his musicals are concept musicals, i.e. they dont tell a linear story from
beginning to end.
The music and the lyrics are highly integrated and support each other.
Witty, smart lyrics and music that is more complex than the average Broadway show.
Irony is common
Musical dissonance is common and used for dramatic purposes.
Almost no musical allusions to Popular music
His songs are based first and foremost on the lyric with the music helping to communicate
the lyric and its subtext.
Songs to Know
A Weekend in the Country (A Little Night Music)
Everybody Loves Louis (Sunday in the Park With George)
No More (Into the Woods)
I Read (Passion)
Style
The music of Kander and Ebb is frequently characterized by direct references to earlier
styles (see below)
Black humor derived from cynicism, often pertaining to death (Electric Chair) but also
to other taboo subjects like Menage a Trois (Two Ladies), is common.
Rhythm is the most identifying musical component.
Songs to Know
Two Ladies from Cabaret. The music in Cabaret is modeled on the Weimar Cabaret sound
exemplified by Threepenny Opera and Kurt Weills music.
Mister Cellophane from Chicago. The show evokes the sound of Vaudeville.
Show People from Curtains. The music of Curtains draws on the traditions of early Musical
Comedy exemplified by the shows of Irving Berlin.
Electric Chair from The Scottsboro Boys. The music of this show draws on the music of the
Minstrel tradition.
Jerry Herman
Major shows: Hello, Dolly!, Mame, La Cage Aux Folles
Style
Lush, romantic music referencing earlier Musical Theatre styles. His songs are true Show
Tunes!
He is most similar in sound to Jule Styne
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Songs to Know
Hello, Dolly from Hello, Dolly
Bosom Buddies from Mame
I Am What I Am from La Cage Aux Folles
Style
His shows are grand with big themes in bold colors
The music often references Popular styles, especially rock, while at the same time, his
melodies resemble the operatic arias of Puccini and Verdi
Webbers soaring melodies are the most identifying musical component
Big orchestras with strings, brass (especially French horn) and synthesizers and electric
guitars
Songs to Know
Buenos Aires from Evita
Memory from Cats
All I Ask of You from Phantom of the Opera
!
!
Style
These shows are similar to the shows of Andrew Lloyd Webber in the importance of big
melodies in a lush musical style
Vocal style for these shows is rich and bold with unique mixture of classical sound with
pop inflections.
Frequent use of a modern recitative style (exemplified by the opening of I Dreamed a
Dream. These recitatives are often on a single note.
Big orchestras with strings, brass, percussion and synthesizers
Songs to Know
I Dreamed A Dream from Les Miserables
Do You Hear the People Sing from Les Miserables
The Heat is On in Saigon from Miss Saigon
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In 2002, I told my musical theatre history class that I feared that Elton John would be the only
Broadway composer with more than two shows. Nothing against him, but I knew we needed
more for a healthy Broadway. Despite the claims of some11, new, smart, dramatically engaging
musical theatre did not end some 30 years. Recent years have witnessed the rebirth of music and
lyrics excelling in originality and talented, creative people putting the shows together. The slump
of the 80s and early 90s was short lived. I argue that the writers and critics who disagree are
applying outdated standards and methods to their conclusions 12. The musical theatre world has
changed drastically in thirty years, and in some ways, and much of it, for the better. The sheer
number of serious-minded, educated, savvy composers, lyricists and book writers today, I
contend, is unprecedented.
I'd like you to make a list of about 25 composers/lyricists in the last 25 years that you think are
significant. Research their shows, styles and discover the shows that you dont know. The folks
who must be considered are Stephen Schwartz, Jason Robert Brown, Alan Mencken, Jeanine
Tesori, Adam Guettle, Ahrens and Flaherty, Marc Shaiman, Jonathan Larson, David Yazbeck,
Tom Kitt, Andrew Lippa, Robert Lopez, Maury Yeston, Michael John LaChiusa, and Laurence
O'Keefe. I have my students do this every year and I'm encouraged by the energy that goes into
their decisions. The passion behind their questions is unmistakable. "Should Pasek and Paul, or
Ryan Scott Oliver be in the top 25? Jonathan Larson really only has one great show. Where does
that put him?" I think more than some other times, young people know the major Broadway
players. They follow them on Twitter, Instagram and Facebook. This means a more educated,
engaged theatre audience and smarter, more discerning musical theatre performers.
Can you rank the quality of these composer's music? The quality of the lyrics? Their economic
success? Projected longevity? Do some stand out in all respects? For what it's worth, I'll give you
my take. In terms of quality, longevity, economic viability and artistic significance, I would put
Stephen Schwartz, Jeanine Tesori, Aherens & Flaherty and Alan Mencken at the top. Marc
Shaiman, with lyricist Scott Wittman, is a master of pop-inflected, dramatically strong scores
with audiences appeal. I greatly admire the work of Jonathan Larson, Adam Guettle, and Michael
John LaChiusa, but their output is relatively small or, in the case of LaChiusa, limited to smaller
audiences and poses a challenge to the average listener. Maury Yeston's work as a composer,
teacher and mentor, distinguishes him as the patriarch of writers since the 80s. Jason Robert
Brown has had a long, distinguished career, enjoys immense popularity, and has had a significant
number of major productions. But, as of yet, he has not garnered major success at the box office.
I'm puzzled by this as his work excels in striking a balance between artistry and accessibility.
Tom Kit, David Yazbeck, Andrew Lippa, Laurence O'Keefe, Robert Lopez round out the notable,
respected and loved final members of this collection of luminaries.
11
12
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Chapter 15
Creating A Great Audition Book
A great audition book is a collection of well-chosen songs that you love singing which highlight
your individual creative and performance strengths. It is one of your most valuable career assets.
Your goal is to create a book that allows all the colors and textures of your talent to be seen in an
unforced and natural way. Think of each song as having the potential to open a new and different
door. You will want to select songs in diverse styles that reveal facets of your talent and essence
while offering maximum flexibility. Your audition book is the constant you can rely on when the
world of auditioning is filled with change and surprise. The important characteristic which
should unite these songs is the love you have for singing them. When you fall deeply in love
with the songs you sing, your feelings of warmth and affection will translate into a sense of
confidence and ease to your listeners. Be aware, too, that loving a song too much can translate
into a performance that is too much about the song and not enough about what you say through
it. Whether true or not, the lyrics you sing will be understood as a personal reflection of your
deepest self. Choose your songs wisely as your audition is as much about who you are as about
how you sing.
When assembling your audition book, you could rely on the songs youve studied in voice
lessons. They were probably well-chosen with your vocal strengths and skills in mind. You've
had guidance in working out the technical challenges. You could also rely on songs from the
roles you've performed as they are time-tested and secure because you've performed them in
front of an audience. But neither of these sources is a guarantee for success. Just because you
sound great on a song doesn't make it a good audition choice. And if you're under 25, you've
likely been cast in roles that aren't the kind of roles you want to present in a professional setting
because they aren't you at your best. Let's look at different types of auditions to help us assemble
our book.
You could be auditioning for a specific show at a theatre that is doing anything from Operetta,
Early Musical comedy, Golden Age, to all sorts of contemporary musical theatre. Your audition
could be for a professional New York company or a regional theatre like The Goodman in
Chicago or The Guthrie in Minneapolis. It could also be for an amateur or semi-professional
local community theatre. For most of these, you should sing a song in the general style of the
show but not specifically from it.
Summer Musical Theatre auditions like MidWest Theatre Auditions, StrawHat Auditions,
Southeastern Theatre Conference Auditions, Music Theatre Wichita or The Muny hold equity
and non-equity auditions. These auditions are for a number of associated summer stock
companies or for a season of specific shows at a single theatre. As they will be looking for a
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variety of types and talents to fill a number of contrasting shows, it's best if you do something
that shows your best vocals and a character type you could play.
To acquire representation, you may have the opportunity to go in for an Agent call. You won't be
auditioning for a specific role or production but instead the goal is to see if you and the agency
are compatible. You'll want to lead with material that represents you as a person and what you do
best. They will want to learn what you can do, but also who you are.
Considering the many different kinds of auditions you could be doing in a single year, you will
drive yourself crazy if you try to pick out a song that will suit every crazy situation. My advice is
to start simply, with a handful of songs I call the Four Book Essentials. I consider these four to
be the most fundamental, frequently used and most flexible. When those are securely in your
body, you can branch out and add other songs that are suited to your specific skill set. You will
want to find songs that show off who you are as well as your unique attributes and skills.
What are the folks behind the table are looking for. A good voice? A good actress? The X factor?
The nature of the project and the aesthetics of each casting director will change the dynamics of
what is being sought after. But I must state unequivocally that they are not looking just for the
best singers. Successful productions, even of warhorses like Oklahoma, My Fair Lady, or
Brigadoon, require much more than good voices. The audience must be able to give themselves
over to the belief that the person on stage IS Fiona or Freddy. This is a challenge in straight
plays, but it's even harder in musicals when the technically challenging act of singing can make
character plausibility even more difficult. This means that when you are singing for a role, your
acting must take the character and the character's world into consideration. All the work we did
in the first third of the book is crucial for just this reason.
Your audition book should contain somewhere between 10 and 18 songs. I know respected actors
with experience who have made their career with fewer songs. One very successful actress told
me she got everything with "You Took Advantage of Me" by Rodgers and Hart. If that works for
you, who am I to judge? For most of us, a bit more variety is going to serve us in several ways. A
variety of songs will keep you from becoming bored and will present choices that allow you to
be seen as a versatile actor and singer.
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As a young musical theatre professional, your job is auditioning. You might also have a day job
as a barista or office manager but the real work in the early years is to go to as many auditions as
you can, get to know people and allow them to get to know you. I used to think that you could
come in from a small town, do one great audition and get hired for a Broadway show. That only
happens in the movies. Forging relationships and doing great work over time is how you move
up the ladder. But before that time, you will need to learn to give a great audition.
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Imagine that you have three auditions on Monday: a regional revival of Finian's Rainbow, an
ensemble replacement for the Broadway production of Beautiful, The Carole King Musical and
an agent call. If you have what I call The Four Book Essentials ready, you are prepared. Sing
your standard ballad ("With a Song In My Heart") for Finian's Rainbow, sing your early rock
song ("I Met Him On a Sunday") for Beautiful and sing your "I Am" song ("Rainbow
Connection") for the agent. On Tuesday you get a callback for Sharon in Finian's Rainbow and
you sing your Golden Age song ("Many a New Day") with the givens of Finian's Rainbow and
not Oklahoma! Before you sing, ask if they want to hear the dialect. Right after, your agent calls
and says that you're asked to go back in for Beautiful and they would like to hear something that
really shows your voice and personality. "Rainbow Connection" is an interesting choice because
you sing it well but it also allows you to personalize the material and sing from your heart.
One never knows what to expect at an audition. Finding the right actor for a role is a complex
task that requires taking stock of skills and personas. It's a chemistry project looking to find the
right balance of the right components. Casting directors learn to do this efficiently but there will
be questions in their mind that need to be explored. If they like you and your acting but aren't
completely sure your voice is strong enough, you may be asked to sing something additional that
shows more range, or a different emotional color. They might ask if you have something that
shows your legit. voice, or if you have a Rock song, or if you have a beautiful ballad. If they
don't know you but have a good feeling about you, you might be asked to do something from
your special skills list on your resume to get a different side of your personality. You could be
asked to do your song again, making it funny this time, or making the character insane, or 30
years older. You could be asked if you have a classical or contemporary comedic monologue.
Success all comes down to preparation.
By preparing these four essential songs, maybe something like half of your audition song
requirements may be met. After these four, I suggest other song types that will be valuable as
well. Make note of the way each song fits into an audition portfolio and what is important to
focus on when preparing it.
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When singing verses you'll want to remember that the verse sets up the story and conflict of the
song. As such, the music is subsidiary and must not be allowed to overshadow the lyric. The
music is, in a sense, merely the delivery system for the verse's lyric. This is in stark contrast to
the music of the refrain which carries with it an aural manifestation of the song's emotional
content. You may choose to skip the verse in an audition, but acquiring the skills to sing verses
will help you in numerous ways when dealing with text and music. See the upcoming chapter on
Standards for specific suggestions.
Why should I sing it?
Standard Ballads are usually about love found or love lost. The melodies are among the most
recognizable in American culture and the lyrics have a deep emotional life concerning universal
experiences. Because these songs are so well-known, you can take center stage and not the song.
The lyricists for these songs have given special attention to the choice of vowels such that the
sound of the words are as beautiful as the melodies.
This is an energetic, youthful moderately fast or fast pop/rock song that would be known by the
general public. I'm surprised sometimes that people have difficulty distinguishing a ballad from
an uptempo. An uptempo will have a metronome setting of at least 110 beats per minute and
usually 120 to 140 beats a minute. A ballad will be between 50 and 90 beats a minute. First, look
at you second hand and determine the speed between seconds. This is 60. There are 60 seconds
in a minute. An uptempo is about twice that speed or faster.
These songs are happy and innocent in spite of the fact that the subtext of teenage sexuality and
rebellion is frequently just beneath the surface. The best songs come between 1950 and 1967.
The cut off date is approximately the midpoint of the Beatles career, just before St. Peppers
Lonely Hearts Club Band. Before this time, essentially The Beatles were doing great, though
complex pop songs. After St. Peppers their music and the music of the radio was either too
experimental or too mature for the songs to be useful in an audition.
Great 50s artists to consider: Elvis, Buddy Holly & The Crickets, Little Richard, Chuck Berry,
Ray Charles, Jerry Lee Lewis, Sam Cooke, Fats Domino, Ricky Nelson, The Coasters, The
Everly Brothers, Bill Haley and His Comets, Johnny Cash
The best 60s artists for auditions: The Beatles, The Monkees, Stevie Wonder, Four Tops, Janis
Joplin, Aretha Franklin, The Supremes, The Shirelles, Martha and The Vandellas, The
Marvelettes, The Crystals
In an interview with Terry Gross 13, Bruce Springsteen says that the subtext of all rock music is
"Will you pull your pants down?" That doesn't mean you have to put overt sexuality in every
rock song you sing but you must remember that rock is the music of youth. And if it's not about
having sex with my girlfriend, it's about my stupid parents who will never understand me.
Please don't misunderstand me. I'm not asking you to play anger. Sherre Saunders wisely says,
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"anger is not an emotion. 14" But there is a restlessness in rock music, even the innocent sounding
50s rock.
I have heard some audition coaches recommend not acting Rock songs, or at least making it
more about presenting a cool, Rock star vibe. They might suggest that the music is the most
important thing and that you should just lay back and feel it. I respectfully disagree. While I do
believe that the acting should be different than a Golden Age or Contemporary song, I still
believe that in a theatrical setting, we care about stories. Some rock singers aren't concerned with
storytelling but that doesn't mean that we shouldn't. I think we can learn a lot about modern
storytelling through music by watching Aretha Franklin, Lyle Lovett, Bruce Springsteen, Sting,
James Taylor, Billy Joel, Paul Simon, Tori Amos, Pink, Adam Duritz and many others.
I would be remiss if I didn't mention the outstanding work of Sherri Saunders in Rock The
Audition. It is the ultimate guide to singing Rock songs from both vocal and performance
perspectives. She discusses the ins and outs of performing Rock in a much more thorough way
than I can here. Make special note of the way she articulates differences between styles.
Golden Age song sung by a character whose archetype you can play
What is it?
Most people agree that the Golden Age of Musical Theatre began with Oklahoma! (1943),
although some may also include Show Boat (1927). The ending date is arguable. Some say Gypsy
(1959), some say Hair (1968). Essentially we are talking about theatre songs from approximately
1943-1968 where the song advances the plot. Not only do the songs advance the plot but the
music functions in complex and subtle ways to tell the story with more depth than mere words.
The music of "Lonely House" (Oklahoma!) expresses the loneliness and frustration of Judd just
as much as the lyric does. The music of "Will He Like Me" (She Loves Me) expresses the same
hesitant, halting hope of Amalia as the lyric. Before 1943, composers weren't concerned with
being a storyteller as much as they were with writing great, memorable tunes. You will find
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many suggested examples of this music in the Standard Literature section to come. After looking
there, you'll find even more in Choice Songs.
You must sing the song faithfully to what the composer has given you melodically and
rhythmically. Your audience knows these melodies and will not forgive any alterations, no matter
how slight. But here I need to talk about some subtleties associated with modern Golden Age
rhythmic performance practice. This could be controversial, but I've observed a relaxation of
rhythms in professional performances of this literature. This is certainly not the result of
carelessness when I'm speaking of great recorded examples of Golden Age roles by Kelli O'Hara,
Laura Osnes, Audra McDonald, Sally Murphy, Hugh Jackman and Paulo Szot. Compare
contemporary performances of this standard literature with the sheet music and I guarantee that
you won't hear singers slavishly conforming to the rhythms on the page. This idea is
controversial because it could lead a less experienced performer to give a sloppy performance.
I'm not advocating sloppiness. But, I do believe that in the scene today, some rhythmic freedom
is desirable when it serves the text.
Do you remember when we did the T or "Tune" exercise at the beginning of the book? When we
were singing the lyric with meaning and understanding, some natural rhythmic alterations
happened. Speech does not flow in even and symmetrical patterns. Today's singers are allowing a
speech-like approach to the lyric to influence, but not dominate, rhythmic choices. Always learn
a song by singing exactly what the composer has written, but once it's in your bones, I believe
some rhythmic flexibility is acceptable when it serves to communicate the text and subtext.
Compare these live performances with the sheet music: Kelli O'Hara's live Lincoln Center
performance of "A Cockeyed Optimist," own little corner, what's the use of wondering.
Something from Paulo Szot or Hugh Jackman.
The Golden Era singing style is much more complex than some might realize. It's not just a
pseudo-Classical sound you might hear in "If I Loved You" or "Some Enchanted Evening." The
wide variety of character types mean there should be an analogous variety of vocal sounds.
Think of the contrasting characters of Laurie and Ado Annie in Oklahoma or Ruth and Eileen in
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Wonderful Town. Think of how different the voices of Lancelot and Arthur (Camelot) or Sarah
and Adelaide (Guys and Dolls) need to be.
For me, the most important vocal attribute in the Golden Age is that the voice should sound like
the character. If I'm playing Tevye, my voice should communicate a paternal, middle aged man.
If I'm playing Curlie, my voice needs to communicate an honest, straight forward and unstudied
quality. Before 1943, actors didn't need to think in this way. They just sang. For the original
productions of shows like South Pacific, Brigadoon or Damn Yankees, I think its fair to say that
actors were cast who naturally looked and sounded like the roles they played. Their physical and
vocal style created the model most productions still strive for. We must be aware of the original
cast recording and extant video and photographic evidence of the first production to guide us
with preparing a modern, yet stylistic performance.
The original cast recording is the closest we can get to productions dating from the 50s or before.
Serious students of musical theatre know these recordings and probably own most of them. If
you can't afford to purchase recordings, you can listen to them at public libraries. My local
library has nearly everything. In today's world, it has become customary to rely on YouTube or
Spotify if you want to hear less common material. But many original cast albums can't be found
there. Please don't resort to studying a poor YouTube performance of this older literature.
Ive called this section "Golden Age song sung by a character you could play," not "Sung by a
character you could sing." Why is that? While the actual music of this style is quite important as
well as good, stylistic singing, the most important thing is that everything: actor, singer and song,
should work together in a believable way to tell the same story. You should definitely sing all
manner of songs in your voice lessons and private study, but just because you sing it well doesn't
mean it's a good choice for an audition.
How do I unify my understanding of the character with my voice? First you must read the
libretto and understand the character and their full story. Then listen to the OCR and several
other recordings or videos for comparison. Analyze the song for ways the music helps to tell the
story. The question I always return to is, "what story is the music telling?" You can use the role
preparation guide I gave you earlier.
she understood the character's humanity which is the source of the comedy. Many people would
choose a more comedic approach, but this strategy first looks for the fundamental characteristics
of a character.
Include the song title. This means you should do the full refrain or at least a part containing the
title and a recognizable musical passage. You will most always want to skip the opening verse
and any music repetitions. For a 16-bar audition, start by looking at the last 16 bars. This is the
ideal cut for songs like "When Did I Fall in Love" (starting with "When did I fall in love"), "Old
Devil Moon" ("Wanna cry, wanna croon"), "I Don't Remember You" ("That was another time"),
"I Got Lost In His Arm" (How I felt as I fell"). Here are some additional issues to be aware of:
If your cut is 18 or 19 bars, no one will complain. The goal is that your cut should "feel like a 16bar cut." This means two music sections, or you could call them acting "beats," each of
approximately 8 bars. This means that in a 16-bar cut, you will be able to play two contrasting
actions, one for each beat. Please be sure to play two different actions as a single action will not
show enough range.
I am frequently asked if 16 bars literally means 16 bars. I've asked this question of many of my
professional friends and I usually hear something like I should just "feel like 16 bars. No one has
the time to count bars." The length of the cut is what matters most. I looked at many perfect 16bar cuts and they were all between 29 and 38 seconds.
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for a cut that feels like half a refrain. You are misguided if you think your performance will be
so good they won't mind if your cut is long. They will.
The I Am song
The I Am song is any song that says something true about you. It doesn't need to be the definitive
word about you as a person, it just needs to say something true about you. Just one thing is
enough. The song could communicate your love for children (a song like Children Will Listen
from Into the Woods), or your passion for peace in the world (a song like With God On Our
Side, by Bob Dylan) or your love for your partner (a song like Time After Time" by Jule Styne).
Note that the song is about something that's important without being specifically about you or
your personality. By sharing a slice of your life, you will be allowing an audience to get a
glimpse into who you are without saying too much. Im sure you've seen a performance when the
singer shares too deeply and exposes something that too intimate. Some of Liza Minelli's appeal
is that she walks this fine line of possibly sharing too much. Nearly everything she sings is
something of an "I Am song.
But be aware that if the subtext of your performance is, "Look how great, or beautiful, or
important I am," the song will fail it's intended purpose. There are a surprising number of
contemporary pop songs that have this embedded. (Meredith Brooks Bitch. I'm a bitch, I'm a
lover, I'm a child, I'm a mother/I'm a sinner, I'm a saint, I do not feel ashamed/I'm your hell, I'm
your dream, I'm nothing in between/You know you wouldn't want it any other way.) The baseline
truth is that each of you are fabulous, beautiful and lovable. But you loose that appeal and power
when you demand others to take notice. Trust your worth. Celebrate it without flaunting it.
"Gorgeous" with lyrics like "Look at me, I am gorgeous" is a horrible idea for an I Am song. You
will alienate your listeners unless you do it ironically.
I developed my thinking about this kind of song from two completely different places. The first
was my desire to teach my students how to personalize a song to the degree that it seemed as if
the actor was creating the song in the moment. I've been fortunate to witness some very special
moments in the theatre I would describe like that. (Kate Baldwin with How Are Things in
Glocca Morra? in Finians Rainbow (revival), Lea Michele with Mama Who Bore Me in
Spring Awakening and Chip Zien with No More in Into the Woods. You might say that these
are simply examples of good performances by strong actors. I think there's a truth to that
statement but I saw something above and beyond that which I wanted to quantify and
understand.
For me it came down to the sense that the actor, character, song and performance were melded
into one. It seemed as if the song I was hearing was being written on the spot, complete with full
orchestration! In these rare and precious moments, time seems to stop and I become part of
something bigger than myself. I feel as if I became one with the character and learned the most
important things about them. That's quite a special thing when what we are talking about is
simply standing onstage and singing a song that other people could do.
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The second place that gave rise to the process was my work as a cabaret musical director and
singer. I work regularly with professional and pre-professional singers who are putting together
shows. They want to sing songs as themselves onstage. This is a risky endeavor considering that
most of us are used to having a character that a playwright has created between us and the
audience. I wanted to understand and quantify why the cabaret singers I admire so much,
Barbara Cook, Marilyn Maye, Liz Callaway, and Andrea Marcovicci, Faith Prince affect me the
way they do. When they are onstage, the work seems like anything but work. It looks effortless.
But if course it's not. They are essentially doing a special kind of performance style that, while
related to an acting technique I knew, was also quite different from it.
The process I want to share with you is an approach to tackling this goal, but it is only one. My
hope is that as you read it and begin working on the skills, that you personalize your technique as
much as you personalize the material you sing. You might find other techniques that this process
opens you to. It can work for either theatre songs that demand personalization or cabaret
performances when it is you, and not a character, that is delivering material before an audience.
Picking songs is not as difficult as you might think if you use these common sense guides.
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1. Choose a song you sing exceptionally well. Be aware that your songs don't have to be
difficult, in fact, it's best if they aren't. Songs like "Back to Before," "Make Them Hear You"
or "Defying Gravity" aren't great choices for an open call simply because they are so
demanding. Expectations are extraordinarily high with these showstoppers and one or two
mistakes can ruin an audition. Save these songs for when you are auditioning for the role.
Songs like "I Met a Girl," "Hey There," or "Cockeyed Optimist" are only moderately
difficult, they tell an interesting, specific story, and they allow your talent and personality to
shine. These tried-and-true standard repertoire songs never grow old.
2. Choose a song that reveals something true about you. It can say something about who you
are as a person. It could tell us you are funny, or quirky, or romantic or charming, or
dangerous. It could reveal your ability to handle challenging word play or that you can sing a
simple song with depth. This advice may remind you of the kind of ideas I spoke of with the
"I Am" song but by no means should your choice be introspective and inward-looking.
3. Choose a song you connect to emotionally. If the story you are telling through the song is one
you love and relate to, it will lend authenticity to your performance.
4. Choose a song that reveals qualities that are important for the role being cast. If you're
auditioning for Nellie Forbush in South Pacific, we don't need to hear you sing in a high legit
voice or hear a patter song. We want to see a down to earth, girl-next-door quality we can
relate to. If you're singing for Emile, we want to see a sturdy, masculine, baritone
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Other song types to consider for you book
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The Miniature
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The Miniature is the theatrical equivalent of a film closeup. The song and the story are intimate,
simple and personal. It has a great deal in common with the "I Am" song in the way it is prepared
and presented. But for the Miniature, imagine that your partner is sitting close to you and your
conversation could be whispered. Your physicality is minimal and your volume level is quiet to
allow the melody, your musicality, subtle emotional nuisances and psychological depth to carry
the moment. The song will be a ballad and the arc is a winning, or possibly a serendipity arc.
The miniature will not replace rich, dramatic character numbers nor songs requiring bravura
vocals. It can, however, be a beautiful compliment to them when you need something
contrasting. Any ballad of emotional depth could work as long as the music is fairly simple and
the lyric is straight forward. You want to choose a song that will allow you to be seen as a poised,
confident, attractive, smart actor comfortable with emotional nuances. All the romantic Standard
Ballads I've listed are possible and Golden Age songs like "Something Wonderful" or "Hey
There" are great miniatures. Contemporary songs like "Love Sneaks In" or "Lay Down Your
Head" work beautifully. Post-Millennium songs like Scott Allen's "Now" or "Lying There" from
Edges may be too complex musically or psychologically but "Lost in the Waves" and
"Everywhere That You Are" (James and the Giant Peach) are lovely additions.
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Be aware to not let your physical or vocal energy level to drop too low even though you are
physically still and quiet. I will encourage you to explore all of the in-depth work we did earlier.
When people first try The Miniature there is a tendency to allow the action to fall back on
themselves and not fight for the positive outcome. You must resist these traps by remembering
you are still shaping a theatrical performance that requires physical energy, high stakes, a
dramatic arc and character development as well as a host of the other things we've been
exploring.
A Song of Disclosure
I've spoken at length about the power of Songs of Disclosure. These songs are a beautiful
addition to you book because it reveals your ability to play a strong objective and show
vulnerability and honesty. Many of these are "I Want" songs and the great ones are somewhat
over-exposed. "Corner of the Sky" and "Part of Your World" for example. But there are a great
wealth of terrific songs to choose from. Choice Songs can point you in the right direction.
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Some of my favorite "I Want" songs
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The business of auditions is grueling, for those on both sides of the table. The lyrics of the stage
are like sacred scripture to many of us and as such have a way of breaking through difficult days
by reminding us of what we hold close. As corny as it might sound, "You'll Never Walk Alone,"
"Hold On" and "I Got Love" give me emotional strength and comfort. They are like little breaths
of fresh air in the audition room and I encourage you to have one of these in your book. 15
Andrew Byrne. "5 Types of Songs You Should Have in Your Audition Book." Backstage. May 8, 2014
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Possibly the most challenging song is the Comedy Song. Everyone needs a bit of comedy in their
book. It's challenging because many people don't consider themselves particularly funny and
because there are many traps. The biggest one to be aware of is that funny songs from musicals
should be tossed out right away as they were written for specific situations and derive their
humor, at least a majority of it, from their contexts. How many times has "Adelaide's Lament"
bored or annoyed you. In the show, there is very little that's better. But without getting to know
that character and her story, the song doesn't really work. Since we aren't seeing the whole show
to get the context, your work needs to stand on its own.
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Another big trap to be aware of is that in the funniest situations, people aren't aware of being
funny. They aren't trying. The humor is an unplanned result of incongruity or heightened
emotions or delving into uncomfortable socially unacceptable areas (black humor or sexual
humor). What usually happens is that actors think they have to turn on a funny switch and they
"play" funny. Your awareness of the humor works against the comedy.
You'll want to start first with the things that make you laugh? What comedians, films or real-life
situations? What kind of humor does it for you? Black humor, incongruity, sexual humor? Get
together with friends who make you laugh and see what patterns you find.
Perhaps the easiest way to get started is to think of a song that would be a terrible choice to sing.
What's the worst, most ridiculous song for you to choose? Not a song you would sing badly, but
a song that's a terrible fit for you. When doing this exercise with students recently, a tall,
masculine young man picked "I Know Things Now" from Into the Woods and did it as if he were
9 months pregnant. The absurdity of the situation was multiplied when he played it truthfully as
a rough construction worker with back pains and morning sickness.
Some of the guidelines I've discussed so far can be set aside when you prepare for college
auditions. I've suggested that auditions go better when you sing something that suits your talent,
personality and physical life right now rather than do something that's too hard, too mature or too
different from you today. I've also said it's better to sing less demanding songs that you knock out
of the park rather than choosing something you can't quite sing yet.
When I see prospective students for my program, I'm looking for the potential to be trained. I
don't expect to see finished products. I hope for good voices, dramatic flexibility and vocal
variety, as well as an ability to tell a story through song. I know that each of these will improve,
in time, at a college program. I'm excited and pleased when I see grounded young artists with a
sense of themselves, their bodies, their voices and their talent. But if any of these is lacking, I
might choose to overlook it, knowing that they will develop in time. I always remember that I'm
looking at 17 and 18 year olds, not professional actors.
I am not happy when a 23 or 25 year old baritone auditions for a show with a terribly demanding
song like "Make Them Hear You" or a young soprano sings "Glitter and Be Gay" because I know
it's going to be beyond them at their developmental level. But a high school senior auditioning
for University of Michigan, CCM or any other comparable school might consider doing
something equally challenging so that the faculty can see where they are headed. When you are
young, it's helpful to consider where your talent is leading you. I encourage you to work toward
singing the most challenging literature in lessons and seeking out roles that are too mature for
you now. But once you're auditioning out in the world, take three or four steps back and audition
with songs that are perfect for you today, not ten years down the road.
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Final Thoughts
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After you sing, the folks behind the table may ask to hear something else if they have
questions about what you can do. Usually they would prefer something short and sweet.
Sixteen bars is probably enough.
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Look at your book and respond to these imaginary requests from auditioners:
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What do you have that's the opposite of what you just showed us? What reveals a different aspect
of your personality?
Sing the most beautiful (or most melodic or emotionally charged or dramatic) song in your book.
What do you have that's funny?
What do you have that shows your voice the best? What shows your technique off?
What's the most impressive thing you have?
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I've discussed the four audition book essentials, but let's talk about the other things you need for
a great book. I can not guaranty that you will actually use them all regularly. Each of us is unique
and our gifts and marketable qualities are also unique. I have known folks who because of their
look, their voice or their essence generally went in for similar shows and tracks. According to
them, they really never veered very far away from needing the same four or five songs.
The following song types should appear in your well-organized audition book. RATE THESE
SONGS ACCORDING TO THEIR IMPORTANCE IN THE BOOK.
1. Operatic aria or classical art song. The piece should be something that shows technique and
range.
2. Operetta. The Merry Widow, The Desert Song, The Student Prince and others by Romberg,
Friml and Victor Herbert. There are fewer companies doing this repertoire, but an operetta song
can be a great addition to your book, even if you're not auditioning for an operetta. The music
will stretch your range and challenge you to maintain consistent legato and vibrancy. When
asked if you have something that shows your technique, these songs can can go over like
gangbusters.
3. Gilbert and Sullivan. These songs show diction, vocal technique, a sense of humor and
period style. Choose a song that fits your vocal range and type. Young mezzos can skip this
category as all the mezzo arias are for the older, character actor. I give you a break down of every
Gilbert and Sullivan aria in an upcoming section.
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4. Early Musical Comedy/Tin Pan Alley or a Vaudeville Novelty Song. Choose an up-tempo
song that is catchy and straightforward that allows your charm, personality and sense of humor to
shine. This is especially important for character men and women. See the upcoming chapter on
Vaudeville for style and repertoire suggestions.
5. Standard Ballad and Up-tempo, pre-1943. George Gershwin, Jerome Kern, Rodgers and
Hart, Cole Porter and Irving Berlin are the places to start but I'll give you other great song ideas
in the Standard Ballad and Uptempo chapters. You want to find something that you can both act
and sing wellsomething that shows your voice and your essence. Uptempos should allow
your body to move in response to the rhythm of the song.
6. Golden Age ballad and up tempo. Rodgers and Hammerstein, Lerner and Loewe, Loesser,
late Porter, late Irving Berlin and many, many others. Choose something from a book musical
between 1943 and the late-1960s that's sung by a character whose archetype is one you can play .
If this is a genre that you are especially suited to, its not a bad idea to have several ballads and
uptempos that demonstrate your acting and vocal range. The Standard Repertoire chapter has the
bulk of the literature but you will also find some additional suggestions in Choice Songs.
7. Top 40 songs. You'll need several high-charting pop songs from the following eras. This
category does not include songs from musicals.
A) Early Rock and Roll Uptempo from the 50s or 60s. Elvis Presley, Buddy Holly, Early Beatles,
Girl Groups
B) 1960s/1970s pop. Joni Mitchell, Carole King, Simon and Garfunkel, Stevie Wonder,
late-Beatles and others. This category is not absolutely essential to your book but is a helpful
addition.
C) Country. From any period, by keep it faithful to the original. Don't make fun of the style.
