Creating An Audition Book

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There are many great audition books and the purpose of this book is to not tell you all the things
that you can find in those other sources.

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 has having the potential of opening a new and
different door. You will want to select songs in diverse styles that reveal facets of your talent and
essence while offering maximum flexibility. Your audition book is the constant you can rely on
when the world of auditioning is filled with change and surprise. The important characteristic
which should unite these songs is the love you have for singing them. When you fall deeply in
love with the songs you sing, your feelings of warmth and affection will translate into a sense of
confidence and ease to your listeners. Be aware, too, that loving a song too much can translate
into a performance that is too much about the song and not enough about what you say through
it. Whether true or not, the lyrics you sing will be understood as a personal reflection of your
deepest self. Choose your songs wisely as your audition is as much about who you are as about
how you sing.

When assembling your audition book, you could rely on the songs youve studied in voice
lessons. They were probably well-chosen with your vocal strengths and skills in mind. You've
had guidance in working out the technical challenges. You could also rely on songs from the
roles you've performed as they are time-tested and secure because you've performed them in
front of an audience. But neither of these sources is a guarantee for success. Just because you
sound great on a song doesn't make it a good audition choice. And if you're under 25, you've
likely been cast in roles that aren't the kind of roles you want to present in a professional setting
because they aren't you at your best. Let's look at different types of auditions to help us assemble
our book.

You could be auditioning for a specific show at a theatre--anything from Operetta, Early Musical
comedy, Golden Age, to all sorts of contemporary musical theatre. Your audition could be for a
professional New York company or a regional theatre like The Goodman in Chicago or The
Guthrie in Minneapolis. It could also be for an amateur or semi-professional local community
theatre. For most of these, you should sing a song in the general style of the show but not
specifically from it.

Summer Musical Theatre auditions like MidWest Theatre Auditions, StrawHat Auditions,
Southeastern Theatre Conference Auditions, Music Theatre Wichita or The Muny hold equity
and non-equity auditions. These auditions are for a number of associated summer stock
companies or for a season of specific shows at a single theatre. As they will be looking for a
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variety of types and talents to fill a number of contrasting shows, it's best if you do something
that shows your best vocals and a character type you could play.

To acquire representation, you may have the opportunity to go in for an Agent call. [say more
here. Give examples of agencies] You won't be auditioning for a specific role or production but
instead the goal is to see if you and the agency are compatible. You'll want to lead with material
that represents you as a person and what you do best. They will want to learn what you can do,
but also who you are.

Considering the many different kinds of auditions you could be doing in a single year, you will
drive yourself crazy if you try to pick out a song that will suit every crazy situation. My advice is
to start simply, with a handful of songs I call the Four Book Essentials. I consider these four to
be the most fundamental, frequently used and most flexible. When those are securely in your
body, you can branch out and add other songs that are suited to your specific skill set. You will
want to find songs that show off who you are as well as your unique attributes and skills.

What are the folks behind the table are looking for. A good voice? A good actress? The X factor?
The nature of the project and the aesthetics of each casting director will change the dynamics of
what is being sought after. But I must state unequivocally that they are not looking just for the
best singers. Successful productions, even of warhorses like Oklahoma, My Fair Lady, or
Brigadoon, require much more than good voices. The audience must be able to give themselves
over to the belief that the person on stage IS Fiona or Freddy. This is a challenge in straight
plays, but it's even harder in musicals when the technically challenging act of singing can make
character plausibility even more difficult. This means that when you are singing for a role, your
acting must take the character and the character's world into consideration. All the work we did
in the first third of the book is crucial for just this reason.

Your audition book should contain somewhere between 10 and 18 songs. I know respected actors
with experience who have made their career with fewer songs. One very successful actress told
me she got everything with "You Took Advantage of Me" by Rodgers and Hart. If that works for
you, who am I to judge? For most of us, a bit more variety is going to serve us in several ways. A
variety of songs will keep you from becoming bored and will present choices that allow you to
be seen as a versatile actor and singer.

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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. "Rainbow Connection" is the perfect choice because you sing it well but
it also allows you to personalize material and sing from your heart.

One never knows what to expect at an audition. Finding the right actor for a role is a complex
task that requires taking stock of skills and personas. It's a chemistry project looking to find the
right balance of the right components. Casting directors learn to do this efficiently but there will
be questions in their mind that need to be explored. If they like you and your acting but aren't
completely sure your voice is strong enough, you may be asked to sing something additional that
shows more range, or a different emotional color. They might ask if you have something that
shows your legit. voice, or if you have a Rock song, or if you have a beautiful ballad. If they
don't know you but have a good feeling about you, you might be asked to do something from
your special skills list on your resume to get a different side of your personality. You could be
asked to do your song again, making it funny this time, or making the character insane, or 30
years older. You could be asked if you have a classical or contemporary comedic monologue.
Success all comes down to preparation.

By preparing these four essential songs, maybe something like half of your audition song
requirements may be met. After these four, I suggest other song types that will be valuable as
well. Make note of the way each song fits into an audition portfolio and what is important to
focus on when preparing it.

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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 again 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 deep emotional life concerning universal
experiences. Because these songs are so well-known, you can take center stage and not the song.
The lyricists for these songs have given special attention to the choice of vowels such that the
sound of the words are as beautiful as the melodies.

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 phrases. 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 use 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?
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This is an energetic, youthful moderately fast or fast pop/rock song that would be known by the
general public. 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.

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List some songs
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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 Joes Cafe, Hairspray, Memphis,
Grease 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, 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 but you must
remember that rock is the music of youth. If it's not about sex, 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, "anger is not an emotion.1" But there is a restlessness in rock
music, even the innocent sounding 50s rock.

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http://immoderate.wordpress.com/2006/01/03/bruce-springsteen-on-rock-music/
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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 be one. I think we can learn a lot about
modern storytelling through music by watching Aretha Franklin, Lyle Lovett, Bruce Springsteen,
Sting, James Taylor, Billy Joel, Paul Simon, Tori Amos, Pink, Adam Duritz and many others.
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Sherre Saunders Rock the Audition.

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I would be remiss if I didn't mention the outstanding work of Sherri Saunders in Rock The
Audition. It is the ultimate guide to singing Rock songs from both vocal and performance
perspectives. She discusses the ins and outs of performing Rock in a much more thorough way
than I can. 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 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 are available. Consider starting with the bridge and ending with
the chorus. Always feature the hook in an audition. 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). The ending date is arguable. Some say
Gypsy (1959), some say Hair (1968). Essentially we are talking about theatre songs from
approximately 1943-1968 where the song advances the plot. Not only do the songs advance the
plot but the music functions in complex and subtle ways to tell the story with more depth than
mere words. The music of "Lonely House" (Oklahoma!) expresses the loneliness and frustration
of Judd just as much as the lyric does. The music of "Will He Like Me" (She Loves Me)
expresses the same hesitant, halting hope of Amalia as the lyric. Before 1943, composers weren't
concerned with being a storyteller as much as they were with writing great, memorable
tunes. You will find 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 it?

You must understand the full range of 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.

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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. Your audience knows these melodies and will not forgive any alterations, no matter
how slight. But here I need to talk about some subtleties associated with modern Golden Age
rhythmic performance practice. This could be controversial, but I've observed a relaxation of
rhythms in professional performances of this literature. This is certainly not the result of
carelessness when I'm speaking of great recorded examples of Golden Age roles by Kelli O'Hara,
Laura Osnes, Audra McDonald, Sally Murphy, Hugh Jackman and Paulo Szot. Compare
contemporary performances of this standard literature with the sheet music and I guarantee that
you won't hear singers slavishly conforming to the rhythms on the page. This idea is
controversial because it could lead a less experienced performer toward a less than faithful
performance. I'm not advocating sloppiness. But, I do believe that in the scene today, some
rhythmic freedom is desirable when it serves the text.

Do you remember when we did the T or "Tune" exercise at the beginning of the book? When we
were singing the lyric with meaning and understanding, some natural rhythmic alterations
happened. Speech does not flow in even and symmetrical patterns. Today's singers are allowing a
speech-like approach to the lyric to influence, but not dominate, rhythmic choices. Always learn
a song by singing exactly what the composer has written, but once it's in your bones, I believe
some rhythmic flexibility is acceptable when it serves to communicate the text and subtext.
Compare these live performances with the sheet music: Kelli O'Hara's live Lincoln Center
performance of "A CockEyed Optimist," own little corner, what's the use of wondering.
Something from Paulo Szot or Hugh Jackman.

The Golden Era singing style is much more complex than some might realize. It's not just a
pseudo-Classical sound you might hear in "If I Loved You" or "Some Enchanted Evening." The
wide variety of character types mean there should be an analogous variety of vocal sounds.
Think of the contrasting characters of Laurie and Ado Annie in Oklahoma or Ruth and Eileen in
Wonderful Town. Think of how different the voices of Lancelot and Arthur (Camelot) or Sarah
and Adelaide (Guys and Dolls) need to be.

For me, the most important vocal attribute in the Golden Age is that the voice should sound like
the character. If I'm playing Tevye, my voice should communicate a paternal, middle aged man.
If I'm playing Curlie, my voice needs to communicate an honest, straight forward and unstudied
quality. Before 1943, actors didn't need to think in this way. They just sang. For the original
productions of shows like South Pacific, Brigadoon or Damn Yankees, I think its fair to say that
actors were cast who naturally looked and sounded like the roles they played. Their physical and
vocal style created the model most productions still strive for. We must be aware of the original
cast recording and extant video and photographic evidence of the first production to guide us
with preparing a modern, yet stylistic performance.

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The original cast recording is the closest we can get to productions dating from the 50s or before.
Serious students of musical theatre know these recordings and probably own most of them. If
you can't afford to purchase recordings, you can listen to them at public libraries. My local
library has nearly everything. In today's world, it has become customary to rely on YouTube or
Spotify if you want to hear less common material. But many original cast albums can't be found
there. Please don't resort to studying a poor YouTube performance of this older literature.

Ive called this section "Golden Age song sung by a character you could play," not "Sung by a
character you could sing." Why is that? While the actual music of this style is quite important as
well as good, stylistic singing, the most important thing is that everything: actor, singer and song,
should work together in a believable way to tell the same story. You should definitely sing all
manner of songs in your voice lessons and private study, but just because you sing it well doesn't
mean it's a good choice for an audition.

How do I unify my understanding of the character with my voice? First you must read the
libretto and understand the character and their full story. Then listen to the OCR and several
other recordings or videos for comparison. Analyze the song for ways the music helps to tell the
story. The question I always return to is, "what story is the music telling?" You can use the role
preparation guide I gave you in the first section.

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 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 navet, or straightforward honesty, or gregarious flirtation, you can mix that
quality into your audition even if it wasn't present originally. When Faith Prince auditioned for
Adelaide (Guys and Dolls)--a character with unshakable devotion to Nathan despite the facts of
their relationship--she choose a surprising yet perfect song, "Something Wonderful" from South
Pacific. We all think of Adelaide first as a comedic character, but her audition demonstrated that
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 containing the
title and a recognizable musical passage. You will most always want to skip the opening verse
and any music repetitions. For a 16-bar audition, start by looking at the last 16 bars. This is the
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ideal cut for songs like "When Did I Fall in Love" (starting with "When did I fall in love"), "Old
Devil Moon" ("Wanna cry, wanna croon"), "I Don't Remember You" ("That was another time"),
"I Got Lost In His Arm" (How I felt as I fell"). Here are some additional issues to be aware of:

If your cut is 18 or 19 bars, no one will complain. The goal is that your cut should "feel like a 16bar cut." This means two music sections, or you could call them acting "beats," each of
approximately 8 bars. This means that in a 16-bar cut, you will be able to play two contrasting
actions, one for each beat. Please be sure to play two different actions as a single action will not
show enough range.

REFERENCE THE COMPLETE PROFESSIONAL AUDITION FOR DISCUSSION OF

LENGTH. THE MUNY MEANS 16 bars.

If the time signature is cut-time, you can double the bars to 32, unless it takes your song over 40
seconds. I looked at many perfect 16-bar cuts and they were all between 29 and 38 seconds.

Minimize the length of the introduction. If you can start with just a bell-tone, do. You never need
more than two bars of introduction.

When counting measure numbers, count the bar of the last lyric but not the bars of the held 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 counting bars, but I don't think I'm being negligent. Having a cut
that's the expected length is to your benefit. The 16-bar standard was established when refrains
were nearly always 32 bars and they just wanted to hear half of that. Music is much more
complex and variable, especially today, and yet the standard is still in place as a shorthand for a
cut that feels like half a refrain. You are misguided if you think your performance will be so good
they won't mind if your cut is long. They will.

The I Am song
The I Am song is any song that says something true about you. It doesn't need to be the definitive
word about you as a person, it just needs to say something true about you. Just one thing is
enough. The song could communicate your love for children (a song like Children Will Listen
from Into the Woods), or your passion for peace in the world (a song like With God On Our
Side, by Bob Dylan) or your love for your partner (a song like The Power of Two by Indigo
Girls). Notice that the song is about something that's important without being specifically about
you or your personality. By sharing just one aspect, you will be allowing an audience to get a
glimpse into who you are without going too far. Im sure you've seen a performance when the
singer shares too deeply or exposes themselves too much. If the subtext of the song is, "Look
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how great, or beautiful, or important I am," the song will fail it's intended purpose. There are a
surprising number of contemporary pop songs that have this as their subtext. (Meredith Brooks
Bitch. I'm a bitch, I'm a lover, I'm a child, I'm a mother/I'm a sinner, I'm a saint, I do not feel
ashamed/I'm your hell, I'm your dream, I'm nothing in between/You know you wouldn't want it
any other way.)

I developed my thinking about this kind of song from two completely different locations and
situations. The first was my desire to teach my students how to personalize a song to the degree
that it seemed as if the actor was creating the song in the moment. I've been fortunate to witness
some very special moments in the theatre I would describe like that. (Kate Baldwin with How
Are Things in Glocca Morra? in Finians Rainbow (revival), Lea Michele with Mama Who
Bore Me in Spring Awakening and Chip Zien with No More in Into the Woods. You might say
that these are simply examples of good performances by strong actors. I think there's a truth to
that statement but I saw something above and beyond that which I wanted to quantify and
understand. For me it came down to the sense that the actor, character, song and performance
were melded into one. It seemed as if the song I was hearing was being written on the spot,
complete with full orchestration! In these rare and precious moments, time seems to stop and I
become part of something bigger than myself. I feel as if I became one with the character and
learned the most important things about them. That's quite a special thing when what we are
talking about is standing onstage and singing a song that, truthfully, many other people could do.

The second place that gave rise to the process was my work as a cabaret musical director and
singer. I work regularly with professional and pre-professional singers who are putting together
shows. They want to sing songs as themselves onstage. This is a risky endeavor considering that
most of us are used to having a character that a playwright has created between us and the
audience. I wanted to understand and quantify why the cabaret singers I admire so much,
Barbara Cook, Marilyn Maye, Liz Callaway, and Andrea Marcovicci, Faith Prince affect me the
way they do. When they are onstage, the work seems like anything but work. It looks effortless.
But if course it's not. They are essentially doing a special kind of performance style that, while
related to an acting technique I knew, was also quite different from it.

The process I want to share with you is an approach to tackling this goal, but it is only one. My
hope is that as you read it and begin working on the skills, that you personalize your technique as
much as you personalize the material you sing. You might find other techniques that this process
opens you to. It can work for either theatre songs that demand personalization or cabaret
performances when it is you, and not a character, that is delivering material before an audience.

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Why should I sing it?
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How do I prepare it?

Please see the information in chapter ??
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!
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How do I use it?
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How do I cut it?
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Victoria Clark uses the phrase teeny-tiny song to talk about what Im talking about.
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Other types of songs that are crucial for you book
A song of optimism

Filling Out Your Book

Look at the list of the kinds of songs you should have in chapter ??. It will guide you toward
completing your book.

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Other Audition Book Song Categories

Give lots of ideas for songs in this chapter. Disney, rock. Its not important to have a Rock
musical. Say why. Contemporary MT is in choice songs. Operetta-look in Carters book/ Take out
the songs from the previous section

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The following song types should appear in your well-organized audition book.
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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.
3. Gilbert and Sullivan. These songs show diction, vocal technique and a sense of humor.
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.
4. Early Musical Comedy/Tin Pan Alley or a Vaudeville Novelty Song. Choose an up-tempo
song that is catchy and straightforward that shows your charm, personality and sense of humor.
This is especially important for character men and women.
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. You want to find something that you
can both act and sing wellsomething that shows your voice and your essence. Up tempos
should be something that allows your body to respond 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 fits your type. Depending on your type, its not a bad idea
to have several in each category.
7. Top 40 songs from these eras not from musicals:
A) Early Rock and Roll Uptempo. Elvis Presley, Buddy Holly, Early Beatles, Girl Groups
B) 1960s/1970s pop/rock. Joni Mitchell, Carole King, Simon and Garfunkel, Stevie Wonder,
mid- to late-Beatles and others. This category is not absolutely essential to your book but is a
helpful addition.
C) Country. From any period, by keep it faithful to the original. Don't make fun of the style.
Choose something that's real Country and not pop/rock Country of the last few years.
That style should go into one of the next categories.
D) 1980s Pop hit Uptempo and Ballad. Some suggestions include Elton John,
BillyJoel,Whitney Houston, Stevie Wonder, Bonny Raitt, Aretha Franklin, Mariah Carey,
Rick Springfield, Melissa Ethridge, Phil Collins, Queen, Carly Simon, Donna Summer,
Sheena Easton, Janis Joplin, Beach Boys, Kelly Clarkson, Diane Warwick, Tina Turner,
Styx, Christopher Cross, Bon Jovi, Neil Diamond, Barry Manilow, Kenny Loggins and
Michael Jackson.
E) Contemporary Pop/Rock, two contrasting songs from the last 15 years or so. Perhaps one
song is a Pop song from the radio and the other is from a less-popular Rock band. There are
!12

many, many modern shows that require a wide variety of different styles. Try to find songs that
are suitable for shows such as Spring Awakening, Rent, High Fidelity, and American Idiot.

8. Sondheim. Choose a song that shows intelligence, 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.
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
students create their audition book, I take this category off the list as casting directors usually
want you to sing a real rock song and not one from a show when they are casting a Rock show.
10. 1960s/1970s Show tunes (Ballad and up-tempo, not pop/rock) Kander and Ebb, Cy
Coleman, Jule Styne, Jerry Hermann.
11. Contemporary musical theatre (Ballad and up-tempo). Jason Robert Brown, William Finn,
Ahrens & Flaherty, Andrew Lippa, Michael John LaChiusa and others. Choose songs that reveal
something true about you. ADD MORE COMPOSERS FROM CHOICE SONGS.
12. Disney or film tune. Alan Menken and Stephen Schwartz songs are often over-sung. Its
better to choose an earlier Disney song like the Sherman Brothers or any great song from a
movie (especially 1960s to 1980s). These songs are often very straightforward and well known.
The point is to sing a well-known song well so that they can really hear the strength your voice.
Avoid songs from Beauty and the Beast, The Little Mermaid and Pocahontas. Look for songs
from earlier Disney shows. Really well know Film tunes, like Moon River or It Might Be
You can also be great for this category.
13. Contemporary Art Song. Ricky Ian Gordon, Adam Guettel, Georgia Stitt, John Bucchino.
Something that shows both acting skills, singing skills and strong musicianship.
14. Post-millennium (since 2000). Please be aware that not everything since 2000 qualifies for
this category. The Post-millennium style is best represented by folks like Kerrigan &
Lowdermilk, Joe Iconis, Peter Mills, Seth Bisen-Hersh, Chris Miller, Scott Alan and many
others. See Appendix 3.
15.Specialty number. This could be anything that 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 a Gospel song in their book.
17. The Money Cutting. Regardless of style or period, this short cutting (you need a 32-bar
version, a 16-bar version and an 8-bar version) shows you at your very best vocally and matches
your personality and strengths as a performer.

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. However, everyone should have something that allows your
singing technique to shine.
!13

Prepare each song in its complete form (60 to 120 seconds. You don't need to do 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 confusion, eliminate extraneous 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.
Make all marks in dark pencil or black pen. Write legibly and do not use cursive as it can
be difficult to read. Please do not use a highlighter on music. In certain lighting, it can
obscure the music.
Erase all markings that do not pertain to your performance. A fermata over a note thats
left over from another singer will confuse the pianist if you dont observe it.
Audition books should be three-ring binders, no bigger than 2 inches wide. The super-large
binders make turning pages difficult. Loose pages have a way of falling off the piano.
Write indications such as ritards and fermatas in the piano part, not the vocal part.
Nothing should be cut off the page! This includes chords symbols at the top of the page
and the left hand piano staff at the bottom of the page.
Reduce music, when copying from music books, to 90% to 92%. Most sheet music folios
are larger that 8 1/2 X 11.
The lyrics on the music must be the lyrics you are singing. If a pianist sees other lyrics,
they will assume they are in the wrong place. White out old lyrics and carefully and clearly
write in the new lyrics.
All music should be double-sided. If your cutting is only 2 pages, present the music
without a page turn.
When making cuts in a song, present the music so the pianist sees only what she will be
playing. In other words, dont just make Xs through the music or draw arrows where the
pianist needs to go.
Be sure that the title, show, tempo, style (such as Swing) and composer/lyricist are at the
top of the page. This is especially important if youve made cuts where this information is
left off.
When purchasing music from musicnotes.com or a similar website, make several copies so
you will have a clean copy as a back up.

Use handwritten scores only when they are the only resource available.
You may be fortunate to have access to Piano/Conductor scores. Please use these only if
they are not heavily marked up or if it is the only resources you can find.

!14

The best way to double-side music is to place single-sided music, blank sides facing each
other, taping the sides at the top and bottom and three-hole punching the music.
Please do not use staples. They make turning pages difficult.

Advanced:
Include different copies of each song you sing marked clearly with each cutting. Songs you sing
frequently sing should have a 16-bar, a 32-bar and the full song as separate copies.

!15

Choosing Audition Songs

(Or
Making better 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 you and one
that will show that you are a smart singer and have carefully considered your song choice. 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 you start choosing material. Consider these
questions.

1. What does the breakdown ask for? What is casting looking for? Cardinal rule: always follow
the breakdown. If it requests legitimate theatre songs, don't sing contemporary stuff. Period. If it
says, Pop/Rock only, don't even think of singing a theatre song. Research the show or shows for
the vocal style and range called for.

2. Where do I fit in this production? In a lead, ensemble, or primarily as a dancer? If you are
right for a lead in the musical you are auditioning for, you should choose a song that is similar in
vocal demands and sung by a character that is similar (i.e. a romantic character, a comic
character, an ingnue, a villain, etc.). If you are a better singer than dancer auditioning for the
ensemble, choose an uptempo song or ballad that matches the demands of the show. If you are a
better dancer than singer, choose an uptempo that will allow your body to move, but not
necessarily dance.

3. What are my strengths? What can I do that will get their attention? What kinds of skills does
the show require? If the show is an operetta or operetta-like musical where the singing is of
highest priority, sing something that shows your best classical vocal skills. If the show is
comedic, you might consider presenting something that shows your comedic chops. Look for
what the show needs and how you meet that need. You are there to solve their problem, not vice
versa.

4. Should I sing an uptempo, a ballad, a charm song, a rock song? This is not a question that can
be answered easily. If singing is your best skill, consider choosing a ballad if the show has a high
degree of lyricism. If it isn't your best skill, consider singing an uptempo. If you get to sing two
songs, the primary thing you should concern yourself with is contrast. The contrast will come
!16

from the tempo change but it should also be in other areas too, such as a change in character
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, if may be more appropriate to sing a cut that is double the
length of your desired cut. You must use your discretion and, again, it must feel like a 16- or 32bar cut. See Finding Cuts below.

Starting Points
There are several places to begin your search. They are all useful in some circumstances but not
all are useful in every circumstance. Never limit yourself to one of these starting points. You will
become stuck very easily.

Of course, the more research your do, the better your results. You must t be familiar with a wide
range of songs and styles. Over time, you will develop an audition book that will contain songs
that you know and perform well at a moments notice that are appropriate for most auditions.
However, no audition book contains something for every situation. You must continue to
maintain and build your repertoire. Here are some of the starting points you can use to focus your
research.

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.

!17

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
between Rodgers and Hart, George Gershwin and Cole Porter, between Rodgers and
Hammerstein and Lerner and Loewe, and between Leonard Bernsteins shows and Jule Stynes.
Singing a song by the composer of the show youre auditioning for isnt always the best thing.
For instance, when auditioning for Kander and Ebbs Chicago, however, the wisest solution is
not to do a Kander and Ebb song but a vaudeville song since that was the model for Chicago.
Look for songs from other musicals that share a similar musical style and esthetic. You can find a
guide to shows that are similar below.

!
Shows that share a common musical style.
!
Oklahoma!

Music Man

Legally Blonde

Carousel

Oliver!

The Wedding Singer

Brigadoon

Hello, Dolly!

Big

Finians Rainbow

Mame

Footloose

South Pacific

Fiddler on the Roof

Jane Eyre

Allegro

She Loves Me

Scarlet Pimpernel

Camelot

The Rothchilds

Cyrano

My Fair Lady

Plain and Fancy

King and I

Sound of Music
State Fair

A Tale of Two Cities

Phantom of the Opera

Martin Guerre

Jekyll and Hyde

Les Miserables

Wonderful Town
Bells are Ringing
Annie Get Your Gun
Best Foot Forward

Sunset Boulevard
Woman in White
Lestat
Beauty and the Beast

Miss Saigon
Chess
Evita
Jesus Christ Superstar

Call Me Madam

Little Mermaid

Meet Me in St. Louis

Chitty Chitty Bang Bang

Damn Yankees

Mary Poppins

Lil Abner
Pajama Game

Aida

Ragtime

Lion King

Titanic

!18

Billy Elliot

Boys from Syracuse

Carnival

Can Can

Babes In Arms

Fantasticks

High Society

Good News

110 In the Shade

Kiss Me Kate

Crazy for You

Silk Stockings

Girl Crazy

DuBarry was a Lady

Lady Be Good

Anything Goes

Funny Girl

Pal Joey

Fifty Million Frenchmen

Gypsy

Strike Up the Band

Panama Hattie

Fade Out Fade In

Mexican Hayride

Seesaw
Sweet Charity
The Life
Little Me

A treasure trove of ideas can open to you when you look at other musicals set in the same period
or location. This could be Victorian London, late 19th- or early twentieth century American West,
New York of the 20s or 30s. When auditioning for 1776, you might consider looking for a song
from Ben Franklin in Paris since both musicals are concerned with historical figures from the
same period. Seven Brides for Seven Brothers and OKLAHOMA! are both about the settling of
America. La Cage aux Follies, Falsettos, When Pigs Fly all concern gay characters in about the
same historical period. Clue, Somethings Afoot, Sherlock Holmes: The Musical and Baker Street
are all musical mysteries.

