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Basin Street Blues View 44 Products Blues Bass View 10 Products Blue And Sentimental View 3 Products Blues For Basie View 3 Products Swingin' The Blues View 2 Products Blues In Frankie's Flat View 1 Product Good Morning Blues View 1 Product Bass Blues View 1 Product A Basic Blues View 1 Product

Blues Play-Along For use with all C, Bb, Bass Clef, and Eb instruments, the Hal Leonard Blues Play-Along series is the ultimate jamming tool for all blues musicians. With easy-to-read lead sheets, and other split-track choices on the included audio, these first-of-a-kind packages will bring your local blues jam right into your house! The audio includes two tracks for each song: a full stereo mix, and a split track mix with removable guitar, bass, piano, and harmonica parts. Please note these books do not contain guitar tablature. For books with online audio, audio is accessed online using the unique code inside the book and can be streamed or downloaded. The audio files include PLAYBACK+, a multi-functional audio player that allows you to slow down audio without changing pitch, set loop points, change keys, and pan left or right. Want to learn more about the tempo adjustment software included on each CD? View a video demo on this Amazing Slow Downer technology. Click here for a demo track audio sample Click here for a play-along track audio sample

Blues Play-Along

Lois Brownsey | Hal Leonard Lois Brownsey Lois Brownsey (Heckman) grew up in Philadelphia, where she attended Temple University, studied at the Guitar Workshop and was active in musical theatre. She has many popular choral works published with Shawnee Press with her writing partner of many years, Marti Lunn Lantz. Together they specialize in multi-cultural music and seasonal compositions. Lois has also written and sung jingles for clients such as AT&T, GMC Truck Dealers and Optical Data Corporation. Lois was active playing in clubs and concerts from 1973 until retiring from live performance in 1997. She has sung, played bass, written and performed in pop, rock and blues bands in the USA and abroad. She presently lives in the Pocono Mountains of Pennsylvania, where she is a Celebrant, and active in the political and arts community. Lois and her husband, recording engineer Kent Heckman, own and operate Red Rock recording Studios. Publications by Lois Brownsey

Michael Abene | Hal Leonard Michael Abene Michael Abene is a composer, arranger, keyboard player and record producer. Michael joined the Maynard Ferguson band while still a teenager and was responsible for writing some of the most-requested arrangements, such as "Green Dolphin Street," "Airegin," "Fox Hunt," "Chicago," "Whisper Not," "Knarf" and "Cherokee." Michael produced the Grammy-winning projects "Digital Duke" featuring the Duke Ellington Orchestra and "The GRP All-Star Big Band-All Blues." He produced the Grammy-nominated "GRP All-Star Big Band" and "The GRP All-Star Big Band Live" and received nominations in the arranging category for all three big band records. Other projects he has produced are "The GRP Christmas Collection Volumes 1, 2 and 3" (Volume 1 was awarded a gold record for sales of 500,000 units), "Happy Anniversary, Charlie Brown," two projects for Billy Taylor, "... It's a matter of pride" and "Homage," "Maiden Voyage" for Nnenna Freelon plus projects for Billy Cobham, Eddie Daniels and Dave Valentin. Some of the other artists Michael has composed and arranged for are Take 6, Joe Lovano, Bireli Lagrene, Montreal fusion bassist Alain Caron, Dick Oatts, Dave Grusin, for which he received a 1998 Grammy nomination for the arrangement of "America" from "Dave Grusin Presents West Side Story," Chick Corea, Buddy Rich, Dizzy Gillespie, the Mel Lewis Jazz Orchestra, Liza Minnelli, Charles Aznavour, Dave Taylor, Ronnie Cuber, Diva, the Metropole Jazz Orchestra in the Netherlands and the Carnegie Hall Jazz Band. Michael has also appeared as featured pianist and arranger/composer with the UMO Jazz Orchestra in Helsinki, WDR Big Band in Cologne, Germany, the Rotterdam Conservatory Big Band (The Netherlands), Jazz Big Band Graz (Austria), Kluvers Big Band (Denmark) and the BBC Big Band in England. Michael also has produced and arranged for many singers, from pop and crossover artists Patti Austin and B.B. King, to classic jazz artists Grady Tate, Joe Williams, Chris Connor, New York Voices and Diane Schuur. Two works of Michael's were premiered during the summer of 2000: a piece he arranged for The Metropole Jazz Orchestra for seven trombones where each trombonist contributed an original and Michael composed opening and connecting sections allowing the piece to be played as a suite. This composition was performed at the International Trombone Festival in Utrecht, The Netherlands. The second composition was an original work commissioned by The Mancini Institute, where Michael has appeared as composer-in-residence, for bass trombonist Dave Taylor entitled "Heritage: New/Old and Then Some" and performed by The Mancini Institute Orchestra and Big Band. This work has also been performed by The Manhattan School of Music Studio Jazz Orchestra and in 2004 by The Amsterdam Conservatory Orchestra and Big Band. Two new compositions by Michael premiered in 2003 were "Odyssey for Brass," commissioned and performed by The Metropole Jazz Orchestra in Tilburg, The Netherlands and "Fragmentations" performed by the Slovenian Symphony and Radio Big Band. In the fall of 2003 Michael was appointed Musical Director, Principal Composer/Arranger of the WDR Radio Big Band of Cologne, Germany. Because of the response worldwide, Michael has made his compositions and arrangements available to schools and bands and serves as a clinician, and is currently working on his own 11-piece band consisting of two trumpets, french horn, tenor and bass trombone, three reeds and rhythm section. Michael joined the faculty of Manhattan School of Music in January 1998. In 2001 Michael was instrumental in creating a course entitled "Jazz Composition and Arranging for The Studio Orchestra" and in 2003, a Doctoral in Jazz program. Michael and Jim McNeely are the Music Directors of the BMI Jazz Composers Workshop. Publications by Michael Abene

EE2000 | Hal Leonard Hal Leonard Classical Essential Elements 2000 FOR BAND, BOOK 1 Play-Along Accompaniments For Brass & Woodwinds Exercises 59 - end (Individual MP3 files) To download, "right-click" (Windows) or "control-click" (Mac) on the desired track and choose to save/download the "linked file" in the pop-up menu. 059. Fit To Be Tied 060. Alouette 061. Alouette - The Sequel 062. Camptown Races 063. New Directions 064. The Nobles 065. Essential Elements Quiz 066. Rhythm Rap 067. Three Beat Jam 068. Barcarolle 069. Morning (from Peer Gynt) 070. Accent Your Talent 071. Mexican Clapping Song ("Chiapanecas") 072. Essential Creativity 073. Hot Muffins 074. Cossack Dance 075. Basic Blues 076. High Flying 077. Sakura, Sakura - Band Arrangement 078. Up On A Housetop 079. Jolly Old St. Nick - Duet 080. The Big Airstream 081. Waltz Theme 082. Air Time 083. Down By The Station 084. Essential Elements Quiz 085. Essential Creativity 086. Tone Builder 087. Rhythm Builder 088. Technique Trax 089. Chorale 090. Variations On A Familiar Theme 091. Banana Boat Song 092. Razor's Edge 093. The Music Box 094. Ezekiel Saw The Wheel 095. Smooth Operator 096. Gliding Along 097. Trombone Rag 098. Essential Elements Quiz 099. Take The Lead 100. The Cold Wind 101. Phraseology 102. Satin Latin 103. Minuet - Duet 104. Essential Creativity 105. Naturally 106. March Militaire 107. The Flat Zone 108. On Top Of Old Smokey 109. Bottom Bass Boogie - Duet 110. Rhythm Rap 111. The Dot Always Counts 112. All Through The Night 113. Sea Chanty 114. Scarborough Fair 115. Rhythm Rap 116. The Turnaround 117. Essential Elements Quiz - Auld Lang Syne 118. Theme From "New World Symphony" 119. Grenadilla Gorilla Jump No. 1 120. Jumpin' Up And Down 121. Grenadilla Gorilla Jump No. 2 122. Jumpin' For Joy 123. Grenadilla Gorilla Jump No. 3 124. Jumpin' Jacks 125. Essential Elements Quiz 126. Grenadilla Gorilla Jump No. 4 127. Three Is The Count 128. Grenadilla Gorilla Jump No. 5 129. Technique Trax 130. Crossing Over 131. Kum Bah Yah - Trio 132. Michael Row The Boat Ashore 133. Austrian Waltz 134. Botany Bay 135. Technique Trax 136. Finlandia 137. Essential Creativity 138. Easy Gorilla Jumps 139. Technique Trax 140. More Technique Trax 141. German Folk Song 142. The Saints Go Marchin' Again 143. Lowland Gorilla Walk 144. Smooth Sailing 145. More Gorilla Jumps 146. Full Coverage 147. Concert B-flat Scale 148. In Harmony 149. Scale And Arpeggio 150. Theme From "Surprise Symphony" 151. Essential Elements Quiz - The Streets Of Laredo 152. School Spirit - Band Arrangement 153. Carnival Of Venice - Band Arrangement 154. Range And Flexibility Builder 155. Technique Trax 156. Chorale 157. Hatikvah 158. Rhythm Rap 159. Eighth Note March 160. Minuet 161. Rhythm Rap 162. Eighth Notes Off The Beat 163. Eighth Note Scramble 164. Essential Elements Quiz 165. Dancing Melody 166. El Capitan 167. O Canada 168. Essential Elements Quiz - Meter Mania 169. Snake Charmer 170. Dark Shadows 171. Close Encounters 172. March Slav 173. Notes In Disguise 174. Half-Steppin' 175. Egyptian Dance 176. Silver Moon Boat 177. Theme From Symphony No. 7 - Duet 178. Capriccio Italien 179. American Patrol 180. Wayfaring Stranger 181. Essential Elements Quiz - Scale Counting Conquest 182. America The Beautiful - Band Arrangement 183. La Cucaracha - Band Arrangement 184. Theme From 1812 Overture - Band Arrangement 185. Eine Kleine Nachtmusik - Solo (Concert B-flat version) 185. Eine Kleine Nachtmusik - Solo (Concert E-flat version) 185. Theme From Symphony No. 1 - Solo (Concert B-flat version) 185. Theme From Symphony No. 1 - Solo (Concert E-flat version) 186. Swing Low, Sweet Chariot - Duet 187. La Bamba - Duet Page 40 Rubank - Key of Concert B-flat #1 Page 40 Rubank - Key of Concert B-flat #2 Page 40 Rubank - Key of Concert B-flat #3 Page 40 Rubank - Key of Concert B-flat #4 Page 40 Rubank - Key of Concert E-flat #1 Page 40 Rubank - Key of Concert E-flat #2 Page 40 Rubank - Key of Concert E-flat #3 Page 40 Rubank - Key of Concert E-flat #4 Page 41 Rubank - Key of Concert F #1 Page 41 Rubank - Key of Concert F #2 Page 41 Rubank - Key of Concert F #3 Page 41 Rubank - Key of Concert F #4 Page 41 Rubank - Key of Concert A-flat #1 Page 41 Rubank - Key of Concert A-flat #2 Page 41 Rubank - Key of Concert A-flat #3 Page 41 Rubank - Key of Concert A-flat #4 Pages 42-43 Rhythm Studies in 4/4; Measures 1-56 Slow tempo Pages 42-43 Rhythm Studies in 4/4; Measures 1-56 Fast tempo Pages 42-43 Rhythm Studies in 3/4; Measures 57-64 Slow tempo Pages 42-43 Rhythm Studies in 3/4; Measures 57-64 Fast tempo Pages 42-43 Rhythm Studies in 2/4; Measures 65-72 Slow tempo Pages 42-43 Rhythm Studies in 2/4; Measures 65-72 Fast tempo ESSENTIAL ELEMENTS 2000 FOR BAND, BOOK 1 PLAY-ALONG ACCOMPANIMENTS FOR BRASS & WOODWINDS EXERCISES 59 - END (INDIVIDUAL MP3 FILES) To download, "right-click" (Windows) or "control-click" (Mac) on the desired track and choose to save/download the "linked file" in the pop-up menu. 059. Fit To Be Tied 060. Alouette 061. Alouette - The Sequel 062. Camptown Races 063. New Directions 064. The Nobles 065. Essential Elements Quiz 066. Rhythm Rap 067. Three Beat Jam 068. Barcarolle 069. Morning (from Peer Gynt) 070. Accent Your Talent 071. Mexican Clapping Song ("Chiapanecas") 072. Essential Creativity 073. Hot Muffins 074. Cossack Dance 075. Basic Blues 076. High Flying 077. Sakura, Sakura - Band Arrangement 078. Up On A Housetop 079. Jolly Old St. Nick - Duet 080. The Big Airstream 081. Waltz Theme 082. Air Time 083. Down By The Station 084. Essential Elements Quiz 085. Essential Creativity 086. Tone Builder 087. Rhythm Builder 088. Technique Trax 089. Chorale 090. Variations On A Familiar Theme 091. Banana Boat Song 092. Razor's Edge 093. The Music Box 094. Ezekiel Saw The Wheel 095. Smooth Operator 096. Gliding Along 097. Trombone Rag 098. Essential Elements Quiz 099. Take The Lead 100. The Cold Wind 101. Phraseology 102. Satin Latin 103. Minuet - Duet 104. Essential Creativity 105. Naturally 106. March Militaire 107. The Flat Zone 108. On Top Of Old Smokey 109. Bottom Bass Boogie - Duet 110. Rhythm Rap 111. The Dot Always Counts 112. All Through The Night 113. Sea Chanty 114. Scarborough Fair 115. Rhythm Rap 116. The Turnaround 117. Essential Elements Quiz - Auld Lang Syne 118. Theme From "New World Symphony" 119. Grenadilla Gorilla Jump No. 1 120. Jumpin' Up And Down 121. Grenadilla Gorilla Jump No. 2 122. Jumpin' For Joy 123. Grenadilla Gorilla Jump No. 3 124. Jumpin' Jacks 125. Essential Elements Quiz 126. Grenadilla Gorilla Jump No. 4 127. Three Is The Count 128. Grenadilla Gorilla Jump No. 5 129. Technique Trax 130. Crossing Over 131. Kum Bah Yah - Trio 132. Michael Row The Boat Ashore 133. Austrian Waltz 134. Botany Bay 135. Technique Trax 136. Finlandia 137. Essential Creativity 138. Easy Gorilla Jumps 139. Technique Trax 140. More Technique Trax 141. German Folk Song 142. The Saints Go Marchin' Again 143. Lowland Gorilla Walk 144. Smooth Sailing 145. More Gorilla Jumps 146. Full Coverage 147. Concert B-flat Scale 148. In Harmony 149. Scale And Arpeggio 150. Theme From "Surprise Symphony" 151. Essential Elements Quiz - The Streets Of Laredo 152. School Spirit - Band Arrangement 153. Carnival Of Venice - Band Arrangement 154. Range And Flexibility Builder 155. Technique Trax 156. Chorale 157. Hatikvah 158. Rhythm Rap 159. Eighth Note March 160. Minuet 161. Rhythm Rap 162. Eighth Notes Off The Beat 163. Eighth Note Scramble 164. Essential Elements Quiz 165. Dancing Melody 166. El Capitan 167. O Canada 168. Essential Elements Quiz - Meter Mania 169. Snake Charmer 170. Dark Shadows 171. Close Encounters 172. March Slav 173. Notes In Disguise 174. Half-Steppin' 175. Egyptian Dance 176. Silver Moon Boat 177. Theme From Symphony No. 7 - Duet 178. Capriccio Italien 179. American Patrol 180. Wayfaring Stranger 181. Essential Elements Quiz - Scale Counting Conquest 182. America The Beautiful - Band Arrangement 183. La Cucaracha - Band Arrangement 184. Theme From 1812 Overture - Band Arrangement 185. Eine Kleine Nachtmusik - Solo (Concert B-flat version) 185. Eine Kleine Nachtmusik - Solo (Concert E-flat version) 185. Theme From Symphony No. 1 - Solo (Concert B-flat version) 185. Theme From Symphony No. 1 - Solo (Concert E-flat version) 186. Swing Low, Sweet Chariot - Duet 187. La Bamba - Duet Page 40 Rubank - Key of Concert B-flat #1 Page 40 Rubank - Key of Concert B-flat #2 Page 40 Rubank - Key of Concert B-flat #3 Page 40 Rubank - Key of Concert B-flat #4 Page 40 Rubank - Key of Concert E-flat #1 Page 40 Rubank - Key of Concert E-flat #2 Page 40 Rubank - Key of Concert E-flat #3 Page 40 Rubank - Key of Concert E-flat #4 Page 41 Rubank - Key of Concert F #1 Page 41 Rubank - Key of Concert F #2 Page 41 Rubank - Key of Concert F #3 Page 41 Rubank - Key of Concert F #4 Page 41 Rubank - Key of Concert A-flat #1 Page 41 Rubank - Key of Concert A-flat #2 Page 41 Rubank - Key of Concert A-flat #3 Page 41 Rubank - Key of Concert A-flat #4 Pages 42-43 Rhythm Studies in 4/4; Measures 1-56 Slow tempo Pages 42-43 Rhythm Studies in 4/4; Measures 1-56 Fast tempo Pages 42-43 Rhythm Studies in 3/4; Measures 57-64 Slow tempo Pages 42-43 Rhythm Studies in 3/4; Measures 57-64 Fast tempo Pages 42-43 Rhythm Studies in 2/4; Measures 65-72 Slow tempo Pages 42-43 Rhythm Studies in 2/4; Measures 65-72 Fast tempo Hal Leonard Online - EE2000

EE2000 | Hal Leonard Hal Leonard Classical Essential Elements 2000 FOR BAND, BOOK 1 Play-Along Accompaniments For Percussion Exercises 59 - end (Individual MP3 files) To download, "right-click" (Windows) or "control-click" (Mac) on the desired track and choose to save/download the "linked file" in the pop-up menu. 059. Fit To Be Tied 060. Alouette 061. Alouette - The Sequel 062. Camptown Races 063. New Directions 064. The Nobles 065. Essential Elements Quiz 066. Rhythm Rap 067. Three Beat Jam 068. Barcarolle 069. Morning (from Peer Gynt) 070. Accent Your Talent 071. Mexican Clapping Song ("Chiapanecas") 072. Essential Creativity 073. Hot Muffins 074. Cossack Dance 075. Basic Blues 076. High Flying 077. Sakura, Sakura - Band Arrangement 078. Up On A Housetop 079. Jolly Old St. Nick - Duet 080. The Big Airstream 081. Waltz Theme 082. Air Time 083. Down By The Station 084. Essential Elements Quiz 085. Essential Creativity 086. Tone Builder 087. Rhythm Builder 088. Technique Trax 089. Chorale 090. Variations On A Familiar Theme 091. Banana Boat Song 092. Razor's Edge 093. The Music Box 094. Ezekiel Saw The Wheel 095. Smooth Operator 096. Gliding Along 097. Trombone Rag 098. Essential Elements Quiz 099. Take The Lead 100. The Cold Wind 101. Phraseology 102. Satin Latin 103. Minuet - Duet 104. Essential Creativity 105. Naturally 106. March Militaire 107. The Flat Zone 108. On Top Of Old Smokey 109. Bottom Bass Boogie - Duet 110. Rhythm Rap 111. The Dot Always Counts 112. All Through The Night 113. Sea Chanty 114. Scarborough Fair 115. Rhythm Rap 116. The Turnaround 117. Essential Elements Quiz - Auld Lang Syne 118. Hungarian Dance No. 5 - Snare Drum Solo 118. Theme From "New World Symphony" 119. Grenadilla Gorilla Jump No. 1 120. Jumpin' Up And Down 121. Grenadilla Gorilla Jump No. 2 122. Jumpin' For Joy 123. Grenadilla Gorilla Jump No. 3 124. Jumpin' Jacks 125. Essential Elements Quiz 126. Grenadilla Gorilla Jump No. 4 127. Three Is The Count 128. Grenadilla Gorilla Jump No. 5 129. Technique Trax 130. Crossing Over 131. Kum Bah Yah - Trio 132. Michael Row The Boat Ashore 133. Austrian Waltz 134. Botany Bay 135. Technique Trax 136. Finlandia 137. Essential Creativity 138. Easy Gorilla Jumps 139. Technique Trax 140. More Technique Trax 141. German Folk Song 142. The Saints Go Marchin' Again 143. Lowland Gorilla Walk 144. Smooth Sailing 145. More Gorilla Jumps 146. Full Coverage 147. Concert B-flat Scale 148. In Harmony 149. Scale And Arpeggio 150. Theme From "Surprise Symphony" 151. Essential Elements Quiz - The Streets Of Laredo 152. School Spirit - Band Arrangement 153. Carnival Of Venice - Band Arrangement 154. Range And Flexibility Builder 155. Technique Trax 156. Chorale 157. Hatikvah 158. Rhythm Rap 159. Eighth Note March 160. Minuet 161. Rhythm Rap 162. Eighth Notes Off The Beat 163. Eighth Note Scramble 164. Essential Elements Quiz 165. Dancing Melody 166. El Capitan 167. O Canada 168. Essential Elements Quiz - Meter Mania 169. Snake Charmer 170. Dark Shadows 171. Close Encounters 172. March Slav 173. Notes In Disguise 174. Half-Steppin' 175. Egyptian Dance 176. Silver Moon Boat 177. Theme From Symphony No. 7 - Duet 178. Capriccio Italien 179. American Patrol 180. Wayfaring Stranger 181. Essential Elements Quiz - Scale Counting Conquest 182. America The Beautiful - Band Arrangement 183. La Cucaracha - Band Arrangement 184. Theme From 1812 Overture - Band Arrangement 185. Can-Can 186. Swing Low, Sweet Chariot - Duet 187. La Bamba - Duet Page 40 Rubank - Key of Concert B-flat #1 Page 40 Rubank - Key of Concert B-flat #2 Page 40 Rubank - Key of Concert B-flat #3 Page 40 Rubank - Key of Concert B-flat #4 Page 40 Rubank - Key of Concert E-flat #1 Page 40 Rubank - Key of Concert E-flat #2 Page 40 Rubank - Key of Concert E-flat #3 Page 40 Rubank - Key of Concert E-flat #4 Page 41 Rubank - Key of Concert F #1 Page 41 Rubank - Key of Concert F #2 Page 41 Rubank - Key of Concert F #3 Page 41 Rubank - Key of Concert F #4 Page 41 Rubank - Key of Concert A-flat #1 Page 41 Rubank - Key of Concert A-flat #2 Page 41 Rubank - Key of Concert A-flat #3 Page 41 Rubank - Key of Concert A-flat #4 Pages 42-43 Rhythm Studies in 4/4; Measures 1-56 Slow tempo Pages 42-43 Rhythm Studies in 4/4; Measures 1-56 Fast tempo Pages 42-43 Rhythm Studies in 3/4; Measures 57-64 Slow tempo Pages 42-43 Rhythm Studies in 3/4; Measures 57-64 Fast tempo Pages 42-43 Rhythm Studies in 2/4; Measures 65-72 Slow tempo Pages 42-43 Rhythm Studies in 2/4; Measures 65-72 Fast tempo ESSENTIAL ELEMENTS 2000 FOR BAND, BOOK 1 PLAY-ALONG ACCOMPANIMENTS FOR PERCUSSION EXERCISES 59 - END (INDIVIDUAL MP3 FILES) To download, "right-click" (Windows) or "control-click" (Mac) on the desired group and choose to save/download the "linked file" in the pop-up menu. 059. Fit To Be Tied 060. Alouette 061. Alouette - The Sequel 062. Camptown Races 063. New Directions 064. The Nobles 065. Essential Elements Quiz 066. Rhythm Rap 067. Three Beat Jam 068. Barcarolle 069. Morning (from Peer Gynt) 070. Accent Your Talent 071. Mexican Clapping Song ("Chiapanecas") 072. Essential Creativity 073. Hot Muffins 074. Cossack Dance 075. Basic Blues 076. High Flying 077. Sakura, Sakura - Band Arrangement 078. Up On A Housetop 079. Jolly Old St. Nick - Duet 080. The Big Airstream 081. Waltz Theme 082. Air Time 083. Down By The Station 084. Essential Elements Quiz 085. Essential Creativity 086. Tone Builder 087. Rhythm Builder 088. Technique Trax 089. Chorale 090. Variations On A Familiar Theme 091. Banana Boat Song 092. Razor's Edge 093. The Music Box 094. Ezekiel Saw The Wheel 095. Smooth Operator 096. Gliding Along 097. Trombone Rag 098. Essential Elements Quiz 099. Take The Lead 100. The Cold Wind 101. Phraseology 102. Satin Latin 103. Minuet - Duet 104. Essential Creativity 105. Naturally 106. March Militaire 107. The Flat Zone 108. On Top Of Old Smokey 109. Bottom Bass Boogie - Duet 110. Rhythm Rap 111. The Dot Always Counts 112. All Through The Night 113. Sea Chanty 114. Scarborough Fair 115. Rhythm Rap 116. The Turnaround 117. Essential Elements Quiz - Auld Lang Syne 118. Hungarian Dance No. 5 - Snare Drum Solo 118. Theme From "New World Symphony" 119. Grenadilla Gorilla Jump No. 1 120. Jumpin' Up And Down 121. Grenadilla Gorilla Jump No. 2 122. Jumpin' For Joy 123. Grenadilla Gorilla Jump No. 3 124. Jumpin' Jacks 125. Essential Elements Quiz 126. Grenadilla Gorilla Jump No. 4 127. Three Is The Count 128. Grenadilla Gorilla Jump No. 5 129. Technique Trax 130. Crossing Over 131. Kum Bah Yah - Trio 132. Michael Row The Boat Ashore 133. Austrian Waltz 134. Botany Bay 135. Technique Trax 136. Finlandia 137. Essential Creativity 138. Easy Gorilla Jumps 139. Technique Trax 140. More Technique Trax 141. German Folk Song 142. The Saints Go Marchin' Again 143. Lowland Gorilla Walk 144. Smooth Sailing 145. More Gorilla Jumps 146. Full Coverage 147. Concert B-flat Scale 148. In Harmony 149. Scale And Arpeggio 150. Theme From "Surprise Symphony" 151. Essential Elements Quiz - The Streets Of Laredo 152. School Spirit - Band Arrangement 153. Carnival Of Venice - Band Arrangement 154. Range And Flexibility Builder 155. Technique Trax 156. Chorale 157. Hatikvah 158. Rhythm Rap 159. Eighth Note March 160. Minuet 161. Rhythm Rap 162. Eighth Notes Off The Beat 163. Eighth Note Scramble 164. Essential Elements Quiz 165. Dancing Melody 166. El Capitan 167. O Canada 168. Essential Elements Quiz - Meter Mania 169. Snake Charmer 170. Dark Shadows 171. Close Encounters 172. March Slav 173. Notes In Disguise 174. Half-Steppin' 175. Egyptian Dance 176. Silver Moon Boat 177. Theme From Symphony No. 7 - Duet 178. Capriccio Italien 179. American Patrol 180. Wayfaring Stranger 181. Essential Elements Quiz - Scale Counting Conquest 182. America The Beautiful - Band Arrangement 183. La Cucaracha - Band Arrangement 184. Theme From 1812 Overture - Band Arrangement 185. Can-Can 186. Swing Low, Sweet Chariot - Duet 187. La Bamba - Duet Page 40 Rubank - Key of Concert B-flat #1 Page 40 Rubank - Key of Concert B-flat #2 Page 40 Rubank - Key of Concert B-flat #3 Page 40 Rubank - Key of Concert B-flat #4 Page 40 Rubank - Key of Concert E-flat #1 Page 40 Rubank - Key of Concert E-flat #2 Page 40 Rubank - Key of Concert E-flat #3 Page 40 Rubank - Key of Concert E-flat #4 Page 41 Rubank - Key of Concert F #1 Page 41 Rubank - Key of Concert F #2 Page 41 Rubank - Key of Concert F #3 Page 41 Rubank - Key of Concert F #4 Page 41 Rubank - Key of Concert A-flat #1 Page 41 Rubank - Key of Concert A-flat #2 Page 41 Rubank - Key of Concert A-flat #3 Page 41 Rubank - Key of Concert A-flat #4 Pages 42-43 Rhythm Studies in 4/4; Measures 1-56 Slow tempo Pages 42-43 Rhythm Studies in 4/4; Measures 1-56 Fast tempo Pages 42-43 Rhythm Studies in 3/4; Measures 57-64 Slow tempo Pages 42-43 Rhythm Studies in 3/4; Measures 57-64 Fast tempo Pages 42-43 Rhythm Studies in 2/4; Measures 65-72 Slow tempo Pages 42-43 Rhythm Studies in 2/4; Measures 65-72 Fast tempo Hal Leonard Online - EE2000

