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Home , Always Love You, Amanda McBroom, Cyndi Lauper, Frederick Loewe, Greg Morrison, Henry Krieger

POPULAR SONG AND MUSIC THEATER Robert Edwin, Associate Editor

I Am the Very Model of a Modern Two Year Repertoire

Elizabeth Gerbi

s increasing numbers of students attend one of our nation’s 1,200 community colleges with the ambition of either earning a transfer credential or immediately entering the music theater workforce,1 it becomes increasingly imperative that Awe consider the unique needs of the late adolescent performer who may endeavor to synthesize voice technique, movement, and casting suitability within a much smaller time frame than in generations past. In fact, many of these performers may effectively be creating their personal “brand” after only a handful of lessons. Pedagogically advisable or not, the diverse body Elizabeth Gerbi of students who have historically relied upon two-year schools for financial, academic, or personal reasons—students of color, first-generation college students, differently-abled performers, and, most notably in the last few years, trans students—is of growing interest to established baccalaureate programs in the post- and Deaf West Spring Awakening era. If ’s sensational triumph at the 2019 is any indication, a new, even more inclusive age of casting is well nigh. And, where better might talent representatives and conservatory scouts find fresh voices and faces to capture the spirit of the innovative, “nontraditional” theatrical scores being conceived even as I write? In addition, I safely assume that many readers of this column are develop- ing instructors who, in order to obtain academic experience, may very well be settling into their first applied studio position within one of the country’s growing number of accredited two-year music and theater programs. As a Departmental Part-Time Supervisor and Lesson Coordinator, I have men- tored several of these instructors. Part of that process has been to compose a “real-world” repertoire list based on my decades of experience as a musical director—and, perhaps more critically, my personal access to the closed-door comments of creative teams and casting directors—as well as my adjudica- tion of, count, approximately 1,000 music theater students in state and community college programs, hearing again and again the distinction between what “sounded like good ideas” and what became truly effective in realization. This “predetermined system of progression” 2 is not intended as Journal of Singing, /April 2020 a panacea or even a literal model, but allows the new instructor, particularly Volume 76, No. 4, pp. 449–457 Copyright © 2020 those who are new to the music theater genre, a point of effective departure National Association of Teachers of Singing when considering the whole performer—voice, body, emotional age, ethnic-