You might also look for shows with a similar theme such as a tragic romance, operatic love at a
grand scale, a comic mismatch, historical shows, shows that use Country music, shows
pertaining to sports, or shows for young audiences.

You might find some interesting information by knowing the originating actor for the role youre
auditioning for and to research other roles that that actor played. It has been common for actors
to play similar roles in their career unless their career is very long and by necessity change the
kinds of roles they play. Ibdb.com is the best place to find this information.

!19

And lastly, one of the best tools is to look for another character with similar traits and
characteristics. Most characters can be seen as an archetype. If you know your characters
archetype, you can find other songs sung by a character that shares the same archetype.

!
!

!20

Character Archetypes

Look in Joe Deer book

Explain how these are useful

Female ingnue Female ingnue (Laurey in OKLAHOMA!, Luisa in The Fantasticks, Julie in
Carousel, Peggy in 42nd Street, Anne in A Little Night Music, Belle in Beauty and the Beast,
Maria in West Side Story, Fiona in Brigadoon, Maria in The Sound of Music, Young Little Edie
in Grey Gardens, Janie in Catered Affair, Maria in The Sound of Music, Sharon in Finians
Rainbow, Mary Lennox in The Secret Garden, Cosette in Les Miserables, Julia in The Wedding
Singer, Niki in Curtains, Elle in Legally Blonde, Magnolia in Show Boat, Clara in The Light in
the Piazza, Hope in Anything Goes, Hope in Urinetown, Cinderella in Into the Woods, Christine
in Phantom of the Opera, Johanna in Sweeney Todd, Wendla in Spring Awakening Isabella in
The Glorious Oncs, Middle or upper class.
Ingenues are pretty, petite sopranos (sometimes belters in modern shows) under 25 with gentle,
open, innocent, wholesome, naive characteristics. While there is a classic femininity in these
characters, the ingenues in musicals since 1943 usually posses a restlessness desire for change in
their life. Ingenues tend to be the leads and it's crucial that the audience quickly falls in love with
them. Sally in Cabaret, Elphaba in Wicked and Tracey in Hairspray are variations on this type.
The ingenue is the love interest of the male ingenue, leading man or hero. 16 to 25.

Male ingnue (Matt in The Fantasticks, Billy in 42nd Street, Henrik in A Little Night Music, Lt.
Cable in South Pacific, Billy in Anything Goes, Fabrizio in The Light in the Piazza, Clifford in
Cabaret, Robert in Drowsy Chaperone, Lun Tha in The King and I, Freddie in My Fair Lady,
Marius in Les Miserables, Wayne in State Fair. Melchior in Spring Awakening is a variation on
this type.
The male counterpoint to the female ingenue is similar in youth, innocence and wholesomeness.
He is usually a slim, good looking tenor. He could be the show's lead but more frequently he is a
supporting character linked romantically to the ingenue.17 to 28. Tenor. Middle or upper class

Hero (Joe Hardy in Damn Yankees, Jean Valjean in Les Miserables, Tony in West Side Story,
John Adams in 1776, Woody in Finians Rainbow). Similar to male ingenues but these roles tend
to be less romantic and more dramatic. He is handsome, hard working and strong with an easy
charm. 25 to 40. Some are tenors and some are baritones. Middle or upper class, occasionally
working class.
Heros frequently come to the rescue of the ingenue or the community.

Comic Villain or Villainess (Carl-Magnus in A Little Night Music, Gaston in Beauty and the
Beast, Ursula in Little Mermaid, Fagin in Oliver!, Kodaly in She Loves Me, Bud Frump in How
to Succeed, Thenardier and Madame Thenardier in Les Miserables, Sandor in Bells are Ringing,
Velma in Hairspray, Mrs. Meers in Thoroughly Modern Millie, Glen in The Wedding Singer,

!21

Professor Callahan in Legally Blonde). On the attractiveness scale, these characters are usually at
the ends. Very character-y or stunningly beautiful. 30s, 40s or 50s.
These characters provide the conflict which the other characters must work through. But rather
than making them evil, they are softened by their humor. They are the ones you love to hate. 30s,
40s or 50s. Any voice type but usually lower. Lower class or upper class.

Dramatic Villain (Judd in OKLAHOMA!, Jigger in Carousel, Bill Sikes in Oliver!, Dickinson
in 1776, Javert in Les Miserables, Chauvelin in Scarlet Pimpernel) The dramatic adversary to the
leading man. Usually baritone. 30s, 40s or 50s. Powerful builds. Lower class or upper class.

Temptress (Lola in Damn Yankees, Appassionata von Climax in Lil Abner, The Baroness in
Sound of Music, Linda Low in Flower Drum Song, Heddy in How to Succeed, Linda in The
Wedding Singer). Middle-aged woman who is confident in her sexuality which is apparent in her
relationship to a younger man. Beautiful, sexy and frequently dances. Mezzo/belter. 30s, 40s or
50s. Lower or upper class.

Prince Charming (Lancelot in Camelot, Topher in Cinderella, Cinderella's Prince in Into the
Woods) Regal, handsome and charming. Tenor or baritone. 20 to 35. Upper class

Trickster (Mr. Applegate in Damn Yankees, The Emcee in Cabaret, Og in Finians Rainbow,
Uncle Max in Sound of Music, Witch in Into the Woods, The Leading Player in Pippin, Starbuck
in 110 in the Shade, The Wonderful Wizard of Oz in Wicked, El Gallo in The Fantasticks, Dicken
in The Secret Garden. A complex character causing conflict by disobeying conventional
behavior norms. They are striking in their differences to everyone else. Often they are associated
with magical, other-worldly abilities. Male tricksters are usually slim. 20s, 30s, 40s or 50s. Voice
type depends on the show. Classless or lower class.

Girl back home (Meg in Damn Yankees, Helen Chao in Flower Drum Song, Eponine in Les
Miserables) she is unassuming, easy to be with and doesn't know she's attractive although she is.
20s to 35. Voice type depends on the show. Lower or middle class.

Fool (Maurice in Beauty and the Beast, Sipos in She Loves Me, Hines in Pajama Game, NicelyNicely in Guys and Dolls, Sancho in Man of La Mancha). 20s 30s, 40s or 50s. Harmless
character buffoon. Lower or middle class.

Best friend, sometimes called Soubrette, often comic (Ado Annie in OKLAHOMA!, Carrie in
Carousel, Ann in 42nd Street, Petra in A Little Night Music, Anita in West Side Story, Ilona in
She Loves Me, Gladys in Pajama Game, Minnie Fay in Hello Dolly!, Adelaide in Guys and
Dolls, Smitty in How to Succeed, Hildy in On the Town, Ilse in Spring Awakening, Martha in
The Secret Garden, Holly in The Wedding Singer. Paulette in Legally Blonde, Glinda in Wicked
is a variation on this type. Companion to the ingenue known for her humor and quick wit. Like
the ingenue, she is young, attractive and somewhat innocent but is more confident in herself and
her sexuality. She can be either a soprano or mezzo/belter. 20s to 35. Lower class or upper class.
!22

Thoroughly Modern Millie is an interesting case where the Soubrette type is the lead and the
Ingenue (Dorothy) is the best friend.
Leading lady (Dorothy in 42nd Street, Dolly in Hello, Dolly!, Frulein Schneider in Cabaret,
Anna in King and I, Mrs. Malloy in Hello Dolly!, Reno on Anything Goes, Marin in Music Man,
Guenevere in Camelot, Rosie in Bye, Bye Birdie, Sarah Brown in Guys and Dolls, Mame in
Mame, Rose in Gypsy, The Baker's Wife in Into the Woods, Fannie in Funny Girl, Helen Sinclair
in Bullets Over Broadway, Margret in The Light in the Piazza, Drowsy Chaperone in The
Drowsy Chaperone, Desiree Armfeldt in A Little Night Music. 30 to 60. She is stunningly
beautiful, mature and regal Mezzo/belter. Upper class (occasionally middle class). Fantine in Les
Miserables is an exception.

Chorine, Female singer or dancer in a Musical Comedy, comedic and usually not particularly
bright. She is sassy, brassy and frequently has a brittle, inexpressive singing voice and a New
York accent. (Kitty in The Drowsy Chaperone, Daisy in The Adding Machine, Lois Lane in Kiss
Me Kate, Bambi in Curtains, Olive in Bullets Over Broadway). Pretty dancer usually with blond
hair. 25 to 40. Belter. Lower class but trying to climb up the social ladder.

Leading man The romantic lead. (Curley in OKLAHOMA!, Joe Boyd in Damn Yankees,
Fredrik in A Little Night Music, Sid in The Pajama Game, Jeff in Bells are Ringing, Sky
Masterson in Guys and Dolls, Harold Hill in Music Man, Emile in South Pacific, Flaminio in
The Glorious Ones, Captain Von Trapp in the Sound of Music. The Baker in Into the Woods and
Herr Schultz in Cabaret are variations on this type. 30 to 50. Handsome, powerful baritone.
Middle or upper class.

Antihero (Billy in Carousel, Beast/Young Prince in Beauty and the Beast, Shrek in Shrek,
Sweeney in Sweeney Todd, Paul in Carnival) The antihero is a complex, brooding,
misunderstood, solitary, unhappy leading character. There are reasons in his past for being the
way that he is and usually he isn't presented as a bad guy although most feel that he is. Javert in
Les Miserables is a variation on this type. 30 to 50. Slim to heavy build. Baritone. Working class.

Sidekick AKA Second Banana (Will Parker in Oklahoma!, Nathan Detroit in Guys and Dolls,
Jeff Douglas in Brigadoon, Chip in On the Town)
Comedic, frequently slow witted, but lovable. Frequently they are young, slim "Song and Dance
men." 20 to 45. Tenor usually. Lower or working class.

Wise old man or woman or Earth mother (Aunt Eller in OKLAHOMA!, Nettie in Carousel,
Madame Armfeldt in A Little Night Music, Mrs. Potts in Beauty and the Beast, Mother Superior
in Sound of Music, Lady Thiang in King and I, Sue in Bells are Ringing, Ben in Secret Garden,
Arvide in Guys and Dolls)
Warm, parental friend and care taker of all, but especially the ingenue. 30 to 70 or older. Baritone
or mezzo. No specific sociological associations.

!23

Child (Chip in Beauty and the Beast, Sad Girl in Bye, Bye Birdie, Amaryllis in Music Man,
Gavroche in Les Miserables, Oliver in Oliver!, Little Red Riding Hood in Into the Woods, Billy
in Billy Elliot, Annie in Annie, Colin in The Secret Garden, Louis in The King and I). 7 to 15.
Unchanged voice if male. Upper class or lower class usually.

Nebbish Seymour in Little Shop of Horrors, Benjy Stone in My Favorite Year, Leo in The
Producers, The Man in the Chair in The Drowsy Chaperone, Marcellus Washburn in Music Man,
Cornelius Hackl in Hello Dolly, Motel in Fiddler on the Roof, Frank Cioffi in Curtains, David
Shayne in Bullets Over Broadway. The Nebbish is nerdy, awkward, sometimes effeminate,
mama's boy, frequently Jewish. 20 to 35. Character tenor or baritone. Lower class or working
class.

!
The Queen
!

Buffo Trevor Greydon in Thoroughly Modern Millie or Ivan in Women on the Verge of a
Nervous Breakdown

The Worldly Girl With a Heart of Gold, Charity in Sweet Charity, Ella in Bells are Ringing,
Babe in The Pajama Game. Working class or lower class. Attractive without being soft. 20 to 35.
Knowing the age and sociological associations of the roles you audition for will help
tremendously in choosing material. Be aware that casting for musicals doesnt always follow the
kind of casting your find most often in film. You dont necessarily need to be 16 to play a 16
year-old, but the material you choose needs to keep the age, class and physicality of the character
in mind

Further exploration:
Use these archetypes to your advantage when preparing to audition. First, identify the archetype
that is closest to you naturally. I know none of my readers is a villain in real life but maybe you
have some personal or physical traits in common with one or more types. Ask your friends where
they would put you. Try this: Imagine what a stranger would say after knowing you only a few
minutes. That's what it's like in an audition. You walk in and immediately you are placed into a
type. But the important thing to remember is that you can affirm their assumptions or change
them.

I know this is difficult and humbling. Compile all your research and search your heart for the
type you think is the closest fit. When I do this exercise, there isn't one specific type that is
obviously me. Physically, I don't match both physical and personality traits of any single type. I
don't feel like a hero but I know that it's my closest fit. Knowing this and knowing that there are a
limited number of archetypes appearing in musicals, it's clear that I need to present myself like a
hero.DONT MAKE THIS PERSONAL

!24

Now look at the roles in this archetype. Can you think of other characters in this type? What does
this archetype look like? What do that sound like? How do they carry themselves? How do they
speak? What do they think about themselves? How do they see the world? Compile as many
songs as you can sung by this archetype. Try them out. As always, some songs will fit like a
glove while others will be completely wrong for you. Now think of as many actors in your
archetype. The easiest place to do this is ibdb.com. Find the show and character, look for who
replaced the original actor, look for who played the role in revivals. Look to see what other roles
these actors have played. What actors have played that role? You could click endlessly on this
website and continue to learn new things.
I work with young actors nearly everyday and I'm very aware that talking about type can be
demoralizing, especially if you're under 25. If discussions about actor typing is depressing to
you, you are in the majority. But please hear me when I say this: You are a unique, interesting
and valuable person. I discourage my younger students from thinking too much about it. You will
have plenty of time later. Typing is just a natural part of the business and you mustn't let it stifle
you and your creativity. Think of types not as a box you must fit into but instead as an outline for
you to fill with your artistry, personality and heart.

!
Auditioning for the ensemble
!

If you believe that you will not be considered for a leading role, what do you sing? The first
place to start is with the vocal demands and style of the show. Your choice or choices should help
those you are auditioning for see you in the musical. Your choice should also consider the
physical life of the characters in the ensemble. The ensemble for OKLAHOMA! and On the Town
have very different expectations even though the shows opened less than a year apart. Remember
that at a singing audition, the primary thing people are looking for is if you can sing the score
and if you fit into the directors vision of the shows world.

Finding cuts
GIVE INSTRUCTIONS ABOUT MAKING AN ACTUAL CUT. START BY
DECIDING WHAT YOUR CUT WILL BE THEN SHOW HOW TO CUT AND PASTE.

Creating a great 16- or 32-bar cutting isnt as difficult as you might think. The first thing to look
for is the most musically or lyrically special or identifiable moments of the song. You will also
most likely want to sing the songs climax. The second thing is to sing the parts of the song that
are the best for your voice. If, however, you dont sing the last high note well, you should
probably choose a different song.

The origin of the 16- or 32-bar cut comes from a time when most refrains were 32 bars long. A
32-bar cut then would mean to sing the refrain, but not the verse. A 16-bar cut would mean to
sing the last half of the refrain. If your song is not in a standard form, as is the case for many
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contemporary songs, it is still preferable to start at the end of the song and work your way
backwards. By the way, if the last note is sustained for several bars, only count that bar once.

It is crucial that you mark your music clearly so that the pianist cannot be confused by your cut.
The best way is to present your music with only the bars you are singing. Nothing else should be
visible. This will take extra time on your part but it is worth it. An exception to this rule is when
you are doing a standard that has a first and second ending at the conclusion of the piece. The
pianist will assume that you are singing the second ending.

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Frequently Asked Questions

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Choosing Pop/Rock songs for auditions

1. Is it a good idea to choose unknown material? Probably not in most situations. It may seem
like a good idea to do a rare song to assure that you are unique, but it is often not a good idea. If
you are singing a song from an unknown or rarely performed musical, the people behind the
table may spend your audition wondering what the song is or why you chose this song. It may
seem counterintuitive, but you want your audition to be focused on you, not your song. Most
people do not tire of hearing If I Loved You, Almost Like Being in Love or Unusual Way.
2. Should I do a special fancy arrangement? Imagine that you have a friend who is a gifted
arranger who has done a special treatment of your Standard Ballad or maybe you have found an
interesting arrangement that a recording artist has done. It is not a good idea to do these
arrangements because, again, you want the focus to be on you and not the song or arrangement.
A traditional arrangement is preferred especially if you are doing a so-called Standard or a
musical theatre song.
3. Should I choreograph or stage my audition? No. A singing auditions primary purpose is to
see if you sing well enough for the production and to see if you fit into the world of the musical.
Leave your dance skills to the dance audition. You also should not have a great deal of
movement in your audition. All movement should be based in the character and situation and
should not distract from your singing.
4. Are there certain composers I should avoid? If you are auditioning for a Sondheim show, it is
acceptable to sing Sondheim. Otherwise, its probably not a good idea. His songs are complex
for the singer, the pianist and the listener. You often hear that you shouldn't do Adam Guettel,
Jason Robert Brown or Michael John LaChiusa because they are too hard for the pianists. I've
been on both sides of the argument but I now think that if the song is right for you, do it. As a
pianist, I make it a practice to learn new, difficult scores and when I hire pianists, I make sure
they can play the hard literature. But songs by these composers don't cut well and are in
generally complex and extended forms. That's a better reason for not singing these composers.

In increasingly greater situations these days, people would rather hear Pop/Rock songs rather
than Musical Theatre songs. Everything from 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.
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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 withou t
accompaniment, it is probably a good choice. Dont choose a song with a limited pitch range.
You want a song that can show off your voice.
2. A good Pop/Rock song should be well-known or at least somewhat well know. It is wise to
choose a song that was released as a single and charted fairly highly.
3. A good Pop/Rock song should work with piano accompaniment only. Dont choose songs
whose best attribute is its groove. If the songs best quality is rhythm, its likely not a good
choice. Look instead for songs with a strong harmony.
4. A good Pop/Rock song has real Rock energy with a strong back-beat. The drums should be
playing for most of the song.
5. A good Pop/Rock song is better 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. Its not a bad idea to look for piano-based songs by Billy Joel, Elton
John, Carley Simon and Ben Folds. Guitar based songs can work as well if they are strong
melodically and harmonically. The Beatles songs, although often guitar-based are wonderful
because they are well-crafted and melodic with strong, interesting harmonies.

Here is a short list of the artists that have a discography of great choices for auditions. Whitney
Houston, Stevie Wonder, Bonny Raitt, Aretha Franklin, Mariah Carey, Rick Springfield, Melissa
Ethridge, Phil Collins, Queen, Donna Summer, Sheena Easton, Janis Joplin, The Beach Boys,
The Beatles, Kelly Clarkson, Diane Warwick, Tina Turner, Styx, Journey, Christopher Cross,
Bon Jovi, Neil Diamond, Barry Manilow, Kenny Loggins and Michael Jackson.

In choosing a Country song, many of the same guidelines apply. Choose something with a good
melody, something that charted and something that will sound good with a piano. Many of the
Country songs of the last 15 years or so have much more in common with Pop/Rock songs. It is
better if you find a song in a real Country style. Dont neglect the songs from the early days of
Country music. List artists.

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Special Situations

What if you are auditioning for a season of 5 or 6 musicals? The first thing to remember is that
you cannot hope to show something for every show in a 16-bar cutting. If you will most likely be
considered for the ensemble, follow the suggestions above for an ensemble audition. If there is a
lead you are right for, follow the suggestions for auditioning for a lead above.

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

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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
characters immense joy in the love she has for her husband. Marthas essence is youthful but
classic. We decided that the emotional sweep of the song was the primary thing we needed to
capture. A waltz would be outstanding. And if it had the opportunity for high mix/belt, that
would be even better. There are no other suitable songs by Sherman Edwards and there are
precious few musicals that have the historicity of 1776. After thinking of every musical theatre
waltz we could and every classic young character of her age in the literature, we landed on
Wonderful Guy from South Pacific. There were some things we had to tweak to make it fit. In
South Pacific, Nelly is running around the beach in 1944 in shorts. Martha would be wearing
petticoats and her world would be more formal. I asked if she would sing "He Plays the Violin"
imagining she was in the world of the show with its formality and sense of proprietary. Her
physicality would need to be different than Nellies but she could sing the song with the sound
she wanted for He Plays the Violin. It worked beautifully.

I was coaching a beautiful soprano with real comic chops interested in Cinderella in Into the
Woods. Okay, lets all stop and consider how difficult it is to audition for a Sondheim show. You
cant sing from the show youre auditioning for and there are no two Sondheim shows that have
remotely similar sounds. So where do you start? The answer to that question is you always start
with the character and then consider what she has to do.

This Cinderella is different from other Cinderellas. Shes more grounded and funnier. Shes a bit
clumsy and seems to find herself in embarrassing situations. The role calls for a soprano, but a
unique kind of sopranoone that has to sing quickly and make quick beat changes. We asked
ourselves: What are the best Sondheim soprano songs? The most obvious is Green Finch and
Linnet Bird but Johanna is very differentyounger and less experienced. I Remember and
Take Me To the World were also wrong. Does she panic? No. She knows she needs to be
aware of the character above all else. She most wanted to find Cinderellas strong desire for
something better while at the same time questioning herself. After singing nearly every female
(and some male) Sondheim songs, the one she felt most related to her sense of the character was
Isnt It? from Saturday Night. The song concerns the conversation two young people have at a
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
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than she wanted optimally and she considered raising it a step or two. But ultimately she decided
she would just sing it as written. She sang with the voice she heard as Cinderellas voice while
seeing the characters world around her. It couldnt have been more Cinderella-ish.

Of course, she could have decided not to sing a Sondheim song and thats perfectly okay, though
perhaps not ideal. The reason its not ideal is that there is very little out there that matches his
quick wit and musical sophistication. But, I do believe that it is okay to not sing Sondheim for
one of his shows if your best option is someone elses music. Please do try to stop all the crazy
thinking Ive experienced when people talk about Sondheim. While his music is brilliant, we
cant, as his interpreters, actively worship his music while we sing. We will only get in our way. I
want you to love his music and study it throughly to understand its intricacies. But for goodness
sake, look at it as any other song you are to sing. Be smart about it but dont worship it.

My main point is that you should look closely at the character you are auditioning for: his
physical attributes, archetype, personality, vocal colors and his 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.

Overused Songs
I'm frequently asked which songs are to be avoided because they are heard too often. I dread this
question because I believe it's a very personal issue and there's no way to answer without
insulting someone's favorite song. One could make the point that "If I Loved You," "On The
Street Where You Live" and "Will He Like Me?" are to be avoided due to their ubiquity. But
asking people not to sing them is ridiculous as most of the professionals I know never tire of
them. They are so durable, they will outlive all of us. When I see someone sing one of the
enduring classics, I can tell much more about their skills and hire-ability than if they sang a song
I'd never heard. There are songs, hate to admit, I'm turned off by the song choice, even if the
actor is great. The reason isn't that they are over-sung but because they have been sung more
frequently than I care to invest in them. I'm always curious to see how actors will address the
interpretative challenges of "She Loves Me" but I can't muster up interest in songs like, "Shy" or
"Beautiful" since there is very little for the actor to play. I own this as merely my opinion, but
these songs have simply outlived their usefulness.

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Any reliable list Overused or out of favor songs will change over time. What is out of fashion or
hackneyed one season may be okay in four or five years. Use the following list as a reference
point, not as gospel truth. TALK MORE ABOUT HOW ONE PERSONS MOST HATED
SONGS IS ANOTHER PERSON's Favorite. IF YOU CAN MAKE IT WORK, DO IT. YOU
SHOULD BE AWARE
Adelaides Lament
All That Jazz

Guys and Dolls

Chicago
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Anthem
Astonishing
Big Spender
Broadway Baby
Cant Help Lovin Dat Man of Mine
Corner of the Sky
Dont Cry For Me Argentina
Embraceable You
Gimme, Gimme
Good Morning Baltimore
Gorgeous
I Dont Know How to Love Him
I Enjoy Being a Girl
I Get a Kick Out of You
I Hate Men
I Know Things Now
Im Gonna Wash That Man Right Out
of My Hair
Im Holding Out for a Hero
Im Not That Girl
In My Own Little Corner
Lets Hear It For the Boy
Little Girls
Maybe
Music of the Night
My New Philosophy
New York, New York
Not for the Life of Me
Over the Rainbow
Part of Your World
Ribbons Down My Back
Seasons of Love
Shy
Someone Like You
Someone to Watch Over Me
Somewhere Thats Green
Summertime
Take Me Or Leave Me
This is the Moment
Tomorrow
What I Did For Love
You Can Always Count On Me

Chess
Little Women
Sweet Charity
Follies
Show Boat
Pippin
Evita
Girl Crazy
Thoroughly Modern Millie
Hairspray
The Apple Tree
Jesus Christ Superstar
Flower Drum Song
Anything Goes
Kiss Me, Kate
Into the Woods
South Pacific
Footloose
Wicked
Cinderella
Footloose
Annie
Annie
Phantom of the Opera
Youre a Good Man, Charlie Brown
New York, New York (movie)
Thoroughly Modern Millie
The Wizard of Oz
The Little Mermaid
Hello Dolly
Rent
Once Upon a Mattress
Jekyll and Hyde
Oh, Kay!
Little Shop of Horrors
Porgy and Bess
Rent
Jekyll and Hyde
Annie
A Chorus Line
City of Angels

Some shows to consider avoiding:

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Wicked
Phantom of the Opera
Cats
Grease
Les Miserables
Annie
Anything by Jason Robert Brown
Jekyll and Hyde
Thoroughly Modern Millie
Any show in the current season of the company you are auditioning for.