EE2000 | Hal Leonard Hal Leonard Classical Essential Elements for Strings Book 1 Play-Along Accompaniments Exercises 72 - end (MP3 files) Tuning Notes 072. Rhythm Rap 073. Buckeye Salute 074. Rhythm Rap 075. Two By Two 076. Essential Elements Quiz - For Pete's Sake 077. Rhythm Rap 078. At Pierrot's Door 079. The Half Counts 080. Grandparent's Day 081. Michael Row The Boat Ashore 082. Texas Two-String 083. Four By Four 084. 4th Finger Marathon 085. High Flying 086. Essential Elements Quiz - Ode To Joy 087. Scale Warm-Up 088. Frère Jacques - Round 089. Bile 'Em Cabbage Down - Orchestra Arrangement 090. English Round 091. Lightly Row - Orchestra Arrangement 092. Can-Can - Orchestra Arrangement 093. Let's Read "G" 094. Let's Read "C" (C-natural) 095. Let's Read "B" 096. Let's Read "A" 097. Walking Around 098. G Major Scale 099. Fourth Finger D 100. Low Down 101. Baa Baa Black Sheep 102. Essential Elements Quiz - This Old Man 103. Rhythm Rap 104. Counting Threes 105. D Major Scale In Threes 106. French Folk Song 107. Essential Elements Quiz - Sailor's Song 108. Fit To Be Tied 109. Stop And Go 110. Slurring Along 111. Smooth Sailing 112. D Major Slurs 113. Crossing Strings 114. Gliding Bows 115. Upside Down 116. Song For Maria 117. Banana Boat Song 118. Firoliralera - Orchestra Arrangement 119. Skill Builders - G Major #1 120. Skill Builders - G Major #2 121. Skill Builders - G Major #3 122. Skill Builders - G Major #4 123. Skill Builders - G Major #5 124. Skill Builders - G Major #6 125. Jingli Nona 126. Let's Read "F" (F-natural) 127. Half-Steppin' And Whole Steppin' 128. Spy Guy 129. Minor Details 130. Let's Read "C" (C-natural) 131. Half Step And Whole Step Review 132. Chromatic Moves 133. The Stetson Special 134. Bluebird's Song 135. C Major Scale - Round 136. Split Decision - Duet 137. Oak Hollow 138. A-Tisket, A-Tasket 139. Essential Elements Quiz - Russian Folk Tune 140. Bingo 141. Tallis Cannon - Round 142. Variations On A Familiar Song 143. Essential Creativity - The Birthday Song 144. Let's Read "C" 145. Let's Read "F" 146. Let's Read "E" 147. Let's Read "D" 148. Side By Side 149. C Major Scale 150. Rhythm Rap 151. Slow Bows 152. Long, Long Ago 153. C Major Scale And Arpeggio 154. Listen To Our Sections 155. Monday's Melody 156. Let's Read "E" 157. Let's Read "A" 158. Let's Read "G" 159. Let's Read "F#" (F-sharp) 160. Moving Along 161. G Major Scale 162. Shepherd's Hey 163. Big Rock Candy Mountain 164. Let's Read "B" 165. Ice Skating 166. Essential Elements Quiz - Academic Festival Overture Theme 167. Play Staccato 168. Arkansas Traveler 169. Skill Builders - G Major #1 170. Skill Builders - G Major #2 171. Skill Builders - G Major #3 172. Skill Builders - G Major #4 173. Skill Builders - G Major #5 174. Hooked On D Major 175. Waltzing Bows 176. Pop Goes The Weasel 177. Skill Builders - C Major #1 178. Skill Builders - C Major #2 179. Skill Builders - C Major #3 180. Skill Builders - C Major #4 181. Forte And Piano 182. Surprise Symphony Theme 183. D Major 184. G Major 185. G Major 186. C Major 187. C Major 188. Cripple Creek - Orchestra Arrangement 189. Tekele Lomeria - Orchestra Arrangement 190. William Tell Overture - Orchestra Arrangement 191. Rockin' Strings - Orchestra Arrangement 192. Simple Gifts - Orchestra Arrangement 193. Minuet No. 1 - Solo for Violin 193. Minuet In C - Solo for Viola 193. Minuet No. 2 - Solo for Cello 193. March In D - Solo for Bass ESSENTIAL ELEMENTS 2000 FOR STRINGS BOOK 1 PLAY-ALONG ACCOMPANIMENTS EXERCISES 72 - END (MP3 FILES) Tuning Notes 072. Rhythm Rap 073. Buckeye Salute 074. Rhythm Rap 075. Two By Two 076. Essential Elements Quiz - For Pete's Sake 077. Rhythm Rap 078. At Pierrot's Door 079. The Half Counts 080. Grandparent's Day 081. Michael Row The Boat Ashore 082. Texas Two-String 083. Four By Four 084. 4th Finger Marathon 085. High Flying 086. Essential Elements Quiz - Ode To Joy 087. Scale Warm-Up 088. Frère Jacques - Round 089. Bile 'Em Cabbage Down - Orchestra Arrangement 090. English Round 091. Lightly Row - Orchestra Arrangement 092. Can-Can - Orchestra Arrangement 093. Let's Read "G" 094. Let's Read "C" (C-natural) 095. Let's Read "B" 096. Let's Read "A" 097. Walking Around 098. G Major Scale 099. Fourth Finger D 100. Low Down 101. Baa Baa Black Sheep 102. Essential Elements Quiz - This Old Man 103. Rhythm Rap 104. Counting Threes 105. D Major Scale In Threes 106. French Folk Song 107. Essential Elements Quiz - Sailor's Song 108. Fit To Be Tied 109. Stop And Go 110. Slurring Along 111. Smooth Sailing 112. D Major Slurs 113. Crossing Strings 114. Gliding Bows 115. Upside Down 116. Song For Maria 117. Banana Boat Song 118. Firoliralera - Orchestra Arrangement 119. Skill Builders - G Major #1 120. Skill Builders - G Major #2 121. Skill Builders - G Major #3 122. Skill Builders - G Major #4 123. Skill Builders - G Major #5 124. Skill Builders - G Major #6 125. Jingli Nona 126. Let's Read "F" (F-natural) 127. Half-Steppin' And Whole Steppin' 128. Spy Guy 129. Minor Details 130. Let's Read "C" (C-natural) 131. Half Step And Whole Step Review 132. Chromatic Moves 133. The Stetson Special 134. Bluebird's Song 135. C Major Scale - Round 136. Split Decision - Duet 137. Oak Hollow 138. A-Tisket, A-Tasket 139. Essential Elements Quiz - Russian Folk Tune 140. Bingo 141. Tallis Cannon - Round 142. Variations On A Familiar Song 143. Essential Creativity - The Birthday Song 144. Let's Read "C" 145. Let's Read "F" 146. Let's Read "E" 147. Let's Read "D" 148. Side By Side 149. C Major Scale 150. Rhythm Rap 151. Slow Bows 152. Long, Long Ago 153. C Major Scale And Arpeggio 154. Listen To Our Sections 155. Monday's Melody 156. Let's Read "E" 157. Let's Read "A" 158. Let's Read "G" 159. Let's Read "F#" (F-sharp) 160. Moving Along 161. G Major Scale 162. Shepherd's Hey 163. Big Rock Candy Mountain 164. Let's Read "B" 165. Ice Skating 166. Essential Elements Quiz - Academic Festival Overture Theme 167. Play Staccato 168. Arkansas Traveler 169. Skill Builders - G Major #1 170. Skill Builders - G Major #2 171. Skill Builders - G Major #3 172. Skill Builders - G Major #4 173. Skill Builders - G Major #5 174. Hooked On D Major 175. Waltzing Bows 176. Pop Goes The Weasel 177. Skill Builders - C Major #1 178. Skill Builders - C Major #2 179. Skill Builders - C Major #3 180. Skill Builders - C Major #4 181. Forte And Piano 182. Surprise Symphony Theme 183. D Major 184. G Major 185. G Major 186. C Major 187. C Major 188. Cripple Creek - Orchestra Arrangement 189. Tekele Lomeria - Orchestra Arrangement 190. William Tell Overture - Orchestra Arrangement 191. Rockin' Strings - Orchestra Arrangement 192. Simple Gifts - Orchestra Arrangement 193. Minuet No. 1 - Solo for Violin 193. Minuet In C - Solo for Viola 193. Minuet No. 2 - Solo for Cello 193. March In D - Solo for Bass Hal Leonard Online - EE2000

Little Drummer Holiday | Hal Leonard Hal Leonard Online HAL LEONARD PRESENTS "THE LITTLE DRUMMER BOY" BY MISFIT ISLAND Hal Leonard sends warm holiday wishes to all! Please view this holiday video comprised of members from our stellar Hal Leonard sales team, playing instruments and using microphones and other products available from Hal Leonard. All the incredible gear used in making this video is listed below for your ordering convenience (Music Retailers - please note that these links lead to product pages on Hal Leonard online; to place an order through your retail account, please order through our Dealer Access website) CREDITS Vocals: Chrissy Dzioba, Tim Wright, Brian Swinehart, Andrew Riehle Bass: Peter Carlson, Scott Brooks Guitar: Tim Wright, Chrissy Dzioba Drums: Joe Howard, Tyler Bartelt Music Director: Joe Howard Engineer and Producer: Andrew Riehle Executive Producer and provider of Pizza: Brad Smith Drums Gretsch - Renown Series 4-Piece Drum Set (20/10/12/14sn - Satin Tobacco Burst Finish) - HL00775873 - MSRP $2,133.99 - MAP $1,279.99 Gretsch - 8x14 "Swamp Dawg" Mahogany Snare Drum - HL00776430 - MRSP $666.99 - MAP $399.99 Gibraltar - 5700 Series Hardware Pack with 33" Rolling Bag - HL00776527 - $750.99 Tycoon - 4-Row Sleigh Bells - HL00755637 - $49.00 CB Percussion - 25-Note Chrome Bells with Case (Model 6854) - HL00777148 - $149.99 Vater Percussion - Los Angeles 5A Wood Drum Sticks - HL00242937 - $15.99 Guitars, Amps and Pedals Line 6 - Variax Standard (Standard Electric Guitar with Tobacco Burst Finish) - HL00142936 - MSRP $1099.99 - MAP $899.99 (white and black finishes also available) Line 6 - DT25 (1x12 Extension Guitar Speaker Cabinet) - HL00122947 - MSRP $419.99 - MAP $299.99 Hartke - TX600 (Class D Bass Amplifier) - HL00172587 - MSRP $519.99 - MAP $399.99 Hartke - HyDrive HD410 (4 x 10 + HF/1000 Watt Bass Cabinet) - HL00242613 - MSRP $949.99 - MAP $699.99 Line 6 - Relay G10 (Plug and Play Digital Guitar Wireless System) - HL00156361 - MSRP $249.99 - MAP $179.99 Walrus Audio - Julia (Chorus/Vibrato Guitar Pedal) - HL00251353 - MSRP/MAP $199.00 Morley Pedals - Pro Series II Distortion (Wah/Volume Combination Pedal) - HL00242658 - MSRP/MAP $136.00 Microphones Blue Microphones - Baby Bottle SL (Studio Microphone; used for male vocals) - HL00214949 - MSRP/MAP $399.00 MXL - CR89 (Black Chrome Condenser Mic; used for female vocals) - HL00141152 - MSRP $469.95 - MAP $349.95 Blue Microphones - enCORE 200 (Dynamic Mic with Black Grill; used for bass cab) - HL00211520 - MSRP/MAP $149.00 MXL - DX-2 (Variable Dynamic Instrument Microphone; used for electric guitar cab) - HL00191990 - MSRP $219.95 - MAP $99.95 Samson - DK705 (5-Piece Drum Mic Kit; used for kick and toms) - HL00211506 - MSRP $279.99 - MAP $199.99 Solomon Mics - LoFReQ (Low Frequency Microphone - Black; used for kick) - HL00152226 - MSRP $249.99 - MAP $199.99 Blue Microphones - Hummingbird (Small Diaphragm Condenser Microphone; used for overhead) - HL00145531 - MSRP/MAP $299.99 Headphones Blue Microphones - Lola (Sealed Over-Ear High Fidelity Headphones - black) - HL00154866 - MSRP/MAP $249.99 Blue Microphones - Lola (Sealed Over-Ear High Fidelity Headphones - white) - HL00154867 - MSRP/MAP $249.99 Blue Microphones - Sadie (Premium Headphones with Built-In Amp) - HL00233516 - MSRP/MAP $399.99 Blue Microphones - Ella (Planar Magnetic Headphone with Built-in Audiophile Amp) - HL00233539 - MSRP/MAP $699.99 Ultimate Ears (UE) - Sound Tap Personal Monitoring System - HL00242597 - MSRP/MAP $249.00 Accessories SwirlyGig - The SwirlyGig II Drink Holder for 1" Tubing - HL00123399 - $14.99 SwirlyGig - The SwirlyHook II for 1" Tubing (Headphone Holder) - HL00149753 - $11.99 Samson - BT4 Telescoping Boom Stand - HL00140126 - $124.99 AirTurn - goSTAND Portable Mic Stand - HL00141979 - MSRP/MAP $49.00 Gibraltar - Soft Nylon Stick Holder (Model SC-SH) - HL00776260 - $34.99 Gibraltar - Oversized Motorcycle Seat with Adjustable Backrest (Model 9608MB) - HL00776615 - $334.99 HAL LEONARD PRESENTS "THE LITTLE DRUMMER BOY" BY MISFIT ISLAND Hal Leonard sends warm holiday wishes to all! Please view this holiday video comprised of members from our stellar Hal Leonard sales team, playing instruments and using microphones and other products available from Hal Leonard. All the incredible gear used in making this video is listed below for your ordering convenience (Music Retailers - please note that these links lead to product pages on Hal Leonard online; to place an order through your retail account, please order through our Dealer Access website) CREDITS Vocals: Chrissy Dzioba, Tim Wright, Brian Swinehart, Andrew Riehle Bass: Peter Carlson, Scott Brooks Guitar: Tim Wright, Chrissy Dzioba Drums: Joe Howard, Tyler Bartelt Music Director: Joe Howard Engineer and Producer: Andrew Riehle Executive Producer and provider of Pizza: Brad Smith Drums Gretsch - Renown Series 4-Piece Drum Set (20/10/12/14sn - Satin Tobacco Burst Finish) - HL00775873 - MSRP $2,133.99 - MAP $1,279.99 Gretsch - 8x14 "Swamp Dawg" Mahogany Snare Drum - HL00776430 - MRSP $666.99 - MAP $399.99 Gibraltar - 5700 Series Hardware Pack with 33" Rolling Bag - HL00776527 - $750.99 Tycoon - 4-Row Sleigh Bells - HL00755637 - $49.00 CB Percussion - 25-Note Chrome Bells with Case (Model 6854) - HL00777148 - $149.99 Vater Percussion - Los Angeles 5A Wood Drum Sticks - HL00242937 - $15.99 Guitars, Amps and Pedals Line 6 - Variax Standard (Standard Electric Guitar with Tobacco Burst Finish) - HL00142936 - MSRP $1099.99 - MAP $899.99 (white and black finishes also available) Line 6 - DT25 (1x12 Extension Guitar Speaker Cabinet) - HL00122947 - MSRP $419.99 - MAP $299.99 Hartke - TX600 (Class D Bass Amplifier) - HL00172587 - MSRP $519.99 - MAP $399.99 Hartke - HyDrive HD410 (4 x 10 + HF/1000 Watt Bass Cabinet) - HL00242613 - MSRP $949.99 - MAP $699.99 Line 6 - Relay G10 (Plug and Play Digital Guitar Wireless System) - HL00156361 - MSRP $249.99 - MAP $179.99 Walrus Audio - Julia (Chorus/Vibrato Guitar Pedal) - HL00251353 - MSRP/MAP $199.00 Morley Pedals - Pro Series II Distortion (Wah/Volume Combination Pedal) - HL00242658 - MSRP/MAP $136.00 Microphones Blue Microphones - Baby Bottle SL (Studio Microphone; used for male vocals) - HL00214949 - MSRP/MAP $399.00 MXL - CR89 (Black Chrome Condenser Mic; used for female vocals) - HL00141152 - MSRP $469.95 - MAP $349.95 Blue Microphones - enCORE 200 (Dynamic Mic with Black Grill; used for bass cab) - HL00211520 - MSRP/MAP $149.00 MXL - DX-2 (Variable Dynamic Instrument Microphone; used for electric guitar cab) - HL00191990 - MSRP $219.95 - MAP $99.95 Samson - DK705 (5-Piece Drum Mic Kit; used for kick and toms) - HL00211506 - MSRP $279.99 - MAP $199.99 Solomon Mics - LoFReQ (Low Frequency Microphone - Black; used for kick) - HL00152226 - MSRP $249.99 - MAP $199.99 Blue Microphones - Hummingbird (Small Diaphragm Condenser Microphone; used for overhead) - HL00145531 - MSRP/MAP $299.99 Headphones Blue Microphones - Lola (Sealed Over-Ear High Fidelity Headphones - black) - HL00154866 - MSRP/MAP $249.99 Blue Microphones - Lola (Sealed Over-Ear High Fidelity Headphones - white) - HL00154867 - MSRP/MAP $249.99 Blue Microphones - Sadie (Premium Headphones with Built-In Amp) - HL00233516 - MSRP/MAP $399.99 Blue Microphones - Ella (Planar Magnetic Headphone with Built-in Audiophile Amp) - HL00233539 - MSRP/MAP $699.99 Ultimate Ears (UE) - Sound Tap Personal Monitoring System - HL00242597 - MSRP/MAP $249.00 Accessories SwirlyGig - The SwirlyGig II Drink Holder for 1" Tubing - HL00123399 - $14.99 SwirlyGig - The SwirlyHook II for 1" Tubing (Headphone Holder) - HL00149753 - $11.99 Samson - BT4 Telescoping Boom Stand - HL00140126 - $124.99 AirTurn - goSTAND Portable Mic Stand - HL00141979 - MSRP/MAP $49.00 Gibraltar - Soft Nylon Stick Holder (Model SC-SH) - HL00776260 - $34.99 Gibraltar - Oversized Motorcycle Seat with Adjustable Backrest (Model 9608MB) - HL00776615 - $334.99

EE2000 | Hal Leonard ESSENTIAL ELEMENTS 2000 FOR STRINGS BOOK 1 PLAY-ALONG ACCOMPANIMENTS EXERCISES 72 - END (MP3 FILES) Tuning Notes 072. Rhythm Rap 073. Buckeye Salute 074. Rhythm Rap 075. Two By Two 076. Essential Elements Quiz - For Pete's Sake 077. Rhythm Rap 078. At Pierrot's Door 079. The Half Counts 080. Grandparent's Day 081. Michael Row The Boat Ashore 082. Texas Two-String 083. Four By Four 084. 4th Finger Marathon 085. High Flying 086. Essential Elements Quiz - Ode To Joy 087. Scale Warm-Up 088. Frère Jacques - Round 089. Bile 'Em Cabbage Down - Orchestra Arrangement 090. English Round 091. Lightly Row - Orchestra Arrangement 092. Can-Can - Orchestra Arrangement 093. Let's Read "G" 094. Let's Read "C" (C-natural) 095. Let's Read "B" 096. Let's Read "A" 097. Walking Around 098. G Major Scale 099. Fourth Finger D 100. Low Down 101. Baa Baa Black Sheep 102. Essential Elements Quiz - This Old Man 103. Rhythm Rap 104. Counting Threes 105. D Major Scale In Threes 106. French Folk Song 107. Essential Elements Quiz - Sailor's Song 108. Fit To Be Tied 109. Stop And Go 110. Slurring Along 111. Smooth Sailing 112. D Major Slurs 113. Crossing Strings 114. Gliding Bows 115. Upside Down 116. Song For Maria 117. Banana Boat Song 118. Firoliralera - Orchestra Arrangement 119. Skill Builders - G Major #1 120. Skill Builders - G Major #2 121. Skill Builders - G Major #3 122. Skill Builders - G Major #4 123. Skill Builders - G Major #5 124. Skill Builders - G Major #6 125. Jingli Nona 126. Let's Read "F" (F-natural) 127. Half-Steppin' And Whole Steppin' 128. Spy Guy 129. Minor Details 130. Let's Read "C" (C-natural) 131. Half Step And Whole Step Review 132. Chromatic Moves 133. The Stetson Special 134. Bluebird's Song 135. C Major Scale - Round 136. Split Decision - Duet 137. Oak Hollow 138. A-Tisket, A-Tasket 139. Essential Elements Quiz - Russian Folk Tune 140. Bingo 141. Tallis Cannon - Round 142. Variations On A Familiar Song 143. Essential Creativity - The Birthday Song 144. Let's Read "C" 145. Let's Read "F" 146. Let's Read "E" 147. Let's Read "D" 148. Side By Side 149. C Major Scale 150. Rhythm Rap 151. Slow Bows 152. Long, Long Ago 153. C Major Scale And Arpeggio 154. Listen To Our Sections 155. Monday's Melody 156. Let's Read "E" 157. Let's Read "A" 158. Let's Read "G" 159. Let's Read "F#" (F-sharp) 160. Moving Along 161. G Major Scale 162. Shepherd's Hey 163. Big Rock Candy Mountain 164. Let's Read "B" 165. Ice Skating 166. Essential Elements Quiz - Academic Festival Overture Theme 167. Play Staccato 168. Arkansas Traveler 169. Skill Builders - G Major #1 170. Skill Builders - G Major #2 171. Skill Builders - G Major #3 172. Skill Builders - G Major #4 173. Skill Builders - G Major #5 174. Hooked On D Major 175. Waltzing Bows 176. Pop Goes The Weasel 177. Skill Builders - C Major #1 178. Skill Builders - C Major #2 179. Skill Builders - C Major #3 180. Skill Builders - C Major #4 181. Forte And Piano 182. Surprise Symphony Theme 183. D Major 184. G Major 185. G Major 186. C Major 187. C Major 188. Cripple Creek - Orchestra Arrangement 189. Tekele Lomeria - Orchestra Arrangement 190. William Tell Overture - Orchestra Arrangement 191. Rockin' Strings - Orchestra Arrangement 192. Simple Gifts - Orchestra Arrangement 193. Minuet No. 1 - Solo for Violin 193. Minuet In C - Solo for Viola 193. Minuet No. 2 - Solo for Cello 193. March In D - Solo for Bass