March/April 2020 449 Elizabeth Gerbi ity, movement style, and gender—in order to create an progressive series of vocal and dramatic challenges for individualized plan for each student. developing music theater artists. Instructors are always The following presents a series of four semester advised to use their best judgment and to assume that benchmarks that allow individual performers to explore what is an ideal elementary song for one may their unique assets within a carefully scaffolded body of prove an advanced challenge for another. literature, specifically designed with the vocal hygiene Most of the following songs are considered age appro- of new and developing singers in mind. These selec- priate for older teens and young adults in their early tions also were chosen to capture typical emotional and twenties of any ethnicity; more specific age, body type, social concerns of late adolescent performers, featuring ethnic, or other requirements are listed when deemed thematic texts and subtexts in which they might explore essential to creative intent of authors, as dictated by their holistic theatrical “voice.” license holders, or represent an assumed industry stan- Music theater auditions generally require contrast- dard. Teachers are advised to use their best judgment ing pairs of the following four categories: 1) register in terms of character or singer’s gender; generally, lyrics (classical “legit,” mix, and belt); 2) tempo (-tempo that only require pronoun substitutions to lyrics are and ballad); 3) overall interpretive tone (humorous and deemed appropriate. Also, I have only included compos- dramatic); and 4) chronological period (“Golden Age” ers’ names on below for scanability; however, this or earlier and contemporary). By the third semester, in no way suggests that lyricists are less responsible for students should be able to present all eight categories the generation of quality literature; they should always within two selections; for example, a Golden Age, up- be credited fully in performance and scholarly materials. tempo, legit, humorous work paired with a contempo- rary, ballad, belted, dramatic work, with an additional 1st Semester two works selected on the basis of specific technical or Contextual notes: interpretive requirements. By graduation, students also • Since it may be a student’s first semester of formal should have included at least one work from outside study, lessons may focus on establishing core func- the music theater canon (NFM), which may include tional vocabulary (dynamics, register, diction, vibrato, but is not limited to R & B, rap, country, alternative, etc.), especially with the use of vocal jury rubric to aid rock, and folk. student in synthesizing adjudicator feedback. The pieces recommended here are classified with • Students should be concurrently enrolled in a these designations: Freshman Performing Arts Seminar during the first • L: Classical/ Legit, CT-dominant, Mode 2 seven weeks of the semester, which requires students • HM: Head Mix, CT/TA, Mixture of Modes 1 and 2 to produce a four semester program plan and concrete • BT: Belt, TA-dominant, Mode 1 “next step goals” (i.e., transfer or entry level employ- • UT: Up-tempo ment); it is recommended to employ at least one famil- • B: Ballad iar work at juries that will be applicable to these goals. • H: Humorous or light in tone • Mainstage musical auditions are scheduled for the • D: Dramatic first two weeks of classes. Audition excerpts from the • PG or G: Pre-Golden Age or Golden Age selected show will be posted and distributed during • C: Contemporary July and August. Singers may wish to use first lessons • NFM: Not from a musical for preparation of these materials with their instruc- • (*): Authentic period style, written in one era but tor, allowing for instructor to assess technical facility. categorized as another (e.g.,: PG *1920s/ means Soprano/Mix/Belt written in 2000, but is appropriate to sing for a pre- • “Another Suitcase in Another Hall” (), Andrew Golden age audition). Lloyd Webber (HM, B, D, C). This is by no means a comprehensive list, but a guided Lyric ballad sung by the teenaged mistress of Juan series of repertoire suggestions as one way to pose a Peron after being expelled by his new partner, the

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ferocious and unapologetic social climber Eva—very • “Pulled” (Addams Family), (BT, UT, appropriate for lighter voices. H, C). • “In My Own Little Corner” (Cinderella), Richard The former of darkness, Wednesday Addams, Rodgers (HM, B, H, G). finds herself entering a teenage romance, and is thor- Sung by Cinderella, who retreats to her imagination in oughly disgusted by the thought of happiness; most order to deal with the horrors of her stepfamily. suitable for a “Wednesday” physical type (a degree of stoic physical comedy required), reliable comic • “I Don’t Know How to Love Him” ( Christ showpiece for performers who can capture the internal Superstar), (HM, B, D, C). battle. Mary Magdalene ponders her complex relationship with Jesus; appropriate orientation to rock/folk singing • “Stepsister’s Lament” (Cinderella), for a lighter voice. (BT, UT, H, G). Sung by Cinderella’s stepsisters at the ball after receiv- • “Part of Your World” (The Little Mermaid), Alan ing their comeuppance; very comic, speech-oriented Menken (HM, B, H, C). piece, “character over beauty”; helpful for belt mix and Ariel’s “I want” song; Broadway key (G major) should exploration of a “character” sound. be used to highlight registral climax; friendly selection for new singers. Tenor • “Some Things are Meant to Be” (), Jason • “All Good Gifts” (), Stephen Schwartz (L/ Howland (HM, B, D, C). HM, B, D, C). Performed as a duet between Beth and Jo in the show, Lamar leads the tribe in a tribute of thanks to God; a though works effectively as a solo for the dying Beth rare opportunity for a larger, more legit tenor voice in out of context; highly appropriate for lighter voices folk music theater repertoire. working on upper mix and longer, legato phrases. • “Dancing Through Life” (), Stephen Schwartz • “Times are Hard for Dreamers” (Amelie), Daniel Messe (HM, UT, H, C). (HM/B, UT/B, D, C). The cocky young Fiyero encourages his peers to assume Amelie explains to her confidants (the audience) the his ne’er-may-care worldview; consider this choice for unusual lens with which she sees the world; ideal for students with a certain 1990s “boy band” appeal. light “chest” voices (Mode 1/TA) and actors with a • “Love, I Hear” (A Funny Thing Happened on the Way “different” perspective. to the Forum), (L, B, H, G). Mezzo Soprano/Mix/Belt Hero sings of (what else?) the joy of being painfully stricken by love at first sight; vocally forgiving though • “Mama Who Bore Me” (Spring Awakening), Duncan melodically challenging selection, helpful for improv- Sheik (BT, B, D, C). ing pitch accuracy. Sung by Wendla, whose curiosities and fears regarding her changing adolescent body and emerging sensuality • “On the Street Where You Live” (),

