Excavating the Song: Tools for the Modern Singing Actor
The Ultimate Guide to Musical Theatre Skills and Repertoire
Neal Richardson January 2016
Notes about the text Graphics are rough drafts only and will need a professional.
Table of Contents 1 Introductions 2 Excavating the Song—Introduction to Song Study 3 A Model Excavation 4 Guidelines for Different Song Types 5 Creating Situations For Songs 6 The Post Millennium Style 7 Singing in Musical Theatre Today 8 Musical Theatre Singers of Note 9 Vocal Colors The Musicianship chapter is missing 10 Qualities of a Great Musical Theatre Performance 11 Learning to Riff 12 Cabaret Styles 13 Critical Listening 14 Musical Style Through History 15 Creating a Great Audition Book 16 Making Better Audition Song Choices 17 Song Types and Structure in Modern Cabaret 18 Standards 19 Film Music 20 Gilbert and Sullivan 21 Vaudeville 22 Standard Repertoire 23 Choice Songs 24 Sondheim 25 Glossary 26 Bibliography
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Chapter 1 Introductions Excavating the Song is 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, boo k, 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 you’re a world class singer, 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. 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 Your dancing and a nd acting skills matter a great deal, but your you r ability to sing a song with these attributes is the secret that will help you more than anything. The exercises and activities in Excavating in Excavating the Song were 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. c anon. 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 u s 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 pyramid––as something that a composer and lyricist worked very hard to get ge t 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. clearly. Good songs and especially good theater songs are more than nice tunes. The music assists the lyric by providing a structure that the audienc e can make sense of in the moment.
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These songs deserve, even demand, to be excavated thoroughly 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 cou ld sing well, but when it came time for the song, the character, which had been presented 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 words––music. When a character sings in the middle of a scene, something remarkable happens. The audience is allowed inside the character's mind and heart h eart and we are privy to a life that goes beyond words. Considering the vast numbers of Broadway an d 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, I’ve 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 o ff your best qualities. We all have favorite singers—ones who inspired us and helped us to decide dec ide to follow the dream of musical theatre. Your Your favorites may include Patti LuPone, Idina Menzel, Sutton Foster, Liz Callaway, Callaway, Audra McDonald, Laura Osnes, Norbert Leo Butz, Marc Kudisch, George Hearn, Brian Stokes Mitchell or Jeremy Jordan. These Musical Theatre actors are unquestionably g reat, but why? Is it simply their voices? Their acting skills? 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 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. Y You ou may struggle with what to do with your hands when you sing, finding material that shows y ou 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 o f 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 en gage 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, YouTube, Spotify, or Pandora. You You will get ge t 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 a udition materials and refer to it when you are stuck or in need of o f a bit of inspiration and encouragement. Put it in your audition bag and browse as you’re 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 y ou find great songs that you don’t know yet. No other singer working today has more asked of them than the musical theatre singer. singer. You You are asked to belt, sing legit, sing pop and rock, asked to be funny, asked to dance, and more. You 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 ch aracter.. 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 wa nt 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 Excavating the Song: An Introduction to Song Study ............................... 7 A Model Excavation: “Ev’ry Time We Say Goodbye”............................... 26 Guidelines for Different Song Types ..........................................................39 Creating Situations for Song .......................................................................50 The Post-millennium Style ........................................................................55 Music and the Voice Expectations of Modern Musical Theatre Singers ...................................... Musical Theatre Singers to Know............................................................... Vocal Colors ................................................ ................................................ Qualities of a Great Musical Theatre Performance .................................... Learning Songs ........................................................................................... Music Terms to Know ................................................................................. Learning to Riff........................................................................................... Cabaret Styles ............................................................................................. Critical Listening and Analytical Tools for Song Performance .................. Musical Style through History ................................................................... 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
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 Finian’s 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 ha s 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 I’ve devised is a method of sorting through the many things to be considered when you 8
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 yo u’ve 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 c hoose 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. 1. Write the lyrics in prose form, carefully observing punctuation marks. Song title: Dancing Through Life Composer/Lyricist: Stephen Schwartz Show Title: Wicked
The trouble with school is they always try to teach the wrong lesson. Believe me, I’ve 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 unex amined life’”… Dancing through life, skimming the surface, gliding where turf is smooth. Life’s more painless for the brainless. Why think too hard when it’s 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. It’s just life so keep dancing through… Dancing through life, swaying and sweeping, and always keeping cool. Life is fraughtless when you’re thoughtless. Those who don’t try never look foolish… Dancing through life…Mindless and careless, make sure you’re where less trouble is rife… Woes are fleeting, blows are glancing…when you’re dancing through life… Let’s go down to the Ozdust Ballroom. We’ll meet there later tonight. We can dance till it’s light. Find the prettiest girl…Give ‘er a whirl right on down to the Ozdust Ballroom–Come on follow me, you’ll be happy to be there…Dancing through life, down at the Ozdust, if only because dust is what we come to… Nothing matters but knowing nothing matters. It’s just life so keep dancing through. I’m 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 don’t do this first one, your performance is gu aranteed 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 shouldn’t 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 schoo l 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 schoo l. 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 wee k. Homecoming is this weekend. The idea of not going to the dance is unthinkable. If I don’t, I’ll be a complete failure and my new friends will tease me mercilessly. F. What changes during the song? I’m 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 don’t 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 can’t 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 song’s 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 a bout 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 e ach song and each song continues the story. I'm sure you've seen a performance where nothing h appens dramatically. It's simply not the way songs are meant to function. All novels, short stories, plays and films have an arc—a 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: • • • •
The winning arc The losing arc The “ending up where you started” arc or spiral arc1 The serendipity arc - ending in a place you hadn’t anticipated.
1. Winning Arc A winning arc is the most common shape. The song ends with y our character achieving their objective and getting what they’ve 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 o bstacles 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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Joe Deer Acting in Musical Theatre: A Comprehensive Course
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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.
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: “I’m 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 doe s the middle look like? This concludes the text work for "Dancing Through Life." Let’s move to song with a losing arc. Song title: “I Had a Dream About You” Composer/Lyricist: Maury Yeston’s Show: December Songs (song cycle) 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 I’ve been in. It was a dream I don’t need to explain. We’re in the car and we’re driving in Maine. It’s so incredibly beautiful I don’t know where to begin. We’re driving into the night and from a magical height we see two orange moons, they’re 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 we re together again, an old familiar pair. It was the kind of a dream so absolutely convincing you be lieve you’re there. The open road and the dotted white 15
lines, the crispy smell in the air of the pines, the overwhelming sensation you’re up and awake everywhere… And when we look in the sky, they’re getting higher and higher, those two orange moons. There’s one for you and for me and, impossibly, both of them gleam. And I am holding your hand for eternity and you’re 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 dream…It was only a dream…It was only a dream…I had a dream about you but, of course, it was only a dream. Objective interpretation: What are the facts of the song? The song is about a women relating a dream to her former partner. It starts nicely but by the end, she realizes that this dream is not reality. 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. I’m 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? It’s 11:00 AM after seeing my therapist. Where are you? We’ve run into each other unexpectedly at the restaurant we had our first date. It’s like it was ordained by the stars! Why do you need to say these words? The stronger the need, the better. I’ve 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. I’ve been trying to figure out what the two moons in the song mean. When I see him, I can’t help myself. I’m so happy and without thinking about the wisdom of it, I start telling him my dream. What changes during the song? It finally hits me for the first time that there is no chanc e for us. I see from his reaction, that he wants desperately to leave. As I tell him the dream, I can see how uncomfortable he is. The meaning of “of course, it was only a dream” changes during the song. The first time I say it, I’m 16
trying to make fun of myself and make light of the fact that I’m “in my head” again. By the end of the song, it’s as if I’m waking from the dream of us ever being together. What do you want? What will happen if you don’t get it? I’m 28. I’m 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. I’ve placed everything, my hope for security, my dreams for a house and financial security on him. If I don’t win Giorgio back, and this is my last chanc e, I will work in the bookstore all my life and never fulfill my dreams of becoming a writer. Why sing this song now? We are here together unexpectedly and must tell him how I feel quickly because I have to get back to the store. 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.
Breaking Down a Song Into Beats No word used in the theatre has a more confusing and conflicting usage than the word, beat . I won't try to sort out the differing definitions but I will tell you what I mean when I use it in relation to songs. Beats are the smallest unit of dramatic a ction with each distinguished by a change of objective. The objectives or actions are performed on and grounded in the partner. The objectives for each beat work together to form the super-objective for the whole song. Everything we do can be understood as being driven by one of these super objectives: Power Love Validation Happiness Survival Francine’s super-objective is happiness. Here is “I Had a Dream About You” in beats and actions.
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Lyric
Action
We’re driving into the night and from a magical height we see two orange moons, they’re 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.
The second A section has the same accompaniment. The dream gets stranger with the image of two moons but it concludes with a kiss. I seduce him with this exotic story in order to charm him and get him to kiss me. In the dream he kisses me but in actuality, he does not. I am unsuccessful .
Oh, I remember two orange moons rise in the sky to sound of loons and you were there, my dream.
The accompaniment changes in the B section. I worry that I am losing his attention so I pulls him by reminding him that this is a magical dream with two moons. One represents me and the other represents him. I am successful in the objective which gives me strength, propelling the song to a higher key.
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 you’re there. The open road and the dotted white lines, the crispy smell in the air of the pines, the overwhelming sensation you’re up and awake everywhere… And when we look in the sky, they’re getting higher and higher, those two orange moons. There’s one for you and for me and, impossibly, both of them gleam. And I am holding your hand for eternity and you’re beginning to say that you love me.
The accompaniment returns to the ideas at the beginning but the key change intensifies the situation. My objective is to encourage him to kiss me and tell me that he will love me forever. I am unsuccessful .
If only it really had happened, if only it all really happened. I had a dream about you but, of course it was only a dream…It was only a dream…It was only a dream…I had a dream about you but, of course, it was only a dream.
New musical material. I realizes for the first time that we will never be together and this is less of a dream and more of a nightmare. I punish myself for being such a fool.The repeated “It was only a dream” is me waking up to the reality of a doomed relationship. This is not what I expected. I realize that I will never get what I want from him. She is unsuccessful .
Avoiding Traps
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Every song has a trap—something that must be avoided when you rehearse the song so that it is successful. The key to avoiding traps is to answer this q uestion: 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 doesn’t 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 the atrical 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 h igh 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 b ody 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
Hurting verbs
Reaching verbs
Gathering verbs
to uplift
to destroy
to share
to invite
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to build
to crush
to open
to welcome
to excite
to bombard
to push
to seduce
to support
to mock
to reassure
to pull
to overwhelm
to annihilate
to encourage
to caress
to celebrate
to belittle
to convince
to charm
to paint
to punish
to overwhelm
to prepare
to suppress
to inspire
Use a thesaurus to help you find others. Actions: The Actor’s 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, yourother . 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 e motional 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. Graph of “I Had a Dream About You”
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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.
Somewhere over the rainbow, way up high (To pull) There's a land that I heard of once in a lullaby Somewhere over the rainbow, skies are blue (To crush ) And the dreams that you dare to dream really do come true. Someday I'll wish upon a star and wake up where the clouds are far behind me (To caress) Where troubles melt like lemon drops away above the chimney tops, That's where you'll find me Somewhere over the rainbow, bluebirds fly (To uplift) Birds fly over the rainbow, why then, oh, why can't I? If happy little bluebirds fly beyond the rainbow, (To celebrate) Why, oh why can't I?
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 can’t 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 you’ve 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, it’s 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. Don’t 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 involvemen t. This is not a verbal exercise, it is 22
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 don’t 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. It’s 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. It’s likely that they will be stronger now.
The Moment Before I’ve 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 Event2 (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 she’s distracted. She sees Giorgio. She’s 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 you’ll 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 you’ve 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 don’t always look at the person we’re 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. “You’re 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. I’m going away on a work assignment for 9 months and we won’t 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 I’m gone. Suggested actions: to reassure, to paint, to caress, to pull, to uplift. Situation #2. My wife has given me hints that she’s 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 ce lebrate, to open, to pull. Situation #3. My fiancé 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. “Love is Here to Stay” The more I read the papers the less I comprehend (Action 1) The world with all its capers and how it all will end. Nothing seems to be lasting. But that isn't our affair; 24
We've got something permanent, I mean in the way we care. It's very clear our love is here to stay; (Action 2) Not for a year but ever and a day. The radio and the telephone and the movies that we know (Action 3) May just be passing fancies, and in time may go. But, oh my dear, our love is here to stay; (Action 4) Together we're going a long, long way. In time the Rockies may crumble, Gibraltar may tumble, (Action 5) They're only made of clay, but our love is here to stay. 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?
Conclusion 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 a s 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 excavation—the 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 25
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 unde rstanding 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. Initial Questions for Lyric Analysis 1. What are your first impressions of the lyric? What does it say to you and does it touch on your personal experience somehow? 2. What is the story of the song? Can you relate the story in a couple of sentences or less? 3. After writing the lyric in prose form in longhand, un derline rhyming words. In what ways are the rhymed words significant? Discover the more difficult to find internal rhymes by speak ing the lyric aloud slowly. 4. Observe the punctuation. How will the punctuation affect your phrasing? 5. Are there any words or images in the lyric that you don’t understand? Look those up. 6. What are the most important images in the lyric? How do they help illustrate and enrich the song? 7. Are there allusions that enrich the story? Initial Questions for Music Analysis 1. Observe the musical indications such as tempo markings, style indications, dynamics, crescendo/decrescendo, etc. How do these things support the song and help to communicate the lyric? Look up any musical terms you do not know. The most common terms are defined in chapter ??. 2. How does the music help to tell the story of your song? Does the music work with the lyric or somehow against the lyric? Critical listening and analytical skills are discussed in c hapter ??. 3. What is the musical form? Initial Interpretative Questions 1. How does this song reflect your personal exp erience? Trust that information and the unique subtext that it provides. While we want to personalize songs such that you, the singer, and your character are united, don't make the character you, yet. The character should be one you have created. I would encourage you, however, to create a character that is similar to you in 27
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 you’re singing to y ourself. 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? What’s 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 “Ev’ry 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 poigna nt 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 28
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 a re 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.
Ev’ry Time We Say Goodbye From Seven Lively Arts Music and Lyrics by Cole Porter
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 Context and Situation
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. “Ev’ry Time We Say 29
Goodbye” first appeared in Seven Lively Art s—an interesting musical revue that celebrated the art forms of music, theatre, ballet and painting. The co ntext 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, let’s be creative with the storytelling. Read the lyric carefully. Look for keywords, phrases and allusions. Also look for the song’s 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 exc ellent 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. 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 “Ev’ry Time We Say Goodbye” you may ask, “Why are these two separating?” and “What is the nature of the 30
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 “Ev’ry 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, wh ere possible. Some Possible Situations
Here are a couple of different possibilities for an original situation. 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 family’s 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 singer’s 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 she’s 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 u pset 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 ne gative. 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 one’s 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 sun’ll come up tomorrow/bet your bottom dollar that tomorrow there’ll be sun” and “Look for the silver lining/whene’er a cloud appears in the blue” are two great examples. These songs may seem a little corny but they are great theatre.
Analyzing the Lyric
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. Let’s 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 Why the gods above me / Who must be in the know Think so little of me / They allow you to go
Musical scheme form A A A BB B
When you're near / There's such an air of spring about it C A C 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
DB D E
Ev'ry single time we say goodbye
E Coda 32
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 a bout 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 no t sure which came first. According to at least one source, Porter’s 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
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 “There’s 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.. Digging Deeper into the Refrain
Now that you have a better understanding of the refrain’s structure, you can put your “actor hat” back on. You have answered many of the questions from the Actor’s Homework such as “Who is 33
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 d uring 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 family’s 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. The pertinent details of this situation are: • I need Grace to know that I will return to her after summer break if I can make money at home. • I need Grace to understand that I must earn money this summer or I cannot return to school in the fall. • I know that Grace is very upset with the fact that I am leaving. • I don’t want to fight about this anymore. • I must catch the train. • I have to tell Grace all of these things carefully or I run the risk of leaving on a sour note. • I want Grace to be okay and to understand that I must leave. I need for her to accept this decision. • I need Grace to know that my 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 e ach section to give the song a clear shape.
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Ev'ry time we say goodbye I die a little Ev'ry time we say goodbye I wonder why a little
To Convince. I must convince Grace that I have to leave or I cannot return in the fall. I will use logic. While my action is to persuade, I have to be careful with my words so as not to allow her to interrupt me. I must be firm but gentle. This will likely prompt me to sing this passage with a great deal of legato.
Why the gods above me Who must be in the know Think so little of me They allow you to go
To Tease. I need to bring in a little humor at this point because she is beginning to get upset. I will cry out to the gods about how unfair the situation is and do so in an overly dramatic way to get her to laugh, or at least smile. When I say, “They allow you to go,” I really mean that the gods have created a situation where I have to leave in order to work for my father. I hope that by giving this a heightened tone that she will first understand how hard this is for me and also laugh. This will prompt me to make much of the fact that the tune becomes much more melodic and higher. I will “milk” this in a playful manner.
When you're near There's such an air of spring about it I can hear a lark somewhere Begin to sing about it
To Overwhelm. I will shower her with my affection and the beauty of my words. I want her to know what her presence does to me and how hard it will be for me to be away from her. I need her to know that my love is real and lasting. This will cause me to sing with a great deal of warmth and expression.
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
To Pull. I need to ready her for my departure because the train is here now. I may want to speed up this section a bit because I have to get on the train.
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. Putting your Choices into Action All of the work we have done is only theoretical until we make the song “live” in real time. I will remind you of the pyramid. This initial work has laid the foundation of the pyramid, and now we must build upon it by doing the EXCavATE Monologue work.
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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 can’t 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 you’ve 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, it’s 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. Don’t 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 involvemen t. 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 don’t 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. 36
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
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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Guidelines for Different Types of Songs: The Actor’s Homework 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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The Actor’s Homework: Singing a Song With a New Context and Situation
Write the lyrics in prose form, carefully observing punctuation marks. 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.
• • • • • • • •
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 don’t get it? Why sing this song now, and not yesterday or tomorrow?
Your Created Situation Write a summary of the situation you have created. If you are using the situation from a musical, use the next set of questions , Preparing a Song for a Role 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 a nd the music. Make mention of the song’s 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
Hurting verbs
Reaching verbs
Gathering verbs
to uplift
to destroy
to share
to invite
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Helping verbs
Hurting verbs
Reaching verbs
Gathering verbs
to build
to crush
to open
to welcome
to excite
to bombard
to push
to seduce
to support
to mock
to reassure
to pull
to overwhelm
to annihilate
to encourage
to caress
to celebrate
to belittle
to convince
to charm
to paint
to punish
to overwhelm
to prepare
to suppress
to inspire
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?). Do the EXCavATE Monologue work .
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The Actor’s Homework: Preparing a Song for a Role Talk about Tim OCEL's point. Actors in musical theatre have a second language that they communicate in. Write the lyrics in prose form, carefully observing punctuation marks.
Character Analysis 1. List and briefly describe the significant relationships your character ha s 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? 3. Describe the important details about the location and time period of the events in the musical.
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 song’s formal structure, changes in tempo, changes in style and changes in accompaniment.
Who, What, When, Where & Why • • • • • • • •
Describe your character using clear, definitive statements. Who are you singing to? When is it? Where are you? Why do you need to say these words? What changes during the song? What do you want during the song? What will happen if you don’t get it? Why sing this song now and not yesterday or tomorrow?
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.
The Bigger Picture • What is the arc of your song? • 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 song’s 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 character’s history, story arch and super objective as you think about the moment before. Do the EXCavATE Monologue work .
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The Actor’s Homework: I Am Songs The "Song of Disclosure” and Other Song Types Soliloquy is an I Am song 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 en ables you to tackle nearly every circumstance you will face as a singer. For a general audition o r 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), ‘I’m 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), “I’m Alive” ( Next to Normal ), “Some People” (Gypsy) and “C’est Moi” (Camelot ). Fosse also said that from a director's point of view, there were only three types of theatre songs – • • •
I Am songs – Any song that explains a character, a group of characters, or a situation. I Want songs – These tell us what characters desire, what motivates them. Most love songs fit into this category. New songs – This includes any number that does not fit the other two categories, usually because they serve special dramatic needs4 . I call these Book Numbers as they are woven intrinsically into book's story and plot. Song Types in Musicals
3
The Musical: A Look at the American Musical Theater by Richard Kislan
4
http://www.musicals101.com/1950bway3.htm
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In addition to Fosse's three three song types, I would like to add the the following clarifying designations. Each can function as one o ne of the three primary types while establishing specific boun daries 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 cha racters 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 "We Dance," we aren't told much more than theme. Expository songs can function as "I Am" songs, "The Jet Song" (West (West Side Story), Story), as "I Want" songs, "Belle (reprise)" ( Beauty Beauty and the Beast ), ), or as book numbers, "Six Months Out Of Every Year" Year" Damn (Damn Yankees). Yankees). 2. Songs of romance. Since most shows involve invo lve romantic love as a primary or a secondary plot point, love songs allow an opportunity for the couple to connect romantically. romantically. "One Hand, One Heart" is an example of a romantic song that is also an "I Want" Want" song: "I want to be joined with you forever." forever." Others like "Twin "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 ha ppen in "I Am" songs like "I Can Do That" A ( A Chorus Line) Line) or "Kansas City" (OKLAHOMA! (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 case5) expresses themselves 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 a udience'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 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 o f Act I. "Don't Rain on My Parade" did this same structural adjustment some 40 years earlier. earlier. Because "I Want" and "I Am" songs are about a character sharing important, heretofore undisclosed truths with the audience or anothe r character, I've created the term, "Songs of Disclosure," to indicate both types. By this point, it should be clear how important Songs Song s of Disclosure are to theatrical storytelling and why it's important to learn to do them effectively. 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 d isclosure songs will lead very naturally to the Cabaret wo rk 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 p ersonal experiences to shape your interpretation around. One caveat: please don’t do n’t sing about truly painful feelings or situations too revealing. This will lead to a performance that is too inward looking and uncomfortable to your y our audience. An actor friend of mine mine calls this "picking wounds." Steer 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 con flicting information. But I am not saying that you y ou should only use happy situations for a Disclosure Song. Tears Tears may come from your work and that is not necessarily a bad thing. But Bu t crying during a performance is to be avoided for all the obvious reasons. Tears 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. Le t 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 p erformance 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 c old 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 beau tiful Disclosure song performance by Karen Mason illustrating this point beautifully. beautifully. Youtube: Karen Mason “We Never Ran Out of Love.” How does she handle the emotional complexity of this personal story? You’ll want answer the following questions and do the associated activities reminding yourself to keep the work very personal--so p ersonal--so personal that you’ll want to keep it private. INCLUDE THE SONG TYPE DIAGRAM. DO I MEED A LIST OF MORE I WANT WANT SONGS.
The Actor's Homework: The Song Of Disclosure Write the lyrics in prose form, carefully observing punctuation marks. marks.
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? What do you want to say through the song? What are the traps of the song? Are there ways that the music, accompaniment acco mpaniment or melody, could or should be adjusted to better tell the story you want to tell? 47
Describe the situation.
Who, What, When, Where & Why • • • • • • • •
Who are you singing to? When is it? Where are you? Why do you need to say these words? What changes during the song? What do you want in the song? What will happen if you don’t get it? Why sing this song now and not yesterday or tomorrow? What is the arc of your song?
Describe the three moment before events: before events: seeing the event, taking it in, and responding to it. Do the EXCavATE EXCavATE Monologue work .
Inner Monologue Write an Inner an Inner Monologue that 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. “The Rainbow Connection” by Paul Williams and Kenneth L. Ascher: Ascher: An Example
Here are the thoughts of an actor we will call Reuben. This is a very personal song and one that I have trouble speaking about because it means so much to me. I’ve always been bee n a dreamer. Even as a kid, I imagined doing do ing great things that would make significant changes in the world. I now see this quality as a positive po sitive but it hasn’t always been that way. When I was in my teens and 20s, I didn’t have a sense of direction. Although they never said it, my family and friends thought though t 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 relief—like someone understood me. Now that I’ve 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 be come. These ideas are grand, somewhat magical and an d likely to cause me a great deal of grief. When I was younger, I dreamed about making a living creating c reating 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 48
dreamer. Now that I’m in my 30s, I can take stock of my life and see that I’ve been bee n largely successful in achieving my goals. I feel a sense of accomplishment, pride and humility. humility. My inner monologue will be about ab out my journey to get where I am today. The monologue is a conversation I have with myself as I am checking to see if I’ve reached reache d the goals I set for myself when I was younger. The song asks a lot of questions. “What’s 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 don’t know the answer at the time. The journey of the song is realizing that I have achieved ac hieved my goal and it’s it’s 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 pe rson 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 couldn’t. 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 isn’t a sad song but the wistful lyrics and haunting melody could lead me toward a sad affect. I need to keep kee p 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. 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, playfully, “You’re “You’re 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.
Who, What, When, Where & Why Who are you singing to? Myself. When is it? Friday night at midnight. Where are you? In my bedroom. Why do you need to say these words? I need to understand myself better and to check in to see if I’ve accomplished my goals. • What changes during the song? I realize that I have achieved my goals and I feel relieved and happy as a result. ge t it? I want to understand • What do you want in the song? What will happen if you don’t get myself better be tter.. • • • •
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• Why sing this song now and not yesterday or tomorrow? My friend’s 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 friend’s question and at first I feel a sense of shame. As I think about it, I come to the conclusion that I shouldn’t 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 pa tterns from then until now. Inner Monologue Lyric
Inner Monologue
Action
Why are they’re so many song about rainbows, and what’s what’s on the other side? Rainbows are visions, but only illusions, and rainbows have nothing to hide.
To Build. I’m When I was a kid and thought about the great big building a model of world, it seemed like a the world so I can jumble of people and examine and random events. I want to understand it. I pick understand what it means so up each piece and I can make it better. I want examine it for the people to be happy. magic it contains.
So we’ve be told, and some choose to believe it; I know they’re wrong, wait and see. Someday we’ll find it, the rainbow connection, the lovers, the dreamers and me.
My scout leader said that science was the most important thing—cold, hard facts are what the world is made of. I don’t think he’s right. I don’t know why I think like this but I know there’s more.
To Push. I am resisting the ideas that go against the way I understand the world.
Who said that every wish would be heard and answered when wished on the morning star? Somebody thought of that, and someone believe it; Look what it’s done so far.
Then when I was in college, I came to believe that the scout master was right. I couldn’t allow myself to dream about a better world because that was for religious zealots and crazy people. Realism is the key. key.
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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Lyric
Inner Monologue
Action
What’s so amazing that keeps us starBut am I deceiving myself? To Push. I am gazing and what do we think we might When I stop thinking and pushing against a see? Someday we’ll find it, the rainbow start feeling, I know that system that goes connection, the lovers, the dreamers people and things are against what my heart and me. connected in a way we can’t says. I need to push see. the negative thoughts out of my head. All of us under its spell; we know that it’s probably magic.
And when I think like this, I’m at peace. I feel free. I am energized.
To Celebrate. I have to celebrate because I am at peace and now I’m happy.
Have you been half-asleep and have you heard voices? I’ve heard them calling my name. Is it the sweet sound that calls the young sailors? The voice might be one and the same.
I am going to allow myself to think this way no matter what anyone else says. I have to be true to myself. Am I zealot? Am I crazy? I don’t care.
To Uplift. I will show everyone what I’ve found. I know that it will make a difference in the world.
I’ve heard it too many times to ignore it. It’s something that I’m supposed to be. Someday we’ll find it, the rainbow connection, the lovers, the dreamers and me. La, la, da, da, da, da, de, da, do.
I have to act today. I have to create. I have to find connections with people and things. It’s our only hope.
To Paint. I will paint a new world where things finally make sense.
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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Creating Situations for Songs 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 a n 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 c hanging 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 y ou tell an original story that you have an intimate connection to, you will be better equipped to reveal your full potential and essence. You’ll 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. 5 Characteristics of a Great Situation
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. 1. It has a conflict that drives the action. 2. It has interesting, specific details pertaining to location, even ts and the character's attributes. 3. There is a strong, vivid scene partner ("other") that you connect to. 4. It allows for your character to change. 52
5. It supplies a clear reason for singing. Make sure that these sections are parallel to the 5 characteristics. Conflict drives action Conflict is a crucial component of every good story. Without it, there is no reason for stories to be told. Conflict comes in many different forms. It can be internal or external. It can be grand or intimate. It can be caused by an external life event or an internal change. The conflict could be the emotional distance I feel toward my fiancé that must be bridged before we marry. Or it could result from something intangible missing from my life that I must find or risk living a meaningless existence. It could be that even though I am different from everyone I know, I must remain true to myself. Be aware that conflict does not need to take your song into a negative emotional space. The opportunity to see a character work through problems is one reason why Shakespeare can be so thrilling. His soliloquies and many theatre songs have this in common.
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. Interesting, specific details To quote Stephen Sondheim, “God is in the details6 .” If you know where you are, who you are and what time of day it is, it will be more real to you and easier to perform. If you play the scene remembering that your partner is 12 years old, or has a brain tumor or is going on a long trip, your work will be more specific. Your performance will be different if you know that your character is more heroic than cowardly. You will sing the song differently if the time is 3:00 in the morning as opposed to 3:00 in the afternoon. You will also sing the song differently if you are in a park rather than in your apartment.
6
Finishing the Hat ETC
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It has a strong other Songs are extraordinary moments of connection--between ideas, between people and with ourselves. Choose a partner that will stir your creativity and give you a strong need to connect. This person is the one you are responding too and acting upon. The relationship should have a certain amount of emotional weight and importance. A boss, an ex-spouse, your mother, a potential lover are good examples. A best friend or sibling could also work but only if you supply a strong need for change. I've seen people try to use something like, "I'm hanging out with my best friend at Starbucks and I need to tell them I'm in love." Both the partner and the need are weak. There's nothing out-of-the-ordinary about the average best friend and an objective of "telling" is not active.
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."
Disclosure songs: CHECK EACH OF THESE. MOVE THIS TO THE PREVIOUS CHAPTER. I Could Have Danced All Night 54
The Man I Love Something's Coming Finishing the Hat I Dreamed a Dream On the Steps of the Palace Some People Breathe 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
Graph an image of disclose songs, I want songs, character songs 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 thea trical songs, because they are exceptional, begs for a significant change within characters. Clear reason for singing Because music has a way of elevating the importance of a situation, the stakes will need to be high. If the situation is too prosaic or ordinary, doing something as exceptional as singing is not required. Acting teachers frequently say, “Raise the stakes” because the moment a song, any song, occurs is of great importance, intrinsically.