Finding the perfect audition song is never easy. It is vitally important that you are familiar with
as much of the repertoire as possible. Always be on the hunt for new songs. For Musical Theatre
songs, you must be familiar with the original cast recordings for style and performance practice.
That doesnt mean you have to follow the cast album slavishly. It also doesnt mean you should
learn the song by listening to the cast album. For songs such as the so-called Post-millennium
repertoire, the best place to go is YouTube. But YouTube shouldnt be the place you go to to
listen for original cast albums, unless you find those there.

Pick many songs and try them all out with a friend or a teacher. While you may think a song is
perfect, it is only perfect for you if it fits your voice, your personality and your type. Dont put
songs in your book unless you love them. Work diligently on developing an audition book that
has songs for many, if not most, situations and do not forget to have a wide variety of songs.
Include comedy songs, standards, uptempos and ballads, as well as the many types of
contemporary literature.

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Song Types and Structure in Modern Cabaret

Think of a cabaret as a great meal thats extravagant, prepared with great care, nutritious and
good for the soul. During such a meal, one expects balance and varietysavory and sweet,
familiar and perhaps unfamiliar with a variety of textures and flavors. The corollary in cabaret is
that you want 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 and new artists are producing
shows at a healthy rate. These singers as well as local performers do shows regionally that are
supported by Cabaret series across the country. Training workshops lead by master teachers such
as Sally Mayes, Amanda McBroom, Faith Prince, Nancy Wilson, Jason Graae and Andrea
Marcovicci are highly successful at the Cabaret conferences at Yale, Santa Fe, Chicago, St.
Louis and many 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 article. 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, as well as many 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 two 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
peoples attention completely. Does the story have to be your story precisely? No, but we need to
think it might be. Some of the Post-millennium songs work great here. Avoid the songs that
sound like they are excerpted from a show, like Runaway with Me and Not Afraid. Some
good ones are Lovely Lies, Toll, To Excess, I Took the Filter Off, My Heart Was Set
On You, The Boy with Dreams and Sweet Dreams. Avoid set Afraid and other songs by
Jason Robert Brown. His songs, like the songs by Stephen Sondheim, are just a bit too much to
take in for a cabaret (with the possible exception of Stars and Moon). There are lots of great
pop and folk songs that tell beautiful stories. Love at the Five and Dime by Nancy Griffith,
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Celluloid Heros by the Kinks, What If We Went to Italy? by Mary Chapin Carpenter and
Dont Forget To Remember Me by Carrie Underwood are excellent examples. Country songs
are an especially rich storehouse of great story songs.

A familiar ballad done with an interesting new arrangement

This is perhaps the one category you should strongly consider including. As an audience, we
need one ballad that we know. It puts us at ease and makes us relax and really listen. The new
arrangement is because we know these songs so well that it needs to have have something in
place that will make us forget we've heard it many times. Think of creating new, tailor-made
setting that suits your take on the story. Sutton Fosters My Romance and Victoria Clarks
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 Shes 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,
Whats the Use of Wondering, Something Wonderful, What a Wonderful World, and
Rainbow Connection.

In planning the sequence of your show, take the kind of ballad youre singing into consideration.
For instance, the disclosure ballad fits better toward the beginning and the message ballad fits
better at the end.
Familiar Up-tempos (not Pop/Rock) before 1965 (or sound like they are)
These should be done in a jazz or cabaret style and not a musical theatre style. On the Sunny
Side of the Street, Shall We Dance?, Im Beginning to See The Light, Route 66, The
Acheson, Topeka and the Santa Fe, and Its De-lovely are good examples. Songs from the
standard musical theatre literature like A Cock-eyed Optimist, A Little Brains, a Little
Talent, and I Got the Sun In the Morning and the Moon At Night fit here as well if they are
sung in a new setting.

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, We
Can Be Kind, We Live On Borrowed Time) Goldrich and Heisler (Apathetic Man, Fifteen
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Pounds, Sing Your Own Song), Jimmy Webb (The Moons a Harsh Mistress, All I Know,
Only One Life) and Christine Lavin (The Air Conditioner Song, Sensitive New Age Guys,
and Good Thing He Cant Read My Mind). Songs from this category are most welcome.

Torch songs
Women only and best if done by seasoned performers.

Pop 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 craftsmanship is revealed to be lacking. No matter
how much you love the original recording, please dont 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 wasnt originally comic into
something funny. An excellent example Ive done recently was Part of Your World done in the
voices of the great divas like Ethyl Merman, Celine Dion, Barbara Streisand, Brittany Spears and
Liza Minnelli.

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-OClock number, 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 and 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 Ive said, the cabaret audience knows this literature. Ive seen major portions of shows
devoted to Sondheim as Liz Callaway did for her Town Hall show, Even Stephen.

What is the Cabaret Style?

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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. 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, jazzier version of If I Were a Bell and Liz
Callaway does an exciting arrangement of Somethings Coming thats very different from West
Side Storys setting. Why is it important not to do a song in the style of the musical its from?
Remember that a Cabaret is a show youve written for yourself to showcase your best attributes.
If you do a song just as its done in the musical, you put yourself into the role of the shows
character and not your unique self.

Im Old-Fashioned, written by Jerome Kern and Johnny Mercer in 1942, is one of the great
standard ballads. But, it can also work beautifully in other styes such as a charm Song or midtempo swing. A singer I worked with wanted to include this song but needed not to have another
ballad. She also needed an introductory number at the top of her show. A light, charming swing
was a perfect solution. Look for ways that up-tempos can become ballads and vice versa.

If you're famous, you can do nearly anything you want. Sutton Foster sings the greatest belter
songs no one should sing (Defying Gravity, The Story Goes On, And I Am Telling You
(Im Not Going) and Meadowlark). Her show is warm, personal and understated but then she
sings these iconic belt numbers by introducing these out-of-left-field songs is very funny way.
Jason Graae sings Mrs. S.L. Jacobowsky from Grand Tour in the context of the show. But until
you're more established, be careful making these kinds of choices.
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
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to look and sound good in a mans voice. These are the kinds of songs cabaret 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 Im getting further
away from home physically and spiritually. I want to return to the idea of home in many different
ways.

Questions to ask.
What is the intrinsic structure of the song? Its a straight ahead 4/4 ballad in AAB form with an
introductory verse. How do we make it different from the expectations associated with the song?
What do you want it to look like? Feel like? What do you want to say with this song?

His response.
It's like the end if Wizard of Ozwhat is of value was there at home all along. Can we quote
lines from Wizard of Oz to tie the two together? This could be hokey but it's that tight rope
walking that creates brilliance.

When working on a new song, first, say the lyrics as yourself and think about how it relates to
your personal story and life. Second, paraphrase the lyrics but keep the general structure of the
song. Now sing it with piano playing simple chords, colla voce, so that you can sing the pitches
but without singing the song as its usually sung stylistically and rhythmically. Emotional truth is
important. The lyrics are what matters most, not the music or the vocal.

This exercise will help guide you toward creating the arrangement. Perhaps the singer is a
classical musician and the idea of a classical setting feels right. (Victoria Clark's "I Got Lost in
His Arms" does this). Or perhaps the singer is from a rural background and a more folky setting
feels right. Arpeggiated eighth notes on the piano will evoke images of him playing the guitar on
his porch late at night. Perhaps the singer has a daughter and wants to assure her that he and she
are safe as he travels so far away. A lullaby setting would be lovely. Perhaps quote some famous
lullabies. The piano would be voiced high and played with steadiness like a music box. Because
it might be tiresome to do the full song this way, maybe change at the B section to something
different that furthers the story. He settled on the Folk setting to great success. He started with
the refrain accompanied by a simple guitar-like intro. At the end of the refrain, he did the verse
out of tempo and very free. He then moved back to the B section (So I ask each weeping
willow...) with passion and strength.

Some Basic Guidelines to be Aware of In Creating Your Show

Dont say anything that could sound like bragging. Use phrases like I was so fortunate
to . . .

Don't make your patter too much about yourself but completely personalize the songs
performance, using it to tell your story.

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Don't make it chronological. Its too easy to lose your audience by saying something like,
And then when I was twelve . . .
In patter, don't give too many details of your story as you introduce a song. Instead give just
enough detail to peak the audiences curiosity. Put the little details and the emotion into the
actual song.
One of the goals of Cabaret is to allow each audience member to find themselves in the
songs you sing. Make your goal to reach audience members, not to impress them. Thats
why its important not to spend too much time speaking about your own autobiography.
According to Andrea Marcovicci, the perfect patter is one or two lines that ends with a
laugh.
Humor is essential. If your songs arent funny, your patter must be.
Dont laugh at your jokes. You can laugh at yourself after the audience laughs.
Liz Callaway tells a story about being the stand-by for Barbara Streisands Concert tour.
While Ms. Streisand wanted to see how the show looked, Liz would stand in and sing. As
she tells this story, she doesnt brag about it but only talks of how amazing it was to be a
part of the once-in-a-lifetime experience.
Jason Graae is the voice of Lucky Charms commercials. When he tells the story of getting
the job, he doesnt brag about it but makes himself into the buffoon. Its like a stand-up
routine.
Overt religious talk must be avoided as well as anything that separates people into different
groups. But Cabaret can be quite spiritual in the ways it can remind us of what we have in
common and about the wonderful world of nature and people we are fortunate to live in.
This is tricky ground and its important to steer clear of the traps.
The Cabaret audience is likely to be the most open, diverse, and affirming groups you could
imagine. Assume that sexual orientation is not an issue. You do not need to tell us if you are
gay. And being gay does not give permission to break the rules of privacy.
Avoid the phrase, "This next song."
There is an unwritten rule that you're not allowed to steal someone else's
arrangement. While arrangements are not copy written, they belong to the original
performer. You can create something just as good thats unique to you.

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 shouldnt be romantic unless you're romancing the audience. Avoid
introspective songs and story songs. In a cabaret show, you must must allow time for us to get to
know you. Don't assume you have us too soon by sharing something too personal at the top. A
cabaret is like a first date. You get dressed up and share only the most charming, entertaining
aspects of your life.
2. The second song is perhaps the most difficult to chose. It should be in a different style than the
first. It can be comedic, light and charming song, or ballad thats not too heavy. Remember, the
audience is still getting to know you.

!37

3. The progression from here to the end can be just about anything as long as there is variety of
tempos, style and tone.
4. Next to last song. This is the strongest position in the show. You can put your deepest, most
heartfelt song here, or it can be the most performative song. It should be the climax.
5. Finale. The closer should rap your show in a nice package and send people away feeling good.
Its possible that this could be a ballad such as What a Wonderful World if your previous
song wasnt a ballad. Or it could be an uptempo like Thats Life. Its best if it is lighter in
tone than the penultimate song.

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 its 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 Fosters Wish, Victoria Clarks
Fifteen Seconds of Grace and Audra McDonalds How Glory Goes. These three CDs are
excellent examples of modern cabaret performances with interesting arrangements of some
familiar material along with newer material.

There are also a few recordings of full shows. Patti LuPones Far Away places, Laura
Osnes ???? and Kate Baldwin ???? are some. These will give you a sense of patter and flow.

Plan your cabaret show. Start with the question, what do I have to say thats unique to me and
would be interesting to an audience who doesnt know me. What songs help to tell that story? Do
have have an interesting, captivating opener. Some comedy? Something more serious? Choose a
song or two and do the internal monologue exercise.

!38

Standards
!
Songs dating from the 1920s to the 50s that were very well known then by the general
population, and to a lesser degree now, are commonly referred to as standards. In this modern
age crowded with many differing streams of popular music, it's difficult to imagine a time when
there were hundreds of songs that practically everyone knew. How did these songs become so
well known? For the most part, standards appeared first either on Broadway or in Film. The
country loved going to the movies and a new song from a popular film could quickly disseminate
throughout the country. Because fewer people had access to Broadway theatre, the familiarity of
these songs spread largely through phonograph recordings, the radio and sheet music. It seems
unimaginable today, but Broadway songs were very well known and deeply cherished. Your Hit
Parade, a radio program from 1935 to 1955, helped popularize these songs as it played hottest
songs of the week determined by sheet music and phonograph sales.

The enduring songs from this period have come to be known collectively as The Great American
Songbook. Alec Wilder's seminal book, American Popular Song: The Great Innovators, 1900 to
1950, canonized this repertoire and named six men: Jerome Kern, Irving Berlin, George
Gershwin, Richard Rodgers, Cole Porter, and Harold Arlen, as the leading composers in the
pantheon. More than twenty others, including Vincent Youmans, Hugh Martin and Duke
Ellington are also discussed as notable contributors to The Great American Songbook, dubbed
"America's Classical Music" by radio personality, Jonathan Schwartz2.

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), Michael Bubl (It's Time, Call Me Irresponsible, To Be
Loved.)

Standard Ballads
A Standard Ballad is perhaps the most critical single song in your audition book because they are
so well known and loved and because they show off both the actor and the singer. Conventional
wisdom holds to the importance of choosing unknown songs for auditions because auditors are
tired of hearing the same songs again and again. Speaking from experience, there are a small
number songs that have completely lost their luster after hundreds of hearings. In all candor, it
can be difficult to look past a poor song choice. But my list of tired songs I never need to hear
again is different from others list. Try not to worry if your song is on someone's list because you
can never know the answer to that question without asking directly.
2

http://www.highbeam.com/doc/1G1-107203386.html

!39

Singing a well known and much loved song opens up the audition for some magic to happen.
The people you sing for are doing their job because they love the art form, the songs and the
thrill of live performance. They are human. They want to be moved and they want to feel a
connection between you, the lyric and the music. The Standard Ballads discussed here are my
personal favorites. I've heard them all hundreds of times but I never grow tired of them. They are
that good. A bad performance does not diminish their power. I can't think of a better type of song
more than a Golden Age classic and more than the best song from my favorite new showto
objectively ascertain an auditioner's skill level.

The subject matter of most Standard Ballads is love newly found or recently lost, naturally
giving the song high stakes. They are timeless and work as well today as they did the first time
they were sung. You will be served best by personalizing the story and being as truthful as
possible.

Classic standard ballads have a beautiful, shapely and memorable melody supported by sturdy
harmony. The lyrics, as is the case for most great theatre lyrics, strike a balance between plainspoken prose and flowery poetry. Even on the first hearing, a listener will have no trouble
following the story and the emotional arc. But most have sophisticated rhymes and rich allusions
that grow richer on repeated listenings. The melodies allow your voice to open up and soar and
the lyrics allow for intricate, detailed story-telling.

!
Lastly, I prefer standard ballads that have verses. When sung properly, verses do_______.
!
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

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
!40

Cole Porter
You'd Be So Nice to Come Home To3 (M/F) 1943
(Youd Be So) Easy to Love (M) 1936
You Do Something to Me (M) 1929

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

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

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
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 Ballad 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

women should change the lyric in the Verse to lot of guys just a pleasing.

!41

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 Cant 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
September Song (M/F) Music by Kurt Weill Lyrics by Maxwell Anderson 1938
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 songs which follow are great ballad but be aware that they are frequently heard. 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
Ev'ry Time We Say Goodbye (M/F) Music by Cole Porter 1944
All The Things You Are (M/F) Music by Jerome Kern 1939
The Way You Look Tonight (M/F) Music by Jerome Kern 1936

!
!
!

!42

Uptempo Standards

Uptempo songs from the Great American Songbook had the country dancing for over 40
years. These immensely popular and deeply loved songs by Gershwin, Cole Porter, Irving
Berlin, Harry Warren, Duke Ellington and so many others were the sound of America as it
fought two world wars, suffered through an devastating economic depression and inched its
way toward the social revolutions of the 50s and 60s. Jazz, America's greatest contribution to
music, is closely related. The two streams were so intermingled that there was no distinction
between jazz and popular music as today. Even now, jazz musicians regularly play the
swinging songs of the 20s, 30s and 40s.

What is swing? Swing is a rhythmic style that is difficult to explain technically but easy to
hear. Give a quick listen to "It Don't Mean a Thing If It Ain't Got That Swing." The music
elicits a visceral response of wanting to move, needing to dance. In mathematical terms, swing
is achieved by redistributing the values of eighth notes, which in classical music are exactly
even. More length is given to the first note in set of two notes, lending a lopping, lilting
quality. But Swing is also a mind-set and a way of playing that's cool, sophisticated and urban.

True uptempo standards are similar to Swing tunes in tempo, lyrical content and danceable
qualities, but they don't swing. Eighth notes are equal. Compare "Ain't Misbehavin'" (swing)
to "I Got Rhythm" (not swing). The tempo is bright, with a metronome marking of at least 120
beats per minute (which is the tempo of Stars and Stripes Forever). There is a third type of
dancing song from this era. Charm songs are at a more moderate tempo (usually 90 to 100
beats per minute) and in a swing style. They are associated with dancers like Fred Astaire and
Gene Kelly their objective is to charm and amuse.

!
Here are some classic examples of Standards and their classification.
!

Uptempo - I Got Rhythm, and I Cant 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

!43

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
Fascinating Rhythm (it's swing, but it's fast swing)
They All Laughed
Could You Use Me
Oh, Lady Be Good!

!44

'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
Look in the song book
!45

Irving Berlin
Blue Skies
I'm Putting All My Eggs In One Basket (This could be a Charm song)
Let Yourself Go
Top Hat, White Tie and Tails
Cheek to Cheek
Puttin' on the Ritz
I Used To Be Color Blind
No Strings (I'm Fancy Free)
Steppin' Out With My Baby
When Winter Comes
I Love a Piano

Harry Warren
Chattanooga Choo-Choo
Lulu's Back in Town
You're Getting to Be a Habit With Me (Could be a Charm song)
Forty-Second Street
I Found a Million Dollar Baby (In a Five and Ten Cent Store)
Lullaby of Broadway
Young and Healthy
Were In the Money

Harold Arlen
Get Happy
It's Only a Paper Moon
That Old Black Magic
Down With Love
I've Got the World on a String
Between the Devil and the Deep Blue Sea
Let's Fall in Love

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)
I Want to Be Bad (DeSylva, Brown and Henderson)
!46

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 an 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)

!
!

!47

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 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 but somehow seem familiar, and a
dramatic structure that supports an interesting story. I had many, many songs to choose from but
decided to include only the ones most suited to auditioning.

Ive given you the composer, year of the film (not necessarily the composition), the appropriate
gender, and a brief description to help you zero in on the perfect song. If you're auditioning for a
Jule Styne show but none of his theatre songs are working, have a look here. If you're going up
for a role in a Musical Comedy but can't find one with the right charm, look for songs by Jimmy
Van Heusen, Harry Warren and Hugh Martin. I can't speak highly enough of the songs by Michel
Legrand and how well they are suited for romantic roles in shows from the 70s to today.You will
notice that some of these titles also appear in the standards chapter. Many of songs from films in
the 30s, 40s and 50s became integral parts of The Great American Songbook. You won't find
songs from Titanic or The Fault In Our Stars. You'll only see the ones that belong to the theatrical
song tradition.

I do not give the voice type for the film songs because, unlike theatre songs, these can be
transposed to any key that suits you. Think of these songs as blank slates that you can make your
own. You have the freedom to change keys, the style or tempos. Theatre songs have expectations
and associated performance practices that must be observed. It would be unthinkable to transpose
"Green Finch and Linnet Bird" into a mezzo key and it would be equally unthinkable to sing
"Defying Gravity" in a light soprano. The same expectations do not apply for film songs. Even if
originally performed by great singers like Fred Astaire or Doris Day, you are under no obligation
to sing it as they did.
Title

Film

Year

Composer

Gend
er

Description

(Ive Got a Gal in)

Kalamazoo

Orchestra Wives

1942

Harry Warren

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

Jazzy comedic uptempo

A Foggy Day

A Damsel in
Distress

1937

George Gershwin

Romantic ballad

A Guy What Takes His

Time

She Done Him

Wrong

1933

Ralph Rainger

Sassy, vampy number

!48

Title

Film

Year

Composer

Gend
er

Description

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

Charming uptempo about what

women like

A Piece of Sky

Yentl

1883

Michel Legrand

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

Bluesy romantic ballad

1953

Hoagy Carmichael

Swinging song in the search for love

Aint There Anyone Here Gentlemen Prefer

for Love?
Blondes
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

Romantic ballad

Vernon Duke

M/F

Descriptive standard ballad

1942

Victor Schertzinger

Comedic story song

Arthur's Theme (Best That Arthur

You Can Do)

1981

Burt Bacharach &

Christopher Cross

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

Its A Great Feeling 1949

Jule Styne

Ballad with a Parisian sensibility

Baby Doll

The Belle of New

York

1952

Harry Warren

Romantic charm song

Be a Clown

The Pirate

1948

Cole Porter

Comedic uptempo

Better Luck Next Time

Easter Parade

1948

Irving Berlin

Regretful romantic ballad

Blame My Absent-Minded Its a Great Feeling 1949

Heart

Jule Styne

Romantic ballad

Brooklyn Bridge

It Happened in
Brooklyn

Jule Styne

Sentimental Charm song

But Beautiful

Road To Rio

1947

Jimmy Van Heusen

Romantic ballad that describes love

Call Me Irresponsible

Papas Delicate
Condition

1954

Jimmy Van Heusen

Cant Stop Talking About Lets Dance

Him

1950

Frank Loesser

Uptempo patter song of a woman in

love

Candle on the Water

Petes Dragon

1977

Al Kasha and Joel

Hirschhorn

M/F

Affirming folk ballad

Change Partners

Carefree

1938

Irving Berlin

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

April in Paris
Arthur Murray Taught Me
Dancing in a Hurry

The Fleets In

!49

Romantic swing number

Title

Film

Year

Composer

Gend
er

Description

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 M/F

Meyer & Roger Kahn

Broadway Show tune about the power

of rhythm

Diamonds Are a Girls Best Gentlemen Prefer

Friend
Blondes

1953

Jule Styne

Flirtatious uptempo

Down Argentine Way

Down Argentine
Way

1940

Harry Warren

Playful Latin uptempo

Ev'ry Night at Seven

Royal Wedding

1951

Burton Lane

Romantic Charm song

Evry Time

Best Foot Forward 1943

Hugh Martin & Ralph M/F

Blane

Melancholy standard ballad

Evergreen (Love Theme

from A Star is Born)