go unheeded by her mother; low tessitura (A3-A4), use- (L, B, H, G). ful for isolating Mode 1/TA (“chest”) in young singers Freddy Einsford-Hill sings a conditional ballad convey- and new belters. ing his surprising feelings for the strange but fascinat- ing Eliza; helpful piece to reinforce strong legato in a • “Mama, I’m a Big Girl Now” (), Marc young romantic ingénue. Shaiman (HM/B, UT, H, C). Tracey assures her skeptical mother Edna that she is a • “Take a Chance on Me” (Little Women), Jason capable, confident young woman of the ; impor- Howland (B, UT, H, C). tant for context for “big girl” to read as double entendre; Somewhat prematurely, Laurie begs his newfound exaggerated brightness in voice helpful for coaxing pal Jo to consider him a worthy companion “now and reluctant mix-belters to experiment with “twang.” forever”; very much a “young” teenaged perspective.

March/April 2020 451 Elizabeth Gerbi

• “The Old Red Hills of Home” (), Jason Robert Charming sings while waltzing with the mys- Brown (HM, B, D, C). terious, yet unrevealed Cinderella. A young confederate soldier performs a musical pre- lude to the show, serving as a ghost and homage to the 2nd Semester late Antebellum south. Contextual notes: • “Wonder of Wonders” (), Jerry • Students should be asked to return to lessons with Bock (BT, UT, H, G). compiled jury feedback to establish semester goals. A blissfully happy Motel the Tailor sings a song of • Students should present a prospective pair of contrast- triumph to his newly betrothed, Tzeitel; although ing works at juries. from 1964, generally considered to be the “last” great Soprano/Mix/Belt traditional Golden Age musical score. • “I Could Have Danced All Night” (My Fair Lady), /Bass Frederick Loewe (L, UT, H, G). (Note: most “bass” selections for young singers feature A giddy Eliza on the of her triumph; one of the few a C -E range, and are generally appropriate for either truly legit up-tempo staples in the Golden Age reper- 3 b 4 voice classification based on the individual voice’s toire; the actor must perfect Standard Royal British weight and color. However, who want to Dialect and ascend to G5 on final pitch (not the 5C work as music theater performers should be encour- written in many anthologies). aged to healthfully explore the upper end of their work- • “If I Loved You” (), Richard Rodgers (L, B, ing range.) D, G). • “I Can Do That” A( Chorus Line), Conditional ballad sung by a lovestruck Julie Jordan to (BT, UT, H, C). the “bad boy” Billy, later unfolding into a complex and “Traditional light-hearted song and dance” performed flawed relationship; optional Maine accent, very helpful by Mike, a brilliant tap dancer who has an easy, con- for developing fullness in upper extension and legato. fident physical style; good showpiece for a skilled tap • “Mister ” (Carousel), Richard Rodgers (L/HM, dancer. B, H, G). • “Oh What a Beautiful Mornin’” (), Richard The sweet and silly Carrie sings of her head-over-heels Rodgers (L, UT, H, G). love for her betrothed, the fishy smelling Mr. Snow; Curley the cowboy strides up confidently to Laurie’s optional Maine accent; one of the few truly humorous house, in full belief that the girl he loves will go to the ballads for a legit soprano in the Golden Age repertoire. box social with him; helpful piece to reinforce legato • “Much More” (The Fantasticks), Harvey Schmidt (L/ singing and explore mixed upper voice in young HM, UT/B, H, G). baritones. A nuanced ballad sung by the sixteen year old Luisa, • “River in the Rain” (), (BT, B, who inspires wild and imaginative flights of fancy D, C). through different vocal colors; appropriate for com- Sung by a contemplative Huck Finn in a duet with Jim paring chest (Mode 1) and chest mixes (Modes 1 and soon upon escaping on their river raft (easily accom- 2), as well as encouraging broad, committed character modated to solo, where the river serves as “scene choices. partner”); calls for authentic southern MI accent and • “Practically Perfect” (), George Stiles traditional country stylisms; composed by the country (HM, UT, H, C). western legend Roger Miller, highly authentic sounding Introduces the character of Mary Poppins to the Banks example of country repertoire. household; generally mix tessitura with single legit G5 • “Ten Minutes Ago” (Cinderella), Richard Rodgers at the end, requires flawless Standard British Royal (BT, UT, H, G). Accent.