Choose something that's real Country and not pop/rock Country of the last few years.
That style should go into one of the next categories.
D) 1980s Pop hit Uptempo and Ballad. Some suggestions include Elton John,
Billy Joel,Whitney Houston, Stevie Wonder, Bonny Raitt, Aretha Franklin, Mariah Carey,
Rick Springfield, Melissa Ethridge, Phil Collins, Queen, Carly Simon, Donna Summer,
Sheena Easton, Janis Joplin, Beach Boys, Kelly Clarkson, Diane Warwick, Tina Turner,
Styx, Christopher Cross, Bon Jovi, Neil Diamond, Barry Manilow, Kenny Loggins and
Michael Jackson.
E) Contemporary Pop/Rock, two contrasting songs from the last 15 years or so. Perhaps one
song is a Pop song from the radio and the other is from a less-popular Rock band. There are
many, many modern shows that require a wide variety of different styles. Look for songs that
are suitable for contrasting shows such as Spring Awakening, Rent, High Fidelity, and American
Idiot.
8. Sondheim. Choose a song that shows intelligence, emotional maturity and strong
musicianship. N.B. Funny Thing...Forum doesn't qualify for this category as it is so different
from the style of the rest of his shows. The Sondheim chapter will break down his songs by
voice type.
9. Rock Musical (Ballad and up-tempo). Jesus Christ Superstar, Pippin, Godspell, Hair,
Dreamgirls, Chess, etc. The challenge of singing this literature is in the combination of singing
style and acting skills. For success in this style, both aspects must be strong. When I have my
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students create their audition book, I take this category off the list as I know they will usually be
asked to sing a true rock song and not a theatre song when casting a Rock show. If this is
something you do exceptionally well, then by all means, put one in your book. But if it's not,
focus instead on some true Rock songs
10. 1960s/1970s Show tunes (Ballad and up-tempo, not pop/rock) Kander and Ebb, Cy
Coleman, Jule Styne, Jerry Hermann, Marvin Hamlisch, and Schmidt & Jones.
11. Contemporary musical theatre (Ballad and uptempo). Ahrens & Flaherty, Jason Robert
Brown, Andrew Lippa, Michael John LaChiusa, William Finn, David Yazbeck, and many, many
others. Choose songs that reveal something true about you. See the upcoming Choice Songs list
for specific suggestions. I've put the Post-Millennium composers in a distinct category so that
you remember to have some contemporary things that aren't Post-Millennium.
12. Disney or film tune. Alan Menken, Elton John and Stephen Schwartz songs are often oversung. Its better to choose an earlier Disney song like the Sherman Brothers or any great song
from a movie (especially the 1960s and 1970s). This body of work is like another Golden Age,
only the songs are from movies and not stage shows. These songs are often very straightforward
and well known. The point is to sing a well-known song well so that they can really see your
skills. Avoid songs from Beauty and the Beast, The Little Mermaid, Pocahontas, Frozen and
other newer animated films. Look for songs from earlier Disney shows. Great, well known film
tunes, like Moon River (Breakfast At Tiffany's) or It Might Be You (Tootsie) can also be
great for this category. See the list of great songs from films that follows.
13. Contemporary Art Song. In the last 20 years or so, musical theatre composers have begun
writing songs that live in the space between theatre and arts songs. These pieces require good
singing technique, strong musicianship and acting chops. They are therefore good for the times
you want to demonstrate all three in an audition. Ricky Ian Gordon, Adam Guettel, Georgia
Stitt, Jeff Blumenkranz, John Bucchino. See Choice Songs for specific suggestions.
14. Post-millennium (since 2000). Please see the earlier discussion of this style. You know that
composers like Kerrigan & Lowdermilk, Joe Iconis, Peter Mills, Seth Bisen-Hersh, Chris Miller,
Scott Alan and many others are significantly different from other contemporary musical theatre
writers like David Yazbeck, Marc Shaiman, Jason Robert Brown, Michael John LaChiusa and
others that were writing at the same time. The Post-Millennium style is a unique brand of
musical theatre characterized by modern realism, pop/rock singing and frequently a singer/
songwriter, folky story-telling sensibility. See the earlier chapter for more about the PostMillennium. These aren't songs you would use at just any audition, but there will be
opportunities when having something that's modern, personalized and fresh will be the perfect
choice.
15.Specialty number. The Specialty Number shows something unique and special about your
abilities. Yodel, high soprano, comedy, patter, super high belt are some possibilities. Be
creative and outside the box.
16. Gospel Song. African-Americans should have either a traditional Gospel song (like "His Eye
Is On the Sparrow," "Oh Happy Day, "Mary, Don't You Weep," or "Steel Away to Jesus") or a
more recent Black Gospel song ("A Change Is Gonna Come", "Take Me Back," "Long As I
Got King Jesus") in their book.
17. Comedic song. I've written about doing comedy elsewhere. Please don't pick an easy
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comedy number from a musical like "Adelaide's Lament" or "Grow For Me". These rarely go
over well at an audition. I find that having a funny take on a song that was not originally
intended humorously works much better. Two obvious advantages to doing this is, first, the
humor will be fresh and unexpected and second, it is yet another opportunity to allow the
panel to see an authentic slice of your essence.
18. The Money Cutting. Regardless of style or period, this short cutting shows you at your very
best vocally and matches your personality and strengths as a performer. My advice is to have a
32-bar version, a 16-bar version and an 8-bar version.
Auditions can be stressful and you may have trouble quickly recalling the names of your songs. I
suggest adding an additional breakdown of your songs that will be easy to sort through under
pressure.
The first page in your audition book should be a table of contents organized by style or
time-period. Include the character's name where appropriate.
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Make all marks in dark pencil or black pen. Write legibly and do not use cursive as it can
be difficult to read. Please do not use a highlighter on music. In certain lighting, it can
obscure the music.
Erase (or white-out) all markings that do not pertain to your performance. A fermata over
a note thats left over from another singer will confuse the pianist if you dont observe it.
Audition books should be heavy-duty three-ring binders with a rubberized edge and no
bigger than 2 inches wide. The rings on cheaper binders will separate and pages will fly out.
The super-large binders make turning pages difficult. Loose pages have a way of falling off
the piano.
I am in the no sheet protectors camp unless they are thin and only have one or two pieces
of paper in them. Thick pages make page turns very difficult and you don't want to make
the difficult job of audition pianist any more difficult. Use non-glare if you must use sheet
protectors.
Music should be duplicated on slightly heavier paper. Please never paste pages on to those
heavy pre-folded file folders. Trust me. Disaster will happen.
Write indications such as ritards and fermatas in the piano part, not the vocal part.
Nothing should be cut off the page! This includes chords symbols at the top of the page
and the left hand piano staff at the bottom of the page.
Reduce music, when copying from music books, to 90% to 92%. Most sheet music folios
are larger that 8 1/2 X 11.
The lyrics on the music must be the lyrics you are singing. If a pianist sees other lyrics,
they will assume they are in the wrong place. White out old lyrics and carefully and clearly
write in the new lyrics.
All music should be double-sided. Page turning is difficult so reduce the number of page
turns. If your cutting is only 2 pages, present the music without a page turn.
When making cuts in a song, present the music so the pianist sees only what she will be
playing. In other words, dont just make Xs through the music or draw arrows where the
pianist needs to go. This will require extra time cutting and pasting at a copy machine but
this time is well worth it. Without attention to these details, the pianist may become
confused and not play what you want them to play
If there is a D.S. al Coda, lay the music out so that the pianist doesn't have to turn back
pages and then turn forward. Disaster.
Be sure that the title, show, tempo, style (such as Swing) and composer/lyricist are at the
top of the first page. This is especially important if youve made cuts where this
information is left off.
When purchasing music from musicnotes.com or a similar website, make several copies so
you will have a clean copy as a back up.
Use handwritten scores only when they are the only resource available.
You may be fortunate to have access to Piano/Conductor scores. Please use these only if
they are not heavily marked up or if it is the only resources you can find.
The best way to double-side music is to place single-sided music, blank sides facing each
other, taping (or using glue stick) the sides at the top and bottom and three-hole punching
the music.
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Chapter 16
Making Better Audition Song Choices
The search for a perfect audition song can seem an arduous task with so many songs to choose
from. Do I choose a well-known song or an unfamiliar one? Do I choose an uptempo or a ballad?
Do I choose a musical theatre song or a Pop/Rock song? This chapter will guide you through the
steps of making better song choices. Your job is to find the song that is perfect for this moment
and one that will show that you are a smart singer who has carefully considered their options.
This is your first chance to impress the folks behind the table. Choose wisely.
1. What does the breakdown ask for? What is casting looking for? Cardinal rule: always follow
the breakdown. If it requests legitimate theatre songs, don't sing contemporary stuff. Period. If it
says, Pop/Rock only, don't even think of singing a theatre song. Research the show or shows for
the vocal style and range called for.
2. Where do I fit in this production? In a lead, ensemble, or primarily as a dancer? If you are
right for a lead in the musical you are auditioning for, you should choose a song that is similar in
vocal demands and sung by a character that is similar (i.e. a romantic character, a comic
character, an ingnue, a villain, etc.). If you are a better singer than dancer auditioning for the
ensemble, choose an uptempo song or ballad that matches the demands of the show. If you are a
better dancer than singer, choose an uptempo that will allow your body to move, but not
necessarily dance.
3. What are my strengths? What can I do that will get their attention? What kinds of skills does
the show require? If the show is an operetta or operetta-like musical where the singing is of
highest priority, sing something that shows your best classical vocal skills. If the show is
comedic, you might consider presenting something that shows your comedic chops. Look for
what the show needs and how you meet that need. You are there to solve their problem, not vice
versa.
4. Should I sing an uptempo, a ballad, a charm song, a rock song? This is not a question that can
be answered easily. If singing is your best skill, consider choosing a ballad if the show has a high
degree of lyricism. If it isn't your best skill, consider singing an uptempo. If you get to sing two
songs, the primary thing you should concern yourself with is contrast. The contrast will come
from the tempo change but it should also be in other areas too, such as a change in character
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between the two songs, a change in affect (comedy and serious, for example) or a change in
style.
5. What guidelines are given? Does the breakdown ask for a song from a certain period, a certain
style or a certain length? It is unwise to go against these guidelines. Period. One qualification
must be made when it comes to 16- and 32-bar cuttings. These numbers are, for most people,
relative. Your cut needs to feel like a 16-bar cutting rather than be exactly 16 bars. One to three
bars under or over is not a problem in most cases. Eight to ten bars over is a problem. Be aware
that for songs in cut-time or in 2/4, it may be more appropriate to sing a cut that is double the
length of your desired cut. You must use your discretion and, again, it must feel like a 16- or 32bar cut. See Finding Cuts below.
Starting Points
There are several places to begin your search. They are all useful in some circumstances but not
all are useful in every circumstance. Never limit yourself to one of these starting points. You will
become stuck very easily.
Of course, the more research your do, the better your results. You must t be familiar with a wide
range of songs and styles. Over time, you will develop an audition book that will contain songs
that you know and perform well at a moments notice that are appropriate for most auditions.
However, no audition book contains something for every situation. You must continue to
maintain and build your repertoire. Here are some of the starting points you can use to focus your
research.
A good first step is to look for material by the same composer. This is especially true for musical
from the 20s to the 60s. During this time, the successful composers wrote many shows with
similar styles and themes. Some even have similar characters. From the 70s on, there are a
greater number of successful composers with smaller bodies of work. You must look for different
starting points for this period. Say you are auditioning for Hair. While there are other Galt
McDermot shows, very little of this material is right for this audition. You should look for a song
from another early Pop/Rock musical or even a Pop/Rock song not from a musical. If you are
auditioning for Pippin, there are a number of shows by Stephen Schwartz to choose from but
very little of it is right for the Pop/Rock sound of Pippin.
Another good early starting place is to look for songs from musicals that share a similar musical
style. As you become familiar with more composers, you will begin to see the musical similarity
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between Rodgers and Hart, George Gershwin and Cole Porter, between Rodgers and
Hammerstein and Lerner and Loewe, and between Leonard Bernsteins shows and Jule Stynes.
Singing a song by the composer of the show youre auditioning for isnt always the best thing.
For instance, when auditioning for Kander and Ebbs Chicago, however, the wisest solution is
not to do a Kander and Ebb song but a vaudeville song since that was the model for Chicago.
Look for songs from other musicals that share a similar musical style and esthetic. You can find a
guide to shows that are similar below.
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Shows that share a common musical style.
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Oklahoma!
Music Man
Legally Blonde
Carousel
Oliver!
Hello, Dolly!
Big
Finians Rainbow
Mame
Footloose
MODERN BIG
MUSICALS WITH A POP/
rock score
Jane Eyre
My Fair Lady
She Loves Me
Scarlet Pimpernel
Sound of Music
The Rothchilds
State Fair
Wonderful Town
Bells are Ringing
Annie Get Your Gun
Best Foot Forward
Martin Guerre
Les Miserables
Sunset Boulevard
Woman in White
Lestat
Miss Saigon
Chess
Evita
Jesus Christ Superstar
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Call Me Madam
Damn Yankees
Mary Poppins
Lil Abner
Pajama Game
Titanic
Fantasticks
110 In the Shade
Musical Comedy Classic
Broadway
DuBarry was a Lady
Gypsy
Panama Hattie
Mexican Hayride
Girl Crazy
Lady Be Good
Sweet Charity
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The Life
Little Me, ALL THE
KANDER AND EBB
SHOWS
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These collections of stylistically similar shows can be useful in selecting audition selections. If
you are auditioning for a specific show, the other shows in the grouping may contain useful
songs for you.
Modern Classics
On the Twentieth Century
Barnum
City of Angels
Will Rodgers Follies
Sweet Charity
The Life
All the Kander and Ebb shows except curtains
Also see Classic Legit shows as well as nearly any Jule Styne song.
Neo-Golden Age
Steel Pier
Curtains
Thoroughly Modern Milly
Drowsy Chaperone
Also see Classic Legit shows for stock characters. The character of Milly and Janet may require
something with more Belt. For period musicals, look for authentic songs from the period that can
be shaped into something resembling the show's style.
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Mega-Musicals
Phantom of the Opera
Cats
Les Miserables
Miss Saigon
Sunset Boulevard
True radio Pop/Rock in the style of the show is the best option.
Meta-Musicals
These shows are not united by a common musical style but a similar story-telling aesthetic. In
Meta-Musicals, the characters/actors are aware of being actors in a show. There is a modern
sense of humor even when set in another period. Humor, wit and intelligence are perhaps more
important to show initially rather than how you sing
Book of Mormon
Drowsy Chaperone
The Producers
Young Frankenstein
Something Rotten
Urinetown
Monty Python's Spamalot
Hedwig and the Angry Inch
Falsettos
Bloody Bloody Andrew Jackson
Passing Strange
[title of show]
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Silence!
Chicago
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Sondheim
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Sondheim
While his shows all have differing musical asthetics, they are unified by the composer's wit and
musical sophistication.
REORGANIZE THIS. PUT A LABLE AND THEN THE MUSICALS. GOLDEN AGE
CLASSIC LEGIT. GOLDEN AGE JAZZ BASED. ETC.
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A treasure trove of ideas can open to you when you look at other musicals set in the same period
or location. This could be Victorian London, late 19th- or early twentieth century American West,
New York of the 20s or 30s. When auditioning for 1776, you might consider looking for a song
from Ben Franklin in Paris since both musicals are concerned with historical figures from the
same period. Seven Brides for Seven Brothers and OKLAHOMA! are both about the settling of
America. La Cage aux Follies, Falsettos, When Pigs Fly all concern gay characters in about the
same historical period. Clue, Somethings Afoot, Sherlock Holmes: The Musical and Baker Street
are all musical mysteries.
You might also look for shows with a similar theme such as a tragic romance, operatic love at a
grand scale, a comic mismatch, historical shows, shows that use Country music, shows
pertaining to sports, or shows for young audiences.
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You might find some interesting information by knowing the originating actor for the role youre
auditioning for and to research other roles that that actor played. It has been common for actors
to play similar roles in their career unless their career is very long and by necessity change the
kinds of roles they play. Ibdb.com is the best place to find this information.
And lastly, one of the best tools is to look for another character with similar traits and
characteristics. Most characters can be seen as an archetype. If you know your characters
archetype, you can find other songs sung by a character that shares the same archetype.
Character Archetypes
Character Archetypes are a way of understanding similar characters. It is useful for you to
consider which archetypes you are best suited to based on your look, personality and voice. I
recommend that you become familiar with the range of characters in the archetypes that suit
you.
Female ingnue Female ingnue (Laurey in OKLAHOMA!, Luisa in The Fantasticks, Julie in
Carousel, Peggy in 42nd Street, Anne in A Little Night Music, Belle in Beauty and the Beast,
Maria in West Side Story, Fiona in Brigadoon, Maria in The Sound of Music, Young Little Edie
in Grey Gardens, Janie in Catered Affair, Maria in The Sound of Music, Sharon in Finians
Rainbow, Mary Lennox in The Secret Garden, Cosette in Les Miserables, Julia in The Wedding
Singer, Niki in Curtains, Elle in Legally Blonde, Magnolia in Show Boat, Clara in The Light in
the Piazza, Hope in Anything Goes, Hope in Urinetown, Cinderella in Into the Woods, Christine
in Phantom of the Opera, Johanna in Sweeney Todd, Wendla in Spring Awakening Isabella in
The Glorious Oncs, Middle or upper class.
Ingenues are pretty, petite sopranos (sometimes belters in modern shows) under 25 with gentle,
open, innocent, wholesome, naive characteristics. While there is a classic femininity in these
characters, the ingenues in musicals since 1943 usually posses a restlessness desire for change in
their life. Ingenues tend to be the leads and it's crucial that the audience quickly falls in love with
them. Sally in Cabaret, Elphaba in Wicked and Tracey in Hairspray are variations on this type.
The ingenue is the love interest of the male ingenue, leading man or hero. 16 to 25.
Male ingnue (Matt in The Fantasticks, Billy in 42nd Street, Henrik in A Little Night Music, Lt.
Cable in South Pacific, Billy in Anything Goes, Fabrizio in The Light in the Piazza, Clifford in
Cabaret, Robert in Drowsy Chaperone, Lun Tha in The King and I, Freddie in My Fair Lady,
Marius in Les Miserables, Wayne in State Fair. Melchior in Spring Awakening is a variation on
this type.
The male counterpoint to the female ingenue is similar in youth, innocence and wholesomeness.
He is usually a slim, good looking tenor. He could be the show's lead but more frequently he is a
supporting character linked romantically to the ingenue.17 to 28. Tenor. Middle or upper class
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Hero (Joe Hardy in Damn Yankees, Jean Valjean in Les Miserables, Tony in West Side Story,
John Adams in 1776, Woody in Finians Rainbow). Similar to male ingenues but these roles tend
to be less romantic and more dramatic. He is handsome, hard working and strong with an easy
charm. 25 to 40. Some are tenors and some are baritones. Middle or upper class, occasionally
working class.
Heros frequently come to the rescue of the ingenue or the community.
Comic Villain or Villainess (Carl-Magnus in A Little Night Music, Gaston in Beauty and the
Beast, Ursula in Little Mermaid, Fagin in Oliver!, Kodaly in She Loves Me, Bud Frump in How
to Succeed, Thenardier and Madame Thenardier in Les Miserables, Sandor in Bells are Ringing,
Velma in Hairspray, Mrs. Meers in Thoroughly Modern Millie, Glen in The Wedding Singer,
Professor Callahan in Legally Blonde). On the attractiveness scale, these characters are usually at
the ends. Very character-y or stunningly beautiful. 30s, 40s or 50s.
These characters provide the conflict which the other characters must work through. But rather
than making them evil, they are softened by their humor. They are the ones you love to hate. 30s,
40s or 50s. Any voice type but usually lower. Lower class or upper class.
Dramatic Villain (Judd in OKLAHOMA!, Jigger in Carousel, Bill Sikes in Oliver!, Dickinson
in 1776, Javert in Les Miserables, Chauvelin in Scarlet Pimpernel) The dramatic adversary to the
leading man. Usually baritone. 30s, 40s or 50s. Powerful builds. Lower class or upper class.
Temptress (Lola in Damn Yankees, Appassionata von Climax in Lil Abner, The Baroness in
Sound of Music, Linda Low in Flower Drum Song, Heddy in How to Succeed, Linda in The
Wedding Singer). Middle-aged woman who is confident in her sexuality which is apparent in her
relationship to a younger man. Beautiful, sexy and frequently a dancer. Mezzo/belter. 30s, 40s or
50s. Lower or upper class.
Prince Charming (Lancelot in Camelot, Topher in Cinderella, Cinderella's Prince in Into the
Woods) Regal, handsome and charming. Tenor or baritone. 20 to 35. Upper class
Trickster (Mr. Applegate in Damn Yankees, The Emcee in Cabaret, Og in Finians Rainbow,
Uncle Max in Sound of Music, Witch in Into the Woods, The Leading Player in Pippin, Starbuck
in 110 in the Shade, The Wonderful Wizard of Oz in Wicked, El Gallo in The Fantasticks, Dicken
in The Secret Garden. A complex character causing conflict by disobeying conventional
behavior norms. They are striking in their differences to everyone else. Often they are associated
with magical, other-worldly abilities. Male tricksters are usually slim. 20s, 30s, 40s or 50s. Voice
type depends on the show. Classless or lower class.
Girl back home (Meg in Damn Yankees, Helen Chao in Flower Drum Song, Eponine in Les
Miserables) she is unassuming, easy to be with and doesn't know she's attractive although she is.
20s to 35. Voice type depends on the show. Lower or middle class.
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Fool (Maurice in Beauty and the Beast, Sipos in She Loves Me, Hines in Pajama Game, NicelyNicely in Guys and Dolls, Sancho in Man of La Mancha). 20s 30s, 40s or 50s. Harmless
character buffoon. Lower or middle class.
Best friend, sometimes called Soubrette, often comic (Ado Annie in OKLAHOMA!, Carrie in
Carousel, Ann in 42nd Street, Petra in A Little Night Music, Anita in West Side Story, Ilona in
She Loves Me, Gladys in Pajama Game, Minnie Fay in Hello Dolly!, Adelaide in Guys and
Dolls, Smitty in How to Succeed, Hildy in On the Town, Ilse in Spring Awakening, Martha in
The Secret Garden, Holly in The Wedding Singer. Paulette in Legally Blonde and Glinda in
Wicked are variations on this type. Companion to the ingenue known for her humor and quick
wit. Like the ingenue, she is young, attractive and somewhat innocent but is more confident in
herself and her sexuality. She can be either a soprano or mezzo/belter. 20s to 35. Lower class or
upper class. Thoroughly Modern Millie is an interesting case where the Soubrette type is the lead
and the Ingenue (Dorothy) is the best friend.
Leading lady (Dorothy in 42nd Street, Dolly in Hello, Dolly!, Frulein Schneider in Cabaret,
Anna in King and I, Mrs. Malloy in Hello Dolly!, Reno on Anything Goes, Marin in Music Man,
Guenevere in Camelot, Rosie in Bye, Bye Birdie, Sarah Brown in Guys and Dolls, Mame in
Mame, Rose in Gypsy, The Baker's Wife in Into the Woods, Fannie in Funny Girl, Helen Sinclair
in Bullets Over Broadway, Margret in The Light in the Piazza, Drowsy Chaperone in The
Drowsy Chaperone, Desiree Armfeldt in A Little Night Music. 30 to 60. She is a stunningly
beautiful, mature and regal Mezzo/belter. Upper class (occasionally middle class). Fantine in Les
Miserables is an exception.
Chorine, Female singer or dancer in a Musical Comedy, comedic and usually not particularly
bright. She is sassy, brassy and frequently has a brittle, inexpressive singing voice and a New
York accent. (Kitty in The Drowsy Chaperone, Daisy in The Adding Machine, Lois Lane in Kiss
Me Kate, Bambi in Curtains, Olive in Bullets Over Broadway). Pretty dancer usually with blond
hair. 25 to 40. Belter. Lower class but trying to climb up the social ladder.
Leading man The romantic lead. (Curley in OKLAHOMA!, Joe Boyd in Damn Yankees,
Fredrik in A Little Night Music, Sid in The Pajama Game, Jeff in Bells are Ringing, Sky
Masterson in Guys and Dolls, Harold Hill in Music Man, Emile in South Pacific, Flaminio in
The Glorious Ones, Captain Von Trapp in the Sound of Music. The Baker in Into the Woods and
Herr Schultz in Cabaret are variations on this type. 30 to 50. Handsome, powerful baritone.
Middle or upper class.
Antihero (Billy in Carousel, Beast/Young Prince in Beauty and the Beast, Shrek in Shrek,
Sweeney in Sweeney Todd, Paul in Carnival) The antihero is a complex, brooding,
misunderstood, solitary, unhappy leading character. There are reasons in his past for being the
way that he is and usually he isn't presented as a bad guy although most feel that he is. Javert in
Les Miserables is a variation on this type. 30 to 50. Slim to heavy build. Baritone. Working class.
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Sidekick AKA Second Banana (Will Parker in Oklahoma!, Nathan Detroit in Guys and Dolls,
Jeff Douglas in Brigadoon, Chip in On the Town)
Comedic, frequently slow witted, but lovable. Frequently they are young, slim "Song and Dance
men." 20 to 45. Tenor usually. Lower or working class.
Wise old man or woman or Earth mother (Aunt Eller in OKLAHOMA!, Nettie in Carousel,
Madame Armfeldt in A Little Night Music, Mrs. Potts in Beauty and the Beast, Mother Superior
in Sound of Music, Lady Thiang in King and I, Sue in Bells are Ringing, Ben in Secret Garden,
Arvide in Guys and Dolls)
Warm, parental friend and care taker of all, but especially the ingenue. 30 to 70 or older. Baritone
or mezzo. No specific sociological associations.
Child (Chip in Beauty and the Beast, Sad Girl in Bye, Bye Birdie, Amaryllis in Music Man,
Gavroche in Les Miserables, Oliver in Oliver!, Little Red Riding Hood in Into the Woods, Billy
in Billy Elliot, Annie in Annie, Colin in The Secret Garden, Louis in The King and I). 7 to 15.
Unchanged voice if male. Upper class or lower class usually.
Nebbish Seymour in Little Shop of Horrors, Benjy Stone in My Favorite Year, Leo in The
Producers, The Man in the Chair in The Drowsy Chaperone, Marcellus Washburn in Music Man,
Cornelius Hackl in Hello Dolly, Motel in Fiddler on the Roof, Frank Cioffi in Curtains, David
Shayne in Bullets Over Broadway. The Nebbish is nerdy, awkward, sometimes effeminate,
mama's boy, frequently Jewish. 20 to 35. Character tenor or baritone. Lower class or working
class.
Buffo Trevor Greydon in Thoroughly Modern Millie or Ivan in Women on the Verge of a
Nervous Breakdown
The Worldly Girl With a Heart of Gold, Charity in Sweet Charity, Ella in Bells are Ringing,
Babe in The Pajama Game. Working class or lower class. Attractive without being soft. 20 to 35.
Knowing the age and sociological associations of the roles you audition for will help
tremendously in choosing material. Be aware that casting for musicals doesnt always follow the
kind of casting your find most often in film. You dont necessarily need to be 16 to play a 16
year-old, but the material you choose needs to keep the age, class and physicality of the character
in mind
Further exploration:
Use these archetypes to your advantage when preparing to audition. First, identify the archetype
that is closest to you naturally. I know none of my readers is a villain in real life but maybe you
have some personal or physical traits in common with one or more types. Ask your friends where
they would put you. Try this: Imagine what a stranger would say after knowing you only a few
minutes. That's what it's like in an audition. You walk in and immediately you are placed into a
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type. But the important thing to remember is that you can affirm their assumptions or change
them.
Now look at the roles in this archetype. Can you think of other characters in this type? What does
this archetype look like? What do that sound like? How do they carry themselves? How do they
speak? What do they think about themselves? How do they see the world? Compile as many
songs as you can sung by this archetype. Try them out. As always, some songs will fit like a
glove while others will be completely wrong for you. Now think of as many actors in your
archetype. The easiest place to do this is ibdb.com. Find the show and character, look for who
replaced the original actor, look for who played the role in revivals. Look to see what other roles
these actors have played. What actors have played that role? You could click endlessly on this
website and continue to learn new things.
I work with young actors nearly everyday and I'm very aware that talking about type can be
demoralizing, especially if you're under 25. If discussions about you type are depressing to you,
you are in the majority. But please hear me when I say this: You are a unique, interesting and
valuable person. I discourage my younger students from thinking too much about their type as
they develop as actors and people. You will have plenty of time later. Typing is just a natural part
of the business and you mustn't let it scare you or stifle you or your creativity. Don't think of
"types" as a box you must fit into but rather an outline you can fill with your artistry, personality
and heart.
Auditioning for the ensemble
If you believe that you will not be considered for a leading role, what do you sing? The first
place to start is with the vocal demands and style of the show. Your choice or choices should help
those you are auditioning for see you in the musical. Your choice should also consider the
physical life of the characters in the ensemble. The ensemble for OKLAHOMA! and On the Town
have very different expectations even though the shows opened less than a year apart. Remember
that at a singing audition, the primary thing people are looking for is if you can sing the score
and if you fit into the directors vision of the shows world.
Making Cuts
GIVE INSTRUCTIONS ABOUT MAKING AN ACTUAL CUT. START BY
DECIDING WHAT YOUR CUT WILL BE THEN SHOW HOW TO CUT AND PASTE.
Creating a great 16- or 32-bar cutting isnt as difficult as you might think. The first thing to look
for is the most musically or lyrically special or identifiable moments of the song. You will also
most likely want to sing the songs climax. The second thing is to sing the parts of the song that
are the best for your voice. If, however, you dont sing the last high note well, you should
probably choose a different song.
The origin of the 16- or 32-bar cut comes from a time when most refrains were 32 bars long. A
32-bar cut then would mean to sing the refrain, but not the verse. A 16-bar cut would mean to
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sing the last half of the refrain. If your song is not in a standard form, as is the case for many
contemporary songs, it is still preferable to start at the end of the song and work your way
backwards. By the way, if the last note is sustained for several bars, only count that bar once.
It is crucial that you mark your music clearly so that the pianist cannot be confused by your cut.
The best way is to present your music with only the bars you are singing. Nothing else should be
visible. This will take extra time on your part but it is worth it. An exception to this rule is when
you are doing a standard that has a first and second ending at the conclusion of the piece. The
pianist will assume that you are singing the second ending.
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1. Is it a good idea to choose unknown material? Probably not in most situations. It may seem
like a good idea to do a rare song to assure that you are unique, but it is often not a good idea. If
you are singing a song from an unknown or rarely performed musical, the people behind the
table may spend your audition wondering what the song is or why you chose this song. It may
seem counterintuitive, but you want your audition to be focused on you, not your song. Most
people do not tire of hearing If I Loved You, Almost Like Being in Love," Unusual Way or
other great songs.
2. Should I do a special arrangement I worked out with a pianist? Imagine that you have a friend
who is a gifted arranger who has done a special treatment of your Standard Ballad or maybe you
have found an interesting arrangement that a recording artist has done. It is not a good idea to do
these arrangements because, again, you want the focus to be on you and not the song or
arrangement. A traditional arrangement is preferred especially if you are doing a so-called
Standard or a musical theatre song.
3. Should I choreograph or stage my audition? No. A singing auditions primary purpose is to
see if you sing well enough for the production and to see if you fit into the world of the musical.
Leave your dance skills to the dance audition. You also should not have a great deal of
movement in your audition unless it is solidly based in the character and situation.
4. Are there certain composers I should avoid? If you are auditioning for a Sondheim show, it is
acceptable to sing Sondheim. Otherwise, its probably not a good idea. His songs are complex
for the singer, the pianist and the listener. You often hear that you shouldn't do Adam Guettel,
Jason Robert Brown or Michael John LaChiusa because they are too hard for the pianists. I've
been on both sides of the argument but I now think that if the song is right for you, do it. As a
pianist, I make it a practice to learn new, difficult scores and when I hire pianists, I make sure
they can play the hard literature. But songs by these composers don't cut well and are in
generally complex and extended forms. That's a better reason for not singing these composers.
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In increasingly greater situations these days, people would rather hear Pop/Rock songs rather
than Musical Theatre songs. In auditions for Hair to Les Miserables to Next to Normal to Rock of
Ages to The Lion King to All Shook Up, Pop/Rock songs are being asked for.
Here are some qualities that make a good Pop/Rock audition song:
1. A good Pop/Rock song is melodic. If the song is pleasant to sing and recognizable without
accompaniment, it is probably a good choice. Dont choose a song with a limited pitch range.
You want a song that can show off your voice.
2. A good Pop/Rock song should be well-known or at least somewhat well know. It is wise to
choose a song that was released as a single and charted fairly highly.
3. A good Pop/Rock song should work with piano accompaniment only. Dont choose songs
whose best attribute is its groove. If the songs best quality is rhythm, its likely not a good
choice. Look instead for songs with a strong harmony.
4. A good Pop/Rock song has real Rock energy with a strong back-beat. The drums should be
playing for most of the song, especially if it's not a ballad.
5. A good Pop/Rock song will have greater s if it is more positive than negative.
You will need several Pop/Rock songs in your book. These include at least one uptempo song
from the 50s or 60s with a fun Rock or Motown groove. You will also need an uptempo and a
ballad from the 80s to today. If you have only two modern pop/rock songs, choose a great
melodic and emotional 80s ballad and an interestic uptempo with a great hook since 1995. Its
not a bad idea to look for piano-based songs by Billy Joel, Elton John, Carley Simon and Ben
Folds. Guitar based songs can work as well if they are strong melodically and harmonically. The
Beatles songs for instance, although often guitar-based, are wonderful because they are wellcrafted and melodic with strong, interesting harmonies.
Here is a short list of 80s artists that have a discography of great choices for auditions. Whitney
Houston, Stevie Wonder, Bonny Raitt, Aretha Franklin, Mariah Carey, Rick Springfield, Melissa
Ethridge, Phil Collins, Queen, Donna Summer, Sheena Easton, Janis Joplin, The Beach Boys,
The Beatles, Kelly Clarkson, Diane Warwick, Tina Turner, Styx, Journey, Christopher Cross,
Bon Jovi, Neil Diamond, Barry Manilow, Kenny Loggins and Michael Jackson.
In choosing a Country song, many of the same guidelines apply. Choose something with a good
melody, something that charted and something that will sound good with a piano. Many of the
Country songs of the last 15 years or so have much more in common with Pop/Rock songs. It is
better if you find a song in a real Country style. Dont neglect the songs from the early days of
Country music.
