Singer's Musical Theatre Anthology - Volume 7 Baritone/Bass: Baritone/Bass Book Only

PDF Singer's Musical Theatre Anthology - Volume 7 Baritone/Bass: Baritone/Bass Book Only 1 octobre 2019

Book author
  1. Richard Walters


(Vocal Collection). A collection of songs from the musical stage presented in their authentic settings, excerpted from the original vocal scores. There is no duplication from prior volumes! Contents: THE BAND'S VISIT: The Beat of Your Heart * Haled's Song About Love * BEAUTY AND THE BEAST (2017 FILM): Evermore * BIG FISH: How It Ends (cut) * THE BRIDGES OF MADISON COUNTY: When I'm Gone * A BRONX TALE: Look to Your Heart * CABARET: Why Should I Wake Up? * CAMELOT: The Seven Deadly Virtues * CATCH ME IF YOU CAN: The Man Inside the Clues * CHARLIE AND THE CHOCOLATE FACTORY: The Candy Man * Pure Imagination * DOCTOR ZHIVAGO: Yurii's Decision * THE FROGS: Ariadne * A GENTLEMAN'S GUIDE TO LOVE & MURDER: I Don't Understand the Poor * THE HUNCHBACK OF NOTRE DAME: Hellfire * A MAN OF NO IMPORTANCE: Love Who You Love * NATASHA, PIERRE & THE GREAT COMET OF 1812: Dust and Ashes * ON A CLEAR DAY YOU CAN SEE FOREVER: Melinda * PRETTY WOMAN: THE MUSICAL: Something About Her * Freedom * THE PROM: We Look to You * ROAD SHOW: It's in Your Hands Now * ROCKY THE MUSICAL: Fight from the Heart * SHREK THE MUSICAL: The Ballad of Farquaad * SOMETHING ROTTEN!: To Thine Own Self Be True (Reprise) * STARTING HERE, STARTING NOW: I Don't Remember Christmas * STOP THE WORLD I WANT TO GET OFF: Once in a Lifetime * SWEENEY TODD: Johanna (Mea culpa) * Epiphany * TOOTSIE: Jeff Sums It Up * This Thing * TUCK EVERLASTING: Everything's Golden * VIOLET: That's What I Could Do


When the first volumes of The Singer's Musical Theatre Anthology were released in January of 1987, I couldn't have possibly foreseen that the series would continue more than 32 years later with the release of Volume 7, and that I would still be the editor.

It has been my rich pleasure all these years to continue to study musical theatre from the point of view of vocal literature and attempt to present it in an authentic yet practical edition. As in all volumes of the series, the songs chosen are from not just the most recent shows, but a continual mining of songs from shows past. Nevertheless, one compilation rule has remained: a song only appears once in the series, which is so far Volumes 1-7, without duplication (with only two specific and justifiable exceptions in earlier volumes).

Categorizing a song by voice type is one of the challenges in making the selections for these collections. Does a song belong in the soprano volume or the mezzo-soprano/belter volume? My choices are, of course, subjective. In musical theatre of recent decades the phenomenon of the soprano who also belts is regularly encountered. I am usually asking these questions as I work through literature: Does the role and song have a tessitura and voice quality that lean more soprano, or is it much more purely a belter song, without a lot of use of "head voice" or "mix?" Does the tessitura of a song hang so high that even though a baritone might be able to do it, is it more appropriate for a tenor? Does a song more logically belong in the baritone volume because of the tessitura, despite one or two high "bari-tenor" F's or G's?

Anyone who follows musical theatre realizes that there are simply more musicals created in the 21st century that reach Broadway than was the case in the 1970s-1990s. There is a great deal of "underground" musical theatre going on as well in smaller venues. Because these volumes are intended for a national, even international body of singers and teachers, it has been my editorial choice to stick primarily to shows that have had a national stage and have reached a national audience, via a run on Broadway or in London's West End.

I'm often asked when the next volume of SMTA (our standard abbreviation for the series) is coming out. The answer is simple: when I have enough good songs that are satisfying for all volumes. There are plenty of belter songs, and there are more tenor songs in shows of the 1990s-2010s than there are baritone songs. It's usually a case of waiting for enough new material since the last volume to fill out the soprano and baritone volumes.

I would like to thank the many thousands of singers, teachers, and coaches who have used the SMTA volumes over the years, and who continue to use them. Your sustained interest in musical theatre is what keeps the series alive. I would also like to thank assistant editors Brendan Fox and Joshua Parman for their significant help and steady attention over the many months of developing and creating Volume 7.
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