20th Century French Art Songs | Hal Leonard Hal Leonard Online - French Art Songs 20th CENTURY FRENCH ART SONGS Mélodies française du XXe siècle Edited by Carol Kimball Published by Éditions Durand DF 16250/HL 50565798 High Voice edition DF 16251/HL 50565799 Medium/Low Voice edition Distributed in Europe and Asia by Hal Leonard MGB Distributed in North and South America by Hal Leonard Distributed in Australia and New Zealand by Hal Leonard Australia Download & Print Introductory Notes Complete Online Introductory Notes, Unabridged copyright © 2015 Editions Durand An abridged version of editor Carol Kimball’s “Introduction” appears in the High Voice and Medium/Low Voice publications. Her complete length “Introduction” appears below. See the publications for the poetry texts in French and translations in English. GEORGES AURIC CLAUDE DEBUSSY HENRI DUTILLEUX GABRIEL FAURÉ REYNALDO HAHN ARTHUR HONEGGER JACQUES LEGUERNEY OLIVIER MESSIAEN DARIUS MILHAUD FRANCIS POULENC MAURICE RAVEL ALBERT ROUSSEL ERIK SATIE DÉODAT DE SÉVERAC GEORGES AURIC (1899-1983) George Auric was something of a child prodigy, performing a piano recital at the Musicale Indépendante at the age of fourteen. The following year, the Société Nationale de Musique performed several songs he had composed. He studied composition at the Paris Conservatoire with Georges Caussade, and later with Vincent d’Indy and Albert Roussel at the Schola Cantorum de Paris. Before he was twenty, Auric had orchestrated and written incidental music for several stage productions and ballets. He composed a significant amount of avant-garde music during the years between 1910-20. Around 1914, he widened his acquaintances to include members of Les Six, a group of composers informally associated with Erik Satie and Jean Cocteau, and became a part of their group. Auric and Francis Poulenc became fast friends and remained so for life. Music criticism was an important part of Auric’s career; his writing focused on promoting the ideals of Les Six and Cocteau. He was also especially known for his film scores, which are consistently imaginative. He forged a major career in the English movies of the 1940s and ’50s. Among his most well-known scores is the music for the film Moulin Rouge. Other popular film titles with scores by Auric include The Lavender Hill Mob, Roman Holiday, Beauty and the Beast, and Bonjour Tristesse. In 1962 he became the director of the Opéra National de Paris and later, chairman of SACEM, the French Performing Rights Society. Auric continued to write classical chamber music until his death. Le Jeune sanguine (1940) from Trois Poèmes de Louise de Vilmorin poem by Louise de Vilmorin (1902-1969) This mélodie is the second song in Auric’s cycle titled Trois poèmes de Louise de Vilmorin. Vilmorin’s poetry reverberates with sensitivity to affairs of the heart. She was one of Poulenc’s preferred poets; he set her poetry when writing specifically for the female voice, such as in Fiançailles pour rire. A sort of veiled humor is at the heart of this text that describes a young hussy whose lover departs early with the dawn’s first light, leaving her weeping disconsolately. Auric provides a prelude and postlude for formal balance as the miserable young woman mourns her loss. He also inserts several unexpected and amusing measures of a tango as the young man arches his back and leaves the sound of her sobbing. For his three Vilmorin songs, Auric used the style of a chansonette, or more popular song. Printemps (1935) Poem by Pierre de Ronsard (1524-1585) Auric composed this lilting waltz song for a play by Edouard Bourdet titled La Reine Margot (1935). The celebrated musical theatre actress-singer Yvonne Printemps created the role of Queen Margot of Navarre at Théâtre de la Michodière. Auric and Francis Poulenc collaborated on the incidental music for this play; Poulenc took the second act, Auric the first. Poulenc composed the Suite française and the song “A sa guitare”; Auric’s contribution was “Printemps.” Yvonne Printemps sang both songs in the play. Both composers used texts by Pierre de Ronsard, and the musical style of each is reminiscent of the Renaissance. Ronsard’s original poem had twenty-three stanzas. Auric set only the first three. BACK TO TOP CLAUDE DEBUSSY (1862-1918) Claude Debussy wrote expertly for the voice and was acutely responsive to transforming poetic nuance into musical expression. Possibly no other French composer was as attuned to blending poetry and music. His literary taste was highly refined and he maintained a visible and active role in the literary and artistic circles of his time. He chose to set poetry of his contemporaries, notably Verlaine and Mallarmé. Verlaine’s verse with its inherent musical qualities, provided Debussy with poetry for numerous works. For Debussy, poetry as poetry was the paramount determinant of the musical texture. His ability to detect the essence of a poem and perfectly transform it into musical expression makes his mélodies unique in the history of French song. Le promenoir des deux amants (1904, 1910) poems by Tristan l’Hermite (c. 1601-1656) “Auprès de cette grotte sombre,” the first song, made its first appearance with the title “La Grotte,” song two of Trois chansons de France of 1904. In 1910, it was retitled and combined with two other poems by Tristan l’Hermite (“Crois mon conseil, chère Climène” and “Je tremble en voyant ton visage”) to form the miniature cycle Le Promenoir de deux amants, which has been called the finest of all Debussy’s works for voice and piano. It is also the least-often performed. Debussy chose the texts from Les Amours de Tristan, a collection by the seventeenth-century poet Tristan l’Hermite. The poems are set close to a grotto, secluded and silent. The transparent, barely stirring waters mingle with the silence of the cloistered spot, creating a dreamlike atmosphere. Debussy establishes an intimate, tender mood immediately and maintains this fragile mix of sound and color throughout the three mélodies. The interplay of resonance and texture in voice and piano results in an exquisite blend of light and shade, perfectly complementing l’Hermite’s poetic images. Subtly inflected vocal phrases are key to recreating the infinite calm and Pelléas-like atmosphere of the poetry, a perfect fusion of stillness and sensuality. Fêtes galantes II (1904) poems by Paul Verlaine (1844-1896) Debussy’s fascination with the work of the French Symbolist poet Paul Verlaine resulted in his setting to music no fewer than seventeen of Verlaine’s texts. He composed two sets of three songs each, both titled Fêtes galantes, the first in 1892, and the second in 1904. Fêtes galantes II, Debussy’s last setting of Verlaine, closely following the composition of his opera Pélleas et Mélisande, is representative of the composer’s mature vocal works. It is marked by sparser textures, freer tonalities and a more concentrated compositional style than the first set; but like the first set, Fêtes galantes II presents three unrelated songs. None of the Watteau-like scenes are found here; rather, these three poems are filled with mystery, and are without sentimentality. The theme of time appears in each of the poems: the first, sentimental youthful remembrances; the second, inexorable fleeting time; and finally in the last song, time never to be reclaimed. “Les Ingénus” recalls the first awakenings of sexual attraction, and deals with the breathless awe with which a group of unsophisticated young men of the mid-nineteenth century view their similarly naïve female companions. The scene unfolds in a highly chromatic texture, skillfully balanced to preserve the delicate, poignant images in Verlaine’s verse. Debussy’s free-floating harmonies are carefully contrived to complement the uncertain emotions and repressed sensations of the youths in the poem. “Le Faune” begins with a prelude; time unravels in an inflexible dance featuring a rhythmic, hypnotic figure in the piano, imaging the traditional reed pipe and “tambourin,” a small drum played with a stick. The old terra-cotta statue in Verlaine’s poem is probably the woodland god Pan, playing a monotonous rhythm that is both sensual and slightly menacing, matching the mood of the two mélancolique pélerins. Mesmerized by the repetitive rhythms of drum and reed flute, the dejected travelers are caught in the whirlpool of passing time, which spins past as they watch helplessly. “Colloque sentimental.” Colloquial (colloque) refers to ordinary speech or conversation. This disturbing poem is the touchstone of one of Debussy’s great mélodies. It is the last poem in Verlaine’s collection titled Fêtes galantes, and provides a chilling climax. It blends themes of despair, death and disillusion. In this extraordinary song, the ghosts of two lovers meet in a wintry park. As they speak of their former love, their words match the setting: glacial and detached from feeling. Throughout the song their wintry words are enhanced by Debussy’s simple and subtle vocal treatment: one voice urgent and persistent, the other stonily indifferent. Debussy’s manipulation of musical texture between voice and piano is masterful. The sparse vocal lines are almost speech-like, and the piano figures mirror the frozen landscape in which this conversation–equally cold–takes place. The song’s kinship to Debussy’s opera Pélleas et Mélisande is unmistakable. The listener becomes one with the poem’s narrator, straining to see and hear the couple’s conversation in the icy cold of the deserted, frozen park. Debussy reaches back to “En sourdine” (the first mélodie of Fêtes galantes I), takes the wistful song of the nightingale, and inserts it into this song at various points. The nightingale’s melody (“voix de nôtre dessespoir, le rossignol chantera”) provides a touching and melancholy association, linking the two sets of Fêtes galantes together symbolically and musically, foreshadowing the disenchantment of love hinted at in “En sourdine” with the lovers’ conversation in “Colloque sentimental,” and unifying the two sets by a subtle musical component. This panel of three mélodies was Debussy’s last setting of the poetry of Paul Verlaine. Noël des enfants qui n’ont plus de maisons (1915) poem by the composer This is Debussy’s last song, written to his own text, a Christmas carol for children made homeless by World War I. Its intensity comes from its simple sincerity. Debussy composed it on the eve of his first operation for the cancer that would end his life two years later. It was his personal protest against the invasion of northern France by the German armies. When asked for permission to orchestrate the song, Debussy refused, saying, “I want this piece to be sung with the most discreet accompaniment. Not a word of the text must be lost, inspired as it is by the rapacity of our enemies. It is the only way I have to fight the war.” Originally composed in 1915 for piano and voice, Debussy also created a version for children’s chorus, and in 1916, a version for piano and two sopranos. BACK TO TOP HENRI DUTILLEUX (1916-2013) Henri Dutilleux studied at the Paris Conservatory with Maurice Emmanuel. He received the Prix de Rome in 1938 at age twenty-two, and went on to work at the Paris Opéra and the French Radio. France’s musical institutions defined his career: in 1961, he joined the faculty at the école Normale de Musique, teaching composition. In 1970, he taught at the Paris Conservatoire. He destroyed many of his early works, considering them derivative of Ravel, the preeminent composer in France during his youth. His music that had been published avoided demolition. After World War II, Dutilleux concentrated almost exclusively on instrumental and orchestral music, much of which has been widely programmed and recorded. His songs are not well known. In the chronological catalogue of his compositions, beginning in 1929, the Quatre mélodies for mezzo soprano or baritone is only the eleventh entry. It also exists in an orchestral version. The collection is dedicated to the French baritone Charles Panzéra and his wife, pianist Magdeleine Panzéra-Baillot, prominent interpreters of French song in the interwar years. Gabriel Fauré dedicated his last cycle, L’horizon chimérique, to Panzéra. Quatre mélodies (1942) uses poems by four different poets and presents a delightful collection of moods, although it must be admitted that the level of the poetry is not uniformly high: “Féérie au clair de lune” (poem by Raymond Genty), a graceful scherzo of dancing fairies that evokes Shakespeare’s A Midsummer Night’s Dream; “Pour une amie perdue” (Edmond Borsent); “Regards sur l’infini” (Anna de Noailles); and “Fantasio” (André Bellessort). The last mélodie is the most successful of the set and is one of two songs from the set (the other being “Pour une amie perdue”) that Dutilleux acknowledged. He wanted to exclude the first and third songs because their poetry was relatively mediocre. Fantasio (1942) from Quatre Mélodies poem by André Bellessort (1866-1942) “Fantasio” (the original title of Bellessort’s poem is “Les funérailles de Fantasio”) is a colorful poem that chronicles the funeral of the titled character, who has expired before the text begins. The poem, set in Venice during Carnival, is full of glittering and compelling imagery that changes quickly, following the pace of the Carnival. Musical textures are skillfully handled and exhibit some of Dutilleux’s developing style. “Pauvre Fantasio,” is heard several times during the text, acting as both a funereal chant that unifies the proceedings and perhaps as well, keeping the mourners’ footsteps marching together. BACK TO TOP GABRIEL FAURÉ (1845-1924) Gabriel Fauré was one of the great composers of French song who, with Duparc and Debussy, perfected the mélodie as a true art song form. He composed about a hundred songs, all original in conception, constantly developing in style, and pointing the way to future works. His songs express a broad range of emotion and a great variety of musical textures, extending the musical parameters of the genre and inspiring new techniques of song compositions. His songs are often divided into three compositional periods for purposes of study and definition. Fauré has been characterized as a skillful watchmaker; with great precision his songs, which overflow with subtle nuances and delicate detail. His approach is in keeping with the French musical aesthetic: elegant and rational, dealing with sentiment rather than literal sensation. He was able to capture the entire poetic mood of each poem he set and to create an aura around it with his musical setting. Dans la fôret de septembre, Op. 85, No. 1 (1902) poem by Catulle Mendès (1841-1909) This touching poem symbolizes the onset of old age. Mendès was among the founders of a literary magazine, La Revue fantaisiste, which published many poems of the Parnassian poets. Fauré’s musical style perfectly suited this style of poetry: elegance of style, richness of rhyme, regularity and symmetry of rhythm. The Parnassians avoided the excessively romantic and aimed for “art-for-art’s sake.” Fauré was nearly sixty years old when he composed this mélodie, and his reaction to this poem is beautifully poignant. The words describe the poet’s reflective walk through a quiet, somber forest, capturing the chill of mortality and the overall mood of the turning point of life. The ancient forest, sensing a kindred spirit, provides the walker with a sign of friendship and understanding. Fauré set this contemplative poem in a rich harmonic musical texture with a vocal line that borders on quasi-recitative-like shapes. The solemn thoughts of old age call forth a melancholy, but it is a subtle melancholy. It is almost hymn-like in the fusion of words, emotions, and musical texture. This mélodie may be considered as marking the threshold to the final period of Fauré’s compositions. Accompagnement, Op. 85, No. 3 (1902) poem by Albert Victor Samain (1858-1900) This mélodie is a beautiful barcarolle–a nighttime scene, silvery and hazy, alluring but unreal. The image of the poet rowing on the lake is reflected in the musical texture. Fauré had a lifelong fascination with water imagery in music; this poem offers a little reel of unfolding pictures of a moonlight journey a dark lake. The words “dans le rêve” tell us that this is all a dream. This is a rarely sung Fauré mélodie that yields great rewards for the performer. Chanson, Op. 94 (1906) poem by Henri di Régnier (1864-1936) This poem has a gentle charm and a calm simplicity. It is the last of Fauré’s madrigals that include delicate love songs such as “Lydia,” and “Clair de lune.” It has a wonderful fluidity that is a perfect foil for the poetic images The text is a simple set of variations on one theme: nothing on earth has any meaning unless the beloved somehow touches it. Fauré’s reaction to the words called forth a musical setting of delicate transparency and limited range. It is not well known; like “Le Don silencieux,” “Chanson” was published as a single song and therefore not widely disseminated. It is an example of exquisitely planned musical economy, and definitely belongs in Fauré’s third period of musical compositions. Le Don silencieux, Op. 92 (1906) poem by Marie Closset (1875-1952), under the pseudonym Jean Dominique Here is another little known Fauré song, a rarity because it was published separately and was never included in any of the Fauré recueils. The poem has a gentle melancholy–the plea of a timid lover, a mixture of hope and imagined disappointment. The words are tender and flowing, but the overall mood is one of unrelieved sadness. This song marks the beginning of Fauré’s third compositional period, which includes the cycles La Chanson d’Eve, Le Jardin clos, Mirages, and L’Horizon chimérique. Writing of this mélodie in a letter to his wife, Fauré said, It does not in the least resemble any of my previous works, nor anything that I am aware of; I am very pleased about this...It translates the words gradually as they unfold themselves; it begins, opens out, and finishes, nothing more, nevertheless it is unified. 1 NOTES: Quoted in Graham Johnson, Gabriel Fauré: The Songs and their Poets (London: Guildhall School of Music and Ashgate Publishing Ltd., 2009), 291. Quotation from Jean-Michel Nectoux, Gabriel Fauré: A Musical Life, trans. Roger Nichols (Cambridge: Cambridge University Press, 1991), 304. This is a translation of Fauré’s letter to his wife of 17 August 1906. BACK TO TOP REYNALDO HAHN (1875-1947) Reynaldo Hahn, Venezuelan by birth, came to Paris with his family at age four and made a brilliant career. In addition to his career as a composer and singer, he was director of the Paris Opéra, music critic for the newspaper Figaro, and conductor of the Salzburg Festival. He was enough of a scholar to edit some of the works of Rameau. He maintained close friendships throughout his life with actress Sarah Bernhardt and writer Marcel Proust. During the Belle époque, French mélodie was at the height of its development. Hahn was a habitué of the most fashionable salons, where he was in demand as a performer. On these occasions, he usually sang and played his own accompaniment, often with a cigarette dangling from his lips. The art of singing was one of his major passions, and he wrote three books on singing (Du chant, Thèmes varies, and L’oreille au guet), as well as a memoir of Sarah Bernhardt. Hahn’s songs are models of French restraint–devoid of overt display, with beautiful melodies in a modest vocal range. They reflect the style of his teacher, Jules Massenet. Hahn composed approximately ninety-five works for solo voice: eighty-four mélodies, five English songs to texts of Robert Louis Stevenson, and six Italian songs in the Venetian dialect. After 1912, Hahn composed in larger forms: opera, operetta, and film music. Perhaps his most famous work is his operetta Ciboulette (1923), which is still performed. À Chloris (1916) poem by Théophile de Viau (1590-1626) “À Chloris” is No. 14 in Deuxième volume de vingt mélodies, the last major publication of Hahn’s songs during his lifetime. In many of his later songs, he turned to a deliberately archaic style. “À Chloris” features an elegant vocal line above a piano texture that features Baroque musical characteristics; it is its own piece, with ornamented melody and chaconne-like bass. Vocal line and piano piece are woven into a musical tapestry that is both declarative and intimate. Poet Théophile de Viau was considered one of the most influential libertin poets during Louis XIII’s reign. The libertins’ verses had a unique charm that is instantly appealing, but somewhat artificial. Despite this, de Viau’s love poetry is not bland, but full of suggestive passion and elegant wit. BACK TO TOP ARTHUR HONEGGER (1892-1955) Arthur Honegger composed over forty mélodies for voice and piano. Taken as a whole, they are diverse and imaginative. For his texts, he favored contemporary poets such as Jean Cocteau, Guillaume Apollinaire, Paul Claudel, and Paul Fort. He also chose to set unrelated poems by a single poet, such as his Poesies (Cocteau) and Alcools (Apollinaire). Poetry with strong imagery appealed to the dramatist in his personality. For Honegger, as for most successful mélodie composers, the word provides the starting place. He is quoted as saying: For me, the music a song is always dependent upon the poetic model. It must join so closely with the poetry, that they become inseparable and one can picture the poem in wholly musical terms. This is not to say that the music becomes subservient. It must be so crafted that it can stand on its own merits, playable without the text, logical and complete. 1 Born of Swiss parents in Le Havre, France, Arthur Honegger initially studied for two years at the Zurich Conservatory, but enrolled in the Paris Conservatoire from 1911 to 1918, studying with Charles-Marie Widor and Vincent d’Indy. Some of his more familiar large vocal works include the dramatic psalm Le roi David (King David), composed in 1921 and still in the choral repertoire; and his dramatic oratorio of 1935, Jeanne d’Arc au bûcher (Joan of Arc at the stake), with text by Paul Claudel, considered to be one of his finest works. Between the world wars, he composed nine ballets and three vocal stage works, among works in other genres. His total compositional catalog is an impressive list of music: orchestral works, chamber music, concertos, ballets, operas, operettas, and oratorios. Widely known as a train enthusiast, he was passionately interested in locomotives, to which he attributed almost human characteristics. His “mouvement symphonique,” Pacific 231, gained him early acclaim in 1923. Honegger’s musical style is a fascinating mixture of impressionistic effects peppered with penetrating dissonances. He had a fondness for mixing tonalities and using modality. His compositions for the voice display an eclectic focus of coloristic harmonies and architectural clarity. He was a member of Les Six, but unlike most of that group, did not share their overwhelming reaction against German romanticism. Honegger’s musical style is fuller and more serious than his colleagues. He and Darius Milhaud were close friends. Honegger’s generous body of song has proved of enduring interest to contemporary performers. His was a distinctive voice in the vocal music of the twentieth-century French mélodie. Trois Psaumes (1940-41) from the Huguenot Psalter Psaumes XXXIV and CXL translated by Théodore de Bèze (1519-1605) Psaume CXXXVIII translated by Clément Marot (1496-1544) The spirit of Bach shines in the first psaume, “Psalm 34,” in which a chant-like vocal line alternates with a gently moving episodic keyboard part. This call and response continues until the last three vocal phrases, when the vocal line merges with the instrumental texture in a psalm of praise. The second song is “Psalm 140,” “ô Dieu donne-moi la déliverance de cet homme pernicieux” (O God, deliver me from this evil man). Honegger’s biographer, Harry Halbreich, suggests that the “evil man” who was oppressing Europe in those last days of 1940 might be the reason for Honegger’s text choice. This piece was composed before the first and third songs. Its emotional mood peaks with the chorale tune “I know that my Redeemer liveth.” 2 The last song in the set, “Psalm 138,” has the Latin title “Confiteor tibi, Domine” (I thank thee, O Lord) and is a paraphrase by Clément Marot, one of the greatest of the French Renaissance poets. It contains a familiar chorale tune, which is used in canon between voice and piano. NOTES: Arthur Canter and Rachel Joselson, Liner notes, The Songs of Arthur Honegger and Jacques Leguerney. Rachel Joselson, Réne Lecuona , piano. Albany Records, TROY691, 2004. Harry Halbreich, trans. Roger Nichols, Arthur Honegger (Portland, OR: Amadeus Press, 1999), 165. BACK TO TOP JACQUES LEGUERNEY (1906-1997) Most of Jacques Leguerney’s sixty-eight mélodies were composed and published from 1940 to 1964. Many were commissioned and premiered by French baritone Gérard Souzay, his sister, soprano Geneviève Touraine, and pianist Jacqueline Bonneau. Early songs are comparable in mood and style with Ravel or Roussel (who encouraged Leguerney’s composition); later songs have been compared to those of his contemporary, Poulenc. Leguerney writes virtuoso piano parts–often dramatic, and with such an individual sense of harmonic style and color that Pierre Bernac reportedly described them as “mélodies de pianist.” 1 When asked about Leguerney’s songs, Gérard Souzay wrote, “How does one describe this music which is, at the same time, classic and modern? It is pure, but colorfully nuanced; it speaks to the heart as well as the mind–at times calm at times witty–wise, yet sensual...” 2 Many of Leguerney’s songs deal with themes of love and nature, expressing a huge range of emotions from deeply felt meditation to wild, ribald humor. Leguerney stopped composing in 1964, and his songs became neglected. The quality of Leguerney’s text setting, lyrical beauty, and harmonic innovations all call for his songs to be better known and more widely performed. Jacques Leguerney was drawn to the work of Renaissance poets, notably Ronsard. There are eight collections titled Poèmes de la Pléaide, representing settings of sixteenth and seventeenth-century French poetry and totaling thirty-two songs. Additionally, there are cycles and other collections [for a complete listing of Leguerney’s songs, see Dibbern, Kimball, and Choukroun, Interpreting the Songs of Jacques Leguerney]. 3 They may be thought of as the last in the great mainstream of twentieth-century French song. La Caverne d’écho (1954) from Poèmes de la Pléiade, Volume 7 poem by Antoine Girard de Saint-Amant (1594-1661) Dedication: Josiane and Jean Cier. First performance: Bernard Kruysen, baritone; Jean-Charles Richard, pianist. 29 May 1965, Radio France Culture. Marc-Antoine Girard, sieur de Saint-Amant, wrote poetry of great descriptive power, and his use of language set him apart from the other seventeenth-century poets. He was also an adept musician and skillful lute player, writing verses that often describe musical sounds linked to visual images. The poem takes place in a dark cave, home of the nymph, Echo; it is a charmed place, absolutely still and peaceful. The poet’s lute resounds inside the cavern as he tries to soothe the inconsolable Echo, who mourns for her lover Narcissus. Leguerney creates the grotto’s mysterious resonance with bitonality. Piano figures illustrate the strumming of the lute. The text contains many sounds with the consonant “r.” The rolling quality of this speech sonority re-creates the cavern’s resonance. The closing measures of the mélodie produce a striking effect as the singer’s voice echoes eerily in the cavern, blending with the piano’s resonance and creating a remarkably realistic echo. À son page (1944) from Poèmes de la Pléiade, Volume 2 poem by Pierre de Ronsard (1524-1585) Dedicated to Gérard Souzay. First performance: Gérard Souzay, baritone; Jacqueline Robin (Bonneau). 3 May 1945, Salle Gaveau, Paris. This is a lusty scene with four characters: a nobleman tipsy from drink, his page, and two women, Jeanne and Barbe. Carpe diem is the theme here. The singer philosophizes on this idea while enjoying his wine and the tender companionship of the two beautiful women. Leguerney evokes the crackling staccato of a stylized harpsichord with rhythmic accents in the piano. The text is brilliantly set with jagged vocal lines and driving rhythms that illustrate the singer’s intoxication. It ends with Leguerney’s repetition of the last poetic line and the addition of nonsense syllables which fit beautifully into the imagery and mood of Ronsard’s colorful characters. Je me lamente (1943) from Poèmes de la Pléiade, Volume 1 poem by Pierre de Ronsard (1524-1585) Dedicated to Geneviève Touraine. First performance: Paul Derenne, tenor; Jeanne Blancard, pianist. 29 March 1944, Salle de l’Ecole Normale de Musique, Paris. This is one of Leguerney’s most beautiful songs, setting Pierre de Ronsard’s text from his collection of love poems for Marie Dupin, a country girl from a small village in southern France. She was half his age and probably represented the youth he constantly pursued. It has been suggested that the Marie in question was probably Marie de Clèves, passionately adored by Henri III. 4 Leguerney called this mélodie a constant crescendo from beginning to end. 5 Ronsard’s anguish is captured with a texture of stark chords, crowned by a regal and sustained vocal line. As the song progresses, the poet’s anguish is embodied in a more expansive texture, bidding Marie a happy resting place near God or in the Elysian fields. NOTES: Liner notes by Mary Dibbern. Mélodies sur poèmes de la Renaissance (Jacques Leguerney).Harmonia Mundi France. LP recording HMC 1171. Letter to the author. Quoted in Mary Dibbern, Carol Kimball, and Patrick Choukroun. Interpreting the Songs of Jacques Leguerney (Hillsdale, NY: Pendragon Press, 2001), 3. Ibid., 289-295. Ibid., 69. See note 20. Ibid., 70. BACK TO TOP OLIVIER MESSIAEN (1908-1992) Olivier Messiaen was born in 1908 in Avignon, France, into a literary family. He grew up around words and absorbed their shapes, colors and sounds naturally. His father, Pierre Messiaen, was a well-known translator of Shakespeare, and his mother, Cécile Sauvage, was a poet. As a youngster, before beginning to compose music, he had an especially perceptive ear attuned to the unique prosody of the French language. Early in his compositional career, he published a book titled Technique de mon langage musical (1944). About his musical setting of words, Jane Manning observes: ...the syllables themselves create a glittering mosaic of sonorities and subtle resonances, in addition to their actual meaning (many of the poems do not translate at all satisfactorily). The composer’s awareness of the minutiae of verbal enunciations and articulations is miraculous. Each vocal sound can be precisely placed as intended, all dynamics are scrupulously plotted, and the performer’s involvement and intimate connection to the music is enhanced by the sensual nature of words projection... 1 He often used stained glass to explain his music. When viewed from a distance, the myriad details blend into a single entity, whose purpose is to dazzle the listener. Understanding is not necessary, feeling is the prime requisite. The music of Olivier Messiaen is a skillfully designed and unique language, with meaning and form kept separate. Its meaning is unchangeable, harkening back to Gregorian chant, culminating in instruments that are able to prolong sound (organ, strings, or the ondes Martenot). Messiaen’s musical language is defined by its rhythms and tone colors. His uncanny instinct for associating sound with color produced works unique in their concept of the combination of sounds. He said that when he heard or read music, his mind’s eye saw colors that move with the music; he sensed these colors, and at times he precisely indicated their arrangements in his scores. His fascination with birdsong was lifelong; he referred to himself as an ornithologist and tracked birds and their songs all over the world. He considered their resonances as songs and not merely sounds. He notated these on manuscript paper and they found their way into his music. Trois mélodies (1930) poems by Olivier Messiaen, Cécile Sauvage (1883-1927) This little cycle of songs is Messiaen’s first recognized work for voice and piano. The songs are modest in length and not typical of Messiaen’s later style, but show influences of late Fauré and Duparc in the overall musical texture. There is only one song in his vocal compositions in which Messiaen set the poetry of another poet. It is found in this cycle, which uses the text of his mother, the poet Cécile Sauvage, who died three years before the composition of this work. The three movements form a warm and delicate little triptych. Two of Messiaen’s own poems stand on either side of the poem by Cécile Sauvage, throwing that charming little poem into high relief. “Pourquoi?” introduces a litany of the pleasures of nature: birdsong, the unfolding seasons, and water images. The poet becomes emotional, asking why all these bring him no joy. “La Sourire,” the shortest song of the set, is a beautiful microcosm of intimate and spiritual understanding between two people. It is a delicate example of musical economy and word setting in a quasi-recitative style. The last song, “La fiancée perdue,” offers fleeting hints of Messiaen’s cycle to come, Poèmes pour Mi–most specifically, the final song. Here, the poet prays for divine blessing on the soul of the “fiancée” in the title. The fervent incantation illuminates and affirms man’s connection to a higher authority. Examining the poetic content of the three texts, we are struck by the images that underlie the words: the emotional outburst “pourquoi,” (why?), perhaps questioning the death of Cécile, followed by Cécile’s tender affirmation of love, and finally, the prayer asking for Divine grace and the blessing of the soul of the departed. NOTES: Jane Manning, “The Songs and Song Cycles,” in The Messiaen Companion, ed. Peter Hill (Portland, OR: Amadeus Press, 1995), 107. BACK TO TOP DARIUS MILHAUD (1892-1974) Darius Milhaud was probably the most prolific composer of the group known as Les Six (Francis Poulenc, Louis Durey, Arthur Honegger, Germaine Tailleferre, Georges Auric, and Milhaud). The group was unified by friendship rather than a single musical style. Championed by influential writer Jean Cocteau and composer Erik Satie, Les Six often presented their works at the same concerts and met with great regularity–often at Milhaud’s house–to make music and exchange ideas. Louis Durey observed that it was the wide diversity in their personalities and musical styles that gave the group its rich depth and permitted its development. Embodied in the credo of their musical thought was relative sparseness of texture and clarity. Turn-of-the-century France offered popular entertainments that drew the French to an environment of merry-go-rounds, shooting galleries, outdoor concerts, circuses, and a jumble of excitement. Milhaud was fascinated by Parisian street life, and could hear the sounds of the Montmartre fair from his apartment. Often on their group outings, Les Six went together to the Cirque de Médrano to see the Fratellinis, a famous family of clowns of that day. Milhaud observed that their acts were worthy of the Commedia dell’arte. 1 Trois Poèmes de Jean Cocteau, Op. 59 (1920) poems by Jean Cocteau (1889-1963) Trois poèmes de Jean Cocteau is like lyric fragments. The small-range vocal lines have a sparse lyricism–one of emotional mood rather than overt melody. The little mélodies are skillful studies in brevity. These match Cocteau’s rather enigmatic poems that exemplify the style termed dépouillé (stripped to the essentials), his aesthetic creed. Milhaud dedicated the songs to Satie. The three miniatures are a colorful kaleidoscope of the circus and the outdoor fairs that entranced the French during this period. “Fumée” describes the equestrienne of the Cirque Médrano atop a horse, jumping through hoops, captured in Toulouse-Lautrec’s familiar painting titled “L’écuyère au Cirque Fernando (1888); “Fête de Bordeaux” is a description of the merry-go-round at the Bordeaux fair; and “Fête de Montmartre” evokes the nighttime boats and sailors, possibly having to do with a game involving camouflaged ships found at the Montmartre fair. Milhaud infuses stylistic and melodic elements of folk songs and children’s tunes into the tiny pieces, tying the innate excitement of these popular destinations to simple, childlike reactions. NOTES: Laurence Davies, The Gallic Muse (New York: A.S. Barnes and Co., 1967), 164. BACK TO TOP FRANCIS POULENC (1899-1963) Francis Poulenc’s 150 mélodies form the largest body of songs to be added to French vocal literature in the twentieth century. Poulenc’s flair for the dramatic, combined with his superb skill in mixing poetry and music, produced songs that singers find immensely gratifying, not only for their musical value, but for their heightened sense of drama. Poulenc’s mélodies reflect concern and feeling for declamation, inflection, breathing, and above all, show extraordinary warmth of feeling for the human voice. He was fond of saying, “J’aime la voix humaine!” The sophistication of Poulenc’s songs spring from their poetic inspirations. Poulenc was quite knowledgeable about poetry, and chose his texts carefully. His gift of divining the inner life of the texts he set produced songs that do more than merely illustrate the poems. His gift for melody is at the very heart of all his songs and seems to assert itself naturally in shaping the color, weight, and meaning of the texts he set. Ce doux petit visage (1938) poem by Paul éluard (1895-1952) Paul Eluard was one of Poulenc’s three main poets. This is a beautiful introduction to Eluard’s poetry, lyrical and passionately intense. The simplicity of Poulenc’s setting allows the poem to shine. It is one of Poulenc’s tiny gems, and he admitted his partiality to the short song. Eluard’s skill at evoking nostalgia and melancholy are seen here, linked to lost youth. The mélodie is dedicated to the memory of Raymonde Linossier, Poulenc’s most intimate childhood friend, who influenced his literary taste and musical tendencies. He said: “I have a great liking for this short song. Raymonde Linossier was my best advisor for the music of my youth. How many times, during the years since her death, I would have liked to have had her opinion on this or the other of my works.” 1 La Grenouillère (1938) poem by Guillaume Apollinaire (1880-1918) “La Grenouillère” is an outstanding example of Poulenc’s romantic lyricism. This is a text by Guillaume Apollinaire describing the Ile de Croissy, an island in the Seine on the outskirts of Paris, frequented by artists and their models, and celebrated in paintings by Monet, Manet, and Renoir. “The Froggery” was a restaurant on the island. The overall images of happy days that cannot be relived can be seen in Pierre Auguste Renoir’s paintings Les Déjeuner des canotiers (The Boatman’s Luncheon), or La Grenouillère. In this lament for boating parties on the Seine, vocal phrases are sustained and languid, floating over a slowly rocking piano accompaniment. The lazy piano figures mirror the empty tethered boats rocking on the water, bumping against each other, and give expression to the sweet melancholy of the poet’s words. Montparnasse (1945) poem by Guillaume Apollinaire (1880-1918) Apollinaire’s poem is dated 1912. Poulenc writes in his journal of songs that it took him four years to complete “Montparnasse,” almost phrase by phrase, and that he had no regrets about the length of time it took because “it is one of my best songs.” 2 It is a sentimental and heartfelt tribute to Paris. Both Apollinaire and Poulenc loved the city and it played a continuing role in their work. “Montparnasse” is about the idyllic artistic existence lived at the edge of Paris. Poulenc wrote in his diary: “Let us imagine this Montparnasse all at once discovered by Picasso, Braque, Modigliani, Apollinaire.” 3 The mélodie has a carefree nonchalance about it; it is not sad, but thoughtful– a beautiful blend of poetic and musical lyricism. Poulenc’s vocal and harmonic textures are full of surprising harmonic details that bind this song–which he composed in fragments–together into a touching and expressive picture of Paris in the early years of the twentieth century. Bleuet (1939) poem by Guillaume Apollinaire (1880-1918) Guillaume Apollinaire was one of Poulenc’s preferred poets. This is a wartime poem that Apollinaire penned in 1917 in Paris in convalescence after a head injury; both Apollinaire and Poulenc served in World War II. There are several word plays at work here. “Bleuet” was the nickname for French soldiers in World War I, because their uniforms were blue, like the color of a little cornflower, which is a “bleuet.” Also, “Un bleu” was the term used for a raw recruit. “Bleuet” is one of Poulenc’s most moving songs– agonizing in its emotional content yet noble in its message. It is a quiet and private moment in which a twenty-year-old boy who does not yet know all that life can be, is characterized–and addressed–by the poet in a sweetly serious speech. Poulenc wrote that for him, the key to the poem were the words, “It is five o’clock and you would know how to die.” 4 This song is simple, intimate, and poignant. Les Chemins de l’amour (1940) poem by Jean Anouilh (1910-1987) Poulenc composed this valse chantée as incidental music for Léocadia, a play by Jean Anouilh. Within the play, the song was described as a pseudo Viennese waltz, and functioned as a leitmotiv in the plot. Sung by Yvonne Printemps, one of France’s most celebrated musical theatre stars, “Les Chemins de l’amour” became a popular success. It embodies the relaxed elegance of a self-styled Viennese waltz style, encased in one of Poulenc’s haunting melodies. Banalités (1940) poems by Guillaume Apollinaire (1880-1918) Banalités is not a cycle, but a group of five songs. The poems have no connection with each other; however, their order provides a well-constructed recital group. They may be performed separately. The work is one of Poulenc’s most popular vocal works, and deservedly so. Poulenc chose contrasting poems, placing them so that the collection begins briskly and ends with lyrical gravity. “Chanson d’Orkenise” is Poulenc’s title for the poem contained in the strange mixture of prose and poetry that Apollinaire called Onirocritique. Orkenise is a road in Autun leading to the Roman gate of the same name. The musical setting has the feeling of a popular folk song. The narrator sings of a tramp leaving the city and a carter who is entering it - one leaving his heart there, one bringing his heart to be married. There is a word in the poem with a double meaning: “grise” can be translated as “gray” or “tipsy.” The merry quality of the song opens the set with gaiety, but both Apollinaire and Poulenc offer a little food for thought. “Hôtel” is a poem that immediately represented for Poulenc a hotel room in Montparnassse, where the idle poet wants only to bask in the sun’s warmth and smoke. Pierre Bernac referred to it as “the laziest song ever written.” 5 The piano figures are fashioned of Poulenc’s luxuriant chromatic harmonies, stacked as if to cushion the lethargy of the singer. “Fagnes de Wallonie” is set in the gloomy, desolate uplands of the Ardennes with a terrain of vast heaths, twisted trees, and peat bogs, swept by winds of considerable force. Its gloomy setting complements the melancholy mood of the poet. Poulenc’s spiky musical setting is a whirlwind that sweeps from beginning to end in a turbulent texture that demands precise articulation from singer and pianist. Sandwiched between Songs 3 and 5 is a tiny bonbon, “Voyage à Paris.” It resembles a little commercial jingle about Paris–“which one day love must have created”–an invitation to the pleasures of that beautiful city, away from “the dreary countryside.” Poulenc sprinkles his quicksilver setting–a valse-musette–with indications of “amiable” and “avec charme.” The composer referred to it as having “deliciously stupid lines...Anything that concerns Paris I approach with tears in my eyes and my head full of music.” 6 The cycle concludes with “Sanglots”, one of Apollinaire’s finest poems about the universality of lost love, a theme that Poulenc matches with exquisite modulations in a setting that embodies the essence of the words. The vocal lines are eloquently lyrical. The poem is difficult to understand because of the juxtaposition of the main narrative and the interior “asides,” that in effect form a poem within a poem. 7 The song has an elegant serenity that culminates in a stunning climactic point at the words: “Est mort d’amour ou c’est tout comme/ Est mort d’amour et le voici.” The ending lines of the song sustain the profoundly calm mood, bringing Banalités to its close. La Courte Paille (1960) poems by Maurice Carême (1899-1978) The last song cycle Poulenc composed was La Courte paille, on seven poems of Belgian poet Maurice Carême. Poulenc composed the songs for soprano Denise Duval, creator of leading roles in his three operas, hoping that she would sing them to her young son. Poulenc considered the mélodies very poetic and whimsical; unfortunately, Duval disliked the music and never did sing the cycle. Poulenc asked Carême to provide an overall title for the work and requested permission to change the titles of several selected poems: the original title of “Quelle aventure!” is “Une puce et l’éléphant”; “Le Reine de cœur” is “Vitres de lune”; “Le carafon” is “La carafe et le carafon.” For the cycle’s title, Carême chose La Courte Paille (The Short Straw), referring to drawing lots by the method of a short straw. Poulenc was delighted, saying the title symbolized his little musical game exactly. He also wrote in his diary, “They must be sung tenderly; that is the surest way to touch the heart of a child.” 8 The cycle is full of child-like innocence, whimsy and imagination, with a few shadowy undertones. The first song, “Le Sommeil,” is a beautiful lullaby to a restless child who cannot go to sleep, tossing and turning in his small bed. He seems ill, crying and perspiring, but hopefully will finally surrender to slumber. In “Quelle aventure!” the child describes an absurd happening: he saw a flea driving a carriage with a small elephant in it. The story grows more bizarre but the rhythmic pace never wavers, careening to the end of the song when the child wonders how on earth he’ll ever be able to persuade “Mama” that it really happened. The verses are witty, yet the shrieks of “Mon Dieu!” are laced with a feeling of childish terror. “La Reine du cœur” is a beautiful, languid melody that paints a picture of the mysterious Queen of Hearts, beckoning to visitors from her frosty castle, where she reigns over a court of lovers, including the young dead. In “Ba, Be, Bi, Bo, Bu...,” the child is chided “on all sides” about studying. The title of the song presents the French vowels, and the text contains words that make their plural with an “x” (“pou, chou, genou, hibou”). The formidable cat of the poem’s opening lines is none other than that tricky feline Puss-in-Boots! The entire song is a little tongue-twister, an exercise in diction and accuracy. “Les anges musiciens” are none other than the school children staying home on Thursday, the half-day school holiday in France in Poulenc’s time, practicing Mozart on their harps, just like good little angel musicians should do. “Le carafon” is a crazy little story of a carafe that longs for a baby carafe (carafon) just like the giraffe at the zoo, who has a girafon. This is a ridiculous rhyming game like those that children love to play. The text is full of whimsical characters: the carafe, a giraffe, a sorcerer astride a phonograph, Merlin, and finally, a carafon. “Lune d’Avril” is another lullaby, very slow and otherworldly, which serves as an epilogue. Bound together in a musical texture that features a syncopated pedal point, it is filled with enchanted images the child wishes to dream about: a land of joy, light, and flowers where all guns are silent. The ending leaves the listener suspended in a mood of unfinished magic. La Courte Paille is the last vocal music Poulenc composed. NOTES: Quoted in Pierre Bernac, Francis Poulenc: The Man and his Songs (New York: W.W. Norton Co., 1977), 125. Francis Poulenc, Journal de mes mélodies, trans. Winifred Radford (London: Victor Gollancz, 1985), 75. Ibid., 75. Ibid., 57. Bernac, 72. Poulenc, 67. The English translation of “Sanglots” has parentheses that delineate the “asides” so that both “poems” may be seen. These may be found in Pierre Bernac’s books Francis Poulenc: The Man and his Songs, page 75, or The Interpretation of French Song, pages 284-85 Poulenc, 109. BACK TO TOP MAURICE RAVEL (1875-1937) The songs of Maurice Ravel represent a transition between the mature mélodies of Debussy and the vocal literature that followed, notably the songs of Les Six. Debussy dominated the French musical scene from the turn of the century until his death in 1918. It was Ravel who was regarded as the leading musical spokesman for France following World War I. He was a skillful craftsman and his songs have a sense of evenness of rhythmic structure and flow that call for scrupulous execution. The fusion of music and text into a logical whole was of utmost importance to him. He composed elegant and subtle mélodies, using classical phrase structure. His melodic phrases often tend toward modality. His songs range from those with a folk-like style to more to those that are more speech-like, and those that encompass a melodic romanticism. He was precise in his thought and his scoring, and scrupulous in his musical execution. His music encompassed some of the fascinating influences of the post-Wagnerian era. Ravel’s musical contributions were of utmost importance to this exciting and new era in French cultural history. He made notable contributions to musical literature for the piano, the French art song, opera, chamber music, orchestral literature, and the ballet. Sur l’herbe (1907) poem by Paul Verlaine (1833-1896) This mélodie is Ravel’s only setting of Verlaine. It has often been suggested that this poem was probably inspired by Watteau’s painting L’île enchantée. There is also a reference to a famous eighteenth-century dancer, Marie-Anne Cuppi, known as (La) Camargo, who was immortalized on canvas by the painter Nicolas Lancret. The scene is an outside gathering, elegant and artificial. A number of people are there, chief among them, a licentious abbé, slightly tipsy from a bit too much Cyprian wine. He exchanges a few disconnected gallantries with the ladies–innocent conversations on the surface, but sensuous in undertone. The conversation is disconnected; we do not know exactly who is speaking. Ravel shapes very flexible vocal phrases, in keeping with the abbé’s intoxicated state, underscored with graceful piano figures that evoke an eighteenth-century dance. In a letter to Jean-Aubrey, Ravel commented on “Sur l’herbe”: “In this piece, as in the Histoires naturelles, the impression must be given that one is almost not singing. A bit of preciosity is found there which is indicated moreover by the text and the music.” 1 Noël des jouets (1905) poem by the composer This is the only solo song for which Ravel wrote the text. It describes a Christmas manger scene, replete with the Virgin and Christ-child, animals, and angels. It embodies Ravel’s delight with tiny mechanical toys and figures, and his fascination with the unspoiled world of child-like experience. His genius for text painting is displayed in the delightful mélodie. The mechanical toys come to life in the piano figures. Ravel’s charming text creates the images around and over the crèche, with not a word wasted. Ravel commented that the music is “clear and plain, like the mechanical toys of the poem.” 2 This little song foreshadows other Ravel settings of make-believe, beginning with the song cycle Histoires naturelles and culminating with his opera L’Enfant et les sortilèges. The music of menacing dog Belzébuth foreshadows the music of the Beast in the Mother Goose Suite (Ma Mère lOye). Rêves (1927) poem by Léon-Paul Fargue (1876-1947) The poetry of Léon-Paul Fargue has been described as reflecting the union of dream and memory. This mélodie has a tender lyricism within a sparse musical texture. The text is fashioned of a series of miniature images that pass by rather quickly, unrelated, like the images found in dreams. For all their differences, they have a simplicity about them that seems timeless, existing together, as the poet says, “in a vague countryside.” When the dreamer finally awakens, the little fleeting pictures “die quietly.” The piano postlude perpetuates the dream state, creating an ethereal little microcosm that continues to draw the dreamer to it. Ronsard à son âme (1924) poem by Pierre de Ronsard (1524-1585) In his Abrégé de l’art poétique français (1565) Pierre de Ronsard advocated the union of poetry and music, and Renaissance composers frequently set his poems. 3 In this strikingly simple mélodie, Ronsard speaks to his soul, calling it by a series of diminutives: little soul, dainty little one, sweet little one. Ravel uses a series of parallel fifths in the piano figures to invoke a Renaissance mood. This is Ronsard’s last poem, and Ravel’s last adaptation of Renaissance poetry. Ravel’s setting recalls the elegance of his early mélodie, “D’Anne qui me jecta de la neige,” to a poem of Clément Marot. Manteau de fleurs (1903) poem by Paul Barthélemy Jeulin (1863-1936) The poem notes everything in the garden that is pink–all the flowers that will become a beautiful cloak to complement the beauty of the lady of the poem. Ravel usually had very sophisticated taste in choosing texts; this particular poem is an unusual choice. It is a simple text, somewhat banal, but Ravel’s shimmering musical texture imparts a dramatic character for each flower in the poem. The overall piano texture suggests orchestral colors. The last section of the mélodie changes course slightly, with the piano harmonies creating a slightly wistful mood. Clearly, Ravel lavished a beautiful musical setting on a rather ordinary set of words. Don Quichotte à Dulcinée (1932-33) [Medium/Low Voice edition only] poems by Paul Morand (1888-1976) This miniature cycle was Ravel’s last vocal work. His musical portrait of the noble Spanish knight, Don Quixote, is embodied in three mélodies, all based on characteristic Spanish or Basque dance rhythms: (1) the guajira, alternating 6/8 and 3/4 meter; (2) the zorzica, a Basque dance in quintuple meter; and (3) the jota, a lively triple-metered Spanish dance. “Chanson Romanesque” presents the chivalrous idealist Don Quixote, confidently promising to rearrange everything in nature to his lady Dulcinea’s liking in order to win her favor. Dulcinea is in reality a poor farm girl, but the Don’s illusion will not be shaken. He remains authoritative and focused in his quest for her love. “Chanson épique” is Quixote’s reverent prayer to Saint Michael and Saint George, beseeching them to bless his sword and his Lady. Ravel creates a beautifully sustained and prayerful vocal line over a simple accompaniment. “Chanson à boire” is a exuberant drinking song. Although the Don’s tippling has made him overly boisterous, he never oversteps the bounds of his noble bearing. His robust laughter is heard in the piano figures and even a hiccup intrudes between “lorsque j’ai” and “lorsque j’ai bu.” NOTES: Maurice Ravel, in a letter to Jean-Aubrey written in September, 1907. Quoted in Arbie Orenstein, Ravel: Man and Musician (New York: Dover Publications, 1991), 165-66. Quoted in Orenstein, 161. Orenstein, 192. BACK TO TOP ALBERT ROUSSEL (1869-1937) In 1894 Albert Roussel left a highly successful career as a naval officer to pursue music. After completing his studies, he became professor of counterpoint at the Schola Cantorum in Paris. Satie and Varèse were among his students. Roussel was one of the most prominent French composers of the interwar period. He composed almost forty mélodies as well as chamber music, ballets, and operas. His style is eclectic but highly individual. Early works show the influence of Vincent d’Indy, works dating from 1910 to 1920 exhibit influences of Debussy and Ravel, but he turned to neoclassicism in his later compositions. His love for the sea was almost a spiritual attraction and continued to influence his music throughout his career. He had a fascination for distant places; his extended tour of Southeast Asia in 1909 had a tremendous influence on his composition. “Sarabande” and “Cœur en peril” are mélodies to texts of René Chalupt, a close friend. They are found in op. 20 and 50, respectively. Roussel’s overall musical catalogue is not extensive, but its quality is of an extremely high level, and his vocal writing in particular contains some mélodies of great delicacy and style, squarely in the French tradition. For Roussel, the word held primacy in his mélodies, being both transformed by its musical setting and merging with it to create a perfect union. Commenting on the quality of Roussel’s songs, composer Charles Koechlin is quoted as saying: “The sense of austerity pervading them, stemming simply from the composer’s natural reserve, heightens their expressiveness and further embellishes them; in language and content they are absolutely personal. This collection of songs is one which will last because its essence is undying sensitivity.” 1 Sarabande (1919) from Deux mélodies, Op. 20, No. 2 poem by René Chalupt This is surely one of Roussel’s most delicate and magical creations. His writing for the piano is particularly outstanding, placing Chalupt’s poem in an overall texture of elegance and veiled sensuality. There is an Oriental delicacy in Roussel’s musical evocation of the fluttering doves, feathers drifting into a pool, and the gentle drift of chestnut blossoms onto bare flesh. Cœur en péril (1933-34) from Deux mélodies, Op. 50, No. 1 poem by René Chalupt This mélodie is much different in mood–witty and flirtatious. It is the narrative of a young man eager to convince his ladylove of his fidelity. Vocal phrases are tuneful, with a spirited piano texture of Iberian flavor. NOTES: Liner notes, Dom Angelico Surchamp, trans. Elisabeth Carroll, Roussel Mélodies, Colette Alliot-Lugaz, Mady Mesplé, Kurt Ollmann, José Van Dam; Dalton Baldwin, Patrick Gallois. EMI Digital. CDS 7492712, 1987 BACK TO TOP ERIK SATIE (1866-1925) Erik Satie wrote very few songs and most of them date from late in his life. The eccentric father figure of the French avant-garde of the twentieth century had a wildly independent spirit that found its way into his musical compositions. Throughout his life, he kept a great deal of childlike inquisitiveness and innocence. He was a curious personality of unconventional habits whose sense of the absurd and whimsy permeated both his life and his music. Quintessential Satie compositions are laconic and witty. It was Satie who named Les Nouveaux Jeunes, soon known as Les Six, and influenced the early development of the group. La Statue de bronze (1916) from Trois Mélodies poem by Léon-Paul Fargue (1876-1947) This is Satie’s first setting of the poetry of Léon-Paul Fargue, the “Bohemian poet of Paris.” Satie used Fargue’s witty verses again for Ludions. The scene is a garden game–the jeu de tonneau. A bronze frog, perched atop a cabinet with numbered chambers, grows impatient of being the target of the game where metal disks are tossed into her mouth. She dreams of being freed from her pedestal and being able to use her wide-open mouth to utter “LE MOT.” 1 She wants to be free to join the other frogs gathered near the rust-colored washhouse “blowing musical bubbles from the soapy moonlight.” But the game continues, the disks rattle through her mouth into numbered compartments and at night, insects sleep in her mouth. This mélodie can be linked musically to “La Grenouille américaine,” found in Ludions. Both songs share piano figures derived from the café-concert chanson. Ludions (1923) poems by Léon-Paul Fargue (1876-1947) Ludions is the last of Satie’s purely vocal works, composed two years before his death, and is perhaps his finest set of songs. It epitomizes his lifelong quest for musical simplicity and his irreverence for the intricate compositional techniques and overactive emotions of the Impressionists. Ludions is translated as “bottle imps” (a ludion is a little figure suspended in a hollow ball, which descends or rises in a vase filled with water when one presses down on the elastic membrane covering the mouth of the vase). The cycle is a kaleidoscopic set of musical miniatures, riddled with puns and illogical phrases. Fargue’s nonsensical verse complements Satie’s musical aesthetic, and the two friends’ personalities closely matched one another. All the mélodies in Ludions are short, like tiny cameos. They are colorful, saucy, fantastic, and defy translation. “Air du rat,” “La Grenouille américaine,” and “Chanson du chat” are right out of the music hall, and Satie uses with a mock-serious “tongue-in-cheek” treatment for “Spleen” and “Air du poète.” Je te veux (1902) poem by Henry Pacory (1873-?) The valse chantée, or sung waltz was a favorite of the café concerts, for which Satie composed a number of works. Café concerts were a form of Parisian popular entertainment in the late nineteenth and early twentieth century. The all-musical programs were held outside; French popular singers presented repertoire that catered to lower and middle-class audiences who came to talk, eat, drink, and observe the long informal programs, for which there was no admission charge. “Je te veux” was composed for Paulette Darty, dubbed “the Queen of the slow waltz.” It was one of her signature musical presentations for the caf’conc (café concerts), and one that Darty remained associated with throughout her career. A statuesque blonde with an ample figure, Darty was a commanding performer who kept the most boisterous of the Saturday night audiences enthralled. Lyricist Henry Pacory’s rather explicit poem was watered down at Satie’s request before the song was published. La Diva de l’Empire (1904) poem by Charles Bessat, named Numa Blès (1871-1917) The “Diva de l’Empire,” 2 one of Satie’s café-concert songs, was another work written for and performed by Paulette Darty. It was composed for a Bonnaud-Blès music-hall revue called Dévidons la Bobine (Let’s Unwind the Bobbin) that toured several seaside resort towns. The British “diva” is a femme fatale performer who enchants all who see her. The song is a syncopated cakewalk describing her seductive beauty as she struts her stuff “showing the wiggling of her legs and some pretty frilly underwear.” Interspersed at points along the way with English words: Greenaway, baby, little girl, etc. The piano provides a jaunty ragtime rhythm throughout that melds perfectly with the suggestive text. NOTES: ”Le mot” has a double meaning. It was the title of a broadsheet published by Jean Cocteau between 1914-15 and is short for “le mot de Cambronne,” a polite way of saying “merde.” Cambronne was a famous French general who replied “Merde!” when asked to surrender. In Steven Moore Whiting, Satie the Bohemian: From Cabaret to Concert Hall. (New York: Oxford University Press, 1999), 43. Empire refers to the Empire Theatre of Varieties, Leicester Square, London. BACK TO TOP DÉODAT DE SÉVERAC (1872-1921) Déodat de Séverac, of aristocratic lineage, was born in the Languedoc region of southwest France in Saint-Félix-Caraman (now Saint-Félix Lauragais), near Toulouse. After studies in Paris with Vincent d’Indy at the Schola Cantorum, he returned home and remained there. He was a contemporary of Fauré, Debussy and Ravel, but was considered a petit maître in their company, possibly because of his return to Languedoc at the completion of his musical studies. Séverac composed piano and orchestral music, operas and songs. The culture of his native Languedoc figured prominently in his music, which is highly descriptive. He often wrote parts for regional folk music in his scores. Many considered him provincial and unsophisticated, but his music displays his skill in integrating folk elements–and often, regional folk instruments–of his native Languedoc into his works. He often referred to himself as “the peasant musician.” Influences of Debussy, Mussorgsky, and Bizet may be found in his mélodies. Although his music is rather conservative in style, Séverac fused folk elements with the musical styles of the day in a unique and individual manner. Ma poupée chérie (1914) poem by the composer Composed in 1914 (and published in 1916) for his daughter Magali and dedicated to her, this little cradlesong is probably de Séverac’s best loved and most performed mélodie. Séverac’s fresh musical setting contains just the right combination of simplicity and delightful childlike honesty. Despite the subject matter, the composer’s heartfelt poem avoids an overly cloying atmosphere. BACK TO TOP OTHER SOURCES CONSULTED: Jane Bathori, On the Interpretation of the Mélodies of Claude Debussy, transl. and with an introduction by Linda Laurent (Stuyvesant, NY: Pendragon Press, 1998). Pierre Bernac, Francis Poulenc: The Man and his Songs, transl. by Winifred Radford (New York: W.W. Norton, 1977). Pierre Bernac, The Interpretation of French Song, transl. by Winifred Radford(New York: W.W. Norton, 1978). Elaine Brody, Paris: The Musical Kaleidoscope 1870-1925 (New York: George Braziller, 1987). Mary Dibbern, Carol Kimball, and Patrick Choukroun, Interpreting the Songs of Jacques Leguerney (Hillsdale, NY: Pendragon Press, 2001) Alan M. Gillmor, Erik Satie (New York: W.W. Norton Co., 1992). James Harding, The Ox on the Roof: Scenes from musical life in Paris in the Twenties (New York: Da Capo Press, 1986). Peter Hill, ed., The Messiaen Companion (Portland, OR: Amadeus Press, 1995). Graham Johnson, Gabriel Fauré: The Songs and their Poets (London: Ashgate Publishing Ltd. and the Guildhall School of Music and Drama, 2009) Graham Johnson and Richard Stokes, A French Song Companion (Oxford: Oxford University Press, 2000). Carol Kimball, Song: A Guide to Art Song Style and Literature (Milwaukee, WI: Hal Leonard Corp., 2005). Carol Kimball and Richard Walters, eds., The French Song Anthology (Milwaukee, WI: Hal Leonard Corp., 2001). Timothy LeVan, Masters of the French Art Song (Metuchen, NJ: Scarecrow Press, 1991). Barbara Meister, Nineteenth-Century French Song (Bloomington, IN: Indiana University Press, 1980). Wilfrid Mellers, Francis Poulenc (Oxford: Oxford University Press, 1993). Arbie Orenstein, Ravel: Man and Musician (New York: Columbia University Press, 1975). Nancy Perloff, Art and the Everyday: Popular Entertainment in the Circle of Erik Satie(Oxford: Clarendon Press, 1991) Caroline Potter, Henri Dutilleux: His Life and Works (Brookfield, VT: Ashgate Publishing Co., 1997). Francis Poulenc, Moi et mes amis: Confidences recueilles par Stéphane Audel (Paris: La Palatine, 1963). Francis Poulenc, Diary of my Songs [Journal de mes mélodies] transl. by Winifred Radford (London: Victor Gollancz, Ltd., 1985) Marie-Claire Rohinsky, ed., The Singer’s Debussy (New York: Pelion Press, 1987) Roger Shattuck, The Banquet Years (New York: Vintage Books, 1968). 