A Star is Born

1976

Barbara Streisand

Romantic pop ballad

Fated to Be Mated

Silk Stockings

1957

Cole Porter

Romantic uptempo Show Tune

Feed the Birds

Mary Poppins

1964

Richard M. Sherman
and Robert B.
Sherman

Melancholy story song

For All We Know

Lovers and Other

Strangers

1970

Fred Karlin

Romantic folk ballad

For Every Man Theres a

Woman

Casbah

1948

Harold Arlen

Romantic Charm song

For Your Eyes Only

For Your Eyes Only 1981

Bill Conti

Romantic pop ballad

Funny Girl

Funny Girl

1968

Jule Styne

Melancholy standard ballad

Get Happy

Summer Stock

1950

Harold Arlen

Jazzy uptempo of celebration

Goodbye For Now

Reds

1981

Stephen Sondheim

Tender ballad at parting

Gotta Have Me Go With

You

A Star is Born

1954

Harold Arlen

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 1941

Not

Hoagy Carmichael

M/F

Romantic ballad or Latin

I Begged Her

Anchors Aweigh

1945

Jule Styne

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

Romantic ballad

I Couldnt Sleep a Wink

Last Night

Higher and Higher 1944

Jimmy McHugh

M/F

Romantic standard ballad

I Cried for You

Babes in Arms

Arthur Freed & Abe

Lyman

M/F

Melancholy standard ballad

1939

!50

Charming comedic uptempo

Title

Film

Year

Composer

Gend
er

Description

I Dont 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

Thats Right-Youre Wrong

1939

Hoagy Carmichael

M/F

Bittersweet love song

I Guess Ill Have to

Change My Plan

The Band Wagon

1953

Arthur Schwartz

Charm song about life after a breakup

I Left My Hat in Haiti

Royal Wedding

1951

Burton Lane

Romantic hot-blooded samba

I Like Myself

Its 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

Romantic standard ballad

I Used to Be Color Blind

Carefree

1938

Irving Berlin

Romantic uptempo Show Tune

I Wanna Be a Dancin' Man The Belle of New

York

1952

Harry Warren

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 Didnt Love You

So

The Perils of
Pauline

1947

Frank Loesser

M/F

Romantic standard ballad

I Wont Dance

Roberta

1935

Jerome Kern

M/F

Anti-romantic Swing uptempo

I'm Putting all My Eggs in

One Basket

Follow the Fleet

1936

Irving Berlin

Swinging Show Tune song of

devotion

I've Got My Eyes on You

Broadway Melody
of 1940

1940

Cole Porter

Romantic ballad or uptempo

Ill Be Seeing You

Ill Bee Seeing You 1944

Sanny Fain

M/F

Romantic standard ballad

Romantic standard ballad

Ill Never Stop Loving You Love Me or Leave

Me

1955

Nicholas Brodzsky

Im In the Mood For Love

1935

Jimmy McHugh

1936

Irving Berlin

Uptempo Charm song

Im Putting All My Eggs

in One Basket

Every Night at
Eight
Follow the Fleet

Romantic standard ballad

Ive Got You Under My

Skin

Born to Dance

1936

Cole Porter

Romantic beguine

Ive Gotta Hear That Beat

Small Town Girl

1953

Nicholas Brodzsky

Rhythmic uptempo about the power

of music

If Swing Goes, I Go Too

Ziegfeld Follies

1944

Fred Astaire

M/F

Swinging song that celebrates Swing

If You Can Dream

Meet Me in Las
Vegas

1956

Nicholas Brodzsky

Standard ballad about dreams

If You Feel Like Singing,

Sing

Summer Stock

1950

Harren Warren

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 Cant Be Wrong

Now, Voyager

1942

Max Steiner

M/F

Romantic standard ballad

It Could Happen To You

And the Angels

Sing

1944

Jimmy Van Heusen

Romantic ballad

It Goes Like It Goes

Norma Rae

1979

David Shire

Haunting pop waltz

1945

Richard Rodgers

Ingenues song of disclosure

It Might As Well Be Spring State Fair

!51

Title

Film

Year

Composer

Gend
er

Description

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

Its a Great Feeling

Its A Great Feeling 1949

Jule Styne

M/F

Optimistic uptempo

Its a Most Unusual Day

A Date with Judy

1948

Harold Adamson

High spirited waltz

Its a New World

A Star is Born

1954

Harold Arlen

Romantic ballad

Its Been a Long, Long

Time

Ill Get By

1950

Jule Styne

M/F

Romantic Charm song

Its Easy To Remember

Mississippi

1935

Richard Rodgers

Romantic ballad

Its Magic

Romance on the
High Seas

1948

Jule Styne

M/F

Romantic standard ballad

Its You or No One

Romance on the
High Seas

1948

Jule Styne

M/F

Romantic standard ballad

Jeepers Creepers

Going Places

1938

Harry Warren

Romantic swing number

Let Me Sing and Im

Happy

Mammy

1930

Irving Berlin

Joyful Uptempo

Let the River Run

Working Girl

1988

Carly Simon

Uplifting pop/gospel song

Let Yourself Go

Follow the Fleet

1936

Irving Berlin

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

Romantic beguine

Listen

Dreamgirls

2006

Henry Kreiger

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

Romantic swing number

Love You I Do

Dreamgirls

2006

Henry Kreiger

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

Uptempo Show Tune about New York

Mein Herr

Cabaret

1972

John Kander

Berlin Cabaret farewell song

Misty

I cant find the film

Erroll Garner

M/F

Romantic jazz ballad

Cover Girl

Money Burns a Hole in My Living It Up

Pocket

1954

Jule Styne

Joyful Charm song

Moon River

Breakfast at
Tiffanys

1961

Henry Mancini

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

!52

Title

Film

Year

Composer

Gend
er

Description

More In Love With You

The Four
Horsemen of the
Apocalypse

1962

Andre Previn

Romantic ballad

Mr. Monotony

Easter Parade

1948

Irving Berlin

Moderately slow swing charm

number

My Dream is Yours

My Dream is Yours 1949

Harry Warren

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

Scottish flavored Charm song

My Own

That Certain Age

1938

Jimmy McHugh

Lyrical romantic ballad

My Shining Hour

The Skys 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

Wistful song observing an admirable

romantic relationship

Nobody Does It Better

The Spy Who Loved 1977

Me

Marvin Hamlisch

Romantic pop ballad

Now I Know

Up In Arms

1944

Harold Arlen

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

Romantic comedic Charm song

Out Here On My Own

Fame

1980

Michael Gore

Pop ballad of encouragement

Out of This World

Out of This World

1945

Harold Arlen

Romantic ballad

Papa, Can You Hear Me

Yentl

1983

Michel Legrand

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

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

Broadway Melody
of 1940

1940

Cole Porter

Charm song celebrating New York

Please Dont Say No, Say

Maybe

Thrill of a
Romance

1945

Sammy Fain

M/F

Midtempo 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

Put 'em in a Box, Tie 'em

Romance on the
High Seas

1948

Jule Styne

M/F

Realistic anti-romantic charm song

Puttin on the Ritz

1930

Irving Berlin

Joyful Uptempo

with a Ribbon and Throw

Swinging tune in praise of the single

life

Jazzy number about closing the bar

'em in the Deep Blue Sea

Puttin on the Ritz

!53

Title

Film

Year

Composer

Gend
er

Description

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

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

Earnest, passionate tale of a hidden

love revealed

Seeing's Believing

The Belle of New

York

1952

Harry Warren

Romantic ballad

Shakin the Blues Away

Easter Parade

1949

Irving Berlin

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

Romantic uptempo Samba

Some Day My Prince Will Snow White and the 1937

Come
Seven Dwarfs

Frank Churchill

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

Romantic Show Tune

Steppin' Out with My Baby Easter Parade

1948

Irving Berlin

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

Show tune extolling feminine charms

Thanks a Lot, But No

Thanks

Its Always Fair

Weather

1955

Andre Previn

Sassy swing number

Thanks for the Memory

Big Broadcast

1938

Ralph Rainger

M/F

List song of gratitude

That Aint Hay

Sis Hopkins

1941

Jule Styne

Charm Song

That Face

Another Evening
with Fred Astaire

1957

Lew Spence

Romantic medium Show Tune

That Old Feeling

Vogues of 1938

1937

Sammy Fain

M/F

Romantic ballad or swing ballad

That's Entertainment!

The Band Wagon

1953

Arthur Schwartz

M/F

Uptempo Show Tune celebrating

show business

Thats For Me

State Fair

1945

Richard Rodgers

Romantic ballad

The Atchison, Topeka and

the Santa Fe

The Harvey Girls

1946

Hugh Martin

M/F

Uptempo narrative

!54

Title

Film

Year

Composer

Gend
er

Description

The Boy Next Door

Meet Me in St.
Louis

1944

Hugh Martin

Romantic standard ballad waltz

The Charm of You

Anchors Aweigh

1945

Jule Styne

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 Didnt

Believe in Love

The Powers Girl

1943

Jule Styne

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

Bluesy torch song

The Nearness of You

Romance in the
Dark

1938

Hoagy Carmichael

M/F

Romantic standard ballad

The Promise (Ill Never

Say Goodbye)

The Promise

1979

David Shire

Romantic pop ballad

The Second Time Around

High Time

1960

Jimmy Van Heusen

M/F

Romantic ballad that describes 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

Romantic uptempo Show tune

The Way He Makes Me

Feel

Yentl

1983

Michel Legrand

Romantic ballad

The Way We Were

The Way We Were

1974

Marvin Hamlisch

Ballad about a lost love

The Windmills of Your

Mind

The Thomas Crown 1968

Affair

Michel Legrand

M/F

Enigmatic ballad

1975

Michael Masser

Enigmatic romantic ballad

Theme from Mahogany

(Do You Know Where
Youre Going To?)

Mahogany

There Will Never Be

Another You

Iceland

1942

Harry Warren

Romantic ballad

Therell Be Some
Changes Made

Designing Woman

1957

W. Benton Overstreet

Triumphant song about a transformed

life

Theres Nothing Rougher Its A Great Feeling 1949

Than Love

Jule Styne

Jazzy uptempo about the ups and

downs of love

They Can't Take That Away Shall We Dance

From Me

1937

George Gershwin

Theyre Either Too Young

or Too Old

Thank Your Lucky

Stars

1943

Arthur Schwartz

Uptempo Show Tune about finding

love

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

Romantic ballad

Three Coins in a Fountain

Three Coins in a
Fountain

1954

Jule Styne

M/F

Id like to take this one out

!55

Romantic Charm song

Title

Film

Year

Composer

Gend
er

Description

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

Jazzy uptempo of preparation for a

night out

We Mustnt 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

Spiritual pop ballad

When You Wish Upon a

Star

Pinocchio

1940

Ned Washington

M/F

Hopeful I Want song

When Youre 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

Rapturous song about finding ones

place in the world

Whistling Away the Dark

Darling Lili

1970

Henry Mancini

Optimistic ballad

Why Am I So Gone (About Les Girls

That Gal?)

1957

Cole Porter

Romantic Swing uptempo

Wild Is the Wind

Wild Is the Wind

1957

Ned Washington

Romantic ballad

Will Someone Ever Look

at Me That Way

Yentl

1983

Michel Legrand

Ballad of romantic longing

Wonderful, Wonderful Day Seven Brides for

Seven Brothers

1954

Gene de Paul

Joyful optimistic waltz

Would You

San Francisco

1936

Nacio Herb Brown

Sentimental waltz

Yes, Yes!

Palmy Days

1931

Con Conrad & Cliff

Friend

Joyful romanticUptempo

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

Didnt Want to Do It)

1913

James Monaco

M/F

Juvenile torch song

You Were Never Lovelier

You Were Never

Lovelier

1942

Jerome Kern

Romantic ballad

You, Wonderful You

Summer Stock

1950

Harry Warren

M/F

Romantic ballad

You'd Be Hard to Replace

The Barkleys of
Broadway

1949

Harry Warren

Romantic ballad

You're All The World To

Me

Royal Wedding

1951

Burton Lane

M/F

Romantic uptempo Show tune

1941

Irving Berlin

M/F

Romantic uptempo

Cole Porter

M/F

Romantic standard ballad

You're Easy to Dance with Holiday Inn

Youd Be So Nice to Come Something to Shout 1943

Home To
About

!56

Title

Film

Year

Composer

Gend
er

Description

Youll Never Know

Hello, Frisco,
Hello

1943

Harry Warren

M/F

Romantic ballad

Youre All the World to

Me

Royal Wedding

1951

Burton Lane

M/F

Uptempo romantic Show tune

Youre Gonna Hear From Inside Daisy

Me
Clover

1966

Andre Previn

M/F

Optimistic ballad of determination

Young at Heart

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

Optimistic uptempo song of

possibilities

On the Bumby Road To

Love

Listen, Darling

Al Hoffman, Al Lewis F
& Murray Mencher

!57

Optimistic, comedic song of romantic

possibilities

Gilbert And Sullivan Operetta

The operettas of Gilbert & Sullivan present a unique performance style that you may be called
upon to master. You may wonder why these late 19th century operettas continue to be performed
regularly in mainstream musical theater venues when most others have been relegated to the
sideline as curiosities. Its probably a combination of factors: music of substance, genuinely
clever lyrics, and general audience accessibility certainly help. But probably the madcap
absurdity of the settings (what they called TopsyTurvy) removes them from the strictly
Victorian context in which they were written and make them oddly universal. It is claimed that
The Mikado is the most performed work in the history of theater, but whether that is strictly true
or not, the thirteen Gilbert and Sullivan shows remain an absolutely essential part of the musical
theater world4.

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, sing an operetta aria. They are charming and lovely. Jeffery Carter's book, what
is the name?, anthologizes this literature.

Three Gilbert and Sullivan works remain essential. These are often referred to as The Big
Three and are HMS Pinafore, The Pirates of Penzance, and The Mikado. You will find these
included regularly in season offerings by regional theater companies. Three other shows,
Iolanthe, The Yeomen of the Guard, and The Gondoliers surface in general productions from
time-to-time so it is worth being familiar with these as well. The remainder of their shows,
Patience, The Sorcerer, Princess Ida, Trial By Jury, Ruddigore, The Grand Duke, and Utopia,
Limited, while possessing many pleasures, are not likely to be performed except by the specialty
G&S companies that thrive in cities across the country, chief of which is the New York Gilbert &
Sullivan Players. It is worth becoming familiar with some of the principal arias from the lesserperformed works as audition pieces.

In terms of performance style and requirements for performers, each of these works is built on a
remarkably uniform model. These shows really do call for types and it is nearly impossible for
a successful production to vary from these types. Because The Big Three are performed so
frequently, directors often try add a new twist by changing the setting: HMS Pinafore aboard the
Starship Enterprise, The Mikado populated by modern, Hello Kitty! obsessed schoolgirls, Pirates
of Penzance modified to fit a Pirates of the Caribbean sensibility, to name just a few. But even in
the most absurd settings, the musical treatment and demands on the singers remain essentially
the same.

!
4

Im not sure of the source

!58

Here are the types. Your first task is to understand which type suits you. It unlikely for a single
performer to fit comfortably into more than one type.

The Hero (lyric tenor): Virtuous, earnest, handsome. (Ralph in Pinafore, Frederick in Pirates,
Nanki-Poo in Mikado)
His Love Interest (soprano): Legit soprano with coloratura opportunities. This character could
be thought of as the ingnue, except that due to oddities in performance style, older performers
are often cast here, as long as they are thin. (Josephine in Pinafore, Mabel in Pirates, Yum-Yum
in Mikado)
Baffled Lyric Baritone (baritone): This character is usually the girls father or is some other
way linked to the hero and often is one of the central characters in the standard triple wedding
scene which brings the action to a close. Even though he is always a comic character, his songs
are among the most melodic and memorable of the score. (Captain Corcharan in Pinafore, The
Pirate King in Penzance, Pooh-Bah in Mikado)
Older Woman with a Bold Presence (mezzo): Imposing mezzo. Very often these roles are
given to larger women for the comic effect of matching them with the Patter-Singing Character
(see below) who is traditionally small. (Buttercup in Pinafore, Ruth in Pirates, Katisha in
Mikado)
Patter-singing Character (baritone): Always a comic character whose comic skills are more
important than singing voice. Main requirement is the ability to throw off the patter song quickly
with excellent diction. (Sir Joseph in Pinafore, Major General in Pirates, Ko-Ko in Mikado)

Those five are absolutely essential. In addition, these types also appear, but sometimes with
varying levels of significance or duplication:

Soubrette (mezzo): friend or confidant to the leading lady. Usually has a solo but provides a
voice in the trios and quartets as the plot allows. These often come in pairs! (Edith and Kate in
Pirates, Pitti-Sing and Peep-Bo in Mikado)
Villain (bass): Classic villain type; can almost be considered as a male counterpoint to the
Older Woman with a Bold Presence. (Dick Deadeye in Pinafore, Sergeant of Police in Pirates,
The Mikado in Mikado)
Male Side Kick (baritone): Roughly the male equivalent of the soubrettes, usually friend or
companion to the Hero. Like the soubrette, this character has a minor feature and then fills out
the various small ensembles. (Boatswain in Pinafore, Samuel in Pirates, Pish-Tush in Mikado)

!59

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)
!60

!
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

!61

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)
Im 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)
!62

When the Night Wind Howls (Ruddigore)

No Possible Doubt Whatever (The Gondoliers)

!63

!
!

Vaudeville (And Other Songs from the 10s

and 20s)

Beginning in the 1880s and continuing through the 1920s, Vaudeville was Americas
entertainment. A typical vaudeville show might include comedians, singers, plate-spinners,
contortionists, jugglers, ventriloquists, dancers, musicians, animal actsnearly anything that
could hold the audiences attention. After the Civil War, entertainments intended exclusively for
male audiences were filled with bawdy jokes and off-color stories, making them unsuitable for
children and sensitive women. Tony Pastor, the so-called Father of Vaudeville, saw an
economic opportunity if the shows were more suitable for the entire family.

Throughout its history, Vaudeville was important socially in that it gathered people from
different cultures and backgrounds under one roof. It had its share of racial stereotypes and
prejudice but, by and large, the world it presented lovingly accepted cultural differences. Woven
into the fabric of Vaudeville are the theatre traditions of the English Music Hall, minstrel shows
of antebellum America and the Yiddish theatre tradition.

There were large and small Vaudeville houses spread across the country, from Peoria, Illinois
and Iowa City, Iowa to the Palace Theatre in New York. Eventually the popularity of Vaudeville
gave way to film and the most famous performers, Al Jolson, Fanny Brice, Abbott and Costello,
Bob Hope, Judy Garland among others found making films more lucrative. In New York, the
comical, light-hearted songs of Vaudeville evolved into more sophisticated songs with musical
Revues and Musical Comedies becoming vogue in the late 20s and 30s.

Before the wide spread popularity of radio and recorded music, sheet music sales were the
measure of a songs popularity. Thousands of songs were published and sold to home consumers
who sang the songs around the parlor piano. Tin Pan Alley, the collection of New York City
publishers who dominated the sheet music market at the time, was located in at West 28th Street
between Fifth and Sixth Avenue. Here pianists would play all day long to demonstrate the latest
songs for potential costumers.

The most common song types are sentimental ballads, foot-tapping Uptempos, Charm songs,
Blues, Torch songs and marches. There are also a sizable number of novelty numbers and
comedic songs. The recent Broadway musical, Bullets Over Broadway, is lovingly stitchedtogether 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
is common with titles like If You Talk In Your Sleep (Dont Mention My Name) and lyrics like
"Take a little wife/but when you take a little wife be careful whose wife you take.

!64

I recommend that todays singers have at least one of these songs in their audition book. I know
one Tony-nominated actor who regularly used Vaudeville material in auditions when he first
started out. These songs are especially suitable for character men and women, song and dance
gals and women who can play the chorine archetype. Titles such as Take Your Girlie to the
Movies, If You Cant Make Love at Home, How Ya Gonna Keep Em Down On the Farm
(After Theyve Seen Paree) and Hed Have To Get UnderGet Out and Get Under (To Fix Up
His Automobile) still work well.

The good news is that this music is easily available free online through generous public library
websites. It just takes a little patience and good search skills to find them. Below are some of the
primary sources Ive discovered that contain a wealth of material. Google these.

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.

!
!

!65

!
!

Vaudeville Songs and Songs From the 10s and 20s

Women
Title
Coffee in the Morning and Kisses in the Night
Go Into Your Dance
Im Just Wild About Harry
Ive Got To Sing a Torch Song
If I Had a Talking Picture of You
My Man
Or What Have You
Put On Your Slippers and Fill Up Your Pipe
Second Hand Rose
Some of These Days
The Broadway Blues
You Made Me Love You

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
Ill Be Back in My Low Back Car
Ill String Along With You
Ive Got Rings on My Fingers
If I Find a Girl
In Honeysuckle Time
In My Merry Oldsmobile
It All Belongs to Me
Jeepers Creepers
Mandy
Snookey Ookums
Some Sunny Day
Sweeter Than Sugar
Sweeter Than Sugar (Is My Sweetie)
Take a Little Wife
The Lady Who Couldnt Be Kissed
The Yankee Doodle Boy
This is the Life
Toot, Too, Tootsie!
When You See Another Sweetie Hanging Around

Composer
Harry Warren
Buddy DeSylvia, Gus Kahn, Al Jolson
Walter Donaldson
Johnny Noble, Bob Lukens
George M. Cohan
Noble Sissle, Eubie Blake
Jimmie Monaco
Jerome Kern
Harry Von Tilzer
Harry Warren
Albert Von Tilzer
Albert Von Tilzer
Maurice Abrahams
Joseph E Howard and Ida Emerson
Albert Von Tilzer
Albert Von Tilzer
Walter Donaldson
George Gershwin
Theodore Morse
Walter Donaldson
Harry Warren
Maurice Scott
Jerome Kern
Noble Sissle, Eubie Blake
Gus Edwards
Irving Berlin
Harry Warren
Irving Berlin
Irving Berlin
Irving Berlin
Irving Berlin
Irving Berlin
Irving Berlin
Harry Warren
George M. Cohan
Irving Berlin
Gus Kahn, Ernie Erdman, Dan Russo
Walter Donaldson

!66

Style
Charm Song
Uptempo
Uptempo
Charm Song
March
Charm Song
March
March
March
Uptempo
Uptempo
Charm Song
March
Uptempo
Charm Song
Uptempo
March
Uptempo
Charm Song
March
Ballad
Uptempo
Uptempo
Charm Song
Waltz
Uptempo
Charm Song
Charm Song
Uptempo
Charm Song
Uptempo
Uptempo
Charm Song
Charm Song
March
March
Uptempo
Uptempo

Title
You Aint Heard Nothing Yet
You May Hold a Million Girlies In Your Arms

Composer
Al Jolson, Gus Kahn, Buddy DeSylvia
Fred Fischer

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 Dont Want It
After Youve Gone
Aint We Got Fun
Alexander's Ragtime Band
An Earful of Music
Anything You Want to Do Dear
Bird on Nellie's Hat
Blow Your Horn
Bring Back Those Wonderful Days
Bump, Bump, Bump, In Your Automobile
Carioca
Climbing Up the Scale
Dancing My Worries Away
Everybody's Doing It Now
Fair and Warmer
Forty-Second Street
Hang Out the Front Door Key
He's Getting Too Darn Big for a Small Town
Honolulu
How'd You Like to Spoon With Me
I Love Somebody and Somebody Knows
Ill Be Happy When the Preacher Makes You Mine
Ive Got a Pocket Full of Sunshines
If You Talk In Your Sleep (Dont Mention My Name)
Little Rover (Dont Forget To Come Back Home)
Pretty Baby
Since Mother Goes To Movie Shows
Take Your Girlie to the Movies
The International Rag
The Razzle Dazzle Glide
The Syncopated Walk
Where Did Robinson Crusoe Go With Friday on Saturday
Night?
Whos Who With You
Yip-I-Addy-I-Ay
Youre Here and Im Here
Avalon
Baby Face

Composer
Irving Berlin
Creamer and Layton
Richard A. Whiting
Irving Berlin
Walter Donaldson
Louis A. Hirsch
Alfred Solman
Irving Berlin
Nat Vincent
Albert Von Tilzer
Vincent Youmans
Irving Berlin
George M. Cohan
Irving Berlin
Harry Warren
Harry Warren
Benj. Hapgood Burt
Irving Berlin
Harry Warren
Jerome Kern
Harry Von Tilzer
Walter Donaldson
Arthur Johnston
Nat D. Ayer
Walter Donaldson
Tony Jackson, Egbert Van Alstyne
Albert Von Tilzer
Pete Wendling
Irving Berlin
J. Walter Leopold
Irving Berlin
George W. Meyer

Style
Uptempo
Uptempo
Uptempo
Uptempo
Uptempo
Charm Song
Story Song
Uptempo
Charm Song
Uptempo
Uptempo
March
Uptempo
Uptempo
Charm Song
Uptempo
March
Charm Song
Uptempo
Charm Song
Charm Song
Charm Song
Uptempo
Charm Song
Uptempo
Charm Song
March
Uptempo
Uptempo
Uptempo
Uptempo
March

Vincent Youmans
John H. Flynn
Jerome Kern
Al Jolson

Charm Song
Waltz
March
Uptempo
Uptempo

Benny Davis and Harry Akst

!
!
!

!67

Standard Repertoire

The history of Musical Theatre is wonderfully rich with thousands of outstanding songs to know,
explore and perform. In the "Musical Styles Through History" chapter, I give you a brief
overview of the stylistic changes since approximately 1900. In your career, you will be expected
to know something of this history in order to sing the songs from the 30s, 40s, 50s, 60s and
beyond in the appropriate style. I will use the term, Standard Repertoire, to refer to the most
important, frequently sung and frequently requested songs in the literature. You will be expected
to know most, if not all, of the ones for your voice type.

Rarely a day goes by when I do not reach for a volume of The Singer's Musical Theatre
Anthology published by Hal Leonard. This five volume collection for the soprano, mezzo/belter,
tenor and bass/baritone voices is the most thorough resource on the market today for the
Standard Repertoire. The editor, Richard Walters has done an outstanding job of canonizing this
music, doing us an invaluable service by defining the boundaries of this vast collection of music.

The songs contained in The Singers Musical Theatre Anthologies are listed below by voice type,
cross referenced by show, genre and volume. The genres can be described as follows

Operetta is closely related in style and practice to 19th C. European Opera. The subjects of
American and British Operettas are light and humorous. Spoken dialogue replaces sung
recitative. Sigmund Romberg, Victor Herbert and Gilbert & Sullivan are among the most
influential composers.
Musical Comedy is a decidedly American form of Musical Theatre that began in the late 19th C.
but flourished in the 20s and 30s. It is characterized by romantic stories with a lighthearted touch
and the music of George Gershwin, Jerome Kern, Richard Rodgers (with Lorenz Hart), Cole
Porter and others.
Golden Age of Musical Theatre began with Oklahoma! in 1943 and is characterized by an
integrated score with substantial theatre songs. Unlike the music from Musical Comedy, songs
serve to advance the plot. Scholars disagree on the end of the Golden Era but for our purposes,
we will conclude with Hair (1968). Primary Golden Age composers include Richard Rodgers
(with Oscar Hammerstein II, Leonard Bernstein, Frank Loesser and Bock and Harnick)
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.
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).

!68

Poperetta 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
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?

