FMEA 2015 Professional Development Clinic-Conference
Music Education: Relevance in The Key of C
Critical Thinking  Communication  Collaboration  Creativity
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HARRISON SCHOOL FOR THE ARTS
MUSICAL THEATRE DEPARTMENT
Anyone Can Whistle...Easy!?!
Creating Dynamic Musical Theatre Performances
Suzi Lambert, Presenter
Thursday, January 15 2:45 p.m. TCC 20
Friday, January 16 10:30 a.m. TCC 9
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HARRISON SCHOOL FOR THE ARTS
MUSICAL THEATRE DEPARTMENT
Anyone Can Whistle...Easy!?!
Creating Dynamic Musical Theatre Performances
PROGRAM
“Sit Down Your Rocking the Boat” from Guys and Dolls
Antravious Davis, 11th Grade and Chorus
Introductions/Overview of Session
Suzi Lambert
Encouraging Creative Student-Led Choreography
Laurel Renfroe
A Song for the Developmental Years
“On My Way” from Violet the Musical
Tesori and Crawley
Audrey Fisher,
9th
Grade
Encouraging Healthy Singing
Ceci Ingram
A Song for Show Auditions
“Kind of Woman” from Pippin
Schwartz
Emma Stimpson,
12th
Grade
Accompanist Protocol
Tyler Campbell
A Song for College Auditions
“Santa Fe” from Walt Disney’s Newsies
Spencer Croy, 12th Grade
Crafting Successful College Auditions
Menken and Feldman
Joe Sniegocki
A Song for Student Showcase
“Grow Old with Me”
J.R. Brown
Remell Bowens,
Encourage Creativity & Excellence
Loesser/arr. Breymer
12th
Grade
Suzi Lambert
“Quintet (Tonight)” from West Side Story
Bernstein and Sondheim
Remell Bowens, Antravious Davis, Emma Stimpson, Spencer Croy,
Alexis Yost, 10th Grade and Chorus
HARRISON SCHOOL FOR THE ARTS
MUSICAL THEATRE DEPARTMENT
School Administration
Dr. Daryl Ward, Principal
Kevin LeVine, Dean of Students
Lesley Chambers, Director of Student Services
Felicia Jackson, Student Services
Presentation Team
Suzi Lambert, Musical Theatre – Voice
Laurel Renfroe, Musical Theatre – Dance
Joe Sniegocki, Dean of Musical Theatre – Acting
Cecilia Ingram, Adjunct Vocal Instructor
Tyler Campbell, Staff Accompanist
Ryland Marbutt, Student Choreographer
Rob Lambert, Director of Winds & Percussion/Jazz Studies
Mason Frier, Jazz Department
Justin Rodriguez, Jazz Department
The Performers
Gina Barone
Remell Bowens
Grace Boynton
Kasey Carlton
Crystal Carter
Spencer Croy
Antravious Davis
Hayley Ellison
Aynsley Fanizzi-Rayburn
Anna Marie Fennell
Audrey Fisher
Jensen Hurd
Kaylan Johnson
Payton Johnson
Ryland Marbutt
Keaton Reynolds
Justin Rodriguez
Pamela Rodriguez
Emma Stimpson
Emily Strickland
Corinne Titus
Madelyn Walsh
Alexis Yost
BUILDING YOUR REPERTOIRE
Accept there is no such thing as “the perfect singer”, instead always be in pursuit of the perfect song that will
highlight strengths and minimize weaknesses. When building repertoire, think of a restaurant menu…
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“Appetizer” – A 16-bar cut which get their attention and leaves them wanting to know more.
“Signature Dish” – A 32-bar cut or full song that demonstrates a wide range of technique and is unique to
you and your personal story.
“Dessert” – A 16-32 bar-cut contrasting to everything above and demonstrates a personal and creative
twist. There is always a chance the audition panel might request “something else”. This choice should topoff the moment and leave great reviews.
SHOW AUDITION - When auditioning for a show, your goal is to demonstrate your ability to transform into a
specific character. To empower your audition, establish a mindset of enabling the director/production team to
meet the specific needs of casting. Careful not to pigeon-hole yourself into one specific role and instead be
open and willing to demonstrate a multitude of creative ideas through improvisation and dynamics.