20TH CENTURY FRENCH ART SONGS Mélodies française du XXe siècle Edited by Carol Kimball Published by Éditions Durand DF 16250/HL 50565798 High Voice edition DF 16251/HL 50565799 Medium/Low Voice edition Distributed in Europe and Asia by Hal Leonard MGB Distributed in North and South America by Hal Leonard Distributed in Australia and New Zealand by Hal Leonard Australia Download & Print Introductory Notes Complete Online Introductory Notes, Unabridged copyright © 2015 Editions Durand An abridged version of editor Carol Kimball’s “Introduction” appears in the High Voice and Medium/Low Voice publications. Her complete length “Introduction” appears below. See the publications for the poetry texts in French and translations in English. GEORGES AURIC CLAUDE DEBUSSY HENRI DUTILLEUX GABRIEL FAURÉ REYNALDO HAHN ARTHUR HONEGGER JACQUES LEGUERNEY OLIVIER MESSIAEN DARIUS MILHAUD FRANCIS POULENC MAURICE RAVEL ALBERT ROUSSEL ERIK SATIE DÉODAT DE SÉVERAC GEORGES AURIC (1899-1983) George Auric was something of a child prodigy, performing a piano recital at the Musicale Indépendante at the age of fourteen. The following year, the Société Nationale de Musique performed several songs he had composed. He studied composition at the Paris Conservatoire with Georges Caussade, and later with Vincent d’Indy and Albert Roussel at the Schola Cantorum de Paris. Before he was twenty, Auric had orchestrated and written incidental music for several stage productions and ballets. He composed a significant amount of avant-garde music during the years between 1910-20. Around 1914, he widened his acquaintances to include members of Les Six, a group of composers informally associated with Erik Satie and Jean Cocteau, and became a part of their group. Auric and Francis Poulenc became fast friends and remained so for life. Music criticism was an important part of Auric’s career; his writing focused on promoting the ideals of Les Six and Cocteau. He was also especially known for his film scores, which are consistently imaginative. He forged a major career in the English movies of the 1940s and ’50s. Among his most well-known scores is the music for the film Moulin Rouge. Other popular film titles with scores by Auric include The Lavender Hill Mob, Roman Holiday, Beauty and the Beast, and Bonjour Tristesse. In 1962 he became the director of the Opéra National de Paris and later, chairman of SACEM, the French Performing Rights Society. Auric continued to write classical chamber music until his death. Le Jeune sanguine (1940) from Trois Poèmes de Louise de Vilmorin poem by Louise de Vilmorin (1902-1969) This mélodie is the second song in Auric’s cycle titled Trois poèmes de Louise de Vilmorin. Vilmorin’s poetry reverberates with sensitivity to affairs of the heart. She was one of Poulenc’s preferred poets; he set her poetry when writing specifically for the female voice, such as in Fiançailles pour rire. A sort of veiled humor is at the heart of this text that describes a young hussy whose lover departs early with the dawn’s first light, leaving her weeping disconsolately. Auric provides a prelude and postlude for formal balance as the miserable young woman mourns her loss. He also inserts several unexpected and amusing measures of a tango as the young man arches his back and leaves the sound of her sobbing. For his three Vilmorin songs, Auric used the style of a chansonette, or more popular song. Printemps (1935) Poem by Pierre de Ronsard (1524-1585) Auric composed this lilting waltz song for a play by Edouard Bourdet titled La Reine Margot (1935). The celebrated musical theatre actress-singer Yvonne Printemps created the role of Queen Margot of Navarre at Théâtre de la Michodière. Auric and Francis Poulenc collaborated on the incidental music for this play; Poulenc took the second act, Auric the first. Poulenc composed the Suite française and the song “A sa guitare”; Auric’s contribution was “Printemps.” Yvonne Printemps sang both songs in the play. Both composers used texts by Pierre de Ronsard, and the musical style of each is reminiscent of the Renaissance. Ronsard’s original poem had twenty-three stanzas. Auric set only the first three. BACK TO TOP CLAUDE DEBUSSY (1862-1918) Claude Debussy wrote expertly for the voice and was acutely responsive to transforming poetic nuance into musical expression. Possibly no other French composer was as attuned to blending poetry and music. His literary taste was highly refined and he maintained a visible and active role in the literary and artistic circles of his time. He chose to set poetry of his contemporaries, notably Verlaine and Mallarmé. Verlaine’s verse with its inherent musical qualities, provided Debussy with poetry for numerous works. For Debussy, poetry as poetry was the paramount determinant of the musical texture. His ability to detect the essence of a poem and perfectly transform it into musical expression makes his mélodies unique in the history of French song. Le promenoir des deux amants (1904, 1910) poems by Tristan l’Hermite (c. 1601-1656) “Auprès de cette grotte sombre,” the first song, made its first appearance with the title “La Grotte,” song two of Trois chansons de France of 1904. In 1910, it was retitled and combined with two other poems by Tristan l’Hermite (“Crois mon conseil, chère Climène” and “Je tremble en voyant ton visage”) to form the miniature cycle Le Promenoir de deux amants, which has been called the finest of all Debussy’s works for voice and piano. It is also the least-often performed. Debussy chose the texts from Les Amours de Tristan, a collection by the seventeenth-century poet Tristan l’Hermite. The poems are set close to a grotto, secluded and silent. The transparent, barely stirring waters mingle with the silence of the cloistered spot, creating a dreamlike atmosphere. Debussy establishes an intimate, tender mood immediately and maintains this fragile mix of sound and color throughout the three mélodies. The interplay of resonance and texture in voice and piano results in an exquisite blend of light and shade, perfectly complementing l’Hermite’s poetic images. Subtly inflected vocal phrases are key to recreating the infinite calm and Pelléas-like atmosphere of the poetry, a perfect fusion of stillness and sensuality. Fêtes galantes II (1904) poems by Paul Verlaine (1844-1896) Debussy’s fascination with the work of the French Symbolist poet Paul Verlaine resulted in his setting to music no fewer than seventeen of Verlaine’s texts. He composed two sets of three songs each, both titled Fêtes galantes, the first in 1892, and the second in 1904. Fêtes galantes II, Debussy’s last setting of Verlaine, closely following the composition of his opera Pélleas et Mélisande, is representative of the composer’s mature vocal works. It is marked by sparser textures, freer tonalities and a more concentrated compositional style than the first set; but like the first set, Fêtes galantes II presents three unrelated songs. None of the Watteau-like scenes are found here; rather, these three poems are filled with mystery, and are without sentimentality. The theme of time appears in each of the poems: the first, sentimental youthful remembrances; the second, inexorable fleeting time; and finally in the last song, time never to be reclaimed. “Les Ingénus” recalls the first awakenings of sexual attraction, and deals with the breathless awe with which a group of unsophisticated young men of the mid-nineteenth century view their similarly naïve female companions. The scene unfolds in a highly chromatic texture, skillfully balanced to preserve the delicate, poignant images in Verlaine’s verse. Debussy’s free-floating harmonies are carefully contrived to complement the uncertain emotions and repressed sensations of the youths in the poem. “Le Faune” begins with a prelude; time unravels in an inflexible dance featuring a rhythmic, hypnotic figure in the piano, imaging the traditional reed pipe and “tambourin,” a small drum played with a stick. The old terra-cotta statue in Verlaine’s poem is probably the woodland god Pan, playing a monotonous rhythm that is both sensual and slightly menacing, matching the mood of the two mélancolique pélerins. Mesmerized by the repetitive rhythms of drum and reed flute, the dejected travelers are caught in the whirlpool of passing time, which spins past as they watch helplessly. “Colloque sentimental.” Colloquial (colloque) refers to ordinary speech or conversation. This disturbing poem is the touchstone of one of Debussy’s great mélodies. It is the last poem in Verlaine’s collection titled Fêtes galantes, and provides a chilling climax. It blends themes of despair, death and disillusion. In this extraordinary song, the ghosts of two lovers meet in a wintry park. As they speak of their former love, their words match the setting: glacial and detached from feeling. Throughout the song their wintry words are enhanced by Debussy’s simple and subtle vocal treatment: one voice urgent and persistent, the other stonily indifferent. Debussy’s manipulation of musical texture between voice and piano is masterful. The sparse vocal lines are almost speech-like, and the piano figures mirror the frozen landscape in which this conversation–equally cold–takes place. The song’s kinship to Debussy’s opera Pélleas et Mélisande is unmistakable. The listener becomes one with the poem’s narrator, straining to see and hear the couple’s conversation in the icy cold of the deserted, frozen park. Debussy reaches back to “En sourdine” (the first mélodie of Fêtes galantes I), takes the wistful song of the nightingale, and inserts it into this song at various points. The nightingale’s melody (“voix de nôtre dessespoir, le rossignol chantera”) provides a touching and melancholy association, linking the two sets of Fêtes galantes together symbolically and musically, foreshadowing the disenchantment of love hinted at in “En sourdine” with the lovers’ conversation in “Colloque sentimental,” and unifying the two sets by a subtle musical component. This panel of three mélodies was Debussy’s last setting of the poetry of Paul Verlaine. Noël des enfants qui n’ont plus de maisons (1915) poem by the composer This is Debussy’s last song, written to his own text, a Christmas carol for children made homeless by World War I. Its intensity comes from its simple sincerity. Debussy composed it on the eve of his first operation for the cancer that would end his life two years later. It was his personal protest against the invasion of northern France by the German armies. When asked for permission to orchestrate the song, Debussy refused, saying, “I want this piece to be sung with the most discreet accompaniment. Not a word of the text must be lost, inspired as it is by the rapacity of our enemies. It is the only way I have to fight the war.” Originally composed in 1915 for piano and voice, Debussy also created a version for children’s chorus, and in 1916, a version for piano and two sopranos. BACK TO TOP HENRI DUTILLEUX (1916-2013) Henri Dutilleux studied at the Paris Conservatory with Maurice Emmanuel. He received the Prix de Rome in 1938 at age twenty-two, and went on to work at the Paris Opéra and the French Radio. France’s musical institutions defined his career: in 1961, he joined the faculty at the école Normale de Musique, teaching composition. In 1970, he taught at the Paris Conservatoire. He destroyed many of his early works, considering them derivative of Ravel, the preeminent composer in France during his youth. His music that had been published avoided demolition. After World War II, Dutilleux concentrated almost exclusively on instrumental and orchestral music, much of which has been widely programmed and recorded. His songs are not well known. In the chronological catalogue of his compositions, beginning in 1929, the Quatre mélodies for mezzo soprano or baritone is only the eleventh entry. It also exists in an orchestral version. The collection is dedicated to the French baritone Charles Panzéra and his wife, pianist Magdeleine Panzéra-Baillot, prominent interpreters of French song in the interwar years. Gabriel Fauré dedicated his last cycle, L’horizon chimérique, to Panzéra. Quatre mélodies (1942) uses poems by four different poets and presents a delightful collection of moods, although it must be admitted that the level of the poetry is not uniformly high: “Féérie au clair de lune” (poem by Raymond Genty), a graceful scherzo of dancing fairies that evokes Shakespeare’s A Midsummer Night’s Dream; “Pour une amie perdue” (Edmond Borsent); “Regards sur l’infini” (Anna de Noailles); and “Fantasio” (André Bellessort). The last mélodie is the most successful of the set and is one of two songs from the set (the other being “Pour une amie perdue”) that Dutilleux acknowledged. He wanted to exclude the first and third songs because their poetry was relatively mediocre. Fantasio (1942) from Quatre Mélodies poem by André Bellessort (1866-1942) “Fantasio” (the original title of Bellessort’s poem is “Les funérailles de Fantasio”) is a colorful poem that chronicles the funeral of the titled character, who has expired before the text begins. The poem, set in Venice during Carnival, is full of glittering and compelling imagery that changes quickly, following the pace of the Carnival. Musical textures are skillfully handled and exhibit some of Dutilleux’s developing style. “Pauvre Fantasio,” is heard several times during the text, acting as both a funereal chant that unifies the proceedings and perhaps as well, keeping the mourners’ footsteps marching together. BACK TO TOP GABRIEL FAURÉ (1845-1924) Gabriel Fauré was one of the great composers of French song who, with Duparc and Debussy, perfected the mélodie as a true art song form. He composed about a hundred songs, all original in conception, constantly developing in style, and pointing the way to future works. His songs express a broad range of emotion and a great variety of musical textures, extending the musical parameters of the genre and inspiring new techniques of song compositions. His songs are often divided into three compositional periods for purposes of study and definition. Fauré has been characterized as a skillful watchmaker; with great precision his songs, which overflow with subtle nuances and delicate detail. His approach is in keeping with the French musical aesthetic: elegant and rational, dealing with sentiment rather than literal sensation. He was able to capture the entire poetic mood of each poem he set and to create an aura around it with his musical setting. Dans la fôret de septembre, Op. 85, No. 1 (1902) poem by Catulle Mendès (1841-1909) This touching poem symbolizes the onset of old age. Mendès was among the founders of a literary magazine, La Revue fantaisiste, which published many poems of the Parnassian poets. Fauré’s musical style perfectly suited this style of poetry: elegance of style, richness of rhyme, regularity and symmetry of rhythm. The Parnassians avoided the excessively romantic and aimed for “art-for-art’s sake.” Fauré was nearly sixty years old when he composed this mélodie, and his reaction to this poem is beautifully poignant. The words describe the poet’s reflective walk through a quiet, somber forest, capturing the chill of mortality and the overall mood of the turning point of life. The ancient forest, sensing a kindred spirit, provides the walker with a sign of friendship and understanding. Fauré set this contemplative poem in a rich harmonic musical texture with a vocal line that borders on quasi-recitative-like shapes. The solemn thoughts of old age call forth a melancholy, but it is a subtle melancholy. It is almost hymn-like in the fusion of words, emotions, and musical texture. This mélodie may be considered as marking the threshold to the final period of Fauré’s compositions. Accompagnement, Op. 85, No. 3 (1902) poem by Albert Victor Samain (1858-1900) This mélodie is a beautiful barcarolle–a nighttime scene, silvery and hazy, alluring but unreal. The image of the poet rowing on the lake is reflected in the musical texture. Fauré had a lifelong fascination with water imagery in music; this poem offers a little reel of unfolding pictures of a moonlight journey a dark lake. The words “dans le rêve” tell us that this is all a dream. This is a rarely sung Fauré mélodie that yields great rewards for the performer. Chanson, Op. 94 (1906) poem by Henri di Régnier (1864-1936) This poem has a gentle charm and a calm simplicity. It is the last of Fauré’s madrigals that include delicate love songs such as “Lydia,” and “Clair de lune.” It has a wonderful fluidity that is a perfect foil for the poetic images The text is a simple set of variations on one theme: nothing on earth has any meaning unless the beloved somehow touches it. Fauré’s reaction to the words called forth a musical setting of delicate transparency and limited range. It is not well known; like “Le Don silencieux,” “Chanson” was published as a single song and therefore not widely disseminated. It is an example of exquisitely planned musical economy, and definitely belongs in Fauré’s third period of musical compositions. Le Don silencieux, Op. 92 (1906) poem by Marie Closset (1875-1952), under the pseudonym Jean Dominique Here is another little known Fauré song, a rarity because it was published separately and was never included in any of the Fauré recueils. The poem has a gentle melancholy–the plea of a timid lover, a mixture of hope and imagined disappointment. The words are tender and flowing, but the overall mood is one of unrelieved sadness. This song marks the beginning of Fauré’s third compositional period, which includes the cycles La Chanson d’Eve, Le Jardin clos, Mirages, and L’Horizon chimérique. Writing of this mélodie in a letter to his wife, Fauré said, It does not in the least resemble any of my previous works, nor anything that I am aware of; I am very pleased about this...It translates the words gradually as they unfold themselves; it begins, opens out, and finishes, nothing more, nevertheless it is unified. 1 NOTES: Quoted in Graham Johnson, Gabriel Fauré: The Songs and their Poets (London: Guildhall School of Music and Ashgate Publishing Ltd., 2009), 291. Quotation from Jean-Michel Nectoux, Gabriel Fauré: A Musical Life, trans. Roger Nichols (Cambridge: Cambridge University Press, 1991), 304. This is a translation of Fauré’s letter to his wife of 17 August 1906. BACK TO TOP REYNALDO HAHN (1875-1947) Reynaldo Hahn, Venezuelan by birth, came to Paris with his family at age four and made a brilliant career. In addition to his career as a composer and singer, he was director of the Paris Opéra, music critic for the newspaper Figaro, and conductor of the Salzburg Festival. He was enough of a scholar to edit some of the works of Rameau. He maintained close friendships throughout his life with actress Sarah Bernhardt and writer Marcel Proust. During the Belle époque, French mélodie was at the height of its development. Hahn was a habitué of the most fashionable salons, where he was in demand as a performer. On these occasions, he usually sang and played his own accompaniment, often with a cigarette dangling from his lips. The art of singing was one of his major passions, and he wrote three books on singing (Du chant, Thèmes varies, and L’oreille au guet), as well as a memoir of Sarah Bernhardt. Hahn’s songs are models of French restraint–devoid of overt display, with beautiful melodies in a modest vocal range. They reflect the style of his teacher, Jules Massenet. Hahn composed approximately ninety-five works for solo voice: eighty-four mélodies, five English songs to texts of Robert Louis Stevenson, and six Italian songs in the Venetian dialect. After 1912, Hahn composed in larger forms: opera, operetta, and film music. Perhaps his most famous work is his operetta Ciboulette (1923), which is still performed. À Chloris (1916) poem by Théophile de Viau (1590-1626) “À Chloris” is No. 14 in Deuxième volume de vingt mélodies, the last major publication of Hahn’s songs during his lifetime. In many of his later songs, he turned to a deliberately archaic style. “À Chloris” features an elegant vocal line above a piano texture that features Baroque musical characteristics; it is its own piece, with ornamented melody and chaconne-like bass. Vocal line and piano piece are woven into a musical tapestry that is both declarative and intimate. Poet Théophile de Viau was considered one of the most influential libertin poets during Louis XIII’s reign. The libertins’ verses had a unique charm that is instantly appealing, but somewhat artificial. Despite this, de Viau’s love poetry is not bland, but full of suggestive passion and elegant wit. BACK TO TOP ARTHUR HONEGGER (1892-1955) Arthur Honegger composed over forty mélodies for voice and piano. Taken as a whole, they are diverse and imaginative. For his texts, he favored contemporary poets such as Jean Cocteau, Guillaume Apollinaire, Paul Claudel, and Paul Fort. He also chose to set unrelated poems by a single poet, such as his Poesies (Cocteau) and Alcools (Apollinaire). Poetry with strong imagery appealed to the dramatist in his personality. For Honegger, as for most successful mélodie composers, the word provides the starting place. He is quoted as saying: For me, the music a song is always dependent upon the poetic model. It must join so closely with the poetry, that they become inseparable and one can picture the poem in wholly musical terms. This is not to say that the music becomes subservient. It must be so crafted that it can stand on its own merits, playable without the text, logical and complete. 1 Born of Swiss parents in Le Havre, France, Arthur Honegger initially studied for two years at the Zurich Conservatory, but enrolled in the Paris Conservatoire from 1911 to 1918, studying with Charles-Marie Widor and Vincent d’Indy. Some of his more familiar large vocal works include the dramatic psalm Le roi David (King David), composed in 1921 and still in the choral repertoire; and his dramatic oratorio of 1935, Jeanne d’Arc au bûcher (Joan of Arc at the stake), with text by Paul Claudel, considered to be one of his finest works. Between the world wars, he composed nine ballets and three vocal stage works, among works in other genres. His total compositional catalog is an impressive list of music: orchestral works, chamber music, concertos, ballets, operas, operettas, and oratorios. Widely known as a train enthusiast, he was passionately interested in locomotives, to which he attributed almost human characteristics. His “mouvement symphonique,” Pacific 231, gained him early acclaim in 1923. Honegger’s musical style is a fascinating mixture of impressionistic effects peppered with penetrating dissonances. He had a fondness for mixing tonalities and using modality. His compositions for the voice display an eclectic focus of coloristic harmonies and architectural clarity. He was a member of Les Six, but unlike most of that group, did not share their overwhelming reaction against German romanticism. Honegger’s musical style is fuller and more serious than his colleagues. He and Darius Milhaud were close friends. Honegger’s generous body of song has proved of enduring interest to contemporary performers. His was a distinctive voice in the vocal music of the twentieth-century French mélodie. Trois Psaumes (1940-41) from the Huguenot Psalter Psaumes XXXIV and CXL translated by Théodore de Bèze (1519-1605) Psaume CXXXVIII translated by Clément Marot (1496-1544) The spirit of Bach shines in the first psaume, “Psalm 34,” in which a chant-like vocal line alternates with a gently moving episodic keyboard part. This call and response continues until the last three vocal phrases, when the vocal line merges with the instrumental texture in a psalm of praise. The second song is “Psalm 140,” “ô Dieu donne-moi la déliverance de cet homme pernicieux” (O God, deliver me from this evil man). Honegger’s biographer, Harry Halbreich, suggests that the “evil man” who was oppressing Europe in those last days of 1940 might be the reason for Honegger’s text choice. This piece was composed before the first and third songs. Its emotional mood peaks with the chorale tune “I know that my Redeemer liveth.” 2 The last song in the set, “Psalm 138,” has the Latin title “Confiteor tibi, Domine” (I thank thee, O Lord) and is a paraphrase by Clément Marot, one of the greatest of the French Renaissance poets. It contains a familiar chorale tune, which is used in canon between voice and piano. NOTES: Arthur Canter and Rachel Joselson, Liner notes, The Songs of Arthur Honegger and Jacques Leguerney. Rachel Joselson, Réne Lecuona , piano. Albany Records, TROY691, 2004. Harry Halbreich, trans. Roger Nichols, Arthur Honegger (Portland, OR: Amadeus Press, 1999), 165. BACK TO TOP JACQUES LEGUERNEY (1906-1997) Most of Jacques Leguerney’s sixty-eight mélodies were composed and published from 1940 to 1964. Many were commissioned and premiered by French baritone Gérard Souzay, his sister, soprano Geneviève Touraine, and pianist Jacqueline Bonneau. Early songs are comparable in mood and style with Ravel or Roussel (who encouraged Leguerney’s composition); later songs have been compared to those of his contemporary, Poulenc. Leguerney writes virtuoso piano parts–often dramatic, and with such an individual sense of harmonic style and color that Pierre Bernac reportedly described them as “mélodies de pianist.” 1 When asked about Leguerney’s songs, Gérard Souzay wrote, “How does one describe this music which is, at the same time, classic and modern? It is pure, but colorfully nuanced; it speaks to the heart as well as the mind–at times calm at times witty–wise, yet sensual...” 2 Many of Leguerney’s songs deal with themes of love and nature, expressing a huge range of emotions from deeply felt meditation to wild, ribald humor. Leguerney stopped composing in 1964, and his songs became neglected. The quality of Leguerney’s text setting, lyrical beauty, and harmonic innovations all call for his songs to be better known and more widely performed. Jacques Leguerney was drawn to the work of Renaissance poets, notably Ronsard. There are eight collections titled Poèmes de la Pléaide, representing settings of sixteenth and seventeenth-century French poetry and totaling thirty-two songs. Additionally, there are cycles and other collections [for a complete listing of Leguerney’s songs, see Dibbern, Kimball, and Choukroun, Interpreting the Songs of Jacques Leguerney]. 3 They may be thought of as the last in the great mainstream of twentieth-century French song. La Caverne d’écho (1954) from Poèmes de la Pléiade, Volume 7 poem by Antoine Girard de Saint-Amant (1594-1661) Dedication: Josiane and Jean Cier. First performance: Bernard Kruysen, baritone; Jean-Charles Richard, pianist. 29 May 1965, Radio France Culture. Marc-Antoine Girard, sieur de Saint-Amant, wrote poetry of great descriptive power, and his use of language set him apart from the other seventeenth-century poets. He was also an adept musician and skillful lute player, writing verses that often describe musical sounds linked to visual images. The poem takes place in a dark cave, home of the nymph, Echo; it is a charmed place, absolutely still and peaceful. The poet’s lute resounds inside the cavern as he tries to soothe the inconsolable Echo, who mourns for her lover Narcissus. Leguerney creates the grotto’s mysterious resonance with bitonality. Piano figures illustrate the strumming of the lute. The text contains many sounds with the consonant “r.” The rolling quality of this speech sonority re-creates the cavern’s resonance. The closing measures of the mélodie produce a striking effect as the singer’s voice echoes eerily in the cavern, blending with the piano’s resonance and creating a remarkably realistic echo. À son page (1944) from Poèmes de la Pléiade, Volume 2 poem by Pierre de Ronsard (1524-1585) Dedicated to Gérard Souzay. First performance: Gérard Souzay, baritone; Jacqueline Robin (Bonneau). 3 May 1945, Salle Gaveau, Paris. This is a lusty scene with four characters: a nobleman tipsy from drink, his page, and two women, Jeanne and Barbe. Carpe diem is the theme here. The singer philosophizes on this idea while enjoying his wine and the tender companionship of the two beautiful women. Leguerney evokes the crackling staccato of a stylized harpsichord with rhythmic accents in the piano. The text is brilliantly set with jagged vocal lines and driving rhythms that illustrate the singer’s intoxication. It ends with Leguerney’s repetition of the last poetic line and the addition of nonsense syllables which fit beautifully into the imagery and mood of Ronsard’s colorful characters. Je me lamente (1943) from Poèmes de la Pléiade, Volume 1 poem by Pierre de Ronsard (1524-1585) Dedicated to Geneviève Touraine. First performance: Paul Derenne, tenor; Jeanne Blancard, pianist. 29 March 1944, Salle de l’Ecole Normale de Musique, Paris. This is one of Leguerney’s most beautiful songs, setting Pierre de Ronsard’s text from his collection of love poems for Marie Dupin, a country girl from a small village in southern France. She was half his age and probably represented the youth he constantly pursued. It has been suggested that the Marie in question was probably Marie de Clèves, passionately adored by Henri III. 4 Leguerney called this mélodie a constant crescendo from beginning to end. 5 Ronsard’s anguish is captured with a texture of stark chords, crowned by a regal and sustained vocal line. As the song progresses, the poet’s anguish is embodied in a more expansive texture, bidding Marie a happy resting place near God or in the Elysian fields. NOTES: Liner notes by Mary Dibbern. Mélodies sur poèmes de la Renaissance (Jacques Leguerney).Harmonia Mundi France. LP recording HMC 1171. Letter to the author. Quoted in Mary Dibbern, Carol Kimball, and Patrick Choukroun. Interpreting the Songs of Jacques Leguerney (Hillsdale, NY: Pendragon Press, 2001), 3. Ibid., 289-295. Ibid., 69. See note 20. Ibid., 70. BACK TO TOP OLIVIER MESSIAEN (1908-1992) Olivier Messiaen was born in 1908 in Avignon, France, into a literary family. He grew up around words and absorbed their shapes, colors and sounds naturally. His father, Pierre Messiaen, was a well-known translator of Shakespeare, and his mother, Cécile Sauvage, was a poet. As a youngster, before beginning to compose music, he had an especially perceptive ear attuned to the unique prosody of the French language. Early in his compositional career, he published a book titled Technique de mon langage musical (1944). About his musical setting of words, Jane Manning observes: ...the syllables themselves create a glittering mosaic of sonorities and subtle resonances, in addition to their actual meaning (many of the poems do not translate at all satisfactorily). The composer’s awareness of the minutiae of verbal enunciations and articulations is miraculous. Each vocal sound can be precisely placed as intended, all dynamics are scrupulously plotted, and the performer’s involvement and intimate connection to the music is enhanced by the sensual nature of words projection... 1 He often used stained glass to explain his music. When viewed from a distance, the myriad details blend into a single entity, whose purpose is to dazzle the listener. Understanding is not necessary, feeling is the prime requisite. The music of Olivier Messiaen is a skillfully designed and unique language, with meaning and form kept separate. Its meaning is unchangeable, harkening back to Gregorian chant, culminating in instruments that are able to prolong sound (organ, strings, or the ondes Martenot). Messiaen’s musical language is defined by its rhythms and tone colors. His uncanny instinct for associating sound with color produced works unique in their concept of the combination of sounds. He said that when he heard or read music, his mind’s eye saw colors that move with the music; he sensed these colors, and at times he precisely indicated their arrangements in his scores. His fascination with birdsong was lifelong; he referred to himself as an ornithologist and tracked birds and their songs all over the world. He considered their resonances as songs and not merely sounds. He notated these on manuscript paper and they found their way into his music. Trois mélodies (1930) poems by Olivier Messiaen, Cécile Sauvage (1883-1927) This little cycle of songs is Messiaen’s first recognized work for voice and piano. The songs are modest in length and not typical of Messiaen’s later style, but show influences of late Fauré and Duparc in the overall musical texture. There is only one song in his vocal compositions in which Messiaen set the poetry of another poet. It is found in this cycle, which uses the text of his mother, the poet Cécile Sauvage, who died three years before the composition of this work. The three movements form a warm and delicate little triptych. Two of Messiaen’s own poems stand on either side of the poem by Cécile Sauvage, throwing that charming little poem into high relief. “Pourquoi?” introduces a litany of the pleasures of nature: birdsong, the unfolding seasons, and water images. The poet becomes emotional, asking why all these bring him no joy. “La Sourire,” the shortest song of the set, is a beautiful microcosm of intimate and spiritual understanding between two people. It is a delicate example of musical economy and word setting in a quasi-recitative style. The last song, “La fiancée perdue,” offers fleeting hints of Messiaen’s cycle to come, Poèmes pour Mi–most specifically, the final song. Here, the poet prays for divine blessing on the soul of the “fiancée” in the title. The fervent incantation illuminates and affirms man’s connection to a higher authority. Examining the poetic content of the three texts, we are struck by the images that underlie the words: the emotional outburst “pourquoi,” (why?), perhaps questioning the death of Cécile, followed by Cécile’s tender affirmation of love, and finally, the prayer asking for Divine grace and the blessing of the soul of the departed. NOTES: Jane Manning, “The Songs and Song Cycles,” in The Messiaen Companion, ed. Peter Hill (Portland, OR: Amadeus Press, 1995), 107. BACK TO TOP DARIUS MILHAUD (1892-1974) Darius Milhaud was probably the most prolific composer of the group known as Les Six (Francis Poulenc, Louis Durey, Arthur Honegger, Germaine Tailleferre, Georges Auric, and Milhaud). The group was unified by friendship rather than a single musical style. Championed by influential writer Jean Cocteau and composer Erik Satie, Les Six often presented their works at the same concerts and met with great regularity–often at Milhaud’s house–to make music and exchange ideas. Louis Durey observed that it was the wide diversity in their personalities and musical styles that gave the group its rich depth and permitted its development. Embodied in the credo of their musical thought was relative sparseness of texture and clarity. Turn-of-the-century France offered popular entertainments that drew the French to an environment of merry-go-rounds, shooting galleries, outdoor concerts, circuses, and a jumble of excitement. Milhaud was fascinated by Parisian street life, and could hear the sounds of the Montmartre fair from his apartment. Often on their group outings, Les Six went together to the Cirque de Médrano to see the Fratellinis, a famous family of clowns of that day. Milhaud observed that their acts were worthy of the Commedia dell’arte. 1 Trois Poèmes de Jean Cocteau, Op. 59 (1920) poems by Jean Cocteau (1889-1963) Trois poèmes de Jean Cocteau is like lyric fragments. The small-range vocal lines have a sparse lyricism–one of emotional mood rather than overt melody. The little mélodies are skillful studies in brevity. These match Cocteau’s rather enigmatic poems that exemplify the style termed dépouillé (stripped to the essentials), his aesthetic creed. Milhaud dedicated the songs to Satie. The three miniatures are a colorful kaleidoscope of the circus and the outdoor fairs that entranced the French during this period. “Fumée” describes the equestrienne of the Cirque Médrano atop a horse, jumping through hoops, captured in Toulouse-Lautrec’s familiar painting titled “L’écuyère au Cirque Fernando (1888); “Fête de Bordeaux” is a description of the merry-go-round at the Bordeaux fair; and “Fête de Montmartre” evokes the nighttime boats and sailors, possibly having to do with a game involving camouflaged ships found at the Montmartre fair. Milhaud infuses stylistic and melodic elements of folk songs and children’s tunes into the tiny pieces, tying the innate excitement of these popular destinations to simple, childlike reactions. NOTES: Laurence Davies, The Gallic Muse (New York: A.S. Barnes and Co., 1967), 164. BACK TO TOP FRANCIS POULENC (1899-1963) Francis Poulenc’s 150 mélodies form the largest body of songs to be added to French vocal literature in the twentieth century. Poulenc’s flair for the dramatic, combined with his superb skill in mixing poetry and music, produced songs that singers find immensely gratifying, not only for their musical value, but for their heightened sense of drama. Poulenc’s mélodies reflect concern and feeling for declamation, inflection, breathing, and above all, show extraordinary warmth of feeling for the human voice. He was fond of saying, “J’aime la voix humaine!” The sophistication of Poulenc’s songs spring from their poetic inspirations. Poulenc was quite knowledgeable about poetry, and chose his texts carefully. His gift of divining the inner life of the texts he set produced songs that do more than merely illustrate the poems. His gift for melody is at the very heart of all his songs and seems to assert itself naturally in shaping the color, weight, and meaning of the texts he set. Ce doux petit visage (1938) poem by Paul éluard (1895-1952) Paul Eluard was one of Poulenc’s three main poets. This is a beautiful introduction to Eluard’s poetry, lyrical and passionately intense. The simplicity of Poulenc’s setting allows the poem to shine. It is one of Poulenc’s tiny gems, and he admitted his partiality to the short song. Eluard’s skill at evoking nostalgia and melancholy are seen here, linked to lost youth. The mélodie is dedicated to the memory of Raymonde Linossier, Poulenc’s most intimate childhood friend, who influenced his literary taste and musical tendencies. He said: “I have a great liking for this short song. Raymonde Linossier was my best advisor for the music of my youth. How many times, during the years since her death, I would have liked to have had her opinion on this or the other of my works.” 1 La Grenouillère (1938) poem by Guillaume Apollinaire (1880-1918) “La Grenouillère” is an outstanding example of Poulenc’s romantic lyricism. This is a text by Guillaume Apollinaire describing the Ile de Croissy, an island in the Seine on the outskirts of Paris, frequented by artists and their models, and celebrated in paintings by Monet, Manet, and Renoir. “The Froggery” was a restaurant on the island. The overall images of happy days that cannot be relived can be seen in Pierre Auguste Renoir’s paintings Les Déjeuner des canotiers (The Boatman’s Luncheon), or La Grenouillère. In this lament for boating parties on the Seine, vocal phrases are sustained and languid, floating over a slowly rocking piano accompaniment. The lazy piano figures mirror the empty tethered boats rocking on the water, bumping against each other, and give expression to the sweet melancholy of the poet’s words. Montparnasse (1945) poem by Guillaume Apollinaire (1880-1918) Apollinaire’s poem is dated 1912. Poulenc writes in his journal of songs that it took him four years to complete “Montparnasse,” almost phrase by phrase, and that he had no regrets about the length of time it took because “it is one of my best songs.” 2 It is a sentimental and heartfelt tribute to Paris. Both Apollinaire and Poulenc loved the city and it played a continuing role in their work. “Montparnasse” is about the idyllic artistic existence lived at the edge of Paris. Poulenc wrote in his diary: “Let us imagine this Montparnasse all at once discovered by Picasso, Braque, Modigliani, Apollinaire.” 3 The mélodie has a carefree nonchalance about it; it is not sad, but thoughtful– a beautiful blend of poetic and musical lyricism. Poulenc’s vocal and harmonic textures are full of surprising harmonic details that bind this song–which he composed in fragments–together into a touching and expressive picture of Paris in the early years of the twentieth century. Bleuet (1939) poem by Guillaume Apollinaire (1880-1918) Guillaume Apollinaire was one of Poulenc’s preferred poets. This is a wartime poem that Apollinaire penned in 1917 in Paris in convalescence after a head injury; both Apollinaire and Poulenc served in World War II. There are several word plays at work here. “Bleuet” was the nickname for French soldiers in World War I, because their uniforms were blue, like the color of a little cornflower, which is a “bleuet.” Also, “Un bleu” was the term used for a raw recruit. “Bleuet” is one of Poulenc’s most moving songs– agonizing in its emotional content yet noble in its message. It is a quiet and private moment in which a twenty-year-old boy who does not yet know all that life can be, is characterized–and addressed–by the poet in a sweetly serious speech. Poulenc wrote that for him, the key to the poem were the words, “It is five o’clock and you would know how to die.” 4 This song is simple, intimate, and poignant. Les Chemins de l’amour (1940) poem by Jean Anouilh (1910-1987) Poulenc composed this valse chantée as incidental music for Léocadia, a play by Jean Anouilh. Within the play, the song was described as a pseudo Viennese waltz, and functioned as a leitmotiv in the plot. Sung by Yvonne Printemps, one of France’s most celebrated musical theatre stars, “Les Chemins de l’amour” became a popular success. It embodies the relaxed elegance of a self-styled Viennese waltz style, encased in one of Poulenc’s haunting melodies. Banalités (1940) poems by Guillaume Apollinaire (1880-1918) Banalités is not a cycle, but a group of five songs. The poems have no connection with each other; however, their order provides a well-constructed recital group. They may be performed separately. The work is one of Poulenc’s most popular vocal works, and deservedly so. Poulenc chose contrasting poems, placing them so that the collection begins briskly and ends with lyrical gravity. “Chanson d’Orkenise” is Poulenc’s title for the poem contained in the strange mixture of prose and poetry that Apollinaire called Onirocritique. Orkenise is a road in Autun leading to the Roman gate of the same name. The musical setting has the feeling of a popular folk song. The narrator sings of a tramp leaving the city and a carter who is entering it - one leaving his heart there, one bringing his heart to be married. There is a word in the poem with a double meaning: “grise” can be translated as “gray” or “tipsy.” The merry quality of the song opens the set with gaiety, but both Apollinaire and Poulenc offer a little food for thought. “Hôtel” is a poem that immediately represented for Poulenc a hotel room in Montparnassse, where the idle poet wants only to bask in the sun’s warmth and smoke. Pierre Bernac referred to it as “the laziest song ever written.” 5 The piano figures are fashioned of Poulenc’s luxuriant chromatic harmonies, stacked as if to cushion the lethargy of the singer. “Fagnes de Wallonie” is set in the gloomy, desolate uplands of the Ardennes with a terrain of vast heaths, twisted trees, and peat bogs, swept by winds of considerable force. Its gloomy setting complements the melancholy mood of the poet. Poulenc’s spiky musical setting is a whirlwind that sweeps from beginning to end in a turbulent texture that demands precise articulation from singer and pianist. Sandwiched between Songs 3 and 5 is a tiny bonbon, “Voyage à Paris.” It resembles a little commercial jingle about Paris–“which one day love must have created”–an invitation to the pleasures of that beautiful city, away from “the dreary countryside.” Poulenc sprinkles his quicksilver setting–a valse-musette–with indications of “amiable” and “avec charme.” The composer referred to it as having “deliciously stupid lines...Anything that concerns Paris I approach with tears in my eyes and my head full of music.” 6 The cycle concludes with “Sanglots”, one of Apollinaire’s finest poems about the universality of lost love, a theme that Poulenc matches with exquisite modulations in a setting that embodies the essence of the words. The vocal lines are eloquently lyrical. The poem is difficult to understand because of the juxtaposition of the main narrative and the interior “asides,” that in effect form a poem within a poem. 7 The song has an elegant serenity that culminates in a stunning climactic point at the words: “Est mort d’amour ou c’est tout comme/ Est mort d’amour et le voici.” The ending lines of the song sustain the profoundly calm mood, bringing Banalités to its close. La Courte Paille (1960) poems by Maurice Carême (1899-1978) The last song cycle Poulenc composed was La Courte paille, on seven poems of Belgian poet Maurice Carême. Poulenc composed the songs for soprano Denise Duval, creator of leading roles in his three operas, hoping that she would sing them to her young son. Poulenc considered the mélodies very poetic and whimsical; unfortunately, Duval disliked the music and never did sing the cycle. Poulenc asked Carême to provide an overall title for the work and requested permission to change the titles of several selected poems: the original title of “Quelle aventure!” is “Une puce et l’éléphant”; “Le Reine de cœur” is “Vitres de lune”; “Le carafon” is “La carafe et le carafon.” For the cycle’s title, Carême chose La Courte Paille (The Short Straw), referring to drawing lots by the method of a short straw. Poulenc was delighted, saying the title symbolized his little musical game exactly. He also wrote in his diary, “They must be sung tenderly; that is the surest way to touch the heart of a child.” 8 The cycle is full of child-like innocence, whimsy and imagination, with a few shadowy undertones. The first song, “Le Sommeil,” is a beautiful lullaby to a restless child who cannot go to sleep, tossing and turning in his small bed. He seems ill, crying and perspiring, but hopefully will finally surrender to slumber. In “Quelle aventure!” the child describes an absurd happening: he saw a flea driving a carriage with a small elephant in it. The story grows more bizarre but the rhythmic pace never wavers, careening to the end of the song when the child wonders how on earth he’ll ever be able to persuade “Mama” that it really happened. The verses are witty, yet the shrieks of “Mon Dieu!” are laced with a feeling of childish terror. “La Reine du cœur” is a beautiful, languid melody that paints a picture of the mysterious Queen of Hearts, beckoning to visitors from her frosty castle, where she reigns over a court of lovers, including the young dead. In “Ba, Be, Bi, Bo, Bu...,” the child is chided “on all sides” about studying. The title of the song presents the French vowels, and the text contains words that make their plural with an “x” (“pou, chou, genou, hibou”). The formidable cat of the poem’s opening lines is none other than that tricky feline Puss-in-Boots! The entire song is a little tongue-twister, an exercise in diction and accuracy. “Les anges musiciens” are none other than the school children staying home on Thursday, the half-day school holiday in France in Poulenc’s time, practicing Mozart on their harps, just like good little angel musicians should do. “Le carafon” is a crazy little story of a carafe that longs for a baby carafe (carafon) just like the giraffe at the zoo, who has a girafon. This is a ridiculous rhyming game like those that children love to play. The text is full of whimsical characters: the carafe, a giraffe, a sorcerer astride a phonograph, Merlin, and finally, a carafon. “Lune d’Avril” is another lullaby, very slow and otherworldly, which serves as an epilogue. Bound together in a musical texture that features a syncopated pedal point, it is filled with enchanted images the child wishes to dream about: a land of joy, light, and flowers where all guns are silent. The ending leaves the listener suspended in a mood of unfinished magic. La Courte Paille is the last vocal music Poulenc composed. NOTES: Quoted in Pierre Bernac, Francis Poulenc: The Man and his Songs (New York: W.W. Norton Co., 1977), 125. Francis Poulenc, Journal de mes mélodies, trans. Winifred Radford (London: Victor Gollancz, 1985), 75. Ibid., 75. Ibid., 57. Bernac, 72. Poulenc, 67. The English translation of “Sanglots” has parentheses that delineate the “asides” so that both “poems” may be seen. These may be found in Pierre Bernac’s books Francis Poulenc: The Man and his Songs, page 75, or The Interpretation of French Song, pages 284-85 Poulenc, 109. BACK TO TOP MAURICE RAVEL (1875-1937) The songs of Maurice Ravel represent a transition between the mature mélodies of Debussy and the vocal literature that followed, notably the songs of Les Six. Debussy dominated the French musical scene from the turn of the century until his death in 1918. It was Ravel who was regarded as the leading musical spokesman for France following World War I. He was a skillful craftsman and his songs have a sense of evenness of rhythmic structure and flow that call for scrupulous execution. The fusion of music and text into a logical whole was of utmost importance to him. He composed elegant and subtle mélodies, using classical phrase structure. His melodic phrases often tend toward modality. His songs range from those with a folk-like style to more to those that are more speech-like, and those that encompass a melodic romanticism. He was precise in his thought and his scoring, and scrupulous in his musical execution. His music encompassed some of the fascinating influences of the post-Wagnerian era. Ravel’s musical contributions were of utmost importance to this exciting and new era in French cultural history. He made notable contributions to musical literature for the piano, the French art song, opera, chamber music, orchestral literature, and the ballet. Sur l’herbe (1907) poem by Paul Verlaine (1833-1896) This mélodie is Ravel’s only setting of Verlaine. It has often been suggested that this poem was probably inspired by Watteau’s painting L’île enchantée. There is also a reference to a famous eighteenth-century dancer, Marie-Anne Cuppi, known as (La) Camargo, who was immortalized on canvas by the painter Nicolas Lancret. The scene is an outside gathering, elegant and artificial. A number of people are there, chief among them, a licentious abbé, slightly tipsy from a bit too much Cyprian wine. He exchanges a few disconnected gallantries with the ladies–innocent conversations on the surface, but sensuous in undertone. The conversation is disconnected; we do not know exactly who is speaking. Ravel shapes very flexible vocal phrases, in keeping with the abbé’s intoxicated state, underscored with graceful piano figures that evoke an eighteenth-century dance. In a letter to Jean-Aubrey, Ravel commented on “Sur l’herbe”: “In this piece, as in the Histoires naturelles, the impression must be given that one is almost not singing. A bit of preciosity is found there which is indicated moreover by the text and the music.” 1 Noël des jouets (1905) poem by the composer This is the only solo song for which Ravel wrote the text. It describes a Christmas manger scene, replete with the Virgin and Christ-child, animals, and angels. It embodies Ravel’s delight with tiny mechanical toys and figures, and his fascination with the unspoiled world of child-like experience. His genius for text painting is displayed in the delightful mélodie. The mechanical toys come to life in the piano figures. Ravel’s charming text creates the images around and over the crèche, with not a word wasted. Ravel commented that the music is “clear and plain, like the mechanical toys of the poem.” 2 This little song foreshadows other Ravel settings of make-believe, beginning with the song cycle Histoires naturelles and culminating with his opera L’Enfant et les sortilèges. The music of menacing dog Belzébuth foreshadows the music of the Beast in the Mother Goose Suite (Ma Mère lOye). Rêves (1927) poem by Léon-Paul Fargue (1876-1947) The poetry of Léon-Paul Fargue has been described as reflecting the union of dream and memory. This mélodie has a tender lyricism within a sparse musical texture. The text is fashioned of a series of miniature images that pass by rather quickly, unrelated, like the images found in dreams. For all their differences, they have a simplicity about them that seems timeless, existing together, as the poet says, “in a vague countryside.” When the dreamer finally awakens, the little fleeting pictures “die quietly.” The piano postlude perpetuates the dream state, creating an ethereal little microcosm that continues to draw the dreamer to it. Ronsard à son âme (1924) poem by Pierre de Ronsard (1524-1585) In his Abrégé de l’art poétique français (1565) Pierre de Ronsard advocated the union of poetry and music, and Renaissance composers frequently set his poems. 3 In this strikingly simple mélodie, Ronsard speaks to his soul, calling it by a series of diminutives: little soul, dainty little one, sweet little one. Ravel uses a series of parallel fifths in the piano figures to invoke a Renaissance mood. This is Ronsard’s last poem, and Ravel’s last adaptation of Renaissance poetry. Ravel’s setting recalls the elegance of his early mélodie, “D’Anne qui me jecta de la neige,” to a poem of Clément Marot. Manteau de fleurs (1903) poem by Paul Barthélemy Jeulin (1863-1936) The poem notes everything in the garden that is pink–all the flowers that will become a beautiful cloak to complement the beauty of the lady of the poem. Ravel usually had very sophisticated taste in choosing texts; this particular poem is an unusual choice. It is a simple text, somewhat banal, but Ravel’s shimmering musical texture imparts a dramatic character for each flower in the poem. The overall piano texture suggests orchestral colors. The last section of the mélodie changes course slightly, with the piano harmonies creating a slightly wistful mood. Clearly, Ravel lavished a beautiful musical setting on a rather ordinary set of words. Don Quichotte à Dulcinée (1932-33) [Medium/Low Voice edition only] poems by Paul Morand (1888-1976) This miniature cycle was Ravel’s last vocal work. His musical portrait of the noble Spanish knight, Don Quixote, is embodied in three mélodies, all based on characteristic Spanish or Basque dance rhythms: (1) the guajira, alternating 6/8 and 3/4 meter; (2) the zorzica, a Basque dance in quintuple meter; and (3) the jota, a lively triple-metered Spanish dance. “Chanson Romanesque” presents the chivalrous idealist Don Quixote, confidently promising to rearrange everything in nature to his lady Dulcinea’s liking in order to win her favor. Dulcinea is in reality a poor farm girl, but the Don’s illusion will not be shaken. He remains authoritative and focused in his quest for her love. “Chanson épique” is Quixote’s reverent prayer to Saint Michael and Saint George, beseeching them to bless his sword and his Lady. Ravel creates a beautifully sustained and prayerful vocal line over a simple accompaniment. “Chanson à boire” is a exuberant drinking song. Although the Don’s tippling has made him overly boisterous, he never oversteps the bounds of his noble bearing. His robust laughter is heard in the piano figures and even a hiccup intrudes between “lorsque j’ai” and “lorsque j’ai bu.” NOTES: Maurice Ravel, in a letter to Jean-Aubrey written in September, 1907. Quoted in Arbie Orenstein, Ravel: Man and Musician (New York: Dover Publications, 1991), 165-66. Quoted in Orenstein, 161. Orenstein, 192. BACK TO TOP ALBERT ROUSSEL (1869-1937) In 1894 Albert Roussel left a highly successful career as a naval officer to pursue music. After completing his studies, he became professor of counterpoint at the Schola Cantorum in Paris. Satie and Varèse were among his students. Roussel was one of the most prominent French composers of the interwar period. He composed almost forty mélodies as well as chamber music, ballets, and operas. His style is eclectic but highly individual. Early works show the influence of Vincent d’Indy, works dating from 1910 to 1920 exhibit influences of Debussy and Ravel, but he turned to neoclassicism in his later compositions. His love for the sea was almost a spiritual attraction and continued to influence his music throughout his career. He had a fascination for distant places; his extended tour of Southeast Asia in 1909 had a tremendous influence on his composition. “Sarabande” and “Cœur en peril” are mélodies to texts of René Chalupt, a close friend. They are found in op. 20 and 50, respectively. Roussel’s overall musical catalogue is not extensive, but its quality is of an extremely high level, and his vocal writing in particular contains some mélodies of great delicacy and style, squarely in the French tradition. For Roussel, the word held primacy in his mélodies, being both transformed by its musical setting and merging with it to create a perfect union. Commenting on the quality of Roussel’s songs, composer Charles Koechlin is quoted as saying: “The sense of austerity pervading them, stemming simply from the composer’s natural reserve, heightens their expressiveness and further embellishes them; in language and content they are absolutely personal. This collection of songs is one which will last because its essence is undying sensitivity.” 1 Sarabande (1919) from Deux mélodies, Op. 20, No. 2 poem by René Chalupt This is surely one of Roussel’s most delicate and magical creations. His writing for the piano is particularly outstanding, placing Chalupt’s poem in an overall texture of elegance and veiled sensuality. There is an Oriental delicacy in Roussel’s musical evocation of the fluttering doves, feathers drifting into a pool, and the gentle drift of chestnut blossoms onto bare flesh. Cœur en péril (1933-34) from Deux mélodies, Op. 50, No. 1 poem by René Chalupt This mélodie is much different in mood–witty and flirtatious. It is the narrative of a young man eager to convince his ladylove of his fidelity. Vocal phrases are tuneful, with a spirited piano texture of Iberian flavor. NOTES: Liner notes, Dom Angelico Surchamp, trans. Elisabeth Carroll, Roussel Mélodies, Colette Alliot-Lugaz, Mady Mesplé, Kurt Ollmann, José Van Dam; Dalton Baldwin, Patrick Gallois. EMI Digital. CDS 7492712, 1987 BACK TO TOP ERIK SATIE (1866-1925) Erik Satie wrote very few songs and most of them date from late in his life. The eccentric father figure of the French avant-garde of the twentieth century had a wildly independent spirit that found its way into his musical compositions. Throughout his life, he kept a great deal of childlike inquisitiveness and innocence. He was a curious personality of unconventional habits whose sense of the absurd and whimsy permeated both his life and his music. Quintessential Satie compositions are laconic and witty. It was Satie who named Les Nouveaux Jeunes, soon known as Les Six, and influenced the early development of the group. La Statue de bronze (1916) from Trois Mélodies poem by Léon-Paul Fargue (1876-1947) This is Satie’s first setting of the poetry of Léon-Paul Fargue, the “Bohemian poet of Paris.” Satie used Fargue’s witty verses again for Ludions. The scene is a garden game–the jeu de tonneau. A bronze frog, perched atop a cabinet with numbered chambers, grows impatient of being the target of the game where metal disks are tossed into her mouth. She dreams of being freed from her pedestal and being able to use her wide-open mouth to utter “LE MOT.” 1 She wants to be free to join the other frogs gathered near the rust-colored washhouse “blowing musical bubbles from the soapy moonlight.” But the game continues, the disks rattle through her mouth into numbered compartments and at night, insects sleep in her mouth. This mélodie can be linked musically to “La Grenouille américaine,” found in Ludions. Both songs share piano figures derived from the café-concert chanson. Ludions (1923) poems by Léon-Paul Fargue (1876-1947) Ludions is the last of Satie’s purely vocal works, composed two years before his death, and is perhaps his finest set of songs. It epitomizes his lifelong quest for musical simplicity and his irreverence for the intricate compositional techniques and overactive emotions of the Impressionists. Ludions is translated as “bottle imps” (a ludion is a little figure suspended in a hollow ball, which descends or rises in a vase filled with water when one presses down on the elastic membrane covering the mouth of the vase). The cycle is a kaleidoscopic set of musical miniatures, riddled with puns and illogical phrases. Fargue’s nonsensical verse complements Satie’s musical aesthetic, and the two friends’ personalities closely matched one another. All the mélodies in Ludions are short, like tiny cameos. They are colorful, saucy, fantastic, and defy translation. “Air du rat,” “La Grenouille américaine,” and “Chanson du chat” are right out of the music hall, and Satie uses with a mock-serious “tongue-in-cheek” treatment for “Spleen” and “Air du poète.” Je te veux (1902) poem by Henry Pacory (1873-?) The valse chantée, or sung waltz was a favorite of the café concerts, for which Satie composed a number of works. Café concerts were a form of Parisian popular entertainment in the late nineteenth and early twentieth century. The all-musical programs were held outside; French popular singers presented repertoire that catered to lower and middle-class audiences who came to talk, eat, drink, and observe the long informal programs, for which there was no admission charge. “Je te veux” was composed for Paulette Darty, dubbed “the Queen of the slow waltz.” It was one of her signature musical presentations for the caf’conc (café concerts), and one that Darty remained associated with throughout her career. A statuesque blonde with an ample figure, Darty was a commanding performer who kept the most boisterous of the Saturday night audiences enthralled. Lyricist Henry Pacory’s rather explicit poem was watered down at Satie’s request before the song was published. La Diva de l’Empire (1904) poem by Charles Bessat, named Numa Blès (1871-1917) The “Diva de l’Empire,” 2 one of Satie’s café-concert songs, was another work written for and performed by Paulette Darty. It was composed for a Bonnaud-Blès music-hall revue called Dévidons la Bobine (Let’s Unwind the Bobbin) that toured several seaside resort towns. The British “diva” is a femme fatale performer who enchants all who see her. The song is a syncopated cakewalk describing her seductive beauty as she struts her stuff “showing the wiggling of her legs and some pretty frilly underwear.” Interspersed at points along the way with English words: Greenaway, baby, little girl, etc. The piano provides a jaunty ragtime rhythm throughout that melds perfectly with the suggestive text. NOTES: ”Le mot” has a double meaning. It was the title of a broadsheet published by Jean Cocteau between 1914-15 and is short for “le mot de Cambronne,” a polite way of saying “merde.” Cambronne was a famous French general who replied “Merde!” when asked to surrender. In Steven Moore Whiting, Satie the Bohemian: From Cabaret to Concert Hall. (New York: Oxford University Press, 1999), 43. Empire refers to the Empire Theatre of Varieties, Leicester Square, London. BACK TO TOP DÉODAT DE SÉVERAC (1872-1921) Déodat de Séverac, of aristocratic lineage, was born in the Languedoc region of southwest France in Saint-Félix-Caraman (now Saint-Félix Lauragais), near Toulouse. After studies in Paris with Vincent d’Indy at the Schola Cantorum, he returned home and remained there. He was a contemporary of Fauré, Debussy and Ravel, but was considered a petit maître in their company, possibly because of his return to Languedoc at the completion of his musical studies. Séverac composed piano and orchestral music, operas and songs. The culture of his native Languedoc figured prominently in his music, which is highly descriptive. He often wrote parts for regional folk music in his scores. Many considered him provincial and unsophisticated, but his music displays his skill in integrating folk elements–and often, regional folk instruments–of his native Languedoc into his works. He often referred to himself as “the peasant musician.” Influences of Debussy, Mussorgsky, and Bizet may be found in his mélodies. Although his music is rather conservative in style, Séverac fused folk elements with the musical styles of the day in a unique and individual manner. Ma poupée chérie (1914) poem by the composer Composed in 1914 (and published in 1916) for his daughter Magali and dedicated to her, this little cradlesong is probably de Séverac’s best loved and most performed mélodie. Séverac’s fresh musical setting contains just the right combination of simplicity and delightful childlike honesty. Despite the subject matter, the composer’s heartfelt poem avoids an overly cloying atmosphere. BACK TO TOP OTHER SOURCES CONSULTED: Jane Bathori, On the Interpretation of the Mélodies of Claude Debussy, transl. and with an introduction by Linda Laurent (Stuyvesant, NY: Pendragon Press, 1998). Pierre Bernac, Francis Poulenc: The Man and his Songs, transl. by Winifred Radford (New York: W.W. Norton, 1977). Pierre Bernac, The Interpretation of French Song, transl. by Winifred Radford(New York: W.W. Norton, 1978). Elaine Brody, Paris: The Musical Kaleidoscope 1870-1925 (New York: George Braziller, 1987). Mary Dibbern, Carol Kimball, and Patrick Choukroun, Interpreting the Songs of Jacques Leguerney (Hillsdale, NY: Pendragon Press, 2001) Alan M. Gillmor, Erik Satie (New York: W.W. Norton Co., 1992). James Harding, The Ox on the Roof: Scenes from musical life in Paris in the Twenties (New York: Da Capo Press, 1986). Peter Hill, ed., The Messiaen Companion (Portland, OR: Amadeus Press, 1995). Graham Johnson, Gabriel Fauré: The Songs and their Poets (London: Ashgate Publishing Ltd. and the Guildhall School of Music and Drama, 2009) Graham Johnson and Richard Stokes, A French Song Companion (Oxford: Oxford University Press, 2000). Carol Kimball, Song: A Guide to Art Song Style and Literature (Milwaukee, WI: Hal Leonard Corp., 2005). Carol Kimball and Richard Walters, eds., The French Song Anthology (Milwaukee, WI: Hal Leonard Corp., 2001). Timothy LeVan, Masters of the French Art Song (Metuchen, NJ: Scarecrow Press, 1991). Barbara Meister, Nineteenth-Century French Song (Bloomington, IN: Indiana University Press, 1980). Wilfrid Mellers, Francis Poulenc (Oxford: Oxford University Press, 1993). Arbie Orenstein, Ravel: Man and Musician (New York: Columbia University Press, 1975). Nancy Perloff, Art and the Everyday: Popular Entertainment in the Circle of Erik Satie(Oxford: Clarendon Press, 1991) Caroline Potter, Henri Dutilleux: His Life and Works (Brookfield, VT: Ashgate Publishing Co., 1997). Francis Poulenc, Moi et mes amis: Confidences recueilles par Stéphane Audel (Paris: La Palatine, 1963). Francis Poulenc, Diary of my Songs [Journal de mes mélodies] transl. by Winifred Radford (London: Victor Gollancz, Ltd., 1985) Marie-Claire Rohinsky, ed., The Singer’s Debussy (New York: Pelion Press, 1987) Roger Shattuck, The Banquet Years (New York: Vintage Books, 1968).