New Heading Throughout the preceding chapters you have read some situations I have created. Perhaps you are already getting the hang of it. Let’s 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. “I Got the Sun in the Morning” from Annie Get Your Gun Taking stock of what I have and what I haven't What do I find? 55
The things I got will keep me satisfied Checking up on what I have and what I haven't What do I find? A healthy balance on the credit side Got no diamond, got no pearl Still I think I'm a lucky girl I got the sun in the morning and the moon at night Got no mansion, got no yacht Still I'm happy with what I got I got the sun in the morning and the moon at night Sunshine, gives me a lovely day Moonlight, gives me the Milky Way Got no checkbooks, got no banks Still I'd like to express my thanks I got the sun in the morning and the moon at night And with the sun in the morning And the moon in the evening I'm all right What is the song about objectively? It’s about a person declaring their good fortune in life despite not having much of what people might think makes them happy. Who might say these words? This is where things begin to get tough. Be careful to choose someone who can say these words and mean them truthfully. It makes the most sense for your other to be someone who needs to hear these words. Try singing to a family member who is wealthy, someone you love who needs to enjoy the simpler things in life as you do. You are worried about the way their life is going. If you don’t convince him to change his ways, he’ll continue to be a workaholic without deep love.
Or perhaps your other is yourself. You are sad because you fear that you aren’t as successful as you could be. The song affirms that success is measured by many standards and that you don’t need money to be happy. Your “heart” could sing to your “head.” A choice that isn’t as strong is that you are singing to your best friend who has lost his job. If you aren’t 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 brother ’s actions that you fear will lead him to a life without the rewards of love and happiness. Interesting details 56
You’ve invited your brother and his wife over for dinner. You’ve spent most of dinner hearing him brag about how much money he makes even though he doesn’t 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 don’t 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 strong other The other in this situation, your workaholic brother is strong because of contrast between the two of you. He needs to hear these words and you need to say them because you love him and are concerned about what might happen to him. Change happens within the character The change could be in your character because you understand your convictions in a deeper way about what is important in life. In addition, p erhaps you are able to change, if only in a small way, how your brother sees his life in relationship to his work and the pe ople he loves. It has a “Why” This is probably obvious by now but the “Why” is your need to change your brother’s mindset. It’s vitally important because you fear he is headed toward a life of great unhappiness.
What have we learned by creating this particular situation? •It’s important that we understand what the gist of this song is. •It’s important to choose someone who can say these things and mean them truthfully, •Its important to create details that flesh out the story and make it interesting for you, the performer. •It’s important to have conflict. •It’s important to have an other that intensifies the conflict. •It’s important that change happens in the song. •It’s important that there is a strong “Why” that these words are sung in this moment. I’d like to talk about creating a situation that isn’t strong for a song. “I’m Old Fashioned” is a tender, simple song that extolls virtues that are perhaps out of date. I’ve worked with several singers who wanted to make the subtext of this song: “I don’t 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. I’m Old Fashioned I am not such a clever one About the latest fads 57
I admit I was never one Adored by local lads Not that I ever try to be a saint Im the type that they classify as quaint I’m old fashioned I love the moonlight I love the old fashioned things The sound of rain Upon a window pane The starry song that April sings This years fancies Are passing fancies But sighing sighs holding hands These my heart understands I’m old fashioned But I don't mind it That's how I want to be As long as you agree To stay old fashioned with me.
Conclusion
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. It’s about loving the things that make us special. Maybe you’re singing to someone who feels that they aren’t 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 it’s 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 that’s not from a full production of a musical. I suggest Liz Callaways’s 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 d o 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 abo ut 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 v ariety 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. 61
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. Vocal considerations are akin to acting considerations--casually natural qualities predominate. For me, this means both male and female should be largely in a mix characterized by an ease and uniformity between low and high. Parlando singing that is closely connected to speech will help achieve the desired vocal colors. A beautiful, pure head voice is a distraction as it will communicate an "I'm singing now" quality. Belt is acceptable and even required at times, but only if the moment justifies it. If you belt without justification it also communicates: "listen to my voice." 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 wo rld 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 62
Lucie Silvas and Michael Busbee he's as real pop guy Andrew McMahon
Post-millennium Composers Aaron Jafferis and Ian Williams
www.aaronjafferis.com
Adam Gwon
www.adamgwon.com/
Adam Wachter Adam Wagner
www.adamjwagner.com
Alexander Sage Oyen Anthony King
www.theanthonyking.com
Barbara Anselmi Benj Pasek and Justin Paul
www.pasekandpaul.com/
Beth Blatt Bobby Cronin
bobbycronin.com/
Brad Alexander
www.bradalexander.com/
Brad Ross Brett Macias
www.reverbnation.com/brettmacias
Carmel Dean Carner & Gregor Charles Bloom
www.charlesbloomusic.com/
Chris Dimond and Michael Kooman Chris Miller and Nathan Tysen www.millerandtysen.com Daniel Green
www.danielgreenmusic.com/
Danny Larsen Dave Malloy David A Austin David Dabbon
www.dabbonbruett.com/
David Kirshenbaum
davidkirshenbaum.com
Deborah Abramson
www.deborahabramson.com
Drew Fornarola
www.drewfornarola.com
Drew Gasparini Eli Bolin
elibolin.net/ 63
Gaby Alter
gabyalter.com/
Georgia Stitt
www.georgiastitt.com
J Oconer Navarro
http://www.joconernavarro.com
Jack Aaronson
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 Jonathan Reid Gealt
www.jeremyschonfeld.com/ www.mrjoeiconis.com www.jonathan-reid-gealt.com/
Joseph and David Zellnik Joshua Salzman and Ryan Cunningham
www.salzmanandcunningham.com/
Joy Son Julianne Wick Davis Kait Kerrigan and Brian Lowdermilk
kerrigan-lowdermilk.com
Kirsten Guenther Lewis Flinn Mark Allen
www.markallenmusic.com/
Matt Gould Michael Arden
www.michaelarden.net
Michael Friedman Michael Mahler
www.michaelmahler.com/
Michael Patrick Walker Mike Pettry
www.mikepettry.com/
Mindi Dickstein Neil Bartram and Brian Hill
www.bartramandhill.com
Nick Blaemire
www.jamesandnick.com/
Niko Tsakalakos
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Paul Fujimoto Paul Gordon Peter Hilliard and Matt Boresi
hilliardandboresi.com/
Peter Mills Rob Baumgartner
robbaumgartner.com/
Rob Hartmann
robhartmann.com
Rob Rokicki Robert Bartley and Danny Whitman Ryan Scott Oliver
bartleywhitman.com/ www.ryanscottoliver.com
Sam Davis Sam Willmott
www.samwillmott.com
Scott Alan
www.scottalan.net
Scott Evan Davis Stephanie Johnstone
www.stephaniejohnstone.com/
Thomson and Mann Timothy Huang Will Reynolds Will Van Dyke Zack Zadek Zina Goldrich and Marcy Heisler
www.goldrichandheisler.com/
Zoe Samak
Ask people if there are others I’m leaving out. End this section with composer list.
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.
NYU COMPOSERS. All alumnus. http://gmtw.tisch.nyu.edu/object/ListofAlumni.html Steven Lutvak Brian Lowdermilk Joe Iconis 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 you’ve 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 h e 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 you’ve listened to cast albums from the past, you must have observed that there were some outstanding singers and then some singers who, let’s face it, were not great. Does that mea n 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, a nd 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 isn’t 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 kno wing your art form. This would include knowing the most important shows, possessing a d eep 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 let’s 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 a ble 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 68
the terms. It also has has resources for reading music b etter and learning songs more quickly. Pitch accuracy and intonation Musical Theatre is a live art form. In the last 20 or 30 years, the quality and accuracy of singing has risen to a very high level. Audiences, raised on television and the internet are sophisticated and demanding. Work on this skill in voice lessons or with a vocal coach. Becoming obsessive about it can work to your disadvantage, but you will want to improve in this area if you aren't naturally skilled. Vocal Range and Style The dividing line between soprano, mezzo, tenor and baritone we all grew up with is blurred in modern practice. But please don't misunderstand me. People are sopranos, mezzos, tenors or baritones but everyone is expected to be able to sing nearly anything within reason. To be marketable, you will need a very strong classical technique that allows the voice to move freely with resonance and vibrancy. Work to expand your range. Practice singing with vibrancy and without. Practice transitioning from a non-vibrant sound to full vibrancy. Practice singing at different volumes. You will want a vocal technique that can easily access a wide variety of vocal colors in response to your acting choices.
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 expec ted 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 qua lity 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 69
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 each —strong 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 Saunder’s 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 b est 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 a nd 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 c hapter ?? 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 isn’t 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, 71
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. Pu tting 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, bu t 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, c onnect with the table again, maybe to someone different this time. Casting agents want to see interesting and u nique 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. 72
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 A professional in the performing arts... •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 p oint of view. •seeks to find the positive in every experience. •has strong character—the 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 don’t 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 n ot 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. I’ve 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. Legendary Female Singers Angela Lansbury Audra McDonald
Bernadette Peters
Kristin Chenoweth Ethel Merman
Idina Menzel Kelli O’Hara
Liza Minnelli Mary Martin
Sweeney Todd (Tony), Mame (Tony), Anyone Can Whistle, Gypsy (Tony) (R), Dear World (Tony), A Little Night Music (R) Ragtime (Tony), Carousel (Tony), Lady Day at Emerson’s Bar and Grill (Tony), Marie Christine, 110 in the Shade, The Gershwins’ Porgy and Bess (Tony) Sunday in the Park With George, Into the Woods, The Goodbye Girl, Song and Dance (Tony), Gypsy, Follies (R), Annie Get Your Gun (Tony) (R), Mack & Mabel, A Little Night Music (R) (replacement), Dames at Sea, George M! Wicked, You’re a Good Man, Charlie Brown (Tony) (R), Steel Pier, The Apple Tree (R), Promises, Promises (R), On The Twentieth Century (R) Gypsy, Annie Get Your Gun, Call Me Madam (Tony), Panama Hattie, Du Barry Was a Lady, Anything Goes, George White’s Scandals, Girl Crazy Rent, Wicked (Tony), If/Then, See What I Wanna See, The Wild Party The King and I (Tony) (R), The Light in the Piazza, South Pacific (R), The Pajama Game (R), Nice Work If You Can Get It, The Bridges of Madison County, Far From Heaven, Sweet Smell of Success, Dracula, The Musical The Act (Tony), The Rink, Liza’s At the Palace, Flora, The Red Menace (Tony), Best Foot Forward (R) South Pacific (Tony), The Sound of Music (Tony), Peter Pan (Tony), One Touch of Venus, I Do! I Do!, Leave It To Me!, Lute Song
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The Worst Pies in London (Sweeney Todd) Your Daddy’s Son (Ragtime)
Everybody Loves Louis (Sunday in the Park With George)
Popular (Wicked) Rose’s Turn (Gypsy)
Defying Gravity (Wicked) The Beauty Is (The Light in the Piazza)
Maybe This Time (Cabaret, film soundtrack) A Wonderful Guy (South Pacific)
Patti LuPone
Sutton Foster
Barbara Cook
Evita (Tony), Gypsy (Tony) (R), Sweeney Todd (R), Anything Goes (Tony) (R), Les Miserables (West End), The Baker’s Wife, Oliver! (R), Women on the Verge of a Nervous Breakdown, Candide (R), Working, Robber Bridegroom, The Beggar’s Opera Anything Goes (Tony) (R), Thoroughly Modern Millie (Tony), Little Women, The Drowsy Chaperone, Shrek, the Musical, Violet (R) She Loves Me, The Music Man (Tony), Candide, Plain and Fancy, Sondheim on Sondheim, The Grass Harp, Flahooley
Don’t Cry For Me Argentina (Evita)
Gimme Gimme (Thoroughly Modern Millie) My White Knight (The Music Man)
Female Singers To Know Alice Ripley Alison Fraser Amy Spanger Andrea Burns Andrea Martin Angela Christian Anika Noni Rose Annaleigh Ashford Ashley Brown Barbara Walsh Bebe Neuwirth Beth Fowler Beth Leavel Betsy Wolfe
Betty Buckley
Caissie Levy Capathia Jenkins Carolee Carmello
Celeste Holm Celia Keenan Bolger Charlotte d’Amboise Chita Rivera
Christiane Noll Christine Andreas Christine Ebersole Daphne Rubin-Vega
Next To Normal (Tony), The Rocky Horror Show (R), Side I Miss the Mountains (Next to Normal) Show, King David, The Who’s Tommy Gypsy (R), The Secret Garden, Romance, Romance, The Hold On (The Secret Garden) Mystery of Edwin Drood Elf, Rock of Ages, Urinetown, The Wedding Singer, Kiss Right In Front of Your Eyes (The Me, Kate (R) Wedding Singer) In the Heights, Songs for a New World, Saturday Night (R), I’m Not Afraid (Songs For a New World) It’s Only Life Pippin (R) (Tony), Young Frankenstein, Fiddler on the Roof No Time At All (Pippin, revival)) (R), Oklahoma! (R), My Favorite Year (Tony), Candide (R) The Woman in White, Thoroughly Modern Millie How the Other Half Lives (Thoroughly Modern Millie) Caroline Or Change (Tony), The Cradle Will Rock (R) I Hate the Bus (Caroline, Or Change) Kinky Boots, Legally Blonde, Rent (R), Wicked The History of Wrong Guys (Kinky (replacement) Boots) Mary Poppins, On the Record, Beauty and the Beast If I Were a Bell (Speak Low, album) (replacement) Company (R), Big, Blood Brothers, Falsettos Stop, Time (Big) Chicago (R) (Tony), The Addams Family, Fosse. Damn A Little Brains, A Little Talent (Damn Yankees (R), Sweet Charity (R) (Tony) Yankees, revival)) The Boy from Oz, Bells are Ringing (R), Beauty and the Patterns (Baby) Beast, Baby, A Little Night Music The Drowsy Chaperone (Tony), Elf, the Musical, Baby It’s As We Stumble Along (The Drowsy You!, The Civil War Chaperone) The Last Five Years (R), The Mystery of Edwin Drood (R), Climbing Uphill (The Last Five Years, Merrily We Roll Along (R), Everyday Rapture. Bullets revival) Over Broadway Elegies, Triumph of Love, Sunset Boulevard (replacement), He Plays the Violin (1776) Carrie, The Mystery of Edwin Drood, Cats (Tony), Promises, Promises, 1776 Les Miserables (R), Murder Ballad, Ghost the Musical, Nothing Stops Another Day (Ghost the Hair (R) Musical) Newsies, Martin Short, Fame Becomes Me, Caroline, Or That’s Rich (Newsies) Change, Godspell (R), The Civil War Scandalous, Parade, The Addams Family, Rags, Lestat, You Don’t Know This Man (Parade) Elegies, A Class Act, The Scarlet Pimpernel, john and jen, Hello Again, Falsettos Oklahoma!, Bloomer Girl, The King and I (replacement) I Cain’t Say No (Oklahoma!) The 25th Annual Putnam County Spelling Bee, Merrily We Like It Was (Merrily We Roll Along, Roll Along (R), Les Miserable (R), Summer of ’42 revival) A Chorus Line (R), Pippin (R), Sweet Charity (R), Chicago The Music and the Mirror (revival) (R) (replacement), Damn Yankees (R) (replacement), Carrie The Visit, Chicago, Bye Bye Birdie, West Side Story, The Kiss of the Spider Woman (Kiss of the Rink (Tony), Kiss of the Spider Woman (Tony), The Spider Woman) Mystery of Edwin Drood (R), Nine (R), Merlin, Jerry’s Girls Chaplin, Ragtime (R), Jekyll & Hyde Back to Before (Ragtime, revival) La Cage aux Folles (R), The Scarlet Pimpernel, On Your When I Look At You (The Scarlet Toes (R), Oklahoma! (R), My Fair Lady (R) Pimpernel) Grey Gardens (Tony), 42nd Street (Tony), Camelot (R), The Revolutionary Costume For Today Oklahoma! (R) (Grey Gardens) Rent, The Rocky Horror Show (R), Les Miserables (R) Out Tonight (Rent)
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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
Jerome Robbins’ Broadway (Tony), Zorba (R), They’re Playing Our Song Curtains, Steel Pier, Nick & Nora, Pump Boys and Dinettes Bye Bye Birdie (R), Footloose, The Best Little Whorehouse Goes Public, The Will Rogers Follies, City of Angels 42nd Street (replacement), Destry Rides Again, Carnival in Flanders (Tony), Two on the Aisle, Seven Lively Arts Sweeney Todd (R), First Lady Suite, My Life With Albertine, By Jeeves Chorus Line (Tony), Company, State Fair, Annie Warbucks, Promises, Promises Passion (Tony), The King and I (R) (Tony), Wonderful Town (R) (Tony), Lovemusik, The People in the Picture Ballroom, Annie (Tony), Sweeney Todd (replacement), Jerry’s Girls Brooklyn, Wicked (replacement), Rent (replacement) Evita (West End), Cats (West End), Follies (R), Sunset Boulevard (replacement), Anything Goes (West End) Company, Show Boat (R), A Little Night Music (R), Call Me Madam, Sail Away Cry Baby, Million Dollar Quartet, Company (R) Little Shop of Horrors, Weird Romance Side Show, James Joyce’s The Dead, The Full Monty Grey Gardens, Side Show (R), A Little Night Music (R), Curtains (replacement), The Glorious Ones A Christmas Story: The Musical, Chitty Chitty Bang Bang, Into the Woods (R) (replacement), Thoroughly Modern Milly (replacement) Chaplin, Anything Goes (R) (replacement), Sondheim on Sondheim Guys and Dolls (R) (Tony), Nick & Nora, A Catered Affair, Bells Are Ringing (R), Little Me (R), Jerome Robbin’s Broadway, Falsettoland Hello Dolly (R), Follies (R), Evita (replacement) Chicago, Sweet Charity, Redhead (Tony), New Girl in Town (Tony), Damn Yankees (Tony), Can-Can (Tony) Aida (Tony), The Lion King, The Bodyguard (West End) Follies (R), Chitty Chitty Bang Bang, The Sound of Music (R) Grand Hotel, Starlight Express, Nine (R) (Tony), Company (R). Once Upon a Matress (R) Tarzan, All Shook Up, Wicked (replacement) Spider-Man: Turn Off The Dark, Next to Normal, Spring Awakening Parade, Sunday in the Park with George (R), Chess Beautiful: The Carole King Musical, The Mystery of Edwin Drood (R), Nice Work If You Can Get It, On a Clear Day You Can See Forever (R) The Woman in White, Curtains, Death Takes a Holiday, Matilda: The Musical (replacement) Into the Woods (Tony), Nick & Nora, Dirty Rotten Scoundrels, I Love My Wife Titanic, LoveMusik, Bernarda Alba, Hello Again, Company (R), Lucky Stiff Nice Work If You Can Get It (Tony), On the Twentieth Century, The Phantom of the Opera (Tony), Ragtime, Mamma Mia! Fun Home, Chess, Rags, Les Miserables, She Loves Me (R), Passion (R), The Mystery of Edwin Drood The Wild Party, Lennon, Queen of the Mist, Wicked (replacement) Grand Hotel, Nine
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Mr. Monotony (Jerome Robbin’s Broadway) Everybody’s Girl (Steel Pier) My Unknown Someone (The Will Rogers Follies) If You Hadn’t But You Did (Two on the Aisle) The Contest (Sweeney Todd, revival) The Music and the Mirror (A Chorus Line) I Read (Passion) Little Girls (Annie) Once Upon a Time (Brooklyn) I’m Still Here (Follies, revival) The Ladies Who Lunch (Company) Fever (Million Dollar Quartet) Somewhere That’s Green (Little Shop of Horrors) Life With Harold (The Full Monty) Daddy’s Girl (Grey Gardens) Doll on a Music Box/Truly Scrumptious (Reprise) (Chitty Chitty Bang Bang) What Only Love Can See (Chaplin) It’s a Perfect Relationship (Bells Are Ringing, revival) Ribbons Down My Back (Hello Dolly, revival) Whatever Lola Wants (Damn Yankees) Easy As Life (Aida) Could I Leave You (Follies, revival) I Want to Go To Hollywood (Grand Hotel) One Night With You (All Shook Up) If The World Should End (Spider-Man: Turn Off The Dark) Sweet Dreams (It’s Only Life) Will You Still Love Me Tomorrow (Beautiful: The Carole King Musical) How Will I Know? (Death Takes a Holiday) Moments in the Woods (Into the Woods) The Mistress Of The Senator (Hello Again) Looking For a Boy (Nice Work If You Can Get It) Nobody’s Side (Chess) Maybe I Like It This Way (The Wild Party) Be On Your Own (Nine)
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
West Side Story (R) (Tony), In the Heights, Brooklyn, Murder Ballad, Rent (replacement) Steel Pier, Bullets Over Broadway, Contact (Tony), Never Gonna Dance, Curtains, 42nd Street (replacement), Crazy For You Finian’s Rainbow (R), Big Fish, Giant, Wonderful Town (R) (replacement) Wonderland, Legally Blonde, Cabaret (R) (replacement) Once on This Island, The Drowsy Chaperone, Leap of Faith, Dessa Rose Xanadu, Rock of Ages, Catch Me If You Can, Hairspray, Prodigal, Little Shop of Horrors (R), First Date, The Addams Family, First Date, Spring Awakening The Color Purple (Tony), Once on This Island, If/Then, Dessa Rose, The Bubbly Black Girl Sheds Her Chameleon Skin Legally Blonde, Hairspray, Wicked (replacement), Ruthless! Women on the Verge of a Nervous Breakdown (Tony), Gypsy (Tony), The Wedding Singer, Nine (R), Into the Woods (R), Swing!, The Sound of Music (R) (replacement) Cinderella (Tony), Bonnie & Clyde, Anything Goes (R), Grease (R), South Pacific (R) (replacement) Woman of the Year (Tony), Applause (Tony) Vanities, Monty Python’s Spamalot (replacement), Sunset Boulevard (replacement), Disaster Matilda: The Musical, 1776 (R), Follies (R), Violet, Saturday Night Miss Saigon (Tony), Flower Drum Song (R), Les Miserables (replacement) Sondheim on Sondheim, A Catered Affair, Rooms: A Rock Musical, Legally Blonde, Elf, The Great American Trailer Park Musical, Godspell (R) Fela!, The Life (Tony), How To Succeed In Business Without Really Trying (R), Dreamgirls (R), The Pirate Queen, Death Takes a Holiday, La Cage aux Folles (R), Passion, Godspell (R), Everyday Rapture, Dogfight, Grease (R), Wicked (replacement) It Shoulda Been You, The 25th Annual Putnam County Spelling Bee, South Pacific (R), 9 to 5, It Sho ulda Been You, Priscilla, Queen o f the Desert (replacement) Baby, Miss Saigon, The Look of Love, Brownstone, The Spitfire Grill, Merrily We Roll Along Two by Two, On the Twentieth Century In the Heights, Lennon, Wicked (replacement), Dance of the Vampires Death Takes a Holiday, Irving Berlin’s White Christmas (R), A Chorus Line (R), The Drowsy Chaperone (replacement), Toxic Avenger Jane Eyre, Titanic (replacement) Ragtime, Passion, Kiss Me Kate (R), Man of La Mancha (R), Next to Normal (replacement), Bullets Over Broadway King and I (R), Follies (R), Sunday in the Park with George (R), Women on the Verge of a Nervous Breakdown Grey Gardens (Tony), Cabaret (R), Gypsy (R), Flora, the Red Menace Guys and Dolls (R), Xanadu, 42nd Street (R), Marie Christine, A Funny Thing Happened on the Way to the Forum (R), Queen of the Mist, See What I Wanna See, A New Brain 9 to 5, Wicked (replacement)
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It Won’t Be Long Now (In The Heights) Thinking of Him (Curtains) I Don’t Need a Roof (Big Fish) Legally Blonde Remix (Legally Blonde) Mama Will Provide (Once On This Island) Fly, Fly Away (Catch Me If You Can) Safer (First Date) I’m Here (The Color Purple)
So Much Better (Legally Blonde) Model Behavior (Women on the Verge of a Nervous Breakdown) Dyin’ Ain’t So Bad (Bonnie & Clyde) Welcome To the Theatre (Applause) Fly Into The Future (Vanities) Pathetic (Matilda: The Musical) I’d Give My Life For You (Miss Saigon) One White Dress (A Catered Affair)
The Oldest Profession (The Life) The Role Of The Queen (The Pirate Queen) Pretty Funny (Dogfight) Jenny's Blues (It Shoulda Been You)
The Story Goes On (Baby) Never (On The Twentieth Century) Breathe (In The Heights) Shimmy Like They Do In Paree (Death Takes a Holiday) Painting Her Portrait (Jane Eyre) Back to Before (Ragtime) Ah, Paris! (Follies, revival) What Would You Do? (Cabaret, revival) Change (A New Brain)
Let’s Be Bad (The Music of Smash, album)
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 D’Abruzzo Stephanie J. Block Susan Egan Terri White Theresa McCarthy Tonya Pinkins Vanessa Williams Victoria Clark
Little Women, Thoroughly Modern Millie (replacement), Les Miserables (R) Young Frankenstein, How to Succeed in Business Without Really Trying (R), Grease (R) Amour, Dracula, The Musical, Irving Berlin’s White Christmas, Passion (R), High Society, My Fair Lady ( R), Anna Karenina Seussical, Reefer Madness, Bounce, Cabaret (R), Triumph of Love, Hello Again, Crazy For You Memphis, It Shoulda Been You, The Color Purple (replacement) Urinetown, Fiddler on the Roof (R), Triumph of Love, Toxic Avenger, Evita (replacement), Personals On the Town, Best Foot Forward, Do Re Mi The Capeman, Seussical, Man of La Mancha (R), Jacques Brel is Alive and Well and Living in Paris (R) The Book of Mormon (Tony), Les Miserables (R), All Shook Up Saturday Night Fever, Legally Blonde, Footloose (replacement) Company, Into the Woods (R), Snoopy
Some Things Are Meant To Be (Little Women) Happy To Keep His Dinner Warm (How To Succeed In Business) Dusoleil in Jail (Amour)
Amayzing Mayzie (Seussical) Colored Women (Memphis) It’s a Privilege to Pee (Urinetown) I Can Cook Too (On The Town) My Death (Jacques Brel Is Alive and Well and Living in Paris) Sal Tlay Ka Siti (The Book of Mormon) Ireland (Legally Blonde) Another Hundred People (Company) Sister Act (Sister Act) What I Did For Love (A Chorus Line)
Pippin (R) (Tony), Sister Act A Chorus Line, Nine, In the Heights, A Day in Hollywood/ A Night in the Ukraine (Tony) City of Angels, Victor/Victoria, The Scarlet Pimpernel Lost & Found (City of Angels) (replacement), Dessa Rose, Summer of ’42, City of Angels (Tony), High Society, A Class Act, Fiddler You Can Always Count On Me (City of on the Roof (R), Angels) The Secret Garden, Show Boat (R), The Sound of Music I Have Confidence (The Sound Of Music, (R), The Music Man (R), Nine (R), Mary Poppins revival) (replacement) She Loves Me (R), Urban Cowboy, Das Barbecu, Closer A Trip To The Library (She Loves Me) Than Ever Carousel (R), The Wild Party, Fiddler on the Roof (R), What’s The Use Of Wond’rin’ (Carousel, Bernarda Alba, A Man of No Importance revival) Spamalot (Tony), A Class Act, The Capeman Diva’s Lament (Whatever Happened To My Part) (Spamalot) The Phantom of the Opera Think of Me (The Phantom of the Opera) Taboo, The Light in the Piazza, Next to Normal The Joy You Feel (The Light In The (replacement) Piazza) Women on the Verge of a Nervous Breakdown, Everyday Lovesick (Women on the Verge of a Rapture, The Little Mermaid, Dirty Rotten Scoundrels, Nervous Breakdown) Aida, The Who’s Tommy, The Last Five Years, Debbie Does Dallas Wicked (replacement), Hairspray, Godspell (R) Bless The Lord (Godspell, revival) The Little Mermaid, The Phantom of the Opera Part of Your World (The Little Mermaid) (replacement), Love Never Dies, It Shoulda Been You Avenue Q, I Love You Because There’s a Fine, Fine Line (Avenue Q) 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), Finian’s Rainbow (R), Barnum Titanic, Queen of the Mist
The Writing On the Wall (The Mystery Of Edwin Drood, revival) Anything (Triumph of Love) Necessity (Finian’s Rainbow, revival) I Remember (The Frogs - Evening Primrose (2001 Studio Cast album) Lot’s Wife (Caroline, Or Change)
Caroline, or Change, The Wild Party, Jelly’s Last Jam (Tony), Merrily We Roll Along Sondheim on Sondheim, Into the Woods (R), Kiss of the Last Midnight (Into The Woods, revival) Spider Woman (replacement) The Light in the Piazza (Tony), Cinderella, Sister Act, Dividing Day (The Light In the Piazza) Titanic, How to Succeed in Business Without Really Trying (R), Guys and Dolls (R)
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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
Big Fish. Pippin (R) (replacement). Hunchback of Notre Dame
I Know What You Want (aka The Witch) (Big Fish)
Brynn O'Malley
Honeymoon in Vegas, Annie (R), Sunday in the Park with George (R)
Anywhere But Here (Honeymoon in Vegas)
Emily Padgett
Side Show (R), Rock of Ages (replacement), Grease (R), Legally Blonde (replacement)
Who Will Love Me As I Am? (Side Show)
Janet Dacal
Wonderland, In the Heights, Good Vibrations
Once More I Can See (Wonderland)
Heidi Blickenstaff
Something Rotten!, [title of show], The Addams Family (replacement), Little Mermaid (Replacement)'
Male Singers To Know 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 d'Arcy James Brian Stokes Mitchell Brooks Ashmanskas Bryce Pinkham Chad Kimball Cheyenne Chip Zien Christian Borle Christopher Fitzgerald
The Light in the Piazza, Les Miserables (R), A Tale of Two Cities, A Little Ni ht Music R Catch Me If You Can, Next To Normal, Wicked (replacement) Rent, Aida, Memphis (replacement) Les Miserables (R), Sweeney Todd (R), Sunday In the Park With George (R), Assassins (R), The People in the Picture, Road Show, Violet R Oklahoma!, Beggar’s Holiday, Kiss Me, Kate, Kismet (Tony), Gigi Rocky, The Mystery of Edwin Drood (R), 9 to 5: The Musical, Legally Blonde, Altar Boyz Kiss of the Spider Woman (Tony), Les Miserables, Marie Christine, Golden Boy (R), Evita (R) Godspell (R), Avenue Q (replacement) Jesus Christ Superstar, Pippin (Tony), Grind, Jelly’s Last Jam, Fosse, Wicked re lacement Kinky Boots (Tony), Grease (R), Miss Saigon (replacement), It’s Onl Life Big Fish, Ragtime (R), 110 in the Shade, A Minister’s Wife
In Praise of Women (A Little Night Music, revival I’m Alive (Next To Normal) One Song Glory (Rent) Ladies in Their Sensitivities (Sweeney Todd, revival) Oh, What a Beautiful Morning (Oklahoma!) My Nose Ain’t Broken (Rocky) Marta (Kiss of the Spider Woman) God Save the People (Godspell) Simple Joys (Pippin) Hold Me In Your Heart (Kinky Boots Stranger (Big Fish)
Gypsy (R) (Tony), Contact (Tony), Company (R), She Loves Tonight at Eight (She Loves Me, Me Ton R revival Closer Than Ever, Silence! The Musical, Grand Hotel New Words (The Maury Yeston Son book, recordin Parade (Tony), Kiss of the Spider Woman (Tony), My Life It’s Hard to Speak My Heart With Albertine, Jesus Christ Su erstar 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 (It’s Only Promises, Promises (R), Songs For a New World, Bullets Life) A Gentleman's Guide To Love and Murder, Ghost, the Sibelia (A Gentlemen’s 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, Finian’s 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 Peo le In the Picture, Chitt Chitt Ban Ban Something Rotten! (Tony), Legally Blonde, Mary Poppins When the Earth Stopped Turning (replacement), Spamalot, Elegies, Prodigal (Elegies) Finian’s Rainbow (R), Young Frankenstein, Wicked, Amour When I'm Not Near the Girl I Love (Finian’s Rainbow)
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Christopher Sieber Chuck Cooper Chuck Wagner Colm Wilkinson Constantine Maroulis Danny Burstein Darius de Haas
David Hyde Pierce Dick van Dyke Douglas Sills Eddie Korbich Euan Morton Gary Beach Gavin Creel George Hearn Gregg Edelman Gregory Hines Gregory Jbara Harry Connick Hinton Battle Howard Keel Howard McGillin Hugh Jackman Hugh Panaro Hunter Foster James Barbour James Naughton Jarrod Emick Jason Danieley Jason Graae Jeff McCarth Jeremy Jordan
Triumph of Love, Spamalot, Into the Woods (R), Shrek The Musical, The Kid The Life (Tony), Finian’s Rainbow (R), Lennon, Caroline, Or Change Into The Woods, Dracula, The Musical, Les Miserables (replacement) Les Miserables, Jesus Christ Superstar (West End)
Issue in Question (Triumph of Love) The Bus (Carolin, Or Change) Agony (Into the Woods) Bring Him Home (Les Miserables)
Rock of Ages, Jekyll & Hyd e (R), The Wedding Singer (replacement) The Drowsy Chaperone, South Pacific (R), Women on the Verge, Follies (R), Cabaret (R), Fiddler on the Roof (R) Marie Christine, The Gershwin’s Fascinating Rhythm, Kiss of the Spider Woman (replacement)
This is the Moment (Jekyll & Hyde, revival) The Right Girl (Follies, revival)
Spamalot, Curtains (Tony) Bye Bye Birdie (Tony), The Music Man (R)
Coffee Shop Nights (Curtains) Put on a Happy Face (Bye Bye Birdie) Into the Fire (The Scarlet Geraniums in the Winder (Carousel, revival)