COLLEGE AUDITION - When auditioning for a college, your goal is to first and foremost be yourself. The faculty
has only a few minutes to witness a clear and consistent image of confidence, capability, and potential in you
as a student and artist. To empower your college audition, enter with a desire to personally connect with the
selection committee. Song and monologue choices must not only demonstrate your technical abilities, but
also reveal your personal story and journey.
STRATEGIES FOR APPROACHING A SONG…
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Who – Who are you? Character
What – What is happening around it? Context
Why – Why are you singing? Purpose/Intent
Where – Where are you? Setting, Venue
When – When was the song written? Time period, Historical Context
How – How do I process the song? Eat it like a sandwhich…
 Bread (Bottom Slice)
o Text - Vocabulary, Articulation, Phrasing, Paraphrase, Monologue)
 Meat – Technique
o Tone, Breath, Rhythm, Pitch, Intonation
o Accompaniment, Solo/Duet/Ensemble
 Fixin’s – Musicality
o Genre, Style, Dynamics, Tempo, Diction, Word stress
 Bread (Top Slice) - Acting
o Literal Communication, Emotional Awareness, Gestures
KEYS TO A SUCCESSFUL AUDITION
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WHAT TO WEAR... You may choose to dress with a particular character in mind, but keep it simple. Sloppy
dress indicates sloppy work. Avoid distractions such as large patterns, logos and fashion fads. Shoes
should be comfortable with a moderate heel. Remember, you want the selection panel to remember YOU
and not what you were wearing.
HOW TO ENTER THE ROOM… Upon entering the room or the stage, “take-in” the room as you walk
towards the accompanist. Become familiar with the space. If the panel gives you eye contact, greet them
with a smile and “hello”, then proceed directly to the accompanist or room manager.
HOW TO CONNECT WITH YOUR ACCOMPANIST… Every singer’s best friend is the accompanist. From the
moment you meet your accompanist, treat them with respect and thank them for their assistance. Music
should be secured to avoid fly-away mishaps and clearly marked. Once you have completed your consult,
walk directly to where you will proceed with the audition.
HOW TO SLATE… Upon taking your place, make sure you are a comfortable distance from the panel and
the piano, not too close and not too far from either. Look for the audition panel’s cue to proceed. This
could come by way of a head-nod from the director or eye contact from everyone. Successful slates are
confident, clear, and the volume is at an appropriate level for the space. As part of your slate include the
following, greeting, name and title of song or monologue.
SONG DELIVERY… To begin your song, look to the accompanist and indicate you are ready and then look
forward and sing. Most importantly, once you begin do not look at the accompanist. Your goal is to
indicate clearly confidence and control of the performance. Looking back indicates inexperience and could
be interpreted as placing blame on the accompanist for any weakness in the performance. Strive for an
appropriate volume level with dynamic contrast and clear articulation. Careful to allow minor errors to
overtake the performance – finish strong!
Red Light/Green Light, Musically: Considerations While Examining Accompaniments
Green Lights
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Majority Power Chords: I, IV, V (Webber, Wildhorn, Alan Menken)
Chord Symbols Included Above Written Music
Minimalist-Leaning/Repeated Chord Structure (Schwartz, Boubil)
Well-Known Tune (The Sound of Music, My Fair Lady, Jukebox Musicals)
True Duets: Piano and Voice Both “Singing” (Cole Porter, Jule Styne, Irving Berlin)
[As Appropriate] Non-Musical Theatre Pieces for Variety
Red Lights
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Hand Crossing/Stride Piano (Ragtime, Chicago, If I Loved You from Carousel)
Overly Dense Orchestral Reductions (Bernstein, The Light in the Piazza)
Missing Live Instrumentation/Percussion-Driven (Rock Musicals: Hair, Spring Awakening, Rent, The Lion
King)
Difficult Sight Reading: Complicated Rhythm, Difficult Keys, Compound/Complex Time Signatures,
Rubato Throughout (Edges, Next to Normal, Most “Modern” Musicals)
Unrelated or Difficult Vocal Lines vs Tonality (Sondheim, Jason Robert Brown)
“Comp” One or Both Hands (Grease, The Wiz, Hairspray)
PREPARING A MONOLOGUE FOR AN AUDITION
While many musical theatre programs and conservatories do not include a monologue as part of the audition
process; there are many who do make it an integral part of evaluating a student’s ability speak sincerely to
another character or the audience without the heightened sensations which accompany music. In addition, a
monologue can demonstrate how a student handles language without a melody line. If your student needs a
monologue for an audition, here are some points you may wish to consider:
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Pick a monologue that suits a student’s age and type. Avoid monologues that are older people, people
with accents, people with mental or physical handicaps, or monologues in which there is offensive
language.