Special Situations
What if you are auditioning for a season of 5 or 6 musicals? The first thing to remember is that
you cannot hope to show something for every show in a 16-bar cutting. If you will most likely be
considered for the ensemble, follow the suggestions above for an ensemble audition. If there is a
lead you are right for, follow the suggestions for auditioning for a lead above.
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What if you are doing an audition such as Midwest where you are auditioning for many different
companies? Sing something that shows that you understand your type and how you will likely be
cast. If you could fit into several types of shows easily, you must simply make a choice. You
must also choose something that you sing extremely well.
I was coaching a young women who was interested in Martha Jefferson in 1776. I thought she
was perfect for it. She had the classical acting background as well as the vocal power needed for
He Plays the Violin. The challenge was finding the right song that would allow the panel to see
and hear this. Since Martha Jefferson is a historical figure, we struggled with finding material
that could fit into the world of Colonial America. The song is a sweeping, rapturous waltz of the
characters immense joy in the love she has for her husband. Marthas essence is youthful but
classic. We decided that the emotional sweep of the song was the primary thing we needed to
capture. A waltz would be outstanding. And if it had the opportunity for high mix/belt, that
would be even better. There are no other suitable songs by Sherman Edwards and there are
precious few musicals that have the historicity of 1776. After thinking of every musical theatre
waltz we could and every classic young character of her age in the literature, we landed on
Wonderful Guy from South Pacific. There were some things we had to tweak to make it fit. In
South Pacific, Nelly is running around the beach in 1944 in shorts. Martha would be wearing
petticoats and her world would be more formal. I asked if she would sing "He Plays the Violin"
imagining she was in the world of the show with its formality and sense of proprietary. Her
physicality would need to be different than Nellies but she could sing the song with the sound
she wanted for He Plays the Violin. It worked beautifully.
I was coaching a beautiful soprano with real comic chops interested in Cinderella in Into the
Woods. Okay, lets all stop and consider how difficult it is to audition for a Sondheim show. You
cant sing from the show youre auditioning for and there are no two Sondheim shows that have
remotely similar sounds. So where do you start? The answer to that question is you always start
with the character and then consider what they have to do.
This Cinderella is different from other Cinderellas. Shes more grounded and funnier. Shes a bit
clumsy and seems to find herself in embarrassing situations. The role calls for a soprano, but a
unique kind of sopranoone that has to sing quickly and make quick beat changes. We asked
ourselves: What are the best Sondheim soprano songs? The most obvious is Green Finch and
Linnet Bird but Johanna is very differentyounger and less experienced. I Remember and
Take Me To the World were also wrong. Does she panic? No. She knows she needs to be
aware of the character above all else. She most wanted to find Cinderellas strong desire for
something better while at the same time questioning herself. After singing nearly every female
(and some male) Sondheim songs, the one she felt most related to her sense of the character was
Isnt It? from Saturday Night. The song concerns the conversation two young people have at a
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dance. The girl is trying to get to know the boy but she questions everything, mostly herself. The
idea of meeting at a dance had, of course, immediate resonance. The challenge was to remove the
song from suburban New York and put it into the world of Into the Woods. The range is lower
than she wanted optimally and she considered raising it a step or two. But ultimately she decided
she would just sing it as written. She sang with the voice she heard as Cinderellas voice while
seeing the characters world around her. It couldnt have been more Cinderella-ish.
Of course, she could have decided not to sing a Sondheim song and thats perfectly okay, though
perhaps not ideal. The reason its not ideal is that there is very little out there that matches his
quick wit and musical sophistication. But, I do believe that it is okay to not sing Sondheim for
one of his shows if your best option is someone elses music. Please do try to stop all the crazy
thinking Ive experienced when people talk about Sondheim. While his music is brilliant, we
cant, as his interpreters, actively worship his music while we sing. We will only get in our way. I
want you to love his music and study it throughly to understand its intricacies. But for goodness
sake, look at it as any other song you are to sing. Be smart about it but dont worship it.
My main point is that you should look closely at the character you are auditioning for: her
physical attributes, archetype, personality, vocal colors and her world in general. Chose a song
that you can show us your version of that character. You could choose a song by the same
composer, the same era and style, the same archetype or any number of other routes, but keeping
looking until you find the right song that fits you like a beautiful garment.
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Chapter 17
Song Types and Structure in Modern Cabaret
Think of a cabaret as a well-rounded meal prepared with great care, nutritious to the body and
good for the soul. One expects balance and varietysavory and sweet, a balance of protein and
carbohydrates, familiar and perhaps unfamiliar textures with a variety of flavors. A well-crafted
cabaret will be made up of both familiar and unfamiliar songs, both humorous and serious songs,
as well as songs of different tempos and styles. Whether your show is three songs or 15 songs,
these same principles apply. A good Cabaret wants a well thought-out progression of ideas and
songs with a through-line from the beginning to the end.
The New York Cabaret scene is quite alive and thriving these days with established and new
artists producing shows at a healthy rate. Singers do shows in New York and regionally that are
supported by Cabaret series across the country. Training workshops lead by master teachers like
as Sally Mayes, Amanda McBroom, Faith Prince, Nancy Wilson, Jason Graae and Andrea
Marcovicci are highly successful at the Cabaret conferences of St. Louis,Yale, Santa Fe,
Chicago, and other places.
But since the New York venues for the shows are quite small and shows are usually only in
metropolitan areas, you might not have seen a true cabaret performed in the style discussed here.
Fortunately, there have been many albums by artists released in the last few years that illustrate
many of the things discussed in this chapter. Listen to these albums for song types, arrangement
ideas and interpretative styles. Of special note are the cabaret recordings of Victoria Clark,
Sutton Foster, Audra McDonald, Liz Callaway, Patti LuPone, Stephanie J. Block, Rebecca Luker,
Andrea Burns, Malcolm Gets, Nancy Lamott, Christine Ebersole, Andrea Marcovicci, Christine
Andreas, Norm Lewis Brian Stokes Mitchell, and others.
Song Types
It's important to include a variety of song types when you do a cabaret set. The cabaret audience
is very savvy about songs. They know standards, musical theatre songs and great pop music. You
must do at least a few songs that an audience member 30-70 years old knows. You must also
avoid doing too many songs in the same category.
Story song
Story songs can be quite powerful in a Cabaret but the story must be told in a way that you hold
the attention of an audience unfamiliar with the song completely. Does the story have to be your
story precisely? No, but we need to think it could be. Some of the Post-millennium songs work
great here but it's best to avoid songs which require an explanation of the song's context. Some
good modern theatre Story Songs songs to consider are Toll, To Excess, I Took the Filter
Off, My Heart Was Set On You, The Boy with Dreams and Sweet Dreams. I will suggest
that I'm Not Afraid, "King Of the World" and other excellent songs by Jason Robert Brown are
better for the concert stage. His songs, like the songs by Stephen Sondheim, are just a bit too
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specific to the shows they are from. Stars and Moon is the exception that proves the rule as the
song's story stands alone out of context.
There are many great pop and folk songs that tell beautiful stories "The Last Time I Saw
Richard" by Joni Mitchell,"And So It Goes" by Billy Joel, Love at the Five and Dime by
Nancy Griffith, "Coat of Many Colors" by Dolly Parton, Celluloid Heros by the Kinks, and
Dont Forget To Remember Me by Carrie Underwood are excellent examples. Country songs
are an especially rich storehouse of great story songs.
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A familiar song done with an interesting new arrangement
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I NEED TO RETHINK THIS. MAYBE I TALK ABOUT SONGS THAT ARENT BALLADS
HERE. JUST ANY NEW SETTING OF A SONG WE KNOW. I MIGHT BE CHASING MY
TAIL
This is a wonderful category that can reveal surprisingly effective numbers you may not have
considered initially. As an audience, we need at least one song. It puts us at ease and gives us the
opportunity to relax and settle into you as a story-teller. A fresh, new arrangement will allow us
to hear familiar lyrics as if for the first time. When discussing a new arrangement with a musical
director, I suggest framing the conversation with this initial question: what is my unique
understanding of the song's story and how can music help to tell that story?
With each song, the composer gives us the essential pitch and rhythm information. But he also
clothes the melody and lyrics in a setting that fits the story the song was initially written for. The
story of the accompaniment for the initial presentation of "I could Have Danced All Night" is
that Eliza's heart is a-flutter with excitement
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When we do this, we remove the exThink of creating new, tailor-made setting that suits your take
on the story.
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Sutton Fosters My Romance and Victoria Clarks Right as the Rain are great examples.
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3. The Message Ballad, that says something important about the world. Coney Island,
Whats the Use of Wondering, Something Wonderful, What a Wonderful World, and
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Rainbow Connection.
In planning the sequence of your show, take the kind of ballad youre singing into consideration.
For instance, the disclosure ballad fits better toward the beginning and the message ballad fits
better at the end.
Familiar Up-tempos (not Pop/Rock) before 1965 (or sound like they are)
These should be done in a jazz or cabaret style and not a musical theatre style. On the Sunny
Side of the Street, Shall We Dance?, Im Beginning to See The Light, Route 66, The
Acheson, Topeka and the Santa Fe, and Its De-lovely are good examples. Songs from the
standard musical theatre literature like A Cock-eyed Optimist, A Little Brains, a Little
Talent, and I Got the Sun In the Morning and the Moon At Night fit here as well if they are
sung in a new setting.
Torch songs
Women only and best if done by seasoned performers.
Comedy Songs
Most performers struggle with this area but all shows need humor. Try to find humor in
unexpected ways. Jason Graae has made a killing doing "Popular" and it works because it's so
unexpected to have a man do the song. It would not work for a woman in the same way. Avoid
gimmicky hooks like doing "On the Street Where You Live" like a slasher. Start with the kinds of
the things that make you laugh. Look for ways to make a song that wasnt originally comic into
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something funny. An excellent example Ive done recently was Part of Your World done in the
voices of the great divas like Ethyl Merman, Celine Dion, Barbara Streisand, Brittany Spears and
Liza Minnelli.
Sondheim
Sondheim deserves his own unique category. Because the songs are incredibly well written,
sophisticated and complex musically and lyrically, they can be a little difficult for an audience.
But as Ive said, the cabaret audience knows this literature. Ive seen major portions of shows
devoted to Sondheim as Liz Callaway did for her Town Hall show, Even Stephen.
Changing Styles
Changing the musical setting of a song works wonders in a show by providing something
fresh and surprising. Faith Prince does a faster, lighter jazzy version of If I Were a Bell and Liz
Callaway does a driving arrangement of Somethings Coming in a modern cabaret setting,
that's very different from West Side Story. Using the original accompaniment is death to a show
because it takes us out of an original cabaret show and puts us in 1950s New York City. A good
Cabaret show is one you've crafted to showcase your best attributes which tells a story from your
unique perspective. If you do a song just as its done in the musical, you put yourself into the role
of the shows character and not your unique self.
Im Old-Fashioned, written by Jerome Kern and Johnny Mercer in 1942, is one of the great
standard ballads but, it can also work beautifully as a mid-tempo Charm Song or a light swing.
In a recent show, the singer I was working with wanted this song but thought a ballad would kill
the momentum. We put it in the second slot after an energetic opening and a light, charming
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swing was a perfect solution in the story she was telling. Audiences love the surprise of doing
uptempos as ballads and ballads as uptempos.
If you're famous, you can do nearly anything you want. Sutton Foster sings the greatest belter
songs no one should sing (Defying Gravity, The Story Goes On, And I Am Telling You
(Im Not Going) and Meadowlark). Her show is warm, personal and understated but then she
sings these iconic belt numbers by introducing these out-of-left-field songs is very funny way.
Jason Graae sings Mrs. S.L. Jacobowsky from Grand Tour in the context of the show. But until
you're more established, be careful making these kinds of choices.
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Variety is the key. Please don't want more than one song-type in a show.
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You begin creating a new arrangement by having a very clear idea about the story you want to
tell. Communicate this clearly to the Music Director. Where are you in the story? What time of
day is it? How old are you? What are the emotions associated with your story?
His input:
I go on a lot of trips for work and feel disconnected sometimes. I feel as if Im getting further
away from home physically and spiritually. I want to return to the idea of home in many different
ways.
Questions to ask.
What is the intrinsic structure of the song? Its a straight ahead 4/4 ballad in AAB form with an
introductory verse. How do we make it different from the expectations associated with the song?
What do you want it to look like? Feel like? What do you want to say with this song?
His response.
It's like the end if Wizard of Ozwhat is of value was there at home all along. Can we quote
lines from Wizard of Oz to tie the two together? This could be hokey but it's that tight rope
walking that creates brilliance.
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When working on a new song, first, say the lyrics as yourself and think about how it relates to
your personal story and life. Second, paraphrase the lyrics but keep the general structure of the
song. Now sing it with piano playing simple chords, colla voce, so that you can sing the pitches
but without singing the song as its usually sung stylistically and rhythmically. Emotional truth is
important. The lyrics are what matters most, not the music or the vocal.
This exercise will help guide you toward creating the arrangement. Perhaps the singer is a
classical musician and the idea of a classical setting feels right. (Victoria Clark's "I Got Lost in
His Arms" does this). Or perhaps the singer is from a rural background and a more folky setting
feels right. Arpeggiated eighth notes on the piano will evoke images of him playing the guitar on
his porch late at night. Perhaps the singer has a daughter and wants to assure her that he and she
are safe as he travels so far away. A lullaby setting would be lovely. Perhaps quote some famous
lullabies. The piano would be voiced high and played with steadiness like a music box. Because
it might be tiresome to do the full song this way, maybe change at the B section to something
different that furthers the story. He settled on the Folk setting to great success. He started with
the refrain accompanied by a simple guitar-like intro. At the end of the refrain, he did the verse
out of tempo and very free. He then moved back to the B section (So I ask each weeping
willow...) with passion and strength.
Dont say anything that could sound like bragging. Use phrases like I was so fortunate
to . . .
Don't make your patter too much about yourself but completely personalize the songs
performance, using it to tell your story.
Don't make it chronological. Its too easy to lose your audience by saying something like,
And then when I was twelve . . .
In patter, don't give too many details of your story as you introduce a song. Instead give just
enough detail to peak the audiences curiosity. Put the little details and the emotion into the
actual song.
One of the goals of Cabaret is to allow each audience member to find themselves in the
songs you sing. Make your goal to reach audience members, not to impress them. Thats
why its important not to spend too much time speaking about your own autobiography.
According to Andrea Marcovicci, the perfect patter is one or two lines that ends with a
laugh.
Humor is essential. If your songs arent funny, your patter must be.
Dont laugh at your jokes. You can laugh at yourself after the audience laughs.
Liz Callaway tells a story about being the stand-by for Barbara Streisands Concert tour.
While Ms. Streisand wanted to see how the show looked, Liz would stand in and sing. As
she tells this story, she doesnt brag about it but only talks of how amazing it was to be a
part of the once-in-a-lifetime experience.
Jason Graae is the voice of Lucky Charms commercials. When he tells the story of getting
the job, he doesnt brag about it but makes himself into the buffoon. Its like a stand-up
routine.
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Overt religious talk must be avoided as well as anything that separates people into different
groups. But Cabaret can be quite spiritual in the ways it can remind us of what we have in
common and about the wonderful world of nature and people we are fortunate to live in.
This is tricky ground and its important to steer clear of the traps.
The Cabaret audience is likely to be the most open, diverse, and affirming groups you could
imagine. Assume that sexual orientation is not an issue. You do not need to tell us if you are
gay. And being gay does not give permission to break the rules of privacy.
Avoid the phrase, "This next song."
There is an unwritten rule that you're not allowed to steal someone else's
arrangement. While arrangements are not copy written, they belong to the original
performer. You can create something just as good thats unique to you.
1. The Opening number sets the tone. It should be welcoming and well-known. Probably
uptempo and positive. It shouldnt be romantic unless you're romancing the audience. Avoid
introspective songs and story songs. In a cabaret show, you must must allow time for us to get to
know you. Don't assume you have us too soon by sharing something too personal at the top. A
cabaret is like a first date. You get dressed up and share only the most charming, entertaining
aspects of your life.
2. The second song is perhaps the most difficult to chose. It should be in a different style than the
first. It can be comedic, light and charming song, or ballad thats not too heavy. Remember, the
audience is still getting to know you.
3. The progression from here to the end can be just about anything as long as there is variety of
tempos, style and tone.
4. Next to last song. This is the strongest position in the show. You can put your deepest, most
heartfelt song here, or it can be the most performative song. It should be the climax.
5. Finale. The closer should rap your show in a nice package and send people away feeling good.
Its possible that this could be a ballad such as What a Wonderful World if your previous
song wasnt a ballad. Or it could be an uptempo like Thats Life. Its best if it is lighter in
tone than the penultimate song.
Further Exploration
Listen to some great cabaret recordings. I would suggest Sutton Fosters Wish, Victoria Clarks
Fifteen Seconds of Grace and Audra McDonalds How Glory Goes. These three CDs are
excellent examples of modern cabaret performances with wonderful new arrangements of some
familiar material along with newer material. There are also a few recordings of full live shows.
Patti LuPones Far Away places (Live from 54 Below), Laura Osnes' Dream a Little Dream (Live
!189
at the Caf Carlyle) and Kate Baldwin's She Loves Him (Live from Feinstein's) are some. Nancy
Lamott isn't a familiar name to some but she's considered one of the greatest cabaret performers.
I'll Be Here With You offers video recordings of live performances. All of these will give you a
sense of patter, pacing, song selection and flow.
Plan a show. Start with this question: what do I have to say thats unique to me and would be
interesting to an audience who doesnt know me. What songs help to tell that story? Do you have
have an interesting, captivating opener. Some comedy? Something more serious? Map out a five
song set and do the internal monologue exercise.
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Chapter 18
Standards
!
Songs dating from the 1920s to the 50s that were very well known then by the general
population, and to a lesser degree now, are commonly referred to as standards. In this modern
age crowded with many differing streams of popular music, it's difficult to imagine a time when
there were hundreds of songs that practically everyone knew. How did these songs become so
well known? For the most part, standards appeared first either on Broadway or in Film. The
country loved going to the movies and a new song from a popular film could quickly disseminate
throughout the country. Because fewer people had access to Broadway theatre, the familiarity of
these songs spread largely through phonograph recordings, the radio and sheet music. It seems
unimaginable today, but Broadway songs were very well known and deeply cherished. Your Hit
Parade, a radio program from 1935 to 1955, helped popularize these songs as it played hottest
songs of the week determined by sheet music and phonograph sales.
The enduring songs from this period have come to be known collectively as The Great American
Songbook. Alec Wilder's seminal book, American Popular Song: The Great Innovators, 1900 to
1950, canonized this repertoire and named six men: Jerome Kern, Irving Berlin, George
Gershwin, Richard Rodgers, Cole Porter, and Harold Arlen, as the leading composers in the
pantheon. More than twenty others, including Vincent Youmans, Hugh Martin and Duke
Ellington are also discussed as notable contributors to The Great American Songbook, dubbed
"America's Classical Music" by radio personality, Jonathan Schwartz16.
The enduring popularity and relevance of these songs is attested to by the highly popular
recordings by these artists: Natalie Cole (Unforgettable: With Love, Still Unforgettable, Ask a
Woman Who Knows), Harry Connick, Jr. (When Harry Met Sally, 20, Come By Me), Rod Stuart
(It Had To Be You, As Time Goes By, Thanks For the Memory), Linda Rondstadt (What's New,
Lush Life, For Sentimental Reasons), Carly Simon (Torch, My Romance, Moonlight Serenade)
and Michael Bubl (It's Time, Call Me Irresponsible, To Be Loved).
Standard Ballads
A Standard Ballad is perhaps the most critical single song in your audition book because they are
so well known and loved and because they show off both the actor and the singer. Conventional
wisdom holds to the importance of choosing unknown songs for auditions because auditors are
tired of hearing the same songs again and again. Speaking from experience, there are a small
number songs that have completely lost their luster after hundreds of hearings. In all candor, it
can be difficult to look past a poor song choice. But my list of tired songs I never need to hear
16
http://www.highbeam.com/doc/1G1-107203386.html
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again is different from others list. Try not to worry if your song is on someone's list because you
can never know the answer to that question without asking directly.
Singing a well known and much loved song opens up the audition for some magic to happen.
The people you sing for are doing their job because they love the art form, the songs and the
thrill of live performance. They are human. They want to be moved and they want to feel a
connection between you, the lyric and the music. The Standard Ballads discussed here are my
personal favorites. I've heard them all hundreds of times but I never grow tired of them. They are
that good. A bad performance does not diminish their power. I can't think of a better type of song
more than a Golden Age classic and more than the best song from my favorite new showto
objectively ascertain an auditioner's skill level.
The subject matter of most Standard Ballads is love newly found or recently lost, naturally
giving the song high stakes. They are timeless and work as well today as they did the first time
they were sung. You will be served best by personalizing the story and being as truthful as
possible.
Classic standard ballads have a beautiful, shapely and memorable melody supported by sturdy
harmony. The lyrics, as is the case for most great theatre lyrics, strike a balance between plainspoken prose and flowery poetry. Even on the first hearing, a listener will have no trouble
following the story and the emotional arc. But most have sophisticated rhymes and rich allusions
that grow richer on repeated listenings. The melodies allow your voice to open up and soar and
the lyrics allow for intricate, detailed story-telling.
!
Lastly, I prefer standard ballads that have verses. When sung properly, verses do_______.
!
Here are my personal favorite Standard Ballads for auditions. There are others but these are the
classics which aren't over-exposed.
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George Gershwin
But Not For Me (F) 1930
A Foggy Day (M) 1937
Somebody Loves Me (M) 1924
Love is Here to Stay (M/F) 1938
Cole Porter
You'd Be So Nice to Come Home To17 (M/F) 1943
(Youd Be So) Easy to Love (M) 1936
You Do Something to Me (M) 1929
Ev'ry Time We Say Goodbye (M/F) 1944
Hoagy Carmichael
Skylark (M/F) 1942
Stardust (M/F) 1928
The Nearness of You (M/F) 1938
Irving Berlin
Always (M/F) 1925
The Song is Ended (But the Melody Lingers On) (M/F) 1927
What'll I Do (M/F) 1923
Better Luck Next Time
It Only Happens When I Dance With You
Jerome Kern
The Folks Who Live on the Hill (M) 1937
I'm Old Fashioned (F) 1942
Long Ago and Far Away (M/F) 1944
They Didn't Believe Me (M/F) 1914
Bill (F) 1927
The Song is You (M/F) 1932
The Way You Look Tonight
The Song is You
All The Things You Are (M/F) 1939
Harry Warren
I Only Have Eyes for You (M/F) 1934
You'll Never Know (M/F) 1943
The More I See You (M/F) 1945
I Wish I Knew (M/F) 1945
This Heart of Mine (M/F) 1946
17
women should change the lyric in the Verse to lot of guys just a pleasing.
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!
!
Overexposed Ballads
The following songs are great standard ballads but be aware that they are frequently heard on the
radio, in movies, on commercials, in auditions, etc.. My advice is to choose from this list with
caution.
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Uptempo Standards
Uptempo songs from the Great American Songbook had the country dancing for over 40
years. These immensely popular and deeply loved songs by Gershwin, Cole Porter, Irving
Berlin, Harry Warren, Duke Ellington and so many others were the sound of America as it
fought two world wars, suffered through an devastating economic depression and inched its
way toward the social revolutions of the 50s and 60s. Jazz, America's greatest contribution to
music, is closely related. The two streams were so intermingled that there was no distinction
between jazz and popular music as today. Even now, jazz musicians regularly play the
swinging songs of the 20s, 30s and 40s.
What is swing? Swing is a rhythmic style that is difficult to explain technically but easy to
hear. Give a quick listen to "It Don't Mean a Thing If It Ain't Got That Swing." The music
elicits a visceral response of wanting to move, needing to dance. In mathematical terms, swing
is achieved by redistributing the values of eighth notes, which in classical music are exactly
even. More length is given to the first note in set of two notes, lending a lopping, lilting
quality. But Swing is also a mind-set and a way of playing that's cool, sophisticated and urban.
True uptempo standards are similar to Swing tunes in tempo, lyrical content and danceable
qualities, but they don't swing. Eighth notes are equal. Compare "Ain't Misbehavin'" (swing)
to "I Got Rhythm" (not swing). The tempo is bright, with a metronome marking of at least 120
beats per minute (which is the tempo of Stars and Stripes Forever). There is a third type of
dancing song from this era. Charm songs are at a more moderate tempo (usually 90 to 100
beats per minute) and in a swing style. They are associated with dancers like Fred Astaire and
Gene Kelly their objective is to charm and amuse.
!
Here are some classic examples of Standards and their classification.
!
Although I'm splitting hairs here, I do want to make a clear distinction between true Uptempos
and Swing numbers for the purposes of choosing songs for auditions. Uptempos are better
choices for Musical Comedy shows like No, No Nannette, 42nd Street and Pal Joey while
swing tunes are better for shows that feature a real jazz score like After Midnight, Swing! and
Hot Mikado
When choosing an uptempo standard, look for songs that make you want to dance. The
rhythmic feel of these songs is an important intrinsic component and if you're dancing, you'll
!195
find that rhythmic quality. The acting style in these songs is more casual than for ballads from
the same time. You will still want to tell a story, but a simple, positive one.
Primary Uptempo composers I should take out this list or put it at the bottom of this
section
Al Dubin
Nacio Herb Brown
Walter Donaldson
Vernon Duke
Duke Ellington
Sammy Fain
George Gershwin
Irving Berlin
Ray Henderson
Herman Hupfeld
Isham Jones
Jerome Kern
Jimmy McHugh
Cole Porter
Rodgers and Hart
Gus Kahn
Schwartz and Dietz
Jimmy Van Heusen
Harry Warren
Richard Whiting
Vincent Youmans
Here are some great Uptempos
Cole Porter
Anything Goes
Under My Skin
Let's Do It
I Get a Kick Out of You
You're the Top
Blow, Gabriel, Blow
It's De-Lovely
Just One of Those Things
Begin the Bequine
Night and Day
You Do Something to Me
From This Moment On
Hugh Martin
What Do You Think I Am
The Trolley Song
Pass That Peace Pipe
Gotta Dance
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Irving Berlin
Blue Skies
I'm Putting All My Eggs In One Basket (This could be a Charm song)
Let Yourself Go
Top Hat, White Tie and Tails
Cheek to Cheek
Puttin' on the Ritz
I Used To Be Color Blind
No Strings (I'm Fancy Free)
Steppin' Out With My Baby
When Winter Comes
I Love a Piano
Harry Warren
Chattanooga Choo-Choo
Lulu's Back in Town
You're Getting to Be a Habit With Me (Could be a Charm song)
Forty-Second Street
I Found a Million Dollar Baby (In a Five and Ten Cent Store)
Lullaby of Broadway
Young and Healthy
Were In the Money
Harold Arlen
Get Happy
It's Only a Paper Moon
That Old Black Magic
Down With Love
I've Got the World on a String
Between the Devil and the Deep Blue Sea
Let's Fall in Love
!
!
!
!
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Chapter 19
Film Music
What if I told you there were hundreds of great songs that have been largely forgotten but were
written by the best Broadway composers and lyricists? During the height of movie musicals in
the 30s, 40s and 50s, superbly written new songs appeared at a rapid rate. To appear on screen,
songs needed to be appealing, fresh and memorable. Hollywood convinced many New York
creatives to relocate and California became another Broadway for the masses. From the first
Talkies to the present, there have been hundreds of film songs that have the characteristics of
great theatre songs: eloquent, perfectly rhymed lyrics, tunes that are fresh and memorable, and a
dramatic structure that supports strong storytelling. I had many, many songs to choose from but
decided to include only the ones most suited to auditioning.
Ive given you the composer, year of the film (not necessarily the composition), the appropriate
gender, and a brief description to help you zero in on the perfect song. If you're auditioning for a
Jule Styne show but none of his theatre songs are working, have a look here. If you're going up
for a role in a Musical Comedy but can't find one with the right charm, look for songs by Jimmy
Van Heusen, Harry Warren and Hugh Martin. I can't speak highly enough of the songs by Michel
Legrand and how well they are suited for romantic roles in shows from the 70s to today.You will
notice that some of these titles also appear in the standards chapter. Many of songs from films in
the 30s, 40s and 50s became integral parts of The Great American Songbook. You won't find
songs from Titanic or The Fault In Our Stars. You'll only see the ones that belong to the theatrical
song tradition.
I do not give the voice type for the film songs because, unlike theatre songs, these can be
transposed to any key that suits you. Think of these songs as blank slates that you can make your
own. You have the freedom to change keys, the style or tempos. Theatre songs have expectations
and associated performance practices that must be observed. It would be unthinkable to transpose
"Green Finch and Linnet Bird" into a mezzo key and it would be equally unthinkable to sing
"Defying Gravity" in a light soprano. The same expectations do not apply for film songs. Even if
originally performed by great singers like Fred Astaire or Doris Day, you are under no obligation
to sing it as they did.
Title
(Ive Got a Gal in)
Kalamazoo
Film
Year
Composer
Gend
er
Description
Orchestra Wives
1942
Harry Warren
1955
10,432 Sheep
1950
Jule Styne
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Title
Film
Year
Composer
Gend
er
Description
A Foggy Day
A Damsel in
Distress
1937
George Gershwin
Romantic ballad
1933
Ralph Rainger
The Strip
1951
Bert Kalmar
A Lady Loves
I Love Melvin
1953
Mack Gordon
A Piece of Sky
Yentl
1883
Michel Legrand
1950
Ac-Cent-Tchu-Ate the
Positive
1945
Harold Arlen
Again
Roadhouse
1948
Lionel Newman
1953
Hoagy Carmichael
1957
Mannequin
1938
Edward Ward
Anywhere
1945
Jule Styne
Anywhere I Wander
Hans Christian
Andersen
1952
Frank Loesser
April in Paris
Vernon Duke
1932
Vernon Duke
The Fleets In
1942
Victor Schertzinger
1981
Step Lively
1944
Jule Styne
As Time Goes By
Casablanca
1942
Herman Hupfeld
Jule Styne
Baby Doll
1952
Harry Warren
Be a Clown
The Pirate
1948
Cole Porter
Comedic uptempo
Easter Parade
1948
Irving Berlin
Jule Styne
Romantic ballad
Brooklyn Bridge
It Happened in
Brooklyn
Jule Styne
But Beautiful
Road To Rio
1947
Call Me Irresponsible
Papas Delicate
Condition
1954
1950
Frank Loesser
1977
Petes Dragon
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Romantic ballad
Title
Film
Year
Composer
Gend
er
Description
Change Partners
Carefree
1938
Irving Berlin
Charade
Charade
1963
Henry Mancini
Cheek to Cheek
Top Hat
1935
Irving Berlin
Step Lively
1944
Jule Styne
White Christmas
1954
Irving Berlin
Crazy Rhythm
1950
Irving Caesar, Joseph M/F Broadway Show tune about the power
Meyer & Roger Kahn
of rhythm
1953
Jule Styne
Flirtatious uptempo
Down Argentine
Way
1940
Harry Warren
Royal Wedding
1951
Burton Lane
Evry Time
A Star is Born
1976
Barbara Streisand
Fated to Be Mated
Silk Stockings
1957
Cole Porter
Mary Poppins
1964
Richard M. Sherman
and Robert B.
Sherman
1970
Fred Karlin
Casbah
1948
Harold Arlen
Bill Conti
Funny Girl
Funny Girl
1968
Jule Styne
Get Happy
Summer Stock
1950
Harold Arlen
Reds
1981
Stephen Sondheim
A Star is Born
1954
Harold Arlen
High Hopes
Royal Wedding
1951
Burton Lane
Best Friends
1982
Michel Legrand
1941
Hoagy Carmichael
I Begged Her
Anchors Aweigh
1945
Jule Styne
A Damsel in
Distress
1937
George Gershwin
I Concentrate on You
Broadway Melody
of 1940
1940
Cole Porter
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Romantic ballad
Title
Film
Year
Composer
Gend
er
Description
Jimmy McHugh
Babes in Arms
1939
Sweater Girl
1942
Jule Styne
Anchors Aweigh
1945
Jule Styne
1939
Hoagy Carmichael
1953
Arthur Schwartz
Royal Wedding
1951
Burton Lane
I Like Myself
1955
Andre Previn
I Should Care
Thrill of a
Romance
1945
Weston, Cahn
Carefree
1938
Irving Berlin
1952
Harry Warren
The Umbrellas of
Cherbourg
1964
Michel Legrand
The Perils of
Pauline
1947
Frank Loesser
I Wont Dance
Roberta
1935
Jerome Kern
1936
Irving Berlin
Broadway Melody
of 1940
1940
Cole Porter
Sanny Fain
1955
Nicholas Brodzsky
1935
Jimmy McHugh
Born to Dance
1936
Cole Porter
Romantic beguine
1953
Nicholas Brodzsky
Ziegfeld Follies
1944
Fred Astaire
Meet Me in Las
Vegas
1956
Nicholas Brodzsky
Summer Stock
1950
Harren Warren
Burton Lane
Top Hat
1935
Irving Berlin
It Cant Be Wrong
Now, Voyager
1942
Max Steiner
!203
Title
Film
Year
Composer
Gend
er
Description
1944
Romantic ballad
Norma Rae
1979
David Shire
1945
Richard Rodgers
It Might Be You
Tootsie
1982
Dave Grusin
Easter Parade
1948
Irving Berlin
Jule Styne
1948
Harold Adamson
A Star is Born
1954
Harold Arlen
Romantic ballad
Ill Get By
1950
Jule Styne
Mississippi
1935
Richard Rodgers
Its Magic
Romance on the
High Seas
1948
Jule Styne
Romance on the
High Seas
1948
Jule Styne
Jeepers Creepers
Going Places
1938
Harry Warren
Mammy
1930
Irving Berlin
Joyful Uptempo
Working Girl
1988
Carly Simon
Let Yourself Go
1936
Irving Berlin
1937
George Gershwin
1936
Irving Berlin
Romantic beguine
Listen
Dreamgirls
2006
Henry Kreiger
Pop ballad
1970
Michel Legrand
1944
Jerome Kern
1967
Sammy Fain
Love of My Life
Second Chorus
1940
Artie Shaw
Love You I Do
Dreamgirls
2006
Henry Kreiger
Lovely to Look At
Roberta
1935
Jerome Kern
Lullaby of Broadway
42nd Street
1933
Harry Warren
Manhattan Downbeat
The Barkleys of
Broadway
1949
Harry Warren
Mein Herr
Cabaret
1972
John Kander
Misty
Erroll Garner
Jule Styne
Cover Girl
1954
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Romantic ballad
Title
Film
Year
Composer
Gend
er
Description
Moon River
Breakfast at
Tiffanys
1961
Henry Mancini
Road to Morocco
1942
More
Mondo Cane
1962
Riz Ortolani
The Four
Horsemen of the
Apocalypse
1962
Andre Previn
Romantic ballad
Mr. Monotony
Easter Parade
1948
Irving Berlin
My Dream is Yours
Harry Warren
My Foolish Heart
My Foolish Heart
1949
Victor Young
My Intuition
1946
Harry Warren
The Barkleys of
Broadway
1949
Harry Warren
My Own
1938
Jimmy McHugh
My Shining Hour
Harold Arlen
1937
George Gershwin
Top Hat
1935
Irving Berlin
No Wonder
Yentl
1983
Michel Legrand
Marvin Hamlisch
Now I Know
Up In Arms
1944
Harold Arlen
Harold Arlen
Road House
1943
Harold Arlen
Oops
1952
Harry Warren
Fame
1980
Michael Gore
1945
Harold Arlen
Romantic ballad
Yentl
1983
Michel Legrand
Pennies From
Heaven
1936
Arthur Johnston
People Alone
The Competition
1980
Lalo Schifrin
Pick Yourself Up
Swing Time
1936
Jerome Kern
1940
Cole Porter
Thrill of a
Romance
1945
Sammy Fain
Pure Imagination
1971
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Title
Put 'em in a Box, Tie 'em
Film
Year
Composer
Gend
er
Description
Romance on the
High Seas
1948
Jule Styne
1930
Irving Berlin
Rainbow Connection
Foul Play
1978
Charles Fox
Rumble, Rumble,
Rumble
The Perils of
Pauline
1947
Frank Loesser
Jule Styne
Gigi
1958
Frederick Lowe
Secret Love
Calamity Jane
1953
Sammy Fain
Seeing's Believing
1952
Harry Warren
Romantic ballad
Easter Parade
1949
Irving Berlin
Shall We Dance
Shall We Dance
1937
George Gershwin
Shall We Dance
1937
George Gershwin
Smile
Modern Times
1936
Charlie Chaplin
1941
Cole Porter
Frank Churchill
Step Lively
1944
Jule Styne
1955
Johnny Mercer
1948
Irving Berlin
Sunday in New
York
1963
Gigi
1958
Frederick Lowe
1955
Andre Previn
Big Broadcast
1938
Ralph Rainger
Sis Hopkins
1941
Jule Styne
Charm Song
That Face
Another Evening
with Fred Astaire
1957
Lew Spence
Vogues of 1938
1937
Sammy Fain
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Joyful Uptempo
Title
Film
Year
Composer
Gend
er
Description
That's Entertainment!