The Scarlet Pimpernel, Little Shop of Horrors (R) The Little Mermaid, The Drowsy Chaperone, Carousel (R), Sweeney Todd (R), Assassins (R), Seussical, A Christmas Stor , A Gentleman’s Guide To Love and Murder Taboo, Sondheim on Sondheim La Cage aux Folles (R), The Producers (Tony), Les Miserables R , Beaut and the Beast, Doonesbur , Thoroughly Modern Millie, La Cage aux Folles (R), Hair (R), Bounce re ional La Cage aux Folles (Tony), Sunset Boulevard (Tony), Putting It Together, Wicked (replacement), Scandalous, Meet Me in St. Louis City of Angels, Anna Karenina, Passion, 1776 (R), In to the Woods (R), Wonderful Town (R), A Tale of Two Cities, The M ster of Edwin Drood, Cabaret R Jelly’s Last Jam (Tony), Sophisticated Ladies, Eubie!, The Girl in the Pink Ti hts Billy Elliot: The Musical (Tony), Dirty Rotten Scoundrels, Victor/Victoria, Damn Yankees R The Pajama Game (R), On A Clear Day You Can See Forever R The Tap Dance Kid (Tony), Miss Saigon (Tony), So histicated Ladies Ton , The Wiz, Dream irls Carousel (R), Saratoga, Ambassador, Oklahoma! (replacement) She Loves Me (R), Anything Goes (R), The Mystery of Edwin Drood The Boy From Oz (Tony), Oklahoma (West End) Lestat, Side Show, Show Boat (R) (replacement), The Red Shoes Urinetown, Million Dollar Quartet, Little Shop of Horrors (R), Hands on a Hardbody, Happiness, The Bridges of Madison County, Frankenstein, a New Musical Jane Eyre, Assassins (R), A Tale of Two Cities, Cyrano—The Musical Chicago (Tony) (R), City of Angels (Tony), I Love My Wife Damn Yankees (Tony) (R), The Rocky Horror Show (R), The Boy From Oz, Ring of Fire The Full Monty, Curtains, Next to Normal (replacement), Candide (R) A Funny Thing Happened on the Way to The Forum (R), Lucky Stiff, Falsettos (replacement), Do Black Patent Leather Shoes Reall Reflect U ? It's a Grand Ni ht For Sin in The Pirate Queen, Urinetown, Side Sho w, Smile, Beauty and the Beast re lacement , Anna Karenina Newsies, Bonnie & Clyde, West Side Story (R) (replacement)
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In Whatever Time We Have (Children of Eden)
Pretty Lies (Taboo) Springtime for Hitler, Pt. II (The Producers What Do I Need With Love? Thorou hl Modern Millie I Am What I Am (La Cage aux Folles) A Quiet Girl (Wonderful Town, revival) In My Day (Jelly’s Last Jam) Deep Into the Ground (Billy Elliot: The Musical Hey There (The Pajama Game, revival Bui Doi (Miss Saigon) Where is the Life That Late I Led? (Kiss Me Kate, film soundtrack) Ilona (She Loves Me, revival) The Lives Of Me (The Boy From Oz) Sail Me Away (Lestat) Run, Freedom, Run (Urinetown) As Good As You (Jane Eyre) I Honesty Love You (The Boy From Oz) I Miss the Music (Curtains) No, Mary Ann (Unsung Sondheim, album) Only At Night (Anna Karenina) Santa Fe (Newsies)
Jerry Orbach Joel Grey John Cameron Mitchel John Cullum John Gallagher Jr. John Lithgow John Raitt John 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 Jacob Matt Cavanaugh Matthew Broderick Matthew Morrison Michael Ball Michael Cerveris Michael Crawford Michael McElroy Michael McGrath Michael Rupert Nathan Lane Norbert Leo Butz
Chicago, Promises, Promises (Tony), 42nd Street, The Fantasticks, Guys and Dolls (R), Carnival Cabaret (Tony), Chicago (Tony) (R), George M!, Wicked, Goodtime Charley, The Grand Tour, Anything Goes (R) Big River, The Secret Garden, Hedwig and the Angry Inch, Hello Again Shenandoah (Tony), On the Twentieth Century (Tony), Urinetown, 110 in the Shade (R), Scottsboro Boys, 1776 re lacement Spring Awakening (Tony), American Idiot Sweet Smell of Success (Tony), Dirty Rotten Scoundrels Carousel, The Pajama Game, A Joyful Noise, Carnival in Flanders Pippin, Ragtime (replacement), Wicked (replacement) The Civil War, King David, Elegies, A New Brain
Half As Big As Life (Promises, Promises) Mister Cellophane (Chicago) Winter’s On the Wing (Big River) Molasses To Rum (1776, film soundtrack) Don’t Do Sadness (Spring Awakening) Love Sneaks In (Dirty Rotten Scoundrels) Soliloquy (Carousel)
Corner of the Sky (Pippin) These Two (This Ordinary Thursday: The Songs of Georgia Stitt, album Cats, Ain’t Misbehavin’, Guys and Dolls (R) My City (Page by Page, album) The Addams Family, Seussical, Triumph of Love, Chicago The Moon and Me (The Addams (R) (replacement) Family) A Tale of Two Cities, Death Takes a Holiday, Les Miserables I Thought That I Could Live (Death (replacement) Takes a Holiday) On the Twentieth Century (Tony), The Pirates of Penzance Oh, Better Far to Live and Die (The Ton , The Be ar’s O era Pirates of Penzance West Side Story, Rags, Company (replacement) Side By Side Maria (West Side Story) B Sondheim, A Famil Affair Hello Dolly!, Sweet Charity, Applause, Lorelei, 42nd Street, Dames (42nd Street) Beaut and the Beast, An Evenin With Jerr Herman Sweeney Todd (Tony), A Little Night Music, Applause, Epiphany (Sweeney Todd) Dance a Little Closer Amour, A New Brain, Hello Again, The Story of My Life, And They’re Off (A New Brain) Juno R Evita (Tony), Sunday in the Park With George, The Secret Finishing the Hat (Sunday in the Garden Park With Geor e Bells are Ringing (R), Thoroughly Modern Millie, Assassins I Met a Girl (Bells are Ringing, (R), The Wild Party, The Apple Tree, Chitty Chitty Bang revival) Bang, 9 to 5, A Minister’s Wife, The Glorious Ones, See What I Wanna See The Thin About Men Hi h Societ Show Boat (R), Ragtime, Sweeney Todd (R), Elf, Sweet Johanna (Sweeney Todd, revival) Charit R , Man of La Mancha R West Side Story (R), Grey Gardens, Urban Cowboy, A Something’s Coming (West Side Catered Affair, Death Takes a Holiday Story, revival) How to Succeed in Business Without Really Trying (Tony) I Believe In You (How To Succeed (R), The Producers, Nice Work If You Can Get I t In Business Without Really Trying, revival) The Light in the Piazza, South Pacific (R), Hairspray, Finding Love To Me (The Light in the Neverland Piazza) The Woman in White, Aspects of Love, Les Miserables (West Empty Chairs and Empty Tables End) (Les Miserables) Sweeney Todd (R), Evita (R), LoveMusik, Assassins (R) Epiphany (Tony), Road Show, Titanic, Fun Home, Hedwig and the (Sweeney An r Inch re lacement , The Who’s Tomm Todd. revival The Phantom of the Opera (Tony), Dance of the Vampires Music of the Night (The Phantom of the Opera) The Wild Party, Big River (R), The Who’s Tommy, Violet Let It Sing (Violet) Nice Work If You Can Get It (Tony), Memphis, Spamalot, By Strauss/Sweet and Lowdown Little Me (R), The Goodbye Girl, My Favorite Year, (Nice Work If You Can Get It) Swin in on a Star Legally Blonde, Falsettos, Sweet Charity (Tony) (R), Putting Marry Me a Little (Putting It It Together, The Happy Time, Elegies, March of the Falsettos Together) The Producers (Tony), A Funny Thing Happened on the Way The King of Broadway (The to the Forum (Tony), Guys and Dolls (R), The Addams Producers) Famil , The Fro s, Merlin Wicked, Big Fish, Dirty Rotten Scoundrels (Tony), Catch Me Moving Too Fast (Last Five Years) If You Can Ton , Thou Shalt Not, The Last Five Years
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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
The Gershwins’ Porgy and Bess (R), Sondheim on Sondheim, I Got Plenty of Nothing (The The Little Mermaid, Amour, The Wild Party, Side Show, The Gershwins’ Porgy and Bess) Who’s Tomm Company (R), Leap of Faith, Taboo, Chitty Chitty Bang Marry Me a Little (Company, Bang, The Rocky Horror Show, Tick, Tick... Boom! revival) Man of La Mancha (Tony), Her First Roman, Redhead The Impossible Dream (Man of La (Tony), No Strings, Kismet Mancha) Jekyll & Hyde, Les Miserables (replacement), Jacques Brel is This is the Moment (Jekyll & Alive and Well and Living in Paris (R), The Threepenny Hyde) Opera (R), And the World Goes ‘Round Camelot, The Happy Time (Tony), La Cage aux Folles C’est Moi (Camelot) (replacement) How To Succeed in Business Without Really Trying (Tony), I Believe In You (How To Succeed Sugar, So Long, 174th Street, Take Me Along In Business Without Really Trying) The Music Man (Tony), Ben Franklin in Paris, I Do! I Do! I Won’t Send Roses (Mack & (Tony), Mack & Mabel Mabel) Into The Woods, The Secret Garden, Company (R), 1776 (R), Agony (Into the Woods) Zorba (R), Violet You’re a Good Man, Charlie Brown (Tony), Triumph of Go the Distance (Hercules, movie Love, Young Frankenstein, The Frogs, The Producers soundtrack) The Woman in White, Ragtime (R), Fiddler on the Roof (R), Free, Easy Guy (The Thing About The Scarlet Pimpernel (replacement), The Thing About Men Men) Show Boat (R), Follies (R), Newsies (replacement), Annie The Road You Didn’t Take (Follies) (R) (replacement) Oklahoma (Tony) (R), Tarzan, Young Frankenstein, The Great No Other Way (Tarzan) American Trailer Park Musical Falsettos, Irving Berlin’s White Christmas, King David, High You Got To Die Some Time Society, James Joyce’s The Dead, Man of La Mancha (R), (Falsettos) Falsettoland Jane Eyre, Oklahoma! (R) (replacement), Grease (R), A Little A Voice Across the Moors (Jane Night Music (R) Eyre) Once (Tony), 110 in the Shade (R), Spamalot (replacement) Gold (Once) A Man of No Importance, The Bridges of Madison County, The Streets of Dublin (A Man of Far From Heaven, The S itfire Grill, The Wild Part , Little No Im ortance The Addams Family, Les Miserables, Pippin, Lennon, The Stars (Les Miserables) Rocky Horror Show, The Scarlet Pimpernel, Beauty and the Beast Assassins Ra s Cats Barnum The Sound of Music Edelweiss (The Sound of Music) Guys and Dolls (R), The Little Mermaid, Jersey Boys, Good All I Need (Comfortable, album) Vibrations The Rocky Horror Show (R), The Boys from Syracuse, Quiet Life (Dracula, The Musical) Dracula, The Musical, Jesus Christ Su erstar R Catch Me If You Can, Sondheim on Sondheim, A Catered I Stayed (A Catered Affair) Affair, Annie Get Your Gun (R) On the Town (R), Gypsy (R),White Christmas, A Chorus Line All I Need is The Girl (Gypsy, (R), Never Gonna Dance, Chicago (R) revival) The Little Mermaid, Mary Poppins, On a Clear Day You Can Epiphany (Altar Boyz) See Forever (R), The Kid, Miracle Brothers, Altar Boyz Sweeney Todd, Assassins, Little Me (R), Damn Yankees (R) Johanna (Sweeney Todd) High Fidelity, The Mystery of Edwin Drood (R), The Story of Top 5 Desert Island Breakups My Life, Lennon, Nice Work If You Can Get It (replacement) (High Fidelity) Hair (R), Priscilla, Queen of the Desert: The Musical, Murder Hair (Hair, Ballad, Little Miss Sunshine, Les Miserables (R) revival) Fiddler on the Roof (Tony), A Funny Thing Happened on the If I Were a Rich Man (Fiddler o n Way to the Forum (Tony), Beggar’s Holiday the Roof)
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
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? Read about their training and the beginning of their professional career.
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Chapter 9 Vocal Colors 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 singer’s 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 b etter 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 conce rned 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 techn ique you will be limited in what you are able to do—especially 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 importance—of 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 cha racter 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. In my experience, it is common for singers to be handicapped if they begin to think too technically about the sounds they are making, especially in performance. Singing actors must give themselves over completely to the objective they are pursuing and not allow their brains and bodies to be divided by also thinking critically about the sounds they are making. I encourage 85
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 a re not your favorite. I would like to discuss an example of excellent use of vocal color—”Gimme, Gimme”, sung by Sutton Foster in Thoroughly Modern Millie. Follow along as you listen to the original cast album.
Lyric
Vocal Color
Use of Vocal Color
A simple choice, nothing more. This or that, either or. Marry well, social whirl, business man, clever girl.
Head-heavy mix, nonvibrato. Bright and clear. Soft dynamic. Yellow
This is the verse of the song and by keeping things very simple, she helps set up the conflict of the song.
Or pin my future on a green glass love. What kind of life am I dreaming of?
The color grows richer here. Here there is a bit more chest voice in the mix. Just a bit louder.
The change of color helps to differ between to two options for love Millie is weighing.
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Lyric
Vocal Color
Use of Vocal Color
I say: gimme, gimme... gimme gimme... gimme gimme that thing called love. I want it. gimme gimme that thing called love. I need it.
Soft like the beginning. Beige or tan. Head-heavy mix. Very pale, slightly timid vocal color. A bit more vibrato, especially on longer notes.
At the beginning of the refrain, knowing that there is an epic journey ahead, she again is very simple and soft. The addition of vibrato helps to underscore the fact that’s she’s talking about the kind of love she most desires.
Highs and lows, tears and laughter, gimme happy ever after. Gimme gimme that thing called love.
More chest in the mix. Even more warmth. Blue.
The image of the love she desires seems to have a warming effect on the voice.
Gimme gimme that thing called love. I crave it. Gimme gimme that thing called love. I'll brave it. Think 'n thin, rich or poor time. Gimme years, and I'll want more time. Gimme gimme that thing called love.
Soft Belt. More chest voice than head. Vibrato only on sustained notes. Louder dynamic. A warmer color with the vibrato. Blue.
Growing confidence in knowing what she wants.
Gimme gimme that thing called love. I'm free now. Gimme gimme that thing called love. I see now. Fly, dove! Sing, sparrow! Gimme Cupid's famous arrow. Gimme gimme that thing called love.
Full Belt. Red. Very warm. Occasionally a slide between notes.
She now can see what it is that she wants. There is even a hint of growl on the last “gimme that thing called love.”
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Lyric
I don't care if he's a nobody. In my heart, he'll be a somebody, somebody to love me!
Vocal Color
Use of Vocal Color
Determination. Strength and confidence. Belt. Vibrato except for the notable straight-tone on the last word of this section over the instrumental. Deep purple.
The determination in her words are echoed in her voice.
I need it. Belt with even more Gimme that thing called love. vaudeville slides between I wannit! pitches.
She sings against the rhythm to underscore an even greater determination that defies everything.
Here I am, St. Valentine! My bags are packed; I'm first in line!
Belt with growl
Greater use of accented singing on “Her I am” to claim her position.
Aphrodite, don't forget me, Romeo and Juliet me! Fly, dove! Sing, sparrow! Gimme fat boy's famous arrow! Gimme gimme that thing called love!
She backs away dynamically for just a moment in order to make the ending stronger then crescendos to the very end.
She starts playfully to highlight the image of the Greek god, Aphrodite. Then she goes into full belt at the end. The last note is straighttone until the penultimate chord.
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 d’Arcy 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 88
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 o n 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 a nd 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 ca n 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 ingénue 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 I'd like to swim in a clear blue stream Where the water is icy cold. Then go to town 89
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 90
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?
Belt and Mix 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 a nd 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 91
little that is more exciting. One only needs to recall any good performance of "Defying Gravity" or "Astonishing" to know what I'm talking ab out. 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 an d 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 c lassical) 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 enco urage 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 exc iting, 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 ac ross 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 pa tterns 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 o nes 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. 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 song’s story8 •The phrasing takes the lyric’s 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 song’s 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 a ttention 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 a nd eyes •The eyes are not closed, except in special cases
9
Soft can be energetic and all moments do not need to be loud.
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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 you’re secure with the acting, it’s 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. Learning a new song for those who do not read music
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. Additional activities with a pianist may include the following: 1. Sing a word or syllable and have the pianist play the pitch on the piano after you sing it. Move to the next word or syllable, gradually increasing tempo. This will help you chec k for check pitch accuracy. 2. Explore singing the song at different tempos. Faster for ballads, slower for up tempo songs. Don’t go too fast or slow. This will insure that your musicianship is secure.
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Learning a song for those with moderate to advanced musical skills
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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1. Speak the words in rhythm. 2. Write either numbers or Solfège syllables above the pitches. See below for using Solfège. Sing the pitches slower, out of tempo until you can do this easily. 3. Next, combine melody with rhythm, starting slowly for accuracy and building in tempo.
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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. Singing with Solfège or numbers
Space does not allow for a full investigation of Solfège but this system is not difficult. Essentially, every pitch of a scale has a Solfège syllable or number. I’m sure you know “Do-ReMi” from The Sound of Music which uses this system in a clever and memorable way. Use Solfège 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 Solfège 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 don’t think it’s important to know these new syllables but if you’re 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
8
Do
B
Eb
A
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. Don’t 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.
More Solfege exploration: List some songs that are challenging to work on with solfege. “On the Steps of the Palace” is a good choice. Others “Anyone Can Whistle” 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.
Sight reading practice. Include 15-20 songs for practice. Each song will have a brief intro with things to watch for. My idea is to give handful of helpful sightsinging pieces to practice with hints, suggestions and guides to help a struggling singer. They could be from the standard literature or original pieces of mine.
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Music Terms To Know 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 don’t understand. Tempi Largo Larghetto Adagio Andante Moderato Allegretto Allegro Presto Maestoso
Very slow (quarter note c. 40-60) Less slow than Largo (c. 60-70) Slow (between Largo and Andante) a walking tempo (c. 76-108) Moderate tempo Moderately fast, often playful in nature Fast (c. 110-130) Very fast (c. 125-160) Majestic, usually medium slow
Tempo-related terms Lunga Long, generally referring to a long pause Caesura (//) Indicates a break or stop before proceeding L’istesso 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) Più mosso More motion Articulations Fermata Legato Staccato Accent Marcato Sforzando Tenuto Trill G.P. Arpeggio
Indicates a note is to be prolonged beyond its normal duration Smoothly, connected Detached (.) Emphasis, usually to play louder than the current dynamic (>) marked, stressed, emphasized Forced or accented. Stronger than an accent. (Sfz. or Sf.) (ten.) Held or sustained, a note is given its full value Rapid alternation between the note and the note above Grand pause. A complete stop The playing of successive members of a chord separately
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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 Symbols. These symbols need to be added in the correct font.
U % fi
Fermata Segno. Sign, or structural signpost used to indicate form. See Coda
Style 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 performer’s 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
With (con moto) Little ( poco a poco crescendo) motion Much, very much ( Allegro Assai) A musical gesture wherein a rhythmic figure with a duple metric pulse replaces one with a triple metric pulse. Literally with the voice. Indication that the accompaniment should allow freedom for the soloist
You may wish to purchase an inexpensive dictionary of musical terms such as The Hal Leonard Pocket Music Dictionary. New York: Hal Leonard, 1993.
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 it’s 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 a s 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 Bad u, 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, N’Sync 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 isn’t 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 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 composition –a 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.
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, don’t 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 don’t 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. 114
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 I’m 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 Newman’s Faust ), “I Got Love” ( Purlie), “I'm Just Movin'” (Working ) “Take Me Or Leave Me” ( Rent ) and “I’m Not Alone” (Carrie). For men – “All Good Gifts” (Godspell ), “Go the Distance” ( Hercules), “Beethoven Day” (You’re 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 Else’s 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 (Beyoncé). For men, I Believe I Can Fly (R. Kelly), Signed, Sealed, Delivered (I’m Yours) (Stevie Wonder), You Are the Sunshine of My Life (Stevie Wonder) and I’ll Be There (Jackson 5). Practice Riffing with Steal Your Rock and Roll
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Chapter 12 Cabaret Styles You may have an opportunity to perform a Cabaret at various times in y our 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 scary—like 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 song s in a small room. There are a small number of cabaret houses in New York. 54 Below, Cafe Carlyle, Don’t Tell Mama, Joe’s 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. I’m 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, it’s 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 c abaret 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 116
audience to find themselves in your work. 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. It’s 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 show—for 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 isn’t 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 don’t know anyone. Do your cabaret for the people you do not know. Look for ways that you can tell positive stories that are u niversal in nature so that the audience can relate to you. Song Selection The songs you choose for your cabaret can come from anywhere––musical theatre, standards, modern standards, contemporary pop, children’s 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. Don’t 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 117
minimum of information. The edited writing you've done then becomes the subtext of the song’s performance. Stop short of telling us what the song will be and how we should understand it. Let the audience draw its own conclusion. Vocal Style and Performance In keeping with the axiom that cabaret is the “art of being yourself, on purpose,” your singing style needs to match your speaking timbre. Use your true, authentic voice unless you choose to do an impersonation or something for comedic effect.
In cabaret, we use a microphone so that one doesn’t 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. There are essentially four positions for cabaret singing: •Standing with the microphone in your hand. This position has a certain performance ene rgy 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. Things to consider for each song: 1. Focus (full audience, single audience person, point beyond the audience, other) 2. Mic position (Standing/mic stand, Standing/mic in hand , Seated/mic in stand, seated/mic in hand) 3. Interpretation (Is the story you're sharing, your story? Is it clear?) 1.Patter (is patter needed? Is there too much patter? Too little patter? Is it clear?) 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 stage—someone 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 co lors, 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 118
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, a mplifying 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 of10 . 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 shou ld 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 32 bar 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 any thing 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.
Musical Components To Listen For 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 con versational 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 hap pening. 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 Curlie’s 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 “Something’s Coming” from West Side Story, Tony’s 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 p art, 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 Titanic’s stoker in “Barrett’s 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. Critical Listening Practice
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 de scribe the music and what you felt and thought. I would suggest listening three of four times to allow you r 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 123
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 dénouement 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. Analysis You Can Use Doing this kind of thinking for any song will give you a wealth of knowledge to work with as an actor and singer. It will give you images to play with, a sense of atmosphere and tempo and a knowledge of what you need to accomplish. It doesn't require any special understanding of music theory. If you know about chord functions and voice leading, by all means use it in your inspection. My point is that it's not absolutely necessary for a useful analysis. Imagine the imagery and feelings in each section as you sing. As you do, natural adjustments will occur in your physicality and vocal production.
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. Two Critical Listening Analyses The following analyses will offer two more examples of critical listening analysis. Compare the musical notes with the associated actions. For me, the most crucial component of any analysis is found in the question, "How can I use this information in my acting and singing." Will He Like Me? ( She Loves Me)
This moment has Amalia thinking about finally meeting the man she’s been writing and fallen in love with. Lyric divided by beat
Will he like me when we meet? Will the shy and quiet girl he's going to see be the girl that he's imagined me to be? Will he like me?
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. I’ll call the motive back and forth between D and E the “questioning motive”. She’s 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.
Lyric divided by beat
Action
Musical notes
Will he like the girl he sees? If She states her question in a he doesn't, will he know new way. enough to know that there's more of me than I may always show? Will he like me?
An exact melodic repeat. She goes back to the problem. The lyrics go deeper into her worries and fears. She puts the lid back on her hopes and goes back to working out the problem.
Will he know that there's a world of love waiting to warm him? How I'm hoping that his eyes and ears won't misinform him.
She opens up her heart about what she has to offer the relationship and her wish that he see that which is within her.
The B section starts with the same melodic motive but an octave higher. The melodic idea that was first presented at the beginning is now allowed to fully flower. It has grown into a beautifully contoured melody.
Will he like me, who can say? How I wish that we could meet another day. It’s absurd for me to carry on this way. I'll try not to. Will he like me? He's just got to. Will he like me? He's just got to.
She re-states her question and Back to the A material. The responds to the question for penultimate line in the A the first time. section, “Will he like me” is a fully step higher, intensifying the question. The end of the section, the melody is not allowed to resolve. “He’s just got to” ends on a dissonant note, the second scale degree of G major. A new accompanimental idea is introduced here, the steady 8th flow corresponds to the ease she has when she writes alone.
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Lyric divided by beat
Action
Musical notes
When I am in my room alone and I write, thoughts come easily, words come fluently then. That’s how it is when I’m alone, but tonight, there’s no hiding behind my paper and pen.
Amalia describes how easy it is to write when she’s by herself and faces the fact that things will be much different when she’s face to face with him.
Amalia takes stock of the difference between the two situations, writing about when she’s alone and the terrifying thought of actually talking to him. She’s much more at ease when she is alone. “There’s no hiding behind my paper and pen” has a steady quarter note accompaniment that leads her into the last section of the song. In this transition, the orchestra plays the “questioning motive” in a way that broadens and expands.
Will he know that there’s a She returns to her thoughts Like before, the B section world of love waiting to warm about how much she can offer allows us to see and hear the him? How I’m hoping that his this man. full depth of her desires. eyes and ears won’t misinform him. Will he like me? I don’t know. All I know is that I’m tempted not to go. It’s insanity for me to worry so. I’ll try not to. Will he like me? He’s just got to. Will he like me? Will he like me?
Back to the initial questions; questions that build in intensity to the end.
Back to questioning. The questions “Will he like me” get progressively higher in pitch, ending with the song’s apex, F#. This dissonant note helps to emphasize the lack of resolution in the song. This song has an “ending where you start” arc.
“Will He Like Me?”: Analysis you can use
The two-note “questioning motive” at the beginning should be performed parlando, in a rhythmically free, slightly non-legato manner. She is talking to herself as she wonders what her evening will be like. The melody opens up as she moves higher and the questions get more passionate. There is a return to the “questioning motive” as she goes back to working things out. After, there is a soaring melody as she expresses her deepest wishes. Because of the passion of the moment, you can sing with more legato and 127
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 she’s 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 hasn’t 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
The floor creaks, The door squeaks, There's a field-mouse a-nibblin on a broom And I sit by myself Like a cobweb on the shelf By myself in a lonely room
Judd describes his world.
There is a repeated half-step, dissonant repeated chord in the orchestra that suggests Judd’s conflict and tension. It supports a small melodic range indicative of Judd’s world. There is a preponderance of downward melodic motion.
But when there's a moon in my winder And it slants down a beam'crost my bed Then the shadder of a tree starts a-dancin on the wall And a dream starts a-dancin in my head And all the things I wish fer Turn out like I want them to be And I'm better'n that smart aleck cowboy Who thinks he is better'n me!
This section indicates that he has secret longings for something better than his hum-drum existence. He can imagine his life becoming more than it is.
The rapidly flowing accompaniment is a response to these images. They are the dream dancing in his head.
And the girl that I want Ain't afraid of my arms, And her own soft arms keep me warm
He allows himself to verbalize the what he most wishes.
This new section becomes much more melodic, responding to the images of love and embracing Laurey.
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Lyric divided by beat
Action
Musical notes
And her long,yeller hair, falls a-crost my face, Jist like the rain in a storm!
This is the best thing he can imagine. It is a simple, human desire.