Show
Nine
Wonderful Town
Chicago
Cinderella
Flora, the Red Menace
Me and Juliet
Naughty Marietta
Anything Goes
Kismet
Evita
Grey Gardens
Mary Poppins
Grey Gardens
The Enchantress
The Threepenny Opera
Kismet
Camelot
Jubilee
On Your Toes
Show Boat
The Drowsy Chaperone
Show Boat
Rags
Into the Woods
Songs for a New World
The Sound of Music
Allegro
Do, Re, Mi
Grey Gardens
She Loves Me
The Light In The Piazza
The Boys from Syracuse
Fiddler on the Roof
Lady Be Good
The Apple Tree
Urinetown!
Cowgirls
The King and I
On Your Toes
Candide
Mame
The Music Man
Sweeney Todd
Anything Goes
Funny Face
1776
The Boys from Syracuse
The King and I
Phantom
Myths and Hymns
Secret Garden
Funny Face
Bye, Bye Birdie
Martin Guerre

!69

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
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5
5
2
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1
1
5
3
4
3
3
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5
2
1
1
2
5
4
4
1
4
5
2
5
4
3

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
Golden Age
Modern
Modern
Modern
Musical Comedy
Golden Age
Poperetta

Song
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
Nelson
Never
No More Candy
No Other Love
Nobody Makes A Pass At Me
Not A Day Goes By

Show
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
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

!70

Volume
4
1
2
2
5
2
3
4
4
4
2
1
3
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4
2
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5
5
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2
3
3
3
2
3
2
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4
3
3
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2
2
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1
4

Genre
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
4

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
Modern

5
5
1
4
1

Modern
Golden Age
Golden Age
Golden Age
Sondheim

Song
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
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

Show
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
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
Mr. President
Camelot
Music in the Air
Spamalot
The Sound of Music
The Mikado
Wheres Charley
On Your Toes

!71

Volume
5
3
1
4
3
3
4
3
1
1
5
1
2
5
2
3
2
1
2
2
1
2
1
3
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1
1
3
3
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5
3
4
3
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Genre
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
Golden Age
Golden Age
Golden Age
Golden Age
Sondheim
Golden Age
Modern
Sondheim

5
5
5
3
2
1
2
4
5
1
5
1
4
4
2
2
3
3

Modern
Modern
Modern
Sondheim
Sondheim
Golden Age
Golden Age
Modern
Musical Comedy
Golden Age
Musical Comedy
Golden Age
Operetta
Modern
Golden Age
Operetta
Golden Age
Musical Comedy

Song
Think Of Me
This Place Is Mine
Till There Was You
Too Much In Love To Care
Trouble Man
Under The Tree
Unexpected Song
Unusual Way (In A Very Unusual Way)
Vanilla Ice Cream
Vilia
Waitin' For My Dearie
Warm All Over
We Kiss In A Shadow
What Does He Want Of Me
What Good Would The Moon Be?
What Makes Me Love Him?
What Will It Be For Me?
What's The Use Of Wond'rin'
When Did I Fall In Love
Where Or When
Whispering
Whistle Down The Wind
Who Am I?
Why Do I Love You?
Why Was I Born?
Will He Like Me?
Will You?
Wishing You Were Somehow Here Again
Without You
Wouldn't It Be Loverly
Yesterdays
You'll Never Walk Alone
Your Daddys Son

Show
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
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
Poperetta
Modern
Golden Age
Poperetta
Golden Age
Golden Age
Poperetta
Modern
Golden Age
Operetta
Golden Age
Golden Age
Golden Age
Golden Age
Golden Age
Golden Age
Operetta
Golden Age
Golden Age
Musical Comedy
Modern
Poperetta
Golden Age
Golden Age
Musical Comedy
Golden Age
Modern
Poperetta
Golden Age
Golden Age
Musical Comedy
Golden Age
Modern

Mezzo/Belter
Song
A Change In Me
A Cockeyed Optimist
A New Life
A Trip To The Library
Adelaide's Lament
Adventure
Ah, But Underneath
Ain't There Anyone Here For Love?
Always A Bridesmaid
Always True To You In My Fashion
An Old Man
And I Am Telling You I'm Not Going
Angels, Punks And Raging Queens
Another Hundred People
Anyone Can Whistle
Anything But Lonely
As If We Never Said Goodbye
As Long As He Needs Me
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

Show
Beauty and the Beast
South Pacific
Jekyll and Hyde
She Loves Me
Guys and Dolls
Do Re Mi
Follies
Gentlemen Prefer Blondes
I Love You, Youre Perfect, Now
Change
Kiss Me, Kate
Two by Two
Dreamgirls
Elegies for Angels...Queens
Company
Anyone Can Whistle
Aspects of Love
Sunset Boulevard
Oliver
Follies
Girl Crazy
Sweeney Todd
Cabaret
Footloose
Children of Eden
The Act
Chicago
Tick, Tick, Boom

!72

Volume
3
1
3
2
2
3
3
1
3
1
1
5
4
2
1
4
3
2
1
3
1
1
3
5
5
3
5

Genre
Poperetta
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
Sondheim
Musical Comedy
Sondheim
Golden Age
Modern
Modern
Modern
Modern
Modern

Song
Could I Leave You?
Dance: Ten; Looks: Three
Defying Gravity
Diamonds Are A Girl's Best Friend
Doin' What Comes Natur'lly
Don't Call Me Trailer Trash
Don't Cry For Me Argentina
Don't Cry Out Loud
Don't Rain On My Parade
Don't Tell Mama
Everybody Loves Louis
Everything's Coming Up Roses
Fifty Percent
Find Your Grail
For Good
Freddy, My Love
Funny Honey
Gimme Gimme
Good Morning Baltimore
Gorgeous
Happy To Keep His Dinner Warm
Hard Candy Christmas
He Wasn't You
Heads Or Tails
Heaven Help My Heart
Here I Am
Hit Me With A Hot Note
Hold On
Honey Bun
How Are Things In Glocca Morra
How Did We Come To This?
Hurry! It's Lovely Up Here!
I Ain't Down Yet
I Am Changing
I Cain't Say No
I Can Cook Too
I Can Do Better Than That
I Can Hear The Bells
I Don't Know How To Love Him
I Dreamed A Dream
I Enjoy Being A Girl
I Get A Kick Out Of You
I Got Lost In His Arms
I Got The Sun In The Morning
I Had Myself A True Love
I Know The Truth
I Never Has Seen Snow
I Want To Be Bad
I Want To Go To Hollywood
I Will Be Loved Tonight
I Wish I Were In Love Again
I'd Be Surprisingly Good For You
I'd Give My Life For You
I'm Going Back
I'm In Love With A Wonderful Guy
I'm Not That Girl
I'm Still Here
If He Really Knew Me
If He Walked Into My Life
If My Friends Could See Me Now
In Buddy's Eyes
It's A Business
It's A Helluva Way To Run A Love Affair

Show
Follies
A Chorus Line
Wicked
Gentlemen Prefer Blondes
Annie Get Your Gun
Cowgirls
Evita
The Boy from Oz
Funny Girl
Cabaret
Sunday in the Park
Gypsy
Fifty Percent
Spamalot
Wicked
Grease
Chicago
Thoroughly Modern Millie
Hairspray
The Apple Tree
How to Succeed
Best Little Whorehouse in Texas
On a Clear Day...
Cowgirls
Chess
Dirty Rotten Scoundrels
Swing
The Secret Garden
South Pacific
Finians Rainbow
Wild Party
On a Clear Day...
Unsinkable Molly Brown
Dreamgirls
Oklahoma
On the Town
The Last Five Years
Hairspray
Jesus Christ Superstar
Les Miserables
Flower Drum Song
Anything Goes
Annie Get Your Gun
Annie Get Your Gun
St. Louis Woman
Aida
House of Flowers
Follow Through
Grand Hotel
I Love You, Youre Perfect, Now
Change
Babes in Arms
Evita
Miss Saigon
Bells are Ringing
South Pacific
Wicked
Follies
Theyre Playing Our Song
Mame
Sweet Charity
Follies
Curtains
Plain and Fancy

!73

Volume
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
1
4
4
2
2
5
1
5
2

Genre
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
Golden Age
Modern
Sondheim
Modern
Golden Age
Modern
Sondheim
Modern
Golden Age

Song
It's A Perfect Relationship
It's An Art
Johnny One Note
Just A Housewife
Just One Step
Keepin' Out Of Mischief Now
Let Me Finish
Life Is
Life With Harold
Long Before I Knew You
Look At Me Now
Look At Me, I'm Sandra Dee
Look To The Rainbow
Losing My Mind
Mama Who Bore Me
Maybe This Time
Meadowlark
Mein Herr
Memory
Miss Baltimore Crabs
Miss Marmelstein
My Body
My Child Will Forgive Me
My Heart Belongs To Daddy
My Husband Makes Movies
My New Philosophy
Never Never Land
Not For The Life Of Me
Nothing
Nothing Really Happened
Now You Know
Nowadays
On My Own
One Hundred Easy Ways To Lose A Man
Our Kind Of Love
Paris Makes Me Horny
Popular
Rose's Turn
Roxie
See I'm Smiling
Send In The Clowns
Shadowland
Shopping Around
Show Off
Shy
Small World
So What?
Some People
Someone Else's Story
Someone Like You
Special
Stars And The Moon
Stepsisters' Lament
Still Hurting
Take Back Your Mink
Take That Look Off Your Face
Teaching Third Grade
Tell Me On A Sunday
The Cake I Had
The Colors Of My Life
The Dark I Know Well
The Gentleman Is A Dope
The Hostess with the Mostes on the Ball

Show
Bells are Ringing
Working
Babes in Arms
Working
Songs for a New World
Aint Misbehavin
Song and Dance
Zorba
The Full Monty
Bells are Ringing
Wild Party
Grease
Finians Rainbow
Follies
Spring Awakening
Cabaret
The Bakers Wife
Cabaret
Cats
Hairspray
I Can Get it For You Wholesale
The Life
Parade
Leave it To Me
Nine
Youre a Good Man, Charlie Brown
Peter Pan
Thoroughly Modern Millie
A Chorus Line
Is There Life After High School?
Merrily We Roll Along
Chicago
Les Miserables
Wonderful Town
Beautiful Game
Victor/Victoria
Wicked
Gypsy
Chicago
The Last Five Years
A Little Night Music
The Lion King
Wish You Were Here
The Drowsy Chaperone
Once Upon a Mattress
Gypsy
Cabaret
Gypsy
Chess
Jekyll and Hyde
Avenue Q
Songs for a New World
Cinderella
The Last Five Years
Guys and Dolls
Song and Dance
Ruthless: the Musical
Song and Dance
Grey Gardens
Barnum
Spring Awakening
Allegro
Call Me Madam

!74

Volume
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
1
5
3
2
5
5
5
2
1

Genre
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
Golden Age
Poperetta
Modern
Modern
Modern
Modern
Modern
Golden Age
Musical Comedy

Song
The Ladies Who Lunch
The Lady Is A Tramp
The Man That Got Away
The Miller's Son
The Music And The Mirror
The Music That Makes Me Dance
The Party's Over
The Past Is Another Land
The Sweetest Sounds
The Wages Of Sin
The Winner Takes It All
The Wizard And I
The Worst Pies In London
There Are Worse Things I Could Do
There Won't Be Trumpets
There's A Fine, Fine Line
They Say It's Wonderful
Thinking Of Him
Third Letter Home
Too Beautiful For Words
Turn Back, O Man
Uptown, Downtown
We Deserve Each Other
What Did I Have That I Don't Have?
What I Did For Love
What Would You Do?
What You Don't Know About Women
Whatever Happened To My Part?
When You Come Home To Me
When You Got It, Flaunt It
When You're Good To Mama
Where Am I Going
Who Knows
Who Will Love Me As I Am?
Why Can't You Behave?
With One Look
Without You
Woman
You Can't Get A Man With A Gun
You Don't Know This Man
You'll Be In My Heart

Show
Company
Babes in Arms
A Star is Born
A Little Night Music
A Chorus Line
Funny Girl
Bells are Ringing
Aida
No Strings
The Mystery of Edwin Drood
Mamma Mia
Wicked
Sweeney Todd
Grease
Anyone Can Whistle
Avenue Q
Annie Get Your Gun
Curtains
Song and Dance
The Color Purple
Godspell
Follies
Me and Juliet
On a Clear Day...
A Chorus Line
Cabaret
City of Angels
Spamalot
The Last Five Years
The Producers
Chicago
Sweet Charity
I Can Get it For You Wholesale
Side Show
Kiss Me, Kate
Sunset Boulevard
Rent
The Pirate Queen
Annie Get Your Gun
Parade
Tarzan

Volume
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
Sondheim
Musical Comedy
Golden Age
Sondheim
Modern
Golden Age
Golden Age
Poperetta
Golden Age
Modern
Modern
Modern
Sondheim
Modern
Sondheim
Modern
Golden Age
Modern
Poperetta
Modern
Modern
Sondheim
Golden Age
Golden Age
Modern
Golden Age
Modern
Modern
Modern
Modern
Modern
Modern
Golden Age
Modern
Golden Age
Poperetta
Modern
Poperetta
Golden Age
Modern
Modern

Tenor
Song

Show

30/90
A Bit of Earth
A Man Could Go Quite Mad
A New Love is Old
A Wondring Minstrel I
Alas for You
Alive!
All Good Gifts
All I Need is the Girl
All Kinds of People
Almost Like Being In Love
A Wonderful Day Like Today

Tick, Tick, Boom

The Secret Garden
The Mystery of Edwin Drood
The Cat and the Fiddle
The Mikado
Godspell
Jekyll and Hyde
Godspell
Gypsy
Pipe Dream
Brigadoon
The Roar of the GreasepaintThe
Smell of the Crowd
Grease
Jacques Brel is Alive and Well
Chess
Joseph

Alone at the Drive-in Movie

Amsterdam
Anthem
Any Dream Will Do

!75

Volum
e
5
2
4
1
1
5
3
2
1
1
3
4

Genre

2
3
2
3

Modern
Revue (Modern)
Poperetta
Poperetta

Modern
Modern
Modern
Musical Comedy
Operetta
Modern
Poperetta
Modern
Golden Age
Golden Age
Golden Age
Golden Age

Song
Asking for You
At the Grand Hotel
Awaiting You
Barretts Song
Beautiful Girls
Beauty School Dropout
Beethoven Day
Being Alive
Bigger Isnt Better
Body Beautiful Beale
Boy For Sale
Breeze Off the River
Bring Him Home
Buddys Blues
Cant 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 Cant Stand Still
I Could Write a Book
I Do Not Know a Day I Did Not Love You
I Dont Care Much
I Have Written a Play
I Know About Love
I Like You
I Met a Girl
I Need to Know
I Only Want to Say (Gethsemane)
I Will Follow You
Ill Be There
Im Martin Guerre
Im Putting All My Eggs in One Basket
If You Could See Her

Show

Volum
e
Do Re Mi
2
Grand Hotel
2
Myths and Hymns
4
Titanic
3
Follies
2
Grease
4
Youre a Good Man, Charlie Brown 4
Company
1
Barnum
5
Grey Gardens
5
Oliver
2
The Full Monty
4
Les Miserables
2
Follies
3
Jersey Boys
5
Joseph
2
70, Girls, 70
3
Boys from Syracuse
1
Pippin
3
Wicked
4
Jersey Boys
5
Grey Gardens
5
Annie
5
Anything Goes
3
Lion King
4
Fanny
1
Celebration
1
Sunday in the Park
1
Aida
4
A Funny Thing Happened on the Way 4
to the Forum
Carousel
2
Into the Woods
4
Hercules
3
Miss Saigon
4
Dirty Rotten Scoundrels
5
Hairspray
5
Jesus Christ Superstar
4
The Producers
5
Myths and Hymns
5
Pajama Game
3
Evita
2
Floyd Collins
4
The Drowsey Chaperone
5
Can-Can
1
How to Succeed
2
Chorus Line
4
Footloose
3
Pal Joey
1
Two by Two
1
Cabaret
3
On the Twentieth Century
5
Do Re Mi
2
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

!76

Genre
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
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
Modern
Poperetta
Golden Age
Poperetta
Poperetta
Musical Comedy
Golden Age

Song
If You Were Gay
Il Mondo Era Vuoto
Isnt it a Lovely Day to be Caught in the Rain
It Dont Get Better Than This
It Takes Two
Jaspers Confession
Johanna
Kansas City
King Herods Song
King of the World
Ladies and their Sensitivities
Left Behind
Let Me Drown
Like a God
Lonely House
Lost in the Wilderness
Love Cant Happen
Love Changes Everything
Love to Me
Love, I Hear
Lucky In Love
Make Someone Happy
Make the Most of Your Music
Mama Says
Mama, Look Sharp
Man
Many Moons Ago
Margot
Maria
Maybe I Should Change My Ways
Miracle of Miracles
Mister Cellophane
Mooning
Moving Too Fast
Night of My Nights
No Moon
Nobody Needs to Know
Not While Im Around
Oh, Is There Not One Maiden Breast
Old Devil Moon
On the Night of a Thousand Stars
On the Street When You Live
Once Upon a Time Today
One More Beautiful Song
One Song Glory
One Track Mind
Passeggiata
Prologue: The Old Red Hills of Home
Quasimodo
Saturn Returns
Seeing is Believing
Serenade
She Cries
She Loves Me
She Wasnt You
Shes Got a Way
Shiksa Goddess
Shipoopi
Sit Down Youre Rockin the Boat
Sitting Pretty
Someone is Waiting

Show

Volum
e
Avenue Q
4
Light in the Piazza
5
Top Hat, film
3
Urban Cowboy
5
Hairspray
4
The Mystery of Edwin Drood
2
Sweeney Todd
1
Oklahoma!
1
Jesus Christ Superstar
1
Songs for a New World
4
Sweeney Todd
1
Spring Awakening
5
The Wild Party
4
Flower Drum Song
2
Street Scene
1
Children of Eden
5
Grand Hotel
2
Aspects of Love
4
Light in the Piazza
4
A Funny Thing Happened on the Way 1
to the Forum
Good News
2
Do Re Mi
1
Follies
3
Footloose
3
1776
4
The Full Monty
4
Once Upon a Mattress
1
The Desert Song
2
West Side Story
5
Beggars Holiday
2
Fiddler on the Roof
2
Chicago
3
Grease
5
The Last Five Years
5
Kismet
3
Titanic
3
The Last Five Years
4
Sweeney Todd
1
Pirates of Penzance
3
Finnians Rainbow
2
Evita
2
My Fair Lady
1
Call Me Madam
2
A Class Act
4
Rent
3
Sweet Smell of Success
4
The Light in the Piazza
5
Parade
3
When Pigs Fly
3
Myths and Hymns
5
Aspects of Love
1
The Student Prince
2
Songs for a New World
5
She Loves Me
2
On a Clear Day
2
Movin Out
5
The Last Five Years
5
The Music Man
4
Guys and Dolls
2
Cabaret
1
Company
1

!77

Genre
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
Modern
Golden Age
Golden Age
Modern
Modern
Golden Age
Golden Age
Golden Age
Sondheim

Song

Show

Somethings Coming
Springtime for Hitler
Stay
Stay With Me
Steppin Out With My Baby
Stranger in Paradise
Strangers Like Me
Summer, Highland Falls
Sunday
Sunset Boulevard
Take a Chance on Me
Take a Pair of Sparkling Eyes
Take the Moment
Tango Tragique
That Face
Thats the Way It Happens
The Apple Tree (Forbidden Fruit)
The Ballad of Billy Mcaw
The Big Black Giant
The Breeze Kissed Your Hair
The Day After That
The Mason
The Music of the Night
The Nicest Kids in Town
The Only Home I Know
The Proposal
The Wild Justice
This is Not Over Yet
This is the Moment
Til Him
Tomorrow Belongs to Me
Tonight at Eight
Tschaikowsky (and other Russians)
Two Worlds
What Can You Lose?
What Do I Need With Love?
What Have I Done?
What is It About Her?
What You Own
What Youd Call a Dream
When Im Not Near the Girl I Love
Where I Want to Be
Who am I?
Why
Why God Why
Willkommen
Winters on the Wing
Wish You Were Here
You are Beautiful
You are Never Away
You Walk With Me
Youre Devastating
Youve Got to Be Carefully Taught
Young and Foolish
Younger Than Springtime
Your Eyes

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
Finnians 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
Plain and Fancy
South Pacific
Rent

!
!

!78

Volum
e
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
2
1
3

Genre
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
Golden Age
Golden Age
Modern

Baritone
Song
A Fellow Needs a Girl
A Lot of Livin To Do
A Quiet Girl
A Rhyme For Angela
A Secretary is Not a Toy
All At Once You Love Her
All I Care About
All of My Life
All of You
All Thats Known
All Through the Night
Along Came Bialy
Always Look on the Bright Side of Life
As Some Day It May Happen
Bring Me My Bride
Bye Bye Baby
Cest Moi
Camelot
Coffee Shop Nights
Colorado, My Home
Come Back to Me
Cool
Do I Love You Because Youre Beautiful
Dont Go
Drink With Me (To Days Gone By)
Dulcinea
Edelweiss
Empty Chairs and Empty Tables
Everybody Says Dont
Fantasies Come True
Fate
Funeral Tango
Funny
Gaston
Get Me to the Church on Time
Gigi
Gonna Be Another Hot Day
Good Thing Going
Grand Knowing You
Greased Lightnin
Guidos Song
Haben Sie Gehort Das Deutsche Band?
Happily Ever After
Heroes All Around
How To Handle a Woman
I Am the Very Model
I Confess
I Dont Remember You
I Hate Musicals
I Miss The Music
I Rise Again
I Wanna Be a Producer
I Want What I Want When I Want it
I Wish I Could Go Back to College
I Wont Send Roses
I Wonder What the King is Doing Tonight
Ill Be Here
Ill Never Say No
Im a Bad, Bad Man

Show

Volum
e
Allegro
4
Bye, Bye Birdie
4
Wonderful Town
4
The Firebrand of Florence
3
How to Succeed in Business
5
Pipe Dream
2
Chicago
3
Do Re Mi
2
Silk Stockings
2
Spring Awakening
5
Anything Goes
2
The Producers
4
Spamalot
4
The Mikado
3
A Funny Thing Happened on the Way to 4
the Forum
Gentlemen Prefer Blondes
2
Camelot
1
Camelot
1
Curtains
5
The Unsinkable Molly Brown
5
On a Clear Day You Can See Forever 3
West Side Story
5
Cinderella
1
Cabaret
3
Les Miserables
5
Man of La Mancha
1
Sound of Music
4
Les Miserables
2
Anyone Can Whistle
1
Avenue Q
4
Kismet
2
Jacques Brel is Alive and Well
3
City of Angels
5
Beauty and the Beast
3
My Fair Lady
4
Gigi
3
110 in the Shade
5
Merrily We Roll Along
2
She Loves Me
5
Grease
4
Nine
2
The Producers
4
Marry Me a Little
3
Elegies: for Angels, Punks and Raging 4
Queens
Camelot
1
Pirates of Penzance
1
Footloose
3
The Happy Time
3
Ruthless: The Musical
3
Curtains
5
On the Twentieth Century
5
The Producers
5
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

!79

Genre
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
Operetta
Modern
Modern
Golden Age
Modern
Golden Age
Golden Age

Song
Im Not Wearing Underwear Today
Ive Come to Wive It Wealthily in Padua
Ive Got Plenty of Nuttin
Ive Grown Accustomed to Her Face
Ive Heard It All Before
If Ever I Would Leave You
If I Cant Love Her
If I Loved You
If I Sing
If I Were a Rich Man
Ilona
In Every Age
In Old Bavaria
In Praise of Women
Isnt It?
Its All Right With Me
Its Hard to Speak My Heart
Its Love
Its Not Where You Start
Javerts Suicide
Jet Song
Joey, Joey, Joey
Just in Time
Justice Will Be Done
Kings Dilemma
Last One Picked
Laughing Matters
Leaning on a Lamp Post
Les Poissons
Lonely Room
Lonely Town
Long Before I Knew You
Look at That Face
Lost in the Darkness
Lost in the Stars
Love Sneaks In
Luck Be a Lady
Lucky to Be Me
Lullaby of Broadway
Mack the Knife
Make Them Hear You
Mama, A Rainbow
Man of La Mancha
Marian, The Librarian
Marry Me
Marry Me a Little
Marry Well
Masculinity
Me
Meditation I
Meditation II
Molasses To Rum
More I Cannot Wish You
My Defenses are Down
My Name
My Time of Day
No Other Way
Oh, What a Beautiful Mornin
Ol Man River
On a Clear Day (You Can See Forever)
Once in Love With Amy

Show

Volum
e
Avenue Q
4
Kiss Me, Kate
2
Porgy and Bess
1
My Fair Lady
2
Shenandoah
1
Camelot
1
Beauty and the Beast
3
Carousel
1
Closer Than Ever
3
Fiddler on the Roof
5
She Loves Me
2
Titanic
3
The Producers
4
A Little Night Music
2
Saturday Night
3
Can-Can
2
Parade
3
Wonderful Town
4
Seesaw
5
Les Miserables
5
West Side Story
5
Most Happy Fella
2
Bells Are Ringing
2
Martin Guerre
3
Victor/Victoria
3
Whoop Dee Doo
3
When Pigs Fly
3
Me and My Gal
2
The Little Mermaid
3
Oklahoma
1
On the Town
2
Bells Are Ringing
2
The Roar of the Greasepaint-The Smell 5
of the Crowd
Jekyll & Hyde
3
Lost in the Stars
1
Dirty Rotten Scoundrels
5
Guys and Dolls
2
On the Town
3
42nd Street
5
Threepenny Opera
1
Ragtime
4
Minnies Boys
3
Man of La Mancha
1
The Music Man
1
The Rink
4
Company
1
Grey Gardens
5
La Cage Aux Folles
4
Beauty and the Beast
3
Shenandoah
1
Shenandoah
1
1776
4
Guys and Dolls
2
Annie Get Your Gun
2
Oliver
2
Guys and Dolls
2
Tarzan
5
Oklahoma
1
Show Boat
1
On a Clear Day You Can See Forever 3
Wheres Charley
2

!80

Genre
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
Golden Age
Golden Age
Modern
Golden Age
Golden Age
Golden Age
Golden Age

Song

Show

Once Upon a Time

Only With You
Other Pleasures
Paris By Night
Pilates Dream
Private Conversation
Promises, Promises
Purpose
Put On a Happy Face
Razzle Dazzle
Real Life
Real Live Girl
Relax
Reviewing the Situation
River in the Rain
Robins Song
Sam and Me
Santa Fe
Santa Fe
September Song
Shouldnt I Be Less in Love With You?