Avoid monologues that just tell a story. In an audition we want to see an actor have a Reaction to a
situation, Work out how they are going to solve the problem in the situation and Conclude with what
action they are going to take.
Pick monologues that a student is comfortable playing. For example: if a student’s parents are going
through a divorce, avoid divorce monologues. However, use the monologue as an opportunity for a
student to research. For example: Miss Evers’ Boys is a play based in history on the denial for health
treatment to African Americans in the 1930’s.
Avoid Shakespeare and other classical monologues unless they request a classical piece.
Perform monologues from One Act or Full Length Plays. Colleges want to know that a student has read
plays. Avoid stand-alone monologues that a student finds on-line. Use monologue books as a resource and
then find a copy of the play to read.
Most Audition pieces only need to be about 1 minute but certainly no longer than 2.5 minutes. Make sure
you check if a monologue is necessary for the audition and what restrictions they are including.
LIST OF SOURCES FOR MONOLOGUES
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The American Theatre Book of Monologues for Men Edited by Stephanie Coen
The American Theatre Book of Monologues for Women Edited by Stephanie Coen
Audition Monologues for Student Actors: Selections from Contemporary Plays Edited by Roger Ellis
Monologues for Young Actors Edited by Lorraine Cohen
The Theatre Audition Book Edited by Gerald Lee Ratliff
Best Monologues from the Best American Short Plays: Volume 1 and 2 Edited by William Demastes
STUDENT SHOWCASE
Many students suffer from performance stress and nervousness. Many strategies have been recommended,
but the most effective strategy is experience. Adam Pelty, Broadway performer recently worked with our
students as part of the Harrison School for the Arts Guest Artist Program and shared “Preparation is the bridge
to relaxation.” In order to encourage our students to become more comfortable with performing, consider
increasing performance opportunities as part of curriculum by way of a Student Showcase.
Here is a look at our 2015 Musical Theatre Department Performance Calendar…
OCTOBER – Faculty Student Showcase (Senior Scholarship Benefit Concert)
NOVEMBER – Fall All-School Musical “West Side Story”, Student Recital with Guest Artist/Adjudicator
DECEMBER – Holiday Community Performances, Walt Disney World Candlelight Processional
and Spring Musical Auditions
JANUARY – 1st Semester Jury Assessments
MARCH – Spring Musical Theatre Department Musical “The Wiz” and School-wide Benefit Concert
APRIL – Student Showcase Auditions
MAY – Student Showcases, 2nd Semester Jury Assessments, Fall All-School Musical Auditions
SAMPLE PROGRAM - 2014 Junior Showcase
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Monologue - Art is a Facebook Status About Your Winter Break by B.E. Fitzgerald
Ensemble – “Everybody Rejoice” from The Wiz arranged by Andy Beck
Female Vocal Solo – “What You Don’t Know About Women” from City of Angels
Male Vocal Solo - “Always On My Mind” by Johnny Christopher, Mark James and Wayne Carson
Dance Solo (Student Choreography) – “Caught Me”
Female Vocal Solo – “Meadowlark” from The Baker’s Wife
Ensemble – “Java Jive” arranged by Kirby Shaw
Female Vocal Solo – “Scene Ten: Audition Sequence” from The Last Five Years
Dance Solo (Student Choreography) – “Heaven”
Male Vocal Solo – “Not a Day Goes By” from Merrily We Roll Along
Ensemble – “Thank You” arranged by Jay Althouse
MUSICAL THEATRE LITERATURE BANK
Developing Soprano Voice
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“Getting to Know You” from The King and I
“How Are Things in Glocca Morra” from Finnian’s Rainbow
“I Could Have Danced All Night” from My Fair Lady
“If I Were A Bell” from Guys and Dolls
“It Might As Well Be Spring” from State Fair
“Lady Is A Tramp” from Babes In Arms