1953
Arthur Schwartz
Thats For Me
State Fair
1945
Richard Rodgers
1946
Hugh Martin
Meet Me in St.
Louis
1944
Hugh Martin
Anchors Aweigh
1945
Jule Styne
Romantic ballad
The Continental
1934
Con Conrad
1962
Henry Mancini
1943
Jule Styne
1978
Marvin Hamlisch
1941
Jerome Kern
A Star Is Born
1954
Harold Arlen
Romance in the
Dark
1938
Hoagy Carmichael
The Promise
1979
David Shire
High Time
1960
1965
Johnny Mandel
It Happened in
Brooklyn
1947
Jule Styne
Summer of 42
1971
Michel Legrand
Meet Me in St.
Louis
1944
Hugh Martin
Yentl
1983
Michel Legrand
Romantic ballad
1974
Marvin Hamlisch
Michel Legrand
1975
Michael Masser
Mahogany
Romantic ballad
Iceland
1942
Harry Warren
Romantic ballad
Therell Be Some
Changes Made
Designing Woman
1957
W. Benton Overstreet
Jule Styne
1937
George Gershwin
1943
Arthur Schwartz
!207
Title
Film
Year
Composer
Gend
er
Description
A Damsel in
Distress
1937
George Gershwin
Ziegfeld Follies
1946
Harry Warren
Three Coins in a
Fountain
1954
Jule Styne
It Happened in
Brooklyn
1947
Jule Styne
Royal Wedding
1951
Burton Lane
Top Hat
1935
Irving Berlin
Stage Door
Canteen
1943
James V. Monaco
Michel Legrand
Anchors Aweigh
1945
Jule Styne
1956
Spirited waltz
The Prince of
Egypt
1998
Stephen Schwartz
Pinocchio
1940
Ned Washington
1954
Gene de Paul
1944
Jule Styne
Where is it Written?
Yentl
1983
Michel Legrand
Darling Lili
1970
Henry Mancini
Optimistic ballad
1957
Cole Porter
1957
Ned Washington
Romantic ballad
Yentl
1983
Michel Legrand
1954
Gene de Paul
Would You
San Francisco
1936
Sentimental waltz
Yes, Yes!
Palmy Days
1931
Romantic ballad
1913
James Monaco
1942
Jerome Kern
Summer Stock
1950
Harry Warren
!208
Romantic ballad
Title
Film
Year
Composer
Gend
er
Description
The Barkleys of
Broadway
1949
Harry Warren
Royal Wedding
1951
Burton Lane
1941
Irving Berlin
Cole Porter
Hello, Frisco,
Hello
1943
Harry Warren
Royal Wedding
1951
Burton Lane
1966
Andre Previn
Young at Heart
Young at Heart
1954
Johnny Richards
1929
Yes, Yes
Palmy Days
1931
Listen, Darling
Dancing On a
Dime
Al Hoffman, Al Lewis F
Optimistic, comedic song of romantic
& Murray Mencher
possibilities
Burton Lane
M/F Jazzy uptempo celebrating the powers
of music.
You're Awful
On the Town
Roger Edens
Listen, Darling
Al Hoffman, Al
Lewis, Murray
Mencher
1938
!209
Romantic ballad
Chapter 20
Gilbert And Sullivan Operetta
The operettas of Gilbert & Sullivan present a unique performance style that you may be called
upon to master. You may wonder why these late 19th century operettas continue to be performed
regularly in mainstream musical theater venues when most others have been relegated to the
sideline as curiosities. Its probably a combination of factors: music of substance, genuinely
clever lyrics, and general audience accessibility certainly help. But probably the madcap
absurdity of the settings (what they called TopsyTurvy) removes them from the strictly
Victorian context in which they were written and make them oddly universal. It is claimed that
The Mikado is the most performed work in the history of theater, but whether that is strictly true
or not, the thirteen Gilbert and Sullivan shows remain an absolutely essential part of musical
theater education.
I will not discuss non-Gilbert & Sullivan operettas because they are performed infrequently by
anyone other than dedicated operetta companies. You read about operetta in "Musical Style
Through History" and you understand that having a classical technique, central to this style, is
the best way to insure you can sing everything you want, any time you want. If you want to work
your legit. voice, operetta arias are a great middle ground that's both classical and theatrical.
Three Gilbert and Sullivan works remain essential. These are often referred to as The Big
Three and are HMS Pinafore, The Pirates of Penzance, and The Mikado. You will find these
included regularly in season offerings by regional theater companies. Three other shows,
Iolanthe, The Yeomen of the Guard, and The Gondoliers surface in general productions from
time-to-time so it is worth being familiar with these as well. The remainder of their shows,
Patience, The Sorcerer, Princess Ida, Trial By Jury, Ruddigore, The Grand Duke, and Utopia,
Limited, while possessing many pleasures, are not likely to be performed except by the specialty
G&S companies that thrive in cities across the country, chief of which is the New York Gilbert &
Sullivan Players. It is worth becoming familiar with some of the principal arias from the lesserperformed works as audition pieces.
In terms of performance style and requirements for performers, each of these works is built on a
remarkably uniform model. These shows really do call for types and it is nearly impossible for
a successful production to vary from these types. Because The Big Three are performed so
frequently, directors often try add a new twist by changing the setting: HMS Pinafore aboard the
Starship Enterprise, The Mikado populated by modern, Hello Kitty! obsessed schoolgirls, Pirates
of Penzance modified to fit a Pirates of the Caribbean sensibility, to name just a few. But even in
the most absurd settings, the musical treatment and demands on the singers remain essentially
the same.
!210
Here are the types. Your first task is to understand which type suits you. It unlikely for a single
performer to fit comfortably into more than one type.
The Hero (lyric tenor): Virtuous, earnest, handsome. (Ralph in Pinafore, Frederick in Pirates,
Nanki-Poo in Mikado)
His Love Interest (soprano): Legit soprano with coloratura opportunities. This character could
be thought of as the ingnue, except that due to oddities in performance style, older performers
are often cast here, as long as they are thin. (Josephine in Pinafore, Mabel in Pirates, Yum-Yum
in Mikado)
Baffled Lyric Baritone (baritone): This character is usually the girls father or is some other
way linked to the hero and often is one of the central characters in the standard triple wedding
scene which brings the action to a close. Even though he is always a comic character, his songs
are among the most melodic and memorable of the score. (Captain Corcharan in Pinafore, The
Pirate King in Penzance, Pooh-Bah in Mikado)
Older Woman with a Bold Presence (mezzo): Imposing mezzo. Very often these roles are
given to larger women for the comic effect of matching them with the Patter-Singing Character
(see below) who is traditionally small. (Buttercup in Pinafore, Ruth in Pirates, Katisha in
Mikado)
Patter-singing Character (baritone): Always a comic character whose comic skills are more
important than singing voice. Main requirement is the ability to throw off the patter song quickly
with excellent diction. (Sir Joseph in Pinafore, Major General in Pirates, Ko-Ko in Mikado)
Those five are absolutely essential. In addition, these types also appear, but sometimes with
varying levels of significance or duplication:
Soubrette (mezzo): friend or confidant to the leading lady. Usually has a solo but provides a
voice in the trios and quartets as the plot allows. These often come in pairs! (Edith and Kate in
Pirates, Pitti-Sing and Peep-Bo in Mikado)
Villain (bass): Classic villain type; can almost be considered as a male counterpoint to the
Older Woman with a Bold Presence. (Dick Deadeye in Pinafore, Sergeant of Police in Pirates,
The Mikado in Mikado)
Male Side Kick (baritone): Roughly the male equivalent of the soubrettes, usually friend or
companion to the Hero. Like the soubrette, this character has a minor feature and then fills out
the various small ensembles. (Boatswain in Pinafore, Samuel in Pirates, Pish-Tush in Mikado)
!211
Arias
Soprano / Love Interest
Big 3:
Sorry Her Lot Who Loves Too Well (HMS Pinafore)
A Simple Sailor Lowly Born (HMS Pinafore)
Poor Wand'ring One (The Pirates Of Penzance)
The Sun, Whose Rays Are All Ablaze (The Mikado)
The Others:
When He Is Here (The Sorcerer)
Happy Young Heart (The Sorcerer)
I Cannot Tell What This Love May Be (Patience)
Love Is A Plaintive Song (Patience)
Nay, Tempt Me Not (Iolanthe)
Oh, Goddess Wise (Princess Ida)
A Lady Fair Of Lineage High (Princess Ida)
I Built Upon A Rock (Princess Ida)
If Somebody There Chanced To Be (Ruddigore)
In Bygone Days I Had Thy Love (Ruddigore)
Tis Done! I Am A Bride (The Yeomen Of The Guard)
Kind Sir, You Cannot Have the Heart (The Gondoliers)
How Would I Play This Part (The Grand Duke)
So Ends My Dream (The Grand Duke)
!
Mezzo / Older Woman with a Bold Presence
!
The Others:
My Child, I Join in These Congratulations (The Sorcerer)
Silver'd Is The Raven Hair (Patience)
Oh, Foolish Fay (Iolanthe)
Come Mighty Must! (Princess Ida)
Sir Rupert Murgatroyd (Ruddigore)
When Our Gallant Norman Foes (The Yeomen Of The Guard)
On The Day When I Was Wedded (The Gondoliers)
Come, bumpers aye, ever-so-many (The Grand Duke)
When But A Maid Of Fifteen Years (Utopia Limited)
!212
!
Mezzo/ Soubrette
The Big Three:
Braid the Raven Hair (The Mikado)
The Others:
When He is Here (The Sorcerer)
My Lord, A Suppliant At Your Feet (Iolanthe)
A Lady Fair Of Lineage High (Princess Ida)
Were I Thy Bride (The Yeomen Of The Guard)
When Maiden Loves, She Sits And Sighs (The Yeomen Of The Guard)
Cheerily Carols The Lark (Ruddigore)
To A Garden Full Of Posies (Ruddigore)
When A Merry Maiden Marries (The Gondoliers)
Tenor / Hero
The Big Three:
A Maiden Fair To See (HMS Pinafore)
Oh, Is There Not One Maiden Breast (Pirates)
A Wand'ring Minstrel I (The Mikado)
The Others:
Oh, Gentlemen, Listen, I Pray (Trial By Jury)
When First My Old, Old Live I Knew (Trial By Jury)
For Love Alone (The Sorcerer)
It Is Not Love (The Sorcerer)
Spurn Not The Nobly Born (Iolanthe)
Twenty Years Ago (Princess Ida)
Would You Know The Kind Of Maid (Princess Ida)
I Shipped, D'ye See (Ruddigore)
Free From His Fetters Grim (The Yeomen Of The Guard)
Is Life A Boon? (The Yeomen Of The Guard)
Rising Early In The Morning (The Gondoliers) baritone
Take A Pair Of Sparkling Eyes (The Gondoliers)
A Tenor , All Singers Above (Utopia Limited)
Were I a King, in Very Truth (The Grand Duke)
The Ohers:
Time Was, When Love And I (The Sorcerer)
A Magnet Hung in a Hardware Shop (Patience)
Im a Waterloo House Young Man (Patience)
The Others:
When I, good friends, was called to the bar (Trial By Jury)
My Name Is John Wellington Wells (The Sorcerer)
Am I Alone and Unobserved (Patience)
When You're Lying Awake With A Dismal Headache (Iolanthe)
When I Went to the Bar (Iolanthe)
If You Give Me Your Attention (Princess Ida)
Whene'er I Spoke (Princess Ida)
My Boy, You May Take It From Me (Ruddigore)
Henceforth all the crimes that I find in the Times (Ruddigore)
My Eyes are Fully Open to My Awful Situation (Ruddigore)
I've Jibe And Joke (The Yeomen Of The Guard)
Oh! A Private Buffoon is a Light-Hearted Loon (The Yeomen of the Guard)
In Enterprise of Martial Kind (The Gondoliers)
Bass / Villain
The Big Three:
The Policeman's Song (The Pirates Of Penzance)
A More Humane Mikado (The Mikado)
The Others
Engaged To So-And-So (The Sorcerer)
When All Night Long A Chap Remains (Iolanthe)
!214
!215
Chapter 21
Vaudeville (And Other Songs from the 10s
and 20s)
Beginning in the 1880s and continuing through the 1920s, Vaudeville was Americas
entertainment. A typical vaudeville show might include comedians, singers, plate-spinners,
contortionists, jugglers, ventriloquists, dancers, musicians, animal actsnearly anything that
could hold the audiences attention. After the Civil War, entertainments intended exclusively for
male audiences were filled with bawdy jokes and off-color stories, making them unsuitable for
children and sensitive women. Tony Pastor, the so-called Father of Vaudeville, saw an
economic opportunity if the shows were more suitable for the entire family.
Throughout its history, Vaudeville was important socially in that it gathered people from
different cultures and backgrounds under one roof. It had its share of racial stereotypes and
prejudice but, by and large, the world it presented lovingly accepted cultural differences. Woven
into the fabric of Vaudeville are the theatre traditions of the English Music Hall, minstrel shows
of antebellum America and the Yiddish theatre tradition.
There were large and small Vaudeville houses spread across the country, from Peoria, Illinois
and Iowa City, Iowa to the Palace Theatre in New York. Eventually the popularity of Vaudeville
gave way to film and the most famous performers, Al Jolson, Fanny Brice, Abbott and Costello,
Bob Hope, Judy Garland among others found making films more lucrative. In New York, the
comical, light-hearted songs of Vaudeville evolved into more sophisticated songs with musical
Revues and Musical Comedies becoming vogue in the late 20s and 30s.
Before the wide spread popularity of radio and recorded music, sheet music sales were the
measure of a songs popularity. Thousands of songs were published and sold to home consumers
who sang the songs around the parlor piano. Tin Pan Alley, the collection of New York City
publishers who dominated the sheet music market at the time, was located in at West 28th Street
between Fifth and Sixth Avenue. Here pianists would play all day long to demonstrate the latest
songs for potential costumers.
The most common song types are sentimental ballads, foot-tapping Uptempos, Charm songs,
Blues, Torch songs and marches. There are also a sizable number of novelty numbers and
comedic songs. The recent Broadway musical, Bullets Over Broadway, is a lovingly piecedtogether show filled with the songs of this period. Performed by singers today, these songs
maintain a great deal of charm and wit, and audiences continue to enjoy them. Playful innuendo
!216
is common with titles like If You Talk In Your Sleep (Dont Mention My Name) and lyrics like
"Take a little wife/but when you take a little wife be careful whose wife you take.
I recommend that todays singers have at least one of these songs in their audition book. I know
one Tony-nominated actor who regularly used Vaudeville material in auditions when he first
started out. These songs are especially suitable for character men and women, song and dance
gals and women who can play the chorine archetype. Titles such as Take Your Girlie to the
Movies, If You Cant Make Love at Home, How Ya Gonna Keep Em Down On the Farm
(After Theyve Seen Paree) and Hed Have To Get UnderGet Out and Get Under (To Fix Up
His Automobile) still work well.
The good news is that this music is easily available free online through generous public library
websites. It just takes a little patience and good search skills to find them. Below are some of the
primary sources Ive discovered that contain a wealth of material. Google these.
!
You can listen to many songs of the period by visiting this site: www.loc.gov/jukebox/
!
When searching for songs, your search terms should include the title, composer and the phrase
sheet music. Clicking Google images often brings up the file for download. Sometimes you
can download the full PDF and sometimes you have to download it a page at a time.
I considered hundreds of possibilities but have only given you the ones that I believe still work
well. With time and perseverance, you may discover others that work even better. Avoid most
songs in waltz time, sentimental ballads, and songs in an operetta style. Most have not aged
gracefully. I must also ask that you avoid offensive caricatures of `African-Americans, Germans
and others. Feel free to have a professional copyist transpose the songs as many are probably too
high for women. All are available at one of the institutions above.
!
!
!217
!
!
Women
Title
Coffee in the Morning and Kisses in the Night
Go Into Your Dance
Im Just Wild About Harry
Ive Got To Sing a Torch Song
If I Had a Talking Picture of You
My Man
Or What Have You
Put On Your Slippers and Fill Up Your Pipe
Second Hand Rose
Some of These Days
The Broadway Blues
You Made Me Love You
Composer
Harry Warren
Harry Warren
Noble Sissle, Eubie Blake
Harry Warren
Buddy DeSylvia, Lew Brown, Ray
Henderson
Maurice Yvain
Morris Hamilton
Albert Von Tilzer
Grant Clarke, James F. Hanley
Shelton Brooks
Carey Morgan
James V. Monaco
Style
Charm Song
Uptempo
Uptempo
Torch Song
Uptempo
Torch Song
Charm Song
March
Uptempo
Blues
Blues
Blues
Blues
Charm Song
Men
Title
Cause My Baby Says It's So
N' Everything
Aba Daba Honeymoon
Ala Moana Song of Hawaii
Always Leave Them Laughing When You Say Goodbye
Baltimore Buzz
Beatrice Fairfax Tell Me What To Do
Before I Met You
Can You Tame Wild Wimmen?
Dames
Flippity Flop
Good Evening, Caroline
He'd Have to Get Under-Get Out and Get Under
Hello Ma Baby
Holding Hands and Don't Say Nothing At All
How Do You Do, Miss Josephine?
How Ya Gonna Keep Em Down on the Farm
I Found a Four Leaf Clover
I've Taken Quite a Fancy to You
Ill Be Back in My Low Back Car
Ill String Along With You
Ive Got Rings on My Fingers
If I Find a Girl
In Honeysuckle Time
In My Merry Oldsmobile
It All Belongs to Me
Jeepers Creepers
Mandy
Snookey Ookums
Some Sunny Day
Sweeter Than Sugar
Sweeter Than Sugar (Is My Sweetie)
Take a Little Wife
The Lady Who Couldnt Be Kissed
The Yankee Doodle Boy
This is the Life
Toot, Too, Tootsie!
When You See Another Sweetie Hanging Around
Composer
Harry Warren
Buddy DeSylvia, Gus Kahn, Al Jolson
Walter Donaldson
Johnny Noble, Bob Lukens
George M. Cohan
Noble Sissle, Eubie Blake
Jimmie Monaco
Jerome Kern
Harry Von Tilzer
Harry Warren
Albert Von Tilzer
Albert Von Tilzer
Maurice Abrahams
Joseph E Howard and Ida Emerson
Albert Von Tilzer
Albert Von Tilzer
Walter Donaldson
George Gershwin
Theodore Morse
Walter Donaldson
Harry Warren
Maurice Scott
Jerome Kern
Noble Sissle, Eubie Blake
Gus Edwards
Irving Berlin
Harry Warren
Irving Berlin
Irving Berlin
Irving Berlin
Irving Berlin
Irving Berlin
Irving Berlin
Harry Warren
George M. Cohan
Irving Berlin
Gus Kahn, Ernie Erdman, Dan Russo
Walter Donaldson
!218
Style
Charm Song
Uptempo
Uptempo
Charm Song
March
Charm Song
March
March
March
Uptempo
Uptempo
Charm Song
March
Uptempo
Charm Song
Uptempo
March
Uptempo
Charm Song
March
Ballad
Uptempo
Uptempo
Charm Song
Waltz
Uptempo
Charm Song
Charm Song
Uptempo
Charm Song
Uptempo
Uptempo
Charm Song
Charm Song
March
March
Uptempo
Uptempo
Title
You Aint Heard Nothing Yet
You May Hold a Million Girlies In Your Arms
Composer
Al Jolson, Gus Kahn, Buddy DeSylvia
Fred Fischer
Style
Uptempo
Charm Song
Uptempo
Uptempo
Uptempo
Women or Men
Title
After You Get What You Want You Dont Want It
After Youve Gone
Aint We Got Fun
Alexander's Ragtime Band
An Earful of Music
Anything You Want to Do Dear
Bird on Nellie's Hat
Blow Your Horn
Bring Back Those Wonderful Days
Bump, Bump, Bump, In Your Automobile
Carioca
Climbing Up the Scale
Dancing My Worries Away
Everybody's Doing It Now
Fair and Warmer
Forty-Second Street
Hang Out the Front Door Key
He's Getting Too Darn Big for a Small Town
Honolulu
How'd You Like to Spoon With Me
I Love Somebody and Somebody Knows
Ill Be Happy When the Preacher Makes You Mine
Ive Got a Pocket Full of Sunshines
If You Talk In Your Sleep (Dont Mention My Name)
Little Rover (Dont Forget To Come Back Home)
Pretty Baby
Since Mother Goes To Movie Shows
Take Your Girlie to the Movies
The International Rag
The Razzle Dazzle Glide
The Syncopated Walk
Where Did Robinson Crusoe Go With Friday on Saturday
Night?
Whos Who With You
Yip-I-Addy-I-Ay
Youre Here and Im Here
Avalon
Baby Face
Composer
Irving Berlin
Creamer and Layton
Richard A. Whiting
Irving Berlin
Walter Donaldson
Louis A. Hirsch
Alfred Solman
Irving Berlin
Nat Vincent
Albert Von Tilzer
Vincent Youmans
Irving Berlin
George M. Cohan
Irving Berlin
Harry Warren
Harry Warren
Benj. Hapgood Burt
Irving Berlin
Harry Warren
Jerome Kern
Harry Von Tilzer
Walter Donaldson
Arthur Johnston
Nat D. Ayer
Walter Donaldson
Tony Jackson, Egbert Van Alstyne
Albert Von Tilzer
Pete Wendling
Irving Berlin
J. Walter Leopold
Irving Berlin
George W. Meyer
Style
Uptempo
Uptempo
Uptempo
Uptempo
Uptempo
Charm Song
Story Song
Uptempo
Charm Song
Uptempo
Uptempo
March
Uptempo
Uptempo
Charm Song
Uptempo
March
Charm Song
Uptempo
Charm Song
Charm Song
Charm Song
Uptempo
Charm Song
Uptempo
Charm Song
March
Uptempo
Uptempo
Uptempo
Uptempo
March
Vincent Youmans
John H. Flynn
Jerome Kern
Al Jolson
Charm Song
Waltz
March
Uptempo
Uptempo
!
!
!
!219
Chapter 22
Standard Repertoire
The history of Musical Theatre is wonderfully rich with thousands of outstanding songs to know,
explore and perform. In the "Musical Styles Through History" chapter, I give you a brief
overview of the stylistic changes since approximately 1900. In your career, you will be expected
to know something of this history in order to sing the songs from the 30s, 40s, 50s, 60s and
beyond in the appropriate style. I will use the term, Standard Repertoire, to refer to the most
important, frequently sung and frequently requested songs in the literature. You will be expected
to know most, if not all, of the ones for your voice type.
Rarely a day goes by when I do not reach for a volume of The Singer's Musical Theatre
Anthology published by Hal Leonard. This five volume collection for the soprano, mezzo/belter,
tenor and bass/baritone voices is the most thorough resource on the market today for the
Standard Repertoire. The editor, Richard Walters has done an outstanding job of canonizing this
music, doing us an invaluable service by defining the boundaries of this vast collection of music.
The songs contained in The Singers Musical Theatre Anthologies are listed below by voice type,
cross referenced by show, genre and volume. The genres can be described as follows
Operetta is closely related in style and practice to 19th C. European Opera. The subjects of
American and British Operettas are light and humorous. Spoken dialogue replaces sung
recitative. Sigmund Romberg, Victor Herbert and Gilbert & Sullivan are among the most
influential composers.
Musical Comedy refers to the songs from American Musical Theatre from the late 19th C. and
flourishing in the 20s and 30s. The shows are characterized by romantic stories with a lighthearted, comedic touch. The music of George Gershwin, Jerome Kern, Richard Rodgers (with
Lorenz Hart), Cole Porter were written for the stage but they quickly migrated to the radio and
the parlor. Due to overwhelming popularity, the music of this period is referred to as The Great
American Songbook.
Golden Age of Musical Theatre began with Oklahoma! in 1943 and is characterized by an
integrated score with substantial theatre songs. Unlike the music from Musical Comedy, songs
serve to advance the plot. Scholars disagree on the end of the Golden Era but for our purposes,
we will conclude with Hair (1968). Primary Golden Age composers include Richard Rodgers
(with Oscar Hammerstein II, Leonard Bernstein, Frank Loesser and Bock and Harnick). I've put
Show Boat in the Golden Age because its structure and content prefigures the style even though it
appeared in 1927.
Sondheim musicals span 1954 (Saturday Night) to 2008 (Road Show). Because of this great
length of time and the fact that his music stands apart from his contemporaries, he has his own
category.
!220
Modern musicals for this listing include anything since 1968. This period is filled with many
different styles from neo-Golden Age musicals like La Cage Aux Folles (1983), experimental
concept musicals like Chicago (1975) and A Chorus Line (1975), Rock scores from Pippin
(1972) to Rent (1996) to Spring Awakening (2006) to the Disney shows, Beauty and the Beast
(1994) and The Lion King (1998).
Poperetta, or the Mega-Musical is a specific kind of modern musical characterized by
extravagant productions and an amalgam of Operatic lyricism with modern pop and rock music.
Shows such as Phantom of the Opera (1988) and Les Miserables (1987) typify the genre.
!
!
Soprano
Song
A Call From The Vatican
A Little Bit In Love
A Little Bit Of Good
A Lovely Night
A Quiet Thing
A Very Special Day
Ah! Sweet Mystery Of Life
All Through The Night
And This Is My Beloved
Another Suitcase In Another Hall
Another Winter In A Summer Town
Anything Can Happen
Around The World
Art Is Calling For Me
Barbara Song
Baubles, Bangles And Beads
Before I Gaze At You Again
Begin The Beguine
Bewitched
Bill
Bride's Lament
Can't Help Lovin' Dat Man
Children Of The Wind
Children Will Listen
Christmas Lullaby
Climb Ev'ry Mountain
Come Home
Cry Like The Wind
Daddy's Girl
Dear Friend
Fable
Falling In Love With Love
Far From The Home I Love
Fascinating Rhythm
Feelings
Follow Your Heart
From Chopin To Country
Getting To Know You
Glad To Be Unhappy
Glitter And Be Gay
Gooch's Song
Goodnight, My Someone
Green Finch And Linnet Bird
Gypsy In Me
He Loves And She Loves
He Plays The Violin
He Was Too Good To Me
Show
Nine
Wonderful Town
Chicago
Cinderella
Flora, the Red Menace
Me and Juliet
Naughty Marietta
Anything Goes
Kismet
Evita
Grey Gardens
Mary Poppins
Grey Gardens
The Enchantress
The Threepenny Opera
Kismet
Camelot
Jubilee
On Your Toes
Show Boat
The Drowsy Chaperone
Show Boat
Rags
Into the Woods
Songs for a New World
The Sound of Music
Allegro
Do, Re, Mi
Grey Gardens
She Loves Me
The Light In The Piazza
The Boys from Syracuse
Fiddler on the Roof
Lady Be Good
The Apple Tree
Urinetown!
Cowgirls
The King and I
On Your Toes
Candide
Mame
The Music Man
Sweeney Todd
Anything Goes
Funny Face
1776
The Boys from Syracuse
!221
Volume
2
4
3
4
4
2
3
2
2
2
5
5
5
2
1
5
3
5
4
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4
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5
5
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4
4
Genre
Modern
Golden Age
Modern
Golden Age
Golden Age
Golden Age
Operetta
Musical Comedy
Golden Age
Poperetta
Modern
Modern
Modern
Operetta
Operetta
Golden Age
Golden Age
Musical Comedy
Musical Comedy
Golden Age
Modern
Golden Age
Modern
Sondheim
Modern
Golden Age
Golden Age
Golden Age
Modern
Golden Age
Modern
Musical Comedy
Golden Age
Musical Comedy
Golden Age
Modern
Modern
Golden Age
Musical Comedy
Operetta
Golden Age
Golden Age
Sondheim
Musical Comedy
Musical Comedy
Modern
Musical Comedy
Song
Hello, Young Lovers
Home
How Can I Lose You?
How Could I Ever Know?
How Long Has This Been Going On?
How Lovely To Be A Woman
How Many Tears?
I Could Be Happy With You
I Could Have Danced All Night
I Do Not Know A Day I Did Not Love You
I Don't Know His Name
I Feel Pretty
I Hate Men
I Have Confidence
I Have Dreamed
I Have To Tell You
I Like Him
I Loved (J'aimais)
I Loved You Once In Silence
I Remember
I Whistle A Happy Tune
I Wonder What Became Of Me
I'll Follow My Secret Heart
I'll Know
I'll Show Him
I'm Leaving You
I've Got A Crush On You
If I Loved You
If I Were A Bell
In His Eyes
In My Life
In My Own Little Corner
Is It Really Me?
It Never Was You
It Wonders Me
It's A Most Unusual Day
It's Nicer In Nice
Italian Street Song
Just You Wait
Let Us Be Glad
Like A Woman Loves A Man
Look For A Sky Of Blue
Love Makes Such Fools Of Us All
Love, Don't Turn Away
Love, Look Away
Lovely
Lover, Come Back To Me
Make Believe
Many A New Day
Matchmaker
Migratory V
Mister Snow
Moonfall
Mr. Right
Much More
My Favorite Things
My Funny Valentine
My House
My Lord And Master
My Ship
My True Love
My White Knight
Show
The King and I
Phantom
Myths and Hymns
Secret Garden
Funny Face
Bye, Bye Birdie
Martin Guerre
The Boy Friend
My Fair Lady
Two by Two
She Loves Me
West Side Story
Kiss Me Kate
The Sound of Music
The King and I
Fanny
Drat! The Cat!
Jacques Brel is Alive and Well
Camelot
The Evening Primrose
The King and I
St. Louis Woman
Conversation Piece
Guys and Dolls
Plain and Fancy
The Life
Strike Up the Band
Carousel
Guys and Dolls
Jekyll and Hyde
Les Miserables
Cinderella
110 in the Shade
Kickerbocker Holiday
Plain and Fancy
A Date With Judy, film
The Boy Friend
Naughty Marietta
My Fair Lady
Wicked
The Most Happy Fella
Little Mary Sunshine
Barnum
110 in the Shade
Flower Drum Song
A Funny Thing Happened on the Way
to the Forum
The New Moon
Show Boat
Oklahoma!
Fiddler on the Roof
Myths and Hymns
Carousel
The Mystery of Edwin Drood
Love Life
The Fantasticks
The Sound of Music
Babes in Arms
Peter Pan
The King and I
Lady in the Dark
Phantom
The Music Man
!222
Volume
1
4
5
2
5
4
3
4
1
2
2
5
2
3
4
4
4
2
1
3
2
4
2
2
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5
5
1
2
3
3
3
2
3
2
4
4
3
3
5
2
2
5
4
1
4
Genre
Golden Age
Modern
Modern
Modern
Musical Comedy
Golden Age
Poperetta
Golden Age
Golden Age
Golden Age
Golden Age
Golden Age
Golden Age
Golden Age
Golden Age
Operetta
Golden Age
Revue (Modern)
Golden Age
Sondheim
Golden Age
Golden Age
Musical Comedy
Golden Age
Golden Age
Modern
Musical Comedy
Golden Age
Golden Age
Poperetta
Poperetta
Golden Age
Golden Age
Golden Age
Golden Age
Golden Age
Golden Age
Operetta
Golden Age
Modern
Golden Age
Golden Age
Modern
Golden Age
Golden Age
Sondheim
4
4
1
5
4
1
2
3
1
3
1
5
1
1
2
1
Operetta
Golden Age
Golden Age
Golden Age
Modern
Golden Age
Modern
Golden Age
Golden Age
Golden Age
Musical Comedy
Golden Age
Golden Age
Golden Age
Modern
Golden Age
Song
Nelson
Never
No More Candy
No Other Love
Nobody Makes A Pass At Me
Not A Day Goes By
Nothing Is Too Wonderful To Be True
Oh, Goddess Wise
Old Maid
On The Steps Of The Palace
Once Upon A Dream
Once You Lose Your Heart
One Boy (Girl)
One Life To Live
One More Kiss
Out Of My Dreams
People Will Say We're In Love
Pirate Jenny
Poor Wand'ring One
Practically Perfect
Raunchy
Ribbons Down My Back
Rosa's Confession
Show Me
Simple
Simple Little Things
Smoke Gets In Your Eyes
So Far
So In Love
So Many People
Solomon Song
Some Things Are Meant To Be
Somebody, Somewhere
Somehow I Never Could Believe
Someone To Watch Over Me
Something Good
Something Wonderful
Somewhere
Sons Of (Fils De)
Speak Low
Stay Well
Still
Summertime
Surabaya Johnny
Sweet Thursday
Take Care Of This House
Take Me To The World
Ten Minutes Ago
Thank Goodness
That'll Show Him
The Beauty Is
The Flagmaker, 1775
The Girl In 14G
The Girls Of Summer
The Glamorous Life
The Golden Ram
The Greatest Of These
The Light In The Piazza
The Man I Love
The Saga Of Jenny
Show
A Day in Hollywood/A Night in the
Ukraine
On the Twentieth Century
She Loves Me
Me and Juliet
Pins and Needles
Merrily We Roll Along
Dirty Rotten Scoundrels
Princess Ida
110 in the Shade
Into the Woods
Jekyll and Hyde
Me and My Girl
Bye, Bye Birdie
Lady in the Dark
Follies
Oklahoma!