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Mezzo Soprano/Mix/Belt Sung by the long-dead Gabe, who continues to haunt • “Buenos Aires” (Evita), Andrew Lloyd Webber (BT, his mother’s psychotic delusions despite her treatment; UT, D, C). solid showpiece for a skilled soft rock singer. Sung by the dynamic, teenaged Eva as she unceremoni- • “Leaning on a Lamp-Post” (Me and My Gal), ously abandons her poverty-stricken family to begin (BT, UT, H, PG/1930s). her rapid social ascent; contemporary casting now Sung by the cockney Bill, en route to see his sweetheart, dictates Eva be of South American descent; very strong Sally; lilting, nostalgic, whimsical tune; East End accent final audition cut for a belter with an easy low range, imperative. demonstrating E -E flexibility. 3 b 5 • “Maria” (West Side Story), (HT, • “Fly, Fly Away” (Catch Me If You Can), B, D, G). and Scott Whitman (BT, B, D, C). A love struck Tony attempts to verbalize his immedi- “Eleven O’ Clock,” gospel inspired showpiece for the ate, sweeping love for a young woman he’s only just met by reciting her name again and again; helpful for flight attendant Brenda, who professes her love for the exploring tenor’s head mix with varying degrees of elusive Frank; excellent improvisational opportunity. chest throughout upper range, including reinforced • “I Cain’t Say No” (Oklahoma), Richard Rodgers (BT, falsetto (Mode 2). UT, H, G). • “Piragua” (), Lin-Manuel Miranda (BT, The sexually adventurous Ado articulates her UT, H, C). plight to a slightly less confident Laurie; actress must be Sung by the Spanish-speaking, otherwise unnamed strong comedienne who embraces midwestern dialect; “Piragua Guy” of early 2000s Heights; opportunity for country-western stylisms. important for context for actor to be of Hispanic descent; • “It Won’t Be Long Now” (In the Heights), Lin-Manuel performs with accent; fantastic show piece for a young Miranda (BT, UT, H/D, C). tenor with a legit, mixed A4. Introduces the worldly Vanessa, who dreams of leaving • “Winter’s on the ” (The Secret Garden), Lucy her Washington Heights neighborhood for a better life Simon (HM/BT, UT, D, C). (and better love) downtown; important for context to The teenaged Dickon communes with his natural be an actor of color; different cuts permit either high surroundings; optional (but strongly recommended) belt or sensitive lower range to be featured. Yorkshire accent; ideal for a singer familiar with Celtic folk-rock stylisms. • “Shadowland” (The Lion ), Lebo M. and (HM/B, B, D, C). Baritone/Bass Nala the lion mourns her dying country; important • “All I Need is the Girl” (Gypsy), (BT, UT, for context to be performed by a black singer; one of the H, G). few opportunities to demonstrate South African pop Tulsa is a “street-alley” in this ersatz song sensibility in music theater literature. and dance number; one sung E4, otherwise in speech range; ideally suited for a strong dancer. Tenor • “I Believe” (The ), and • “A Lot of Livin’ to Do” (Bye Bye Birdie), (BT, UT, H, C). (BT, UT/B, H, C). Sung by the fictional Conrad Birdie, a late 1950s teen Elder Price confronts the bad guy (a Ghanan warlord) sensation who is highly reminiscent of a young Elvis and his inner demons through a profession of his faith; Presley; one of the earliest incorporations of R & B important for context to be a “Mormon exemplar”; rockabilly music in a musical score, should be classified requires a very bright tone and “unflappable perkiness.” as “contemporary” instead of “Golden Age” despite year • “I’m Alive”(), (BT, UT, D, C). of production (1960).