The floor creaks, The door squeaks And the mouse starts anibblin on the broom And the sun flicks my eyes It was all a pack o'lies! I'm awake in a lonely room.
But, here he is, as always, in a Almost an exact repeat of the drab room realizing that this first A section. He is back in dream is not a reality. his room, facing his existence.
I ain't gonna dream 'bout her He makes his decision: to no more! persue his heart’s desire and I ain't gonna leave her alone! not just dream about it. Goin' outside, Git myself a bride, Git me a womern to call my own.
There is a swell in dynamics supporting the passion he feels. The melodic motive, F#, G, A B, ends on the melody’s apex, C#—the highest note of the song.
Here, at the climax of the song, we hear new music. We hear driving music in the bass. The melodic motive, (F#, G, A B), is used on “Goin’ outside/Git myself a bride,”. The song ends on the melodic apex, C#. This is a non-chord tone of the home key, B minor. The final dissonant chord corresponds to Judd’s emotional state.
“Lonely Room”: Analysis you can use The tension of the dissonant, repeated 1/2 steps in the accompaniment and the non-melodic melody suggest Judd’s world. Because the opening melody is a “n on-melody”, it should be sung parlando —closer to speech. When the orchestra opens up in the B section, it is a clue for a more expansive vocal production and more physical activity. For the first time, we see Judd’s hopes and dreams. It builds to the first climax on “Jist like the rain in a storm.. There is a return to the initial emotional place. Judd’s life is the same as it always was. But after returning there for a little while, there’s an abrupt musical change with “I ain’t gonna dream ‘bout her arms no more!” as Judd makes a decision to act on his desires. 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 129
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 a cting 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 Barrett’s Song Don’t Rain on My Parade Everybody Loves Louis Everything’s Coming Up Roses Far From the Home I Love Finishing the Hat Geraniums in the Winder Giants in the Sky Gooch’s Song He Plays the Violin How Are Things in Glocca Morra? I Cain’t Say No I Could Have Danced All Night I Enjoy Being a Girl I Have Confidence I’ll Show Him I’m In Love With a Wonderful Guy Is It Really Me? It’s 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 Rose’s Turn Show Me Simple Little Things Some People Somebody, Somewhere Something’s 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 Finian’s 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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Waiting For Life Warm All Over What’s the Use of Wond’rin’ When Did I Fall in Love? Will He Like Me Without You
Once on This Island The Most Happy Fella Carousel Fiorello! She Loves Me My Fair Lady
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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 cha nging 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. It’s 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.
Section 1–Early 20th C. to 1943: Operetta 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 d istinguished 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? Vaudeville and The First Glimpses of a Characteristic Broadway Sound
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 h ave 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 u ptempos, 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 wasn’t 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 Berlin’s 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 133
Major shows: Show Boat, Sally, Oh, Boy!, Leave It To Jane Style
•Kern’s 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 “Can’t Help Lovin’ Dat Man” sounds like a Blues song.
Songs to Know
“They Didn’t Believe Me” (The Girl from Utah, 1913) "Look For the Silver Lining" (Sally, 1919) “Can’t Help Lovin’ Dat Man” (Showboat, 1927) “Ol’ Man River” (Showboat, 1927) “All The Things You Are” (Very Warm For May, 1939) 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 couldn’t 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 ) 134
“Fascinating Rhythm” ( Lady, Be Good ) “Strike Up the Band” (Strike Up the Band) “The Man I Love” (Strike Up the Band )
Richard Rodgers (with Lorenz Hart) Major shows: A Connecticut Yankee, On Your Toes, Jumbo, Pal Joey 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 Kern’s but still quite lush and beautiful. It’s 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 didn’t 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 2–1943 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 don’t have a single, identifying style. 135
Richard Rodgers (with Oscar Hammerstein II) Major Shows: Oklahoma, Carousel, King and I, South Pacific, S ound of Music
•Simplicity and truthfulness •Music is always character based •No artifice •Hammerstein's humanity, plain-spoken lyrics where emotion is direct. •Full orchestra. Very little drums. •No Jazz influence. •Robert Russell Bennett's orchestration is a big part of the R & H sound. It is characterized by memorable countermelodies and lush strings. •Romantic, lush and designed to go directly to the heart •Melody based. Not rhythm or harmony •You leave whistling the tunes. •Lyrics came first and melody follows. •Many instances of hymn-like tunes. (This Nearly Was Mine, Bali Hai, Climb Every Mountain, You'll Never Walk Alone, and Something Wonderful) •Almost in love song like “People Will Say We’re In Love” and “If I Loved You” •Memorable Character numbers like “I Cain’t Say No” and “A Puzzelment” •Ballet music is important. •Big choruses. Songs to Know
“Oklahoma” (OKLAHOMA!) "Oh, What a Beautiful Mornin'" (OKLAHOMA!) “You’ll Never Walk Alone” (Carousel) “Something Wonderful” (The King and I) “A Wonderful Guy” (South Pacific) Lerner and Loewe Major Shows: Brigadoon, My Fair Lady, Camelot
•They are easy to confuse with Rodgers and Hammerstein •You could many of the same things about about their music. •It's lush and orchestral. •Not jazzy. •Melody first. •Bennett also orchestrated for them so the sound is similar.
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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
His shows are among the most frequently revived. Loesser doesn't have a single style, but allows the world of the show to influence his musical style. Guys and Dolls has a classic, Broadway showtune sound, How to Succeed is fashioned after the contemporary, early 1960s jet set pop style and Most Happy Fella is grand and operatic. Loesser's integration of music, lyrics and plot picks up the traditions of Rodgers and Hammerstein and carries them into the next generation. The bright glitz of Guys and Dolls and How To Succeed in Business Without Really Trying could be confused with Jule Styne's shows. Most Happy Fella is the most operatic musical in the literature with the exception of the more comedic, Candide. 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)
Jule Styne (with various lyricists) Major shows: Gypsy, Funny Girl, Bells are Ringing
•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 eac h 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) “Rose’s Turn” (Gypsy) “I’m Going Back” ( Bells are Ringing ) “Don’t 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
•Symphonic, big orchestra and bold orchestrations •Jazz based, with the exception of Candide. •Rhythm is the most important aspect but harmony and melody are complex and important. •His melodies are difficult to sing and the harmony is the most complex in musical theatre until we get to Sondheim. •His shows feel very New York. It’s quite sophisticated. •Could possibly be confused with Styne or Loesser Songs to Know “I Can Cook, Too” (On the Town) “Ohio” (Wonderful Town) “Jet Song” (West Side Story) “Somewhere” (West Side Story) Jerry Bock and Sheldon Harnick Major shows: Fiorello, Fiddler on the Roof, She Loves Me
•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 a nd 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) Other major composers and lyricists during this period Adler and Ross ( Pajama Game and Damn Yankees) have only two shows in the repertoire but they are both strong. Their shows could be confused with Jule Styne or possibly Bock and Harnick. Meredith Wilson (The Music Man and The Unsinkable Molly Brown) The Music Man is considered by some to be one of the greatest book musicals of all time. His shows could be confused with Rodgers and Hammerstein or Lerner a nd Loewe. There are lots of group numbers. Charles Strouse with various lyricists (Major shows: Annie, Bye, Bye Birdie, Applause, Rags) The first two shows are some of the most frequently revived shows. He is one of the most underrated composers and his scores have possibly the widest variety with the exception of Frank Loesser. Burton Lane ( Finian’s Rainbow, On a Clear Day, You Can See Forever ) Finian’s Rainbow could be confused with Brigadoon and On a Clear Day could be confused with Jule Styne or Bock and Harnick.
The Golden Age style It's difficult to find traits that pertain to all Golden Age shows but here a few of them. •Big orchestra with lots of strings, brass and winds. •Songs which are always plot-based •An equality of importance between music and lyric •Vocal styles are in generally one of two camps: Leading roles call for trained voices in a light classical/serious musical theatre style and supporting/comic roles for singing actors with less need for trained voices. As the period progresses there are times when leading characters have the voices usually associated with character roles. •Extended musical forms (beyond the usual verse/refrains of musical comedy) “Soliloquy” from Carousel and “ Lonely Room” from “Oklahoma” are quite complex. •Choral numbers
Section 3–1970 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 139
•His songs set a high standard for theatre music and lyrics •Many of his musicals are concept musicals, i.e. they don’t 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) Kander and Ebb Major Shows: Cabaret, Chicago, Kiss of the Spider Woman, Curtains, Scottsboro Boys 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 Weill’s 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 140
•The orchestra is characterized by lots of strings •There is strong female lead in most of his shows, or in the case of La Cage, a drag queen. •Herman’s songs are characterized by strong, singable melodies. Songs to Know “Hello, Dolly” from Hello, Dolly “Bosom Buddies” from Mame “I Am What I Am” from La Cage Aux Folles Andrew Lloyd Webber (with various lyricists) Major Shows: Jesus Christ Superstar, Evita, Cats, Phantom of the Opera 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 •Webber’s 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
Claude-Michel Schönberg (with various lyricists) Major Shows: Les Miserables, Miss Saigon, The Pirate Queen 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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Broadway in the Modern Era
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 peo ple putting the shows together. The slump of the 80s and early 90s was short lived. I argue that the writers and critics who d isagree are applying outdated standards and methods to their conclusions12 . 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 y ou don’t 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 y ou 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 o f 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 Rob ert 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 The
Rise and Fall of the Broadway Musical. Mark N. Grant
12 The
book the loves showboat but hates ragtime
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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 you’ve 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 c ontemporary 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 144
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. A Typical Day of Auditioning (?)
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. The Four Book Essentials A Standard ballad about love or love lost. (Approximately 1920-1947) What is it? Standards are the enduring songs from the first part of the 20th C. that remain in the repertoire today. These classic songs are well known by the population at large and yet are open to an endless variety of interpretations. While most are from shows, there is no expectation that you follow the story or characters originally associated with the song. They are called standards because they have been sung over and over aga in without loosing their charm and beauty. Most Standards have verses while a few don't. I believe choosing one with a verse is outstanding because if you can handle a verse gracefully while communicating honestly, it will say a great deal about how you handle text in general.
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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 de ep 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. How do I prepare it? We looked at how to prepare Standards earlier in the book. The EXCavATE monologue work will help you discover nuances and depth that are important for this genre since they are so open to interpretation. Auditors will be looking for your unique insight and understanding of the song. Strive for beautiful, legato melodies and longer p hrases. The vowels are delicious to sing and to listen to. Practicing melodies on vowels only will help you achieve greater legato and beauty. How do I use it? Because these songs have such strong melodies, they are great for a wide variety of auditions where you want the panel to hear that you are a good singer. I can imagine using a standard for an open singers call at the Muny or Music Theatre Wichita. Or perhaps you'll want to use it for a leading role in a Golden Age musical. Perhaps the best u se of this kind of song is when after singing your first song and showing them that you are a singer and an actor, the panel asks if you have something a little more simple or more lyrical. If you have the time, sing the verse with a straightforward honesty. Then when the refrain begins, open up and sing it from your heart. They will be impressed with the levels in your performance and that you can sing simple material well. How do I cut it? This is simple. Start with analyzing the form of the refrain. For a 32-bar audition, skip the verse and sing the whole refrain unless it is significantly longer--something quite rare. For a 16-bar audition, the best cut will most likely be the last 16 bars if the form is AABA. If it's an ABAB song, you could start with the second A and sing to the end. But if the lyric to the first A tells your story better, do the first A and the last B. It will feel like you've done the full song. The best 8-bar cut will most definitely be the last 8 bars. Rock Uptempo from the 50s or 60s What is it? 147
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, Chuc k 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 Monke es, Stevie Wonder, Four Tops, Janis Joplin, Aretha Franklin, The Supremes, The Shirelles, Martha and The Vandellas, The Marvelettes, The Crystals Why should I sing it? Because so many musicals are inspired by these songs, everyone needs one in their book. They are perfect for shows like Little Shop of Horrors, Smokey Joe’s Cafe, Hairspray, Memphis, Grease, Beautiful and many others. Rock music has made a lasting imprint on musical theatre since Hair . Learning to sing one of these early rock songs will help you with the fundamentals of singing rock music and you'll be able to make an easy transition into modern rock. How do I prepare it? The groove of these songs is strong. You may not consider yourself a rock singer but you can become one. It requires the involvement of your body and an understanding of where the backbeat is. Play a recording of your song and simply move to the music while clapping or snapping on beats 2 and 4. Getting the groove into your body is crucial because this music is physical. In an interview with Terry Gross13, 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, 13
Fresh Air, January 2, 2006. http://immoderate.wordpress.com/2006/01/03/bruce-springsteen-on-rockmusic/
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"anger is not not an emotion. emotion.14" But there is a restless restlessness ness in rock rock music, even the the innocent sounding 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, 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 in Rock The Audition. It is the ultimate guide to singing Rock songs from both vocal and performance pe rformance 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. How do I use it? You'll want to use it at auditions for the shows I mentioned above or anything like it. It might even be appropriate for modern rock shows if the character you're auditioning aud itioning for has a similar story to the character in your song. How do I cut it? You must include the chorus and the title of your song in a cut. The chorus will contain the hook, or the most memorable musical and lyrical passage. Depending on the length of the chorus you might be able to also sing a verse in a 16-bar cut. Start with the verse and end with the chorus. For a 32-bar cut, more options o ptions are available. Consider starting with the bridge and ending with the chorus. Always feature the hook in an audition. You You can discover what the hook is by asking, "What's the part that gets stuck in my head?" 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). (1927). The ending date is arguable. Some say Gypsy (1959), some say Hair say Hair (1968). (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 way s to tell the story with more depth than mere words. The music of "Lonely House" (Oklahoma (Oklahoma!) !) expresses the loneliness and frustration of Judd just as much as the lyric does. The music of "Will He Like Me" (She (She Loves Me) Me) expresses the same hesitant, halting hope of Amalia as the lyric. Before 1943, composers weren't co ncerned with being a storyteller as much as they were with writing great, memorable tunes. You will find 14
Sherre Saunders Rock the Audition.
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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. Why should I sing it? It will allow you the chance to demonstrate that you are equally skilled as an actor and a singer and that you can live in the Golden Age universe. This is the core literature of musical theatre and even if you fit in modern musicals more easily, you will be called on from time to time to demonstrate the skills that are a part of singing the great Golden Age literature. How do I prepare prepare it? You must understand the full range of o f the character within the scope of the entire show. Study the libretto to know how the moment of the song fits into the big picture of the character's story arc. Also analyze the musical content of the song to see how the music and the lyric work together to tell the story. You must sing the song faithfully to what the composer has given you melodically and rhythmically. rhythmically. Your Your audience knows k nows 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, 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 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," Optimist," own little corner, 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" 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 a nd Ado Annie in Oklahoma or Oklahoma or Ruth and Eileen in
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Wonderful onderf ul Town. Town. Think of how different the voices of Lancelot a nd Arthur (Camelot (Camelot ) or Sarah and Adelaide (Guys (Guys and Dolls) 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, 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. quality. Before 1943, actors didn't need nee d to think in this way. They just sang. For the original productions of shows like South Pacific, Brigadoon or Damn Damn Yankees, Yankees, I think it’s 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 p roductions still strive for. We 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 loca l library has nearly everything. eve rything. In today's world, it has become customary to rely on YouTube 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 YouTube performance of this older literature. I’ve 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 a ctual music of this style is quite important as well as good, stylistic singing, the most important thing is that eve rything: actor, singer and song, should work together in a believable way to tell the same story. You 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 un derstanding of the character with my voice? First you must read the libretto and understand the character and their full story. story. Then listen to the OCR and several seve ral other recordings or videos for comparison. Analyze the song for ways the music helps to tell the story. story. The question I always return to is, "what story is the music telling?" You You can use the role preparation guide I gave you earlier. How do I use it? I've discussed this earlier but when auditioning for a Golden Age musical you want to sing something that demonstrates that you belong to the show's universe. If you are auditioning for a role, sing something that would sound natural na tural in the mouth of the character and shares commonalities with the musical style and the character's essence. If an essential characteristic of the character is naïveté, or straightforward honesty, or gregarious flirtation, you can mix that quality into your audition even if it wasn't present originally. originally. When Faith Prince auditioned for Adelaide (Guys (Guys and Dolls)--a Dolls)--a character with unshakable devotion to Na than despite the facts of their relationship--she choose a surprising yet perfect song, "Something "S omething Wonderful" Wonderful" from South Pacific. Pacific. We We all think of Adelaide first as a comedic character, but her h er audition demonstrated that 151
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. How do I cut it? I could give you a more complex answer but I'm going to try to keep this straightforward and simple. Each of these principals will apply to most situations, and taken together, they offer a general sense of what's important. Your cut must feel natural to you and it must make sense musically. Include the song title. This means you should do the full refrain or at least a part p art containing the title and a recognizable musical passage. You You will most always want to skip the opening op ening 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, cry, wanna croon"), c roon"), "I Don't Remember Remembe r You" You" ("That was another time"), "I Got Lost In His Arm" (How I felt as I fell"). Here are some additional issues to be awa re of: If your cut is 18 or 19 bars, no one will complain. The goal go al is that your cut should "feel like a 16 bar 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 1 6-bar cut, you will be able to play two contrasting actions, one for each beat. bea t. 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 "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 16 bar cuts and they were all between 29 and 38 seconds. Other Things to Consider: u nless it takes your song over • If the time signature is cut-time, you can double the bars to 32, unless 40 seconds. • Minimize the length of the introduction. Ballads c an generally start with a bell-tone. Uptempos can have an introduction of two bars, or less. coun t the bar of the last lyric but not n ot the bars of the held • When counting measure numbers, count note which follow. The last word of "A Cockeyed Optimist" is held 8 measures. That's an extreme example but it still only counts as one bar. This cut, starting with "But every whippoorwill is selling me a bill," is 32 bars in cut-time and yet is feels like a 16-bar cut. By the way, I don't count pick-up bars either. It may sound as if I'm lax on coun ting bars, but I don't think I'm being negligent. be nefit. The 16-bar standard was established • Having a cut that's the expected length is to your benefit. when refrains were nearly always 32 bars b ars and they just wanted to hear he ar half of that. Music is much more complex and variable today, yet the 16-bar standard is still in place as a shorthand
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for a cut that feels like half a refrain. You 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 c ommunicate your love for children (a song like “Children Will Listen from Into from Into the Woods 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" Time" by Jule Styne). Note that the song is about something that's important without being specifically about you or your personality. 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. I’m sure you've seen a performance when the singer shares too deeply and exposes ex poses 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 ho w 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 you r 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 You will alienate your listeners unless you do it ironically. ironically. I developed my thinking about ab out 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 Finian’s Rainbow (revival), Lea Michele with “Mama Who Bore Me” in Spring Awakening and Chip Zien with “No More” in Into in Into the Woods. Woods. Y You ou 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 cha racter and learned the most important things about them. That's quite a special thing when what we are talking about ab out is simply standing onstage and singing a song that other people could do. 153
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 p utting 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. Why should I sing it? You would never lead with your "I Am" song, but when you have the opportunity to open up and show your unique personality and talent, this song may be the best way. How do I prepare it? I spoke about this in detail in the first chapter. See "Songs of Disclosure." How do I use it? I doubt you will ever see a casting call asking for an "I Want Song" or an "I Am" song so you can save this song for when you are asked to bring something more personal, like perhaps an agent call. This could also be the perfect song for an industry open mic or cabaret night when you want to stand out from the crowd. This is the kind of opportunity when a traditional character musical theatre number like "On Street Where You Live" or "Cain't Say No" feels too presentational and old-fashioned. A stripped-down, emotionally open and available song is a powerful way to introduce yourself. How do I cut it? Since this is an untraditional category, it's hard to say precisely how much of the song you will need. Do be prepared to sing the full song, but a shorter cut of 45 seconds to a minute will suffice for an audition situation. As usual, you will want to include the title of the song and enough contrasting material to keep the song interesting. Four Common Sense Guidelines for Choosing A Great Audition Song 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 y ou of the kind of ideas I spoke of with the "I Am" song but by no means should your cho ice 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 e arth, girl-next-door quality we can relate to. If you're singing for Emile, we want to see a sturdy, masculine, baritone Other song types to consider for you book The Miniature
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 cha racter 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 a s 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 "Lov e 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 So ngs can point you in the right direction. Some of my favorite "I Want" songs Larger Than Life (My Favorite Year) Sweet Liberty (Jane Eyre) Much More (The Fantasticks) Proud of Your Boy (Aladdin, film (cut) Wouldn't It Be Loverly (My Fair Lady) Simple Little Things (110 In the Shade) Women (The Pirate Queen) A New Life (Jekyll & Hyde) Somewhere That's Green (Little Shop of Horrors) Just Around the Riverbend (Pocahontas) Maybe (Annie) Oh, To Be a Movie Star (The Apple Tree) Out There (Hunchback of Notre Dame) Santa Fe (Newsies) Someday (The Wedding Singer) Part of Your World (The Little Mermaid, film and musical) If Only (The Little Mermaid, musical) Journey to the Past (Anastasia) Liontamer (The Magic Show) Live Out Loud (A Little Princess) Corner of the Sky (Pippin) The Wizard and I (Wicked) I've Got To Find a Reason (Carnival) Half As Big As Life (Promises, Promises) Belle (Beauty and the Beast) Sal Tlay Ka Siti (Book of Mormon) 156
I Have Confidence (The Sound of Music) Maybe This Time (Cabaret) Mira (Carnival)' King of Broadway (The Producers) Show Off (The Drowsy Chaperon) Cold Feets (The Drowsy Chaperon) Something's Coming (West Side Story) Nothing (A Chorus Line) If I Were a Rich Man (Fiddler on the Roof) The Life I Never Led (Sister Act) Better (Little Women) How Will I Know (Death Takes a Holiday) Willing to Ride (Steel Pier) A Song of Optimism 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 Wonderful, Wonderful day (Seven Brides for Seven Brothers) Comes Once in a Lifetime (Subways are for Sleeping) Nothing Can Stop Me Now (The Roar of the Greasepaint, The Smell of the Crowd) Ac-Cent-Tchu-Ate the Positive (Great American songbook) You’re Gonna Hear From Me (Great American songbook) Fly Into the Future (Vanities) On My Way (Violet) Grateful (John Bucchino) I Got Love (Purlie) I Wish It So (Juno) Young at Heart (Great American songbook) It’s a Great Feeling (It's a Great Feeling, film) It's Amazing the Things That Float (The Flood) A Wonderful Day Like Today (The Roar Of The Greasepaint) Small Town Girl (Debbie Does Dallas) On the Other Side of the Tracks (Little Me) Things are Looking Up (Damsel in Distress, film) I Have a Love. (West Side Story) The Best Things in Life are Free (Good News) Look for the Silver Lining (Sally) 15
Andrew Byrne. "5 Types of Songs You Should Have in Your Audition Book." Backstage. May 8, 2014
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High Hopes (Great American songbook) You Mustn't Be Discouraged (Fade In-Fade Out) Pick Yourself Up (Swing Time, film) Let Me Sing, I'm Happy (White Christmas, film) Hurry, It's Lovely Up Here (On a Clear Day You Can See Forever) The Eagle and Me (Bloomer Girl) Pocket Full of Miracles (Great American songbook) Blue Skies (Great American songbook) Zip-a-dee-doo-dah (Song of the South, film) I Have Confidence (The Sound of Music There's Gotta Be Something Better Than This (Sweet Charity) I Got the Sun In the Morning (Annie Get Your Gun) It's Today (Mame) I Whistle a Happy Tune (The King and I) Shine Like the Sun (Nine to Five) Waitin' For the Light to Shine (Big River) Blow, Gabriel Blow (Anything Goes) Forget About the Boy (Thoroughly Modern Millie) As We Stumble Along (Drowsy Chaperone) Put On a Happy Face (Bye, Bye Birdie) Get Happy (Great American songbook) On the Sunny Side of the Street (Great American songbook) Fine and Dandy (Fine and Dandy) Life Is Just a Bowl of Cherries (George White Scandals of 1931) Let's Have Another Cup of Coffee (Face the Music) April Showers (Bombo) Let a Smile Be Your Umbrella (Great American songbook) Till The Clouds Roll By (Oh, Boy!) Singin' in the Rain (Singin' in the Rain, film) Keep Your Sunny Side Up (Sunny Side Up, film) The Comedy Song
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 "Ade laide'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 unacce ptable 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. Auditioning for College
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 deman ding 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 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. Look at your book and respond to these imaginary requests from auditioners:
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?
Audition Book Song Categories 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. 160
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 well…something that shows your voice a nd 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, it’s 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 b ook 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, Don na 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 161
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, a nd 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. It’s better to choose an earlier Disney song like the Sherman Brothers or a ny 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 goo d singing technique, strong musicianship and acting c hops. 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, pe rsonalized 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 162
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. Frequently Used Songs Standard Ballad and Uptempo Two contrasting Golden Age Pop/Rock (early Rock, 80s and modern) Contemporary musical theatre Money cutting Etc.
The Perfect Audition Book Some final thoughts and instructions •Depending on your vocal and character type, it may not be necessary to have absolutely every one of these categories. Some exceptions can be made for having Gilbert and Sullivan and/or Operetta if you are not a true legit singer. However, everyone should have something like a classical piece or Golden Age song that allows your singing technique to shine. •Prepare each song in its complete form (1 1/2 to 2 minutes is sufficient and you can skip repeats), a 32-bar cutting and a 16-bar cutting. •Music should be copied double-sided. If the music is on just two pages, present it in your book such that the pianist doesn't need to turn pages. •To avoid communication issues with your pianist, eliminate ex traneous markings on your music. Clearly indicate introductions and endings. •None of the music should be cut off the page. Check the tops and bottoms of the pages carefully. Reduce the copy ratio as needed. 90% generally works. Follow these guidelines with assembling your audition book.
•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 c ursive 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 that’s left over from another singer will confuse the pianist if you don’t 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 vo cal 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 on ly what she will be playing. In other words, don’t just make X’s 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 you’ve 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. 164
•Please do not use staples. They make turning pages difficult. Finally, include extra copies of head shots and resumes.
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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. Ask the Right Questions It is crucial that you ask the right questions before choosing material. Consider these.
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 ingénue, a villain, etc.). If you a re 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 32 bar 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 moment’s 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. • The same composer • The same musical or vocal style • The same historical period or location that the show takes place in • The same show theme • Other roles that the originating actor played • A similar character 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 167
between Rodgers and Hart, George Gershwin and Cole Porter, between Rodgers and Hammerstein and Lerner and Loewe, and between Leonard Bernstein’s shows and Jule Styne’s. Singing a song by the composer of the show you’re auditioning for isn’t always the best thing. For instance, when auditioning for Kander Kande r and Ebb’s 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 You can find a guide to shows that are similar below. Shows that share a common musical style.
Oklahoma!
Music Man
Legally Blonde
Carousel
Oliver!
The Wedding Singer
Brigadoon. Camelot. My Fair Lady
Hello, Dolly!
Big
Finian’s Rainbow
Mame
Footloose
King and I. Kiss me Kate. Annie Get Your Gun
Second Generation Classic Legit Musicals
MODERN BIG MUSICALS WITH A POP/ rock score
First Generation Classic Legit Musicals
Fiddler on the Roof
Jane Eyre
My Fair Lady
She Loves Me
Scarlet Pimpernel
Sound of Music
The Rothchilds
Cyrano, A Tale of Two Cities
State Fair
Plain and Fancy Mega-Musicals
Wonderful Town Bells are Ringing Annie Get Your Gun Best Foot Forward
Phantom of the Opera
Martin Guerre
Jekyll and Hyde
Les Miserables
Sunset Boulevard Woman in White Lestat
Miss Saigon Chess Evita Jesus Christ Superstar
Beauty and the Beast
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Call Me Madam
Little Mermaid, Beauty and the Beast, The Lion King, Aladin, Tarzan
Meet Me in St. Louis
Chitty Chitty Bang Bang
Damn Yankees
Mary Poppins
Li’l Abner
Modern Disney Musicals
Pajama Game
Modern Legit Musicals
Ragtime Carnival
Titanic
Fantasticks 110 In the Shade Musical Comedy Classic Broadway
DuBarry was a Lady
Golden Age Showtune
Anything Goes, Kiss Me Kate, Silk Stockings, High Society
Funny Girl, West Side Story
Fifty Million Frenchmen
Gypsy
Panama Hattie
Fade Out – Fade In
Musical Comedy Jazz score
Mexican Hayride
Gentlemen Prefer Blondes
Girl Crazy
Modern Classic Musicals
Lady Be Good
Seesaw, On the Twentieth Century, Century, Barnum, City of Angels, Will Rogers Follies
Pal Joey, On Your Toes, Babes in Arms, A Connecticut Yankee, Good News
Sweet Charity
Strike Up the Band, Crazy for You, Of Thee I Sing, Strike Up the Band, The Boys From Syracuse
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The Life Little Me, ALL THE KANDER AND EBB SHOWS
An Aggregate of Musicals Sharing Shar ing Similar Style Traits
These collections of stylistically similar shows can be useful in selecting audition selections. If you are auditioning for a specific spec ific show, 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 require something with more Belt. For period musicals, musicals, look for authentic songs from the period that can be shaped into something resembling the show's style. Contemporary Legit. Musicals Adding Machine Amour The Beautiful Game Chaplin Dance of the Vampires Death Takes a Holiday Grey Gardens Jane Eyre Jerry Springer, the Opera
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The Light in the Piazza Love Never Dies Woman in White The singing style for these shows frequently has much in common with traditional classical Bel Canto operatic style. An aria or art song may be appropriate. Or you may select a Standard Repertoire piece but sing it in a more more classical style.
Golden Age Showtune Musicals Bells are Ringing Wonderful Town Damn Yankees Funny Girl West Side Story Gypsy Pajama Game Gentlemen Prefer Blondes Fade In - Fade Out Also see Classic Legit shows from from various periods Modern Legit. Musicals Ragtime Titanic Contemporary Historic Legit. A Tale Tale of Two Cities Jane Eyre Scarlet Pimpernel Mega-Musicals Phantom of the Opera Cats Les Miserables Miss Saigon Sunset Boulevard Pop/Rock Jukebox Musicals All Shook Up Jersey Boys Million Dollar Quartet Motown Rock of Ages American Idiot 171
True radio Pop/Rock in the style of the show is the best option. Pop/Rock with an Original Score Aida Altar Boys Bat Boy Bloody, Bloody Andrew Jackson Bring It On Brooklyn Carrie The Full Monty Kinky Boots Leap of Faith Lysistrata Lysistrata Jones Memphis Next To To Normal Once Billy Elliot Passing Strange Spider-man, Turn off the Dark Spring Awakening The Toxic Avenger The Wedding Singer In most cases, a true Pop/Rock song is the best option. Casting calls for these shows commonly specify this understanding. 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 are aware of being actors in a show. show. There is a modern sense of humor even when set in another period. Humor, Humor, wit and intelligence are perhaps more 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] 172
Silence! Chicago
Sondheim Second generation Golden Age Music Man Oliver! Fiddler on the Roof Flahooley The Rothschilds She Loves Me
Third Generation Golden Age Annie Hello Dolly! Mame
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.
