- Book author
- Richard Walters
(Vocal Collection). A collection of songs from the musical stage presented in their authentic settings, excerpted from the original vocal scores. Contents: AMAZING GRACE: I Still Believe * AMELIE: Times Are Hard for Dreamers * Tour de France * Sister's Pickle * ANASTASIA: In My Dreams * Once Upon a December * Journey to the Past * Crossing a Bridge * BIG FISH: Two Men in My Life * THE BRIDGES OF MADISON COUNTY: To Build a Home * CARNIVAL: Mira * Yes, My Heart * DARLING: The View from Here * DOCTOR ZHIVAGO: When the Music Played * FINDING NEVERLAND: All That Matters * FROZEN THE BROADWAY MUSICAL: For the First Time in Forever * Dangerous to Dream * True Love * A GENTLEMAN'S GUIDE TO LOVE & MURDER: Poor Monty * I've Decided to Marry You * IN THE HEIGHTS: Everything I Know * INTO THE WOODS: No One Is Alone * JOHNNY GUITAR: Welcome Home * MATILDA THE MUSICAL: Pathetic * My House * NATASHA, PIERRE & THE GREAT COMET OF 1812: No One Else * ONCE ON THIS ISLAND: The Human Heart * PLAIN AND FANCY: This Is All Very New to Me * THE PROM: Alyssa Greene * SATURDAY NIGHT: I'm All for You * SCHOOL OF ROCK: Here at Horace Green * THE SECRET GARDEN: Come to My Garden * SHREK THE MUSICAL: I Know It's Today * STARTING HERE, STARTING NOW: Autumn * WAITRESS THE MUSICAL: When He Sees Me
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 mezzosoprano/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.