All Shook Up - Young @ Part | Hal Leonard Menu LEARN MORE About Young @ Part Showbox/Added Resources Order a Perusal Pack Online License Request 60-Min.ute Musicals [Young@Part] 60-Minute Musicals Addams Family All Shook Up Curtains Monty Python's Spamalot We Will Rock You Wind In The Willows 30-Min.ute Musicals [Younger@Part] 30-Minute Musicals Addams Family All Shook Up How I Became A Pirate Miss Nelson Is Missing Product Information Musical Numbers Cast of Characters Credits Inspired by and featuring the songs of Elvis Presley Book: Joe DiPietro Overview / Synopsis It's 1955 and into a square little town rides a guitar-playing young man who changes everything and everyone he meets. Loosely based on Shakespeare's and into a square little town rides a guitar-playing young man who changes everything and everyone he meets. Loosely based on jumpin' out of your blue suede shoes with such classics as Teddy Bear, Don't Be Cruel, Hound Dog, and Jailhouse Rock. With great roles for girls and boys and an irresistible rock 'n' roll pedigree, this 60-70 minute Broadway adaptation is an unforgettable thrill for middle school-age performers and their audiences. Print Perusal - HL00237277 $19.95 ShowBox - HL00237272 $675.00 This ShowBox includes: 30 Cast Script/Vocal Books Director's Script 2 Piano/Vocal Scores Guide Vocals CD Performance Tracks CD Logo Pack CD Young @ Part Request Individual Components 00251170 - Director's Script $50.00 00251171 - Cast Script/Vocal Book $10.00 00251173 - Piano/Vocal Score $40.00 00251174 - Guide Vocals CD $50.00 00251175 - Performance Tracks CD $100.00 Hear A Sample Jailhouse Rock Heartbreak Hotel Roustabout C'mon Everybody Follow That Dream Teddy-Hound It's Now or Never Love Me Tender Blue Suede Shoes Don't Be Cruel Falling in Love All Shook Up Devil in Disguise Fools Fall Finale/All Shook Up Natalie Haller Although she's a teenager, she's an excellent mechanic. She's much more at home in greasy overalls than a dress. Gender: Female Vocal Range: A3-D5 Chad A great-lookin', motorbike-ridin', guitar-playin', leather-jacketed roustabout. Gender: Male Vocal Range: E3-D5 Sylvia The no-nonsense owner of Sylvia's Honky-Tonk Cafe. Gender: Female Vocal Range: A3-D5 Lorraine Sylvia's daughter. Gender: Female Vocal Range: C4-F5 Dennis An awkward young man. He aspires to be a dentist. Gender: Male Vocal Range: Ab3-Bb4 Sandra The beautiful, intellectual caretaker of the town's museum. Gender: Female Vocal Range: F#3-D5 Mayor Matilda Hyde The town's very conservative mayor. Gender: Female Vocal Range: Bb3-E5 Dean Hyde Matilda's teenage son. He has spent his youth at military boarding schools and he has never disobeyed his mother. Gender: Male Sheriff Earl The law in town and a man of not many words. He loyally follows the Mayor wherever she goes. Gender: Male Prisoners Gender: Both Townspeople Gender: Both