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, Something’s 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 u se 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 you’re 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 character’s 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 ingénue Female ingénue (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 Finian’s 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 ingénue (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 Finian’s Finian’s 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 o f the ingenue or the community c ommunity.. 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 F rump in How to Succeed, Thenardier and Madame Thenardier in Les Miserables, Sandor in Bells are Ringing, Velma in Hairspray, Hairspray, Mrs. Meers in Thoroughly Modern Millie, Glen in The Wedding Wedding Singer, Professor Callahan in Legally Blonde). On the attractiveness scale, these characters are usually at the ends. Very Very character-y or stunningly beautiful. be autiful. 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 40 s or 50s. Powerful builds. Lower class or upper class. Temptress (Lola in Damn Yankees, Yankees, Appassionata von Climax in Li’l 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, Bea utiful, sexy and frequently a dancer dance r. 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, Yankees, The Emcee Emce e in Cabaret, Og in Finian’s Rainbow, Uncle Max in Sound of Music, Witch in Into the Woods, The Leading Player in Pippin, Starbuck in 110 in the Shade, S hade, The Wonderful Wonderful Wizard of Oz in Wicked, El Gallo in The Fantasticks, Dicken in The Secret Garden. A complex character causing conflict by disobeying disobeying conventional behavior norms. They are striking in their differences differences to everyone else. Often they are associated with magical, other-worldly abilities. Male tricksters are u sually slim. 20s, 30s, 40s or 50s. Voice Voice type depends on the show. show. Classless or lower class. Girl back home (Meg in Damn Yankees, 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 Voice type depends de pends on the show. 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, Nicely Nicely 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 West Side Story, 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, 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 o r 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!, Fräulein 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, 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 Little Night Music. 30 to 60. She is a stunningly beautiful, mature and regal Mezzo/belter. 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, 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 Bo yd in Damn Yankees, Yankees, Fredrik in A Little Little Night Music, Sid in The Pajama Game, Ga me, 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 Cap tain Von 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, Han dsome, powerful baritone. Middle or upper class. Antihero (Billy in Carousel, Beast/Young 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, solitary, unhappy leading lead ing 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 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 Ch ip in On the Town) Town) Comedic, frequently slow witted, but lovable. Frequently they are young, slim "Song and Dance men." 20 to 45. Tenor usually. 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 Supe rior 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 take r 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 Hoo d in Into the Woods, Woods, Billy in Billy Elliot, Annie in Annie, Colin in The Secret Garden, Louis Lo uis 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, Year, Leo in The Producers, The Man in the Chair in The Drowsy Chaperone, Marcellus Washburn Washburn in Music Man, Cornelius Hackl in Hello Dolly, Motel in Fiddler on the Roof, Frank Cioffi in Curtains, David Shayne in Bullets Bu llets Over Broadway. The Nebbish is nerdy, awkward, sometimes effeminate, mama's boy, frequently Jewish. 20 to 35. Character tenor or baritone. Lower c lass or working class. Buffo Trevor Greydon in Thoroughly Modern Millie or Ivan in Women on the Verge Verge of a Nervous Breakdown The Worldly Girl With 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 doesn’t always follow the kind of casting your find most often in film. You You don’t 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 You walk in and immediately you are placed into a 177
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 Ho w 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 man y 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 wh at other roles these actors have played. What actors have played that role? role? You 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 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 You are a unique, interesting and valuable person. I discourage my younger students from thinking too much about their type as they develop as a s actors and people. pe ople. You You will have plenty of time later. Typing Typing is just a natural part of the business and you mustn't let it scare you or stifle you or your creativity. creativity. Don't think of "types" as a box you must fit into but rather an outline you can fill with your artistry, 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. show. Your Your choice or choices should help those you are auditioning for see you in the musical. Your Your choice should also consider the physical life of the characters in the ensemble. The ensemble for OKLAHOMA! and 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 yo u can sing the score and if you “fit” into the director ’s vision of the show’s 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 isn’t 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 You will also most likely want to sing the song’s climax. The second thing is to sing the p arts of the song that are the best for your voice. If, however, you don’t 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 y our way backwards. By the way, if the 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 yo ur 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. Frequently Asked Questions
1. Is 1. Is it a good idea to choose unknown material? Probably 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,” You,” “Almost Like Being in Love," “Unusual Way” Way” or other great songs. 2. Should I do a special arrangement I worked out with a pianist? Imagine 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. S hould hould I choreograph or stage my audition? No. audition? No. A singing audition’s 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 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 there certain composers I should avoid? If avoid? If you are auditioning for a Sondheim show, it is
acceptable to sing Sondheim. Otherwise, it’s 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 h ard 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, new, difficult scores and when I hire pianists, 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. Choosing Pop/Rock songs for auditions
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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. Don’t 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. Don’t choose songs whose best attribute is its groove. If the song’s best quality is rhythm, it’s 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. It’s 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 beca use 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. Don’t 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 abov e for an ensemble audition. If there is a lead you are right for, follow the suggestions for auditioning for a lead above. 180
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. Audition Case Study
Here are a few real life examples of finding the perfect audition song. 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 character’s immense joy in the love she has for her husband. Martha’s 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 Nellie’s 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, let’s all stop and consider how difficult it is to audition for a Sondheim show. You can’t sing from the show you’re 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. She’s more grounded and funnier. She’s a bit clumsy and seems to find herself in embarrassing situations. The role calls for a soprano, but a unique kind of soprano—one 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 different—younger 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 Cinderella’s strong desire for something better while at the same time questioning h erself. After singing nearly every female (and some male) Sondheim songs, the one she felt most related to her sense of the character was “Isn’t It?” from Saturday Night. The song concerns the conversation two young people have at a 181
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. Bu t ultimately she decided she would just sing it as written. She sang with the voice she heard as Cinderella’s voice while seeing the character’s world around her. It couldn’t have been more Cinderella-ish. Of course, she could have decided not to sing a Sondheim song and that’s perfectly okay, though perhaps not ideal. The reason it’s 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 else’s music. Please do try to stop all the crazy thinking I’ve experienced when people talk about Sondheim. While his music is brilliant, we can’t, 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 don’t 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 variety–savory 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 “Don’t Forget To Remember Me” by Carrie Underwood are excellent examples. Country songs are an especially rich storehouse of great story songs. A familiar song done with an interesting new arrangement
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
When we do this, we remove the exThink of creating new, tailor-made setting that suits your take on the story. Sutton Foster’s “My Romance” and Victoria Clark’s “Right as the Rain” are great examples. There are three major kinds of ballads: 1. Ballad of love found or love lost . Standards like “Someone to Watch Over Me”, “Long Before I Knew You”, “On My Way To You”, “It Might Be You” or Pop songs like “Make You Feel My Love” and “She’s Got a Way About Her.” 2. Introspective/Disclosure/I Want Ballads. “The Man I Love”, “If Only”, “River”, “It Might As Well Be Spring.” 3. The “Message” Ballad , that says something important about the world. “Coney Island”, “What’s 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 you’re 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?”, “I’m Beginning to See The Light”, “Ro ute 66”, “The Acheson, Topeka and the Santa Fe”, and “It’s 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. Modern Cabaret standards Songs by John Bucchino (“Grateful,” “Unexpressed,” “Sweet Dreams”), Craig Carnelia (“Flight,” “The Kid Inside,” “Nothing Really Happened”), Jeff Blumenkrantz (“Toll,” “Lovely Lies,” “Take the Filter Off”), Maury Yeston (“I Had a Dream About You,” “New Words,” “Danglin’), Michel LeGrand (“A Piece of Sky,” “How Do You Keep the Music Playing,” “You Must Believe In Spring,” “On My Way To You”), David Friedman (“Listen to My Heart,” “Trust the Wind,” “We Live On Borrowed Time”) Goldrich and Heisler (“Apathetic Man,” “Fifteen Pounds,” “Sing Your Own Song”), Jimmy Webb (“The Moon’s a Harsh Mistress,” “All I Know,” “Only One Life”) and Christine Lavin (“The Air Conditioner Song,” “Sensitive New Age Guys,” and “Good Thing He Can’t Read My Mind”). Songs from this category are most welcome. Torch songs Women only and best if done by seasoned performers. Atypical Cabaret songs done in a cabaret style. Pop songs are most welcome in the cabaret scene but you should be aware of some things. The song must be very strong lyrically and musically. Sometimes, when stripping a song to its simplest form with just piano and voice, the c raftsmanship is revealed to be lacking. No matter how much you love the original recording, please don’t do a song because of the recording. You must re-interpret these songs vocally and musically so that the lyric is of primary importance and the music is interesting and helps to tell your specific story. A pop song done straight forward in the original style is probably not a good fit. 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 wasn’t originally comic into 185
something funny. An excellent example I’ve 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. Contemporary Theatre Song These are outstanding choices for your show, but if you do one, you must strip it of all of the expectations associated with it. If it is an “Eleven-O’Clock” n umber, do it as an intimate ballad. If it is a belt number, avoid belt. In other words, take it far away from what we are used to so that we can hear the lyric in a fresh way. Remember that cabaret is never about the voice. It is about the lyric and connecting the lyric to your personal experience as well as the experiences of your audience. I've seen "Corner of the Sky", "Astonishing", "Gimme, Gimme", and "Just Around the Riverbend" work when it was taken in unexpected directions musically and not performed as if they were part of a show. 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 I’ve said, the cabaret audience knows this literature. I’ve seen major portions of shows devoted to Sondheim as Liz Callaway did for her Town Hall show, Even Stephen. What is the “Cabaret Style”? The most important consideration when setting the style of a song is that the lyric is the most important thing. Often songs are lowered so that they are in the speaking range. The role of the piano is to help tell the story. The accompaniment is often changed to help illustrate the specific story the singer is telling. A gentle guitar-like setting can communicate a folksy, casual story Good music director/pianists support the artist without distracting from them with too much filagree but with a lot of color and nuance. The role of the pianist cannot be underestimated in a great show. 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 “Something’s 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 y our unique perspective. If you do a song just as it’s done in the musical, you put yourself into the role of the show’s character and not your unique self.
“I’m 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 186
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 (I’m 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. Variety is the key. Please don't want more than one song-type in a show. Creating an arrangement with a Musical Director: An example Talk to your Music Director about creating new arrangements for some if not all of your songs. This has become a hallmark of the modern cabaret scene. It's expected and maybe even demanded by modern audiences.
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? How Are Things in Glocca Morra? An experienced male cabaret singer I worked with wanted to do a song about home. The core idea is that home never leaves you no matter how far away you are. His idea was to do "How Are Things in Glocca Morra" but he didn't want it to remind anyone of Finian's Rainbow. It also had to look and sound good in a man’s voice. These are the kinds of songs caba ret audience love– taking a familiar song and making it seem brand new.
His input: “I go on a lot of trips for work and feel disconnected sometimes. I feel as if I’m 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? It’s 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 Oz–what 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 a bout 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 it’s 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. Some Basic Guidelines to be Aware of In Creating Your Show • Don’t 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 song’s performance, using it to tell your story. • Don't make it chronological. It’s 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 audience’s 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. That’s why it’s 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 aren’t funny, your patter must be. • Don’t 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 Streisand’s Concert tour. While Ms. Streisand wanted to see how the show looked, Liz would stand in and sing. As she tells this story, she doesn’t 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 doesn’t brag about it but makes himself into the buffoon. It’s like a stand-up routine. 188
•
•
• •
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 it’s 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 that’s unique to you. Cabaret Structure for Shows between 5 and 20 songs
1. The Opening number sets the tone. It should be welcoming and well-known. Probably uptempo and positive. It shouldn’t be romantic unless you're romancing the audience. Avoid introspective songs and story songs. In a ca baret 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 d ifferent style than the first. It can be comedic, light and charming song, or ballad that’s 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. It’s possible that this could be a ballad such as “What a Wonderful World” if your previous song wasn’t a ballad. Or it could be an uptempo like “That’s Life.” It’s best if it is lighter in tone than the penultimate song. For longer shows of more than 10 songs. 6. For longer shows, an Encore is expected.The encore should be short and special, or fun and light. An encore can be a ballad or uptempo. If it’s a ballad, keep it short. Think of it as an after dinner mint--a sweet finisher. Further Exploration Listen to some great cabaret recordings. I would suggest Sutton Foster’s Wish, Victoria Clark’s Fifteen Seconds of Grace and Audra McDonald’s 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 LuPone’s Far Away places (Live from 54 Below), Laura Osnes' Dream a Little Dream (Live 189
at the Café 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 c onsidered 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 that’s unique to me and would be interesting to an audience who doesn’t 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 e veryone 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 Bublé (It's Time, Call Me Irresponsible, To Be Loved). Standard Ballads A Standard Ballad is perhaps the most critical single song in your audition boo k 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 other’s 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 show—to 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 yo ur 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. Rodgers and Hart With a Song in My Heart (M/F) 1929 My Heart Stood Still (M/F) 1927 It Never Entered My Mind (F) 1940 Spring is Here (M/F but probably better for a man) 1938 Have You Met Miss Jones? (M) 1937 My Romance (M/F) 1935 Isn't it Romantic? (M/F) 1932 I Could Write a Book (M/F) 1940 I Didn't Know What Time it Was (F) 1939 You're Nearer (M/F) 1940 Where or When (M/F) 1937 It's Easy To Remember (M/F) 1935
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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 (You’d 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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There Will Never Be Another You (M/F) 1942 James Van Heusen Darn That Dream (M/F) 1939 Imagination (M/F) 1940 I Thought About You (M/F) 1939 Great Ballads by Other Composers
A Nightingale Sang in Berkeley Square (M/F) Music by Manning Sherwin and Jack Strachey Lyrics by Eric Maschwitz 1940 As Time Goes (M/F) Music and Lyrics by Herman Hupfeld 1931 Can This Be Love? (M/F) Music by Kay Swift Lyrics by Paul James 1930 Can't We Be Friends (F) Music by Kay Swift Lyrics by Paul James 1929 Fools Rush In (M/F) Music by Rube Bloom Lyrics by Johnny Mercer 1940 I Can’t Get Started with You (M) Music by Vernon Duke Lyrics by Ira Gershwin 1935 I Cover the Waterfront (M/F) Music by John Green Lyric by Edward Heyman 1933 I Remember You (M/F) Music by Victor Schertzinger Lyrics by Johnny Mercer 1941 I'll Be Seeing You (M/F) Music by Sammy Fain Lyrics by Irvin Kahal 1938 It's Magic (M/F) Music by Jule Styne Lyrics by Sammy Cahn 1947 It's You Or No One For Me (M/F) Music by Jule Styne Lyrics by Sammy Cahn 1948
Secret Love The Boy Next Door (F) Music by Hugh Martin Lyrics by Ralph Blane 1944 The Very Thought of You (M/F) Music and Lyrics by Ray Noble 1934 Time After Time (M/F) Music by Jule Styne Lyrics by Sammy Cahn 1947 You Were Meant For Me (M/F) Music by Nacio Herb Brown Lyrics by Arthur Freed 1929
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. Bewitched, Bothered and Bewildered (F) Music by Richard Rodgers 1940 My Funny Valentine (F) Music by Richard Rodgers 1937 Someone to Watch Over Me (F) Music by George Gershwin 1926 Embraceable You (M/F) Music by George Gershwin 1928 The Man I Love (F) Music by George Gershwin 1924 How Long Has This Been Going On? (M/F) Music by George Gershwin 1928 I've Got a Crush on You (F) Music by George Gershwin 1930
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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 d epression 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, ne eding 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 an d 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. Uptempo - “I Got Rhythm,” and “I Can’t Be Bothered Now” Swing - “On the Sunny Side of the Street,” and “Take the "A" Train” Charm Song - “Singing' in the Rain,” and “If I Only Had a Brain” Ballad - “Bewitched, Bothered and Bewildered,” and “Somebody Loves Me” 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
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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
Look in song books for more Gershwin Clap Yo' Hands Love is Sweeping the Country I Can't Be Bothered Now Swanee Lady Be Good Let's Call the Whole Thing Off Slap That Bass (it's swing, but it's fast swing) I Got Rhythm My One and Only Fascinating Rhythm (it's swing, but it's fast swing) They All Laughed Could You Use Me
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Oh, Lady Be Good! 'S Wonderful Strike Up the Band Of Thee I Sing Who Cares? Could You Use Me? Rodgers and Hart Lady is a Tramp I Wish I were in Love Again Johnny One Note Ev'rything I've Got Thou Swell It's Got to Be Love (no verse) You Mustn't Kick it Around You Took Advantage of Me (This is a Charm song but works as an uptempo if taken at a faster tempo) Mountain Greenery (This could be considered a Charm song) I'd Rather Be Right Dancing on the Ceiling The Most Beautiful Girl in the World Mountain Greenery This Can't Be Love 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 197
Look in the song book 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 We’re 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 Others (FIRST NAMES!) You Make Me Feel So Young (1946) (Myrow) High Hopes (Van Heusen) (1958) On the Sunny Side of the Street (McHugh) I'm Just Wild About Harry (Blake) Zing! Went the Strings of My Heart (Hanley) Pick Yourself Up (Kern) I Want to Be Happy (Youmans) Who (Kern) 198
I Want to Be Bad (DeSylva, Brown and Henderson) Varsity Drag (DeSylva, Brown and Henderson) Button up Your Overcoat (DeSylva, Brown and Henderson) Fine and Dandy (James and Swift) Lullaby of Birdland (Shearing) Please Don't Talk About Me When I'm Gone (Stept) I Won't Dance (Kern) I'm Gonna Sit Right Down and Write Myself a Letter (Ahlert) I'm Just Wild About Harry (Sissle and Blake) Who? (Kern)
Jazzy Songs that could that could be considered a Standard Uptempo It Had to Be You (Jones)—This is more a jazz song than and Uptempo Lullaby of Birdland (1952) (Shearing) Ain't Misbehavin (Waller) I'm Beginning to See the Light (Ellington) It Don't Mean a Thing (If it Ain't Got that Swing) (Ellington) Straighten Up and Fly Right (Nat King Cole)
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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. I’ve 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 yo u 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
Film
Year
Composer
Gend er
Description
(I’ve Got a Gal in) Kalamazoo
Orchestra Wives
1942
Harry Warren
M
Upbeat swing number
(Love Is) The Tender Trap
The Tender Trap
1955
Jimmy Van Heusen
M/F
Jazzy uptempo about the powers of love
10,432 Sheep
The West Point Story
1950
Jule Styne
F
Jazzy comedic uptempo
200
Title
Film
Year
Composer
Gend er
Description
A Foggy Day
A Damsel in Distress
1937
George Gershwin
M
Romantic ballad
A Guy What Takes His Time
She Done Him Wrong
1933
Ralph Rainger
F
Sassy, vampy number
A Kiss To Build a Dream On
The Strip
1951
Bert Kalmar
M/F
Romantic Charm song
A Lady Loves
I Love Melvin
1953
Mack Gordon
F
Charming uptempo about what women like
A Piece of Sky
Yentl
1883
Michel Legrand
F
Disclosure moving ballad
Aba Daba Honeymoon
Two Weeks With Love
1950
Arthur Fields & Walter Donovan
M/F
Comic nonsense song
Ac-Cent-Tchu-Ate the Positive
Here Come the Waves
1945
Harold Arlen
M/F
Celebratory Swinging uptempo
Again
Roadhouse
1948
Lionel Newman
F
Bluesy romantic ballad
1953
Hoagy Carmichael
F
Swinging song in the search for love
Ain’t There Anyone Here Gentlemen Prefer Blondes for Love?
Alive and Kickin’
Best Foot Forward 1943
Hugh Martin & Ralph F Blane
Uptempo celebrating the possibility of romance
All the Way
The Joker Is Wild
1957
Jimmy Van Heusen
M/F
Romantic ballad
Always and Always
Mannequin
1938
Edward Ward
M/F
Romantic ballad
Anywhere
Tonight and Every Night
1945
Jule Styne
M/F
Romantic standard ballad
Anywhere I Wander
Hans Christian Andersen
1952
Frank Loesser
M
Romantic ballad
April in Paris
Vernon Duke
1932
Vernon Duke
M/F
Descriptive standard ballad
Arthur Murray Taught Me Dancing in a Hurry
The Fleet’s In
1942
Victor Schertzinger
F
Comedic story song
Arthur's Theme (Best That Arthur You Can Do)
1981
Burt Bacharach & Christopher Cross
M
Romantic pop ballad
As Long as There's Music
Step Lively
1944
Jule Styne
M/F
Romantic standard ballad
As Time Goes By
Casablanca
1942
Herman Hupfeld
M/F
Romantic standard ballad
At the Cafe Rendezvous
It’s A Great Feeling 1949
Jule Styne
F
Ballad with a Parisian sensibility
Baby Doll
The Belle of New York
1952
Harry Warren
M
Romantic charm song
Be a Clown
The Pirate
1948
Cole Porter
M
Comedic uptempo
Better Luck Next Time
Easter Parade
1948
Irving Berlin
F
Regretful romantic ballad
Blame My Absent-Minded It’s a Great Feeling 1949 Heart
Jule Styne
F
Romantic ballad
Brooklyn Bridge
It Happened in Brooklyn
Jule Styne
M
Sentimental Charm song
But Beautiful
Road To Rio
1947
Jimmy Van Heusen
M
Romantic ballad that describes love
Call Me Irresponsible
Papa’s Delicate Condition
1954
Jimmy Van Heusen
M
Can’t Stop Talking About Let’s Dance Him
1950
Frank Loesser
F
Uptempo patter song of a woman in love
Candle on the Water
1977
Al Kasha and Joel Hirschhorn
M/F
Affirming folk ballad
Pete’s Dragon
201
Romantic swing number
Title
Film
Year
Composer
Gend er
Description
Change Partners
Carefree
1938
Irving Berlin
M
Romantic Charm song
Charade
Charade
1963
Henry Mancini
M/F
Lonely Parisian slow waltz
Cheek to Cheek
Top Hat
1935
Irving Berlin
M/F
Romantic ballad
Come Fly With Me
Come Fly With Me
1963
Jimmy Van Heusen
M/F
Jazzy uptempo of invitation
Come Out, Come Out, Wherever You Are
Step Lively
1944
Jule Styne
M/F
Romantic Swing ballad
Count Your Blessings Instead of Sheep
White Christmas
1954
Irving Berlin
M/F
Sentimental ballad
Crazy Rhythm
Tea For Two
1950
Irving Caesar, Joseph Meyer & Roger Kahn
M/F Broadway Show tune about the power of rhythm
Diamonds Are a Girl’s Best Gentlemen Prefer Friend Blondes
1953
Jule Styne
F
Flirtatious uptempo
Down Argentine Way
Down Argentine Way
1940
Harry Warren
F
Playful Latin uptempo
Ev'ry Night at Seven
Royal Wedding
1951
Burton Lane
M
Romantic Charm song
Ev’ry Time
Best Foot Forward 1943
Hugh Martin & Ralph M/F Melancholy standard ballad Blane
Evergreen (Love Theme from A Star is Born)
A Star is Born
1976
Barbara Streisand
F
Romantic pop ballad
Fated to Be Mated
Silk Stockings
1957
Cole Porter
M
Romantic uptempo Show Tune
Feed the Birds
Mary Poppins
1964
Richard M. Sherman and Robert B. Sherman
F
Melancholy story song
For All We Know
Lovers and Other Strangers
1970
Fred Karlin
M
Romantic folk ballad
For Every Man There’s a Woman
Casbah
1948
Harold Arlen
M
Romantic Charm song
For Your Eyes Only
For Your Eyes Only 1981
Bill Conti
F
Romantic pop ballad
Funny Girl
Funny Girl
1968
Jule Styne
F
Melancholy standard ballad
Get Happy
Summer Stock
1950
Harold Arlen
F
Jazzy uptempo of celebration
Goodbye For Now
Reds
1981
Stephen Sondheim
F
Tender ballad at parting
Gotta Have Me Go With You
A Star is Born
1954
Harold Arlen
F
Swinging romantic uptempo
High Hopes
A Hole in the Head 1959
Jimmy Van Heusen
M/F
Optimistic charm song
How Could You Believe Me?
Royal Wedding
1951
Burton Lane
How Do You Keep the Music Playing?
Best Friends
1982
Michel Legrand
M/F
Romantic pop ballad
How Little We Know
To Have and Have Not
1941
Hoagy Carmichael
M/F
Romantic ballad or Latin
I Begged Her
Anchors Aweigh
1945
Jule Styne
M
Light romantic swing
I Can't Be Bothered Now
A Damsel in Distress
1937
George Gershwin
M/F
An uptempo jazzy celebration of dance
I Concentrate on You
Broadway Melody of 1940
1940
Cole Porter
M
Romantic ballad
202
Charming comedic uptempo
Title
Film
Year
Composer
Gend er
Description
I Couldn’t Sleep a Wink Last Night
Higher and Higher 1944
Jimmy McHugh
M/F
Romantic standard ballad
I Cried for You
Babes in Arms
1939
Arthur Freed & Abe Lyman
M/F Melancholy standard ballad
I Don’t Want to Walk Without You
Sweater Girl
1942
Jule Styne
M/F
Loving Charm song or ballad
I Fall in Love Too Easily
Anchors Aweigh
1945
Jule Styne
M/F
Introspective standard ballad
I Get Along Without You Very Well
That’s Right-You’re Wrong
1939
Hoagy Carmichael
M/F
Bittersweet love song
I Guess I’ll Have to Change My Plan
The Band Wagon
1953
Arthur Schwartz
M
Charm song about life after a breakup
I Left My Hat in Haiti
Royal Wedding
1951
Burton Lane
M
Romantic hot-blooded samba
I Like Myself
It’s Always Fair Weather
1955
Andre Previn
M/F
Self affirming song with a waltz verse
I Should Care
Thrill of a Romance
1945
Weston, Cahn
F
Romantic standard ballad
I Used to Be Color Blind
Carefree
1938
Irving Berlin
M
Romantic uptempo Show Tune
I Wanna Be a Dancin' Man The Belle of New York
1952
Harry Warren
M
Celebration of dance. Either uptempo or charm song
I Will Wait For You
The Umbrellas of Cherbourg
1964
Michel Legrand
M/F
Moving ballad of deep longing
I Wish I Didn’t Love You So
The Perils of Pauline
1947
Frank Loesser
M/F
Romantic standard ballad
I Won’t Dance
Roberta
1935
Jerome Kern
M/F
Anti-romantic Swing uptempo
I'm Putting all My Eggs in Follow the Fleet One Basket
1936
Irving Berlin
M
Swinging Show Tune song of devotion
I've Got My Eyes on You
Broadway Melody of 1940
1940
Cole Porter
M
Romantic ballad or uptempo
I’ll Be Seeing You
I’ll Bee Seeing You 1944
Sanny Fain
M/F
Romantic standard ballad
F
Romantic standard ballad
I’ll Never Stop Loving You Love Me or Leave Me
1955
Nicholas Brodzsky
I’m In the Mood For Love Every Night at Eight
1935
Jimmy McHugh
I’ve Got You Under My Skin
Born to Dance
1936
Cole Porter
F
Romantic beguine
I’ve Gotta Hear That Beat
Small Town Girl
1953
Nicholas Brodzsky
F
Rhythmic uptempo about the power of music
If Swing Goes, I Go Too
Ziegfeld Follies
1944
Fred Astaire
M/F
Swinging song that celebrates music
If You Can Dream
Meet Me in Las Vegas
1956
Nicholas Brodzsky
F
Standard ballad about dreams
If You Feel Like Singing, Sing
Summer Stock
1950
Harren Warren
F
Sweeping Waltz about the power of singing
In Our United State
Give a Girl A Break 1953
Burton Lane
M/F
Loving charm song
Isn't This a Lovely Day?
Top Hat
1935
Irving Berlin
M/F
Romantic Charm song
It Can’t Be Wrong
Now, Voyager
1942
Max Steiner
M/F
Romantic standard ballad
203
Romantic standard ballad
Title
Film
Year
Composer
Gend er
Description
It Could Happen To You
And the Angels Sing
1944
Jimmy Van Heusen
F
Romantic ballad
It Goes Like It Goes
Norma Rae
1979
David Shire
F
Haunting pop waltz
1945
Richard Rodgers
F
Ingenue’s song of disclosure
It Might As Well Be Spring State Fair It Might Be You
Tootsie
1982
Dave Grusin
M/F
Romantic pop ballad
It Only Happens When I Dance with You
Easter Parade
1948
Irving Berlin
M/F
Romantic ballad
It’s a Great Feeling
It’s A Great Feeling 1949
Jule Styne
M/F
Optimistic uptempo
It’s a Most Unusual Day
A Date with Judy
1948
Harold Adamson
F
High spirited waltz
It’s a New World
A Star is Born
1954
Harold Arlen
F
Romantic ballad
It’s Been a Long, Long Time
I’ll Get By
1950
Jule Styne
M/F
Romantic Charm song
It’s Easy To Remember
Mississippi
1935
Richard Rodgers
M
Romantic ballad
It’s Magic
Romance on the High Seas
1948
Jule Styne
M/F
Romantic standard ballad
It’s You or No One
Romance on the High Seas
1948
Jule Styne
M/F
Romantic standard ballad
Jeepers Creepers
Going Places
1938
Harry Warren
M
Romantic swing number
Let Me Sing and I’m Happy
Mammy
1930
Irving Berlin
M
Joyful Uptempo
Let the River Run
Working Girl
1988
Carly Simon
F
Uplifting pop/gospel song
Let Yourself Go
Follow the Fleet
1936
Irving Berlin
F
Swinging uptempo invitation to lose inhibitions
Let's Call the Whole Thing Shall We Dance Off
1937
George Gershwin
M/F
Swing tune asking the question: “Will our differences keep us apart?”