Oklahoma!
The Threepenny Opera
Pirates of Penzance
Mary Poppins
110 in the Shade
Hello Dolly
The Mystery of Edwin Drood
My Fair Lady
Nine
110 in the Shade
Roberta
Allegro
Kiss Me Kate
Saturday Night
The Threepenny Opera
Little Women
The Most Happy Fella
Street Scene
Oh Kay!
The Sound of Music
The King and I
West Side Story
Jacques Brel is Alive and Well
One Touch of Venus
Lost in the Stars
Titanic
Porgy and Bess
Volume
4
Genre
Modern
5
5
1
4
1
5
3
1
4
3
3
4
3
1
1
5
1
2
5
2
3
2
1
2
2
1
2
1
3
1
5
1
1
3
3
1
5
3
4
3
3
1
Happy End
Pipe Dream
1600 Pennsylvania Avenue
The Evening Primrose
Cinderella
Wicked
A Funny Thing Happened on the Way
to the Forum
The Light In The Piazza
Songs for a New World
Not from a show
Marry Me a Little
A Little Night Music
Two by Two
Philemon
The Light In The Piazza
Strike Up the Band
Lady in the Dark
1
3
5
2
1
5
1
Modern
Golden Age
Golden Age
Golden Age
Sondheim
Modern
Operetta
Golden Age
Sondheim
Poperetta
Golden Age
Golden Age
Golden Age
Sondheim
Golden Age
Golden Age
Operetta
Operetta
Modern
Golden Age
Golden Age
Modern
Golden Age
Modern
Golden Age
Musical Comedy
Golden Age
Golden Age
Sondheim
Operetta
Modern
Golden Age
Operetta
Musical Comedy
Golden Age
Golden Age
Golden Age
Revue (Modern)
Golden Age
Golden Age
Modern
Musical Comedy
but Operetta in style
Golden Age
Golden Age
Golden Age
Sondheim
Golden Age
Modern
Sondheim
5
5
5
3
2
1
2
4
5
1
Modern
Modern
Modern
Sondheim
Sondheim
Golden Age
Golden Age
Modern
Musical Comedy
Golden Age
!223
Song
The Secret Service
The Simple Joys Of Maidenhood
The Song Is You
The Song That Goes Like This
The Sound Of Music
The Sun, Whose Rays Are All Ablaze
The Woman In His Room
There's A Small Hotel
Think Of Me
This Place Is Mine
Till There Was You
Too Much In Love To Care
Trouble Man
Under The Tree
Unexpected Song
Unusual Way (In A Very Unusual Way)
Vanilla Ice Cream
Vilia
Waitin' For My Dearie
Warm All Over
We Kiss In A Shadow
What Does He Want Of Me
What Good Would The Moon Be?
What Makes Me Love Him?
What Will It Be For Me?
What's The Use Of Wond'rin'
When Did I Fall In Love
Where Or When
Whispering
Whistle Down The Wind
Who Am I?
Why Do I Love You?
Why Was I Born?
Will He Like Me?
Will You?
Wishing You Were Somehow Here Again
Without You
Wouldn't It Be Loverly
Yesterdays
You'll Never Walk Alone
Your Daddys Son
Show
Mr. President
Camelot
Music in the Air
Spamalot
The Sound of Music
The Mikado
Wheres Charley
On Your Toes
Phantom of the Opera
Phantom
The Music Man
Sunset Boulevard
Lost in the Stars
Celebration
Song and Dance
Nine
She Loves Me
The Merry Widow
Camelot
The Most Happy Fella
The King and I
Man of LaMancha
Street Scene
The Apple Tree
Regina
Carousel
Fiorello!
Babes in Arms
Spring Awakening
Whistle Down the Wind
Peter Pan
Show Boat
Sweet Adeline
She Loves Me
Grey Gardens
Phantom of the Opera
My Fair Lady
My Fair Lady
Roberta
Carousel
Ragtime
Volume
5
1
4
4
2
2
3
3
3
2
1
5
3
1
3
2
4
2
3
2
4
4
1
5
2
1
2
1
5
3
5
4
4
2
5
3
2
3
4
1
4
Genre
Musical Comedy
Golden Age
Operetta
Modern
Golden Age
Operetta
Golden Age
Musical Comedy
Poperetta
Modern
Golden Age
Poperetta
Golden Age
Golden Age
Poperetta
Modern
Golden Age
Operetta
Golden Age
Golden Age
Golden Age
Golden Age
Golden Age
Golden Age
Operetta
Golden Age
Golden Age
Musical Comedy
Modern
Poperetta
Golden Age
Golden Age
Musical Comedy
Golden Age
Modern
Poperetta
Golden Age
Golden Age
Musical Comedy
Golden Age
Modern
Mezzo/Belter
Song
A Change In Me
A Cockeyed Optimist
A New Life
A Trip To The Library
Adelaide's Lament
Adventure
Ah, But Underneath
Ain't There Anyone Here For Love?
Always A Bridesmaid
Always True To You In My Fashion
An Old Man
And I Am Telling You I'm Not Going
Angels, Punks And Raging Queens
Another Hundred People
Anyone Can Whistle
Anything But Lonely
As If We Never Said Goodbye
As Long As He Needs Me
Show
Beauty and the Beast
South Pacific
Jekyll and Hyde
She Loves Me
Guys and Dolls
Do Re Mi
Follies
Gentlemen Prefer Blondes
I Love You, Youre Perfect, Now
Change
Kiss Me, Kate
Two by Two
Dreamgirls
Elegies for Angels...Queens
Company
Anyone Can Whistle
Aspects of Love
Sunset Boulevard
Oliver
!224
Volume
3
1
3
2
2
3
3
1
3
1
1
5
4
2
1
4
3
2
Genre
Modern
Golden Age
Poperetta
Golden Age
Golden Age
Golden Age
Sondheim
Musical Comedy
Modern
Golden Age
Golden Age
Modern
Modern
Sondheim
Sondheim
Poperetta
Poperetta
Golden Age
Song
Broadway Baby
But Not For Me
By The Sea
Cabaret
Can You Find It In Your Heart?
Children Of Eden
City Lights
Class
Come To Your Senses
Could I Leave You?
Dance: Ten; Looks: Three
Defying Gravity
Diamonds Are A Girl's Best Friend
Doin' What Comes Natur'lly
Don't Call Me Trailer Trash
Don't Cry For Me Argentina
Don't Cry Out Loud
Don't Rain On My Parade
Don't Tell Mama
Everybody Loves Louis
Everything's Coming Up Roses
Fifty Percent
Find Your Grail
For Good
Freddy, My Love
Funny Honey
Gimme Gimme
Good Morning Baltimore
Gorgeous
Happy To Keep His Dinner Warm
Hard Candy Christmas
He Wasn't You
Heads Or Tails
Heaven Help My Heart
Here I Am
Hit Me With A Hot Note
Hold On
Honey Bun
How Are Things In Glocca Morra
How Did We Come To This?
Hurry! It's Lovely Up Here!
I Ain't Down Yet
I Am Changing
I Cain't Say No
I Can Cook Too
I Can Do Better Than That
I Can Hear The Bells
I Don't Know How To Love Him
I Dreamed A Dream
I Enjoy Being A Girl
I Get A Kick Out Of You
I Got Lost In His Arms
I Got The Sun In The Morning
I Had Myself A True Love
I Know The Truth
I Never Has Seen Snow
I Want To Be Bad
I Want To Go To Hollywood
I Will Be Loved Tonight
I Wish I Were In Love Again
I'd Be Surprisingly Good For You
I'd Give My Life For You
I'm Going Back
Show
Follies
Girl Crazy
Sweeney Todd
Cabaret
Footloose
Children of Eden
The Act
Chicago
Tick, Tick, Boom
Follies
A Chorus Line
Wicked
Gentlemen Prefer Blondes
Annie Get Your Gun
Cowgirls
Evita
The Boy from Oz
Funny Girl
Cabaret
Sunday in the Park
Gypsy
Fifty Percent
Spamalot
Wicked
Grease
Chicago
Thoroughly Modern Millie
Hairspray
The Apple Tree
How to Succeed
Best Little Whorehouse in Texas
On a Clear Day...
Cowgirls
Chess
Dirty Rotten Scoundrels
Swing
The Secret Garden
South Pacific
Finians Rainbow
Wild Party
On a Clear Day...
Unsinkable Molly Brown
Dreamgirls
Oklahoma
On the Town
The Last Five Years
Hairspray
Jesus Christ Superstar
Les Miserables
Flower Drum Song
Anything Goes
Annie Get Your Gun
Annie Get Your Gun
St. Louis Woman
Aida
House of Flowers
Follow Through
Grand Hotel
I Love You, Youre Perfect, Now
Change
Babes in Arms
Evita
Miss Saigon
Bells are Ringing
!225
Volume
1
3
1
1
3
5
5
3
5
1
1
5
1
1
3
1
4
3
1
2
3
2
5
5
5
1
4
5
3
1
4
1
3
4
5
5
2
3
1
4
5
1
5
1
2
5
4
4
2
1
2
4
1
3
4
2
2
4
4
2
2
3
4
Genre
Sondheim
Musical Comedy
Sondheim
Golden Age
Modern
Modern
Modern
Modern
Modern
Sondheim
Modern
Modern
Musical Comedy
Musical Comedy
Modern
Poperetta
Modern
Golden Age
Golden Age
Sondheim
Golden Age
Golden Age
Modern
Modern
Modern
Modern
Modern
Modern
Golden Age
Golden Age
Golden Age
Golden Age
Modern
Poperetta
Modern
Revue
Modern
Golden Age
Golden Age
Modern
Golden Age
Golden Age
Modern
Golden Age
Golden Age
Modern
Modern
Poperetta
Poperetta
Golden Age
Musical Comedy
Golden Age
Golden Age
Golden Age
Modern
Golden Age
Musical Comedy
Modern
Modern
Musical Comedy
Poperetta
Poperetta
Golden Age
Song
I'm In Love With A Wonderful Guy
I'm Not That Girl
I'm Still Here
If He Really Knew Me
If He Walked Into My Life
If My Friends Could See Me Now
In Buddy's Eyes
It's A Business
It's A Helluva Way To Run A Love Affair
It's A Perfect Relationship
It's An Art
Johnny One Note
Just A Housewife
Just One Step
Keepin' Out Of Mischief Now
Let Me Finish
Life Is
Life With Harold
Long Before I Knew You
Look At Me Now
Look At Me, I'm Sandra Dee
Look To The Rainbow
Losing My Mind
Mama Who Bore Me
Maybe This Time
Meadowlark
Mein Herr
Memory
Miss Baltimore Crabs
Miss Marmelstein
My Body
My Child Will Forgive Me
My Heart Belongs To Daddy
My Husband Makes Movies
My New Philosophy
Never Never Land
Not For The Life Of Me
Nothing
Nothing Really Happened
Now You Know
Nowadays
On My Own
One Hundred Easy Ways To Lose A Man
Our Kind Of Love
Paris Makes Me Horny
Popular
Rose's Turn
Roxie
See I'm Smiling
Send In The Clowns
Shadowland
Shopping Around
Show Off
Shy
Small World
So What?
Some People
Someone Else's Story
Someone Like You
Special
Stars And The Moon
Stepsisters' Lament
Still Hurting
Show
South Pacific
Wicked
Follies
Theyre Playing Our Song
Mame
Sweet Charity
Follies
Curtains
Plain and Fancy
Bells are Ringing
Working
Babes in Arms
Working
Songs for a New World
Aint Misbehavin
Song and Dance
Zorba
The Full Monty
Bells are Ringing
Wild Party
Grease
Finians Rainbow
Follies
Spring Awakening
Cabaret
The Bakers Wife
Cabaret
Cats
Hairspray
I Can Get it For You Wholesale
The Life
Parade
Leave it To Me
Nine
Youre a Good Man, Charlie Brown
Peter Pan
Thoroughly Modern Millie
A Chorus Line
Is There Life After High School?
Merrily We Roll Along
Chicago
Les Miserables
Wonderful Town
Beautiful Game
Victor/Victoria
Wicked
Gypsy
Chicago
The Last Five Years
A Little Night Music
The Lion King
Wish You Were Here
The Drowsy Chaperone
Once Upon a Mattress
Gypsy
Cabaret
Gypsy
Chess
Jekyll and Hyde
Avenue Q
Songs for a New World
Cinderella
The Last Five Years
!226
Volume
1
4
4
2
2
5
1
5
2
5
5
2
3
4
5
3
5
4
2
4
2
1
1
5
3
5
3
1
4
3
5
3
3
2
3
2
5
3
3
2
4
2
4
4
2
4
3
4
4
1
4
4
5
2
2
3
1
2
3
5
3
1
4
Genre
Golden Age
Modern
Sondheim
Modern
Golden Age
Modern
Sondheim
Modern
Golden Age
Golden Age
Modern
Musical Comedy
Modern
Modern
Musical Comedy
Poperetta
Modern
Modern
Golden Age
Modern
Modern
Golden Age
Sondheim
Modern
Golden Age
Modern
Golden Age
Poperetta
Modern
Golden Age
Modern
Modern
Musical Comedy
Modern
Modern
Golden Age
Modern
Modern
Modern
Sondheim
Modern
Poperetta
Golden Age
Poperetta
Modern
Modern
Golden Age
Modern
Modern
Sondheim
Modern
Musical Comedy
Modern
Golden Age
Golden Age
Golden Age
Golden Age
Modern
Poperetta
Modern
Modern
Golden Age
Modern
Song
Take Back Your Mink
Take That Look Off Your Face
Teaching Third Grade
Tell Me On A Sunday
The Cake I Had
The Colors Of My Life
The Dark I Know Well
The Gentleman Is A Dope
The Hostess with the Mostes on the Ball
The Ladies Who Lunch
The Lady Is A Tramp
The Man That Got Away
The Miller's Son
The Music And The Mirror
The Music That Makes Me Dance
The Party's Over
The Past Is Another Land
The Sweetest Sounds
The Wages Of Sin
The Winner Takes It All
The Wizard And I
The Worst Pies In London
There Are Worse Things I Could Do
There Won't Be Trumpets
There's A Fine, Fine Line
They Say It's Wonderful
Thinking Of Him
Third Letter Home
Too Beautiful For Words
Turn Back, O Man
Uptown, Downtown
We Deserve Each Other
What Did I Have That I Don't Have?
What I Did For Love
What Would You Do?
What You Don't Know About Women
Whatever Happened To My Part?
When You Come Home To Me
When You Got It, Flaunt It
When You're Good To Mama
Where Am I Going
Who Knows
Who Will Love Me As I Am?
Why Can't You Behave?
With One Look
Without You
Woman
You Can't Get A Man With A Gun
You Don't Know This Man
You'll Be In My Heart
Show
Guys and Dolls
Song and Dance
Ruthless: the Musical
Song and Dance
Grey Gardens
Barnum
Spring Awakening
Allegro
Call Me Madam
Company
Babes in Arms
A Star is Born
A Little Night Music
A Chorus Line
Funny Girl
Bells are Ringing
Aida
No Strings
The Mystery of Edwin Drood
Mamma Mia
Wicked
Sweeney Todd
Grease
Anyone Can Whistle
Avenue Q
Annie Get Your Gun
Curtains
Song and Dance
The Color Purple
Godspell
Follies
Me and Juliet
On a Clear Day...
A Chorus Line
Cabaret
City of Angels
Spamalot
The Last Five Years
The Producers
Chicago
Sweet Charity
I Can Get it For You Wholesale
Side Show
Kiss Me, Kate
Sunset Boulevard
Rent
The Pirate Queen
Annie Get Your Gun
Parade
Tarzan
Volume
1
5
3
2
5
5
5
2
1
3
1
4
1
4
2
2
4
2
2
5
4
1
4
2
4
3
5
3
5
1
3
2
1
2
1
5
4
5
4
3
5
2
3
1
3
5
5
3
3
5
Genre
Golden Age
Poperetta
Modern
Modern
Modern
Modern
Modern
Golden Age
Musical Comedy
Sondheim
Musical Comedy
Golden Age
Sondheim
Modern
Golden Age
Golden Age
Poperetta
Golden Age
Modern
Modern
Modern
Sondheim
Modern
Sondheim
Modern
Golden Age
Modern
Poperetta
Modern
Modern
Sondheim
Golden Age
Golden Age
Modern
Golden Age
Modern
Modern
Modern
Modern
Modern
Modern
Golden Age
Modern
Golden Age
Poperetta
Modern
Poperetta
Golden Age
Modern
Modern
Tenor
Song
Show
30/90
A Bit of Earth
A Man Could Go Quite Mad
A New Love is Old
A Wondring Minstrel I
Alas for You
Alive!
All Good Gifts
!227
Volum
e
5
2
4
1
1
5
3
2
Genre
Modern
Modern
Modern
Musical Comedy
Operetta
Modern
Poperetta
Modern
Song
Show
Gypsy
Pipe Dream
Brigadoon
The Roar of the GreasepaintThe
Smell of the Crowd
Grease
Jacques Brel is Alive and Well
Chess
Joseph
Do Re Mi
Grand Hotel
Myths and Hymns
Titanic
Follies
Grease
Youre a Good Man, Charlie Brown
Company
Barnum
Grey Gardens
Oliver
The Full Monty
Les Miserables
Follies
Jersey Boys
Joseph
70, Girls, 70
Boys from Syracuse
Pippin
Wicked
Jersey Boys
Grey Gardens
Annie
Anything Goes
Lion King
Fanny
Celebration
Sunday in the Park
Aida
A Funny Thing Happened on the Way
to the Forum
Carousel
Into the Woods
Hercules
Miss Saigon
Dirty Rotten Scoundrels
Hairspray
Jesus Christ Superstar
The Producers
Myths and Hymns
Pajama Game
Evita
Floyd Collins
The Drowsey Chaperone
Can-Can
How to Succeed
Chorus Line
Footloose
Pal Joey
Two by Two
Cabaret
On the Twentieth Century
Do Re Mi
!228
Volum
e
1
1
3
4
Genre
2
3
2
3
2
2
4
3
2
4
4
1
5
5
2
4
2
3
5
2
3
1
3
4
5
5
5
3
4
1
1
1
4
4
Modern
Revue (Modern)
Poperetta
Poperetta
Golden Age
Modern
Modern
Modern
Sondheim
Modern
Modern
Sondheim
Modern
Modern
Golden Age
Modern
Poperetta
Sondheim
Modern
Poperetta
Modern
Musical Comedy
Modern
Modern
Modern
Modern
Modern
Musical Comedy
Modern
Golden Age
Modern
Sondheim
Poperetta
Sondheim
2
4
3
4
5
5
4
5
5
3
2
4
5
1
2
4
3
1
1
3
5
2
Golden Age
Sondheim
Modern
Poperetta
Modern
Modern
Poperetta
Modern
Modern
Golden Age
Poperetta
Modern
Modern
Musical Comedy
Golden Age
Modern
Modern
Musical Comedy
Golden Age
Golden Age
Modern
Golden Age
Golden Age
Golden Age
Golden Age
Golden Age
Song
I Like You
I Met a Girl
I Need to Know
I Only Want to Say (Gethsemane)
I Will Follow You
Ill Be There
Im Martin Guerre
Im Putting All My Eggs in One Basket
If You Could See Her
If You Were Gay
Il Mondo Era Vuoto
Isnt it a Lovely Day to be Caught in the Rain
It Dont Get Better Than This
It Takes Two
Jaspers Confession
Johanna
Kansas City
King Herods Song
King of the World
Ladies and their Sensitivities
Left Behind
Let Me Drown
Like a God
Lonely House
Lost in the Wilderness
Love Cant Happen
Love Changes Everything
Love to Me
Love, I Hear
Lucky In Love
Make Someone Happy
Make the Most of Your Music
Mama Says
Mama, Look Sharp
Man
Many Moons Ago
Margot
Maria
Maybe I Should Change My Ways
Miracle of Miracles
Mister Cellophane
Mooning
Moving Too Fast
Night of My Nights
No Moon
Nobody Needs to Know
Not While Im Around
Oh, Is There Not One Maiden Breast
Old Devil Moon
On the Night of a Thousand Stars
On the Street When You Live
Once Upon a Time Today
One More Beautiful Song
One Song Glory
One Track Mind
Passeggiata
Prologue: The Old Red Hills of Home
Quasimodo
Saturn Returns
Seeing is Believing
Serenade
Show
Volum
e
Fanny
2
Bells are Ringing
2
Tarzan
4
Jesus Christ Superstar
2
Milk and Honey
2
Pirate Queen
5
Martin Guerre
3
Follow the Fleet, film
3
Cabaret
1
Avenue Q
4
Light in the Piazza
5
Top Hat, film
3
Urban Cowboy
5
Hairspray
4
The Mystery of Edwin Drood
2
Sweeney Todd
1
Oklahoma!
1
Jesus Christ Superstar
1
Songs for a New World
4
Sweeney Todd
1
Spring Awakening
5
The Wild Party
4
Flower Drum Song
2
Street Scene
1
Children of Eden
5
Grand Hotel
2
Aspects of Love
4
Light in the Piazza
4
A Funny Thing Happened on the Way 1
to the Forum
Good News
2
Do Re Mi
1
Follies
3
Footloose
3
1776
4
The Full Monty
4
Once Upon a Mattress
1
The Desert Song
2
West Side Story
5
Beggars Holiday
2
Fiddler on the Roof
2
Chicago
3
Grease
5
The Last Five Years
5
Kismet
3
Titanic
3
The Last Five Years
4
Sweeney Todd
1
Pirates of Penzance
3
Finnians Rainbow
2
Evita
2
My Fair Lady
1
Call Me Madam
2
A Class Act
4
Rent
3
Sweet Smell of Success
4
The Light in the Piazza
5
Parade
3
When Pigs Fly
3
Myths and Hymns
5
Aspects of Love
1
The Student Prince
2
!229
Genre
Golden Age
Golden Age
Modern
Poperetta
Golden Age
Poperetta
Poperetta
Musical Comedy
Golden Age
Modern
Modern
Musical Comedy
Modern
Modern
Modern
Sondheim
Golden Age
Poperetta
Modern
Sondheim
Modern
Modern
Golden Age
Golden Age
Modern
Modern
Poperetta
Modern
Sondheim
Musical Comedy
Golden Age
Sondheim
Modern
Modern
Modern
Modern
Operetta
Golden Age
Musical Comedy
Golden Age
Modern
Modern
Modern
Golden Age
Modern
Modern
Sondheim
Operetta
Golden Age
Poperetta
Golden Age
Musical Comedy
Modern
Modern
Modern
Modern
Modern
Modern
Modern
Poperetta
Operetta
Song
Show
She Cries
She Loves Me
She Wasnt You
Shes Got a Way
Shiksa Goddess
Shipoopi
Sit Down Youre Rockin the Boat
Sitting Pretty
Someone is Waiting
Somethings Coming
Springtime for Hitler
Stay
Stay With Me
Steppin Out With My Baby
Stranger in Paradise
Strangers Like Me
Summer, Highland Falls
Sunday
Sunset Boulevard
Take a Chance on Me
Take a Pair of Sparkling Eyes
Take the Moment
Tango Tragique
That Face
Thats the Way It Happens
The Apple Tree (Forbidden Fruit)
The Ballad of Billy Mcaw
The Big Black Giant
The Breeze Kissed Your Hair
The Day After That
The Mason
The Music of the Night
The Nicest Kids in Town
The Only Home I Know
The Proposal
The Wild Justice
This is Not Over Yet
This is the Moment
Til Him
Tomorrow Belongs to Me
Tonight at Eight
Tschaikowsky (and other Russians)
Two Worlds
What Can You Lose?
What Do I Need With Love?
What Have I Done?
What is It About Her?
What You Own
What Youd Call a Dream
When Im Not Near the Girl I Love
Where I Want to Be
Who am I?
Why
Why God Why
Willkommen
Winters on the Wing
Wish You Were Here
You are Beautiful
You are Never Away
You Walk With Me
Youre Devastating
Youve Got to Be Carefully Taught
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Volum
e
5
2
2
5
5
4
2
1
1
5
5
4
5
3
1
5
5
5
3
5
3
5
2
4
1
2
1
1
1
4
3
2
5
1
3
1
3
2
4
3
2
4
5
3
5
4
4
5
3
1
2
4
4
2
2
2
1
1
1
4
1
1
Genre
Modern
Golden Age
Golden Age
Modern
Modern
Golden Age
Golden Age
Golden Age
Sondheim
Golden Age
Modern
Golden Age
Modern
Musical Comedy
Golden Age
Modern
Modern
Modern
Poperetta
Modern
Operetta
Golden Age
Golden Age
Modern
Golden Age
Golden Age
Poperetta
Golden Age
Musical Comedy
Modern
Modern
Poperetta
Modern
Golden Age
Modern
Golden Age
Modern
Poperetta
Modern
Golden Age
Golden Age
Musical Comedy
Modern
Sondheim
Modern
Poperetta
Modern
Modern
Modern
Golden Age
Poperetta
Poperetta
Modern
Poperetta
Golden Age
Modern
Musical Comedy
Golden Age
Golden Age
Modern
Musical Comedy
Golden Age
Song
Show
Volum
e
2
1
3
Genre
Volum
e
Allegro
4
Bye, Bye Birdie
4
Wonderful Town
4
The Firebrand of Florence
3
How to Succeed in Business
5
Pipe Dream
2
Chicago
3
Do Re Mi
2
Silk Stockings
2
Spring Awakening
5
Anything Goes
2
The Producers
4
Spamalot
4
The Mikado
3
A Funny Thing Happened on the Way to 4
the Forum
Gentlemen Prefer Blondes
2
Camelot
1
Camelot
1
Curtains
5
The Unsinkable Molly Brown
5
On a Clear Day You Can See Forever 3
West Side Story
5
Cinderella
1
Cabaret
3
Les Miserables
5
Man of La Mancha
1
Sound of Music
4
Les Miserables
2
Anyone Can Whistle
1
Avenue Q
4
Kismet
2
Jacques Brel is Alive and Well
3
City of Angels
5
Beauty and the Beast
3
My Fair Lady
4
Gigi
3
110 in the Shade
5
Merrily We Roll Along
2
She Loves Me
5
Grease
4
Nine
2
The Producers
4
Marry Me a Little
3
Elegies: for Angels, Punks and Raging 4
Queens
Camelot
1
Pirates of Penzance
1
Footloose
3
The Happy Time
3
Ruthless: The Musical
3
Curtains
5
On the Twentieth Century
5
The Producers
5
Genre
Golden Age
Golden Age
Modern
Baritone
Song
A Fellow Needs a Girl
A Lot of Livin To Do
A Quiet Girl
A Rhyme For Angela
A Secretary is Not a Toy
All At Once You Love Her
All I Care About
All of My Life
All of You
All Thats Known
All Through the Night
Along Came Bialy
Always Look on the Bright Side of Life
As Some Day It May Happen
Bring Me My Bride
Bye Bye Baby
Cest Moi
Camelot
Coffee Shop Nights
Colorado, My Home
Come Back to Me
Cool
Do I Love You Because Youre Beautiful
Dont Go
Drink With Me (To Days Gone By)
Dulcinea
Edelweiss
Empty Chairs and Empty Tables
Everybody Says Dont
Fantasies Come True
Fate
Funeral Tango
Funny
Gaston
Get Me to the Church on Time
Gigi
Gonna Be Another Hot Day
Good Thing Going
Grand Knowing You
Greased Lightnin
Guidos Song
Haben Sie Gehort Das Deutsche Band?
Happily Ever After
Heroes All Around
How To Handle a Woman
I Am the Very Model
I Confess
I Dont Remember You
I Hate Musicals
I Miss The Music
I Rise Again
I Wanna Be a Producer
Show
!231
Golden Age
Golden Age
Golden Age
Golden Age
Golden Age
Golden Age
Modern
Golden Age
Golden Age
Modern
Musical Comedy
Modern
Modern
Operetta
Sondheim
Golden Age
Golden Age
Golden Age
Modern
Golden Age
Golden Age
Golden Age
Golden Age
Golden Age
Poperetta
Golden Age
Golden Age
Poperetta
Sondheim
Modern
Golden Age
Revue (Modern)
Modern
Modern
Golden Age
Golden Age
Golden Age
Sondheim
Golden Age
Modern
Modern
Modern
Sondheim
Revue (Modern)
Golden Age
Operetta
Modern
Modern
Modern
Modern
Golden Age
Modern
Song
I Want What I Want When I Want it
I Wish I Could Go Back to College
I Wont Send Roses
I Wonder What the King is Doing Tonight
Ill Be Here
Ill Never Say No
Im a Bad, Bad Man
Im Not Wearing Underwear Today
Ive Come to Wive It Wealthily in Padua
Ive Got Plenty of Nuttin
Ive Grown Accustomed to Her Face
Ive Heard It All Before
If Ever I Would Leave You
If I Cant Love Her
If I Loved You
If I Sing
If I Were a Rich Man
Ilona
In Every Age
In Old Bavaria
In Praise of Women
Isnt It?
Its All Right With Me
Its Hard to Speak My Heart
Its Love
Its Not Where You Start
Javerts Suicide
Jet Song
Joey, Joey, Joey
Just in Time
Justice Will Be Done
Kings Dilemma
Last One Picked
Laughing Matters
Leaning on a Lamp Post
Les Poissons
Lonely Room
Lonely Town
Long Before I Knew You
Look at That Face
Lost in the Darkness
Lost in the Stars
Love Sneaks In
Luck Be a Lady
Lucky to Be Me
Lullaby of Broadway
Mack the Knife
Make Them Hear You
Mama, A Rainbow
Man of La Mancha
Marian, The Librarian
Marry Me
Marry Me a Little
Marry Well
Masculinity
Me
Meditation I
Meditation II
Molasses To Rum
More I Cannot Wish You
My Defenses are Down
Show
Volum
e
Mlle. Modiste
2
Avenue Q
5
Mack and Mable
2
Camelot
4
The Wild Party
4
Unsinkable Molly Brown
2
Annie Get Your Gun
4
Avenue Q
4
Kiss Me, Kate
2
Porgy and Bess
1
My Fair Lady
2
Shenandoah
1
Camelot
1
Beauty and the Beast
3
Carousel
1
Closer Than Ever
3
Fiddler on the Roof
5
She Loves Me
2
Titanic
3
The Producers
4
A Little Night Music
2
Saturday Night
3
Can-Can
2
Parade
3
Wonderful Town
4
Seesaw
5
Les Miserables
5
West Side Story
5
Most Happy Fella
2
Bells Are Ringing
2
Martin Guerre
3
Victor/Victoria
3
Whoop Dee Doo
3
When Pigs Fly
3
Me and My Gal
2
The Little Mermaid
3
Oklahoma
1
On the Town
2
Bells Are Ringing
2
The Roar of the Greasepaint-The Smell 5
of the Crowd
Jekyll & Hyde
3
Lost in the Stars
1
Dirty Rotten Scoundrels
5
Guys and Dolls
2
On the Town
3
42nd Street
5
Threepenny Opera
1
Ragtime
4
Minnies Boys
3
Man of La Mancha
1
The Music Man
1
The Rink
4
Company
1
Grey Gardens
5
La Cage Aux Folles
4
Beauty and the Beast
3
Shenandoah
1
Shenandoah
1
1776
4
Guys and Dolls
2
Annie Get Your Gun
2
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Genre
Operetta
Modern
Modern
Golden Age
Modern
Golden Age
Golden Age
Modern
Golden Age
Golden Age
Golden Age
Golden Age
Golden Age
Modern
Golden Age
Revue (Modern)
Golden Age
Golden Age
Modern
Modern
Sondheim
Sondheim
Golden Age
Modern
Golden Age
Modern
Poperetta
Golden Age
Golden Age
Golden Age
Poperetta
Modern
Modern
Modern
Golden Age
Modern
Golden Age
Golden Age
Golden Age
Golden Age
Poperetta
Golden Age
Modern
Golden Age
Golden Age
Musical Comedy
Golden Age
Modern
Modern
Golden Age
Golden Age
Modern
Sondheim
Modern
Modern
Modern
Golden Age
Golden Age
Modern
Golden Age
Golden Age
Song
Show
My Name
My Time of Day
No Other Way
Oh, What a Beautiful Mornin
Ol Man River
On a Clear Day (You Can See Forever)
Once in Love With Amy
Once Upon a Time
Only With You
Other Pleasures
Paris By Night
Pilates Dream
Private Conversation
Promises, Promises
Purpose
Put On a Happy Face
Razzle Dazzle
Real Life
Real Live Girl
Relax
Reviewing the Situation
River in the Rain
Robins Song
Sam and Me
Santa Fe
Santa Fe
September Song
Shouldnt I Be Less in Love With You?
Oliver
Guys and Dolls
Tarzan
Oklahoma
Show Boat
On a Clear Day You Can See Forever
Wheres Charley
All American
Nine
Aspects of Love
Victor/Victoria
Jesus Christ Superstar
Side Show
Promises, Promises
Avenue Q
Bye, Bye Birdie
Chicago
Tick, Tick, Boom
Little Me
Wish You Were Here
Oliver
Big River
Spamalot
When Pigs Fly
Newsies
Rent
Knickerbocker Holiday
I Love You, Youre Perfect, Now
Change
Smile
Carousel
South Pacific
Smile
Soliloquy
Some Enchanted Evening
Something Was Missing
Sometimes a Day Goes By
Sorry-Grateful
Stars
Ten Minutes Ago
The Baby Song
The Bulls
The Colors of My Life
The Devil You Know
The Girl That I Marry
The Greatest Star of All
The Highest Judge of All
The Impossible Dream
The Kid Inside
The King of Broadway
The Kite
The Man I Used to Be
The Right Girl
The Road You Didnt Take
The Sadder But Wiser Girl
The Surrey With the Fringe on Top
There She Is
Theres a Sucker Born Evry Minute
Theres No Reason In the World
Theres Nowhere to Go But Up
They Call the Wind Maria
This Cant Be Love
This is the Life
Annie
Woman of the Year
Company
Les Miserables
Cinderella
I Love You, Youre Perfect, Now
Change
Jacques Brel is Alive and Well
Barnum
Side Show
Annie Get Your Gun
Sunset Boulevard
Carousel
Man of La Mancha
Is There Life After High School?