“Morning Person” from Shrek
“People Will Say We’re In Love” from Oklahoma
“Ribbons Down My Back” from Hello Dolly
“Waitin’ for My Dearie” from Brigadoon
“Wouldn’t It Be Loverly” from My Fair Lady
Intermediate Soprano Voice
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“Falling In Love with Love” from The Boys from Syracuse
“Feelings” from the Apple Tree
“Hello Young Lovers” from The King and I
“I Feel Pretty” from West Side Story
“If I Loved You” from Carousel
“Is It Really Me” from 110 in the Shade
“I’ll Know” from Guys and Dolls
“Love Look Away” from Flower Drum Song
“Lovely” from A Funny Thing Happened On the Way to the Forum
“Much More” from The Fantasticks
“Once Upon A Dream” from Jekyll & Hyde
“Only Love” from The Scarlet Pimpernel
“Out of My Dreams” from Oklahoma
“The Party’s Over” from Bells Are Ringing
“Raining In My Heart” from Dames at Sea
“Show Me” from My Fair Lady
“Till There Was You” from The Music Man
“Unusual Way” from Nine
“When I Look At You” from Scarlet Pimpernel
“Wishing You Were Somehow Here Again” from The Phantom of the Opera
Advanced Soprano Voice
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“Bride’s Lament” from The Drowsy Chaperone
“Christmas Lullaby” from Songs For A New World
“Green Finch and Linnet Bird” from Sweeney Todd
“The Girl in 14G” (not from a show)
“The Girls of Summer” from Marry Me A Little
“How Could I Ever Know” from The Secret Garden
“In His Eyes” from Jekyll & Hyde
“In My Life” from Les Miserables
“The Light in the Piazza” from The Light in the Piazza
Advanced Soprano Voice (cont.)
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“My Lord and Master” from The King and I
“My White Knight” from The Music Man
“Never” from On the Twentieth Century
“Not a Day Goes By” from Merrily We Roll Along
“One More Kiss” from Follies
“Poor Wand’ring One” from Pirates of Penzance
“Summertime” from Porgy and Bess
“Unexpected Song” from Song and Dance
“What Does He Want of Me” from The Man of La Mancha
“Will He Like Me” from She Loves Me
“Without You” from My Fair Lady
Developing Mezzo Soprano/Alto/Belter Voice
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“Always True to You In My Fashion” from Kiss Me Kate
“A Cockeyed Optimist” from South Pacific
“Don Juan” from Smokey Joe’s Cafe
“Honeybun” from South Pacific
“I Enjoy Being a Girl” from Flower Drum Song
“If They Could See Me Now” from Sweet Charity
“I Got the Sun in the Morning” from Annie Get Your Gun
“My New Philosophy” from You’re A Good Man, Charlie Brown
“Never Never Land” from Peter Pan
“Nothing Really Happened” from Is There Life After High School?
“On My Way” from Violet
“Stepsister’s Lament” from Cinderella
“A Wonderful Guy” from South Pacific
“You Can’t Get A Man With A Gun” from Annie Get Your Gun
Intermediate Mezzo Soprano/Alto/Belter Voice
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“A Change In Me” from Beauty and the Beast
“Always A Bride’s Maid” from I Love You Your Perfect Now Change
“Diamonds Are A Girl’s Best Friend” from Gentlemen Prefer Blondes
“Don’t Cry Out Loud” from The Boy from Oz
“Gorgeous” from The Apple Tree
“Hurry It’s Lovely Up Here” from On A Clear Day You Can See Forever
“I Don’t Know How to Love Him” from Jesus Christ Superstar
“I Never Knew His Name” from Brooklyn
“I Know the Truth” from Aida
“I Wish I Were In Love Again” from Babes In Arms
“If He Really Knew Me” from There Playing Our Song
“It’s A Perfect Relationship” from Bells Are Ringing
“Life with Harold” from the Full Monty
“Stars and Moon” from Songs for a New World
“There’s A Fine, Fine Line” from Avenue Q
“What I Did for Love” from A Chorus Line
Advanced Mezzo Soprano/Alto/Belter Voice
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“Adelaide’s Lament” from Guys And Dolls
“The Alto’s Lament” (not from show/Heisler and Goldrich)
“Another Hundred People” from Company
“Audition Sequence (When You Come Home to Me)” from The Last Five Years
“Come to Your Senses” from tick, tick…Boom!