Let's Face the Music and Dance
Follow the Fleet
1936
Irving Berlin
M
Romantic beguine
Listen
Dreamgirls
2006
Henry Kreiger
F
Pop ballad
Little Boy Lost (Pieces of Pieces of Dreams Dreams)
1970
Michel Legrand
M/F
Wistful ballad or Latin
Long Ago (and Far Away)
1944
Jerome Kern
M/F
Romantic standard ballad
Love Is a Many Splendored Love Is a Many Thing Splendored Thing
1967
Sammy Fain
M/F
Rapturous romantic ballad
Love of My Life
Second Chorus
1940
Artie Shaw
M
Romantic swing number
Love You I Do
Dreamgirls
2006
Henry Kreiger
F
Uptempo romantic pop shuffle
Lovely to Look At
Roberta
1935
Jerome Kern
M/F
Romantic ballad
Lullaby of Broadway
42nd Street
1933
Harry Warren
M/F
Jazzy Broadway show tune
Manhattan Downbeat
The Barkleys of Broadway
1949
Harry Warren
M
Uptempo Show Tune about New York
Mein Herr
Cabaret
1972
John Kander
F
Berlin Cabaret farewell song
Misty
I can’t find the film
Erroll Garner
M/F
Romantic jazz ballad
Jule Styne
M
Joyful Charm song
Cover Girl
Money Burns a Hole in My Living It Up Pocket
1954
204
Title
Film
Year
Composer
Gend er
Description
Moon River
Breakfast at Tiffanys
1961
Henry Mancini
F
Classic wistful ballad in three
Moonlight Becomes You
Road to Morocco
1942
Jimmy Van Heusen
M/F
Romantic standard ballad
More
Mondo Cane
1962
Riz Ortolani
M/F
Romantic ballad or swing uptempo
More In Love With You
The Four Horsemen of the Apocalypse
1962
Andre Previn
F
Romantic ballad
Mr. Monotony
Easter Parade
1948
Irving Berlin
F
Moderately slow swing charm number
My Dream is Yours
My Dream is Yours 1949
Harry Warren
F
Lush romantic ballad
My Foolish Heart
My Foolish Heart
1949
Victor Young
M/F
Romantically cautious ballad
My Intuition
The Harvey Girls
1946
Harry Warren
M/F
Playful pre-romance Charm song
My One and Only Highland Fling
The Barkleys of Broadway
1949
Harry Warren
M
Scottish flavored Charm song
My Own
That Certain Age
1938
Jimmy McHugh
F
Lyrical romantic ballad
My Shining Hour
The Sky’s the Limit 1943
Harold Arlen
M/F
Romantic standard ballad
M/F
Romantic uptempo
Nice Work If You Can Get A Damsel in It Distress
1937
George Gershwin
No Strings (I'm Fancy Free)
Top Hat
1935
Irving Berlin
No Wonder
Yentl
1983
Michel Legrand
F
Wistful song observing an admirable romantic relationship
Nobody Does It Better
The Spy Who Loved 1977 Me
Marvin Hamlisch
F
Romantic pop ballad
Now I Know
Up In Arms
1944
Harold Arlen
F
Romantic standard ballad
One For My Baby
The Sky's the Limit 1943
Harold Arlen
One for My Baby (And One More for the Road)
Road House
1943
Harold Arlen
M/F
Melancholy jazzy ballad
Oops
The Belle of New York
1952
Harry Warren
M
Romantic comedic Charm song
Out Here On My Own
Fame
1980
Michael Gore
F
Pop ballad of personal power
Out of This World
Out of This World
1945
Harold Arlen
M
Romantic ballad
Papa, Can You Hear Me
Yentl
1983
Michel Legrand
F
Religious song of yearning
Pennies From Heaven
Pennies From Heaven
1936
Arthur Johnston
M/F
Optimistic swing ballad
People Alone
The Competition
1980
Lalo Schifrin
F
Romantic pop ballad
Pick Yourself Up
Swing Time
1936
Jerome Kern
M/F
Uptempo or Charm song of determination
Please Don't Monkey with Broadway Melody Broadway of 1940
1940
Cole Porter
M
Charm song celebrating New York
Please Don’t Say No, Say Maybe
Thrill of a Romance
1945
Sammy Fain
M/F
Midtempo romantic pleading song
Pure Imagination
Willy Wonka and the Chocolate Factory
1971
Leslie Bricusse & Anthony Newley
M/F Song of disclosure about the power of dreaming
205
Swinging tune in praise of the single life
Jazzy number about closing the bar
Title Put 'em in a Box, Tie 'em
Film
Year
Composer
Gend er
Description
Romance on the High Seas
1948
Jule Styne
M/F
Realistic anti-romantic charm song
Puttin’ on the Ritz
Puttin’ on the Ritz
1930
Irving Berlin
M
Joyful Uptempo
Rainbow Connection
The Muppet Movie 1979
Paul Williams & Kenneth Ascher
M/F Wistful yet positive disclosure song
Ready To Take A Chance Again
Foul Play
1978
Charles Fox
M/F
Romantic pop ballad
Rumble, Rumble, Rumble
The Perils of Pauline
1947
Frank Loesser
M/F
Humorous character song
Saturday Night (Is the Loneliest Night of the Week)
All Star Bond Rally 1945
Jule Styne
M
Romantic Charm song or Swing
Say a Prayer for Me Tonight
Gigi
1958
Frederick Lowe
M/F
Simple lullaby-like supplication
Secret Love
Calamity Jane
1953
Sammy Fain
F
Earnest, passionate tale of a hidden love revealed
Seeing's Believing
The Belle of New York
1952
Harry Warren
M
Romantic ballad
Shakin’ the Blues Away
Easter Parade
1949
Irving Berlin
F
A jazzy show tune about getting rid of troubles
Shall We Dance
Shall We Dance
1937
George Gershwin
M/F
Medium elegant Show Tune celebrating dance
Singin’ in the Rain
Broadway Melody, 1927 Singin in the Rain
Nacio Herb Brown
M/F
Joyful charm song
Slap That Bass
Shall We Dance
1937
George Gershwin
M/F
Uptempo celebrating the power of music
Smile
Modern Times
1936
Charlie Chaplin
M/F
Melancholy standard ballad
So Near and Yet So Far
You'll Never Get Rich
1941
Cole Porter
M
Romantic uptempo Samba
Some Day My Prince Will Come
Snow White and the 1937 Seven Dwarfs
Frank Churchill
F
Hopeful song of disclosure
Some Other Time
Step Lively
1944
Jule Styne
M/F
Romantic ballad
Something's Gotta Give
Daddy Long Legs
1955
Johnny Mercer
M
Romantic Show Tune
Steppin' Out with My Baby Easter Parade
1948
Irving Berlin
M
Swing Show Tune of anticipation of a night out
Sunday in New York
Sunday in New York
1963
Peter Nero & Carroll Coates
M/F Joyful swinging celebration of life in the city
Thank Heavens for Little Girls
Gigi
1958
Frederick Lowe
M
Show tune extolling feminine charms
Thanks a Lot, But No Thanks
It’s Always Fair Weather
1955
Andre Previn
F
Sassy swing number
Thanks for the Memory
Big Broadcast
1938
Ralph Rainger
M/F
List song of gratitude
That Ain’t Hay
Sis Hopkins
1941
Jule Styne
F
Charm Song
That Face
Another Evening with Fred Astaire
1957
Lew Spence
M
Romantic medium Show Tune
That Old Feeling
Vogues of 1938
1937
Sammy Fain
M/F
Romantic ballad or swing ballad
with a Ribbon and Throw 'em in the Deep Blue Sea
206
Title
Film
Year
Composer
Gend er
Description
That's Entertainment!
The Band Wagon
1953
Arthur Schwartz
M/F
Uptempo Show Tune celebrating show business
That’s For Me
State Fair
1945
Richard Rodgers
M
Romantic ballad
The Atchison, Topeka and the Santa Fe
The Harvey Girls
1946
Hugh Martin
M/F
Uptempo narrative
The Boy Next Door
Meet Me in St. Louis
1944
Hugh Martin
F
Romantic standard ballad waltz
The Charm of You
Anchors Aweigh
1945
Jule Styne
M
Romantic ballad
The Continental
The Gay Divorcee
1934
Con Conrad
M/F
Romantic uptempo swing
The Days of Wine and Roses
Days of Wine and Roses
1962
Henry Mancini
M/F
Enigmatic romantic ballad
The Lady Who Didn’t Believe in Love
The Powers Girl
1943
Jule Styne
F
Sad Jazzy ballad
The Last Time I Felt Like This
Same Time Next Year
1978
Marvin Hamlisch
M/F
Romantic pop ballad
The Last Time I Saw Paris Lady Be Good
1941
Jerome Kern
M/F
Wistful descriptive ballad
The Man That Got Away
A Star Is Born
1954
Harold Arlen
F
Bluesy torch song
The Nearness of You
Romance in the Dark
1938
Hoagy Carmichael
M/F
Romantic standard ballad
The Promise (I’ll Never Say Goodbye)
The Promise
1979
David Shire
F
Romantic pop ballad
The Second Time Around
High Time
1960
Jimmy Van Heusen
M/F Romantic ballad describing love for older people
The Shadow of Your Smile The Sandpiper
1965
Johnny Mandel
M/F
Wistful love song about a departed love
The Song's Gotta Come from the Heart
It Happened in Brooklyn
1947
Jule Styne
M/F
Joyful uptempo showtune
The Summer Knows
Summer of 42
1971
Michel Legrand
M/F
Beautiful ballad in a minor key
The Trolley Song
Meet Me in St. Louis
1944
Hugh Martin
F
Romantic uptempo Show tune
The Way He Makes Me Feel
Yentl
1983
Michel Legrand
F
Romantic ballad
The Way We Were
The Way We Were
1974
Marvin Hamlisch
F
Ballad about a lost love
The Windmills of Your Mind
The Thomas Crown 1968 Affair
Michel Legrand
M/F
Enigmatic ballad
1975
Michael Masser
F
Enigmatic romantic ballad
Theme from Mahogany (Do You Know Where You’re Going To?)
Mahogany
There Will Never Be Another You
Iceland
1942
Harry Warren
F
Romantic ballad
There’ll Be Some Changes Made
Designing Woman
1957
W. Benton Overstreet
F
Triumphant song about living a transformed life
There’s Nothing Rougher It’s A Great Feeling 1949 Than Love
Jule Styne
F
Jazzy uptempo about the ups and downs of love
They Can't Take That Away Shall We Dance From Me
1937
George Gershwin
They’re Either Too Young or Too Old
1943
Arthur Schwartz
Thank Your Lucky Stars
207
Romantic Charm song F
Uptempo Show Tune about finding love
Title
Film
Year
Composer
Gend er
Description
Things Are Looking Up
A Damsel in Distress
1937
George Gershwin
M/F
Optimistic Charm song
This Heart of Mine
Ziegfeld Follies
1946
Harry Warren
M
Romantic ballad
Three Coins in a Fountain
Three Coins in a Fountain
1954
Jule Styne
M/F
??? Cut
Time After Time
It Happened in Brooklyn
1947
Jule Styne
M/F
Romantic standard ballad
Too Late Now
Royal Wedding
1951
Burton Lane
M/F
Romantic standard ballad
Top Hat, White Tie and Tails
Top Hat
1935
Irving Berlin
M
Jazzy uptempo of preparation for a night out
We Mustn’t Say Goodbye
Stage Door Canteen
1943
James V. Monaco
M/F
Romantic standard ballad
What are You Doing the Rest of Your Life?
The Happy Ending 1969
Michel Legrand
M/F
Romantic ballad
What Makes the Sunset?
Anchors Aweigh
1945
Jule Styne
M/F
Romantic ballad
Whatever Will Be, Will Be The Man Who (Que Sera, Sera) Knew Too Much
1956
Jay Livingston & Ray F Evans
Spirited waltz
When You Believe
The Prince of Egypt
1998
Stephen Schwartz
F
Spiritual pop ballad
When You Wish Upon a Star
Pinocchio
1940
Ned Washington
M/F
Hopeful “I Want” song
When You’re in Love
Seven Brides for Seven Brothers
1954
Gene de Paul
M/F
Romantic show ballad
Where Does Love Begin?
Step Lively
1944
Jule Styne
M/F
Uptempo Show Tune about the difference between friendship and love
Where is it Written?
Yentl
1983
Michel Legrand
F
Rapturous song about finding one’s place in the world
Whistling Away the Dark Darling Lili
1970
Henry Mancini
F
Optimistic ballad
Why Am I So Gone (About Les Girls That Gal?)
1957
Cole Porter
M
Romantic Swing uptempo
Wild Is the Wind
Wild Is the Wind
1957
Ned Washington
F
Romantic ballad
Will Someone Ever Look at Me That Way
Yentl
1983
Michel Legrand
F
Ballad of romantic longing
Wonderful, Wonderful Day Seven Brides for Seven Brothers
1954
Gene de Paul
F
Joyfully optimistic waltz
Would You
San Francisco
1936
Nacio Herb Brown
F
Sentimental waltz
Yes, Yes!
Palmy Days
1931
Con Conrad & Cliff Friend
M
Joyful romantic Uptempo
You Are My Lucky Star
Singin’ In the Rain
1935
Nacio Herb Brown
M/F
Romantic ballad
You Made Me Love You (I The Jolson Story Didn’t Want to Do It)
1913
James Monaco
M/F
Juvenile torch song
You Were Never Lovelier
You Were Never Lovelier
1942
Jerome Kern
M
Romantic ballad
You, Wonderful You
Summer Stock
1950
Harry Warren
M/F
Romantic ballad
208
Title You'd Be Hard to Replace
Film
Year
Composer
Gend er
Description
The Barkleys of Broadway
1949
Harry Warren
M
Romantic ballad
You're All The World To Royal Wedding Me
1951
Burton Lane
M/F
Romantic uptempo Show tune
You're Easy to Dance with Holiday Inn
1941
Irving Berlin
M/F
Romantic uptempo
You’d Be So Nice to Come Something to Shout 1943 Home To About
Cole Porter
M/F
Romantic standard ballad
You’ll Never Know
Hello, Frisco, Hello
1943
Harry Warren
M/F
Romantic ballad
You’re All the World to Me
Royal Wedding
1951
Burton Lane
M/F
Uptempo romantic Show tune
You’re Gonna Hear From Inside Daisy Clover Me
1966
Andre Previn
M/F
Optimistic ballad of determination
Young at Heart
1954
Johnny Richards
M/F
Optimistic song of possibilities
If I Had a Talking Picture Sunny Side Up of You
1929
Ray Henderson, Lew Brown & B.G. DeDylva
M/F Optimistic uptempo song of possibilities
Yes, Yes
Palmy Days
1931
Con Conrad & Cliff Friend
M
On the Bumby Road To Love
Listen, Darling
Al Hoffman, Al Lewis F & Murray Mencher
Optimistic, comedic song of romantic possibilities
I Hear Music
Dancing On a Dime
Burton Lane
M/F
Jazzy uptempo celebrating the powers of music.
You're Awful
On the Town
Roger Edens
M
Playfully teasing romantic charm song.
On the Bumpy Road to Love
Listen, Darling
Al Hoffman, Al Lewis, Murray Mencher
F
Comedic song of the ups and downs of love
Young at Heart
1938
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Optimistic uptempo song of possibilities
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. It’s 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 lesser performed 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 demand s on the singers remain essentially the same.
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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 ingénue, 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 girl’s 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)
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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 Big Three: I'm Called Little Buttercup (HMS Pinafore) When Frederic Was A Little Lad (The Pirates Of Penzance) Alone, And Yet Alive (The Mikado) 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) Lyric Baritone/ Baffled Lyric Baritone 213
The Big Three: Fair Moon, To Thee I Sing (HMS Pinafore) tenor I Am The Captain of the Pinafore (HMS Pinafore) I Am A Pirate King (The Pirates Of Penzance) The Ohers: Time Was, When Love And I (The Sorcerer) A Magnet Hung in a Hardware Shop (Patience) I’m a Waterloo House Young Man (Patience)
Comic Baritone/ Patter-singing Character
The Big Three: When I Was A Lad I Served A Term (HMS Pinafore) I Am The Very Model (Pirates Of Penzance) As Some Day It May Happen (The Mikado) Tit-Willow (The Mikado) 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
When the Night Wind Howls (Ruddigore) No Possible Doubt Whatever (The Gondoliers)
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Chapter 21 Vaudeville (And Other Songs from the 10s and 20s) Beginning in the 1880s and continuing through the 1920s, Vaudeville was America’s entertainment. A typical vaudeville show might include comedians, singers, plate-spinners, contortionists, jugglers, ventriloquists, dancers, musicians, animal acts—nearly anything that could hold the audience’s 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 song’s 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
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is common with titles like “If You Talk In Your Sleep (Don’t 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 Can’t Make Love at Home,” “How ‘Ya Gonna Keep ‘Em Down On the Farm (After They’ve Seen Paree)” and “He’d Have To Get Under—Get 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 p ublic library websites. It just takes a little patience and good search skills to find them. Below are some of the primary sources I’ve discovered that contain a wealth of material. Google these. Lester S. Levy Sheet Music Collection Indiana State University Cunningham Memorial Library Popular Song Index Duke University Historic American Sheet Music Library of Congress Historic American Sheet Music Frances G. Spencer Collection of American Popular Sheet Music University of Oregon Historic Sheet music collection UT Sheet Music Collection Houston Area Digital Archives Sheet Music Collection 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.
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Vaudeville Songs and Songs From the 10s and 20s
Women Title Coffee in the Morning and Kisses in the Night Go Into Your Dance I’m Just Wild About Harry I’ve 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
Hard Hearted Hannah (The Vamp of Savannah) I Wanna Be Loved By 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
Jack Yellen, Milton Ager, Bob Bigelow & Chas Bates Herbert Stothart & Harry Ruby
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 I’ll Be Back in My Low Back Car I’ll String Along With You I’ve 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 Couldn’t 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
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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 Ain’t Heard Nothing Yet You May Hold a Million Girlies In Your Arms
Composer Al Jolson, Gus Kahn, Buddy DeSylvia Fred Fischer
If I Could Be With You Carolina In the Morning A Cup of Coffee, a Sandwich and You
Henry Creamer and Jimmy Johnson Walter Donaldson Joseph Meyer
Style Uptempo Charm Song Uptempo Uptempo Uptempo
Women or Men Title After You Get What You Want You Don’t Want It After You’ve Gone Ain’t 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 I’ll Be Happy When the Preacher Makes You Mine I’ve Got a Pocket Full of Sunshines If You Talk In Your Sleep (Don’t Mention My Name) Little Rover (Don’t 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? Who’s Who With You Yip-I-Addy-I-Ay You’re Here and I’m 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
Benny Davis and Harry Akst
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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 190 0. 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 Singer ’s 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. S poken 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 a re 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 b ut 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 Ro dgers (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.
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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 Wonderfu l 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
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Volume 2 4 3 4 4 2 3 2 2 2 5 5 5 2 1 5 3 5 4 1 5 1 4 4 3 1 1 5 5 2 5 1 1 5 3 4 3 3 1 5 2 1 1 2 5 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
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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 4 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
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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 Daddy’s Son
Show Mr. President Camelot Music in the Air Spamalot The Sound of Music The Mikado Where’s 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 No t 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 Beaut y and the Be ast South Pacific Jekyll and H yde She Loves Me Guys and Dolls Do Re Mi Follie s Gentlemen Prefer Blondes IChange Lov e You, You’re Perfe ct, Now Kiss Me , Kate Two by Two Dreamgi rls Elegie s for An gels.. .Queen s Company Anyon e Can Whistle Aspect s of L ove Sunset Boulevard Oliver
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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 Dow n 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 H ow 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 Follie s Girl Crazy Sweeney Todd Cabaret Footlo ose Children of Eden The Act Chicago Tick, Tick, Boom Follie s A Choru s Line Wicked Gentlemen Prefer Blondes Annie Get Your Gu n Cowgirls Evita The Boy from Oz Funny Girl Cabaret Sunday in the Park Gypsy Fifty P ercent Spamalot Wicked Grease Chicago Thoroughly Modern Millie Hairs pray The Apple Tree How to Succee d Best L ittle Wh orehou se in Texas On a Clear Day... Cowgirls Chess Dirty Rotten Scoun drels Swing The Secret Garden South Pacific Finian ’s Rain bow Wild Party On a Clear Day... Unsinkable Molly Brown Dreamgi rls Oklahoma On the Town The Last Five Years Hairs pray Jesus Christ Super star Les Mi serab les Flower Drum S ong Anyth ing Go es Annie Get Your Gu n Annie Get Your Gu n St. Louis Woman Aida Hous e of Fl owers Follow Throug h Grand Hotel IChange Lov e You, You’re Perfe ct, Now Babes in Arms Evita Miss S aigon Bells a re Ringin g
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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 Gu y 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 Fo r The L ife Of Me Nothin g Nothin g Reall y Hap pened Now You Know Nowad ays 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 Follie s They’re Playing Our Song Mame Sweet Charity Follie s Curtains Plain and Fancy Bells a re Ringin g Working Babes in Arms Working Songs for a New World Ain’t Misbeha vin’ Song and Dance Zorb a The Full Monty Bells a re Ringin g Wild Party Grease Finian ’s Rain bow Follie s Spring Awakening Cabaret The Baker’s Wife Cabaret Cats Hairs pray I Can Get it For You Who lesale The Life Parad e Leave it To Me Nine You’re a Good Man, Charlie Brown Peter P an Thoroughly Modern Millie A Choru s Line Is Th ere Life A fter Hi gh Sc hool? Merrily We Roll Along Chicago Les Mi serab les Wonderful Town Beaut iful Ga me Victor/Victoria Wicked Gypsy Chicago The Last Five Years A Little Night M usic The Lion King Wish You Were Here The Drowsy Chaperone Once Upon a Mattress Gypsy Cabaret Gypsy Chess Jekyll and H yde Avenue Q Songs for a New World Cinderella The Last Five Years
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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 Gr ade Tell Me On A Sun day 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 Londo n 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 I t, 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 Ruthle ss: t he Mus ical Song and Dance Grey Gardens Barnu m Spring Awakening Allegro Call Me Madam Company Babes in Arms A Star is Bo rn A Little Night M usic A Choru s Line Funny Girl Bells a re Ringin g Aida No Str ings The Mystery of Edwin Drood Mamma Mia Wicked Sweeney Todd Grease Anyon e Can Whistle Avenue Q Annie Get Your Gu n Curtains Song and Dance The Color Purple Godspell Follie s Me and Juliet On a Clear Day... A Choru s Line Cabaret City of Angels Spamalot The Last Five Years The Producers Chicago Sweet Charity I Can Get it For You Who lesale Side Show Kiss Me , Kate Sunset Boulevard Rent The Pirate Queen Annie Get Your Gu n Parad e 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 30/90 A Bit of Earth A Man Could Go Quite Mad A New Love is Old A Wond’ring Minstrel I Alas for You Alive! All Good Gifts
Show Tick, Tick, Boom The Secret Garden The Mystery of Edwin Drood The Cat and the Fiddle The Mikado Godspell Jekyll and Hyde Godspell
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Genre Modern Modern Modern Musical Comedy Operetta Modern Poperetta Modern
Song All I Need is the Girl All Kinds of People Almost Like Being In Love A Wonderful Day Like Today Alone at the Drive-in Movie Amsterdam Anthem Any Dream Will Do Asking for You At the Grand Hotel Awaiting You Barrett’s Song Beautiful Girls Beauty School Dropout Beethoven Day Being Alive Bigger Isn’t Better Body Beautiful Beale Boy For Sale Breeze Off the River Bring Him Home Buddy’s Blues Can’t Take My Eyes Off of You Close Every Door Coffee (in a Cardboard Cup) Come with Me Corner of the Sky Dancing Through Life December 1963 Drift Away Easy Street Easy to Love Endless Night Fanny Fifty Million Years Ago Finishing the Hat Fortune Favors the Brave Free Geraniums in the Winder Giants in the Sky Go the Distance Goodnight Saigon Great Big Stuff Hairspray Heaven on their Minds Hell Myself Hero and Leander Hey There High Flying, Adored How Glory Goes I am Aldolpho I Am in Love I Believe in You I Can Do That I Can’t Stand Still I Could Write a Book I Do Not Know a Day I Did Not Love You I Don’t Care Much I Have Written a Play I Know About Love
Show Gypsy Pipe Dream Brigadoon The Roar of the Greasepaint—The Smell of the Crowd Grease Jacques Brel is Alive and Well Chess Joseph Do Re Mi Grand Hotel Myths and Hymns Titanic Follies Grease You’re 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
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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 I’ll Be There I’m Martin Guerre I’m Putting All My Eggs in One Basket If You Could See Her If You Were Gay Il Mondo Era Vuoto Isn’t it a Lovely Day to be Caught in the Rain It Don’t Get Better Than This It Takes Two Jasper’s Confession Johanna Kansas City King Herod’s Song King of the World Ladies and their Sensitivities Left Behind Let Me Drown Like a God Lonely House Lost in the Wilderness Love Can’t 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 I’m 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 Beggar’s 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 Finnian’s 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
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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 She Cries She Loves Me She Wasn’t You She’s Got a Way Shiksa Goddess Shipoopi Sit Down You’re Rockin’ the Boat Sitting Pretty Someone is Waiting Something’s 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 That’s the Way It Happens The Apple Tree (Forbidden Fruit) The Ballad of Billy M’caw 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 You’d Call a Dream When I’m Not Near the Girl I Love Where I Want to Be Who am I? Why Why God Why Willkommen Winter’s on the Wing Wish You Were Here You are Beautiful You are Never Away You Walk With Me You’re Devastating You’ve Got to Be Carefully Taught
Show Songs for a New World She Loves Me On a Clear Day Movin’ Out The Last Five Years The Music Man Guys and Dolls Cabaret Company West Side Story The Producers Do I Hear a Waltz? City of Angels Easter Parade, Film Kismet Tarzan Movin’ Out Tick, Tick, Boom Sunset Boulevard Little Women Gondoliers Do I Hear a Waltz? She Loves Me The Producers Me and Juliet The Apple Tree Cats Me and Juliet The Cat and the Fiddle Kiss of the Spider Woman Working Phantom of the Opera Hairspray Shenandoah Titanic Lost in the Stars Parade Jekyll and Hyde The Producers Cabaret She Loves Me Lady in the Dark Tarzan Dick Tracy Thoroughly Modern Millie Les Miserables The Wild Party Rent Diamonds Finnian’s Rainbow Chess Les Miserables tick, Tick, Boom Miss Saigon Cabaret The Secret Garden Wish You Were Here Flower Drum Song Allegro The Full Monty Roberta South Pacific
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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 Young and Foolish Younger Than Springtime Your Eyes
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 5 Spring Awakening 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 5 West Side Story 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
Plain and Fancy South Pacific Rent
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 That’s 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 C’est Moi Camelot Coffee Shop Nights Colorado, My Home Come Back to Me Cool Do I Love You Because You’re Beautiful Don’t Go Drink With Me (To Days Gone By) Dulcinea Edelweiss Empty Chairs and Empty Tables Everybody Says Don’t 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’ Guido’s 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 Don’t 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 Won’t Send Roses I Wonder What the King is Doing Tonight I’ll Be Here I’ll Never Say No I’m a Bad, Bad Man I’m Not Wearing Underwear Today I’ve Come to Wive It Wealthily in Padua I’ve Got Plenty of Nuttin’ I’ve Grown Accustomed to Her Face I’ve Heard It All Before If Ever I Would Leave You If I Can’t 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 Isn’t It? It’s All Right With Me It’s Hard to Speak My Heart It’s Love It’s Not Where You Start Javert’s Suicide Jet Song Joey, Joey, Joey Just in Time Justice Will Be Done King’s 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 Minnie’s 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 My Name My Time of Day No Other Way Oh, What a Beautiful Mornin’ Ol’ Man River On a Clear Day (You Can See Fo rever) Once in Love With Amy Once Upon a Time Only With You Other Pleasures Paris By Night Pilate’s 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 Robin’s Song Sam and Me Santa Fe Santa Fe September Song Shouldn’t I Be Less in Love With You? 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 Didn’t Take The Sadder But Wiser Girl The Surrey With the Fringe on Top There She Is There’s a Sucker Born Ev’ry Minute There’s No Reason In the World There’s Nowhere to Go But Up They Call the Wind Maria This Can’t Be Love This is the Life
Show Oliver Guys and Dolls Tarzan Oklahoma Show Boat On a Clear Day You Can See Forever Where’s 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, You’re Perfect, Now Change Smile Carousel South Pacific Annie Woman of the Year Company Les Miserables Cinderella I Love You, You’re 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 You’re 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
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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
This Nearly Was Mine Those Canaan Days
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 Wand’rin’ 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 You’re Lying Awake Iolanthe Where is the Life That Late I Led? Kiss Me, Kate Where Was I When They Passed Out the Luck? Minnie’s 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 Wouldn’t You Like to Be on Broadway Street Scene Ya Got Trouble The Music Man You Should Be Loved Side Show You Won’t Succeed On Broadway Spamalot You’re the Fairest Flower Little Mary Sunshine Your Eyes Are Blue A Funny Thing Happened on the Way to the Forum
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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 a s 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 o n your needs, intuition and the guidelines I’ve 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. I’m excited to share this list with you because I think that you will find many wonderful songs you didn’t 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. I’ve 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. I’ve 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/Conduc tor score. I’ve 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. I’ve classified the songs by voice type. Though it's somewhat subjective, this information will help you find the right songs for your voice. As I’ve mentioned, in today’s 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 Go t 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 mike18 ." Singers no longer had to sing over the orchestra, even if they could. Amplification allowed more subtlety than Merman could a fford. 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
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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. •Soprano —The 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. (René e Fleming, Dawn Upshaw, Jessye Norman, Rebecca Luker) •Soprano mix —This 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/Belt —The 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.) •Belt —Like 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 Soprano —These 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. “You’ll 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. •Bass —The 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 a void 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 Tony
award speech.