All Shook Up - Younger @ Part | Hal Leonard Menu LEARN MORE About Young @ Part Showbox/Added Resources Order a Perusal Pack Online License Request 60-Min.ute Musicals [Young@Part] 60-Minute Musicals Addams Family All Shook Up Curtains Monty Python's Spamalot We Will Rock You Wind In The Willows 30-Min.ute Musicals [Younger@Part] 30-Minute Musicals Addams Family All Shook Up How I Became A Pirate Miss Nelson Is Missing Product Information Musical Numbers Cast of Characters Credits Inspired by and featuring the songs of ELVIS PRESLEY® Book: Joe DiPietro Originally Produced on Broadway by Jonathan Pollard, Bernie Kukoff, Clear Channel Entertainment, Harbor Entertainment, Miramax Films, Bob & Harvey Weinstein, Stanley Buchthal, Eric Falkenstein, Nina Essman/Nancy Nagel Gibbs, Jean Cheever, Margaret Cotter, in association with Barney Rosenzweig, Meri Krassner, FGRW Investments, Karen Jason, Phil Ciasullo Conard. Originally produced for Goodspeed Musicals, Michael P. Price, Executive Producer, Sue Frost, Associate Producer. Overview / Synopsis Now available for elementary-school productions! Loosely based on Shakespeare's Twelfth Night, this hip-swiveling, lip-curling musical fantasy set in 1955 will have you jumpin' out of your blue suede shoes with such classics as Teddy Bear, Hound Dog, and Jailhouse Rock. Great roles for girls and boys, a peerless rock pedigree and swingin' dance numbers specially broken down for elementary schoolers in the included choreographic instructional videos Print Perusal - HL00292433 $19.95 ShowBox - HL00292432 $525.00 This ShowBox includes: 30 Cast Script/Vocal Books Director's Script 2 Piano/Vocal Scores Guide Vocals CD Performance Tracks CD Logo Pack CD Young @ Part Request Individual Components 00292414 - Director's Script $50.00 00292415 - Cast Script/Vocal Book $10.00 00292416 - Piano/Vocal Score $40.00 00292429 - Guide Vocals CD $50.00 00292430 - Performance Tracks CD $100.00 Hear A Sample Jailhouse Rock C'mon Everybody TeddyBear/Hound Dog It's Now or Never Love Me Tender Blue Suede Shoes Can't Help Falling in Love All Shook Up Finale Natalie Haller Although she's a teenager, she's an excellent mechanic. She's much more at home in greasy overalls than a dress. Chad A great-lookin', motorbike-ridin', guitar-playin', leather-jacketed roustabout. Sylvia The no-nonsense owner of Sylvia's Honky-Tonk Cafe. Lorraine Sylvia's daughter. Dennis An awkward young man. He aspires to be a dentist. Sandra The beautiful, intellectual caretaker of the town's museum. Mayor Matilda Hyde The town's very conservative mayor. Dean Hyde Matilda's teenage son. He has spent his youth at military boarding schools and he has never disobeyed his mother. Sheriff Earl The law in town and a man of not many words. He loyally follows the Mayor wherever she goes. Male & Female Ensemble These actors play an assortment of TOWNSPEOPLE and are featured throughout the show.