“Crossword Puzzle” from Starting Here, Starting Now
“Don’t Rain on My Parade from Funny Girl
“Gimme Gimme” from Thoroughly Modern Millie
“Here I Am” from Dirty Rotten Scoundrels
“I Ain’t Down Yet” from The Unsinkable Molly Brown
“I Dreamed a Dream” from Les Misérables
“I’m Not” from Little By Little
“I’m Not Afraid of Anything” from Songs For A New World
“I’m Not That Girl” from Wicked
“Imagine My Surprise” from Personals
“In Short” from Edges
“Ireland” from Legally Blonde
“Losing My Mind” from Follies
“Maybe This Time” from Cabaret
“Someone Like You” from Jekyll & Hyde
“Still Hurting” from The Last Five Years
“The Music and the Mirror” from A Chorus Line
“A Trip to the Library” from She Loves Me
Developing Tenor Voice
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“Almost Like Being in Love” from Brigadoon
“Any Dream Will Do” from Joseph and the Amazing Technicolor Dreamcoat
”High Flying, Adored” from Evita
“Make Someone Happy” from Do Re Mi
“Many Moons Ago” from Once Upon a Mattress
“Miracle of Miracles” from Fiddler on the Roof
“Mister Cellophane” from Chicago
”Old Devil Moon” from Finian’s Rainbow
“On the Street Where You Live” from My Fair Lady
“That Face” from The Producers
”Younger Than Springtime” from South Pacific
Intermediate Tenor Voice
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“All Good Gifts” from Godspell
“Beauty School Dropout” from Grease
“Close Every Door” from Joseph and the Amazing Technicolor Dreamcoat
“Dancing Through Life” from Wicked
“Fortune Favors the Brave” from Aida
“Go the Distance” from Hercules
“I Am Adolpho” from The Drowsey Chaperone
“I Believe In You” from How to Succeed in Business Without Really Trying
Intermediate Tenor Voice (cont.)
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“I Can’t Stand Still” from Footloose
“I Will Follow You” from Milk and Honey
“Johanna” from Sweeney Todd
“Kansas City” from Oklahoma
“Left Behind” from Spring Awakening
“Love, I Hear” from A Funny Thing Happened On the Way to the Forum
“Mama Says” from Footloose
“Not While I’m Around” from Sweeney Todd
“The Old Red Hills of Home” from Parade
“One Track Mind” from Sweet Smell of Success
“The Only Home I Know” from Shenandoah
“Take A Chance On Me” from Little Women
“30/90” from tick, tick…Boom!
“Tonight at Eight” from She Loves Me
“Two Worlds” from Tarzan
“Willkommen” from Cabaret
Advanced Tenor Voice
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“All I Need Is the Girl” from Gypsy
“Alone at the Drive-in Movie” from Grease
“Anthem” from Chess
“Beethoven Day” from You’re A Good Man Charlie Brown
“Being Alive” from Company
“Can’t Take My Eyes Off of you” from Jersey Boys
“The Day After That” from Kiss of the Spider Woman
“December 1963 (Oh, What a Night)” from Jersey Boys
“Finishing the Hat” from Sunday in the Park with George
“I Only Want to Say (Gethsemane)” from Jesus Christ Superstar
“King Herod’s Song” from Jesus Christ Superstar
“Ladies in Their Sensitivities” from Sweeney Todd
“Lost in the Wilderness” from Children of Eden
“Love Changes Everything” from Aspects of Love
“Maria” from West Side Story
“The Music of the Night” from The Phantom of the Opera
“On this Night of a Thousand Stars” from Evita
“One Song Glory” from Rent
“Shiksa Goddess” from The Last Five Years
“Someone Is Waiting” from Company
“This Is the Moment” from Jekyll & Hyde
“Why God Why?” from Miss Saigon
Developing Baritone/Bass Voice
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“All That’s Known” from Spring Awakening
“Camelot” from Camelot
“Do I Love You Because You’re Beautiful” from Cinderella
“Dulcinea” from Man of La Mancha
Developing Baritone/Bass Voice (cont.)