March/April 2020 453 Elizabeth Gerbi

• “” (Camelot), Frederick Loewe (BT, UT, H, G). • “Astonishing” (Little Women), Jason Howland (HM/ Sung by a young King Arthur to his new bride, BT, UT/B, D, C). Guenivere, to assuage her nerves about the strange Jo March’s “epiphany” song; high mix-belt that may live new kingdom that they will rule; very speech-oriented in some soprano’s “sweet spot” (although should not be

declamation with medium-low tessitura (C3-brief D4). performed if range is not easily accessible). • “If I Can’t Love Her” (Beauty and the Beast), Alan • “I Have Confidence” The( Sound of Music), Richard Menken (L, B, D, C). Rodgers (HM, UT, H, G). Act I Finale of the show, sung by the grieving Beast Originally penned for the film adaptation starring , but has been incorporated into officially who believes he has lost Belle forever; a climatic F4, but otherwise modest tessitura. licensed iterations of the show (key of F major), sung by the determined Maria en route to her governess • “Lonely Town” (On the Town), Leonard Bernstein appointment to care for the seven Von Trapp children. (L, B, D, G). • “No One Else” (Natasha, Pierre and the Great Comet A melancholy Gabey feels the unique brand of loneli- of 1812), Dave Molloy (HM, B, D, C). ness that can only be felt in City at night; The lonesome Natasha pines for her love, Andrey; a beautiful lyric ballad for a large, rich baritone voice. challenging work, requiring but enabling a flexible • “When I First Saw You” (), soprano voice to demonstrate true “loft” (Mode 2) in (B, B, D, C). a contemporary musical setting. Curtis Taylor (highly reminiscent of producer Berry • “Think of Me” The( Phantom of the Opera), Andrew Gordy), Jr. sings to Deena (Diana Ross), who is uncer- Lloyd Webber (L, B, D, C). tain that she has chosen the right path by professionally The operatic debut of the new star of the Paris Opera, and personally choosing him; important for context to Christine Daae; ensure that final modulation goes to be performed by a black singer; sentimental and rarely- original key of F major; strong selection for young sung selection, highly appropriate for students skilled soprano who can sing the ossia (written or stylistically in R & B ornamentation. appropriate substitution) . • “Watch What Happens” (), 3rd Semester (HM/B, UT/B, D, C). Contextual notes: Aspiring journalist Katherine chooses to risk her future • It is strongly advised that students intending to trans- by covering the newsboy strike of 1899; although fer prepare their intended audition repertoire (two commonly assigned to developing singers, requires reinforced mix-belt to E . contrasting selections, covering all eight categories) b 5 for fall juries so that students may use vetted works • “Your Daddy’s Son” (), (L/B, for January-March transfer auditions. B, D, C). • Instructors should consider more demanding acting Sarah apologizes to the illegitimate child that she challenges for students based on the student’s unique abandoned; generally considered necessary to be sung personality and interests. by a performer of color by industry standard; demands an “Audra MacDonald” level of dexterity with mix-belt Soprano/Mix/Belt (Modes 1 and 2) and legit upper register (Mode 2). • “Another Life” (Bridges of Madison County), (HM, B, D, C). Mezzo Soprano/Mix/Belt Marian sings in a flashback sequence her “goodbye” • “Nothing” (), Marvin Hamlisch (BT/ to her young husband Robert; highly appropriate for HM, UT/B, D, C). a folk chanteuse in the manner of or Morales explains through veiled terms the racially Joan Baez. motivated discouragement she encountered (and later