The Producers
Youre a Good Man, Charlie Brown
Pipe Dream
Follies
Follies
The Music Man
Oklahoma
Titanic
Barnum
Milk and Honey
Knickerbocker Holiday
Paint Your Wagon
The Boys from Syracuse
Love Life
!233
Volum
e
2
2
5
1
1
3
2
5
2
4
3
2
3
2
5
4
5
5
5
4
1
1
5
3
3
5
1
4
Genre
3
1
1
Modern
Golden Age
Golden Age
5
4
1
2
1
3
Golden Age
Modern
Sondheim
Poperetta
Golden Age
Modern
3
5
3
2
3
2
1
3
5
4
2
4
1
3
2
3
5
4
2
1
2
1
Revue (Modern)
Modern
Modern
Golden Age
Poperetta
Golden Age
Golden Age
Modern
Modern
Modern
Golden Age
Sondheim
Sondheim
Golden Age
Golden Age
Modern
Modern
Golden Age
Golden Age
Golden Age
Musical Comedy
Golden Age
Golden Age
Golden Age
Modern
Golden Age
Golden Age
Golden Age
Golden Age
Golden Age
Modern
Poperetta
Modern
Poperetta
Modern
Golden Age
Modern
Golden Age
Modern
Modern
Golden Age
Golden Age
Golden Age
Modern
Modern
Modern
Modern
Modern
Golden Age
Modern
Song
Show
South Pacific
Joseph and the Amazing Technicolor
Dreamcoat
Thousands of Miles
Lost in the Stars
Try Me
She Loves Me
Try to Remember
The Fantasticks
Waitin for the Light To Shine
Big River
Wandrin Star
Paint Your Wagon
Were Thine That Special Face
Kiss Me, Kate
What Chance What I With Love?
Louisiana Purchase
What Do You Do with a B.A. in English
Avenue Q
What Kind of Fool am I?
Stop the World-I Want to Get Off
When I First Saw You
Dreamgirls
When I Was a Lad
HMS Pinafore
When Youre Lying Awake
Iolanthe
Where is the Life That Late I Led?
Kiss Me, Kate
Where Was I When They Passed Out the Luck? Minnies Boys
Who Can I Turn To (When Nobody Needs Me) The Roar of the Greasepaint-The Smell
of the Crowd
With a Little Bit of Luck
My Fair Lady
With So Little To be Sure Of
Anyone Can Whistle
Wonderful
Wicked
Wouldnt You Like to Be on Broadway
Street Scene
Ya Got Trouble
The Music Man
You Should Be Loved
Side Show
You Wont Succeed On Broadway
Spamalot
Youre the Fairest Flower
Little Mary Sunshine
Your Eyes Are Blue
A Funny Thing Happened on the Way to
the Forum
!234
Volum Genre
e
1
Golden Age
4
Poperetta
1
5
1
4
4
1
4
4
3
5
1
1
1
3
4
Golden Age
Golden Age
Golden Age
Modern
Golden Age
Golden Age
Musical Comedy
Modern
Golden Age
Modern
Operetta
Operetta
Golden Age
Golden Age
Golden Age
4
5
4
2
4
3
5
2
5
Golden Age
Sondheim
Modern
Golden Age
Golden Age
Modern
Modern
Modern
Sondheim
Chapter 23
Choice Songs
!
For more than 25 years, I've gone to great lengths to take note of the theatre songs that I felt
worked especially well out out of "show context." What follows is my curated list of outstanding,
under-sung theatre songs highly recommended for auditions and other public performance. I
refer to the list as Choice Songs because the songs are chosen to aid students and younger
professionals in finding material that will look great on them. Many are great for auditions while
others are better suited for your development as a singing actor, in voice lessons and private
study. Some of these will be difficult to cut, making them less attractive for an audition. Others
may tell stories which do not suit your gifts or personality I will let you decide, based on your
needs, intuition and the guidelines Ive given you in the book, whether a song is right for you. As
you know, a song could be perfect for one performer or situation but completely wrong for
another. Im excited to share this list with you because I think that you will find many wonderful
songs you didnt know. The list is meant to help you find the most outstanding songs that suit
your needs.
All Sondheim songs are in a separate list to follow. Ive limited the number of Post-millennium
songs as there is no chance, with the frequency that they are written, that I can keep the list
current. Ive only included the songs from what I would consider the biggest, most successful
Post-millennium shows like Edges, Ordinary Days and I Love You Because. Contemporary Art
Songs may be better for vocal development but can sometimes be appropriate for auditions.
I'll begin with a word about sources. P/C signifies the Piano/Conductor score. Ive used this
designation if the song is unpublished and the Piano/Conductor score is the only place to find it.
Piano/Conductor scores are a challenge to locate but not impossible, by any means. Talk to
musical directors you know. Most keep a library of a wide array of scores. Vocal Selections are
available commercially and frequently individual songs from them are available for purchase
online at one of the sheet music sites like musicnotes.com or sheetmusicplus.com. Google the
title, composer and show title with the phrase sheet music in order to locate it. Many songs can
be found in multiple locations but I've identified what I believe is the easiest source to locate.
To make this resource even more useful, I haven't included every good song from the last 70
years, only the ones I believe work well in auditions. These songs stand alone, out of context,
and need no setup. Because no one knows every song, auditions require a clear dramatic arc
where the character's need drives the action.
Ive classified the songs by voice type. Though it's somewhat subjective, this information will
help you find the right songs for your voice. As Ive mentioned, in todays world, singers are
expected to sing a wide range of contrasting material. The days of making your career singing
!235
only legit are gone. Sopranos, for instance, should sing songs labeled soprano, soprano mix, mix/
belt and possibly belt. Belters should not only sing belt songs but also mix/belt and possibly
soprano/mix songs.
I'd like to start by mentioning a few singers I believe to be exemplary in demonstrating musical
theatre vocal types. None are limited by these labels and each has demonstrated an ability to sing
beyond the expected. For example, I've heard the Belt voice from all the Soprano Mixers below
although their most characteristic sound is a gorgeous, head-dominated mix. In the same way,
I've heard all these belters use their head voice.
Even experienced voice specialists can find it difficult to distinguish Mixers from Belt/Mixers
from Belters. The only reliable way is to look at the full range of the roles they've played and
take each performance as a unique representation of a voice singing in a particular dramatic
situation. Liz Callaway usually sings with a beautifully head-dominated, lyrical Soprano Mix but
she delivered one of the powerful Mix/Belt performances of all time in "The Story Goes
On" (Baby). Only one year separates Judy Kuhn's appearances in Les Miserables (in a practically
legit. soprano role) and Chess (one of the most demanding Mix/Belt roles). Recently, she did the
mezzo role of Fosca in Passion Off-Broadway and currently she is stunning in a Soprano mix
role (Fun Home).
While on the subject of the female belt voice, I would be remiss not to give a bit of historical
context. In the early part of the 20th century, the belt can be traced to two distinct sources. The
Vernacular Belt derives from the African American "calling voice" in field hollers and Blues
and the Broadway Belt develops from the need to project over the orchestra in big Broadway
houses. While the physical requirements for these are the same (a need to be loud in big spaces),
the sounds are distinct. The clearest examples of these two singing styles is Ma Rainey
(Vernacular Belt in "Ma Rainey's Black Bottom") and Ethyl Merman (Broadway Belt in "I Got
Rhythm").
But how did we get from these Titans to modern stars like Sutton, Idina, Stephanie who sing
nothing like either of these "belter fore-mothers?" In 1982, Cats was "the first show in which
every single performer onstage wore a wireless mike 18." Singers no longer had to sing over the
orchestra, even if they could. Amplification allowed more subtlety than Merman could afford.
They could sing softly when the moment called for it or the could use the belt when desired. The
power derived from traditional belting is now harnessed for greater flexibility and variety.
The first woman to point the way to modern female belt was Betty Buckley, who in 1969
revealed the possibilities of musical theatre belting in "He Plays the Violin" (1776). She sang
with a wide dynamic range, from quietly tender to blissfully triumphant. Her vocal colors reveal
an actor with a complete grasp of her character and her world. And she belted a "D" in full voice
with vibrato. This was the first recorded performance to combine the vocal power of Merman
18
The Rise and Fall of the Broadway Musical, Mark N. Grant. 195
!236
and Mary Martin with the beauty of a young Florence Henderson with the acting depth of
Barbara Cook. Today, belters are expected to do all of these things.
SopranoThe Soprano is a designation carried over from the classical world characterized by
a head-dominated, lyrical legato and a range that extends well above the staff. This voice is
frequently called the legitimate voice, or legit. (Rene Fleming, Dawn Upshaw, Jessye Norman,
Rebecca Luker)
Soprano mixThis term isn't widely outside of theatre circles but it's useful to distinguish
between operatic sopranos and contemporary (often pop music) Mixers. The Soprano Mix is
characterized by a blending of head and chest with more prominence given to head voice, while
still maintaining the speech-like character of mix. At softer dynamics, the sound is sweet and
bell- or flute-like while louder dynamics are bright and commanding. (Barbara Cook to Kelli
O'Hara to Audra McDonald to Kate Baldwin to Liz Callaway to Victoria Clark to Kristin
Chenoweth.)
Mix. Mixers in musicals today are essentially the modern equivalent of the soprano ingenue 30
years ago, or more. The voice is beautifully lyric while lighter than their belter counterparts.
They are convincingly able to play modern roles and can occasionally transition into belt when
the situation demands it. Modern Mixers negotiate between low and high with no noticeable
transitions while frequently possessing a speech-like quality throughout. (Kate Baldwin, Krista
Rodriguez, Betsy Wolfe, Lindsay Mendez, Erin Davie, Megan McGinnis)
Mix/BeltThe most dominating female voice in modern musical theatre is characterized by
easy transition from low to high with the ability to sing powerfully, yet beautifully. Some may
think of these ladies as pure Belters but each of them has a wide variety of vocal colors available
to them, including mix and even Soprano Mix. Bernadette Peters, Sutton Foster, Idina Menzel,
Julia Murney, Sherie Rene Scott, Stephanie J. Block, Judy Kuhn, Alice Ripley, Emily Skinner.)
BeltLike all the women on this list, these women are capable of many vocal colors. But a
powerful chest-dominated approach is what is most associated with them. (Ethel Merman, Patty
LuPone, Mary Testa, Carolee Carmello, Jennifer Holiday, Betty Buckley, Tonya Pinkins.)
Legit Mezzo/Mezzo SopranoThese women possess a more or less classical technique and
production while singing in the lower register. It is unusual in musical theatre but common in
opera. Youll Never Walk Alone is perhaps the best example of the use of this voice type in
musical theatre. (Shirley Verrett, Cecilia Bartoli, Susan Graham)
Tenor The tenor is a highest male voice, not including the rare countertenor. 20 or 30 years
ago, leading men were baritones but usually now they are tenors. Modern performance practice
requires these men to sing up to a high C, or higher. This is at least a fourth higher than Golden
Age tenors. (Aaron Tviet, Jeremy Jordan, Cheyenne Jackson, Adam Pascal, Bryce Pinkham,
Raul Esparza, Billy Porter, Rob McClure, Tituss Burgess, Gavin Creel, Aaron Lazar, Matt
Cavenaugh.)
High Baritone The high baritone exists between the baritone and tenor voices in both range
and color. While the range may be similar to standard baritone range, the tessitura is higher and
the color is generally lighter. Commonly today, the term, Baritenor is used to indicate a higher
range but with baritone qualities. Michael Cerveris, Brian D'Arcy James, Jason Danieley, Danny
Burstein, Norm Lewis, Brent Barrett, Hunter Foster
!237
Baritone. True baritones are frequently associated with strong, virile character types or
antiheros. Limited contemporary literature is written for the true Baritone, favoring the Baritenor
instead. Steven Pasquale, Marc Kudish, Brian Stokes Mitchell, James Barbour, George Hearn,
Ron Raines, Alfred Drake, Howard Keel, John Raitt, Jerry Orbach.
BassThe Bass is the lowest male voice. Earlier in the 20th C. and before, this voice type was
reserved for older men and villains. They are rare today.
I feel compelled to mention that the rigid separation and designation of voice types common in
opera and earlier musical theatre does not hold for theatre singers today. In other words, you can't
say that Melchoir (Spring Awakening) is a Baritone role although he has a few low passages; he
also sings above the staff in the area usually reserved for tenors. This kind of necessary
flexibility is common for many roles. Most of the actors listed above wouldn't call themselves a
Soprano or Mezzo Soprano as their counterpoints in opera would. Norbert Leo Butz is a great
example as he's done both what might be considered baritone roles (Big Fish and Catch Me If
You Can) and tenor roles (Dirty Rotten Scoundrels and The Last Five Years). I believe that
everyone's voice could classified by voice type in the same way classical singers are; but modern
performance practice requires flexible actors with a wide range and with a variety of vocal
colors.
Along with title, show and composer, songs are categorized by style and voice type. The
comments column includes the time period (Golden Age , 70s and 80s, and Modern,
Contemporary Legit.), tempo and the nature of the song, with adjectives like charm, disclosure
and comedic. I've included a few duets when they can be easily edited to make it a solo.
Guide to Comments:
Disclosure-Songs of disclosure are ones where the character reveals something unknown to the
audience or to the world in general. A special type of Disclosure song commonly called I Want
songs such as Larger Than Life (My Favorite Year) and "Much More" (The Fantasticks), are
times where the character's heart cracks open to reveal their deepest desires. So many shows
since the 70s prominently feature an I Want song early in Act I that one might think they are
mandatory. In contrast, another Disclosure Song type is the "I Am" song which is concerned with
the character's beliefs or internal characteristics, not their wants. Two examples are "Back to
Before" (Ragtime) and "The Jet Song" (West Side Story). I began using the term, Song of
Disclosure, to indicate the close structural relationship and similarities between I Am and I Want
songs. As we move into a modern era, lyrics tend to avoid cliches found in older I Want songs. It
was common not long ago to frequently hear lyrics like, "I wanna be where the people are/I
wanna see, wanna see them dancing." This kind of lyric is much more rare now and modern
Disclosure songs like "Ring of Keys" (Fun Home) and "Right Hand Man" (Something Rotten!)
contain elements of both "I Am" and "I Want" songs. "Ring of Keys" is both about who Allison is
and what she is becoming. Jeanine Tesori calls it a "song of identification"19. While still a
19
!238
moment of disclosure, it avoids the somewhat cliched "I Want" lyric. I have written at length
earlier about how you can create the magic of a Disclosure song in auditions.
Ballad-Generally, any song that is slow or moderately slow. Ballads generally explore more
emotional subjects about love, desires or fears.
Moving Ballad-a ballad that is more rhythmically complex and generally has more forward
momentum than most ballads.
Rhythm Ballad-a ballad where the rhythm section keeps a steady groove, either in a jazz or pop
style. Crazy by Patsy Cline is a famous rhythm ballad.
Dramatic-I use this term when the song is not a disclosure song, a charm song, about romantic
love nor is it comedic. Everything else is "dramatic."
Charm song-A song whose purpose is to charm the audience or other characters. Traditionally,
charm songs are neither fast, nor slow with a light swing. Singing in the Rain is a classic
example. Contemporary charm songs may not have the classic rhythmic characteristics but the
objective is still "to charm." "I Love Betsy" from Honeymoon in Vegas is a modern charm song.
Romantic-I use this term when the song is about romantic love or the character is romantic.
Contemporary Art Song, a piece for voice and piano intended for the concert stage, as opposed
to belonging to a staged musical. The rise of this literature toward the end of the 20th C.
dramatically expands the repertoire for the musical theatre singer with a more classical
technique. Like classical Art Songs by Schubert or Vaughn William, the texts usually originate in
poetry.
Contemporary Legit. Modern literature, either Musical Theatre or Contemporary Art Song, that
requires a classical technique and color.
!
Add William Finn songbook songs. Some are here.
!
Add "Who I'd Be. Shrek. Trio edited for solo
Add I believe my heart
Buenos aires
!
!
!
!
Title
A Horse with Wings
A Little Brains, A Little
Talent
Damn Yankees
Composer
Ricky Ian Gordon
Jerry Ross
Jule Styne
Comments
Voice Type
Contemporary legit. Soprano
Art song ballad
Golden Age dramatic Belt
Charm song
!239
Source
A Horse with Wings
folio
Vocal Selections
P/C score
Vocal Selections
Title
A Place Called Home
Show
Composer
A Christmas Carol Alan Menken
A Stranger
Giant
Michael John
LaChiusa
[title of show]
Jeff Bowen
Annie Warbucks
Charles Strouse
Leonard Bernstein
David Bryan
Make Me a Song
William Finn
Evil Dead
Grind
Frank Cipolla,
Christopher Bond,
Melissa Morris,
George Reinblatt
Larry Grossman
Comments
Modern lyrical
disclosure ballad
Contemporary legit.
dramatic disclosure
ballad
Modern dramatic
disclosure ballad
70s and 80s dramatic
uptempo showtune
Golden Age bluesy
ballad
Modern rock
uptempo
Modern dramatic
uptempo
Modern comedic
uptempo
!240
Voice Type
Soprano/Mix
Soprano/Mix
Source
Alan Menken
Songbook
Michael John
LaChiusa Songbook
Mix/Belt
Vocal Selections
Belt
P/C score
Legit Mezzo
Bernstein Theatre
Songs: Low Voice
Vocal Selections
Belt
Belt
Belt
Belt
Vocal Selections
Soprano/Mix
Composer website
Soprano
Vocal Selections
Soprano
Soprano
Andrew Lloyd
Webber Anthology,
revised edition
Vocal Selections
Mix/Belt
Vocal Selections
Soprano
Cabaret Songs
Belt
Vocal Selections
Mix/Belt
Soprano
Belt
P/C Score
Mix/Belt
Vocal Selections
Mix/Belt
P/C Score
Mix/Belt
Vocal Selections
Mix/Belt
Vocal Selections
Soprano/Mix
Vocal Selections
Mix/Belt
Title
Autumn in Connecticut
Show
Far From Heaven
Composer
Scott Frankel
Back To Before
Ragtime
Stephen Flaherty
Baltimore
Be a Lion
Zina Goldrich
The Wiz
Charlie Smalls
Comments
Contemporary legit.
dramatic disclosure
uptempo
Modern dramatic
disclosure ballad
Contemporary
comedic story song
!241
Voice Type
Soprano
Source
P/C Score
Mix/Belt
Vocal Selections
Soprano/mix
Mix/Belt
The Songs of
Goldrich and
Heisler
Vocal Selections
Belt
P/C Score
Soprano
Soprano
Mix
Belt
Vocal Selections
Mix/Belt
Mix/Belt
Stephen Schwartz
Songbook
Vocal Selections
Belt
Vocal Selections
Belt
Vocal Selections
Mix/Belt
Mix/Belt
Belt
Belt
Mix/Belt
Soprano
Belt
newmusicaltheatre.c
om
Vocal Selections
The Contemporary
Singing Actor,
Women Vol. 2
P/C Score
Mix/Belt
Mix/Belt
Vocal Selections
Mix/Belt
The Stephen
Schwartz Songbook
Ahrens and Flaherty
Songbook
Soprano/Mix
Mix/Belt
Mix/Belt
Title
County Fair
Show
Das Barbecu
Composer
Scott Warrender
Crimson Kiss
Lestat
Elton John
Crossword Puzzle
Maltby/Shire
Dancing
Starting Here,
Starting Now
Lavender Girl
December Snow
December Songs
Departure
John Bucchino
Maury Yeston
Jeff Blumenkrantz
Disneyland
Smile
Marvin Hamlisch
Lucky Stiff
Stephen Flaherty
Ordinary Days
Adam Gwon
Dream With Me
Peter Pan
Leonard Bernstein
Comments
Modern Country
disclosure ballad
Modern dramatic
ballad
70s and 80s comedic
uptempo
Modern romantic
waltz
Modern dramatic
uptempo
Contemporary Art
song ballad
Contemporary Art
song ballad
Source
P/C Score
Mix/Belt
P/C Score
Soprano
Vocal Selections
Soprano/Mix
Mix/Belt
Soprano
Soprano/Mix
!242
Voice Type
Mix/Belt
Mix
December Songs
folio
The Jeff
Blumenkrantz
Songbook Vol. 1
P/C Score
Vocal Selections
Mix
Bernstein Theatre
Songs: High Voice
The Jason Robert
Brown Collection
Vocal Selections
Mix/Belt
Vocal Selections
Mix/Belt
Vocal Selections
Mix
Mix/Belt
newmusicaltheatre.c
om
Vocal Selections
Belt
Vocal Selections
Mix/Belt
P/C Score
Mix/Belt
Vocal Selections
Mix/Belt
Vocal Selections
Mix/Belt
Belt
Vocal Selections
Vocal Selections
Mix/Belt
Randy Newman
Anthology
P/C score
Mix/Belt
Mix/belt
Soprano/Mix
Title
Fly Away/Never Never
Land
Fly Into the Future
Fly, Fly Away
Forgiveness
Gainesville
Get Out and Stay Out
Glad You Were Born
Goodbye, Emil
Gotta Get Out
Grateful
Show
Composer
Piece, the musical Scott Alan
Comments
Modern dramatic
disclosure ballad
Vanities
David Kirshenbaum Modern dramatic
disclosure uptempo
Catch Me If You Marc Shaiman
Modern dramatic
Can
Jazz waltz ballad
Jane Eyre
Paul Gordon
Modern dramatic
ballad
Randy Newmans Randy Newman
Modern dramatic
Faust
ballad
Nine to Five
Dolly Parton
Modern dramatic
disclosure ballad
Seven Brides For Gene De Paul
Golden Age lullaby
Seven Brothers
Romance,
Keith Hermann
70s and 80s dramatic
Romance
uptempo
Ordinary Days
Adam Gwon
Modern comedic
patter
Urban Myths
John Bucchino
Modern dramatic
disclosure ballad
He Wanted a Girl
Giant
Michael John
LaChiusa
He's No Good
The Life
Cy Coleman
Hes Here
Elmer Bernstein
Andrew Lippa
Jeff Blumenkrantz
Falsettos
William Finn
Home
The Wiz
Charlie Smalls
Michel Legrand
I Am Longing
December Songs
Maury Yeston
I Am Playing Me
[title of show]
Jeff Bowen
I Couldnt Be With
Anyone But You
I Don't Know What I'd
Do
A Wonderful Life
Joe Raposo
Maury Yeston
A Gentleman's
Steven Lutvak
Guide to Love and
Murder
!243
Voice Type
Mix/Belt
Source
Composer website
Mix/Belt
P/C Score
Mix
Vocal Selections
Soprano/Mix
Vocal Selections
Mix/Belt
High Belt
Randy Newman
Anthology
Vocal Selections
Soprano/Mix
P/C Score
Soprano
Vocal Selections
Mix/Belt
Title
I Don't Need a Roof
Show
Big Fish
I Got Love
Purlie
Gary Geld
December Songs
Maury Yeston
Destry Rides
Again
Caroline, Or
Change
Harold Rome
I Have Found
Make Me a Song
William Finn
I Love a Cop
Fiorello
Jerry Bock
Gentlemen Prefer
Blondes
Jule Styne
Composer
Andrew Lippa
Jeanine Tesori
Craig Carnelia
Next to Normal
Tom Kitt
Comments
Modern dramatic
disclosure ballad
Modern dramatic
ballad
Voice Type
Soprano/mix
Source
Vocal Selections
Mix/Belt
P/C Score
Modern romantic
ballad
70s and 80s dramatic
pop disclosure
uptempo
Contemporary Art
song moving ballad
Golden Age dramatic
uptempo
Modern dramatic
ingnue disclosure
ballad
Modern dramatic
disclosure ballad
Golden Age midtempo character
Charm song
Golden Age dramatic
character Charm song
70s and 80s pop
dramatic ballad
Modern dramatic
disclosure ballad
Modern dramatic
disclosure ballad
Golden Age dramatic
disclosure uptempo
Modern comedic
ballad
Soprano
Vocal Selections
Mix/Belt
Vocal Selections
Soprano
Belt
December Songs
folio
P/C Score
Mix/Belt
Vocal Selections
Mix/Belt
Mix/belt
Mix/belt
P/C score
Mix/Belt
Mix/Belt
Craig Carnelia
Songbook
Vocal Selections
Mix
Vocal Selections
Belt
P/C Score
Mix/Belt
Vocal Selections
Mark Schoenfeld
I Resolve
She Loves Me
Jerry Bock
High Fidelity
Tom Kitt
25th Annual
Putnam County
Spelling Bee
Theyre Playing
Our Song
William Finn
Modern comedic
disclosure uptempo
Mix/Belt
Marvin Hamlisch
Mix
Vocal Selections
A, My Name is
Alice
Soprano/Mix
P/C Score
I Wanna Be a Rockette
Mix/Belt
I Want It All
Baby
David Shire
Mix/Belt
Alan Menken
Songbook
Vocal Selections
I Want More
Lestat
Elton John
Belt
P/C Score
I Want You
My Life With
Albertine
Soprano
Vocal Selections
I Wish It So
Juno
Marc Blitzstein
Soprano
!244
Title
I Wont Mind
Show
The Other
Franklin
Composer
Jeff Blumenkrantz
Funny Girl
Jule Styne
The Adding
Machine
Ordinary Days
Comments
Contemporary legit.
Art song ballad
Mix/belt
Source
The Jeff
Blumenkrantz
Songbook Vol. 1
Vocal Selections
Mix/Belt
Vocal Selections
Mix/Belt
Mix
newmusicaltheatre.c
om
Vocal Selections
Soprano/Mix
P/C Score
Mix/Belt
Vocal Selections
Belt
Modern dramatic
disclosure ballad
Modern romantic
ballad
Modern dramatic
uptempo
Modern dramatic
ballad
Mix/Belt
Modern dramatic
disclosure uptempo
Mix/Belt
Im Free
Precious Little
Jewel
Im Gonna Be Like an
Eagle
Im Hopeless When It
Comes To You
Im Just Movin
Andrew Lippa
Im Leaving You
The Life
Cy Coleman
Im Not
Little By Little
Brad Ross
Im Not Afraid
Ill Be Here
Ill Never Fall in Love
Again
Ill Never Have That
Chance
Im a Part of That
Im Breaking Down
Im Not Alone
Im Not At All in Love
Im Not Waiting
Ive Never Said I Love
You
If I Ever Loved Him
If I Told You Now
If Only
If You Hadnt But You
Did
Imagine My Surprise
In a Restaurant By the
Sea
In Short
Promises,
Promises
Lestat
The Last Five
Years
Falsettos
Stephen Ward
Andrew Lloyd
Webber
Working (Revival) Stephen Schwartz
!245
Voice Type
Soprano
Soprano/Mix
Mix
Belt
Soprano/Mix
Andrew Lloyd
Webber Anthology
P/C Score
Mix/Belt
The Contemporary
Singing Actor,
Women Vol. 1
The Contemporary
Singing Actor,
Women Vol. 1
Vocal Selections
Mix/Belt
P/C score
Mix/Belt
P/C Score
Mix/Belt
Mix/Belt
Mix/Belt
Vocal Selections
Mix
Mix
Belt
Mix/Belt
Mix
Belt
Individual sheet
from musicnotes
P/C Score
Grateful: The Songs
of John Bucchino
newmusicaltheatre.c
om
Title
Comments
Modern comedic
disclosure ballad
My Life With
Ricky Ian Gordon
Contemporary legit.
Albertine
dramatic ballad
Funny Lady
John Kander
Modern dramatic
ballad
John Bucchino
Contemporary Art
song ballad
Carrie
Michael Gore
70 and 80s dramatic
disclosure ballad
State Fair
Richard Rodgers
Golden Age ingnue
disclosure ballad
In the Heights
Lin-Manuel Miranda Modern dramatic
disclosure uptempo
Annie Warbucks Charles Strouse
Modern dramatic
disclosure ballad
If/Then
Tom Kitt
Modern dramatic pop
uptempo
The Flood
Peter Mills
Contemporary Art
song ballad
Thoroughly
Jeanine Tesori
Modern dramatic
Modern Millie
disclosure uptempo/
ballad
Anastasia, film
Stephen Flaherty
Modern dramatic
disclosure ballad
Ricky Ian Gordon
Contemporary Art
song uptempo
A Christmas Story Benj Pasek and
Modern dramatic
Justin Paul
ballad
John and Jen
Andrew Lippa
Modern moving
ballad
I Love You
Joshua Salzman
Modern dramatic
Because
disclosure ballad
Pippin
Stephen Schwartz
70s and 80s dramatic
moving ballad
Heathers
Lawrence OKeefe Modern dramatic Pop
ballad
Bright Lights, Big Paul Scott Goodman Modern folk rock
City
moving ballad
Kiss of the Spider John Kander
Modern dramatic
Woman
uptempo
Promises,
Burt Bacharach
Golden Age pop
Promises
uptempo
Jeff Blumenkrantz Contemporary legit.
Art song ballad
Voice Type
Mix
Source
Vocal Selections
Soprano
Vocal Selections
Soprano/Mix
Mix
Soprano/Mix
Vocal Selections
Belt
Vocal Selections
Mix
P/C Score
Belt
Vocal Selections
Mix
Composer website
Mix/Belt
Vocal Selections
Mix
Soprano
Soprano/Mix
Vocal Selections
Mix/Belt
Vocal Selections
Mix
Mix
newmusicaltheatre.c
om
Vocal Selections
Mix/belt
P/C score
Mix
P/C Score
Belt
Violet
Jeanine Tesori
Mix
The Jeff
Blumenkrantz
Songbook Vol. 1
P/C Score
Lifeboat
Heathers
Lawrence OKeefe
Mix/belt
P/C score
Lion Tamer
Stephen Schwartz
Mix/Belt
The Stephen
Schwartz Songbook
Young
Frankenstein
Youre a Good
Man, Charlie
Brown
Mel Brooks
Mix/Belt
Vocal Selections
Belt
Vocal Selections
Ireland
Is It Too Late
Isnt This Better?
It Feels Like Home
It Hurts to Be Strong
It Might As Well Be
Spring
It Wont Be Long
It Would Have Been
Wonderful
Its a Sign
Its Amazing the Things
That Float
Jimmy
Journey To the Past
Joy
Just Like That
Just Like You
Just Not Now
Kind of Woman
Kindergarten Boyfriend
Kindness
Kiss of the Spider
Woman
Knowing When To
Leave
Lament
Show
Legally Blonde
Composer
Lawrence OKeefe
Clark Gesner
!246
Modern dramatic
ballad
Modern dramatic
ballad
Modern dramatic
ingnue disclosure
ballad
Modern romantic
1930s beguine
Golden Age comedic
patter
Soprano/Mix
Mix
Soprano
Title
Lonely Pew
Show
Reefer Madness
Chaplin
Look At Me
The Bridges of
Madison County
Look at Me
Violet
Look At Me Now
Loose Ends
The Witches of
Eastwick
Death Takes a
Holiday
City of Angels
Losing Roberto
Lost and Found
Love Is Not All
Love Quiz
Lovely Lies
Lovesick
Lying There
Composer
Dan Studney
Comments
Modern comedic
Country ballad
Christopher Curtis Modern dramatic
ballad
Jason Robert Brown Contemporary legit.
dramatic moving
ballad
Jeanine Tesori
Modern dramatic
moving ballad
Andrew Lippa
Modern dramatic
uptempo
Dana Rowe
Modern dramatic
ballad
Maury Yeston
Contemporary legit.
dramatic ballad
Cy Coleman
Modern romantic jazz
ballad
Jeff Blumenkrantz Contemporary Art
song ballad
Voice Type
Mix/Belt
Source
P/C Score
Soprano/Mix
Vocal Selections
Soprano
Vocal Selections
Mix/belt
Vocal Selections
Belt
Vocal Selections
Mix/Belt
Vocal Selections
Soprano
Vocal Selections
Belt
Vocal Selections
Soprano/Mix
John Bucchino
Mix/Belt
The Jeff
Blumenkrantz
Songbook Vol. 1
Vocal Selections
Mix/Belt
Composer website
Belt
Vocal Selections
Jeff Blumenkrantz
Women on the
Verge of a
Nervous
Breakdown
Edges
David Yazbek
Modern romantic
moving ballad
Modern dramatic
ballad
Modern dramatic
uptempo
Modern dramatic
Mix/Belt
disclosure ballad
Modern dramatic pop Belt
uptempo
newmusicaltheatre.c
om
Ahrens and Flaherty
Songbook
Copacabana
Barry Manilow
Belt
Vocal Selections
Andrew Lippa
Mix/Belt
Vocal Selections
Carnival
Bob Merrill
Soprano
Vocal Selections
Miss Byrd
David Shire
Soprano/Mix
Vocal Selections
Frank Wildhorn
Mix/Belt
Vocal Selections
Hello Again
Michael John
LaChiusa
Soprano/Mix
Model Behavior
Women on the
Verge of a
Nervous
Breakdown
Shrek
David Yazbek
Modern dramatic
1930s disclosure
uptempo
Modern dramatic
disclosure ballad
Golden Age ingnue
disclosure ballad
70s and 80s comedic
disclosure uptempo
Modern dramatic
disclosure ballad
Contemporary legit.
dramatic disclosure
uptempo
Modern comedic
patter
Belt
Vocal Selections
Individual sheet
from musicnotes
Cy Coleman
Modern dramatic
Mix
ingnue disclosure
ballad
Modern Romantic
Belt
Jazz disclosure ballad
Once on This
Island
Jeanine Tesori
!247
Vocal Selections
Title
Show
My Book
Composer
Jeff Blumenkrantz
Brigadoon
Frederick Loewe
The Act
John Kander
My True Love
Phantom
Maury Yeston
My Unknown Someone
Cy Coleman
Namely You
Lil Abner
Gene De Paul
Never Again
King David
Alan Menken
Edward Kleban
Cy Coleman
Nobodys Side
Chess
Benny Andersson
and Bjrn Ulvaeus
Andrew Lloyd
Webber
Benj Pasek and
Justin Paul
Dave Stewart and
Glen Ballard
Mike Stoller
Jerry Bock
Old Friend
I'm Getting My
Act Together and
Taking It On the
Road
Violet
Nancy Ford
On My Way
Dogfight
Ghost
People in the
Picture
Cy Coleman
Jeanine Tesori
On My Way To You
Michel Legrand
Once I Was
Anastasia, film
Stephen Flaherty
Brooklyn
Mark Schoenfeld
!248
Comments
Contemporary Art
song comedic
uptempo
Modern dramatic
disclosure ballad
Voice Type
Soprano/Mix
Mix/Belt
Source
The Jeff
Blumenkrantz
Songbook Vol. 1
The Contemporary
Singing Actor,
Women Vol. 1
Bernstein on
Broadway
Vocal Selections
Soprano/Mix
Soprano/Mix
Vocal Selections
Soprano
Soprano/Mix
Soprano
Vocal Selections
Mix
Mix/Belt
Alan Menken
Songbook
Vocal Selections
Belt
Vocal Selections
Belt
Vocal Selections
Mix/Belt
Vocal Selections
Soprano/Mix
Vocal Selections
Soprano/Mix
Mix
newmusicaltheatre.c
om
Vocal Selections
Mix/Belt
Vocal Selections
Mix
Vocal Selections
Mix
Vocal Selections
Modern ingnue
disclosure uptempo
Modern dramatic pop
ballad
Contemporary legit.