Darmon Meader | Hal Leonard Darmon Meader Recognized in both jazz vocal and instrumental worlds, Darmon Meader is a distinguished vocalist, arranger and saxophonist. Darmon has achieved international recognition as the founder, musical director, chief arranger, composer, saxophonist, and tenor vocalist with New York Voices. As a member of NYV he has released numerous recordings and has performed and recorded with a variety of artists including Ray Brown, George Benson, Bobby McFerrin, Don Sebesky, Patti Austin, Jon Hendricks, Jim Hall, Paquito D'River and the Count Basie Orchestra. Touring in the U.S. and abroad, he has performed at such renowned venues as Carnegie Hall, Montreux Jazz Festival, North Sea Jazz Festival, and the Blue Note Jazz Clubs in New York and Japan. In addition to arranging and orchestrating the majority of the NYV songbook, Darmon has arranged music for various artists including Nancy Wilson, the Boston Pops, Ann Hampton Calloway, and Ilona Knopfler. Darmon is currently an adjunct faculty member at Indiana Universaity in the Jazz Vocal department and is actively involved in music education as a conductor and clinician at both the high school and university level. Publications by Darmon Meader

Michael Philip Mossman | Hal Leonard Michael Philip Mossman Michael Philip Mossman, Professor and Director of Jazz Studies at the Copland School of Music at Queens College (NYC), has been active on the international scene since the age of 17. After stints as lead trumpet with the Machito Orchestra, Toshiko Akiyoshi, and the Lionel Hampton Orchestra, Michael became the musical director of Blue Note Records' group, Out of the Blue, with whom he recorded with Dizzy Gillespie, Art Blakey, Joe Henderson, McCoy Tyner, Gerry Mulligan, Joe Zawinul, Slide Hampton, Toshiko Akiyoshi, Jon Faddis, George Gruntz, Bob Mintzer, Steve Turre, Anthony Braxton, Roscoe Mitchell, Tom Pierson, Benny Carter, the Carnegie Hall Jazz Orchestra, and the Charles Mingus, Gil Evans, and Count Basie Orchestras. Michael has played lead trumpet with the Michel Camilo Big Band, the Jon Faddis Orchestra, the Chico O'Farrill Orchestra, and the Jimmy Heath Big Band among many others. Since then, Mr. Mossman has been a key performer in Latin jazz. He has performed and recorded with Tito Puente, Eddie Palmieri, Chico O'Farrill, Ray Barretto, Daniel Ponce, Israel "Cachao" Lopez, Paquito D'Rivera, Bebo Valdez and Michel Camilo. He has performed classical and contemporary classical pieces with the Chicago Chamber Orchestra, the Naumburg Orchestra, the Jupiter Symphony Orchestra, the New Jersey Composers' Guild, the Garden State Chamber Orchestra, the New Jersey Symphony, the National Symphony of the Dominican Republic, and the contemporary ensemble Secret Cosmos. He has recorded Daniel Schnyder's Sonata for Trumpet, and two solo classical albums for MM1. Michael was nominated for a 2013 Grammy award for "Best Instrumental Arrangement" for his Afro-Latin Ellington Suite. He has composed and arranged music for the films Bossa Nova and Chico and Rita (which was nominated for a 2012 Academy Award). His ballet Beneath the Mask was performed by Jon Faddis and the Chicago Jazz Orchestra with the Deeply Rooted Dance Company (choreographed by Mayte Vicens). Mr. Mossman has conducted the Bilbao Symphonic Orchestra in Spain, and has composed and arranged scores for the Philadelphia Orchestra, the Louisiana Philharmonic, the Tri-Cities Symphony, Joe Henderson's Grammy-winning Big Band album, the Carnegie Hall Jazz Orchestra, the Count Basic Orchestra, the Charles Mingus Orchestra, Tito Puente, Mario Bauza, Slide Hampton and the Jazz Masters Orchestra, Paquito D'Rivera, the UMO Orchestra of Finland, the NDR Big Band of Hamburg, WDR of Cologne, HR Bigband of Frankfurt, HGM Bigband of Zagreb, Danish Radio Big Band, the Andalucia Latin Jazz Big Band, Heineken Jazz Festival Orchestra (Puerto Rico), Granada Bigband, Sedajazz Latin Jazz Ensemble, and Ray Barretto's New World Spirit. Michael is a Yamaha Artist and his music is published by Hal Leonard Corporation. Publications by Michael Philip Mossman

Richard Saucedo | Hal Leonard Richard Saucedo Richard L. Saucedo retired in 2013 as Director of Bands and Performing Arts Department Chairman at Carmel High School in Carmel, Indiana. During his 31-year tenure, Carmel bands received numerous state, regional and national honors in the areas of concert band, jazz and marching band. Under his direction, Carmel's Wind Symphony I performed at the Music for All National Concert Band Festival three times, and was named Indiana State Champion Concert Band most recently in 2013. The group also performed at the 2005 Midwest International Band and Orchestra Clinic. Carmel Jazz Ensembles won numerous awards at festivals in Indiana and throughout the Midwest, and the Carmel High School Marching Greyhounds finished in the top ten at the Bands of America Grand National Championship for 17 years under Saucedo and were named National Champions in 2005 and 2012. The Marching Band was the Indiana Class A State Champion four times. He was named Indiana Bandmasters' 1998-99 Bandmaster of the Year, and Indiana Music Educators Association's 2010 Outstanding Music Educator. His accomplishments have been highlighted in articles by HALFTIME and SCHOOL BAND AND ORCHESTRA magazines. He was inducted into the Music for All Hall of Fame in 2015. Mr. Saucedo is a freelance arranger and composer, having released numerous marching band arrangements, choral arrangements, and concert band and orchestral works. He is on the writing staff of Hal Leonard LLC. His compositions have been performed by middle school and high school bands all over the world, as well as by college and university groups. Nocturne, his first work for orchestra, was named most outstanding new composition at the 2009 National Orchestra Cup Festival at Lincoln Center. His most recent orchestra work, Essay #1, was premiered at the 2014 Midwest Clinic. Mr. Saucedo receives numerous commission requests, and will be releasing new works for university, high school and middle school bands throughout 2018-19. He is the author of two DVDs on rehearsing the marching band wind section, and is featured in two DVDs on concert band rehearsal techniques, all available at dynamicmarching.com. Mr. Saucedo travels around the world as an adjudicator, keynote speaker, clinician and guest conductor. He will appear in over 25 states during the 2018-19 school year. In July 2014, he was an adjudicator/clinician for the Singapore International Band Festival, and served as clinician and guest conductor at the Japan Band Clinic in May 2016. In September 2016, he presented at the Australian Band and Orchestra Clinic in Sydney. He was a featured clinician at the 2017 Midwest Clinic and the 2018 Texas Music Educators Association convention. He currently judges for Drum Corps International, and was the brass composer/arranger for the Cavaliers Drum and Bugle Corps (Rosemont, IL) from 2000-2008. The Cavaliers won five DCI World Championships during his tenure. He also spent four years as the brass composer/arranger for the Blue Stars Drum and Bugle Corps (La Crosse, WI). He is an educational consultant for Music for All and Bands of America. He is a member of the Conn-Selmer Division of Education, and currently serves as assistant chief judge for Bands of America marching band competitions. He is a former member of the Board of Directors for United Sound, an organization whose mission is to give special needs students a chance to experience the joy of instrumental music performance through peer mentoring. Mr. Saucedo did his undergraduate work at Indiana University in Bloomington, and finished his master's degree at Butler University in Indianapolis. He is an aviation enthusiast and a certified private pilot. He is married to Sarah and is most proud of his two children - his daughter Carmen studied elementary education at Ball State and is now a teacher; his son Ethan is in 5th grade and plays basketball and studies piano and percussion. Publications by Richard Saucedo