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“Get Me to the Church on Time” from My Fair Lady
”I Wonder What the King Is Doing Tonight” from Camelot
“Leaning On the Lamp-post” from Me & My Girl
“Put On A Happy Face” from Bye Bye Birdie
“Ten Minutes Ago” from Cinderella
“Try to Remember” from The Fantasticks
Intermediate Baritone/Bass Voice
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“All I Care About” from Chicago
“Always Look On the Bright Side of Life” from Monty Python’s Spamalot
“Bring Me My Bride” from A Funny Thing Happened on the Way to the Forum
“C’est Moi” from Camelot
“Cool” from West Side Story
“Drink with Me” from Les Misérables
“Gaston” from Beauty and the Beast
“Good Thing Going” from Merrily We Roll Along
“Greased Lightning” from Grease
“How to Handle a Woman” from Camelot
“The Kite Song” from You’re A Good Man Charlie Brown
“I Wanna Be a Producer” from The Producers
“I Won’t Send Roses” from Mack and Mabel
“If Ever I Would Leave You” from Camelot
“If I Love You” from Carousel
“Javert’s Suicide” from Les Misérables
“Jet Song” from West Side Story
“Luck Be a Lady” from Guys and Dolls
”Me” from Beauty and the Beast
“Oh What A Beautiful Morning” from Oklahoma!
“Once Upon a Time” from All American
“Real Life” from tick, tick Boom!
“Some Enchanted Evening” from South Pacific
“They Call the Wind Maria” from Paint Your Wagon
“Try Me” from She Loves Me
“When Words Fail” from Shrek
Advanced Baritone/Bass Voice
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“Empty Chairs at Empty Tables” from Les Misérables
“Everybody Says Don’t” from Anyone Can Whistle
“Guido’s Song” from Nine
“Haben sie gehört das Deutsche Band?” from The Producers
“I’ve Come to Wive It Wealthily in Padua” from Kiss Me Kate
“If I Can’t Love Her” from Beauty and the Beast
“The Impossible Dream (The Quest)” from Man of La Mancha
“Sorry-Grateful” from Company
“Stars” from Les Misérables
Jazz Standards from Musicals/Reviews
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“Bewitched” from Pal Joey
“Ain’t Misbehavin’” from Ain’t Misbehavin’
“Almost Like Being In Love” from Brigadoon
“Anything Goes” from Anything Goes
“Blue Skies” from White Christmas
“Can’t Help Lovin’ Dat Man” from Showboat
“Dancing In the Dark” from The Band Wagon
“Embraceable You” from Crazy for You
“Ev’ry Time We Say Goodbye” from Seven Lively Arts
“From This Moment On” from Out of This World
“I Could Write A Book” from Pal Joey
“I Got You Under My Skin” from Born to Dance
“Isn’t It Romantic” from Love Me Tonight
“Just One of Those Things” from Jubilee
“Lady Is a Tramp” from Babes In Arms
“My Funny Valentine” from Babes In Arms
“My Romance” from Jumbo
“Night and Day” from Gay Divorce’
“Nice Work If You Can Get It” from Crazy for You
“On A Clear Day You Can See Forever” from On A Clear Day You Can See Forever
“Someone to Watch Over Me” from Crazy for You
“Summertime” from Porgy and Bess
“They Can’t Take that Away from Me” from Crazy for You
“Thou Swell” from Connecticut Yankee
“This Can’t Be Love” from Boys from Syracuse
Duets – Female/Female
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“A Boy Like That” from West Side Story
“The Actuary Song” from I Love You Because
“Every Day A Little Death” from A Little Night Music
“Freedom” from Unauthorized Autobiography of Samantha Brown
“Friendship” from Anything Goes
“I Know Him So Well” from Chess
“In His Eyes” from Jekyll & Hyde
“Secondary Characters” from Title of Show
“What Kind of Girl Is She? From Title of Show
“What You Don’t Know About Women” from City of Angels
“What About Love?” from The Color Purple
“Who Will Love Me As I Am?” from Side Show
Duets – Male/Male
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“Agony” from Into the Woods
“All for the Best” from Godspell
“It Would Have Been Wonderful” from A Little Night Music
“Pretty Women” from Sweeney Todd
Duets – Male/Male (cont.)