Art song ballad
Modern dramatic
ballad
Modern dramatic
ingnue pop
disclosure ballad
Mix/Belt
Vocal Selections
Soprano
musicnotes.com
Soprano
Soprano/Mix
Mix
Mix
Title
One Life to Live
One Perfect Moment
One Step Ahead of
Goodbye
One White Dress
Only One
Ooh, My Feet
Out of Sight, Out of
Mind
Out of the Blue
Painting Her Portrait
Passover
Patience
Patterns
Perfect
Perfect
Peter, Peter
Please, Lets Not Even
Say Hello
Poor Monty
Pretty Funny
Princess
Pulled
Raining
Raise the Roof
Raven
Ready to Settle
Red Shoes Blues
Show
Lady in the Dark
Composer
Kurt Weill
Comments
Golden Age dramatic
uptempo
Bring It On
Lin-Manuel Miranda Modern dramatic
and Tom Kitt
ingnue disclosure
ballad
High Fidelity, cut Tom Kitt
Modern dramatic pop
ballad
A Catered Affair John Bucchino
Modern dramatic
ingnue disclosure
charm
Elegies
William Finn
Modern dramatic
story song
The Most Happy Frank Loesser
Golden Age dramatic
Fella
uptempo
A Tale of Two
Jill Santoriello
Modern dramatic
Cities
moving ballad
The Wild Party
Andrew Lippa
Modern dramatic
uptempo
Jane Eyre
Paul Gordon
Contemporary legit.
dramatic ingnue
disclosure ballad
Elegies
William Finn
Modern comedic
uptempo
Illyria
Peter Mills
Modern dramatic
ballad
Baby
David Shire
70s and 80s dramatic
disclosure ballad
High Fidelity, cut Tom Kitt
Modern dramatic
disclosure ballad
Edges
Benj Pasek and
Modern dramatic
Justin Paul
disclosure ballad
Peter Pan
Leonard Bernstein Golden Age ingnue
ballad
December Songs Maury Yeston
Contemporary Art
song ballad
A Gentleman's
Steven Lutvak
Contemporary legit.
Guide to Love and
dramatic waltz
Murder
Dogfight
Benj Pasek and
Modern dramatic
Justin Paul
ingnue disclosure
moving ballad
A Man of No
Stephen Flaherty
Modern dramatic
Importance
ingnue moving
ballad
The Addams
Andrew Lippa
Modern dramatic
Family
ingnue disclosure
uptempo
Rocky
Stephen Flaherty
Modern dramatic
ballad
The Wild Party
Andrew Lippa
Modern dramatic
uptempo
Brooklyn
Mark Schoenfeld
Modern dramatic
disclosure ballad
High Fidelity
Tom Kitt
Modern comedic
disclosure ballad
Andrew Lloyd
Andrew Lloyd
Modern dramatic
Webbers The
Webber
comedic uptempo
Wizard of Oz
!249
Voice Type
Belt
Source
P/C Score
Soprano/Mix
Vocal Selections
Mix/Belt
Mix/Belt
Belt
Mix/Belt
Soprano/Mix
Vocal Selections
Mix/Belt
Vocal Selections
Soprano/Mix
Vocal Selections
Belt
Vocal Selections
Soprano/Mix
Soprano/Mix
newmusicaltheatre.c
om
Vocal Selections
Mix/Belt
Composer website
Mix/Belt
newmusicaltheatre.c
om
Leonard Bernstein:
The Song Album
December Songs
folio
Vocal Selections
Soprano
Soprano
Soprano
Soprano/Mix
newmusicaltheatre.c
om
Soprano/Mix
Vocal Selections
Mix/Belt
Vocal Selections
Mix/Belt
Vocal Selections
Mix/Belt
Vocal Selections
Mix
Vocal Selections
Mix/Belt
Vocal Selections
Belt
Andrew Lloyd
Webber Anthology,
revised edition
Title
Reflection
Show
On the Record
Composer
Matthew Wilder
Remember Me
Little Fish
The Wedding
Singer
The Sweet Smell
of Success
First Date
Michael John
LaChiusa
Matthew Skylar
Safer
Say Goodbye
Schroeder
Screw Loose
Second Hand White
Baby Grand
See What I Wanna See
Marvin Hamlisch
Alan Zachary,
Michael Weiner
Piece, the musical Scott Alan
Youre a Good
Man, Charlie
Brown
Cry Baby
Smash, TV show
Gary Geld
David Javerbaum
and Adam
Schlesinger
Marc Shaiman
Michael John
LaChiusa
Mike Stoller
Serenity
In Trousers
William Finn
Shine
James Valcq
Nine to Five
Dolly Parton
Simple Creature
Little Fish
Brownstone
Michael John
LaChiusa
Peter Larson
Sister Act
Sister Act
Alan Menken
Sleepy Man
Robert Waldman
So Far
Robber
Bridegroom
Debbie Does
Dallas
Allegro
So Much Better
Legally Blonde
Lawrence OKeefe
Someday
The Wedding
Singer
Matthew Skylar
Something of My Own
Dessa Rose
Stephen Flaherty
Selective Memory
Jeffrey Stock
Tom Kitt
Richard Rodgers
Alan Menken
David Shire
!250
Comments
Modern ingnue
dramatic disclosure
ballad
Modern dramatic
ballad
Modern comedic pop
disclosure uptempo
Modern dramatic
charm ballad
Modern dramatic pop
moving ballad
Modern dramatic
uptempo
Golden Age comedic
ballad
Voice Type
Mix/Belt
Source
Individual sheet
from musicnotes
Mix/Belt
Mix/Belt
Soprano/Mix
Vocal Selections
Mix/Belt
Vocal Selections
Belt
Composer website
Mix/Belt
Vocal Selections
Modern comedic
disclosure rhythm
ballad
Modern dramatic
ballad
Modern dramatic
uptempo
Modern dramatic
disclosure ballad
Modern dramatic
waltz
70s and 80s dramatic
ballad
Modern dramatic
disclosure ballad
Modern dramatic
uptempo
Modern dramatic
uptempo
70s and 80s romantic
disclosure ballad
Modern dramatic
disclosure ballad
70s and 80s romantic
disclosure ballad
Modern dramatic pop
disclosure uptempo
Golden Age romantic
ballad
Modern dramatic
ingnue disclosure
uptempo
Modern romantic
ingnue disclosure
uptempo
Modern dramatic
ballad
70s and 80s romantic
disclosure ballad
70s and 80s ingnue
disclosure ballad
Belt
P/C score
Mix
musicnotes.com
Belt
Mix/Belt
Mix/Belt
P/C score
Belt
Mix/Belt
Belt, High
Belt
Mix/Belt
Vocal Selections
Mix/Belt
Michael John
LaChiusa Songbook
Individual sheet
from musicnotes
Vocal Selections
Soprano/Mix
P/C score
Mix/Belt
P/C score
Soprano
Vocal Selections
Belt
Vocal Selections
Mix/Belt
Vocal Selections
Mix/Belt
Vocal Selections
Mix/Belt
Vocal Selections
Soprano/Mix
Vocal Selections
Soprano/Mix
Title
Spark of Creation
Comments
Modern dramatic
disclosure uptempo
Speaking French
Lucky Stiff
Stephen Flaherty
Modern comedic
uptempo
Spread a Little Joy
Betty Boop
Andrew Lippa
Modern dramatic
Swing uptempo
Stop and See Me
Weird Romance
Alan Menken
Modern dramatic
disclosure ballad
Stop Time
Big
David Shire
Modern disclosure
ballad
Stranger to the Rain
Children of Eden Stephen Schwartz
Modern dramatic
disclosure moving
ballad
Sunday Light
Alphabet City
Georgia Stitt
Contemporary Art
Cycle
song moving ballad
Suprised
Violet
Jeanine Tesori
Modern dramatic
Country shuffle
Surabaya-Santa
Songs For a New Jason Robert Brown Modern comedic
World
uptempo
Sweet Dreams
Its Only Life
John Bucchino
Contemporary Art
song ballad
Sweet Liberty
Jane Eyre
Paul Gordon
Contemporary legit.
ingnue disclosure
moving ballad
Table Three
Dan Martin
Modern comedic
uptempo
Take Care Of This House 1600 Pennsylvania Leonard Bernstein Golden Age dramatic
Avenue
ballad
Take the Filter Off
Jeff Blumenkrantz Modern comedic
uptempo
Voice Type
Mix/Belt
Little By Little
Brad Ross
Modern dramatic
ballad
Mix/Belt
Tell Me Why
A Man of No
Importance
Urban Myths
Stephen Flaherty
Modern dramatic
ballad
Modern dramatic
ballad
Golden Age comedic
ballad
Modern dramatic
ballad
Modern dramatic
ballad
Golden Age comedic
uptempo
Modern dramatic
rock uptempo
Contemporary legit.
dramatic waltz
Modern dramatic
ingnue disclosure
ballad
Modern comedic
uptempo
Modern comedic
uptempo
Belt
Temporary
Show
Children of Eden
Composer
Stephen Schwartz
John Bucchino
Jim Wise
William Finn
Thatll Never Be Me
Romance in Hard
Times
Now.Here.This
Mary Rodgers
Jane Eyre
Paul Gordon
Little Women
Jason Howland
Jeff Bowen
!251
Mix/Belt
Mix/belt
Source
The Stephen
Schwartz Songbook
Vocal Selections
Mix/Belt
Mix/Belt
Vocal Selections
Mix/Belt
The Stephen
Schwartz Songbook
Soprano/Mix
Composer website
Mix/belt
Vocal Selections
Belt
Vocal Selections
Mix
Mix/Belt
Mix/Belt
Mezzo
Mix/Belt
Mix
Belt
Mix/belt
Mix/Belt
Mix/Belt
P/C score
Belt
Vocal Selections
Soprano
Vocal Selections
Mix/Belt
Vocal Selections
Belt
P/C Score
Belt
Vocal Selections
Title
The Life I Never Led
Show
Sister Act
Composer
Alan Menken
Wild Party
Andrew Lippa
Brigadoon
Frederick Loewe
Keith Hermann
Andrew Lippa
Cy Coleman
Andrew Lippa
John Bucchino
Jeff Blumenkrantz
Baby
David Shire
Alphabet City
Georgia Stitt
Cycle
The Little
Alan Menken
Mermaid
The Glorious Ones Stephen Flaherty
Rupert Holmes
This Moment
John Bucchino
Michael John
LaChiusa
Kim Oler
Jeanine Tesori
Chad Henry
John Kander
This Time
Now.Here.This
Jeff Bowen
Floyd Collins
Adam Guettel
The Other
Franklin
Jeff Blumenkrantz
Jerry Herman
Lucky Stiff
Stephen Flaherty
!252
Comments
Modern dramatic
ingnue disclosure
moving ballad
Modern dramatic
disclosure uptempo
Golden Age dramatic
uptempo
Modern dramatic
ballad
Golden Age
disclosure uptempo
Modern dramatic
disclosure ballad
Modern dramatic
disclosure ballad
Contemporary Art
song comedic
uptempo
Contemporary Art
song ballad
Voice Type
Mix/Belt
Source
Vocal Selections
Mix/Belt
Vocal Selections
Mix/Belt
Vocal Selections
Soprano/Mix
Vocal Selections
Belt
Vocal Selections
Mix/Belt
Vocal Selections
Mix
Vocal Selections
Soprano
Mix
Mix/Belt
The Jeff
Blumenkrantz
Songbook Vol. 1
Vocal Selections
Belt
P/C Score
Soprano/Mix
Composer website
Soprano/Mix
Vocal Selections
Soprano/Mix
Vocal Selections
Mix/Belt
Vocal Selections
Belt
Belt
Mix/Belt
P/C score
Mix/Belt
Vocal Selections
Soprano
Mix/Belt
Soprano/Mix
Vocal Selections
Soprano
The Jeff
Blumenkrantz
Songbook Vol. 1
Vocal Selections
Mix/Belt
Title
To Build a Home
Show
The Bridges of
Madison County
Toll
Tom
Too Much
Too Much in Love To
Care
Too Soon
Tuesdays, Thursdays
Hello Again
Michael John
LaChiusa
Stepping Out-The Denis King
Musical
Sunset Boulevard Andrew Lloyd
Webber
I Can Get It For
Harold Rome
You Wholesale
Far From Heaven Scott Frankel
Unexpressed
Waitin For My Dearie
Waiting for Life
Composer
Comments
Jason Robert Brown Contemporary legit.
dramatic ballad
Jeff Blumenkrantz Contemporary Art
song moving ballad
John Bucchino
Brigadoon
Once on This
Island
Frederick Loewe
Stephen Flaherty
Jeff Blumenkrantz
Wanting
Rags
Charles Strouse
Newsies
Alan Menken
David Shire
Welcome Home
Johnny Guitar
Martin Silvestri
Stephen Schwartz
Cy Coleman
Source
Vocal Selections
Mix
Belt
The Jeff
Blumenkrantz
Songbook Vol. 1
The Michael John
LaChiusa Songbook
P/C score
Soprano
Vocal Selections
Mix/belt
P/C score
Soprano
P/C Score
Mix/Belt
Modern dramatic
disclosure uptempo
Modern dramatic
uptempo
Modern romantic
ingnue ballad
Golden Age dramatic
Torch song
Modern dramatic
ballad
Contemporary Art
song ballad
Mix/Belt
Modern dramatic
ingnue disclosure
uptempo
Contemporary Art
song ballad
Mix/Belt
Modern dramatic
disclosure ballad
Modern dramatic
uptempo
70s and 80s dramatic
march
Modern dramatic
disclosure ballad
Modern dramatic
ballad
Modern dramatic
disclosure uptempo
Modern dramatic
disclosure uptempo
70s and 80s dramatic
pop disclosure ballad
Golden Age dramatic
rhythm ballad
Soprano/Mix
The Jeff
Blumenkrantz
Songbook Vol. 1
Vocal Selections
Belt
Vocal Selections
Mix/Belt
Vocal Selections
Soprano/Mix
Vocal Selections
Mix/Belt
Vocal Selections
Mix/Belt
Soprano/Mix
The Stephen
Schwartz Songbook
Vocal Selections
Belt
Vocal Selections
Mix/Belt
Vocal Selections
Soprano
Vocal Selections
Soprano
Vocal Selections
Mix/Belt
Vocal Selections
Mix/belt
Vocal Selections
Mix
P/C Score
Mix/belt
!253
Voice Type
Soprano
Soprano/Mix
Mix/Belt
Title
When It All Falls Down
Show
Chaplin
Composer
Christopher Curtis
When It Ends
Michael John
LaChiusa
William Finn
William Finn
Stephen Schwartz
Funny Girl
Jule Styne
Death Takes a
Holiday
Maury Yeston
Who Knows?
Harold Rome
Carrie
Michael Gore
Milton Schafer
John Kander
Cy Coleman
With You
Ghost
The Witches of
Eastwick
If/Then
Fade Out-Fade In
Tom Kitt
Jule Styne
A Tale of Two
Jill Santoriello
Cities
Youve Got Possibilities Its a Bird...Its a Charles Strouse
Plane...Its
Superman
Love From a Heart of
How to Succeed in Frank Loesser
Gold
Business...
Comments
Modern dramatic
uptempo
Modern dramatic
ballad
Modern dramatic
ballad
Modern comedic
uptempo
70s and 80s dramatic
ballad
Modern dramatic
uptempo Showtune
70s and 80s dramatic
uptempo
Golden Age dramatic
ballad
Contemporary legit.
ingnue disclosure
ballad
Golden Age romantic
ballad
Modern comedic
uptempo
Golden Age romantic
disclosure ballad
Modern moving
ballad
Golden Age comedic
uptempo
Contemporary legit.
Art song ballad
Modern disclosure
uptempo
Modern dramatic
ballad
Modern romantic
disclosure ballad
Modern comedic
patter
Modern dramatic pop
ballad
Golden Age comedic
Charm song
Contemporary legit.
romantic ballad
Golden Age dramatic
uptempo
Voice Type
Belt
Source
Vocal Selections
Belt
Mix/Belt
Michael John
LaChiusa Songbook
Vocal Selections
Belt
Vocal Selections
Mix/Belt
Belt
The Stephen
Schwartz Songbook
Vocal Selections
Belt
P/C Score
Mix/Belt
Vocal Selections
Soprano/Mix
Vocal Selections
Mix/belt
P/C Score
Belt
Belt
newmusicaltheatre.c
om
Individual sheet
from musicnotes
P/C score
Belt
Vocal Selections
Soprano
Belt
Belt
Vocal Selections
Mix/Belt
Vocal Selections
Mix/Belt
Vocal Selections
Mix/Belt
Vocal Selections
Belt
Vocal Selections
Soprano
Vocal Selections
Belt
Vocal Selections
Soprano
!254
P/C score
!255
Composer
Richard Rodgers
A Man Doesn't
Damn Yankees
Know
A Piece of the
The Life
Action
A Very Single Man Five Course Love
Jerry Ross
Absalom
Stephen Flaherty
Alive
Death Takes a
Holiday
Seussical
Maury Yeston
Amour
Michel Legrand
Janet Hood
Anytime
Elegies
William Finn
As Good As You
Jane Eyre
Paul Gordon
At the Fountain
Sweet Smell of
Success
Marvin Hamlisch
Autumn
Be The Hero
Starting Here,
David Shire
Starting Now
Back Home: The
Christopher Berg
War Brides Musical
Big Fish
Andrew Lippa
Beautiful City
Godspell (Revival)
Stephen Schwartz
Better Than I
Joseph, film
John Bucchino
Edges
Alone in the
Universe
An Ordinary Guy
Back Home
Cy Coleman
Stephen Flaherty
William Finn
Vincent Youmans
Central Park
Michael John
LaChiusa
Maury Yeston
Centuries
Comments
Golden Age romantic
ballad
Contemporary Art song
ballad
Golden Age dramatic
ballad
Modern dramatic pop
uptempo
Modern comedic
uptempo
Modern dramatic folk
ballad
Contemporary legit.
dramatic uptempo
Modern dramatic
disclosure ballad
Modern dramatic
disclosure ballad
Modern dramatic ballad
Voice Type
Baritone
Source
Vocal Selections
Baritone
Baritone
Tenor
Vocal Selections
Baritone
P/C Score
Baritone
P/C Score
Baritone
Vocal Selections
Baritone
Vocal Selections
High Baritone
P/C Score
Tenor
P/C Score
Modern dramatic/
comedic disclosure
uptempo
Modern dramatic
disclosure ballad
Contemporary legit.
dramatic ballad
Modern dramatic
disclosure ballad/
uptempo
70s and 80s dramatic
ballad
Modern dramatic
romantic ballad
Modern dramatic
uptempo
70s and 80s dramatic
ballad
Modern dramatic pop
ballad
Modern disclosure pop
uptempo
Golden Age romantic
ballad
Modern comedic pop
uptempo
Modern comedic
uptempo
Golden Age dramatic
uptempo
Modern dramatic
uptempo
Contemporary legit.
dramatic moving ballad
High Baritone
Vocal Selections
Tenor
Baritone
High Baritone
Vocal Selections
High Baritone
Vocal Selections
High Baritone
BMI Workshop
songbook
Vocal Selections
!256
High Baritone
Tenor
Tenor
Revised Vocal
Selections
Grateful: The Songs
of John Bucchino
Tenor
Baritone
P/C Score
Tenor
P/C Score
Tenor
Vocal Selections
Baritone
P/C Score
Baritone
P/C Score
High Baritone
Vocal Selections
Title
Charlie's Soliloquy
Show
Kinky Boots
Composer
Cindi Lauper
John Kander
Cold Enough To
Snow
Cold Feets
Alan Menken
Colors Of My Life
Come Back
Dogfight
Comments
Voice Type
Modern dramatic pop
Tenor
ballad
Modern dramatic
Baritone
disclosure ballad
Modern dramatic ballad Baritone
Epiphany
Evenin Star
Evermore Without
You
Extraordinary
Woman in White
Weird Romance
Working
Stephen Schwartz
Favorite Places
Fifty Checks
Ordinary Days
Catch Me If You
Can
Adam Gwon
Marc Shaiman
Big Fish
Andrew Lippa
City of Angels
Dreamer in
Disguise
Dressing Them Up
Carrie
Pippin
Finding Home
Flair
Flight
Floozies
David Shire
Craig Carnelia
Foolish To Think
Claibe Richardson
A Gentleman's
Guide to Love and
Murder
Forest For the Trees The Spitfire Grill
Steven Lutvak
Lawrence O'Keefe
Heathers
James Valcq
Source
Vocal Selections
Vocal Selections
Tenor
Alan Menken
Songbook
Vocal Selections
Tenor
Vocal Selections
Tenor
Tenor
Vocal Selections
Baritone
P/C Score
Baritone
Vocal Selections
Tenor
Vocal Selections
Tenor
Tenor
Tenor
musicnotes.com
Tenor
Vocal Selections
Tenor
The Stephen
Schwartz Songbook
Vocal Selections
Tenor
The Stephen
Schwartz Songbook
Modern dramatic
uptempo
Contemporary Art song
ballad
70s and 80s dramatic
charm
Contemporary Art song
ballad
70s and 80s dramatic
pop uptempo
High Baritone
Vocal Selections
Baritone
Baritone
Vocal Selections
Tenor
Craig Carnelia
Songbook
P/C Score
Contemporary legit.
dramatic waltz
Modern dramatic pop
uptempo
Modern comedic Pop
moving ballad
!257
Baritone with
falsetto
Tenor
Vocal Selections
Vocal Selections
Tenor
P/C Score
Tenor
P/C Score
Title
Goodbye
Guidos Song
Show
Catch Me If You
Can
Nine
Composer
Marc Shaiman
Maury Yeston
Her Voice
Nine to Five
Dolly Parton
Hey, Kid
Highway Miles
If/Then
The Flood
Tom Kitt
Peter Mills
William Finn
How I Am
Little Women
Cindi Lauper
Jeff Blumenkrantz
Jason Howland
Stephen Flaherty
I Am the One
Next to Normal
Tom Kitt
I Cant Recall
A Tale of Two
Cities
Sweet Smell of
Success
Baby
Jill Santoriello
Voice Type
Tenor
Source
Vocal Selections
Baritone
Vocal Selections
High Baritone
Vocal Selections
Baritone
Tenor
Vocal Selections
Baritone
Vocal Selections
Tenor
Tenor
Baritone
Vocal Selections
newmusicaltheatre.c
om
P/C Score
Tenor
Vocal Selections
Baritone
The Jeff
Blumenkrantz
Songbook Vol. 1
Finding Home folio
High Baritone
David Shire
Zanna Dont
Tim Acito
David Shire
I Like Everybody
Starting Here,
Starting Now
Starting Here,
Starting Now
Most Happy Fella
I Once Knew
Edges
I Ran
Little Fish
I Stand Alone
Goya
I Stayed
I Think I Can Play
This Part
A Catered Affair
The Goodbye Girl
John Bucchino
Marvin Hamlisch
Adam Gwon
Comments
Modern dramatic pop
uptempo
70s and 80s dramatic/
comedic uptempo
70s and 80s dramatic
disclosure pop uptempo
Contemporary Art song
uptempo
Modern romantic
moving ballad
Modern comedic
uptempo
Modern dramatic ballad
Modern dramatic pop
disclosure uptempo
Modern dramatic story
song uptempo
Modern dramatic pop
ballad
Contemporary legit. Art
song ballad
Marvin Hamlisch
David Shire
Frank Loesser
Vocal Selections
Ahrens and Flaherty
Songbook
Tenor
Vocal Selections
Baritone
Vocal Selections
High Baritone
Vocal Selections
Tenor
Modern dramatic
disclosure ballad
70s and 80s dramatic
uptempo
70s and 80s dramatic
moving ballad
Golden Age charm
uptempo
Modern dramatic
uptempo
Modern dramatic pop
disclosure uptempo
70s and 80s dramatic
ballad
Modern dramatic patter
Modern dramatic ballad
Tenor
Vocal Selections
(Eb major) P/C (G
major)
P/C Score
Baritone
Vocal Selections
Baritone
Vocal Selections
Tenor
P/C Score
!258
High Baritone
Tenor
Baritone
Baritone
Baritone
Title
I Think I Like Her
Show
Summer of 42
Composer
Comments
David Kirshenbaum Modern romantic
uptempo
I Turned the Corner Thoroughly Modern Jeanine Tesori
Modern dramatic
Millie
disclosure ballad
I Understand
On The Town, cut Leonard Bernstein Golden Age comedic
uptempo
I Want to Fly
The Flight of the
Robert LindseyModern dramatic
Lawnchair Man
Nassif
disclosure ballad
I Was Here
The Glorious Ones Stephen Flaherty
Modern dramatic
disclosure ballad
Id Rather Be
A New Brain
William Finn
Modern
Sailing
Ill Go Home With Brigadoon
Frederick Loewe
Golden Age romantic
Bonnie Jean
uptempo
Im a Mean Ole
The Wiz
Charlie Smalls
70s and 80s comedic
Lion
pop uptempo
Im in Love! Im In The Rothschilds
Jerry Bock
Golden Age comedic
Love
uptempo
Im Not That Smart 25th Annual Putnam William Finn
Contemporary comedic
County Spelling
uptempo
Bee
Ive Got To Find a Carnival
Bob Merrill
Golden Age dramatic
Reason
disclosure ballad
Ive Got Your
Little Me
Cy Coleman
Golden Age romantic
Number
charm uptempo
If Dreams Come
A Tale of Two
Jill Santoriello
Contemporary legit.
True
Cities
dramatic disclosure
ballad
If I Ever Say Im
John Bucchino
Modern romantic ballad
Over You
If I Have To Live
The Bakers Wife
Stephen Schwartz 70s and 80s dramatic
Alone
ballad
If She Really Knew Theyre Playing
Marvin Hamlisch
70s and 80s dramatic
Me
Our Song
ballad
In Love With You
First Date
Alan Zachary,
Modern dramatic/
Michael Weiner
comedic pop uptempo
In the Fire
Scarlet Pimpernel
Frank Wildhorn
Contemporary legit.
dramatic uptempo
In These Skies
Ace
Richard Oberacker Modern dramatic
uptempo
Independence Day
Jeff Blumenkrantz Contemporary Art song
ballad
Voice Type
High Baritone
Source
P/C Score
Tenor
Vocal Selections
Baritone
Bernstein Theatre
Songs: Low Voice
P/C Score
High Baritone
Baritone
Tenor
Baritone
Vocal Selections
Baritone
Vocal Selections
High Baritone
Baritone
Vocal Selections
Baritone
Vocal Selections
High Baritone
Vocal Selections
Baritone
Baritone
Grateful:The Songs
of John Bucchino
Vocal Selections
Baritone
P/C Score
Tenor
Vocal Selections
High Baritone
Vocal Selections
Baritone
Gentlemen Prefer
Blondes
Doonesbury
Elizabeth Swados
My Favorite Year
Alan Menken
Infinite Joy
Issue In Question
Elegies
Triumph of Love
The Bridges of
Madison County
It Took Me a While John and Jen
!259
Tenor
P/C Score
Tenor
Alan Menken
Songbook
Title
Last Time I Came
To Memphis
Laura, Laura
Le Grand Boom
Boom
Learning To Let Go
Violet
Show
Composer
Jeanine Tesori
High Fidelity
Little Me
Tom Kitt
Cy Coleman
Janet Hood
Let It Sing
Little Fish
Little Fish
Live in Living
Color
Look For Small
Pleasures
Look In My Eyes
Catch Me If You
Can
Ben Franklin in
Paris
Michael John
LaChiusa
Marc Shaiman
Jeanine Tesori
Mark Sandrich, Jr
Craig Carnelia
Maury Yeston
Mark Schoenfeld,
Barri McPherson
Stephen Flaherty
Brooklyn
Frank Loesser
Lucky
Lucky Stiff
Marta
Maybe We Just
Made Love
Melisande
Stephen Flaherty
Harvey Schmidt
Memphis Lives In
Me
My Book
Memphis
David Bryan
My Dogs
My Rules/Elliot
Garfield Grant
My Thing
Elegies
The Goodbye Girl
William Finn
Marvin Hamlisch
Marty Fernandi
Need To Know
Weird Romance
Alan Menken
Jeff Blumenkrantz
The Mystery of
Edwin Drood
Never Will I Marry Greenwillow
Rupert Holmes
New Words
In the Beginning
Maury Yeston
Not Afraid
On Lexington &
52nd Street
On My Bedside
Table
Easter Rising
Smash, TV show
Michael Arden
Marc Shaiman
John Bucchino
Frank Loesser
Comments
Modern dramatic Rock
uptempo
Modern romantic ballad
Golden Age comedic
uptempo
Modern dramatic pop
ballad
Voice Type
Tenor
Source
Vocal Selections
High Baritone
Baritone
Vocal Selections
Vocal Selections
Tenor
P/C Score
Tenor
Vocal Selections
Baritone
Tenor
Baritone
Vocal Selections
Baritone
Baritone
Craig Carnelia
Songbook
The Maury Yeston
Songbook
Vocal Selections
Tenor
Baritone
Tenor
!260
High Baritone
Baritone
Baritone
Baritone
Tenor
High Baritone
Tenor
Vocal Selections
Tenor
The Jeff
Bluemenkrantz
Songbook Vol. 1
Vocal Selections
Vocal Selections
Baritone
High Baritone
BMI Workshop
songbook
Vocal Selections
Tenor
Vocal Selections
Baritone
musicnotes.com
Baritone
Tenor
High Baritone
Baritone
Vocal Selections
Title
Once In a Lifetime
One Of The Good
Guys
One Second and a
Million Miles
Only With You
Out There
Show
Stop the World (I
Want to Get Off)
Closer Than Ever
The Bridges of
Madison County
Nine
Composer
Leslie Bricusse,
Anthony Newley
David Shire
Comments
Golden Age dramatic
ballad
70s and 80s dramatic
ballad
Jason Robert Brown Contemporary legit.
dramatic moving ballad
Maury Yeston
70s and 80s comedic
disclosure uptempo
Alan Menken
Modern dramatic
disclosure ballad
Benj Pasek and
Modern dramatic ballad
Justin Paul
Leonard Bernstein Golden Age comedic
uptempo
Steven Lutvak
Contemporary legit.
Part Of A Painting
The Hunchback of
Notre Dame
Edges
Wonderful Town
Poison In My
Pocket
Private Property
A Gentleman's
Guide to Love and
Murder
Giant
Proud Lady
Michael John
LaChiusa
Stephen Schwartz
Alladin
Alan Menken
Frank Wildhorn
Right Before My
Eyes
Robertos Eyes
Lestat
Elton John
Death Takes a
Holiday
See Rock City and
Other Destinations
Lestat
Maury Yeston
Rock City
Sail Me Away
Sailing On
Brad Alexander
Elton John
Alan Menken
Newsies
Alan Menken
Sarah
Seeing You There
Frank Wildhorn
Adam Gwon
Seena
1600 Pennsylvania
Avenue
See What I Wanna
See
Kiss of the Spider
Woman
Hercules, cut
Leonard Bernstein
A Gentleman's
Guide to Love and
Murder
Allegro
Steven Lutvak
She's a Woman
Shooting Star
Sibella
So Far
So You Wanted to
Meet the Wizard
Someone To Fall
Back On
The Wiz
Source
sheetmusicplus.com
High Baritone
Vocal Selections
Baritone
Vocal Selections
Baritone
Vocal Selections
Baritone
Vocal Selections
Tenor
Baritone
Tenor
Bernstein Theatre
Songs: Low Voice
Vocal Selections
comedic waltz
Santa Fe
She Looked at Me
Voice Type
Baritone
Michael John
LaChiusa
John Kander
Alan Menken
Modern dramatic
uptempo
70s and 80s romantic
uptempo
Modern dramatic
disclosure ballad
Modern dramatic rock
uptempo
Modern romantic pop
ballad
Contemporary legit.
dramatic moving ballad
Modern dramatic pop
uptempo
Modern dramatic pop
ballad
70s and 80s dramatic
moving ballad
Modern dramatic pop
disclosure ballad
Tenor
Tenor
Tenor
Tenor
Richard Rodgers
Tenor
Tenor
P/C Score
Tenor
Tenor
P/C Score
Tenor
Alan Menken
Songbook
Vocal Selections
(published earlier in
a Baritone key)
Vocal Selections
Tenor
Baritone
Tenor
Tenor
Tenor
!261
Bernstein Theatre
Songs: Low Voice
The Michael John
Lachiusa Songbook
Kiss of the Spider
Woman
Alan Menken
Songbook
Vocal Selections
Vocal Selections
Vocal Selections
The Jason Robert
Brown Collection
Title
Something About
You
Something From a
Dream
Soul of a Man
Show
Altar Boyz
The Bridges of
Madison County
Kinky Boots
Souvenir
Sparklejollytwinkle- Elf
jingley
Step One
Kinky Boots
Stop! Wait! What?! A Gentleman's
Guide to Love and
Murder
Stranger
Big Fish
Taking the Wheel
Temporarily Lost
Thank God Shes
Blind
That's Show Biz
The Bridges of
Madison County
Toxic Avenger
Composer
Gary Adler
Comments
Modern dramatic/
comedic ballad
Jason Robert Brown Contemporary legit.
dramatic pop uptempo
Cindi Lauper
Modern dramatic pop
moving ballad
Ricky Ian Gordon Contemporary legit. Art
song ballad
Matthew Sklar
Modern comedic charm
Voice Type
Tenor
Source
Vocal Selections
Tenor
Vocal Selections
Tenor
Vocal Selections
Tenor
Tenor
A Horse With
Wings folio
Vocal Selections
Cindi Lauper
Tenor
Vocal Selections
Steven Lutvak
Contemporary legit.
dramatic patter song
Tenor
Vocal Selections
Tenor
Vocal Selections
Tenor
Baritone
Tenor
Vocal Selections
Andrew Lippa
Modern dramatic
moving ballad
John Bucchino
Modern dramatic pop
uptempo
Jason Robert Brown Contemporary legit.
dramatic pop ballad
David Bryan
Modern comedic ballad
Michel Legrand
Jeanine Tesori
Jeff Bowen
Vocal Selections
Richard Rodgers
High Baritone
Vocal Selections
Baritone
High Baritone
High Baritone
P/C Score
Tenor
P/C Score
Baritone
Vocal Selections
Tenor
Craig Carnelia
Songbook
High Baritone
Vocal Selections
Tenor
Baritone
newmusicaltheatre.c
om
Vocal Selections
Baritone
Vocal Selections
Tenor
Tenor
Hello Again
The Call
Floyd Collins
Adam Guettel
Frankenstein
Mark Baron
The Genius On
Cleveland Street
The Kid Inside
A Christmas Story
The Kite
Youre a Good
Man, Charlie
Brown
Illyria
Clark Gesner
Chaplin
Christopher Curtis
Peter Alan
Titanic
Maury Yeston
Modern romantic
disclosure uptempo
Modern dramatic
disclosure ballad
70s and 80s dramatic
disclosure ballad
Modern dramatic ballad
Hello Again
Michael John
LaChiusa
Modern romantic
moving ballad
Michael John
LaChiusa
Caroline, or Change Jeanine Tesori
Peter Mills
!262
Title
The Shortest Day of
the Year
The Streets of
Dublin
The World Inside a
Frame
There But For You
Go I
There is a Sucker
Born Evry Minute
This is New
Show
The Boys From
Syracuse
A Man of No
Importance
The Bridges of
Madison County
Brigadoon
Damn Yankees
Barnum
Lady in the Dark
Goya
Unexpressed
Composer
Richard Rodgers
Comments
Musical Comedy
romantic ballad
Stephen Flaherty
Modern dramatic pop
uptempo
Jason Robert Brown Contemporary legit.
dramatic folk ballad
Frederick Loewe
Golden Age romantic
ballad
Cy Coleman
70s and 80s dramatic
uptempo
Kurt Weill
Golden Age romantic
ballad
Jerry Ross
Golden Age comedic
uptempo
Maury Yeston
70s and 80s romantic
ballad
John Bucchino
Modern dramatic ballad
Voice Type
Baritone
Source
Vocal Selections
Tenor
Vocal Selections
Baritone
Vocal Selections
Baritone
Vocal Selections
Tenor
Vocal Selections
Baritone
P/C Score
Baritone
Vocal Selections
Baritone
Cy Coleman
Tenor
Baritone
Vocal Selections
Baritone
newmusicaltheatre.c
om
Vocal Selections
The Life
Wanting Things
Baritone
We Can Talk To
Each Other
Well Have
Tomorrow
Welcome To the
World
What Am I Doing?