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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 2 0th 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
Choice Songs for Women Look in Goldrich and Heisler booksaf Title A Horse with Wings
Show
Composer Ricky Ian Gordon
A Little Brains, A Little Talent
Damn Yankees
Jerry Ross
A Little Girl From Little Rock A Part of That
Gentlemen Prefer Blondes Last Five Years
Jule Styne
Comments Voice Type Contemporary legit. Soprano Art song ballad Golden Age dramatic Belt Charm song
Golden Age Comedic Belt Charm song Jason Robert Brown Modern dramatic Mix/Belt disclosure uptempo
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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
A Way Back to Then
[title of show]
Jeff Bowen
Above the Law
Annie Warbucks
Charles Strouse
Ain’ Got No Tears Left
On the Town, cut
Leonard Bernstein
Ain’t Nothing But a Kiss Memphis
David Bryan
All Fall Down
Make Me a Song
William Finn
All the Men in My Life
Evil Dead
All Things to One Man
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
70s and 80s dramatic rhythm ballad Almost Everything I Alphabet City Georgia Stitt Contemporary legit. Need Cycle Art song ballad Almost Real The Bridges of Jason Robert Brown Contemporary legit. Madison County dramatic ballad Already Home Andrew Lloyd Andrew Lloyd Contemporary legit. Webber’s The Webber dramatic disclosure Wizard of Oz ballad Always Better The Bridges of Jason Robert Brown Contemporary legit. Madison County dramatic moving ballad Always Starting Over If/Then Tom Kitt Modern dramatic pop ballad Amor William Bolcom Contemporary legit. Art song uptempo An Old-Fashioned Love The Wild Party Andrew Lippa Modern comedic Story uptempo And I Will Follow Jason Robert Brown Modern dramatic ballad Angels Punks and Elegies for Angels, Janet Hood Modern dramatic Raging Queens Punks and Raging ballad Queens Another Life The Bridges of Jason Robert Brown Modern dramatic folk Madison County ballad Anything Triumph of Love Jeffrey Stock Modern dramatic ingénue disclosure uptempo Anytime Elegies William Finn Modern dramatic ballad Are You Still Holding Bright Lights, Big Paul Scott Goodman Modern dramatic My Hand City ballad Around the World Grey Gardens Scott Frankel Modern dramatic disclosure ballad At the Glen Dessa Rose Stephen Flaherty Contemporary legit. dramatic ballad Autumn Starting Here, David Shire 70s and 80s dramatic Starting Now ballad
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
The William Finn Songbook P/C Score
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
The Jason Robert Brown Collection The Contemporary Singing Actor, Women Vol. 2 Vocal Selections
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
70s and 80s dramatic pop disclosure ballad Be On Your Own Nine Maury Yeston 70s and 80s dramatic moving ballad Beautiful Marie Christine Michael John Contemporary legit. LaChiusa dramatic ballad Before and After You The Bridges of Jason Robert Brown Contemporary legit. Madison County dramatic folk ballad Before It’s Over Dogfight Benj Pasek and Modern dramatic Justin Paul disclosure ballad Bitch/Slut/Liar/Whore Toxic Avenger David Bryan Modern comedic uptempo Blame it On the Summer Rags Stephen Schwartz Modern dramatic Night disclosure ballad Breathe In the Heights Lin-Manuel Miranda Modern dramatic moving disclosure ballad Burden of Life A Man of No Stephen Flaherty Modern comedic Importance uptempo But Alive Applause Charles Strouse Golden Age comedic uptempo showtune But the World Goes And The World John Kander Modern dramatic ‘Round Goes ‘Round uptempo But You Go On Annie Warbucks Charles Strouse Modern determined comedic uptempo Calm Ordinary Days Adam Gwon Modern comedic uptempo Carrie Carrie Michael Gore Modern dramatic disclosure uptempo Celebrate Elegies for Angels, Janet Hood Modern dramatic Punks and Raging uptempo Queens Chain of Love The Grass Harp Claibe Richardson 70s and 80s Romantic ingénue disclosure ballad Change A New Brain William Finn Modern comedic uptempo Chanson The Baker’s Wife Stephen Schwartz 70s and 80s Romantic ballad Coffee See What I Wanna Michael John Modern dramatic See LaChiusa disclosure uptempo Colored Lights The Rink John Kander 70s and 80s dramatic disclosure moving ballad Colored Woman Memphis David Bryan Modern dramatic disclosure ballad Colors of the Wind Pocahontas, film Stephen Schwartz Modern dramatic disclosure ballad Come Down From the Once on This Stephen Flaherty Modern dramatic Tree Island, cut disclosure ballad
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
The Michael John LaChiusa Songbook Vocal Selections
Soprano Mix Belt
Vocal Selections
Mix/Belt Mix/Belt
Stephen S chwartz Songbook Vocal Selections
Belt
Vocal Selections
Belt
Vocal Selections
Mix/Belt
The Kander and Ebb Collection P/C Score
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
The William Finn Songbook The Stephen Schwartz Songbook The Michael John LaChiusa Songbook Vocal Selections
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
Dancing All the Time
Big: The Musical David Shire
December Snow
December Songs
Departure
John Bucchino
Maury Yeston Jeff Blumenkrantz
Disneyland
Smile
Marvin Hamlisch
Dogs Versus You
Lucky Stiff
Stephen Flaherty
Don’t Wanna Be Here
Ordinary Days
Adam Gwon
Dream With Me
Peter Pan
Leonard Bernstein
Dreaming, Wide Awake Dyin’ Ain’t So Bad
Easy As Life
Easy Money Even Though Every Story Is a Love Story Everybody’s Girl Everyday is Night Everything Else
Everything I Know
Fabulous Baby Fair Warning Feels Like Home Fight For Me First You Dream
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
Grateful: The Songs of John Bucchino Vocal Selections
Mix/Belt Soprano Soprano/Mix
70s and 80s dramatic Mix ingénue disclosure ballad Modern dramatic Mix/Belt uptempo Modern comedic Belt uptempo
Golden Age romantic ingénue ballad Jason Robert Brown Modern dramatic ballad Bonnie and Clyde Frank Wildhorn Modern dramatic ingénue disclosure ballad Aida Elton John Modern dramatic disclosure moving ballad The Life Cy Coleman Modern dramatic disclosure uptempo I Love You Joshua Salzman Modern dramatic Because disclosure ballad Aida Elton John Modern dramatic ballad Steel Pier John Kander Modern comedic disclosure uptempo Birds of Paradise David Evans 70s and 80s dramatic ballad Next to Normal Tom Kitt Modern dramatic ingénue disclosure uptempo In the Heights Lin-Manuel Miranda Modern dramatic ingénue disclosure ballad Sister Act Alan Menken Modern pop uptempo Destry Rides Harold Rome Golden Age dramatic Again uptempo Randy Newman’s Randy Newman Modern dramatic Faust disclosure ballad Heathers Lawrence O’Keefe Modern dramatic Pop moving ballad Steel Pier John Kander Modern dramatic ballad
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
The Kander and Ebb Collection
Title Fly Away/Never Never Land Fly Into the Future
Show Composer Piece, the musical Scott Alan
Voice Type Mix/Belt
Source Composer website
Vanities
Mix/Belt
P/C Score
Fly, Fly Away
Catch Me If You Can Jane Eyre
Comments Modern dramatic disclosure ballad David Kirshenbaum Modern dramatic disclosure uptempo Marc Shaiman Modern dramatic Jazz waltz ballad Paul Gordon Modern dramatic ballad Randy Newman Modern dramatic ballad Dolly Parton Modern dramatic disclosure ballad Gene De Paul Golden Age lullaby
Mix
Vocal Selections
Soprano/Mix
Vocal Selections
Mix/Belt High Belt
Randy Newman Anthology Vocal Selections
Soprano/Mix
P/C Score
Keith Hermann
Soprano
Vocal Selections
Forgiveness Gainesville Get Out and Stay Out Glad You Were Born
Randy Newman’s Faust Nine to Five
Gotta Get Out
Seven Brides For Seven Brothers Romance, Romance Ordinary Days
Grateful
Urban Myths
John Bucchino
He Wanted a Girl
Giant
Michael John LaChiusa
He's No Good
The Life
Cy Coleman
He’s Here
How Now, Dow Jones John and Jen
Elmer Bernstein
Goodbye, Emil
Hold Down The Fort Hold My Hand
Adam Gwon
Andrew Lippa Jeff Blumenkrantz
Holding to the Ground
Falsettos
William Finn
Home
The Wiz
Charlie Smalls
How ‘Bout a Dance
Bonnie and Clyde Frank Wildhorn
How Can I Lose You?
Myths and Hymns Adam Guettel
How Can I Win?
The Goodbye Girl Marvin Hamlisch
How Did I Get to Where Marguerite I Am How Will I Know? Death Takes a Holiday
Michel Legrand
I Am Longing
December Songs
Maury Yeston
I Am Playing Me
[title of show]
Jeff Bowen
I Couldn’t 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
70s and 80s dramatic uptempo Modern comedic patter Modern dramatic disclosure ballad
Mix/Belt
Soprano/Mix, Grateful: The Songs transpose the of John Bucchino key lower Modern dramatic Mix/Belt Michael John ballad (contemporary LaChiusa Songbook legit?....?) Modern dramatic Pop Soprano/mix Vocal Selections ballad Golden Age comedic Belt Vocal Selections patter Modern dramatic Mix/Belt Vocal Selections ballad Contemporary Art Soprano Composer website song ballad Modern dramatic Belt Vocal Selections disclosure uptempo 70s and 80s dramatic Mix/Belt Vocal Selections pop disclosure ballad Modern dramatic Mix Vocal Selections ingénue rhythm ballad Modern comedic Mix/Belt Vocal Selections waltz ballad Modern dramatic Mix/Belt Vocal Selections ballad Modern dramatic Soprano/Mix Vocal Selections disclosure ballad Contemporary legit. Soprano/Mix Vocal Selections ingénue disclosure uptempo Contemporary Art Soprano December Songs song ballad folio Modern comedic Belt Vocal Selections uptempo 70s and 80s romantic Soprano/Mix Individual sheet disclosure ballad from musicnotes Contemporary legit. Soprano Vocal Selections comedic waltz
Title I Don't Need a Roof
Show Big Fish
I Don’t Know How to Help You I Don’t Need a Roof
Elegies for Angels, Janet Hood Punks and Raging Queens Big Fish Andrew Lippa
I Got Love
Purlie
Gary Geld
I Had a Dream About You I Hate Him
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
I Love What I'm Doing
Gentlemen Prefer Blondes
Jule Styne
I Hate the Bus
I Met a Man Today I Miss the Mountains
Composer Andrew Lippa
Jeanine Tesori
Craig Carnelia Next to Normal
Tom Kitt
I Never Knew His Name Brooklyn
Mark Schoenfeld
I Resolve
She Loves Me
Jerry Bock
I Slept With Someone Who Handled Kurt Cobain’s Intervention I Speak Six Languages
High Fidelity
Tom Kitt
25th Annual Putnam County Spelling Bee They’re Playing Our Song
William Finn
I Still Believe in Love
I Sure Like the Boys
I Wanna Be a Rockette I Want It All
I Want More
I Want You
I Wish It So
Marvin Hamlisch
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 ingénue 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
The William Finn Songbook Vocal Selections
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
Modern comedic disclosure uptempo
Mix/Belt
The William Finn Songbook
Mix
Vocal Selections
Soprano/Mix
P/C Score
Mix/Belt Mix/Belt
Alan Menken Songbook Vocal Selections
Belt
P/C Score
Soprano
Vocal Selections
Soprano
The Marc Blitzstein Songbook Vol. 1
70s and 80s Romantic disclosure ballad A, My Name is Joan Micklin Silver 70s and 80s Alice and Julianne Boyd Romantic disclosure ballad Kicks, the Musical Alan Menken Modern dramatic disclosure uptempo Baby David Shire 70s and 80s disclosure uptempo (trio but can be edited for solo) Lestat Elton John Modern dramatic disclosure moving ballad My Life With Ricky Ian Gordon Contemporary legit. Albertine dramatic disclosure ballad Juno Marc Blitzstein Golden Age ingénue disclosure ballad
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Title I Won’t Mind
Show The Other Franklin
Composer Jeff Blumenkrantz
I'm the Greatest Star
Funny Girl
Jule Styne
I’d Rather Watch You
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
The William Finn Songbook The Jeff Blumenkrantz Songbook Vol. 1 P/C Score
Modern dramatic disclosure uptempo
Mix/Belt
I’m Free
Precious Little Jewel
Golden Age dramatic mid-tempo Charm song Joshua Schmidt Modern comedic disclosure charm Adam Gwon Modern dramatic disclosure ballad Burt Bacharach Golden Age dramatic ballad Elton John Modern dramatic ballad Jason Robert Brown Modern dramatic disclosure uptempo William Finn Modern dramatic disclosure uptempo Jeff Blumenkrantz Modern dramatic ballad
I’m Gonna Be Like an Eagle I’m Hopeless When It Comes To You I’m Just Movin’
John and Jen
Andrew Lippa
I’m Leaving You
The Life
Cy Coleman
I’m Not
Little By Little
Brad Ross
I’m Not Afraid
Songs For a New World Carrie
I’ll Be Here I’ll Never Fall in Love Again I’ll Never Have That Chance I’m a Part of That I’m Breaking Down
I’m Not Alone I’m Not At All in Love I’m Not Waiting I’ve Never Said I Love You If I Ever Loved Him If I Told You Now If Only
If You Hadn’t 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
Jason Robert Brown Modern moving disclosure ballad Michael Gore 70s and 80s dramatic pop disclosure ballad The Pajama Game Richard Adler and Golden Age dramatic Jerry Ross disclosure waltz Andrew Lippa Modern moving disclosure ballad Dear World Jerry Herman Golden Age romantic disclosure ballad Angel Gary Geld 70s and 80s dramatic ballad Jason Robert Brown Modern dramatic disclosure ballad The Little Alan Menken Modern romantic Mermaid disclosure ballad Two On the Aisle Jule Styne Golden Age comedic uptempo Personals David Crane 70s and 80s dramatic disclosure ballad John Bucchino Contemporary Art song ballad Edges Benj Pasek and Modern comedic Justin Paul uptempo
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
The Andrew Lippa Songbook Vocal Selections
Mix/Belt
Vocal Selections
Mix
The Jason Robert Brown Collection Vocal Selections*
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 ingénue 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 O’Keefe 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
The Kander and Ebb Collection Grateful: The Songs of John Bucchino P/C score
Soprano/Mix
Vocal Selections
Belt
Vocal Selections
Mix
P/C Score
Belt
Vocal Selections
Mix
Composer website
Mix/Belt
Vocal Selections
Mix Soprano
Ahrens and Flaherty Songbook Genius Child
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
The Kander and Ebb Collection Vocal Selections
Lay Down Your Head
Violet
Jeanine Tesori
Mix
The Jeff Blumenkrantz Songbook Vol. 1 P/C Score
Lifeboat
Heathers
Lawrence O’Keefe
Mix/belt
P/C score
Lion Tamer
The Magic Show
Stephen Schwartz
Mix/Belt
The Stephen Schwartz Songbook
Listen To Your Heart
Young Frankenstein You’re a Good Man, Charlie Brown
Mel Brooks
Mix/Belt
Vocal Selections
Belt
Vocal Selections
Ireland Is It Too Late Isn’t This Better? It Feels Like Home It Hurts to Be Strong It Might As Well Be Spring It Won’t Be Long It Would Have Been Wonderful It’s a Sign It’s 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
Little Known Facts
Show Legally Blonde
Composer Lawrence O’Keefe
Clark Gesner
246
Modern dramatic ballad Modern dramatic ballad Modern dramatic ingénue disclosure ballad Modern romantic 1930s beguine Golden Age comedic patter
Soprano/Mix
Mix Soprano
Title Lonely Pew
Show Reefer Madness
Look At All the People
Chaplin
Look At Me
The Bridges of Madison County
Look at Me
Violet
Look At Me Now
The Wild Party
Loose Ends
The Witches of Eastwick Death Takes a Holiday City of Angels
Losing Roberto Lost and Found Love Is Not All
Love Quiz
It’s Only Life
Lovely Lies Lovesick
Lying There Mama Will Provide Man in the Moon Man Wanted
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
Benj Pasek and Justin Paul Stephen Flaherty
Modern dramatic Mix/Belt disclosure ballad Modern dramatic pop Belt uptempo
newmusicaltheatre.c om Ahrens and Flaherty Songbook
Copacabana
Barry Manilow
Modern dramatic 1930s disclosure uptempo Modern dramatic disclosure ballad Golden Age ingénue disclosure ballad 70s and 80s comedic disclosure uptempo Modern dramatic disclosure ballad Contemporary legit. dramatic disclosure uptempo Modern comedic patter
Belt
Vocal Selections
Mix/Belt
Vocal Selections
Soprano
Vocal Selections
Soprano/Mix
Vocal Selections
Mix/Belt
Vocal Selections
Soprano/Mix
The Michael John LaChiusa Songbook
Belt
Vocal Selections
Modern dramatic Mix ingénue disclosure ballad Modern Romantic Belt Jazz disclosure ballad
Individual sheet from musicnotes
Once on This Island
Maybe I Like it This Way Mira
The Wild Party
Andrew Lippa
Carnival
Bob Merrill
Miss Byrd
Closer Than Ever
David Shire
Missing You (My Bill)
The Civil War
Frank Wildhorn
Mistress of the Senator
Hello Again
Michael John LaChiusa
Model Behavior
Women on the Verge of a Nervous Breakdown Shrek
David Yazbek
The Will Rogers Follies
Cy Coleman
More To the Story
My Big Mistake
Modern romantic moving ballad Modern dramatic ballad Modern dramatic uptempo
Jeanine Tesori
247
Vocal Selections
Title
Show
My Book
Composer Jeff Blumenkrantz
My Brother Lived In San Elegies for Angels, Janet Hood Francisco Punks and Raging Queens My House Peter Pan Leonard Bernstein My Mother’s Wedding Day My Own Space
Brigadoon
Frederick Loewe
The Act
John Kander
My True Love
Phantom
Maury Yeston
My Unknown Someone
The Will Rogers Follies
Cy Coleman
Namely You
L’il Abner
Gene De Paul
Never Again
King David
Alan Menken
Next Best Thing To Love A Class Act
Edward Kleban
No Man Left for Me
The Will Rogers Follies Nobody Does It Like Me Seesaw
Cy Coleman
Nobody’s Side
Chess
Benny Andersson and Björn Ulvaeus
Nothing Like You’ve Ever Known Nothing Short of Wonderful Nothing Stops Another Day Now and Then
Song and Dance
Andrew Lloyd Webber Benj Pasek and Justin Paul Dave Stewart and Glen Ballard Mike Stoller
Oh, To Be a Movie Star
The Apple Tree
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
Ricky Ian Gordon
Once Upon a December
Anastasia, film
Stephen Flaherty
Once Upon a Time
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
Golden Age ingénue ballad Golden Age comedic uptempo 70s and 80s dramatic disclosure ballad 70s and 80s romantic waltz Modern 1930s romantic disclosure ballad Golden Age ingénue disclosure ballad Modern dramatic pop ballad Modern romantic ballad Modern dramatic rhythm ballad 70s and 80s comedic rhythm disclosure ballad 70s and 80s dramatic pop disclosure uptempo 70s and 80s dramatic ballad Modern dramatic disclosure uptempo Modern dramatic disclosure ballad Modern dramatic ingénue disclosure ballad Golden Age ingénue disclosure charm 70s and 80s dramatic Folk ballad
Soprano/Mix
Soprano/Mix
Vocal Selections
Soprano Soprano/Mix
The Maury Yeston Songbook Vocal Selections
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 ingénue disclosure uptempo Modern dramatic pop ballad Contemporary legit. Art song ballad Modern dramatic ballad Modern dramatic ingénue pop disclosure ballad
Mix/Belt
Vocal Selections
Soprano
musicnotes.com
Soprano
A Horse with Wings folio Ahrens and Flaherty Songbook Vocal Selections
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, Let’s 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 ingénue disclosure ballad High Fidelity, cut Tom Kitt Modern dramatic pop ballad A Catered Affair John Bucchino Modern dramatic ingénue 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 ingénue 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 ingénue 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 ingénue disclosure moving ballad A Man of No Stephen Flaherty Modern dramatic Importance ingénue moving ballad The Addams Andrew Lippa Modern dramatic Family ingénue 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 Webber’s The Webber comedic uptempo Wizard of Oz
249
Voice Type Belt
Source P/C Score
Soprano/Mix
Vocal Selections
Mix/Belt
The BMI Workshop Songbook Composer website
Mix/Belt
Belt Mix/Belt
The William Finn Songbook P/C Score
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
Right In Front of Your Eyes Rita’s Tune
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
You’re 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
See What I Wanna See People in the Picture Triumph of Love
Set Those Sails
In Trousers
William Finn
Shine
The Spitfire Grill
James Valcq
Shine Like the Sun
Nine to Five
Dolly Parton
Simple Creature
Little Fish
Since You Stayed Here
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 O’Keefe
Someday
The Wedding Singer
Matthew Skylar
Something of My Own
Dessa Rose
Stephen Flaherty
Selective Memory
Small Town Girl
Somewhere That’s Green Little Shop of Horrors Song of Me Starting Here, Starting Now
Jeffrey Stock
Tom Kitt Richard Rodgers
Alan Menken David Shire
250
Comments Modern ingénue 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
The Michael John Lachiusa Songbook Vocal Selections
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 ingénue disclosure uptempo Modern romantic ingénue disclosure uptempo Modern dramatic ballad 70s and 80s romantic disclosure ballad 70s and 80s ingénue disclosure ballad
Belt
P/C score
Mix
musicnotes.com
Belt Mix/Belt
The Michael John Lachiusa Songbook Vocal Selections
Mix/Belt
P/C score
Belt
The William Finn Songbook P/C Score
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 It’s Only Life John Bucchino Contemporary Art song ballad Sweet Liberty Jane Eyre Paul Gordon Contemporary legit. ingénue 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
Take The World Away
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 ingénue disclosure ballad Modern comedic uptempo Modern comedic uptempo
Belt
Temporary
Show Children of Eden
Composer Stephen Schwartz
John Bucchino
That Mister Man of Mine Dames at Sea
Jim Wise
That's Enough For Me
William Finn
That’ll Never Be Me
Romance in Hard Times Now.Here.This
Jeff Bowen
The Boy From
The Mad Show
Mary Rodgers
The Dark I Know Well
Spring Awakening Duncan Sheik
The Finer Things
Jane Eyre
Paul Gordon
The Fire Within Me
Little Women
Jason Howland
The Greatest Practical Joke The History of Wrong Guys
See What I Wanna Michael John See LaChiusa Kinky Boots Cindi Lauper
251
Mix/Belt Mix/belt
Source The Stephen Schwartz Songbook Vocal Selections
Mix/Belt
The Andrew Lippa Songbook Vocal Selections
Mix/Belt
Vocal Selections
Mix/Belt
The Stephen Schwartz Songbook
Soprano/Mix
Composer website
Mix/belt
Vocal Selections
Belt
Vocal Selections
Mix
Grateful: The Songs of John Bucchino Vocal Selections
Mix/Belt
Mix/Belt Mezzo Mix/Belt
Mix Belt Mix/belt
The BMI Workshop Songbook Bernstein Theatre Songs: Low Voice The Jeff Blumenkrantz Songbook Vol. 1 The Contemporary Singing Actor, Women Vol. 1 Vocal Selections Grateful: The Songs of John Bucchino P/C Score
Mix/Belt
The William Finn Songbook Vocal Selections
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
The Life Of the Party
Wild Party
Andrew Lippa
The Love Of My Life
Brigadoon
Frederick Loewe
The Night It Had to End Romance, Romance The Other Side of the Little Me Tracks The Road Ends Here John and Jen The Smile of Your Dreams The Song With the Violins
John and Jen
Keith Hermann Cy Coleman Andrew Lippa Andrew Lippa John Bucchino
The Spring and The Fall
Jeff Blumenkrantz
The Story Goes On
Baby
The Usher From the Mezzanine The Wanting of You
Fade Out, Fade In Jule Styne
The World Above The World She Writes
David Shire
Alphabet City Georgia Stitt Cycle The Little Alan Menken Mermaid The Glorious Ones Stephen Flaherty
The Writing on the Wall The Mystery of Edwin Drood There Will Be a Miracle See What I Wanna See There’s a World Out Little Women There They Don’t Know Thoroughly Modern Millie Think Positive Angry Housewives Thinking Of Him Curtains This Moment
Rupert Holmes Michael John LaChiusa Kim Oler Jeanine Tesori Chad Henry John Kander John Bucchino
This Time
Now.Here.This
Jeff Bowen
Through The Mountain
Floyd Collins
Adam Guettel
Time Does Not Bring Relief
The Other Franklin
Jeff Blumenkrantz
Time Heals Everything
Mack and Mabel
Jerry Herman
Times Like This
Lucky Stiff
Stephen Flaherty
252
Comments Modern dramatic ingénue 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
Grateful: The Songs of John Bucchino
Mix
70s and 80s dramatic ingénue disclosure ballad Golden Age charm uptempo Contemporary Art song uptempo Modern ingénue disclosure ballad Modern ingénue disclosure ballad 70s and 80s dramatic uptempo Modern dramatic uptempo Modern dramatic ballad Modern comedic uptempo Modern dramatic/ comedic uptempo Modern dramatic disclosure ballad Contemporary Art song ballad Modern dramatic disclosure ballad Modern dramatic ballad Contemporary Art song ballad
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
The Michael John Lachiusa Songbook The BMI Workshop Songbook Vocal Selections
Mix/Belt
P/C score
Mix/Belt
Vocal Selections
Soprano Mix/Belt
Grateful: The Songs of John Bucchino Vocal Selections
Soprano/Mix
Vocal Selections
Soprano
The Jeff Blumenkrantz Songbook Vol. 1 Vocal Selections
Mix/Belt
70s and 80s dramatic Mix/belt Torch song Modern comedic Mix/Belt ingénue disclosure ballad
Ahrens and Flaherty Songbook
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
Walking the Wrong Way
Frederick Loewe Stephen Flaherty
Jeff Blumenkrantz
Wanting
Rags
Charles Strouse
Watch What Happens
Newsies
Alan Menken
Watching the Big Parade Starting Here, Go By Starting Now We Had a Dream The Life
David Shire Cy Coleman
Welcome Home
Johnny Guitar
Martin Silvestri
West End Avenue
The Magic Show
Stephen Schwartz
What a Mother Does
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
Grateful: The Songs of John Bucchino Vocal Selections Ahrens and Flaherty Songbook
Modern dramatic disclosure uptempo Modern dramatic uptempo Modern romantic ingénue ballad Golden Age dramatic Torch song Modern dramatic ballad Contemporary Art song ballad
Mix/Belt
Modern dramatic ingénue 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
The Andrew Lippa Songbook Vocal Selections
A Christmas Story Benj Pasek and Justin Paul What About Today Starting Here, David Shire Starting Now What Did I Have That I On a Clear Day, Burton Lane Don’t Have? You Can See Forever What Do You Call a Man The Bridges of Jason Robert Brown Contemporary legit. Like That? Madison County dramatic moving ballad What Only Love Can Chaplin Christopher Curtis Contemporary legit. See dramatic ballad What the F*ck? If/Then Tom Kitt Modern dramatic pop moving ballad Whatever Lola Wants Damn Yankees Jerry Ross Golden Age dramatic sexy Tango When Hope Goes The Spitfire Grill James Valcq Modern dramatic disclosure ballad When I First Met Him The Wild Party Andrew Lippa Modern dramatic (cut) ballad When I Look at You Scarlet Pimpernel Frank Wildhorn Modern romantic disclosure ballad
253
Voice Type Soprano
Soprano/Mix
Mix/Belt
Title When It All Falls Down
Show Chaplin
Composer Christopher Curtis
When It Ends
The Wild Party
Michael John LaChiusa William Finn
When the Earth Stopped Elegies Turning Whenever I Dream A New Brain
William Finn
Where is the Warmth?
The Baker’s Wife
Stephen Schwartz
Where You Are Wherever He Ain’t
Kiss of the Spider Kander and Ebb Woman Mack & Mable Jerry Herman
Who Are You Now?
Funny Girl
Jule Styne
Who Is This Man?
Death Takes a Holiday
Maury Yeston
Who Knows?
I Can Get It For You Wholesale The Times
Harold Rome
Who Wears These Clothes? Why Did I Choose You? The Yearling
Brad Ross, Joe Keenan Michael Leonard
Why Not Me?