454 Journal of Singing Popular Song and Music Theater

triumphed over) in becoming a Broadway performer; A frustrated GI, Chris, who has unexpectedly fallen important for the context to be performed by a singer for a very young Vietnamese girl; character is an of Hispanic descent; powerful story song for capable early twenty something American and has a vocally actress. demanding climax with very high tessitura; excellent • “Show Off” The( Drowsy Chaperone), / choice for a committed actor who can sing the final (BT, UT, H, PG* 1920/2000s). chorus easily. Written for the star Janet, ironically declaring that she • “You’ve Got to be Carefully Taught” (), no longer wishes to be the center of attention; famously Richard Rodgers (HM, UT, D, G).

long C5 at end of audition cut, great piece for dancer. Lieutenant Cable realizes, observing the tacit racism of his friend who claims she “can’t help it,” that he can; • “So Much Better” (Legally Blonde), Laurence O’Keefe must be performed by a capable actor who understands (BT (high), UT, H, C). full text and subtext. The victorious Elle Woods, Malibu debutante, who enjoys her first major academic win over her ex- Baritone/Bass boyfriend Werner; any ethnicity, but we encourage • “C’est Moi” (Camelot), Frederick Loewe (L, UT, H, G). students to think of “blondeness” as “state of mind.” “Lancelot the Great” sings of his accomplishments and • “Waiting for Life” ( on this Island), Stephen his none-too-modest ego; self-adulation is more critical Flaherty (BT, B, D, C). than physical appearance in this instance; great comic The young, passionate Ti Moune’s “I want” song from showpiece for legit baritone voice. this Caribbean re-telling of “The Little Mermaid”; • “Me” (Beauty and the Beast), Alan Menken (L, UT, important for the context to be performed by a very H, C). young looking black singer; good showcase for easy high Sung by the (literally) “cartoonishly large” Gaston, # belt (sustained D 5) ineffectively attempting to win over Belle with brawn over brains; important for context for performer to be Tenor physically imposing, though this quality may be liberally • “Beauty School Dropout” (), Warren Casey interpreted. (HM, B, H, C/1950s nostalgic score). “Teen Angel” descends from the heavens to reassure • “Make Them Hear You” (Ragtime), Stephen Flaherty Frenchy, who has (literally) dropped out of beauty (HM/BT, B, D, C). school; teen “doo-wop” idol feel, good opportunity to Coalhouse Walker, Jr.’s call to arms, perhaps in real- incorporate new “falsetto” (Mode 2). ization that he stands on his last battlefield, and asks his comrades to ensure his suffering was not in vain; • I Only Want to Say [Gethsemane]” (Jesus Christ important for context to be sung by a black performer. Superstar), Andrew Lloyd Webber (BT, B, D, C). Sung by a conflicted Jesus on the eve of his crucifixion; • “Muddy Water” (Big River), Roger Miller (BT, UT, highly challenging and virtuosic rock ossia section in D, C). final bridge/cadence that are essential to piece’s dra- Sung by the character of Jim, Huck Finn’s runaway slave matic effectiveness. companion; important for context to be sung by a black performer; unusually low tessitura (C3-C4), allows for • “Let it Sing” (Violet), (BT, UT, D, C). gospel stylization. Inspirational anthem sung by Flick to the despondent Violet; important for context to be performed by a black 4th Semester singer, though may be excerpted in performance Contextual notes: for any ethnicity; sensational show piece for students • It is strongly recommended that all students explore with gospel riffing abilities. prospective job postings early in the semester with • “Why God Why” (Miss Saigon), Claude-Michel their instructor (especially on www..org), in Schoenberg (BT, B, D, C). order to identify a series of prospective entry level