Starting Here,
Starting Now
Little Shop of
Horrors, cut
A Man of No
Importance
Closer Than Ever
Falsettos
William Finn
If/Then
Tom Kitt
Peter Alan
Elegies
William Finn
Chaplin
Christopher Curtis
Wondering
Yesterday, Today
and Tomorrow
You Can Have the
T.V.
You Dont Need to
Love Me
The Bridges of
Madison County
Alan Menken
Stephen Flaherty
David Shire
Modern dramatic
disclosure ballad
Jason Robert Brown Modern dramatic folk
ballad
Summer of 42
!263
Tenor
Baritone
Baritone
Alan Menken
Songbook
Vocal Selections
P/C Score
The William Finn
Songbook
Vocal Selections
Vocal Selections
Vocal Selections
Baritone
Vocal Selections
Baritone
Vocal Selections
Tenor
P/C Score
Tenor
Baritone
The Stephen
Schwartz Songbook
Vocal Selections
Baritone
Vocal Selections
Baritone
Craig Carnelia
Songbook
Vocal Selections
Tenor
Title
You Gotta Die
Sometime
You Never Know
Show
Falsettos
If/Then
Composer
William Finn
Comments
Modern dramatic
uptempo
Tom Kitt
Modern romantic pop
ballad
David Bryan
Modern dramatic
disclosure uptempo
Jeanine Tesori
Modern romantic pop
waltz
Jason Robert Brown Contemporary legit.
dramatic pop uptempo
Maury Yeston
70s and 80s dramatic
ballad
!
!
leslie bricusse songs
!
!264
Voice Type
Baritone
Source
Vocal Selections
Tenor
Vocal Selections
Tenor
Vocal Selections
High Baritone
Vocal Selections
Tenor
Vocal Selections
Tenor
P/C Score
Chapter 24
Sondheim
!
.
"To make art sound effortless, it takes a lot of effort. " Stephen Sondheim in Six on Sondheim
"Stephen Sondheim is a classical composer who happens to write musicals, which explains why
the center of gravity in his scores is so elevated." Ethan Mordden in On Sondheim: An
Opinionated Guide.
Most everyone I know working in theatre today looks at Stephen Sondheim's oeuvre with a high
degree of admiration, respect, love and awe. We are an opinionated lot who rarely agree. But I
know of no Sondheim haters. I fell for the intricacy and theatricality of Sweeney Todd and
Sunday in the Park as a young man while watching the VHS tapes of the Broadway productions.
I was fortunate to see the original company of Into The Woods in my 20s and I was completely
hooked by the integration of score and story. While studying Bach, Beethoven, and Schoenberg
as a graduate student in Music Theory and History at Cincinnati College-Conservatory of
Music, Sondheim's output was the only place where I could discuss the theatre music I loved
without being shamed for being lowbrow. The music and lyrics of Sondheim engaged me on so
many levels, intellectual, emotional, cultural and musical that it became emblematic of what I
understood as the highest artistic achievement possible in my lifetime.
When singing Sondheim, one has to acknowledge that the elephant in the room is the surpassing
brilliance of his music and lyrics. Once that is out of the way, I hope we can we agree to
investigate this song with the same seriousness we would with any other song, but no more. Our
effectiveness as a singing actor will be seriously hampered if we actively worship the songs we
sing. His songs, like any other great theatre song, has an objective that makes telling the story
interesting. There is a beginning, middle and end that must be understood before you can tell the
specific story effectively. The movement away from reverence and awe to one of respect and
curiosity could be the difference between a good student performance and a great professional
one.
capture the spiritual nature of the lyrics, he wrote long, shapely, slow-moving melodies
supported with sturdy hymn-like harmonies. The unity and the single-minded focus of the music
and lyrics in Rodgers and Hammerstein is one of the primary reasons for its durability. The
Rodgers and Hammerstein canon profoundly influenced practically everything after it for at least
30 years or more. Other composers of the so-called Golden Age, especially Frank Loesser, Jule
Styne and Boch/Harnick recognized the quality and unity of their music and lyric and followed
the Rodgers & Hammerstein model religiously.
Sondheim carries the practices of Rodgers into the 50s and beyond by writing music filled with
subtext and inner meaning supporting the lyric. He added another component that became crucial
to most of the theatre songs which came after, even through to today: a complete naturalness to
the way melodies unfold the way they do when spoken. More than any other composer up until
that time, the music reflects the inflection, pace and nuance of natural speech. I cannot think of a
theatre composer since Sondheim where beautiful melody is the goal and primary feature of a
song. Instead, the common practice up until the current day is for melody to aid in the
understandability and comprehension of the lyric. This is not always true in opera and art song.
NEW SECTION
When examining his songs, you will want to look at what the music is communicating, as well as
the lyrics.
What is the music communicating and how does that change in the course of the song?
Look at the Sondheim checklist
Take care to observe all musical indications for tempo and articulation in the score. Do you best
to understand why Sondheim has included them.
Singing Sondheim: Things to Keep in Mind
Melody follows natural inflection. Make it sound like speech. Anyone can whistle.
!
Use both ear and eye to consider the hidden meanings in his music.
!
It's easy to feel intimidated by the reputation of his songs. This is understandable but not helpful
when you have to sing his music. Like every other song, you will need to break the song into
sections and examine them. Look at the melody (what is it saying about the character and
situation), look at the lyrics, look at the story the music is telling.
!
!
!266
I've transposed the vamps to the same key to compare how they are similar.
Sondheim's music excels in relating essential information about character and story. I've chosen
"Moments in the Woods" as a particularly clear example of this. This song begins with the same
music from the previous song, "Any Moment," when the Prince and The Baker's Wife share a
dalliance. She begins the song in the same romantic and dreamy musical/emotional world after
he leaves. As I discuss the song, I'd like for you to notice the ways he gives the actor subtext,
pacing, beat changes and even line readings through his music. I don't know of another composer
who does this as well. It's in your best interest to follow everything on the page, not merely for
the sake of accuracy, but because you may miss something subtle and important if you don't
deliver the music as written.
The pacing and beat changes are given to the actor in the music. "Was that me? Was that him?
Did a prince really kiss me? (pause) And kiss me? (pause) And kiss me? (pause) And did I kiss
him back?" (longer pause). The pauses are there for the Baker's Wife to savor each kiss's
memory. The longer pause, which ends with a high "bell tone" sustained chord drawn from the
opening of "Giants in the Sky," allows her to consider what her action means for her before
asking a series of questions. "Was it wrong? Am I mad? Is that all? Does he miss me? Was he
suddenly getting bored with me?" A caesura gives her time to answer her questions. She must
stop dreaming and resume her quest. "Wake up! Stop dreaming. Stop prancing about the woods."
The introduction ends and the song proper begins by stating her objective. "Back to life, back to
sense, Back to child, back to husband, No one lives in the woods There are vows, there are
ties, There are needs, there are standards, There are shouldnt's and shoulds..." The lyric and
music are unified in helping us understand that the Baker's Wife now understands that she must
change her tactic in order to achieve what she must do. She must turn her back on the
foolishness of wishing for the glamorous life she could share with the Prince.The
accompanimental music which supports each of he Knowing Songs is transformed here by the
directness of her decision to change her thinking. Detached quarter notes echo the music of the
"Into the Woods" quest music of the show's title song. This passage is marked piu mosso (more
motion) and risoluto (resolved).
The pursuit of objective is interrupted by a new musical figure I call "diversion music." (Figure?)
It is lyrical, higher (suggesting dreamy romanticism) and flowing. "Why not both instead?
There's the answer, if you're clever. Have a child for warmth, and a baker for bread, And a prince
for whatever-- (slight lingering to enjoy. Beat. She makes her decision.) Never! It's these woods.
This is brand new music because she is considering something that is a diversion from her initial
plan.
This is followed by a restatement of the "Objective music" and then the "Diversion music." The
first of these is given more rhythmic tension with a syncopated inner voice during "Face the
facts, find the boy, Join the group, stop the giant--just get out of these woods." As she wrestles
with pros and cons of each argument, she is less stable and secure. The bass is less supportstive,
the harmony is more ambiguous and the rhythm flows less during "Just a moment, one peculiar
!267
passing moment."
As she takes the time to fully imagine the life she's contemplating, we return to the romantic
music of the song's beginning. "Oh if life were only moments....etc.
!
!
Song proper.
Back to life. Persue objective
Why not both instead. Diversion music
Face the facts. Back to objective
Just a moment. Diversion again.
If life were made of moments. Middle section. What's the function.
First a witch. Objective. Conclusion.
Conclusion of the chapter. We took the time to breakdown the lyrics and music. We didn't do an
in depth analysis of the music but looked at its function and what it meant. Musical symbolism.
What is the music symbolizing and suggesting?
!!
Give. List of 5 or 6 things to remember when analyzing/ singing Sondheim.
!!
!!
!!
Text about Sondheim Songs divided by voice type but I encourage you to look in both high
voice and low voice for songs as many of these can be sung by both
!
!
!
I've indicated the occurrences of songs appearing in different keys. The Sondheim for Singers
editions offer many non-standard voice assignments by changing keys and genders: "Not a Day
Goes By" and "Children Will Listen" for Tenors and "Send in the Clowns" up a perfect fourth for
soprano. Use discretion when choosing these for auditions as every Sondheim song has
associations and expectations.
He gives line readings. more that any other composer, the way the melody is written corresponds
to the way the line would be read. If you do the melody and the rhythm correctly, you'll do the
proper line reading.
!268
Discuss the issue of integration Sondheim works. Hammerstein had thought to integrate the
songs into the musical with each song advancing the plot as opposed to previous practice. And
sondheim work there is a an integration between music and lyrics that is unprecedented. The
music and lyrics work together in a sophisticated way. The music tells the same story as the
lyrics but in a deeper more subliminal way. This kind of music writing had been evident in
earlier works but achieves the greatest height in Sondheim.
The natural inflections of speech are beautifully reflected in the melodic shape. The descending
7th occurs frequently. I used to wonder why. Anyone can Whistle is a great example, why a
descending 7th and not an octave. It's because if you say the word, "whistle" the spoken voice
descends a 7th naturally. This kind of attention to the natural way speech is shaped is one of the
features that sets him apart.
!
Worst Pies in London does the same thing.
!
Sondheim's 3 principals.
!
Richard Rodgers melodies tell stories and communicate subtle things about the character and
situation. Sondheim does the same thing but add a naturalness to the way the melodies are set so
that it sounds like the way it would be spoken.
Sondheim essentially gives you subtext, pacing, and beat changes in his music. It's in your best
interest to follow everything on the page.
!
!
It's easy to feel intimidated by the reputation of his songs. This is understandable but not helpful
when you have to sing his music. Like every other song, you will need to break the song into
sections and examine them. Look at the melody (what is it saying about the character and
situation), look at the lyrics, look at the story the music is telling.
!
!
Accuracy of pitch, rhythm and all other musical indications is of the utmost importance.
Sondheim essentially gives you subtext, pacing, and beat changes in his music. It's in your best
interest to follow everything on the page.
The relationship between music, lyric, character and situation is highly integrated in Sondheim's
music. Have you taken Sondheim's music (especially the accompaniment in the orchestra) into
your interpretation?
The melody often says a lot about the character and situation. What does the melody in your
song tell us about character and situation?
Is there a clear moment-to-moment train of thought expressed through the lyric?
Are you singing in the appropriate style?
!269
Did the performance have appropriate dynamics, both in actual volume as well as dynamics in
the physical life?
Did you affect your partner?
Did your performance seem lifted from a production of the show?
Here's the plan. I want to make a single point. Singing Sondheim requires all the work we've done before PLUS a understanding of how the music
and the subtext are ONE. he's unique to the extent that the music and the subtext are unified to an extent not seen in other composers. I believe
you have to understand this aspect because if you don't, you're interpretation and Sondheim's music, lyrics, and subtext can play in cross
purposes..
Conventional wisdom says, I just have to do Sondheim exactly as written and all will be well. Well, yes and no. He, more than nearly any other
composer is intentional about every choice-musical and lyrical. Doing what the sheet music tells you to is all well and good but I think that it's
really only great if you can investigate why the choices were made.
!
Analysis of Moments in the woods
!
!
!
INTRODUCTION
!
!
!
!
!
!
Soprano
Song
(Keys are included when they are
published in other keys as well)
Show
AS 1
AS 2 (Soprano/Tenor Duet but can be made into a
solo)
SFS (Soprano)
Dawn
AS 4
SFS (Soprano)
SFS (Soprano)
!270
Song
(Keys are included when they are
published in other keys as well)
Show
The Frogs
SFS (Soprano)
Reds (film)
Sweeney Todd
Happiness
Honey
Passion
Merrily We Roll Along (cut)
SFS (Soprano)
AS 3
SFS (Soprano)
I Remember
Passion
SFS (Soprano)
Saturday Night
SFS (Soprano)
Follies
SFS (Soprano)
Road Show
SFS (Soprano)
Saturday Night
SFS (Soprano)
Follies (cut)
SFS (Soprano)
Follies
SFS (Soprano)
Lovely
Passion
SFS (Soprano)
Move On
No One Is Alone (D-flat major)
SFS (Soprano)
SFS (Soprano), TSMTA 4
Follies
Our Time
Remember?
SFS (Soprano)
Sand
Send In the Clowns (G-flat major)
SFS (Soprano), AS 4
SFS (Soprano)
Saturday Night
Soon
SFS (Soprano)
SFS (Soprano)
Marry Me a Little
!271
Song
(Keys are included when they are
published in other keys as well)
Show
SFS (Soprano), AS 4
I Believe in You
SFS (Soprano), AS 4
Follies
AS 4
SSFT
Saturday Night
SFS (Soprano)
SFS (Soprano)
Mezzo-Soprano
Song
Show
Vocal Score
Follies
TSMTA 3
Saturday Night
Company
Vocal Score
SFS (Mezzo), TSMTA 2
Back In Business
Dick Tracy
SSFT
Company
Follies
SFS (Mezzo)
SFS (Mezzo), TSMTA 1
By The Sea
Sweeney Todd
TSMTA 1
Follies (cut)
SFS (Mezzo)
Vocal Score
SFS (Mezzo), AS 4
SFS (Mezzo), TSMTA 2
SFS (Mezzo)
SFS (Mezzo)
SFS (Mezzo)
SFS (Mezzo),
SSFT
Vocal Score
I Read
Passion
SFS (Mezzo)
Passion
SFS (Mezzo)
Im Still Here
Follies
SFS (Mezzo)
In Buddy's Eyes
Follies
!272
SFS (Mezzo)
SFS (Mezzo), TSMTA 1
Song
Show
Company
SFS (Mezzo)
Last Midnight
Vocal Score
Liaisons
SFS (Mezzo), AS 3
Like It Was
SFS (Mezzo)
Losing My Mind
Follies
Passion
Me and My Town
Vocal Score
SFS (Mezzo)
More
Dick Tracy
Sweeney Todd
Merrily we Roll Along
SFS (Mezzo)
SFS (Mezzo), TSMTA 2
SFS (Mezzo)
SFS (Mezzo)
Saturday Night
Dick Tracy
SFS (Mezzo)
SFS (Mezzo) (C major), SSFT (E-flat
major)
Vocal Score
Company
AS 1
Follies
SFS (Mezzo), AS 4
Sweeney Todd
TSMTA 1
Truly Content
SFS (Mezzo), AS 3
Uptown, Downtown
Marry Me a Little,
Passionella
Follies (cut)
Wait
Sweeney Todd
SFS (Mezzo), AS 3
Saturday Night
Anyone Can Whistle
SFS (Mezzo), AS 2
SFS (Mezzo)
SFS (Mezzo)
SFS (Mezzo)
SFS (Mezzo), TSMTA 3
Tenor
Song
Show
All Aboard!
Anyone Can Whistle (F major)
Beautiful Girls
The Frogs
Anyone Can Whistle
Follies
Comments and
Sources
!273
SFS (Tenor)
SFS (Tenor)
SFS (Tenor), TSMTA 2
Song
Show
Being Alive
Buddys Blues (The God-Why-Dont-You-Love-Me
Blues) (key)
Children Will Listen (C major)
Everybody Says Dont (E-flat major)
Fear No More (G major)
Finishing the Hat
Franklin Shepard, Inc.
Free
Company
Follies
Loveland
Loving You (F major)
Lucy and Jessie
Make the Most of Your Music
Marry Me a Little (D-flat major)
Multitudes of Amys (E-flat major)
No One is Alone (E-flat major)
Not a Day Goes By (F major)
Not While Im Around
Old Friends
Our Time
Sweeney Todd
Sunday in the Park With George
A Little Night Music
Company
Company
Follies (cut)
Sweeney Todd
Follies
I Believe In You
Dick Tracy
Follies
Anyone Can Whistle
Saturday Night
Comments and
Sources
Baritone
Add Hello Little Girl
Song
Show
Saturday Night
Vocal Score
SFS (Baritone)
!274
Song
Show
Ariadne
The Frogs
SFS (Baritone)
Company
SFS (Baritone)
Bring Me My Bride
SFS (Baritone)
SFS (Baritone)
SFS (Baritone)
Sweeney Todd
A Funny Thing Happened on the Way
to the Forum
Anyone Can Whistle
The Frogs
Sweeney Todd
SFS (Baritone)
Little Dream
Live Alone and Like It (E-flat major)
Losing My Mind (D-flat major)
The Birdcage
Dick Tracy
Follies
SSFT
SFS (Baritone), SSFT
SFS (Baritone)
Love's a Bond
Saturday Night
Vocal Score
Passion
SFS (Baritone)
Company
SFS (Baritone),TSMTA 1
Company (cut)
SFS (Baritone)
No More
Passion
SFS (Baritone)
The Thing of It Is
Now
Old Friends (F major)
SFS (Baritone)
SFS (Baritone)
AS 4
Vocal Score
Follies
A Funny Thing Happened on the
Way to the Forum
Sweeney Todd
SFS (Baritone)
!275
SFS (Baritone)
SFS (Baritone)
Song
Show
Silly People
SFS (Baritone), AS 2
Company
SFS (Baritone)
Sorry-Grateful
Talent
Company
Road Show
Follies (cut)
Road Show
The Game
The Right Girl
The Road You Didnt Take
The Worlds Full of Girls
Too Many Mornings
What Can You Lose? (A-flat major)
Road Show
Follies
Follies
Follies (cut)
Follies
Dick Tracy
SFS (Baritone), AS 4
Vocal Selections. Duet in the
show but can be adapted for
solo
Vocal Selections
SFS (Baritone), TSMTA 4
SFS (Baritone), TSMTA 1
AS 4
AS 4
SFS (Baritone)
Marry Me a Little
The Evening Primrose
Anyone Can Whistle
A Little Night Music
!
!
!
!276
AS 2
SSFT (SFS???
SFS (Baritone), TSMTA 5
SFS (Baritone) (F major), AS
1 (G-flat major)
TSMTA 5
Chapter 25
Glossary
Add contemporary art song
Almost in Love song ASK ETHAN IS THERE ANOTHER TERM? Not quite in love song
Active first beat - The physical response to the Moment Before.
Alliteration
Antihero
Appoggiatura - a skip from one chord tone that resolves by step to a chord tone
Assonance
Backbeat - in Pop and Rock, the strongest beats are 2 and 4. This is called the Backbeat.
Backbeat develops out of Ragtime with strong left hand chords on these 2 beats. The Backbeat
in Pop and Rock gives the music a forward momentum and drive.
Ballad - a slow or moderately slow song, often about romantic love or another strong emotion.
Beat (acting term) - The smallest unit of dramatic action with each distinguished by a change of
objective. Each unit of language is organized by the tactic used to achieve an objective.
Bel Canto style - a style of singing characterized by beauty of tone. Legato and evenness across
the registers are trademarks of this style.
Belt
Blue Note - the flattened or lowered 3rd, 5th and 7th scale degrees in Blues and Jazz derived
from African-American Work Songs. Pitches are lowered for expressive purposes.
Book Musical
Breakdown
Buffo
Charm song
Concept Musical
Defining sentence - A concise summation of the song's action you will say to yourself before
you sing.
Diagetic song or diagetic musical. Once, Jersey Boy, Beautiful
Disclosure Song, or Song of Disclosure -A song that allows a character to reveal new or hidden
information to the audience or another character
Dissonance
Enharmonic-a pitch that is equivalent to another note but spelled differently. Bb and A# are
enharmonically the same pitch.
Essence-the gist of a person or character's psychology, manner or personae.
Golden Age
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Great American songbook - The enduring Standards known by most Americans primarily from
the 1920s to the 50s. There are a few songs that share attributes of great American popular songs
written after the 50s that can legitimately be considered a part of this repertoire.
Harmonic Rhythm - The rate at which harmony changes.
I Want Song - see disclosure.
Inciting Event - The event which elicits or causes the beginning of the song to be inevitable.
Indicating, indication. Gestures made by an actor that demonstrate or illustrate what she is
talking about. It's discouraged except in a few special instances. If the image you're speaking of
is complex and needs help in communicating, indication of the image can be considered.
Inner Monologue
Internal rhyme
Legit
Melisma - more than one pitch on a single syllable.
Melodic apex
Melodic motive
Melodic nadir
Mix
Modified song form ABAB
Moment Before
Moving Ballad
Musical Theatre Verse. In Classic American popular songs and musical theatre songs from the
Golden Age to today, the verse begins the song and establishes the context and reason for the
refrain which follows. Musical Theatre verses exist in contrast to a Pop/Rock Verse, which is
repeated between choruses and establishes contrast between the choruses. (see discussion of
verse in Forte p. 36)
Nasality
Neighbor tone - a non-chord tone which steps away from a chord tone and back to a chord tone
Non legato - a type of articulation that is not connected or legato.
Objective - a term used in acting to indicate
Objective Interpretation
Onomatopoeia - bang, flip, honk, pop, smack,whisper, tick tock
Operetta Original Cast Album (OCR) - a recording of the songs from an original musical or revival meant
to document the songs as experienced by the audience.
Other -The person you are speaking to in a song. The other can be yourself by imagining the
you are split into at least two parts. The head could sing to the heart or the brave side
could sing to the cowardly side. See page? for for more.
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Parlando
Passing tone - a non-chord tone which steps between two chord tones
Patter Song Performance practice
Poperetta - a musical that blends stylistic traits of pop or rock music with a lavish, grand
Operatic theatrical style. Andrew Lloyd Webbers Phantom of the Opera is the best example.
Popular ballad Allen Forte page 26
Refrain
Rhyme
Ride-out
Riff (riffing) - An embellishment or improvisation on a pop/rock melody.
Rubato
Situation Song cycle musical. There are good songs to study in this category but they don't make good
audition songs
Song form AABA
Subjective Interpretation -The story of your account of the song as opposed to the Objective
Interpretation.
Super Objective
Swing - A musical style characterized redistributing the values of eighth notes, giving more
length to the first eighth notes in a set of two. It lends a lopping, lilting quality. Swing is a mindset and a way of playing that's cool, sophisticated and urban.
Syncopation
Ternary form
Tessitura-The prevailing range of a melody, within which most of the pitches lie. The tessitura
of a song is not determined by a few isolated pitches of extraordinarily high or low pitch but
instead the part of the voice that is used most consistently.
Tin Pan Alley
Torch Song
Uptempo
Vaudeville ending
Vibrancy
Vocal identity - The qualities that differentiate one singer from another. Distinctive
characteristics like vibrato and tone color are different for every singer.
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Word painting (music came before words prior to 1943 or so, even in the case of Berlin and
Porter)
Contemporary Art song
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Chapter 26
Musical Theatre Song Study and Audition Bibliography
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Alper, Steven M. Next! Auditioning for the Musical Theatre. Portsmith, NH: Heinemann,
1995.
Bell, John and Chicurel, Steven R. Music Theory for Musical Theatre. Plymouth, UK:
Scarecrow Press, 2008.
Brunetti, David. Acting Songs. New York: David Brunetti, 2006.
Caldarone, Marina, and Lloyd-Williams, Maggie. Actions: The Actors Thesaurus. Hollywood:
Drama Publishers, 2004.
Cohen, Darren, and Perilstein, Michael. The Complete Professional Audition. New York: Back
Stage Books, 2005.
Craig, David. A Performer Prepares: A Guide to Song Preparation for Actors, Singers and
Dancers. New York: Applause, 1993.
Craig, David. On Singing Onstage. New York: Applause, 1978.
Deer, Joe and Dal Vera, Rocco. Acting in Musical Theatre: A Comprehensive Course. New
York, Routledge, 2008.
Flom, Jonathan. 25 Secrets to Giving a Fantastic Musical Theatre Audition. Scarecrow Press,
2009
Flom, Jonathan. Get the Callback: The Art of Auditioning for Musical Theatre. Scarecrow
Press, 2009
Kayes, Gillyanne, and Fisher, Jeremy. Successful Singing Auditions. New York, Routledge,
2002.
Kayes, Gillyanne. Singing and the Actor. New York: Theatre Arts, 2004.
Kenrick, John. Musical Theatre: A History. Bloomsbury Academic, 2010
Melton, Joan. Singing in Musical Theatre. New York: Allworth Press, 2007.
Merlin, Joanna. Auditioning: An Actor-Friendly Guide. New York: First Vintage Books, 2001.
Miller, Scott. Strike Up the Band: A New History of Musical Theatre. Heinemann Drama,
2006
Moore, Tracey, and Bergman, Allison. Acting the Song. New York: Allworth Press, 2008.
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Mordden, Ethan. All That Glittered: The Golden Age of Drama on Broadway, 1919-1959. St.
Martins Press, 2007
Mordden, Ethan. Anything Goes: A History of American Musical Theatre. Oxford University
Press, 2013
Oliver, Donald. How to Audition for the Musical Theatre: A Step-by-Step Guide to Effective
Preparation. Lyme, NH: Smith and Kraus, 1995.
Ostrow, Stuart. Thank You Very Much. Hanover, NH: Smith and Kraus, Inc., 2002.
Ostwald, David. Acting for Singers. New York: Oxford University Press, 2005.
Robison, Kevin. The Actor Sings. Portsmith, NH: Heinemann, 2000.
Rutherford, Neil. Musical Theatre Auditions and Casting. Bloomsbury Methuen Drama,
2012
Sanders, Sheri. Rock the AuditionHow To Prepare For and Get Cast in Rock Musicals. Hal
Leonard Corporation, 2011
Silver, Fred. Auditioning for the Musical Theatre. New York: Penguin Book, 1985.
Stempel, Larry. Showtime: A History of the Broadway Musical Theatre. W. W. Norton &
Company, 2010
Suskin, Steven. Showtunes: The Songs, Shows, and Careers of Broadways Major Composers.
New York: Oxford University Press, 2000.
Swayne, Steve. How Sondheim Found His Sound. University of Michigan Press, 2007
Gordon, Joanne. Stephen Sondheim. A Casebook. Routledge, 1999
Gordon, Joanne. Art Isn't Easy: The Theater of Stephen Sondheim. Da Capo Press, 2009.
Horowitz, Mark Eden. Sondheim On Music: Minor Details and Major Decisions. Scarecrow
Press, 2010.
Sondheim, Stephen. Finishing the Hat: Collected Lyrics (1954-1981) with Attendant
Comments, Principles, Heresies, Grudges, Whines and Anecdotes. Knopf: 2010.
Sondheim, Stephen. Look, I Made a Hat: Collected Lyrics (1981-2011) with Attendant
Comments, Amplifications, Dogmas, Harangues, Digressions, Anecdotes and Miscellany.
Knopf, 2011.
Flom, Jonathan. Act Like It's Your Business: Branding and Marketing Stategies for Actors.
Scarecrow Press, 2013.
1) The Broadway Musical a Critical and Musical Survey 2nd EditionJoseph P. Swain
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Tim I dont always agree with the author, but its inspirational how he breaks things down in
music/text/drama term. Its a terrific way to think; a useful point-of-view to develop.
3) Art and Fear Observations on the Perils (and Rewards) of ARTMAKINGDavid Bayles/Ted
Orland
Tim Love this book. It reiterates your Fears; you are not alone! This read makes you stronger,
bolder, and more confident to be the thing you are without judgement.
5) The Empty Space A Book About the Theatre: Deadly, Holy, Rough, ImmediatePeter Brook
Tim Pure inspiration; gives vocabulary to your ever-changing personal aesthetic.
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Acknowledgements
I am indebted to many people for these resources. First, I would be nowhere without the
many writers who have inspired me. David Craig and Steven Suskin and all the writers listed on
the bibliography page have been my teachers. Secondly, I must thank Lara Teeter for the great
joy I have in teaching with him on a daily basis. Im very proud to have such a wonderful life
teaching at Webster University with him. And finally I need to thank Ethan Edwards, a man who
knows more about musicals than I do and has my constant companion.
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!
Give tips on how to practice, what to sing when youre not preparing an audition
!The repertoire suggestions below are just thatsuggestions. In an effort to give some guidance to the
musical theatre voice curriculum, this list was developed by Neal Richardson in cooperation with Lara
Teeter. It is a work in progress. Included in Appendix 1 is a list of song types that every student should
have in their audition book. There are some other lists which follow that might be of some interest.
Todays musical theatre singer is required to successfully sing a wide range of literature and in a
wide variety of styles everyday of their auditioning life. The ability to do this is crucial for their success.
It is our hope that their four years of study in conservatory classes and voice lessons at Webster will give
them the confidence and skill to be able to do this.
Belt technique, mix, rock and roll styles, and a contemporary sensibility are mandatory for every
modern musical theatre performer and we hope that our students can learn these things, to the degree that
they apply themselves, in lessons. It is our belief that singers can only do this healthfully with a strong
vocal technique based in classical literature.
Choosing literature is always a challenge. In the classical music areas, I have given only broad
guidelines. Please use your extensive knowledge and expertise in choosing material. I have been more
specific with musical theatre literature.
The musical theatre anthologies published by Hal Leonard and Alfred are a great starting point
for our students as they contain a wealth of valuable and useful pieces for every voice type. While some
of the songs feel a little tired, we encourage using these books as the core of their study. I am partial to the
Hal Leonard books for their choice of literature and well-edited selections. Please do encourage your
students to invest in books. They will serve them for many years.
Not everything is still in print, however, and some of the most interesting songs have never been
published or are only available in piano/conductor scores. There are places to find this material. We
encourage students to buy books where possible and only obtain photocopies when purchasing the book is
not possible. During their time at Webster, students will begin to work on compiling their audition book.
This collection of songs will contain copies of music and not the actual books. This is just the way it is
done in New York and we try to help the students to create the best audition book for them.
The musical theatre anthologies are just a starting point though. It is important that toward the
end of their training our students reach out beyond these warhorses. Neal has developed resources for the
needs of our students toward that goal. One such resource is a list called Choice Songs found in
Appendix 2. Not all of these pieces are in print and many can only be found in the piano/conductor
scores. I have taken it upon myself to make these pieces easily available to you and our students. Please
let me know if you are interested in them.
The conservatory training at Webster University is well known for its strength as an acting
program. The students graduate with the ability to confidently walk into any kind of audition. This is not
to say that the musical training of our students has not been at the same level. But, sadly through no fault
of the voice faculty, often our students have not always had the same kind of confidence and skill in their
singing and/or the ability to synthesize their acting and singing. Again, I do not believe that this is the
fault of the voice faculty but is instead the result of a lack of strong musical leadership. It has been our
goal in the last few years to change this about our program. This repertoire list is one of the ways we can
address the needs of our graduates. Please call on Neal Richardson as music director of the conservatory
for questions about literature, style and any vocal need your students may have.
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