Carrie
Michael Gore
Wild and Reckless
Drat, the Cat
Milton Schafer
Will There Really Be a Morning? Willing To Ride
Ricky Ian Gordon Steel Pier
John Kander
With Every Breath I Take City of Angels
Cy Coleman
With You
Ghost
Words, Words, Words
The Witches of Eastwick If/Then
Dave Stewart and Glen Ballard Dana P. Rowe
You Learn to Live Without You Mustn't Be Discouraged You’ll Never Be Alone
Fade Out-Fade In
Tom Kitt Jule Styne
A Tale of Two Jill Santoriello Cities You’ve Got Possibilities It’s a Bird...It’s a Charles Strouse Plane...It’s 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. ingénue 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
A Horse with Wings folio Vocal Selections
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
Golden Age Comedic Soprano character ballad
STILL MORE TO ADD Edges
254
P/C score
255
Choice Songs for Men Title Show A Fellow Needs a Allegro Girl A Horse with Wings
Composer Richard Rodgers
A Man Doesn't Know A Piece of the Action A Very Single Man
Damn Yankees
Jerry Ross
The Life
Cy Coleman
Absalom
The Glorious Ones
Stephen Flaherty
Alive
Death Takes a Holiday Seussical
Maury Yeston Stephen Flaherty
Amour
Michel Legrand
And The Rain Keeps Falling Down And They’re Off
Elegies for Angels, Punks and Raging Queens A New Brain
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
Boy With Dreams
Edges
Benj Pasek and Justin Paul Richard Rodgers
Alone in the Universe An Ordinary Guy
Back Home
Ricky Ian Gordon
Five Course Love
William Finn
Boys and Girls Like State Fair You and Me But I Don’t Want to I Love You Because Joshua Salzman Talk About Her Bye Room John and Jen Andrew Lippa Call of the Sea
No, No, Nannette
Vincent Youmans
Central Park
See What I Wanna See Death Takes a Holiday
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
A Horse with Wings folio Vocal Selections
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
The William Finn Songbook P/C Score
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
Coffee Shop Nights Curtains
John Kander
Cold Enough To Snow Cold Feets
Alan Menken
Colors Of My Life
Life With Mikey, film The Drowsy Chaperone Barnum
Come Back
Dogfight
Comments Voice Type Modern dramatic pop Tenor ballad Modern dramatic Baritone disclosure ballad Modern dramatic ballad Baritone
Epiphany
Kiss of the Spider Woman Altar Boyz
Evenin’ Star
110 in the Shade
Evermore Without You Extraordinary
Woman in White
Eyes That Never Lie Fathers and Sons
Weird Romance
Lisa Lambert, Greg Modern comedic Morrison uptempo Cy Coleman 70s and 80s dramatic ballad Benj Pasek and Modern dramatic Justin Paul disclosure moving ballad Frederick Loewe Golden Age romantic ballad George Stiles Modern disclosure ballad Cy Coleman Modern dramatic swing uptempo Michael Gore Modern dramatic disclosure Pop ballad John Kander Modern dramatic Charm song Gary Adler Modern dramatic/ comedic pop disclosure ballad Harvey Schmidt Golden Age romantic ballad Andrew Lloyd Modern romantic ballad Webber Stephen Schwartz 70s and 80s dramatic uptempo Alan Menken Modern romantic ballad
Working
Stephen Schwartz
Favorite Places Fifty Checks
Ordinary Days Catch Me If You Can
Adam Gwon Marc Shaiman
Fight The Dragons
Big Fish
Andrew Lippa
Come To Me, Bend Brigadoon To Me Different Honk Double Talk
City of Angels
Dreamer in Disguise Dressing Them Up
Carrie
Pippin
Finding Home Flair
Ricky Ian Gordon Starting Here, Starting Now
Flight Floozies
David Shire Craig Carnelia
The Grass Harp
Foolish To Think
Claibe Richardson
A Gentleman's Guide to Love and Murder Forest For the Trees The Spitfire Grill
James Valcq
Freeze Your Brain
Lawrence O'Keefe
Heathers
Steven Lutvak
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
Kiss of the Spider Woman Vocal Selections
Tenor
musicnotes.com
Tenor
Vocal Selections
Tenor
The Stephen Schwartz Songbook Vocal Selections
Tenor
70s and 80s dramatic Baritone ballad Modern dramatic ballad Baritone Modern dramatic swing Baritone uptempo
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
Finding Home folio
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
Guido’s Song
Show Catch Me If You Can Nine
Composer Marc Shaiman
Maury Yeston
Half As Big As Life Promises, Promises Burt Bacharach Heaven
Ricky Ian Gordon
Her Voice
The Little Mermaid Alan Menken
Here For You
Nine to Five
Dolly Parton
Hey, Kid Highway Miles
If/Then The Flood
Tom Kitt Peter Mills
Hitchhiking Across Make Me a Song America Hold Me in Your Kinky Boots Heart Hold My Hand
William Finn
Home of the Brave
Ricky Ian Gordon
How I Am
Little Women
Cindi Lauper Jeff Blumenkrantz
Jason Howland
How Lucky You Seussical Are Hundred Story City Ordinary Days
Stephen Flaherty
I Am the One
Next to Normal
Tom Kitt
I Can’t Recall
A Tale of Two Cities Sweet Smell of Success Baby
Jill Santoriello
David Shire
Zanna Don’t
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
Benj Pasek and Justin Paul Michael John LaChiusa Maury Yeston
I Stayed I Think I Can Play This Part
A Catered Affair The Goodbye Girl
John Bucchino Marvin Hamlisch
I Cannot Hear the City I Choose Right
I Could Write Books I Don’t Remember Christmas I Hear Bells
Adam Gwon
Marvin Hamlisch
David Shire Frank Loesser
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
Voice Type Tenor
Source Vocal Selections
Baritone
Vocal Selections
High Baritone
Vocal Selections
Baritone
Finding Home folio
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
Contemporary legit. Art Baritone song ballad Modern dramatic Baritone uptempo Modern dramatic charm Baritone Modern dramatic disclosure moving ballad Modern dramatic rock uptempo Contemporary legit. disclosure ballad Modern romantic ballad
Vocal Selections Ahrens and Flaherty Songbook
High Baritone
Tenor
Vocal Selections
Baritone
Vocal Selections
High Baritone
Vocal Selections
70s and 80s romantic ballad
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
The Michael John LaChiusa Songbook The Maury Yeston Songbook Composer website Vocal Selections
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 I’d Rather Be A New Brain William Finn Modern Sailing I’ll Go Home With Brigadoon Frederick Loewe Golden Age romantic Bonnie Jean uptempo I’m a Mean Ole The Wiz Charlie Smalls 70s and 80s comedic Lion pop uptempo I’m in Love! I’m In The Rothschilds Jerry Bock Golden Age comedic Love uptempo I’m Not That Smart 25th Annual Putnam William Finn Contemporary comedic County Spelling uptempo Bee I’ve Got To Find a Carnival Bob Merrill Golden Age dramatic Reason disclosure ballad I’ve 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 I’m John Bucchino Modern romantic ballad Over You If I Have To Live The Baker’s Wife Stephen Schwartz 70s and 80s dramatic Alone ballad If She Really Knew They’re 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
Ahrens and Flaherty Songbook The William Finn Songbook Vocal Selections
Baritone
Vocal Selections
Baritone
Vocal Selections
High Baritone
The William Finn Songbook
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
Just a Kiss Apart
Gentlemen Prefer Blondes
Tenor with low P/C Score range Baritone The Jeff Blumenkrantz Songbook Vol. 1 William Finn Modern dramatic ballad Baritone Vocal Selections Jeffery Stock Modern dramatic Baritone P/C Score uptempo Jason Robert Brown Contemporary legit. Baritone Vocal Selections dramatic moving ballad Andrew Lippa Modern dramatic Tenor Vocal Selections disclosure ballad Jule Styne Golden Age romantic Baritone P/C Score ballad
Just One Night
Doonesbury
Elizabeth Swados
Larger Than Life
My Favorite Year
Alan Menken
Infinite Joy Issue In Question
Elegies Triumph of Love
It All Fades Away
The Bridges of Madison County It Took Me a While John and Jen
70s and 80s dramatic pop ballad Modern dramatic disclosure ballad
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
Elegies for Angels, Punks and Raging Queens Violet
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
Jeanine Tesori Michael John LaChiusa Marc Shaiman Mark Sandrich, Jr Craig Carnelia
Love Can’t Happen Grand Hotel
Maury Yeston
Love Was a Song
Mark Schoenfeld, Barri McPherson Stephen Flaherty
Brooklyn
Love Who You A Man of No Love Importance Lovelier Than Ever Where’s Charley?
Frank Loesser
Lucky
Lucky Stiff
Marta
Kiss of the Spider John Kander Woman I Love You Because Joshua Salzman
Maybe We Just Made Love Melisande
Stephen Flaherty
110 in the Shade
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
The Psychic Hour
Marty Fernandi
Need To Know
Weird Romance
Alan Menken
Jeff Blumenkrantz
Never the Luck
The Mystery of Edwin Drood Never Will I Marry Greenwillow
Rupert Holmes Frank Loesser
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
It’s Only Life
John Bucchino
Comments Modern dramatic Rock uptempo Modern romantic ballad Golden Age comedic uptempo Modern dramatic pop ballad
Modern dramatic pop gospel uptempo Modern dramatic disclosure ballad Modern dramatic pop gospel uptempo Golden Age dramatic ballad Modern dramatic ballad
Voice Type Tenor
Source Vocal Selections
High Baritone Baritone
Vocal Selections Vocal Selections
Tenor
P/C Score
Tenor
Vocal Selections
Baritone Tenor
The Michael John Lachiusa Songbook Vocal Selections
Baritone
Vocal Selections
Baritone
Craig Carnelia Songbook The Maury Yeston Songbook Vocal Selections
70s and 80s romantic ballad Modern dramatic moving ballad Modern dramatic disclosure waltz ballad Golden Age dramatic ballad 70s and 80s dramatic charm Modern romantic ballad
Baritone
Modern romantic pop disclosure uptempo Golden Age romantic uptempo Modern pop gospel ballad Contemporary art song comedic uptempo
Tenor
Modern comedic ballad Modern dramatic pop uptempo Modern dramatic disclosure uptempo Modern comedic uptempo 70s and 80s charm waltz
Baritone Tenor
Golden Age dramatic disclosure ballad 70s and 80s dramatic ballad Modern dramatic ballad Modern dramatic uptempo Modern dramatic uptempo
260
High Baritone Baritone Baritone Baritone Tenor
Ahrens and Flaherty Songbook The Frank Loesser Songbook P/C Score
High Baritone
Kiss of the Spider Woman newmusicaltheatre.c om P/C Score
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
The Maury Yeston Songbook Composer website Vocal Selections
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
Pass The Football
Wonderful Town
Poison In My Pocket Private Property
A Gentleman's Guide to Love and Murder Giant
Proud Lady
The Baker’s Wife
Michael John LaChiusa Stephen Schwartz
Proud of Your Boy
Alladin
Alan Menken
Raise a Little Hell
Bonnie and Clyde
Frank Wildhorn
Right Before My Eyes Roberto’s 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
The Civil War Ordinary Days, cut
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
Modern romantic ballad Modern romantic moving ballad Golden Age dramatic ballad Modern dramatic uptempo Modern dramatic ballad
Tenor Tenor
Modern dramatic pop ballad Contemporary legit. romantic waltz
Tenor
Richard Rodgers
Tenor
The Michael John Lachiusa Songbook The Stephen Schwartz Songbook Alan Menken Songbook Vocal Selections
Tenor
P/C Score
Tenor Tenor
Tenor with low Vocal Selections range Tenor BMI songbook Tenor
P/C Score
Tenor
Alan Menken Songbook Vocal Selections (published earlier in a Baritone key) Vocal Selections
Tenor
Baritone Tenor Tenor
Tenor
Golden Age romantic Baritone ballad Charlie Smalls 70s and 80s dramatic Tenor pop uptempo Jason Robert Brown Modern dramatic ballad Baritone
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 She’s 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
Cindi Lauper Steven Lutvak
Source Vocal Selections
Tenor
Vocal Selections
Tenor
Vocal Selections
Tenor Tenor
A Horse With Wings folio Vocal Selections
Modern dramatic pop uptempo
Tenor
Vocal Selections
Contemporary legit. dramatic patter song
Tenor
Vocal Selections
Andrew Lippa
Modern dramatic Tenor moving ballad John Bucchino Modern dramatic pop Tenor uptempo Jason Robert Brown Contemporary legit. Baritone dramatic pop ballad David Bryan Modern comedic ballad Tenor Michel Legrand
That's What I Could Violet Do That’ll Never Be Now.Here.This Me (Male) That’s For Me State Fair
Voice Type Tenor
Jeanine Tesori Jeff Bowen
Modern dramatic ballad High Baritone
Vocal Selections
Richard Rodgers
Michael John LaChiusa Caroline, or Change Jeanine Tesori
Golden Age romantic ballad Modern dramatic uptempo Modern dramatic spiritual Modern dramatic disclosure uptempo Modern dramatic disclosure moving ballad Modern comedic charm swing 70s and 80s dramatic moving disclosure ballad Golden Age dramatic uptempo
High Baritone
Vocal Selections
Baritone High Baritone
The Michael John Lachiusa Songbook Vocal Selections
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
The Maury Yeston Songbook The Michael John Lachiusa Songbook
The Call
Floyd Collins
Adam Guettel
The Coming of the Dawn
Frankenstein
Mark Baron
The Genius On Cleveland Street The Kid Inside
A Christmas Story
Benj Pasek and Justin Paul Craig Carnelia
The Kite
You’re a Good Man, Charlie Brown Illyria
Peter Mills
Chaplin
Christopher Curtis
The Boy From Oz
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
The Night Was Alive The One I Love
Vocal Selections The Michel Legrand Songbook Vocal Selections
Hello Again
The Lady Must Be Mad The Life That You Wished For The Lives of Me
Grateful: The Songs of John Bucchino Vocal Selections
70s and 80s swing Baritone uptempo Modern dramatic ballad Baritone
The Bed Was Not My Own The Bus
Is There Life After High School?
Vocal Selections
Clark Gesner
262
Tenor
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 Ev’ry Minute This is New
Those Were the Good Old Days Till I Loved You
Show The Boys From Syracuse A Man of No Importance The Bridges of Madison County Brigadoon
Barnum Lady in the Dark Damn Yankees 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
The Maury Yeston Songbook Grateful: The Songs of John Bucchino Vocal Selections
Baritone
Vocal Selections
Baritone
newmusicaltheatre.c om Vocal Selections
Use What You Got
The Life
Wanting Things
Promises, Promises Burt Bacharach
Watching the Show The Times
Brad Ross, Joe Keenan David Shire
70s and 80s Showtune/ Swing uptempo 70s and 80s dramatic pop moving ballad Modern dramatic pop uptempo 70s and 80s comedic uptempo 70s and 80s romantic ballad Modern dramatic ballad
Baritone
We Can Talk To Each Other We’ll 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
What More Can I Say? What Would You Do? When I Get My Name In Lights When the Earth Stopped Turning Where Are All the People Who We Are and Who We Want To Be Will That Ever Happen To Me? With You
Falsettos
William Finn
70s and 80s dramatic Tenor pop ballad/uptempo Modern dramatic ballad Baritone
If/Then
Tom Kitt
Modern dramatic ballad Baritone
The Boy From Oz
Peter Alan
Elegies
William Finn
70s and 80s dramatic Tenor charm uptempo Modern dramatic ballad Tenor
Chaplin
Christopher Curtis
Wondering Yesterday, Today and Tomorrow You Can Have the T.V. You Don’t 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
David Kirshenbaum Modern romantic moving ballad Pippin Stephen Schwartz 70s and 80s romantic ballad The Bridges of Jason Robert Brown Contemporary legit. Madison County dramatic moving ballad Women on the David Yazbek Contemporary legit. Verge of a Nervous comedic uptempo Breakdown Craig Carnelia 70s and 80s dramatic ballad If/Then Tom Kitt Modern romantic pop ballad
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
You Tore My Heart Toxic Avenger Out You're Different Violet You’re Never Alone The Bridges of Madison County You’re There Too In the Beginning
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 an y other song, but no more. Our effectiveness as a singing actor will be seriously hampered if we a ctively 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 en d 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. We can't fully comprehend the accomplishments of Sondhei's song-craft without understanding how it relates to the work of Rodgers and Hammerstein. The music of Richard Rodgers, when he wrote with Oscar Hammerstein II, communicates subtle and complex information abo ut the character and the story. He was the first to do this consistently. The melody of "Many a New Day" (Oklahoma), for instance, with lilting triplets and playful leaps ech oes Laurie's casual, flippant attitudes toward romance. Without the lyrics, we would still get the essence of her character's viewpoint. The cowboy Can-Can music of "Cain't Say No" tells us as much about the character's determination, independence and confident sexuality as the lyrics do. In songs like "You'll Never Walk Alone," "Something Wonderful" and "Climb Every Mountain" Rodgers writes anthemic melodies and harmonies extolling the depth and resolve of the human spirit. To 265
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 a lways 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 speec h. 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 o f 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.
Moments in the Woods: An Analysis In Sondheim's Broadway Musicals, Stephen Banfield introduces a memorable classification for a quartet of songs in Into the Woods ("I Know Things Now," "Giants In the Sky," "On the Steps of the Palace" and "Moments in the Woods") where characters share directly with the audience what they have learned. He calls them the "Knowing Songs." These disclosure moments are linked musically by a related accompanimental pattern shown in figure ?. All the "Knowing Songs" begin with an introduction that sets up the context of the character's new understanding.
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 a nd 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 no tice 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 synco pated inner voice during "Face the facts, find the boy, Join the group, stop the giant--just get out of these woo ds." 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.
Diagram of the overall Introduction Was that me? Savoring the fantasy Wake up. Rejecting the fantasy 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 ab out 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 o f 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?
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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
PUT AS ASTERISK BY ALL SONGS THAT HAVE BEEN TRANSPOSED. Guide to Sources Sondheim for Singers SFS=Sondheim for Singers (Soprano, Mezzo-Soprano, Tenor, Baritone) TSMTA=The Singer’s Musical Theatre Anthology. When you're looking at soprano songs, TSMTA 4 refers to volume 4 of the soprano anthology. AS 1-4=All Sondheim Volumes 1 through 4 SSFT = Stephen Sondheim Film and Television Songs Vocal Score indicates the Piano/Conductor vocal score
Soprano Song (Keys are included when they are published in other keys as well)
Show
Comments and Sources
A Parade In Town (E-flat major) All Things Bright and Beautiful
Anyon e Can Whistle Marry Me a L ittle
Anyone Can Whistle (E-flat major) Anyon e Can Whistle
AS 1 AS 2 (Soprano/Tenor Duet but can be made into a solo) SFS (Soprano)
Children Will Listen (C major)
Into the Woods
SFS (Soprano), TSMTA 4
Dawn
Singing Out Loud
AS 4
Do I Hear A Waltz? (F major)
Do You Hea r A Waltz?
SFS (Soprano)
Everybody Says Don’t (D major)
Anyone Can Whistle
SFS (Soprano)
270
Song (Keys are included when they are published in other keys as well)
Show
Comments and Sources
Fear No More (G-flat major)
The Frogs
SFS (Soprano)
Goodbye For Now (A-flat major)
Reds ( film)
SFS (Soprano), SSFT
Green Finch And Linnet Bird
Sweeney Todd
SFS (Soprano), TSMTA 1
Happiness Honey
Pas sio n Merrily We Roll Along (cut)
SFS (Soprano) AS 3
I Never Do Anything Twice (F minor)
The Seven Percent Solution (film)
SFS (Soprano)
I Remember
The Evening Primrose
SFS (Soprano), TSMTA 3
I Wish I Could Forget You (D minor ) I’m All For You
Passion
SFS (Soprano)
Saturday Night
SFS (Soprano)
In Buddy’s Eyes (E-flat major)
Follies
SFS (Soprano)
Isn't He Something? (G major)
Road Show
SFS (Soprano)
Isn’t It? (D major)
Saturday Night
SFS (Soprano)
It Wasn’t Meant To Happen
Follie s (cut )
SFS (Soprano)
Losing My Mind (D-flat major)
Follies
SFS (Soprano)
Lovely
A Funny Thing Happened on the Way to the Forum
SFS (Soprano), TSMTA 4
Loving You (A-flat major)
Passion
SFS (Soprano)
Move On No On e Is Alon e (D- flat ma jor)
Sunday in the Park Into the Woods
AS 4 (Duet in the show but this edition is a solo) SFS (Soprano)
Not A Day Go es By (F ma jor)
Merrily We Roll Along
SFS (Soprano), TSMTA 1
Old Friends (F major) On The Steps Of The Palace
Merrily We Roll Along Into the Woods
SFS (Soprano) SFS (Soprano), TSMTA 4
One More Kiss
Follies
SFS (Soprano), TSMTA 1
Our Time
Merrily We Roll Along
Vocal Score (can be edited for solo p erformance)
Remember?
A Little Night Music
SFS (Soprano)
Sand Send In the Clowns (G-flat major)
Singing Out Loud A Little Night Music
SFS (Soprano), AS 4 SFS (Soprano)
So Many People (E-flat major)
Saturday Night
SFS (Soprano), TSMTA 3
Soon
A Little Night Music
SFS (Soprano)
Take Me To The World (B-flat major) That Dirty Old Man
The Evening Primrose
SFS (Soprano), TSMTA 2
A Funn y Thin g Hap pened on the Way to the Forum A Funny Thing Happened on the Way to the Forum
SFS (Soprano)
Marry Me a Little
SFS (Soprano), TSMTA 3
That'll Show Him The Girls Of Summer
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SFS (Soprano), TSMTA 1
Song (Keys are included when they are published in other keys as well)
Show
Comments and Sources
The Glamorous Life
A Little Night Music
SFS (Soprano), TSMTA 2
The Two of You
Kukla, Fran and O llie
SFS (Soprano), AS 4
They Ask Me Why I Believe in You Too Many Mornings
I Beli eve in You
SFS (Soprano), AS 4
Follie s
AS 4
Water Under th e Bridge
Singing Out Loud
SSFT
What More Do I Need? (E-flat major) With So Little To Be Sure Of (C major?)
Saturday Night
SFS (Soprano)
Anyon e Can Whistle
SFS (Soprano)
Mezzo-Soprano Song
Show
Comments and Sources
A Parade In Town (B-flat major)
Anyon e Can Whistle
Vocal Score
Ah, But Underneath
Follies
TSMTA 3
All For You Another Hundred People
Saturday Night Company
Vocal Score SFS (Mezzo), TSMTA 2
Anyone Can Whistle (C major)
Anyon e Can Whistle
SFS (Mezzo), TSMTA 1
Back In Business
Dick Tracy
SSFT
Being Alive (A major) Broadway Baby
Company Follies
SFS (Mezzo) SFS (Mezzo), TSMTA 1
By The Sea
Sweeney Todd
TSMTA 1
Can That Boy Foxtrot?
Follies (cut)
SFS (Mezzo)
Children and Art
Vocal Score
Children Will Listen (B-flat major) Could I Leave You?
Sunday in the Par k With George Into the Woods Follies
Do I Hear a Waltz? (D-flat major) Everybody Loves Louis
Do You Hea r a Waltz? Sunday in the Park
SFS (Mezzo), AS 4 SFS (Mezzo), TSMTA 2
Everybody Says Don’t (B-flat) Fear No More (D-flat major) Getting Married Today
Anyon e Can Whistle The Frogs Company
SFS (Mezzo) SFS (Mezzo) SFS (Mezzo)
Good Thing Going (C major) Goodbye For Now (F major)
Merrily We Roll A long Reds ( Film)
SFS (Mezzo), SSFT
I Know Things Now
Into the Woods
Vocal Score
I Never Do Anythin g Twice
The Seven-Per-Cent Solution (Film)
SFS (Mezzo) (D minor), AS 1 (F minor)
I Read
Passio n
SFS (Mezzo)
I Wish I Could Forget You (B-flat minor )
Passio n
SFS (Mezzo)
I’m Still Here
Follies
SFS (Mezzo), AS 1, TSMTA 4
I’ve Got You To Lean On
Anyon e Can Whistle
SFS (Mezzo)
In Buddy's Eyes
Follies
SFS (Mezzo), TSMTA 1
272
SFS (Mezzo) SFS (Mezzo), TSMTA 1
Song
Show
Comments and Sources
Ladies Who Lunch
Company
SFS (Mezzo)
Last Midnight
Into the Woods
Vocal Score
Liaisons
A Little Night Music
SFS (Mezzo), AS 3
Like It Was
Merrily We Roll A long
SFS (Mezzo)
Losing My Mind
Follies
SFS (Mezzo), TSMTA 1
Loving You (key)
Passio n
Maybe They’re Magic
Into the Woods
SFS (Mezzo), 1/2 step lower in vocal score Vocal Score
Me and My Town
Anyon e Can Whistle
Vocal Score
Moments in the Woods
Into the Woods
SFS (Mezzo)
More
Dick Tracy
No On e Is Alon e (B-f lat majo r) Not a Day G oes By (B-fl at)
Into the Woods Merrily We Roll A long
SFS (Mezzo) (D-flat minor), SSFT (E-flat minor) SFS (Mezzo) SFS (Mezzo)
Not Wh ile I’ m Around (C majo r) Now You Know
Sweeney Todd Merrily we Roll Along
SFS (Mezzo) SFS (Mezzo), TSMTA 2
Old Friends (E-flat major) Putting It Together (C major)
SFS (Mezzo) SFS (Mezzo)
See What It Gets You
Merrily We Roll A long Sunday in the Par k With George Anyon e Can Whistle
Send In the Clowns (D-flat major)
A Little Night Music
SFS (Mezzo), TSMTA 1
So Many People in th e World (C major) Sooner or Later
Saturday Night Dick Tracy
Sunday in the Par k With George Take Me To The World (A-flat major) The Ladies Who Lunch
Sunday in the Par k With George Evenin g Prim rose Company
SFS (Mezzo) SFS (Mezzo) (C major), SSFT (E-flat major) Vocal Score
The Little Things You Do Together
Company
AS 1
The Miller's Son
A Little Night Music
SFS (Mezzo), TSMTA 1
The Story of Lucy and Jessie
Follies
SFS (Mezzo), AS 4
The Worst Pies In London
Sweeney Todd
TSMTA 1
There Won't Be Trumpets
Anyon e Can Whistle (cut)
SFS (Mezzo), TSMTA 2
Truly Content
SFS (Mezzo), AS 3
Uptown, Downtown
Marry Me a L ittle, Passio nella Follies (cut)
Wait
Sweeney Todd
SFS (Mezzo), AS 3
What More Do I Need? (D-flat major) With So Little To Be Sure Of ( A-flat major)
Saturday Night Anyon e Can Whistle
SFS (Mezzo), AS 2 SFS (Mezzo)
SFS (Mezzo)
SFS (Mezzo) SFS (Mezzo), TSMTA 3
SFS (Mezzo), TSMTA 3
Tenor Song
Show
All Aboard! Anyone Can Whistle (F major) Beautiful Girls
The Frogs Anyon e Can Whistl e Follies
Comments and Sources
273
SFS (Tenor) SFS (Tenor) SFS (Tenor), TSMTA 2
Song
Show
Being Alive Buddy’s Blues (The God-Why-Don’t-You-Love-Me Blues) (key) Children Will Listen (C major) Everybody Says Don’t (E-flat major) Fear No More (G major) Finishing the Hat Franklin Shepard, Inc. Free
Company Follies
SFS (Tenor), TSMTA 1 SFS (Tenor), TSMTA 3 SFS (Tenor) SFS (Tenor) SFS (Tenor) SFS (Tenor), TSMTA 1 Vocal Score TSMTA 4
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 On e is Alon e (E- flat ma jor) Not a Day G oes By (F maj or) Not While I’m Around Old Friends Our Time
Into the Woods Anyon e Can Whistl e The Frogs Sunday in the Park With George Merrily We Roll Along A Funny Thing Happened on the Way to the Forum Into the Woods Merrily We Roll Along A Funn y Thin g Hap pened on th e Way to the Forum Evenin g Prim rose Sweeney Todd Sweeney Todd A Little Night Music Sunday in the Park With George Dick Trac y Follie s Follie s A Funny Thing Happened on the Way to the Forum Follies Passi on Follie s Follies Company Company (cut) Into the Woods Merrily We Roll Along Sweeney Todd Merrily We Roll Along Merrily We Roll Along
Pretty Women (A major) Putting It Together (E-flat major) Send in the Clowns (A-flat major) Someone is Waiting Sorry-Grateful (E-flat major) That Old Piano Roll (D major) The Contest The Right Girl They Ask Me Why I Believe In You What Can You Lose?
Sweeney Todd Sunday in the Park With George A Little Night Music Company Company Follie s (cut ) Sweeney Todd Follie s I Believe In You Dick Tracy
Who’s That Woman With So Little To Be Sure Of (E-f lat major) Class
Follie s Anyon e Can Whistl e Saturday Night
Giants in the Sky Good Thing Going (G Major) I’m Calm If You Can Find Me, I’m Here (G major) Johanna (E-flat major) Ladies and their Sensitivities Later Lesson #8 Live Alone and Like It (E-flat major) Live, Laugh Love Losing My Mind (E major) Love, I Hear
Comments and Sources
SFS (Tenor), TSMTA 4 SFS (Tenor) SFS (Tenor) SFS (Tenor). SSFT SFS (Tenor), TSMTA 1 SFS (Tenor), TSMTA 1 SFS (Tenor) SFS (Tenor) SFS (Tenor), SSFT Vocal Score SFS (Tenor) SFS (Tenor), TSMTA 1 AS 3 SFS (Tenor) Vocal Score SFS (Tenor), TSMTA 3 SFS (Tenor) SFS (Tenor), AS 4 SFS (Tenor) SFS (Tenor) SFS (Tenor), TSMTA 1 SFS (Tenor) Vocal Score (Can be edited for solo performance) SFS (Tenor) SFS (Tenor) SFS (Tenor) SFS (Tenor), TSMTA 1 SFS (Tenor) SFS (Tenor) SFS (Tenor) SFS (Tenor) SFS (Tenor) SFS (Tenor) (C major), TSMTA 3 (B major) Vocal Score SFS (Tenor) Vocal Score
Baritone Add Hello Little Girl Song
Show
All For You
Saturday Night
Vocal Score
Anyone Can Whistle (D major)
Anyone Can Whistle
SFS (Baritone)
274
Comments and Sources
Song
Show
Ariadne
The Frogs
SFS (Baritone)
Being Alive (C major)
Company
SFS (Baritone)
Bring Me My Bride
A Funny Thing Happened on the Way to the Forum Follies
SFS (Baritone), TSMTA 4
Into the Woods
SFS (Baritone) SFS (Baritone) SFS (Baritone)
Everybody Says Don’t (C major) Fear No More (E-flat)
Sweeney Todd A Funny Thing Happened on the Way to the Forum Anyone Can Whistle The Frogs
Good Thing Going (F major) Growing Up Happily Ever After I Remember That If You Can Find Me, I’m Here (F major) In Praise of Women Invocation and Instructions to the Audience Is This What You Call Love? It’s In Your Hands Now Johanna (E-flat major)
Merrily We Roll Along Merrily we Rol l Along Marry Me a Little Saturday Night The Evening Primrose A Little Night Music The Frogs Passio n Road Show Sweeney Todd
SFS (Baritone), TSMTA 2 AS 4 TSMTA 3 AS 4 SFS (Baritone), SSFT SFS (Baritone), TSMTA 2 AS 2 SFS (Baritone) SFS (Baritone)
Johanna (Mea culpa)
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
Loving You (E-flat major)
Passion
SFS (Baritone)
Marry Me a Little (B major)
Company
SFS (Baritone),TSMTA 1
Multitudes of Amys (D-flat major)
Company (cut)
SFS (Baritone)
No Mo re
Into the Woods
No One Has Ever Loved Me
Passion
Vocal Score (Duet in the show but can be adapted into a solo) SFS (Baritone)
No One Is Alone (D-flat major)
Into the Woods
SFS (Baritone)
No, Ma ry Ann
The Thing of It Is
Not a Day Goes By (E-flat)
Merrily We Roll Along
SFS (Baritone) (A major), AS 4 (G major) SFS (Baritone)
Now Old Friends (F major)
A Little Night Music Merrily We Roll Along
SFS (Baritone) SFS (Baritone)
Pleasant Little Kingdom Pretty Little Picture
AS 4 Vocal Score
Pretty Woman (G major)
Follies A Funny Thing Happ ened o n the Way to the Forum Sweeney Todd
Send in the Clowns (F major)
A Little Night Music
SFS (Baritone)
Buddy’s Blues (The God-Why-Don’t-You-Love-Me Blues) (E-flat major) Children Will Listen (B-flat major) Epiphany Everybody Ought To Have a Maid
275
Comments and Sources
SFS (Baritone)
SFS (Baritone), TSMTA 1 SFS (Baritone), AS 2
SFS (Baritone)
Song
Show
Silly People
A Little Night Music (cut)
SFS (Baritone), AS 2
Someone is Waiting (E major)
Company
SFS (Baritone)
Sorry-Grateful Talent
Company Road Show
SFS (Baritone), TSMTA 1 SFS (Baritone)
That Old Piano Roll The Best Thing That Ever Has Happened
Follies (cut) Road Show
The Game The Right Girl The Road You Didn’t Take The World’s 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)
What More Do I Need? (E-flat major) When With So Little To be Sure Of (C major) You Must Meet My Wife
Marry Me a Li ttle The Evening Primrose Anyone Can Whistle A Little Night Music
Your Eyes Are Blue
A Funny Thing Happened on the Way to the Forum
276
Comments and Sources
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 Be fore.” 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 anothe r 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 277
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 co nsidered 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 “hea d” could sing to the “heart” or the “brave side” could sing to the “cowardly side.” See page? for for more. 278
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 Webber’s 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.
279
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 Add acting through song Paul Harvard Enraged accompanist Andrew Gerle
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 Actor’s 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. Martin’s 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 Audition—How 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 The atre. W. W. Norton & Company, 2010 Suskin, Steven. Showtunes: The Songs, Shows, and Careers of Broadway’s 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, Harangu es, 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 282
Tim – I don’t always agree with the author, but it’s inspirational how he breaks things down in music/text/drama term. It’s 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. I’m 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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Growing your Voice Give tips on how to practice, what to sing when you’re not preparing an audition The repertoire suggestions below are just that—suggestions. 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. Today’s 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. 285
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