All American
Nine
Aspects of Love
Victor/Victoria
Jesus Christ Superstar
Side Show
Promises, Promises
Avenue Q
Bye, Bye Birdie
Chicago
Tick, Tick, Boom
Little Me
Wish You Were Here
Oliver
Big River
Spamalot
When Pigs Fly
Newsies
Rent
Knickerbocker Holiday
I Love You, Youre Perfect, Now
Change
Smile
Carousel
South Pacific

Smile
Soliloquy
Some Enchanted Evening
Something Was Missing
Sometimes a Day Goes By
Sorry-Grateful
Stars
Ten Minutes Ago
The Baby Song
The Bulls
The Colors of My Life
The Devil You Know
The Girl That I Marry
The Greatest Star of All
The Highest Judge of All
The Impossible Dream
The Kid Inside
The King of Broadway
The Kite
The Man I Used to Be
The Right Girl
The Road You Didnt Take
The Sadder But Wiser Girl
The Surrey With the Fringe on Top
There She Is
Theres a Sucker Born Evry Minute
Theres No Reason In the World
Theres Nowhere to Go But Up
They Call the Wind Maria
This Cant Be Love
This is the Life
This Nearly Was Mine
Those Canaan Days
Thousands of Miles
Try Me
Try to Remember
Waitin for the Light To Shine

Annie
Woman of the Year
Company
Les Miserables
Cinderella
I Love You, Youre Perfect, Now
Change
Jacques Brel is Alive and Well
Barnum
Side Show
Annie Get Your Gun
Sunset Boulevard
Carousel
Man of La Mancha
Is There Life After High School?
The Producers
Youre a Good Man, Charlie Brown
Pipe Dream
Follies
Follies
The Music Man
Oklahoma
Titanic
Barnum
Milk and Honey
Knickerbocker Holiday
Paint Your Wagon
The Boys from Syracuse
Love Life
South Pacific
Joseph and the Amazing Technicolor
Dreamcoat
Lost in the Stars
She Loves Me
The Fantasticks
Big River

!81

Volum
e
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
1
4

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
Poperetta

1
5
1
4

Golden Age
Golden Age
Golden Age
Modern

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

Volum
e
Wandrin Star
Paint Your Wagon
4
Were Thine That Special Face
Kiss Me, Kate
1
What Chance What I With Love?
Louisiana Purchase
4
What Do You Do with a B.A. in English
Avenue Q
4
What Kind of Fool am I?
Stop the World-I Want to Get Off
3
When I First Saw You
Dreamgirls
5
When I Was a Lad
HMS Pinafore
1
When Youre Lying Awake
Iolanthe
1
Where is the Life That Late I Led?
Kiss Me, Kate
1
Where Was I When They Passed Out the Luck? Minnies Boys
3
Who Can I Turn To (When Nobody Needs Me) The Roar of the Greasepaint-The Smell 4
of the Crowd
With a Little Bit of Luck
My Fair Lady
4
With So Little To be Sure Of
Anyone Can Whistle
5
Wonderful
Wicked
4
Wouldnt You Like to Be on Broadway
Street Scene
2
Ya Got Trouble
The Music Man
4
You Should Be Loved
Side Show
3
You Wont Succeed On Broadway
Spamalot
5
Youre the Fairest Flower
Little Mary Sunshine
2
Your Eyes Are Blue
A Funny Thing Happened on the Way to 5
the Forum

!82

Genre
Golden Age
Golden Age
Musical Comedy
Modern
Golden Age
Modern
Operetta
Operetta
Golden Age
Golden Age
Golden Age
Golden Age
Sondheim
Modern
Golden Age
Golden Age
Modern
Modern
Modern
Sondheim

Choice Songs
!
For over ten years, I've been curating a list of outstanding, under-sung theatre songs for my
students. Because I have gone to lengths to research and locate these songs, I call them Choice
Songs. Many are great for auditions while others are better suited for your development as a
singing actor or for voice lessons because they are either vocally or dramatically challenging. I
will let you decide, based on your needs, intuition and the guidelines Ive given you in the book,
whether a song is right for you. As you know, a song could be perfect for one performer but
completely wrong for another. Im excited to share this list with you because I think that you will
find many wonderful songs you didnt know. Please scan through the comments and voice types
to find songs that suit your needs.

I've put all Sondheim songs on a separate list to follow. Ive limited the number of Postmillennium songs as there is no chance, with the frequency that they are written, that I can keep
the list current. Ive only included the songs from what I would consider the biggest, most
successful Post-millennium shows like Edges, Ordinary Days and I Love You Because. There are
many Contemporary Art Songs that could work for the classical or musical theatre singer.

A word about sources: P/C signifies the Piano/Conductor score. Ive used this designation if the
song is unpublished and the Piano/Conductor score is the only place to find it. Piano/Conductor
scores are a challenge to locate but not impossible, by any means. Talk to musical directors you
know. Most keep a library of a wide array of scores. Vocal Selections are available commercially.
When the vocal selections are not available or you simply want one song, you are likely to find
the song 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 track
down.

Ive classified the songs by voice type. This is a subjective labeling system but I think it will be
helpful in finding the right songs for your voice. As Ive mentioned, in todays world, singers are
expected to sing a wide range of contrasting material. The days of making your career singing
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.

Sopranomore or less classical technique and production (Dawn Upshaw to Rebecca Luker)
Soprano mixmix of head and chest with more prominence given to head voice (Barbara
Cook to Liz Callaway to Victoria Clark to Kelli O'Hara to Kristin Chenoweth)
Mix. First date, dogfight, side show others. Kate baldwin

!83

Mix/Beltthe most prominent vocal approach in modern musical theatre characterized by easy
transition from low to high with the ability to sing powerfully, yet beautifully ? to Sherie Rene
Scott) I NEED SOME NEW NAMES HERE.
Beltchest dominated powerful singing (Ethel Merman to Mary Testa)
Legit Mezzo/Mezzo Sopranoa more or less classical technique and production in the lower
register. Not common in musical theatre. Youll Never Walk Alone is perhaps the best example
of the use of this voice type in musical theatre. (Shirley Verrett, Cecilia Bartoli, Susan Graham)
Tenor a higher male voice. 20 or 30 years ago, leading men were baritones but usually now
they are tenors. Aaron Tviet, Jeremy Jordan, Adam Pascal, ETC
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
baritone. Baritenors are especially prevalent in Rock musicals. Brian D'Arcy James, Jason
Danieley, Danny Burstein, Norm Lewis. These guys are broadway baritone royalty. I think I need
clarification.
Baritone. True baritones are frequently associated with strong, virile character types or
antiheros. Very little contemporary literature is written for the true Baritone, favoring the
Baritenor instead. Alfred Drake, Howard Keel, John Raitt, Jerry Orbach, Brian Stokes Mitchell,
Marc Kudish
Bassa lower male voice. Earlier in the 20th C. and before, this voice type is for older men and
villains. Rare today.

I feel compelled to mention that the rigid separation and designation of voice types common in
opera and earlier musical theatre is not in play 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 really could be classified by voice type in the same way classical singers are today; but
modern performance practice requires people to be flexible and to sing in 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 describes attributes such as 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 which is
unknown to the audience or to the world in general. So called I Want songs, like Larger Than
!84

Life from My Favorite Year are a special kind of disclosure song. But to be a Song of
Disclosure, the nature of the information being disclosed does not have to be specifically what
the character wants. It could a deeply held conviction or a statement about who my character is.
DISCLOSURE SONG GRAFIC. I AM, I WANT, A SECRET
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 about romantic love nor is it comedic.
Charm-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."
Romantic-I use this term when the song is about romantic love or the character is romantic.

DO I NEED TO DEFINE CONTEMPORARY ART SONG?

I Need to add Contemporary Legit. I've added some here. IVE added this tyoe below but it needs
to be checked.
Add William Finn songbook songs. Some are here.

Title
A Horse with Wings

Choice Songs for Womenma

Show

Composer
Ricky Ian Gordon

Comments
Contemporary Art
song ballad
A Little Brains, A Little Damn Yankees
Jerry Ross
Golden Age dramatic
Talent
Charm song
A Little Girl From Little Gentlemen Prefer Jule Styne
Golden Age comedic
Rock
Blondes
uptempo
A Little Girl From Little Gentlemen Prefer Jule Styne
Golden Age Comedic
Rock
Blondes
Charm song
A Part of That
Last Five Years
Jason Robert Brown Modern dramatic
disclosure uptempo
A Place Called Home
A Christmas Carol Alan Menken
Modern lyrical
disclosure ballad
A Stranger
Giant
Michael John
Contemporary legit.
LaChiusa
dramatic disclosure
ballad
A Way Back to Then
Title of Show
Jeff Bowen
Modern dramatic
disclosure ballad
Above the Law
Annie Warbucks Charles Strouse
70s and 80s dramatic
uptempo showtune
Ain Got No Tears Left On the Town, cut Leonard Bernstein Golden Age bluesy
ballad
Aint Nothing But a Kiss Memphis
David Bryan
Modern rock
uptempo
All Fall Down
Make Me a Song William Finn
Modern dramatic
uptempo

!85

Voice Type
Soprano
Belt

Source
A Horse with Wings
folio
Vocal Selections

Belt

P/C Score

Belt

P/C score

Mix/Belt

Vocal Selections

Soprano/Mix

Alan Menken
Songbook
Michael John
LaChiusa Songbook

Soprano/Mix
Mix/Belt

Vocal Selections

Belt

P/C score

Legit Mezzo

Bernstein Theatre
Songs: Low Voice
Vocal Selections

Belt
Belt

The William Finn

Songbook

Title
All the Men in My Life

Show
Evil Dead

All Things to One Man

Grind

Almost Everything I
Need
Almost Real

Alphabet City
Cycle
The Bridges of
Madison County
Andrew Lloyd
Webbers The
Wizard of Oz
The Bridges of
Madison County
If/Then

Voice Type
Belt

Source
P/C Score

Belt

Vocal Selections

Soprano/Mix

Composer website

Soprano

Vocal Selections

Soprano

Vocal Selections

Jason Robert Brown Modern dramatic

moving ballad
Always Starting Over
Tom Kitt
Modern dramatic pop
ballad
Amor
William Bolcom
Contemporary 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
ingnue 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
Autumn in Connecticut Far From Heaven Scott Frankel
Contemporary legit.
dramatic disclosure
uptempo
Back To Before
Ragtime
Stephen Flaherty
Modern dramatic
disclosure ballad
Baltimore
Zina Goldrich
Contemporary
comedic story song

Soprano

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

Be a Lion

The Wiz

Be On Your Own

Nine

Beautiful

Marie Christine

Before and After You

The Bridges of
Madison County

Already Home
Always Better

Composer
Frank Cipolla,
Christopher Bond,
Melissa Morris,
George Reinblatt
Larry Grossman

Comments
Modern comedic
uptempo

70s and 80s dramatic

rhythm ballad
Georgia Stitt
Contemporary Art
song ballad
Jason Robert Brown Contemporary legit.
dramatic ballad
Andrew Lloyd
Modern dramatic
Webber
disclosure ballad

Charlie Smalls

70s and 80s dramatic

pop disclosure ballad
Maury Yeston
70s and 80s dramatic
moving ballad
Michael John
Contemporary legit.
LaChiusa
dramatic ballad
Jason Robert Brown Contemporary legit.
dramatic folk ballad

!86

Mix/Belt

Vocal Selections
Soprano/Mix

Vocal Selections

Soprano

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

Title
Before Its Over

Show
Dogfight

Composer
Benj Pasek and
Justin Paul
David Bryan

Comments
Modern dramatic
disclosure ballad
Bitch/Slut/Liar/Whore
Toxic Avenger
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 ingnue
disclosure ballad
Change
A New Brain
William Finn
Modern comedic
uptempo
Chanson
The Bakers 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
County Fair
Das Barbecu
Scott Warrender
Modern Country
disclosure ballad
Crimson Kiss
Lestat
Elton John
Modern dramatic
ballad
Crossword Puzzle
Starting Here,
Maltby/Shire
70s and 80s comedic
Starting Now
uptempo
Dancing
Lavender Girl
John Bucchino
Modern romantic
waltz
Dancing All the Time
Big: The Musical David Shire
Modern dramatic
uptempo
December Snow
December Songs Maury Yeston
Contemporary Art
song ballad
Departure
Jeff Blumenkrantz Contemporary Art
song ballad

!87

Voice Type
Mix
Belt, High
Belt
Mix/Belt

Source

Vocal Selections

Mix/Belt

Stephen Schwartz
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

Mix/Belt

The Stephen
Schwartz Songbook
Ahrens and Flaherty
Songbook
P/C Score

Mix/Belt

P/C Score

Soprano

Vocal Selections

Soprano/Mix

Grateful: The Songs

of John Bucchino
Vocal Selections

Soprano/Mix
Mix/Belt

Mix/Belt

Mix/Belt
Soprano
Soprano/Mix

December Songs
folio
The Jeff
Blumenkrantz
Songbook Vol. 1

Title
Disneyland

Smile

Show

Composer
Marvin Hamlisch

Dogs Versus You

Lucky Stiff

Stephen Flaherty

Dont Wanna Be Here

Ordinary Days

Adam Gwon

Dont Wanna Be Here

Dream With Me

Ordinary Days
Peter Pan

Adam Gwon
Leonard Bernstein

Dreaming, Wide Awake

Dyin Aint So Bad

Bonnie and Clyde

Easy As Life

Aida

Easy Money

The Life

Even Though

I Love You
Because
Aida

Every Story Is a Love

Story
Everybodys Girl

Steel Pier

Everyday is Night

Birds of Paradise

Everything Else

Next to Normal

Everything I Know

In the Heights

Fabulous Baby
Fair Warning

Fight For Me

Sister Act
Destry Rides
Again
Randy Newmans
Faust
Heathers

First You Dream

Steel Pier

Fly Away/Never Never

Land
Fly Into the Future

Piece, the musical

Fly, Fly Away

Catch Me If You
Can
Jane Eyre

Feels Like Home

Forgiveness
Gainesville
Get Out and Stay Out
Glad You Were Born

Vanities

Randy Newmans
Faust
Nine to Five
Seven Brides For
Seven Brothers

Comments
Voice Type
70s and 80s dramatic Mix
ingnue disclosure
ballad
Modern dramatic
Mix/Belt
uptempo
Modern comedic
Belt
uptempo

Golden Age romantic

ingnue ballad
Jason Robert Brown Modern dramatic
ballad
Frank Wildhorn
Modern dramatic
ingnue disclosure
ballad
Elton John
Modern dramatic
disclosure moving
ballad
Cy Coleman
Modern dramatic
disclosure uptempo
Joshua Salzman
Modern dramatic
disclosure ballad
Elton John
Modern dramatic
ballad
John Kander
Modern comedic
disclosure uptempo
David Evans
70s and 80s dramatic
ballad
Tom Kitt
Modern dramatic
ingnue disclosure
uptempo
Lin-Manuel Miranda Modern dramatic
ingnue disclosure
ballad
Alan Menken
Modern pop uptempo
Harold Rome
Golden Age dramatic
uptempo
Randy Newman
Modern dramatic
disclosure ballad
Lawrence OKeefe Modern dramatic Pop
moving ballad
John Kander
Modern dramatic
ballad
Scott Alan
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

!88

Mix

Source
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
Mix/Belt

The Kander and

Ebb Collection
Composer website

Mix/Belt

P/C Score

Mix

Vocal Selections

Soprano/Mix

Vocal Selections

Mix/Belt
High Belt

Randy Newman
Anthology
Vocal Selections

Soprano/Mix

P/C Score

Title
Goodbye, Emil

Composer
Keith Hermann

Gotta Get Out

Show
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

Hes Here

How Now, Dow

Jones
John and Jen

Elmer Bernstein

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 Couldnt Be With
Anyone But You
I Don't Know What I'd
Do

A Wonderful Life

Joe Raposo

I Don't Need a Roof

I Dont Know How to
Help You

Maury Yeston

A Gentleman's
Steven Lutvak
Guide to Love and
Murder
Big Fish
Andrew Lippa

I Dont 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

Harold Rome

!89

Comments
70s and 80s dramatic
uptempo
Modern comedic
patter
Modern dramatic
disclosure ballad

Voice Type
Soprano

Source
Vocal Selections

Modern dramatic
disclosure ballad
Modern dramatic
ballad

Soprano/mix

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

Soprano

Vocal Selections

Mix/Belt

Vocal Selections

Soprano

December Songs
folio
P/C Score

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
ingnue rhythm
ballad
Modern comedic
Mix/Belt
Vocal Selections
ballad
Modern dramatic
Mix/Belt
Vocal Selections
ballad
Modern dramatic
Soprano/Mix Vocal Selections
disclosure ballad
Contemporary legit. Soprano/Mix Vocal Selections
ingnue 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

Belt

Title
I Hate the Bus

Show
Caroline, Or
Change

Composer
Jeanine Tesori

Comments
Modern dramatic
ingnue disclosure
ballad
Modern dramatic
disclosure ballad
Golden Age midtempo character
Charm song
Golden Age dramatic
character Charm song
70s and 80s pop
dramatic ballad
Modern dramatic
disclosure ballad
Modern dramatic
disclosure ballad
Golden Age dramatic
disclosure uptempo
Modern comedic
ballad

Voice Type
Mix/Belt

Source
Vocal Selections

I Have Found

Make Me a Song

William Finn

Mix/Belt
Mix/belt

The William Finn

Songbook
Vocal Selections

I Love a Cop

Fiorello

Jerry Bock

I Love What I'm Doing

Gentlemen Prefer
Blondes

Jule Styne

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 dramatic
disclosure uptempo

Mix/Belt

The William Finn

Songbook

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
(edit 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 ingnue
disclosure ballad
The Other
Jeff Blumenkrantz Contemporary Art
Franklin
song ballad

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

I'm the Greatest Star

Funny Girl

Mix/belt

The Marc Blitzstein

Songbook Vol. 1
The Jeff
Blumenkrantz
Songbook Vol. 1
Vocal Selections

Id Rather Watch You

The Adding
Machine
Ordinary Days

Mix/Belt

Vocal Selections

Mix/Belt
Mix

newmusicaltheatre.c
om
Vocal Selections

Soprano/Mix

P/C Score

Mix/Belt

Vocal Selections

I Met a Man Today

I Miss the Mountains

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
Cobains Intervention
I Speak Six Languages

High Fidelity

Tom Kitt

25th Annual
Putnam County
Spelling Bee
Theyre 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
I Wont Mind

Ill Be Here
Ill Never Fall in Love
Again
Ill Never Have That
Chance
Im a Part of That

Promises,
Promises
Lestat
The Last Five
Years

Marvin Hamlisch

Jule Styne

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

!90

Soprano

Title
Im Breaking Down

Show
Falsettos

Composer
William Finn

Im Free

Precious Little
Jewel

Jeff Blumenkrantz

Im Gonna Be Like an
Eagle
Im Hopeless When It
Comes To You
Im Just Movin

John and Jen

Andrew Lippa

Im Leaving You

The Life

Cy Coleman

Im Not

Little By Little

Brad Ross

Im Not Afraid

Songs For a New

World
Carrie

Im Not Alone
Im Not At All in Love
Im Not Waiting
Ive Never Said I Love
You
If I Ever Loved Him
If I Told You Now
If Only
If You Hadnt But You
Did
Imagine My Surprise
In a Restaurant By the
Sea
In Short
Ireland
Is It Too Late
Isnt This Better?
It Feels Like Home
It Hurts to Be Strong
It Might As Well Be
Spring
It Wont Be Long
It Would Have Been
Wonderful

Stephen Ward

Andrew Lloyd
Webber
Working (Revival) Stephen Schwartz

Comments
Modern dramatic
disclosure uptempo
Modern dramatic
ballad

Voice Type
Belt

Modern dramatic
disclosure ballad
Modern romantic
ballad
Modern dramatic
uptempo
Modern dramatic
ballad

Mix/Belt

Modern dramatic
disclosure uptempo

Mix/Belt

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
Legally Blonde
Lawrence OKeefe Modern comedic
disclosure ballad
My Life With
Ricky Ian Gordon
Contemporary legit.
Albertine
dramatic ballad
Funny Lady
John Kander
Modern dramatic
ballad
John Bucchino
Contemporary Art
song ballad
Carrie
Michael Gore
70 and 80s dramatic
disclosure ballad
State Fair
Richard Rodgers
Golden Age ingnue
disclosure ballad
In the Heights
Lin-Manuel Miranda Modern dramatic
disclosure uptempo
Annie Warbucks Charles Strouse
Modern dramatic
disclosure ballad

!91

Soprano/Mix

Mix
Belt
Soprano/Mix

Source
The William Finn
Songbook
The Jeff
Blumenkrantz
Songbook Vol. 1
P/C Score
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

Individual sheet
from musicnotes
P/C Score

Mix

Grateful: The Songs

of John Bucchino
newmusicaltheatre.c
om
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

Soprano/Mix

Title

Comments
Modern dramatic pop
uptempo
The Flood
Peter Mills
Contemporary Art
song ballad
Thoroughly
Jeanine Tesori
Modern dramatic
Modern Millie
disclosure uptempo/
ballad
Anastasia, film
Stephen Flaherty
Modern dramatic
disclosure ballad
Ricky Ian Gordon
Contemporary Art
song uptempo
A Christmas Story Benj Pasek and
Modern dramatic
Justin Paul
ballad
John and Jen
Andrew Lippa
Modern moving
ballad
I Love You
Joshua Salzman
Modern dramatic
Because
disclosure ballad
Pippin
Stephen Schwartz
70s and 80s dramatic
moving ballad
Heathers
Lawrence OKeefe Modern dramatic Pop
ballad
Bright Lights, Big Paul Scott Goodman Modern folk rock
City
moving ballad
Kiss of the Spider John Kander
Modern dramatic
Woman
uptempo
Promises,
Burt Bacharach
Golden Age pop
Promises
uptempo
Jeff Blumenkrantz Contemporary Art
song ballad

Voice Type
Belt

Source
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 OKeefe

Mix/belt

P/C score

Lion Tamer

The Magic Show

Stephen Schwartz

Mix/Belt

The Stephen
Schwartz Songbook

Listen To Your Heart

Mel Brooks

Mix/Belt

Vocal Selections

Belt

Vocal Selections

Lonely Pew

Young
Frankenstein
Youre a Good
Man, Charlie
Brown
Reefer Madness

Mix/Belt

P/C Score

Look At All the People

Chaplin

Soprano/Mix

Vocal Selections

Look At Me

The Bridges of
Madison County

Soprano

Vocal Selections

Look at Me

Violet

Mix/belt

Vocal Selections

Look At Me Now

The Wild Party

Belt

Vocal Selections

Loose Ends

The Witches of
Eastwick
Death Takes a
Holiday

Mix/Belt

Vocal Selections

Soprano

Vocal Selections

Its a Sign
Its Amazing the Things
That Float
Jimmy
Journey To the Past
Joy
Just Like That
Just Like You
Just Not Now
Kind of Woman
Kindergarten Boyfriend
Kindness
Kiss of the Spider
Woman
Knowing When To
Leave
Lament

Little Known Facts

Losing Roberto

Show
If/Then

Composer
Tom Kitt

Clark Gesner
Dan Studney

Modern dramatic
ballad
Modern dramatic
ballad
Modern dramatic
ingnue disclosure
ballad
Modern romantic
1930s beguine
Golden Age comedic
patter

Modern 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

!92

Mix
Soprano

Title
Lost and Found

Show
City of Angels

Love Is Not All

Love Quiz

Jeff Blumenkrantz
Its Only Life

Lovely Lies
Lovesick

Lying There

Composer
Cy Coleman

John Bucchino
Jeff Blumenkrantz

Women on the
Verge of a
Nervous
Breakdown
Edges

David Yazbek

Comments
Voice Type
Modern romantic jazz Belt
ballad
Contemporary Art
Soprano/Mix
song ballad
Modern romantic
moving ballad
Modern dramatic
ballad
Modern dramatic
uptempo

Source
Vocal Selections

Mix/Belt

The Jeff
Blumenkrantz
Songbook Vol. 1
Vocal Selections

Mix/Belt

Composer website

Belt

Vocal Selections

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

Belt

Vocal Selections

Maybe I Like it This

Way
Mira

The Wild Party

Andrew Lippa

Mix/Belt

Vocal Selections

Carnival

Bob Merrill

Soprano

Vocal Selections

Miss Byrd

Closer Than Ever

David Shire

Soprano/Mix

Vocal Selections

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

Modern dramatic
1930s disclosure
uptempo
Modern dramatic
disclosure ballad
Golden Age ingnue
disclosure ballad
70s and 80s comedic
disclosure uptempo
Modern dramatic
disclosure ballad
Contemporary legit.
dramatic disclosure
uptempo
Modern comedic
patter

The Will Rogers

Follies

Cy Coleman

Mama Will Provide

Man in the Moon
Man Wanted

More To the Story

My Big Mistake

Once on This
Island

My Book

Jeanine Tesori

Jeff Blumenkrantz

My Brother Lived In San Elegies for Angels, Janet Hood

Francisco
Punks and Raging
Queens
My House
Peter Pan
Leonard Bernstein
My Mothers 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

!93

Vocal Selections
Soprano/Mix

The Michael John

LaChiusa Songbook

Belt

Vocal Selections

Modern dramatic
ingnue disclosure
ballad
Modern Romantic
Jazz disclosure ballad
Contemporary Art
song comedic
uptempo
Modern dramatic
disclosure ballad

Mix

Individual sheet
from musicnotes

Belt

Vocal Selections

Soprano/Mix

Golden Age ingnue

ballad
Golden Age comedic
uptempo
70s and 80s dramatic
disclosure ballad
70s and 80s romantic
waltz
Modern 1930s
romantic disclosure
ballad

Soprano/Mix
Mix/Belt

The Jeff
Blumenkrantz
Songbook Vol. 1
The Contemporary
Singing Actor,
Women Vol. 1
Bernstein on
Broadway
Vocal Selections

Soprano/Mix

Vocal Selections

Soprano

The Maury Yeston

Songbook
Vocal Selections

Soprano/Mix

Soprano/Mix

Title
Namely You

Show
Lil Abner

Composer
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

Nobodys Side

Chess

Benny Andersson
and Bjrn Ulvaeus

Nothing Like Youve

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

On My Way To You
Once I Was
Once Upon a December

Anastasia, film

Once Upon a Time

Brooklyn

One Life to Live

Lady in the Dark

One Perfect Moment

Bring It On

One Step Ahead of

Goodbye
One White Dress

High Fidelity, cut

Ooh, My Feet

The Most Happy

Fella
A Tale of Two
Cities
The Wild Party

Out of Sight, Out of

Mind
Out of the Blue

A Catered Affair

Cy Coleman

Jeanine Tesori

Comments
Golden Age ingnue
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
ingnue disclosure
ballad
Golden Age ingnue
disclosure charm
70s and 80s dramatic
Folk ballad

Modern ingnue
disclosure uptempo
Michel Legrand
Modern dramatic pop
uptempo
Ricky Ian Gordon
Contemporary Art
song ballad
Stephen Flaherty
Modern dramatic
ballad
Mark Schoenfeld
Modern dramatic
ingnue pop
disclosure ballad
Kurt Weill
Golden Age dramatic
uptempo
Lin-Manuel Miranda Modern dramatic
and Tom Kitt
ingnue disclosure
ballad
Tom Kitt
Modern dramatic pop
ballad
John Bucchino
Modern dramatic
ingnue disclosure
charm
Frank Loesser
Golden Age dramatic
uptempo
Jill Santoriello
Modern dramatic
moving ballad
Andrew Lippa
Modern dramatic
uptempo

