FMEA 2015 Professional Development Clinic-ConferenceMusic Education: Relevance in The Key of C

Critical Thinking Communication Collaboration Creativity

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

HARRISON SCHOOL FOR THE ARTSMUSICAL THEATRE DEPARTMENT

Anyone Can Whistle...Easy!?!Creating Dynamic Musical Theatre Performances

PROGRAM

“Sit Down Your Rocking the Boat” from Guys and Dolls Loesser/arr. Breymer 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 Menken and Feldman

Spencer Croy, 12th Grade

Crafting Successful College Auditions Joe Sniegocki

A Song for Student Showcase“Grow Old with Me” J.R. Brown

Remell Bowens, 12th Grade

Encourage Creativity & Excellence Suzi Lambert

“Quintet (Tonight)” from West Side Story Bernstein and SondheimRemell Bowens, Antravious Davis, Emma Stimpson, Spencer Croy,

Alexis Yost, 10th Grade and Chorus

HARRISON SCHOOL FOR THE ARTSMUSICAL THEATRE DEPARTMENT

School AdministrationDr. Daryl Ward, Principal

Kevin LeVine, Dean of StudentsLesley Chambers, Director of Student Services

Felicia Jackson, Student Services

Presentation TeamSuzi Lambert, Musical Theatre – Voice

Laurel Renfroe, Musical Theatre – DanceJoe Sniegocki, Dean of Musical Theatre – Acting

Cecilia Ingram, Adjunct Vocal InstructorTyler Campbell, Staff Accompanist

Ryland Marbutt, Student ChoreographerRob Lambert, Director of Winds & Percussion/Jazz Studies

Mason Frier, Jazz DepartmentJustin Rodriguez, Jazz Department

The PerformersGina BaroneRemell BowensGrace BoyntonKasey CarltonCrystal CarterSpencer CroyAntravious DavisHayley EllisonAynsley Fanizzi-RayburnAnna Marie FennellAudrey FisherJensen Hurd

Kaylan JohnsonPayton JohnsonRyland MarbuttKeaton ReynoldsJustin RodriguezPamela RodriguezEmma StimpsonEmily StricklandCorinne TitusMadelyn WalshAlexis 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…

“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 top-off 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… 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 – Techniqueo Tone, Breath, Rhythm, Pitch, Intonationo Accompaniment, Solo/Duet/Ensemble

Fixin’s – Musicalityo Genre, Style, Dynamics, Tempo, Diction, Word stress

Bread (Top Slice) - Acting o Literal Communication, Emotional Awareness, Gestures

KEYS TO A SUCCESSFUL AUDITION

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 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 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:

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

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 SHOWCASEMany 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/AdjudicatorDECEMBER – Holiday Community Performances, Walt Disney World Candlelight Processionaland Spring Musical AuditionsJANUARY – 1st Semester Jury AssessmentsMARCH – Spring Musical Theatre Department Musical “The Wiz” and School-wide Benefit ConcertAPRIL – Student Showcase AuditionsMAY – Student Showcases, 2nd Semester Jury Assessments, Fall All-School Musical Auditions

SAMPLE PROGRAM - 2014 Junior Showcase 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 “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 “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 “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 PiazzaAdvanced Soprano Voice (cont.)

“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 “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 “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 LineAdvanced Mezzo Soprano/Alto/Belter Voice “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 “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 “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 TryingIntermediate Tenor Voice (cont.) “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 “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 “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 ManchaDeveloping Baritone/Bass Voice (cont.) “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 “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 “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 “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 “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 “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 ToddDuets – Male/Male (cont.) “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 “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 “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 “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.) “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 Broadway Deluxe (Hal Leonard) The First Book of Broadway Solos (Hal Leonard)

o Sopranoo Mezzo-Soprano/Altoo Tenor

o Baritone/Bass The Singers Musical Theatre Anthology Volumes 1-5 (Hal Leonard)

o Soprano o Mezzo Soprano/Alto/Beltero Tenoro Baritone/Bass

The Singers Musical Theatre Anthology Volumes 1-5 “16 Bar Audition” (Hal Leonard)o Soprano o Mezzo Soprano/Alto/Beltero Tenoro 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.