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“Guys and Dolls” from Guys and Dolls
“Lilly’s Eyes” from The Secret Garden
“We Can Do It” from The Producers
“When I Drive” from Bonnie and Clyde
“You’re Nothing Without Me” from City of Angels
Duets – Female/Male
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“All I Ask Of You” from The Phantom of the Opera
“Almost A Love Song” from Victor/Victoria
“Anything You Can Do” from Annie Get Your Gun
“Do You Love Me?” from Fiddler On the Roof
“Elaborate Lives” from Elton John and Tim Rice's AIDA
“I'd Give It All For You” from Songs for a New World
“I Think I Got You Beat” from Shrek the Musical
“People Will Say We’re In Love” from Oklahoma
“Romeo and Juliet” from Reefer Madness
“Sixteen Going On Seventeen” from The Sound of Music
“Sue Me” from Guys and Dolls
“The Song That Goes Like This” from Monty Python’s Spamalot
“This World Will Remember Us” from Bonnie and Clyde
“Too Late to Turn Back Now” from Bonnie and Clyde
“Too Many Mornings” from Follies
“Written in the Stars” from Elton John and Tim Rice's AIDA
Trios
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“At the Ballet” from A Chorus Line (3 Females)
“Dancing Queen” from Mama Mia (3 Females)
“Good Morning” from Singing In the Rain (1 Female, 2 Males)
“I Can’t Imagine” from Vanities (3 Females)
“I Know It’s Today” from Shrek (3 Females)
“Matchmaker” from Fiddler On the Roof (3 Females)
“Supertrooper” from Mama Mia (3 Females)
“You Can Drive A Person Crazy” from Company (3 Females)
Ensembles
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“Always Look On the Bright Side of Life” from Spamalot by Monty Python, Arr. by Mac Huff (Hal Leonard)
“Anything Goes” from Anything Goes by Cole Porter, Arr. Phillip Kern (Alfred)
“Being Alive” from Company by Stephen Sondheim, Arr. Mac Huff (Hal Leneord)
“Born to Hand Jive” from Grease by William Casey, Arr. by Kirby Shaw (Hal Leonard)
“Brand New You” from 13 The Musical by Jason Robert Brown, Arr. by Roger Emerson (Hal Leonard)
“Ease On Down the Road” from The Wiz by Charles Smalls, Arr. Jeff Funk (Alfred)
“Edgar Allan Poe” from Snoopy the Musical by Larry Grossman and Hal Hackady (Hal Leonard)
“Everybody Rejoice” from The Wiz by Charlie Smalls, Arr. Andy Beck (Alfred)
“Magic to Do” from Pippin by Stephen Schwartz, Arr. Allen Billingsley (Alfred)
“Morning Glow” from Pippin by Stephen Schwartz, Eric Van Cleave (Alfred)
“Our Time” from Merrily We Roll Along by Stephen Sondheim, Arr. Mac Huff (Hal Leonard)
Ensembles (cont.)
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“Something to Believe In” from Newsies by Alan Menken , Arr. Mac Huff (Hal Leonard)
“Sunday” from Sunday in the Park with George by Stephen Sondheim, Arr. Mac Huff (Hal Leonard)
“Through the Looking Glass” from Wonderland by Frank Wildhorn (SheetMusicPlus.com)
LITERATURE BANK RESOURCES
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Broadway Deluxe (Hal Leonard)
The First Book of Broadway Solos (Hal Leonard)
o Soprano
o Mezzo-Soprano/Alto
o Tenor
o Baritone/Bass
The Singers Musical Theatre Anthology Volumes 1-5 (Hal Leonard)
o Soprano
o Mezzo Soprano/Alto/Belter
o Tenor
o Baritone/Bass
The Singers Musical Theatre Anthology Volumes 1-5 “16 Bar Audition” (Hal Leonard)
o Soprano
o Mezzo Soprano/Alto/Belter
o Tenor
o Baritone/Bass
The Singers Musical Theatre Anthology Duets Volumes 1-3 (Hal Leonard)
On-line EPrint: Sheetmusicplus.com, musicnotes.com, jwpepper.com
MUSICAL THEATRE SONG ANALYSIS
TITLE:
SONG BOOK:
COMPOSER:
LYRICISIST:
PUBLISHER/COPYRIGHT:
CHARACTER:
PURPOSE/MOTIVATION:
VOCAL RANGE/TESSITURA:
KEY SIGNATURE: ___________
Modulation? NEW KEY(S): ___________
STYLE MARKINGS:
TIME SIGNATURE:
TEMPO:
DYNAMIC RANGE:
VOCABULARY: (List words or cliché’s of interest and define)
1.
2.
3.
TEXT : (Write out the text of the song and circle key words)
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If needed, continue on the back of this form.