!94

Voice Type
Soprano

Source
Vocal Selections

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

Mix/Belt

Vocal Selections

Soprano

musicnotes.com

Soprano

Mix

A Horse with Wings

folio
Ahrens and Flaherty
Songbook
Vocal Selections

Belt

P/C Score

Soprano/Mix

Vocal Selections

Mix/Belt
Mix/Belt

The BMI Workshop

Songbook
Composer website

Mix/Belt

P/C Score

Soprano/Mix

Vocal Selections

Mix/Belt

Vocal Selections

Mix

Title
Painting Her Portrait

Show
Jane Eyre

Composer
Paul Gordon

Passover

Elegies

William Finn

Patience

Illyria

Peter Mills

Patterns

Baby

David Shire

Perfect

High Fidelity, cut

Tom Kitt

Perfect

Edges

Peter, Peter

Peter Pan

Benj Pasek and

Justin Paul
Leonard Bernstein

Please, Lets Not Even

Say Hello
Poor Monty

December Songs

Maury Yeston

Pretty Funny

A Gentleman's
Steven Lutvak
Guide to Love and
Murder
Dogfight
Benj Pasek and
Justin Paul

Princess

A Man of No
Importance

Stephen Flaherty

Pulled

The Addams
Family

Andrew Lippa

Raining
Raise the Roof

Rocky
The Wild Party

Stephen Flaherty
Andrew Lippa

Raven

Brooklyn

Mark Schoenfeld

Ready to Settle

High Fidelity

Tom Kitt

Red Shoes Blues

Andrew Lloyd
Webber

Reflection

Andrew Lloyd
Webbers The
Wizard of Oz
On the Record

Remember Me

Little Fish

Right In Front of Your

Eyes
Ritas Tune

The Wedding
Singer
The Sweet Smell
of Success
First Date

Michael John
LaChiusa
Matthew Skylar

Safer
Say Goodbye
Schroeder
Screw Loose

Matthew Wilder

Marvin Hamlisch

Alan Zachary,
Michael Weiner
Piece, the musical Scott Alan
Youre a Good
Man, Charlie
Brown
Cry Baby

Gary Geld
David Javerbaum
and Adam
Schlesinger

!95

Comments
Contemporary legit.
dramatic ingnue
disclosure ballad
Modern comedic
uptempo
Modern dramatic
ballad
70s and 80s dramatic
disclosure ballad
Modern dramatic
disclosure ballad
Modern dramatic
disclosure ballad
Golden Age ingnue
ballad
Contemporary Art
song ballad
Contemporary legit.
dramatic waltz

Voice Type
Soprano/Mix

Source
Vocal Selections

Belt

Vocal Selections

Soprano/Mix
Soprano/Mix

newmusicaltheatre.c
om
Vocal Selections

Mix/Belt

Composer website

Mix/Belt

newmusicaltheatre.c
om

Modern dramatic
ingnue disclosure
moving ballad
Modern dramatic
ingnue moving
ballad
Modern dramatic
ingnue disclosure
uptempo

Soprano/Mix

newmusicaltheatre.c
om

Soprano/Mix

Vocal Selections

Mix/Belt

Vocal Selections

Mix/Belt
Mix/Belt

Vocal Selections
Vocal Selections

Mix

Vocal Selections

Mix/Belt

Vocal Selections

Belt

Vocal Selections

Modern ingnue
dramatic disclosure
ballad
Modern dramatic
ballad
Modern comedic pop
disclosure uptempo
Modern dramatic
charm ballad
Modern dramatic pop
moving ballad
Modern dramatic
uptempo
Golden Age comedic
ballad

Mix/Belt

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

Belt

P/C score

Modern dramatic
uptempo
Modern dramatic
disclosure ballad
Modern comedic
disclosure ballad
Modern dramatic
comedic uptempo

Soprano
Soprano
Soprano

December Songs
folio
Vocal Selections

Title
Second Hand White
Baby Grand
See What I Wanna See

Show
Smash, TV show

Composer
Marc Shaiman

Comments
Modern dramatic
ballad
See What I Wanna Michael John
Modern dramatic
See
LaChiusa
uptempo
Selective Memory
People in the
Mike Stoller
Modern dramatic
Picture
disclosure ballad
Serenity
Triumph of Love Jeffrey Stock
Modern dramatic
waltz
Shine
The Spitfire Grill James Valcq
Modern dramatic
disclosure ballad
Shine Like the Sun
Nine to Five
Dolly Parton
Modern dramatic
uptempo
Simple Creature
Little Fish
Michael John
Modern dramatic
LaChiusa
uptempo
Since You Stayed Here Brownstone
Peter Larson
70s and 80s romantic
disclosure ballad
Sister Act
Sister Act
Alan Menken
Modern dramatic
disclosure ballad
Sleepy Man
Robber
Robert Waldman
70s and 80s romantic
Bridegroom
disclosure ballad
Small Town Girl
Debbie Does
Tom Kitt
Modern dramatic pop
Dallas
disclosure uptempo
So Far
Allegro
Richard Rodgers
Golden Age romantic
ballad
So Much Better
Legally Blonde
Lawrence OKeefe Modern dramatic
ingnue disclosure
uptempo
Someday
The Wedding
Matthew Skylar
Modern romantic
Singer
ingnue disclosure
uptempo
Something of My Own Dessa Rose
Stephen Flaherty
Modern dramatic
ballad
Somewhere Thats Green Little Shop of
Alan Menken
70s and 80s romantic
Horrors
disclosure ballad
Song of Me
Starting Here,
David Shire
70s and 80s ingnue
Starting Now
disclosure ballad
Spark of Creation
Children of Eden Stephen Schwartz
Modern dramatic
disclosure uptempo
Speaking French
Lucky Stiff
Stephen Flaherty
Modern comedic
uptempo
Spread a Little Joy
Betty Boop
Andrew Lippa
Modern dramatic
Swing uptempo
Stop and See Me
Weird Romance
Alan Menken
Modern dramatic
disclosure ballad
Stop Time
Big
David Shire
Modern disclosure
ballad
Stranger to the Rain
Children of Eden Stephen Schwartz
Modern dramatic
disclosure moving
ballad
Sunday Light
Alphabet City
Georgia Stitt
Contemporary Art
Cycle
song moving ballad
Suprised
Violet
Jeanine Tesori
Modern dramatic
Country shuffle
Surabaya-Santa
Songs For a New Jason Robert Brown Modern comedic
World
uptempo
Sweet Dreams
Its Only Life
John Bucchino
Contemporary Art
song ballad

!96

Voice Type
Mix

Source
musicnotes.com

Belt
Mix/Belt

The Michael John

Lachiusa Songbook
Vocal Selections

Mix/Belt

P/C score

Mix/Belt

P/C Score

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

Mix/Belt

The Stephen
Schwartz Songbook
Vocal Selections

Soprano/Mix

Mix/Belt
Mix/belt
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

Title
Sweet Liberty

Show
Jane Eyre

Table Three

Composer
Paul Gordon
Dan Martin

Take Care Of This House 1600 Pennsylvania Leonard Bernstein

Avenue
Take the Filter Off
Jeff Blumenkrantz

Comments
Contemporary legit.
ingnue disclosure
moving ballad
Modern comedic
uptempo
Golden Age dramatic
ballad
Modern comedic
uptempo

Voice Type
Mix/Belt

Source
Vocal Selections

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

Mezzo
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
Golden Age comedic
uptempo
Modern dramatic
rock uptempo
Contemporary legit.
dramatic waltz
Modern dramatic
ingnue disclosure
ballad
Modern comedic
uptempo
Modern comedic
uptempo
Modern dramatic
ingnue disclosure
moving ballad
Modern dramatic
disclosure uptempo
Golden Age dramatic
uptempo
Modern dramatic
ballad
Golden Age
disclosure uptempo
Modern dramatic
disclosure ballad
Modern dramatic
disclosure ballad
Contemporary Art
song comedic
uptempo
Contemporary Art
song ballad

Belt

Temporary

John Bucchino

That Mister Man of Mine Dames at Sea

Jim Wise

Thatll Never Be Me

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
The Life I Never Led

See What I Wanna Michael John

See
LaChiusa
Kinky Boots
Cindi Lauper
Sister Act

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

Keith Hermann

The Smile of Your

Dreams
The Song With the
Violins

Andrew Lippa

John and Jen

Andrew Lippa

John Bucchino

The Spring and The Fall

The Story Goes On

Cy Coleman

Jeff Blumenkrantz
Baby

David Shire

Mix
Belt

Grateful: The Songs

of John Bucchino
P/C Score

Mix/Belt

Vocal Selections

Mix/Belt

P/C score

Belt

Vocal Selections

Soprano

Vocal Selections

Mix/Belt

Vocal Selections

Belt

P/C Score

Belt

Vocal Selections

Mix/Belt

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

The Jeff
Blumenkrantz
Songbook Vol. 1
Vocal Selections

70s and 80s dramatic Mix/Belt

ingnue disclosure
ballad

!97

Title
The Usher From the
Mezzanine
The Wanting of You
The World Above
The World She Writes

Show
Composer
Fade Out, Fade In Jule Styne
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
Theres a World Out
Little Women
There
They Dont Know
Thoroughly
Modern Millie
Think Positive
Angry
Housewives
Thinking Of Him
Curtains

Rupert Holmes

This Moment

John Bucchino

Michael John
LaChiusa
Kim Oler
Jeanine Tesori
Chad Henry
John Kander

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

To Build a Home

The Bridges of
Madison County

Toll
Tom
Too Much
Too Much in Love To
Care
Too Soon
Tuesdays, Thursdays

Waitin For My Dearie

Waiting for Life
Walking the Wrong Way

70s and 80s dramatic

Torch song
Stephen Flaherty
Modern comedic
ingnue disclosure
ballad
Jason Robert Brown Contemporary legit.
dramatic ballad
Jeff Blumenkrantz Contemporary Art
song moving ballad

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

John Bucchino
Brigadoon
Once on This
Island

Comments
Golden Age charm
uptempo
Contemporary Art
song uptempo
Modern ingnue
disclosure ballad
Modern ingnue
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

Frederick Loewe
Stephen Flaherty
Jeff Blumenkrantz

!98

Voice Type
Belt

Source
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

Mix/belt
Mix/Belt

Ahrens and Flaherty

Songbook

Soprano

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
ingnue ballad
Golden Age dramatic
Torch song
Modern dramatic
ballad
Contemporary Art
song ballad

Mix/Belt

Modern dramatic
ingnue disclosure
uptempo
Contemporary Art
song ballad

Mix/Belt
Soprano/Mix

The Jeff
Blumenkrantz
Songbook Vol. 1

Wanting

Title
Rags

Show

Composer
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

Welcome Home

Johnny Guitar

Martin Silvestri

West End Avenue

The Magic Show

Stephen Schwartz

Cy Coleman

What a Mother Does

Comments
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

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
Dont 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
When It All Falls Down Chaplin
Christopher Curtis Modern dramatic
uptempo
When It Ends
The Wild Party
Michael John
Modern dramatic
LaChiusa
ballad
When the Earth Stopped Elegies
William Finn
Modern dramatic
Turning
ballad
Whenever I Dream
A New Brain
William Finn
Modern comedic
uptempo
Where is the Warmth?
The Bakers Wife Stephen Schwartz
70s and 80s dramatic
ballad
Where You Are
Wherever He Aint
Mack & Mable
Jerry Herman
70s and 80s dramatic
uptempo
Who Are You Now?
Who Is This Man?
Death Takes a
Maury Yeston
Contemporary legit.
Holiday
ingnue disclosure
ballad
Who Knows?
I Can Get It For
Harold Rome
Golden Age romantic
You Wholesale
ballad
Who Wears These
The Times
Brad Ross, Joe
Modern comedic
Clothes?
Keenan
uptempo
Why Did I Choose You? The Yearling
Michael Leonard
Golden Age romantic
disclosure ballad

!99

Voice Type
Soprano/Mix

Source
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
Mix/Belt

The Andrew Lippa

Songbook
Vocal Selections

Belt

Vocal Selections

Belt
Mix/Belt

Michael John
LaChiusa Songbook
Vocal Selections

Belt

Vocal Selections

Mix/Belt

The Stephen
Schwartz Songbook

Belt

P/C Score

Soprano/Mix

Vocal Selections

Mix/belt

P/C Score

Belt

newmusicaltheatre.c
om
Individual sheet
from musicnotes

Soprano

Title
Why Not Me?

Carrie

Composer
Michael Gore

Wild and Reckless

Drat, the Cat

Milton Schafer

Will There Really Be a

Morning?
Willing To Ride

Show

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
Youll Never Be Alone

Fade Out-Fade In

Tom Kitt
Jule Styne

A Tale of Two
Cities
Youve Got Possibilities Its a Bird...Its a
Plane...Its
Superman
Only One
Elegies

Jill Santoriello

Set Those Sails

In Trousers

William Finn

That's Enough For Me

Romance in Hard
Times

William Finn

Charles Strouse
William Finn

Comments
Modern moving
ballad
Golden Age comedic
uptempo
Contemporary 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
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

Modern dramatic
Belt
story song
70s and 80s dramatic Belt
ballad
Modern dramatic
Mix/belt
ballad

STILL MORE TO ADD

!
!
Edges
Goldrich and Heisler

!100

The William Finn

Songbook
The William Finn
Songbook
The William Finn
Songbook

Choice Songs for Men

Title
Show
A Fellow Needs a
Allegro
Girl
A Horse with Wings

Composer
Richard Rodgers

A Man Doesn't
Damn Yankees
Know
A Piece of the
The Life
Action
A Very Single Man Five Course Love

Jerry Ross

Absalom

The Glorious Ones

Stephen Flaherty

Alive

Death Takes a
Holiday
Seussical

Maury Yeston

Amour

Michel Legrand

And The Rain

Keeps Falling
Down
And Theyre 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

Be The Hero

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

Cy Coleman

Stephen Flaherty

William Finn

Boys and Girls Like State Fair

You and Me
But I Dont 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

Michael John
LaChiusa

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
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

High Baritone

Vocal Selections

Tenor
Baritone

The William Finn

Songbook
P/C Score

High Baritone

Vocal Selections

High Baritone

Vocal Selections

High Baritone
Baritone

BMI Workshop
songbook
Vocal Selections

High Baritone

Vocal Selections

Tenor

Revised Vocal
Selections
Grateful: The Songs
of John Bucchino

!101

Tenor

Tenor with low

range
Baritone
P/C Score
Tenor

P/C Score

Tenor

Vocal Selections

Baritone

P/C Score

Baritone

P/C Score

Title
Centuries
Charlie's Soliloquy

Show
Death Takes a
Holiday
Kinky Boots

Composer
Maury Yeston
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
Contemporary legit.
dramatic moving ballad
Modern dramatic pop
ballad
Modern dramatic
disclosure ballad
Modern dramatic ballad

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

Adam Gwon
Marc Shaiman

Fight the Dragons

Ordinary Days
Catch Me If You
Can
Big Fish

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
Foolish To Think

Andrew Lippa

David Shire
Craig Carnelia

The Grass Harp

A Gentleman's
Guide to Love and
Murder
Forest For the Trees The Spitfire Grill

Claibe Richardson
Steven Lutvak
James Valcq

70s and 80s dramatic

ballad
Modern dramatic ballad
Modern dramatic swing
uptempo
Modern dramatic
uptempo
Modern dramatic
uptempo
Contemporary Art song
ballad
70s and 80s dramatic
charm
Contemporary Art song
ballad
70s and 80s dramatic
pop uptempo
Contemporary legit.
dramatic waltz
Modern dramatic pop
uptempo

!102

Voice Type
High Baritone

Source
Vocal Selections

Tenor

Vocal Selections

Baritone

Vocal Selections

Baritone
Tenor

Alan Menken
Songbook
Vocal Selections

Tenor

Vocal Selections

Baritone

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

The Stephen
Schwartz Songbook

Baritone
Baritone

Vocal Selections

Baritone

Vocal Selections

High Baritone

Vocal Selections

Baritone

Finding Home folio

Baritone

Vocal Selections

Tenor

Craig Carnelia
Songbook
P/C Score

Baritone with
falsetto
Tenor
Tenor

Vocal Selections
P/C Score

Title
Freeze Your Brain

Show
Heathers

Composer
Lawrence O'Keefe

Goodbye

Catch Me If You
Can
Nine

Marc Shaiman

Guidos Song

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 Cant Recall

A Tale of Two
Cities
Sweet Smell of
Success
Baby

Jill Santoriello

Voice Type
Tenor

Source
P/C Score

Tenor

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 Art song Baritone

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

High Baritone

David Shire

Zanna Dont

Tim Acito
David Shire

I Like Everybody

Starting Here,
Starting Now
Starting Here,
Starting Now
Most Happy Fella

I Once Knew

Edges

I Ran

Little Fish

I Stand Alone

Goya

Benj Pasek and

Justin Paul
Michael John
LaChiusa
Maury Yeston

I Stayed

A Catered Affair

John Bucchino

I Cannot Hear the

City
I Choose Right
I Could Write
Books
I Dont Remember
Christmas
I Hear Bells

Adam Gwon

Comments
Modern comedic Pop
moving ballad
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 Art song
ballad

Marvin Hamlisch

David Shire
Frank Loesser

Vocal Selections
Ahrens and Flaherty
Songbook

Tenor

Vocal Selections

Baritone

Vocal Selections

High Baritone

Vocal Selections

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

Tenor

Vocal Selections
(Eb major) P/C (G
major)
P/C Score

Baritone

Vocal Selections

Baritone

Vocal Selections

Tenor

P/C Score

!103

High Baritone
Tenor
Baritone
Baritone

The Michael John

LaChiusa Songbook
The Maury Yeston
Songbook
Composer website

Title
I Think I Can Play
This Part
I Think I Like Her

Show
The Goodbye Girl

Composer
Marvin Hamlisch

Comments
Voice Type
Modern dramatic ballad Baritone

David Kirshenbaum Modern romantic

uptempo
I Turned the Corner Thoroughly Modern Jeanine Tesori
Modern dramatic
Millie
disclosure ballad
I Understand
On The Town, cut Leonard Bernstein Golden Age comedic
uptempo
I Want to Fly
The Flight of the
Robert LindseyModern dramatic
Lawnchair Man
Nassif
disclosure ballad
I Was Here
The Glorious Ones Stephen Flaherty
Modern dramatic
disclosure ballad
Id Rather Be
A New Brain
William Finn
Modern
Sailing
Ill Go Home With Brigadoon
Frederick Loewe
Golden Age romantic
Bonnie Jean
uptempo
Im a Mean Ole
The Wiz
Charlie Smalls
70s and 80s comedic
Lion
pop uptempo
Im in Love! Im In The Rothschilds
Jerry Bock
Golden Age comedic
Love
uptempo
Im Not That Smart 25th Annual Putnam William Finn
County Spelling
Bee
Ive Got To Find a Carnival
Bob Merrill
Golden Age dramatic
Reason
disclosure ballad
Ive Got Your
Little Me
Cy Coleman
Golden Age romantic
Number
charm uptempo
If Dreams Come
A Tale of Two
Jill Santoriello
Contemporary legit.
True
Cities
dramatic disclosure
ballad
If I Ever Say Im
John Bucchino
Modern romantic ballad
Over You
If I Have To Live
The Bakers Wife
Stephen Schwartz 70s and 80s dramatic
Alone
ballad
If She Really Knew Theyre Playing
Marvin Hamlisch
70s and 80s dramatic
Me
Our Song
ballad
In Love With You
First Date
Alan Zachary,
Modern dramatic/
Michael Weiner
comedic pop uptempo
In the Fire
Scarlet Pimpernel
Frank Wildhorn
Contemporary legit.
dramatic uptempo
In These Skies
Ace
Richard Oberacker Modern dramatic
uptempo
Independence Day
Jeff Blumenkrantz Contemporary Art song
ballad
Infinite Joy
Issue In Question

Summer of 42

Elegies
Triumph of Love

It All Fades Away

The Bridges of
Madison County
It Took Me a While John and Jen
Just a Kiss Apart
Just a Kiss Apart
Just One Night

Gentlemen Prefer
Blondes
Gentlemen Prefer
Blondes
Doonesbury

Source
Vocal Selections

High Baritone

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

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

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
Jule Styne
Golden Age romantic
High Baritone P/C Score
waltz
Elizabeth Swados
70s and 80s dramatic
Tenor
P/C Score
pop ballad

!104

Title
Larger Than Life

Show
My Favorite Year

Composer
Alan Menken

Last Time I Came

To Memphis
Laura, Laura
Le Grand Boom
Boom
Learning To Let Go

Violet

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

Michael John
LaChiusa
Marc Shaiman

Jeanine Tesori

Mark Sandrich, Jr
Craig Carnelia

Love Cant 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 Wheres 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

New Words

In the Beginning

Maury Yeston

Not Afraid
On Lexington &
52nd Street

Easter Rising
Smash, TV show

Michael Arden
Marc Shaiman

Frank Loesser

Comments
Modern dramatic
disclosure ballad
Modern dramatic Rock
uptempo
Modern romantic ballad
Golden Age comedic
uptempo
Modern dramatic pop
ballad

Voice Type
Tenor
Tenor

Source
Alan Menken
Songbook
Vocal Selections

High Baritone
Baritone

Vocal Selections
Vocal Selections

Tenor

P/C Score

Modern dramatic pop

gospel uptempo
Modern dramatic
disclosure ballad
Modern dramatic pop
gospel uptempo
Golden Age dramatic
ballad
Modern dramatic ballad

Tenor

P/C Score

Baritone
Tenor

The Michael John

Lachiusa Songbook
Vocal Selections

Baritone

Vocal Selections

Baritone

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

Craig Carnelia
Songbook
The Maury Yeston
Songbook
Vocal Selections

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

High Baritone
Baritone
Baritone
Baritone
Tenor

Kiss of the Spider

Woman

High Baritone

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 with low Vocal Selections

range
Baritone
musicnotes.com

Golden Age dramatic

disclosure ballad
70s and 80s dramatic
Baritone
ballad
Modern dramatic ballad Tenor
Modern dramatic
High Baritone
uptempo

!105

Ahrens and Flaherty

Songbook
The Frank Loesser
Songbook
P/C Score

The Maury Yeston

Songbook
Composer website
musicnotes.com

Title
On My Bedside
Table
Once In a Lifetime
One Of The Good
Guys
One Second and a
Million Miles
Only With You
Out There

Show
Its Only Life
Stop the World (I
Want to Get Off)
Closer Than Ever
The Bridges of
Madison County
Nine

Composer
John Bucchino

Comments
Modern dramatic
uptempo
Leslie Bricusse,
Golden Age dramatic
Anthony Newley
ballad
David Shire
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 Bakers 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
Robertos Eyes

Lestat

Elton John

Death Takes a
Holiday
See Rock City and
Other Destinations
Lestat

Maury Yeston

Rock City
Sail Me Away
Sailing On

Brad Alexander
Elton John
Alan Menken

Newsies

Alan Menken

Sarah
Seeing You There

The Civil War

Ordinary Days, cut

Frank Wildhorn
Adam Gwon

Seena

1600 Pennsylvania
Avenue
Kiss of the Spider
Woman
Hercules, cut

Leonard Bernstein

A Gentleman's
Guide to Love and
Murder
Allegro

Steven Lutvak

Shooting Star
Sibella
So Far
So You Wanted to
Meet the Wizard
Someone To Fall
Back On

The Wiz

Source
Vocal Selections

Baritone

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's a Woman

Voice Type
Baritone

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 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
Tenor

P/C Score

Tenor

Alan Menken
Songbook
Vocal Selections
(published earlier in
a Baritone key)
Vocal Selections

Tenor

Baritone
Tenor

Tenor

Golden Age romantic

Baritone
ballad
Charlie Smalls
70s and 80s dramatic
Tenor
pop uptempo
Jason Robert Brown Modern dramatic ballad Baritone

!106

Bernstein Theatre
Songs: Low Voice
Kiss of the Spider
Woman
Alan Menken
Songbook
Vocal Selections
Vocal Selections
Vocal Selections
The Jason Robert
Brown Collection

Title
Something About
You
Something From a
Dream
Soul of a Man

Show
Altar Boyz
The Bridges of
Madison County
Kinky Boots

Souvenir
Sparklejollytwinkle- Elf
jingley
Step One
Kinky Boots
Stop! Wait! What?! A Gentleman's
Guide to Love and
Murder
Stranger
Big Fish
Taking the Wheel
Temporarily Lost
Thank God Shes
Blind
That's Show Biz

The Bridges of
Madison County
Toxic Avenger

Composer
Gary Adler

Comments
Modern dramatic/
comedic ballad
Jason Robert Brown Contemporary legit.
dramatic pop uptempo
Cindi Lauper
Modern dramatic pop
moving ballad
Ricky Ian Gordon Contemporary Art song
ballad
Matthew Sklar
Modern comedic charm

Voice Type
Tenor

Source
Vocal Selections

Tenor

Vocal Selections

Tenor

Vocal Selections

Tenor
Tenor

A Horse With
Wings folio
Vocal Selections

Cindi Lauper

Modern dramatic pop

uptempo

Tenor

Vocal Selections

Steven Lutvak

Contemporary legit.
dramatic patter song

Tenor

Vocal Selections

Tenor

Vocal Selections

Tenor
Baritone

Grateful: The Songs

of John Bucchino
Vocal Selections

Tenor

Vocal Selections

Andrew Lippa

Modern dramatic
moving ballad
John Bucchino
Modern dramatic pop
uptempo
Jason Robert Brown Contemporary legit.
dramatic pop ballad
David Bryan
Modern comedic ballad
Michel Legrand

That's What I Could Violet

Do
Thatll Never Be
Now.Here.This
Me (Male)
Thats For Me
State Fair

Jeanine Tesori

70s and 80s swing

Baritone
uptempo
Modern dramatic ballad Baritone

The Michel Legrand

Songbook
Vocal Selections

Jeff Bowen

Modern dramatic ballad High Baritone

Vocal Selections

Richard Rodgers

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
Tenor

The Maury Yeston

Songbook
The Michael John
Lachiusa Songbook

The Bed Was Not

My Own
The Bus

Hello Again

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

Youre a Good
Man, Charlie
Brown
Illyria

Clark Gesner

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 Lady Must Be

Mad
The Life That You
Wished For
The Lives of Me
The Night Was
Alive
The One I Love

Michael John
LaChiusa
Caroline, or Change Jeanine Tesori

Is There Life After

High School?