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singing opportunities (stock, regional theater, cruise • “You Can’t Hurry Love,” Diana Ross (HM, UT, H; lines, and entertainment parks, etc.). 1960s Motown). • If a student has not yet presented a NFM piece, this Mezzo Soprano/Mix/Belt should be attempted in the fourth semester. Creativity • Virtually the entire Carol King canon, including: is encouraged! (As cited in Jonathan Flom’s wonder- “Beautiful,” “I Feel The Earth Move,” “It’s Too Late,” ful text Get the Callback, I once had a colleague who “One Fine Day,” “So Far Away.” scored an impressive amount of callbacks singing • “Jolene,” (BT, UT, D; 1970s country rock). 3 the “Theme from the Gummy Bears!” Assume that • “I Can’t Make You Love Me,” Bonnie Raitt (BT, B, D; anything effective and unexpected can work for the 1990s pop/country ballad). right voice). • “I Say A Little Prayer,” (BT, UT, D; • Consider student interests and background: Bolly­ 1960s pop). wood, K-Pop, Arab classical, Hip-hop, “Blue-eyed” • “I Will Remember You,” Sarah Mclachlan (HM, B, D; , Celtic folk, Reggaton, Gospel, even Rap. The 1990s ballad). sky’s the limit, and this a chance for students to assert • “The Rose,” Amanda McBroom (HM, B, D: 1970s their identity while demonstrating their marketable, ballad). unique brand. • “Today I Met the Boy I’m Gonna Marry,” • If appropriate, students should consider a self- (BT, UT, H; 1960s Motown). accompanied work this semester during their jury • “Turn the Beat Around,” Gloria Estefan (BT, UT, H; assessment. Latin pop/disco). • Various NFM options include the following reper- Tenor toire items. Please note: a combination of artist and • “59th Street Bridge,” Simon & Garfunkel (1970s folk). composer names has deliberately been included on • “Against All Odds,” (HM, B, D; the basis of which was more likely to yield specific pop ballad). reference recordings (i.e., specific examples of keys, • “All My Loving,” Beatles (BT, UT, H; 1960s British tempi, and arrangements that are friendly to develop- rock). ing instruments; caution is suggested when using other • “Crazy Train,” Ozzy Osbourne (BT, UT, D; 1980s cover editions, although exploring all available adapta- heavy metal). tions for purposes of comparative listening is highly • Virtually the entire canon, including “And encouraged); students should be reminded always to So it Goes,” “Uptown Girl, “She’s Got a Way.” credit both composer and lyricist for performance or • “Glory,” (HM, B, D; Gospel/R&B/Rap). scholarly purposes. • “How Sweet It Is (to be Loved by You),” Marvin Gaye (BT, UT, H; 1960s soul/Motown). Soprano/Mix/Belt • “I’ll Be There,” Jackson Five (HM, UT, H; Late • “All Through the Night,” (HM, B, H; Motown). 1980s pop). • “I Want to Know What Love Is,” Foreigner (HM, B, • “Almost There” (Princess and the Frog), Randy D; 1980s rock). Newman (HM/BT, UT, H; 1930s New Orleans Swing). • “Livin’ La Vida Loca,” Ricky Martin (BT, UT, H; 2000s • “Big Yellow Taxi,” Joni Mitchell (HM, UT, D; 1960s Latin pop). folk); excellent for light, lyric voices. • “Jessie’s Girl,” Rick Springfield (BT, UT, H; 1980s • “Girls Just ,” Cyndi Lauper (HM, pop rock). UT, H; 1980s pop). • *Young songs very useful for flexible unchanged voices and countertenors. • “I Will Always Love You,” Whitney (HM, B, D; 1990s power ballad); strong show piece for “riffer” Baritone/Bass with large working range. • “All You Need Is Love,” Beatles (BT, UT, H; 1960s • “Winter,” Tori Amos (HM, B, D; 1990s alternative). British rock).

456 Journal of Singing Popular Song and Music Theater

• “Blowing in the Wind,” (BT, B, D; 1960s (and favorite collaborator), Christopher Brellochs, performing at venues folk). such as the prestigious Paris Conservatoire at St. Maur and Saint Marri. • “Jailhouse Rock,” (BT, UT, H; 1950s She has also taught workshops in music theater pedagogy and perfor- ). mance at the International Thespian Festival and Educational • “Layla,” (BT, B, D; 1970s blues rock). Association (Georgia Thespians), Kennedy Center American College • “Light My Fire,” Jim Morrison (BT, B, D; 1960 psych- Theatre Festival, New York State Theatre Education Association, and adelic rock). New England Theatre Conference, and has regularly presented papers/ participated on panels for the Association for Theatre in Higher Education. • “Lithium,” Kurt Kobain (BT, B, D; 1990s alternative Please visit www.facebook.com/elizabethgerbisinger for more information. rock). • “Moonshadow,” Cat Stevens (BT, B, D; 1970s folk rock). A tenor, all singers above, • “Sweet Caroline,” (BT, B, H; 1970s (This doesn’t admit of a question), soft rock). Should keep himself quiet, • “The Time of Our Lives,” Pitbull (Rap, UT, D; Rap, Admit to his diet R&B, Latin Pop). And carefully nurse his digestion: • “Turn Turn Turn,” Pete Seeger (BT, B, D; 1960s folk). But when he is madly in love • “Walk the Line,” (BT, UT, H; 1950s It’s certain to tell on his singing— rockabilly). You can’t do chromatics • “White Wedding,” Billy Idol (BT, UT, H; 1980s rock). With proper emphatics • “Your Song,” (BT, B, D; 1970s pop ballad). When anguish your bosom is wringing! NOTES When distracted with worries in plenty, And his pulse is a hundred and twenty, 1. Thomas Bailey, Shanna Smith Jaggars, and David Jenkins, And his fluttering bosom the slave of mistrust is, Redesigning America’s Community Colleges: A Clearer Path to A tenor can’t do himself justice. Student Success (Cambridge, MA: Press, Now observe –(sings a high note), 2015). You see, I can’t do myself justice! 2. Colleen M. Conway and Thomas M. Hodgman, Teaching Music in Higher Education (New York: Oxford University I could sing, if my fervour were mock, Press, 2009). It’s easy enough if you’re acting— 3. Jonathan Flom, Get the Callback (Lanham, MD: Scarecrow But when one’s emotion Press, 2010). Is born of devotion You musn’t be over-exacting. Elizabeth Gerbi, currently a full time tenure track Instructor of Musical One ought to be firm as a rock Theater at the State University of New York at Dutchess Community To venture a shake in vibrato, College and member of the College Music Teaching Summer Doctoral When fervour’s expected Cohort at Teachers-College-, is well known across the Keep cool and collected country as a singing teacher, voice coach, choral conductor, and music director/pianist (160+ productions). She has previously taught on the fac- Or never attempt agitato. ulty of SUNY New Paltz, and most recently served as a Visiting Professorial But, of course, when his tongue is of leather, Lecturer of Music Theater at The . As a singer-actor, And his lips appear pasted together, she has appeared in regional productions ranging from I pagliacci to Les And his sensitive palate as dry as a crust is, Misérables to The Christmas Tour. Recent projects include A tenor can’t do himself justice. music directing The Chris Betz Show (Rose’s Turn/Sage Theatre, NYC), Now observe—(sings a high note), and Tommy (Westchester ), accompanying It’s no use—I can’t do myself justice! master classes for Broadway performers Ken Jennings, Lisa Howard, and Lindsay Mendez, adapting Starmites for Broadway composer Barry , Utopia, II Keating, and participating in a recent European tour with her husband

March/April 2020 457