Peter Mills

!107

Title
The Shortest Day of
the Year
The Streets of
Dublin
She Looked at Me
The World Inside a
Frame
There But For You
Go I
There is a Sucker
Born Evry Minute
This is New
Those Were the
Good Old Days
Till I Loved You

Show
The Boys From
Syracuse
A Man of No
Importance
See What I Wanna
See
The Bridges of
Madison County
Brigadoon
Barnum
Lady in the Dark
Damn Yankees
Goya

Unexpressed
Use What You Got
Wanting Things

Composer
Richard Rodgers

Comments
Musical Comedy
romantic ballad
Stephen Flaherty
Modern dramatic pop
uptempo
Michael John
Modern dramatic
LaChiusa
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

The Life
Cy Coleman
Promises, Promises Burt Bacharach

Watching the Show The Times

Brad Ross, Joe

Keenan
David Shire

70s and 80s dramatic

pop moving ballad
Modern dramatic pop
uptempo
70s and 80s comedic
uptempo
70s and 80s romantic
ballad
Modern dramatic ballad

Voice Type
Baritone

Source
Vocal Selections

Tenor

Vocal Selections

Tenor
Baritone

The Michael John

Lachiusa Songbook
Vocal Selections

Baritone

Vocal Selections

Tenor

Vocal Selections

Baritone

P/C Score

Baritone

Vocal Selections

Baritone

The Maury Yeston

Songbook
Grateful: The Songs
of John Bucchino
Vocal Selections
Vocal Selections

Baritone

Baritone
Baritone

We Can Talk To
Each Other
Well Have
Tomorrow
Welcome To the
World
What Am I Doing?

Starting Here,
Starting Now
Little Shop of
Horrors, cut
A Man of No
Importance
Closer Than Ever

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.

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

!108

Tenor
Baritone
Baritone

newmusicaltheatre.c
om
Vocal Selections
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

Title
You Dont Need to
Love Me
You Gotta Die
Sometime
You Never Know

Show
If/Then
Falsettos
If/Then

You Tore My Heart Toxic Avenger

Out
You're Different
Violet
Youre Never Alone The Bridges of
Madison County
Youre There Too
In the Beginning

Composer
Tom Kitt

Comments
Modern romantic pop
ballad
William Finn
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
!

!109

Voice Type
Tenor

Source
Vocal Selections

Baritone

Vocal Selections

Tenor

Vocal Selections

Tenor

Vocal Selections

High Baritone

Vocal Selections

Tenor

Vocal Selections

Tenor

P/C Score

Sondheim
!
Ive nothing to say. Well, nothing thats not been said.
!!

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

!
!

Guide to Sources
Sondheim for Singers SFS=Sondheim for Singers (Soprano, Mezzo-Soprano, Tenor, Baritone)
TSMTA=The Singers Musical Theatre 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

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.

!
Invocation and instructions. The frogs.
!

Add all things bright and beautiful

Soprano

Song

Show

Comments and Sources

A Parade In Town
All Things Bright and Beautiful

Anyone Can Whistle

Marry Me a Little

Anyone Can Whistle (E-flat major) Anyone Can Whistle

AS 1 (E-flat major. Lower in the score.)

AS 2 (Soprano/Tenor Duet but can be made into a
solo)
SFS (Soprano)

Children Will Listen

Into the Woods

SFS (Soprano), TSMTA 4

Dawn

Singing Out Loud

AS 4

Do I Hear A Waltz? (F major)

Do You Hear A Waltz?

SFS (Soprano)

Everybody Says Dont (D major)

Anyone Can Whistle

SFS (Soprano)

Fear No More

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
I Never Do Anything Twice (F
minor)

Passion
The Seven Percent Solution
(film)

SFS (Soprano)
SFS (Soprano)

!110

Song

Show

Comments and Sources

I Remember

The Evening Primrose

SFS (Soprano), TSMTA 3

I Wish I Could Forget You (key)

Passion

SFS (Soprano)

Im All For You

Saturday Night

SFS (Soprano)

In Buddys Eyes (E-flat major)

Follies

SFS (Soprano)

Isn't He Something? (G major)

Road Show

SFS (Soprano)

Isnt It?

Saturday Night

SFS (Soprano)

It Wasnt Meant To Happen

Follies (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 One Is Alone (Key?)

Sunday in the Park

Into the Woods

AS 4 (Duet in the show but this edition is a solo)

SFS (Soprano)

Not A Day Goes By (F major)

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

Remember

A Little Night Music

SFS (Soprano)

Sand (F major)
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 (Key?)

The Evening Primrose

SFS (Soprano), TSMTA 2

That Dirty Old Man

A Funny Thing Happened on

the Way to the Forum
A Funny Thing Happened on
the Way to the Forum

SFS (Soprano)

The Girls Of Summer

Marry Me a Little

SFS (Soprano), TSMTA 3

The Glamorous Life

A Little Night Music

SFS (Soprano), TSMTA 2

The Two of You

Kukla, Fran and Ollie

SFS (Soprano), AS 4

They Ask Me Why I Believe in

You
Too Many Mornings

I Believe in You

SFS (Soprano), AS 4

Follies

AS 4

Water Under the Bridge

Singing Out Loud

SSFT

What More Do I Need? (E-flat

major)
With So Little To Be Sure Of

Saturday Night

SFS (Soprano)

Anyone Can Whistle

SFS (Soprano)

That'll Show Him

!111

SFS (Soprano), TSMTA 1

Mezzo-Soprano
Song

Show

Comments and Sources

A Parade In Town

Anyone Can Whistle

Vocal Score, In Bb

Ah, But Underneath

Follies

TSMTA 3

Another Hundred People

Company

SFS (Mezzo), TSMTA 2

Anyone Can Whistle (C major)

Anyone 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? (cut)

Follies

SFS (Mezzo)

Children and Art

Vocal Score

Children Will Listen (B-flat major)

Could I Leave You?

Sunday in the Park With

George
Into the Woods
Follies

Do I Hear a Waltz? TAKE THIS ONE OUT

Do I Hear a Waltz? (D-flat major)
Everybody Loves Louis

Do You Hear a Waltz?

Do You Hear a Waltz?
Sunday in the Park

AS 4
SFS (Mezzo)
SFS (Mezzo), TSMTA 2

Everybody Says Dont (B-flat)

Fear No More
Getting Married Today

Anyone Can Whistle

The Frogs
Company

SFS (Mezzo)
SFS (Mezzo)
SFS (Mezzo)

Good Thing Going (C major)

Goodbye For Now

Merrily We Roll Along

Reds (Film)

SFS (Mezzo),
SSFT

I Know Things Now

Into the Woods

Vocal Score

I Never Do Anything Twice

The Seven-Per-Cent Solution SFS (Mezzo) (D minor), AS 1 (F

(Film)
minor)

I Read

Passion

SFS (Mezzo)

I Wish I Could Forget You key?...

Passion

SFS (Mezzo)

Im Still Here

Follies

SFS (Mezzo), AS 1, TSMTA 4

Ive Got You To Lean On

Anyone Can Whistle

SFS (Mezzo)

In Buddy's Eyes

Follies

SFS (Mezzo), TSMTA 1

Isnt He Something

Road Show

Vocal Selections?....?

Isnt It?
Ladies Who Lunch

Saturday Night
Company

M (Baritone) or F (Mezzo)
SFS (Mezzo)

Last Midnight

Into the Woods

Vocal Score

Liaisons

A Little Night Music

SFS (Mezzo), AS 3

Like It Was

Merrily We Roll Along

SFS (Mezzo)

Losing My Mind

Follies

SFS (Mezzo), TSMTA 1

Loving You

Passion

Maybe Theyre Magic

Into the Woods

SFS (Mezzo), 1/2 step lower in vocal

score
Vocal Score

Me and My Town

Anyone Can Whistle

Vocal Score

Moments in the Woods

Into the Woods

SFS (Mezzo)

!112

SFS (Mezzo)
SFS (Mezzo), TSMTA 1

Song

Show

Comments and Sources

More

Dick Tracy

No One Is Alone (B-flat major)

Not a Day Goes By (B-flat)

Into the Woods

Merrily We Roll Along

SFS (Mezzo) (D-flat minor), SSFT

(E-flat minor)
SFS (Mezzo)
SFS (Mezzo)

Not While Im Around (C major)

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 Along

Sunday in the Park With
George
Anyone Can Whistle

Send In the Clowns (D-flat major)

A Little Night Music

SFS (Mezzo), TSMTA 1

So Many People in the World (C major)

Sooner or Later

Saturday Night
Dick Tracy

Sunday in the Park With George

Sunday in the Park With

George
Evening Primrose
A Funny Thing Happened on
the Way to the Forum

SFS (Mezzo)
SFS (Mezzo) (C major), SSFT (E-flat
major)
Vocal Score

Take Me To The World (A-flat major)

That Dirty Old Man

SFS (Mezzo)

SFS (Mezzo)
Vocal Score

The Ladies Who Lunch

Company

SFS (Mezzo), TSMTA 3

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

Anyone Can Whistle (cut)

SFS (Mezzo), TSMTA 2

Truly Content

SFS (Mezzo), AS 3

Uptown, Downtown

Marry Me a Little,
Passionella
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
Anyone Can Whistle

SFS (Mezzo), AS 2
SFS (Mezzo)

SFS (Mezzo), TSMTA 3

Tenor
Song

Show

All Aboard!
Anyone Can Whistle (F major)
Beautiful Girls
Being Alive
Buddys Blues (The God-Why-Dont-You-Love-Me
Blues)
Children Will Listen (C major)
Everybody Says Dont (E-flat major)
Fear No More (G major)
Finishing the Hat
Franklin Shepard, Inc.
Free

The Frogs
Anyone Can Whistle
Follies
Company
Follies

SFS (Tenor)
SFS (Tenor)
SFS (Tenor), TSMTA 2
SFS (Tenor), TSMTA 1
SFS (Tenor), TSMTA 3

Into the Woods

Anyone Can Whistle
The Frogs
Sunday in the Park With George
Merrily We Roll Along
A Funny Thing Happened on the Way to the
Forum

SFS (Tenor)
SFS (Tenor)
SFS (Tenor)
SFS (Tenor), TSMTA 1
Vocal Score
TSMTA 4

Comments and
Sources

!113

Song

Show

Giants in the Sky

Good Thing Going (G Major)
Im Calm

Into the Woods

Merrily We Roll Along
A Funny Thing Happened on the Way to
the Forum

SFS (Tenor), TSMTA 4

SFS (Tenor)
SFS (Tenor)

If You Can Find Me, Im Here (G major)

Johanna (E-flat major)
Ladies and their Sensitivities
Later
Lesson #8
Live Alone and Like It (E-flat)
Live, Laugh Love
Losing My Mind (E major)
Love, I Hear

Evening Primrose
Sweeney Todd
Sweeney Todd
A Little Night Music
Sunday in the Park With George
Dick Tracy
Follies
Follies
A Funny Thing Happened on the Way to the
Forum

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

Loveland
Loving You (F major)
Lucy and Jessie
Make the Most of Your Music
Marry Me a Little (D-flat major)
Multitudes of Amys (E-flat major)
No One is Alone (E-flat major)
Not a Day Goes By (F major)
Not While Im Around
Old Friends
Pretty Women (A major)
Putting It Together
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?

Follies
Passion
Follies
Follies
Company
Company (cut)
Into the Woods
Merrily We Roll Along
Sweeney Todd
Merrily We Roll Along
Sweeney Todd
Sunday in the Park With George
A Little Night Music
Company
Company
Follies (cut)
Sweeney Todd
Follies
I Believe In You
Dick Tracy

Whos That Woman

With So Little To Be Sure Of (E-flat major)

Follies
Anyone Can Whistle

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)
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)

Comments and
Sources

Baritone
Song

Show

Anyone Can Whistle (D major)

Anyone Can Whistle

SFS (Baritone)

Ariadne

The Frogs

SFS (Baritone)

Being Alive (C major)

Company

SFS (Baritone)

Bring Me My Bride

A Funny Thing Happened on the Way SFS (Baritone), TSMTA 4

to the Forum
Follies
SFS (Baritone)

Buddys Blues (The God-Why-Dont-You-Love-Me

Blues)
Children Will Listen (B-flat major)
Do I Hear a Waltz?
Epiphany
Everybody Ought To Have a Maid

Into the Woods

Comments and Sources

SFS (Baritone)

Do You Hear a Waltz?

AS 4
Sweeney Todd
SFS (Baritone)
A Funny Thing Happened on the Way SFS (Baritone)
to the Forum

!114

Song

Show

Everybody Says Dont (C major)

Fear No More (E-flat)

Anyone Can Whistle

The Frogs

SFS (Baritone), TSMTA 1

SFS (Baritone), AS 2

Good Thing Going (F major)

Growing Up
Happily Ever After
I Remember That
If You Can Find Me, Im Here (F major)
In Praise of Women
Invocation and Instructions to the Audience
Is This What You Call Love?
Its In Your Hands Now
Johanna (E-flat major)

Merrily We Roll Along

Merrily we Roll Along
Marry Me a Little
Saturday Night
The Evening Primrose
A Little Night Music
The Frogs
Passion
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)

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 More

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, Mary 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 Happened on the
Way to the Forum
Sweeney Todd

Send in the Clowns (F major)

A Little Night Music

SFS (Baritone)

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 Didnt Take
The Worlds Full of Girls

Road Show
Follies
Follies
Follies (cut)

SFS (Baritone), AS 4
Vocal Selections. Duet in the
show but can be adapted into
a solo
Vocal Selections
SFS (Baritone), TSMTA 4
SFS (Baritone), TSMTA 1
AS 4

!115

Comments and Sources

SFS (Baritone)

Song

Show

Too Many Mornings

What Can You Lose? (A-flat major)

Follies
Dick Tracy

What More Do I Need?

When
With So Little To be Sure Of (C major)
You Must Meet My Wife

Marry Me a Little
The Evening Primrose
Anyone Can Whistle
A Little Night Music

Your Eyes Are Blue

Comments and Sources

AS 4
SFS (Baritone)

AS 2
SSFT
SFS (Baritone), TSMTA 5
SFS (Baritone) (F major), AS
1 (G-flat major)
A Funny Thing Happened on the Way TSMTA 5
to the Forum

!
!
!

!116

Glossary
Add contemporary art song
Almost in Love song ASK ETHAN IS THERE ANOTHER TERM? Not quite in love song
Active first beat - The physical response to the Moment Before.
Alliteration
Antihero
Appoggiatura - a skip from one chord tone that resolves by step to a chord tone
Assonance
Backbeat - in Pop and Rock, the strongest beats are 2 and 4. This is called the Backbeat.
Backbeat develops out of Ragtime with strong left hand chords on these 2 beats. The Backbeat
in Pop and Rock gives the music a forward momentum and drive.
Ballad - a slow or moderately slow song, often about romantic love or another strong emotion.
Beat (acting term) - The smallest unit of dramatic action with each distinguished by a change of
objective. Each unit of language is organized by the tactic used to achieve an objective.
Bel Canto style - a style of singing characterized by beauty of tone. Legato and evenness across
the registers are trademarks of this style.
Belt
Blue Note - the flattened or lowered 3rd, 5th and 7th scale degrees in Blues and Jazz derived
from African-American Work Songs. Pitches are lowered for expressive purposes.
Book Musical
Breakdown
Buffo
Charm song
Concept Musical
Defining sentence - A concise summation of the song's action you will say to yourself before
you sing.
Diagetic song or diagetic musical. Once, Jersey Boy, Beautiful
Disclosure Song, or Song of Disclosure -A song that allows a character to reveal new or hidden
information to the audience or another character
Dissonance
Enharmonic-a pitch that is equivalent to another note but spelled differently. Bb and A# are
enharmonically the same pitch.
Essence-the gist of a person or character's psychology, manner or personae.
Golden Age

!117

Great American songbook - The enduring Standards known by most Americans primarily from
the 1920s to the 50s. There are a few songs that share attributes of great American popular songs
written after the 50s that can legitimately be considered a part of this repertoire.
Harmonic Rhythm - The rate at which harmony changes.
I Want Song - see disclosure.
Inciting Event - The event which elicits or causes the beginning of the song to be inevitable.
Indicating, indication. Gestures made by an actor that demonstrate or illustrate what she is
talking about. It's discouraged except in a few special instances. If the image you're speaking of
is complex and needs help in communicating, indication of the image can be considered.
Inner Monologue
Internal rhyme
Legit
Melisma - more than one pitch on a single syllable.
Melodic apex
Melodic motive
Melodic nadir
Mix
Modified song form ABAB
Moment Before
Moving Ballad
Musical Theatre Verse. In Classic American popular songs and musical theatre songs from the
Golden Age to today, the verse begins the song and establishes the context and reason for the
refrain which follows. Musical Theatre verses exist in contrast to a Pop/Rock Verse, which is
repeated between choruses and establishes contrast between the choruses. (see discussion of
verse in Forte p. 36)
Nasality
Neighbor tone - a non-chord tone which steps away from a chord tone and back to a chord tone
Non legato - a type of articulation that is not connected or legato.
Objective - a term used in acting to indicate
Objective Interpretation
Onomatopoeia - bang, flip, honk, pop, smack,whisper, tick tock
Operetta Original Cast Album (OCR) - a recording of the songs from an original musical or revival meant
to document the songs as experienced by the audience.
Other -The person you are speaking to in a song. The other can be yourself by imagining the
you are split into at least two parts. The head could sing to the heart or the brave side
could sing to the cowardly side. See page? for for more.
!118

Other terms related to melodic analysis

Parlando
Passing tone - a non-chord tone which steps between two chord tones
Patter Song Performance practice
Poperetta - a musical that blends stylistic traits of pop or rock music with a lavish, grand
Operatic theatrical style. Andrew Lloyd Webbers Phantom of the Opera is the best example.
Popular ballad Allen Forte page 26
Refrain
Rhyme
Ride-out
Riff (riffing) - An embellishment or improvisation on a pop/rock melody.
Rubato
Situation Song cycle musical. There are good songs to study in this category but they don't make good
audition songs
Song form AABA
Subjective Interpretation -The story of your account of the song as opposed to the Objective
Interpretation.
Super Objective
Swing - A musical style characterized redistributing the values of eighth notes, giving more
length to the first eighth notes in a set of two. It lends a lopping, lilting quality. Swing is a mindset and a way of playing that's cool, sophisticated and urban.
Syncopation
Ternary form
Tessitura-The prevailing range of a melody, within which most of the pitches lie. The tessitura
of a song is not determined by a few isolated pitches of extraordinarily high or low pitch but
instead the part of the voice that is used most consistently.
Tin Pan Alley
Torch Song
Uptempo
Vaudeville ending
Vibrancy
Vocal identity - The qualities that differentiate one singer from another. Distinctive
characteristics like vibrato and tone color are different for every singer.

!119

Word painting (music came before words prior to 1943 or so, even in the case of Berlin and
Porter)

!
!

!120

Musical Theatre Song Study and Audition Bibliography

Add Flom Branding book.

Add acting through son
Enraged accompanist

!
!

Alper, Steven M. Next! Auditioning for the Musical Theatre. Portsmith, NH: Heinemann,
1995.
Bell, John and Chicurel, Steven R. Music Theory for Musical Theatre. Plymouth, UK:
Scarecrow Press, 2008.
Brunetti, David. Acting Songs. New York: David Brunetti, 2006.
Caldarone, Marina, and Lloyd-Williams, Maggie. Actions: The Actors Thesaurus. Hollywood:
Drama Publishers, 2004.
Cohen, Darren, and Perilstein, Michael. The Complete Professional Audition. New York: Back
Stage Books, 2005.
Craig, David. A Performer Prepares: A Guide to Song Preparation for Actors, Singers and
Dancers. New York: Applause, 1993.
Craig, David. On Singing Onstage. New York: Applause, 1978.
Deer, Joe and Dal Vera, Rocco. Acting in Musical Theatre: A Comprehensive Course. New
York, Routledge, 2008.
Flom, Jonathan. 25 Secrets to Giving a Fantastic Musical Theatre Audition. Scarecrow Press,
2009
Flom, Jonathan. Get the Callback: The Art of Auditioning for Musical Theatre. Scarecrow
Press, 2009
Kayes, Gillyanne, and Fisher, Jeremy. Successful Singing Auditions. New York, Routledge,
2002.
Kayes, Gillyanne. Singing and the Actor. New York: Theatre Arts, 2004.
Kenrick, John. Musical Theatre: A History. Bloomsbury Academic, 2010
Melton, Joan. Singing in Musical Theatre. New York: Allworth Press, 2007.
Merlin, Joanna. Auditioning: An Actor-Friendly Guide. New York: First Vintage Books, 2001.
Miller, Scott. Strike Up the Band: A New History of Musical Theatre. Heinemann Drama,
2006
Moore, Tracey, and Bergman, Allison. Acting the Song. New York: Allworth Press, 2008.

!121

Mordden, Ethan. All That Glittered: The Golden Age of Drama on Broadway, 1919-1959. St.
Martins Press, 2007
Mordden, Ethan. Anything Goes: A History of American Musical Theatre. Oxford University
Press, 2013
Oliver, Donald. How to Audition for the Musical Theatre: A Step-by-Step Guide to Effective
Preparation. Lyme, NH: Smith and Kraus, 1995.
Ostrow, Stuart. Thank You Very Much. Hanover, NH: Smith and Kraus, Inc., 2002.
Ostwald, David. Acting for Singers. New York: Oxford University Press, 2005.
Robison, Kevin. The Actor Sings. Portsmith, NH: Heinemann, 2000.
Rutherford, Neil. Musical Theatre Auditions and Casting. Bloomsbury Methuen Drama,

2012
Sanders, Sheri. Rock the AuditionHow To Prepare For and Get Cast in Rock Musicals. Hal
Leonard Corporation, 2011
Silver, Fred. Auditioning for the Musical Theatre. New York: Penguin Book, 1985.
Stempel, Larry. Showtime: A History of the Broadway Musical Theatre. W. W. Norton &
Company, 2010
Suskin, Steven. Showtunes: The Songs, Shows, and Careers of Broadways Major Composers.
New York: Oxford University Press, 2000.

!
!
!

!122

Acknowledgements

I am indebted to many people for these resources. First, I would be nowhere without the
many writers who have inspired me. David Craig and Steven Suskin and all the writers listed on
the bibliography page have been my teachers. Secondly, I must thank Lara Teeter for the great
joy I have in teaching with him on a daily basis. Im very proud to have such a wonderful life
teaching at Webster University with him. And finally I need to thank Ethan Edwards, a man who
knows more about musicals than I do and has my constant companion.

!
!

!123

Growing your Voice

!
Give tips on how to practice, what to sing when youre not preparing an audition
!The repertoire suggestions below are just thatsuggestions. In an effort to give some guidance to the

musical theatre voice curriculum, this list was developed by Neal Richardson in cooperation with Lara
Teeter. It is a work in progress. Included in Appendix 1 is a list of song types that every student should
have in their audition book. There are some other lists which follow that might be of some interest.

Todays musical theatre singer is required to successfully sing a wide range of literature and in a
wide variety of styles everyday of their auditioning life. The ability to do this is crucial for their success.
It is our hope that their four years of study in conservatory classes and voice lessons at Webster will give
them the confidence and skill to be able to do this.

Belt technique, mix, rock and roll styles, and a contemporary sensibility are mandatory for every
modern musical theatre performer and we hope that our students can learn these things, to the degree that
they apply themselves, in lessons. It is our belief that singers can only do this healthfully with a strong
vocal technique based in classical literature.

Choosing literature is always a challenge. In the classical music areas, I have given only broad
guidelines. Please use your extensive knowledge and expertise in choosing material. I have been more
specific with musical theatre literature.

The musical theatre anthologies published by Hal Leonard and Alfred are a great starting point
for our students as they contain a wealth of valuable and useful pieces for every voice type. While some
of the songs feel a little tired, we encourage using these books as the core of their study. I am partial to the
Hal Leonard books for their choice of literature and well-edited selections. Please do encourage your
students to invest in books. They will serve them for many years.

Not everything is still in print, however, and some of the most interesting songs have never been
published or are only available in piano/conductor scores. There are places to find this material. We
encourage students to buy books where possible and only obtain photocopies when purchasing the book is
not possible. During their time at Webster, students will begin to work on compiling their audition book.
This collection of songs will contain copies of music and not the actual books. This is just the way it is
done in New York and we try to help the students to create the best audition book for them.

The musical theatre anthologies are just a starting point though. It is important that toward the
end of their training our students reach out beyond these warhorses. Neal has developed resources for the
needs of our students toward that goal. One such resource is a list called Choice Songs found in
Appendix 2. Not all of these pieces are in print and many can only be found in the piano/conductor
scores. I have taken it upon myself to make these pieces easily available to you and our students. Please
let me know if you are interested in them.

The conservatory training at Webster University is well known for its strength as an acting
program. The students graduate with the ability to confidently walk into any kind of audition. This is not
to say that the musical training of our students has not been at the same level. But, sadly through no fault
of the voice faculty, often our students have not always had the same kind of confidence and skill in their
singing and/or the ability to synthesize their acting and singing. Again, I do not believe that this is the
fault of the voice faculty but is instead the result of a lack of strong musical leadership. It has been our
goal in the last few years to change this about our program. This repertoire list is one of the ways we can
address the needs of our graduates. Please call on Neal Richardson as music director of the conservatory
for questions about literature, style and any vocal need your students may have.
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