Dot and The Kangaroo Jr. - Broadway Junior | Hal Leonard Menu LEARN MORE About Broadway Junior What Comes With the Showkit®? How to License a Broadway Junior Musical Order an Audio Sampler Frequently Asked Questions 60-Min.ute Musicals [JR.] 60-Minute Musicals 13 Jr. Aladdin Jr. (Disney) Annie Jr. Beauty and the Beast Jr. (Disney) The Big One-Oh! Jr. Bugsy Malone Jr. Chitty Chitty Bang Bang Jr. Dear Edwina Jr. Doctor Dolittle Jr. Dot & The Kangaroo Jr. The Drowsy Chaperone Jr. Elf The Musical Jr. Fame Jr. Fiddler on the Roof Jr. Finding Nemo Jr. (Disney) Finian's Rainbow Jr. Flat Stanley Jr. Frozen Jr. (Disney) A Ghost Tale for Mr. Dickens Jr. (Magic Tree House) Godspell Jr. Guys and Dolls Jr. Hairspray Jr. High School Musical Jr. (Disney) Honk! Jr. Into the Woods Jr. James and the Giant Peach Jr. (Roald Dahl) Junie B. Jones Jr. Legally Blonde Jr. The Lion King Jr. (Disney) The Little Mermaid Jr. (Disney) Madagascar - A Musical Adventure Jr. Mary Poppins Jr. (Disney/Cameron Mackintosh) Matilda Jr. (Roald Dahl) Mean Girls Jr. Moana Jr. (Disney) The Music Man Jr. My Son Pinocchio Jr. (Disney) Newsies Jr. (Disney) Oliver! Jr. Once on This Island Jr. Peter Pan Jr. (Broadway) The Phantom Tollbooth Jr. The Pirates of Penzance Jr. Rudolph The Red-Nosed Reindeer Jr. Schoolhouse Rock Live! Jr. Seussical Jr. Shrek Jr. Singin' In The Rain Jr. Sister Act Jr. Thoroughly Modern Millie Jr. Willy Wonka Jr. (Roald Dahl) Xanadu Jr. 30-Min.ute Musicals [KIDS] 30-Minute Musicals 101 Dalmatians KIDS (Disney) Aladdin KIDS (Disney) Annie KIDS Aristocats KIDS (Disney) Dinosaurs Before Dark KIDS (Magic Tree House) Finding Nemo KIDS (Disney) Frozen KIDS (Disney) The Jungle Book KIDS (Disney) The Knight at Dawn KIDS (Magic Tree House) The Lion King KIDS (Disney) The Music Man KIDS Pirates Past Noon KIDS (Magic Tree House) Seussical KIDS Willy Wonka KIDS (Roald Dahl) Winnie the Pooh KIDS (Disney) A Year with Frog and Toad KIDS Product Information Musical Numbers Cast of Characters Credits Music by Daniel Mertzlufft Lyrics by Kate Leonard Libretto by Daniel Stoddart Overview / Synopsis Based on the 1899 classic children's novel, with libretto by Daniel Stoddart, music by Daniel Mertzlufft (Ratatouille: The TikTok Musical, Breathe), and lyrics by Kate Leonard (Ratatouille: The TikTok Musical, Breathe), Dot & the Kangaroo JR. will lead audiences on a beautiful journey into the world and spirit of Australia. Young, rambunctious Dot longs for an adventure exploring everything the country has to offer. When she finds herself lost and afraid in the darkening Australian bush, Dot befriends a wise mother Kangaroo who enlists the help of Australia's favourite bush creatures to help Dot find her way back home. A charming tale full of quirky Aussie-native characters, Dot & the Kangaroo JR. transforms the endearing story that transfixed generations past into a fresh, new adventure for generations to come. Audio Sampler - HL01241752 $10.00 ShowKit - HL01241747 $695.00 This ShowKit includes: 30 Actor's Book Piano/Vocal Score Director's Guide Choreography Videos (Digital) Guide Vocal Tracks (Digital) Performance Tracks (Digital) Downloadable Resources and Media 60-Minute JR. Request Individual Components 01241747 - ShowKit $695.00 01241748 - Director's Guide $100.00 01241750 - Actor's Book (Single) $10.00 01241751 - Actor's Script (10 Pak) $75.00 01241752 - Audio Sampler $10.00 MUSICAL NUMBERS Prologue Everything, But Nothing Without You See The Country On Our Way Bottoms Up At The Waterhole The Lullaby King Of The Burrow The Ladies' Lounge Council Of The Animals (Part 1) Council Of The Animals (Part 2) Dot's Testimony See The Country (Reprise) Finale Cast of Characters Cast Size: Large (21 or more performers) Cast Type: Children Dot A smart, brave, and kind 8-year-old girl who lives with her family in the Blue Mountains of New South Wales in 1815 Australia. Quick- witted Dot is tired of doing chores and longs for an adventure. Dot is a major role with lots of stage time and carries her own song. Cast a strong singer and actor in this role who reads as younger onstage and makes a good team with Mrs. Kangaroo. Gender: Female Vocal range top: D5 Vocal range bottom: A3 Mrs. Kangaroo Wise, nurturing, and driven. Though she doesn't trust the "new humans," she is willing to help Dot get home as she searches for her missing Joey. Cast a strong singer and actor in this role who will pair well with Dot and can portray Mrs. Kangaroo's compassionate nature and strength of resolve while allowing her sense of humor to shine through. Gender: Female Vocal range top: E5 Vocal range bottom: B3 Matilda Dot's older sister. She loves her family and understands that they work as a team, with everyone contributing to their life in Australia - even if some of the jobs that need to get done aren't as exciting as having an adventure. Cast a good singer and actor in this role who reads as older than Dot onstage. Gender: Female Vocal range top: D5 Vocal range bottom: C4 May Dot's mother. Though she doesn't survive past the first scene, she has a small solo holding Dot as a baby. This is a good role for a performer who may be new to the stage but can handle a solo. Whoever plays May should join the rest of the ensemble after her scene. Gender: Female Vocal range top: D5 Vocal range bottom: D4 Henry Dot and Matilda's father. Though he sadly lost his wife, May, he loves his children and works hard to provide for the family. Cast a good singer and actor in this role who pairs well with Dot and Matilda and can depict Henry's hard-working, good nature. Gender: Male Vocal range top: D5 Vocal range bottom: C4 Willie Wagtail A bird first onstage in puppet form but later leads the courtroom during Dot's trial. He is a know-it-all and considers himself an expert on the court of law because he built a nest in the Gabble-Babble Courthouse and has listened to many trials. Willie doesn't sing a solo, so cast a performer who can express Willie's self-important attitude and command the courtroom. Gender: Male Larry Lorikeet Larry Lorikeet, Mal Magpie Goose, and Wazza Waterheron are the best of waterhole friends and lead the rousing hoedown "Bottoms Up At The Waterhole." These three function as a unit, so cast character actors with excellent comic timing who can move well and easily play off one another. Vocal range top: E5 Vocal range bottom: E3 Lillian, Lilith, and Leilani (The 3 L's) Lorena's friends who sing backup for her during "So Lame." Cast performers who can match Lorena's teenage attitude and are comfortable singing tight harmonies. Gender: Female Vocal range top: E5 Vocal range bottom: F#4 Mal Magpie Goose Larry Lorikeet, Mal Magpie Goose, and Wazza Waterheron are the best of waterhole friends and lead the rousing hoedown "Bottoms Up At The Waterhole." These three function as a unit, so cast character actors with excellent comic timing who can move well and easily play off one another. Vocal range top: E5 Vocal range bottom: E3 Wazza Waterheron Larry Lorikeet, Mal Magpie Goose, and Wazza Waterheron are the best of waterhole friends and lead the rousing hoedown "Bottoms Up At The Waterhole." These three function as a unit, so cast character actors with excellent comic timing who can move well and easily play off one another. Vocal range top: E5 Vocal range bottom: E3 Koala Koala and Kookaburra share a tree and function as a comic pair. They have a hilarious scene with Dot and Mrs. Kangaroo but no sung solos, so cast two character actors with great comic timing who make an interesting twosome and can dial up the silliness onstage. Kookaburra Koala and Kookaburra share a tree and function as a comic pair. They have a hilarious scene with Dot and Mrs. Kangaroo but no sung solos, so cast two character actors with great comic timing who make an interesting twosome and can dial up the silliness onstage. Platypus Though Platypus is a genius and the king of the burrow, he is not very nice to Dot at first. Beneath his gruff exterior is a loyal friend with a strong moral compass who sees Dot for who she truly is. Platypus leads his own number, so cast a fantastic singer and actor in this role who can command the stage and embody Platypus's grumpy dignity. Gender: Male Vocal range top: G5 Vocal range bottom: C4 "King of The Burrow" Soloists Soloist 1 Vocal range top: G4 Vocal range bottom: C5 Soloist 2 Vocal range top: F4 Vocal range bottom: Ab4 Soloist 3 Vocal range top: G#4 Vocal range bottom: C#5 Soloist 4 Vocal range top: F#4 Vocal range bottom: A4 Bowerbirds Belle, Bree, and Babs Bowerbirds Belle, Bree, and Babs are fierce, fashion-forward, and fabulous, darling, thank you very much! These divas have self-confidence in spades and remind Dot that, first and foremost, she must believe in herself. Cast a triple-threat trio that screams "girl power" and can handle close harmonies. Vocal range top: Db5 Vocal range bottom: Db3 Peacock Paul The Bowerbird girls' best friend and matches their confidence level - not to mention their decor! Peacock Paul does not sing a solo but should be comfortable singing in close harmonies with the Bowerbird girls. Cast a fabulous actor and a good dancer in this fun, energetic role. Pelican The prosecutor in Dot's trial. Pelican does not sing a solo, so cast a good actor who can command the room and lean into the courthouse drama of the scene. Joey Mrs. Kangaroo's missing child. Joey has a cameo at the end of the show when he is finally reunited with his "Mimi." This is a great role for a newer performer who is comfortable having a few lines and a brief duet line and reads as younger onstage. Black Swan Vocal range top: G4 Vocal range bottom: Gb3 Cockatoo Vocal range top: G4 Vocal range bottom: Gb3 Ensemble The Ensemble is a great place for any performer who'd like to be involved in the show. Featured ensemble roles are: Brolga, Snake, British Soldiers, Families, Bowerbirds, Brolgas, Dingoes, Rainbow Lorikeets, Waterhole Birds, Council of the Animals (which include Koalas, Possums, Wallabies, Kangaroos, Bilbies, Emus, Cranes, Plovers, Ducks, Frogs, Bandicoots, and Parrots). Brolga Vocal range top: Bb4 Vocal range bottom: Gb3

Legally Blonde Jr. - Broadway Junior | Hal Leonard Menu LEARN MORE About Broadway Junior What Comes With the Showkit®? How to License a Broadway Junior Musical Order an Audio Sampler Frequently Asked Questions 60-Min.ute Musicals [JR.] 60-Minute Musicals 13 Jr. Aladdin Jr. (Disney) Annie Jr. Beauty and the Beast Jr. (Disney) The Big One-Oh! Jr. Bugsy Malone Jr. Chitty Chitty Bang Bang Jr. Dear Edwina Jr. Doctor Dolittle Jr. Dot & The Kangaroo Jr. The Drowsy Chaperone Jr. Elf The Musical Jr. Fame Jr. Fiddler on the Roof Jr. Finding Nemo Jr. (Disney) Finian's Rainbow Jr. Flat Stanley Jr. Frozen Jr. (Disney) A Ghost Tale for Mr. Dickens Jr. (Magic Tree House) Godspell Jr. Guys and Dolls Jr. Hairspray Jr. High School Musical Jr. (Disney) Honk! Jr. Into the Woods Jr. James and the Giant Peach Jr. (Roald Dahl) Junie B. Jones Jr. Legally Blonde Jr. The Lion King Jr. (Disney) The Little Mermaid Jr. (Disney) Madagascar - A Musical Adventure Jr. Mary Poppins Jr. (Disney/Cameron Mackintosh) Matilda Jr. (Roald Dahl) Mean Girls Jr. Moana Jr. (Disney) The Music Man Jr. My Son Pinocchio Jr. (Disney) Newsies Jr. (Disney) Oliver! Jr. Once on This Island Jr. Peter Pan Jr. (Broadway) The Phantom Tollbooth Jr. The Pirates of Penzance Jr. Rudolph The Red-Nosed Reindeer Jr. Schoolhouse Rock Live! Jr. Seussical Jr. Shrek Jr. Singin' In The Rain Jr. Sister Act Jr. Thoroughly Modern Millie Jr. Willy Wonka Jr. (Roald Dahl) Xanadu Jr. 30-Min.ute Musicals [KIDS] 30-Minute Musicals 101 Dalmatians KIDS (Disney) Aladdin KIDS (Disney) Annie KIDS Aristocats KIDS (Disney) Dinosaurs Before Dark KIDS (Magic Tree House) Finding Nemo KIDS (Disney) Frozen KIDS (Disney) The Jungle Book KIDS (Disney) The Knight at Dawn KIDS (Magic Tree House) The Lion King KIDS (Disney) The Music Man KIDS Pirates Past Noon KIDS (Magic Tree House) Seussical KIDS Willy Wonka KIDS (Roald Dahl) Winnie the Pooh KIDS (Disney) A Year with Frog and Toad KIDS Product Information Musical Numbers Cast of Characters Credits Music & Lyrics by Laurence O'Keefe & Nell Benjamin Book by Heather Hach Based on the novel by Amanda Brown and the Metro-Goldwyn-Mayer motion picture Overview / Synopsis One Act, Book Musical, Pop / Rock, Rated G Broadway Junior Version Harvard's beloved blonde takes the stage by glittery pink storm in this fun and upbeat musical. (60-MINUTE VERSION FOR YOUNG PERFORMERS) A fabulously fun international award-winning musical based on the adored movie, LEGALLY BLONDE JR., follows the transformation of Elle Woods as she tackles stereotypes, snobbery, and scandal in pursuit of her dreams. Adapted for younger performers and based on the popular movie, this show features an upbeat original score that's sure to leave cast members and audiences alike seeing pink! When Elle's high school boyfriend Warner dumps her and heads to Harvard, claiming she's not "serious" enough, Elle takes matters into her own hands, crafting a showy song-and-dance personal essay and charming her way into law school. Befriending classmate Emmett and spunky hairdresser Paulette along the way, Elle finds that books and looks aren't mutually exclusive - in fact, law may be her natural calling after all as she quickly begins outsmarting her peers. LEGALLY BLONDE JR. features a large, expandable cast, lead and supporting roles for male and female actors, as well as energetic production numbers. The show's sense of humor, as well as its themes of self-empowerment and open-mindedness, make LEGALLY BLONDE JR. ideal for young performers. At the Delta Nu sorority house, word is out that Elle Woods is going to dinner to get engaged to her beau Warner Huntington III ("Omigod You Guys"). Margo, Serena and Pilar lead the other Delta Nus to the mall, where Elle is having trouble choosing the right dress for the occasion. Later at dinner, just when Elle is sure Warner is going to propose, he breaks up with her, explaining that with his departure for Harvard Law School, it's time to get serious ("Serious"). Devastated, Elle locks herself in her room. Twelve days later, the Delta Nus finally get Elle to emerge ("Daughter of Delta Nu"). Elle realizes the only solution to her heartache is to get into Harvard Law and prove to Warner she's serious enough for him ("What You Want"). Sorority sister Kate helps Elle study for the LSAT, and after several attempts and a lot of hard work, Elle's application comes upon Harvard Admissions. Lowell, Winthrop and Pforzheimer, three Harvard admissions coordinators, decide to admit Elle after a very extravagant song and dance (which she submits in lieu of a personal essay) citing love as her main motivation. On the first day of class, Elle meets her fellow first-year law classmates, Aaron, Padamadan and Enid, as well as Warner, who is shocked to see her on campus. Callahan (the most feared teacher at Harvard) kicks Elle out of class for being unprepared at the suggestion of classmate Vivienne Kensington. Callahan's TA, Emmett, tries to console Elle, but her mood only worsens when Warner confesses to Elle that Vivienne is his new girlfriend. Elle finds the nearest salon and meets Paulette, who commiserates with her situation ("Ireland"). Afterward, Elle runs into Vivienne who invites her to a costume party. Elle attends, hoping to see Warner, but is dismayed to discover she is the only one who wore a costume - much to Vivienne's delight. On the way home, Elle meets Emmett, who tells Elle how hard he's worked to get where he is and encourages her to do the same ("Chip On My Shoulder"). Time is passing quickly at law school and Elle is working harder than ever, eventually winning her first court case in class and receiving a recommendation to apply for Callahan's internship. With her newfound confidence, Elle helps Paulette win her dog back from her estranged boyfriend, Dewey. Back at Harvard, Warner and Vivienne win two of Callahan's coveted internship positions, and Warner proposes to Vivienne on the spot right in front of Elle. Before her heart can break, Emmett shows her the internship list, and Elle is ecstatic to discover her name is on it as well ("So Much Better"). The interns quickly jump into the case of fitness video guru Brooke Wyndham, who is accused of killing her wealthy husband. After watching her fitness video ("Whipped into Shape"), the interns meet her at a correctional facility where she refuses to give her alibi to anyone but Elle, thanks to their Delta Nu sisterhood ("Delta Nu Nu Nu"). In confidence, Brooke shares with Elle that she was getting liposuction the day her husband was killed, so there is no way she could be guilty, but no one can know because her fitness empire would be destroyed. The other interns demand that Elle give up Brooke's alibi, but Elle refuses to go against her Delta Nu pledge. Back at the salon, Paulette has eyes for the UPS delivery man, Kyle, but isn't confident enough to go after him. Elle teaches her a guaranteed move to win any guy's affections - the Bend and Snap ("Bend and Snap"), but when Paulette tries it, she accidentally breaks Kyle's nose. Elle returns to the case, but Callahan has a different agenda and tries to kiss her, just as Vivienne returns, unnoticed. Elle rejects Callahan's advances and is fired. Defeated, she prepares to go home convinced she was only ever seen as a joke, even though Emmett asks her to stay, finally realizing that he is in love with her ("Legally Blonde"). Elle stops by the salon to say goodbye to Paulette, but Vivienne - who witnessed what happened to Elle in Callahan's office and finally understands her - convinces her to keep fighting. The entire salon rallies behind Elle as she heads back to the courtroom ("Legally Blonde - Remix") where Brooke fires Callahan and hires Elle to continue her defense. Everyone is present to witness Elle's first day in court, including Paulette and Kyle (now a couple), Margo, Serena, Pilar and the other Delta Nus. Brooke's stepdaughter Chutney takes the stand, testifying that when she got out of the shower, she witnessed Brooke standing over her father's body, covered in blood. When asked what she had been doing earlier that day, Chutney reveals she had gotten a perm, and Elle realizes a flaw in Chutney's alibi - she couldn't possibly have showered the same day as receiving a perm or her hair would be flattened. Since her perm is still intact, she has obviously lied about her alibi. Under some intense questioning from Elle, Chutney accidentally reveals that she killed her father, mistaking him for Brooke. Elle wins the case and Brooke is set free. Warner tries to propose to Elle, but she gently refuses, having gained her independence and a desire to be the best she can be ("Find My Way"). Three years later, Elle is made valedictorian of her class, and in her commencement speech she proposes to Emmett, who accepts. Everyone celebrates their legally blonde friend and heroine, Elle Woods ("Finale"). Audio Sampler - HL00125163 $10.00 ShowKit - HL00125152 $695.00 This ShowKit includes: 30 Actor's Books Choreography DVD Director's Guide 30 Family Matters Booklets Media Disk 2 Performance/Accompaniment CDs Piano/Vocal Score 60-Minute JR. Request Individual Components 00125153 - Director's Guide $100.00 00125154 - Piano/Vocal Score $40.00 00125155 - Actor's Script $10.00 00125156 - Actor's Script 10-Pak $75.00 00125157 - Rehearsal/Accompaniment CD $75.00 00125158 - Student Rehearsal CD $10.00 00125159 - Student Rehearsal CD 20-Pak $100.00 00125160 - Choreography DVD $50.00 00125161 - Media Disc $10.00 00125163 - Audio Sampler $10.00 Hear A Sample Omigod You Guys (Part 1) Omigod You Guys (Part 2) Serious (Part 1) Serious (Part 2) Daughter of Delta Nu What You Want (Part 1) What You Want (Part 2) What You Want (Part 3) Ireland Chip On My Shoulder (Part 1) Chip On My Shoulder (Part 2) Chip On My Shoulder (Part 3) Run Rufus Run!/Elle Reflects So Much Better Whipped Into Shape Delta Nu Nu Nu And Snap Bend And Snap Legally Blonde Legally Blonde Remix (Part 1) Legally Blonde Remix (Part 2) Legally Blonde Remix (Part 3) Scene Of The Crime (Part 2) Find My Way/Finale Cast Size Large (over 20), Flexible Cast Type Ensemble Cast - Many featured roles, Mainly Women, Showcases trained dancers, Showcases trained singers, Star Vehicle - Female, Teenage Roles Dance Requirement Heavy (Extensive Dance Sections/Solos), Standard (Musical Staging/Some Dance/Optional) AARON SCHULTZ, SUNDEEP AGRAWAL PADAMADAN and ENID HOOPES Three law students with academic credits that would intimidate anyone. BROOKE WYNDAM An exercise video mogul who is also a former sorority girl. She is energetic and charismatic, yet currently on trial for murder. Range: A3-D5 CHUTNEY WYNDHAM Brooke's unhappy stepdaughter with a really bad perm and an even worse attitude. DEWEY Paulette's brash ex-husband who lives in a trailer and holds her dog captive. ELLE WOODS The quintessential Valley Girl may appear like a typical blonde California sorority girl, but don't count her out. She is hardworking, optimistic and tenacious. Range: F#3-Eb5 EMMETT FORREST A smart and sensitive law student who takes Elle under his wing. He is charming, quirky, loveable, and friendly. Range: C3-F#4 ENSEMBLE WAITERS, DELTA NUS, FRAT BOYS, GREEK CHORUS, STUDENTS and INMATES. GAELEN, JUDGE, JET BLUE PILOT, SALESWOMAN, STORE MANAGER, PRISON GUARD, BOOKISH CLIENT and SABRINA Featured roles for young performers who may have less experience on the stage but have vibrant personalities. GRANDMASTER CHAD A fun cameo role for a young guy who is a great musician but may be less experienced onstage. Range: D3-D4 KATE A featured Delta Nu sister - the acedemic of the bunch. Range: Bb3-Db5 KIKI THE COLORIST, CASHIER and STYLIST Part of Paulette's entourage at the salon who are very adept at the "Bend and Snap." Range: C4-A4 KYLE The delivery man who Paulette has her eyes on each time his job brings him to the salon. MARGOT, SERENA, and PILAR Elle's trio of best friends and Delta Nu sisters. Range: F#3-C#5 PAULETTE A brash, caring, optimistic hair stylist who is friends with Elle and longs to find a man for herself. Range: A3-Bb4 PROFESSOR CALLAHAN The most-feared professor at Harvard Law School. Range: Bb2-F#4 VIVIENNE KENSINGTON A smart, savvy, and uptight law student and Warner's fiancee who initially dismisses Elle, but grows to be her friend. Range: A3-Eb5 WARNER HUNTINGTON III A good-looking but shallow and pompous guy who breaks Elle's heart and heads off to Harvard Law. He is caught between his former life with Elle and his newfound serious East Coast life with Vivienne. Range: D3-F4 WHITNEY Vivienne's law school friend and partner in mischief when it comes to bringing down Elle. WINTHROP, LOWELL and PFORZHEIMER Three admissions officers of Harvard Law School who eventually admit Elle into the program after some critical evaluation.

Seussical Jr. - Broadway Junior | Hal Leonard Menu LEARN MORE About Broadway Junior What Comes With the Showkit®? How to License a Broadway Junior Musical Order an Audio Sampler Frequently Asked Questions 60-Min.ute Musicals [JR.] 60-Minute Musicals 13 Jr. Aladdin Jr. (Disney) Annie Jr. Beauty and the Beast Jr. (Disney) The Big One-Oh! Jr. Bugsy Malone Jr. Chitty Chitty Bang Bang Jr. Dear Edwina Jr. Doctor Dolittle Jr. Dot & The Kangaroo Jr. The Drowsy Chaperone Jr. Elf The Musical Jr. Fame Jr. Fiddler on the Roof Jr. Finding Nemo Jr. (Disney) Finian's Rainbow Jr. Flat Stanley Jr. Frozen Jr. (Disney) A Ghost Tale for Mr. Dickens Jr. (Magic Tree House) Godspell Jr. Guys and Dolls Jr. Hairspray Jr. High School Musical Jr. (Disney) Honk! Jr. Into the Woods Jr. James and the Giant Peach Jr. (Roald Dahl) Junie B. Jones Jr. Legally Blonde Jr. The Lion King Jr. (Disney) The Little Mermaid Jr. (Disney) Madagascar - A Musical Adventure Jr. Mary Poppins Jr. (Disney/Cameron Mackintosh) Matilda Jr. (Roald Dahl) Mean Girls Jr. Moana Jr. (Disney) The Music Man Jr. My Son Pinocchio Jr. (Disney) Newsies Jr. (Disney) Oliver! Jr. Once on This Island Jr. Peter Pan Jr. (Broadway) The Phantom Tollbooth Jr. The Pirates of Penzance Jr. Rudolph The Red-Nosed Reindeer Jr. Schoolhouse Rock Live! Jr. Seussical Jr. Shrek Jr. Singin' In The Rain Jr. Sister Act Jr. Thoroughly Modern Millie Jr. Willy Wonka Jr. (Roald Dahl) Xanadu Jr. 30-Min.ute Musicals [KIDS] 30-Minute Musicals 101 Dalmatians KIDS (Disney) Aladdin KIDS (Disney) Annie KIDS Aristocats KIDS (Disney) Dinosaurs Before Dark KIDS (Magic Tree House) Finding Nemo KIDS (Disney) Frozen KIDS (Disney) The Jungle Book KIDS (Disney) The Knight at Dawn KIDS (Magic Tree House) The Lion King KIDS (Disney) The Music Man KIDS Pirates Past Noon KIDS (Magic Tree House) Seussical KIDS Willy Wonka KIDS (Roald Dahl) Winnie the Pooh KIDS (Disney) A Year with Frog and Toad KIDS Product Information Musical Numbers Cast of Characters Credits Music by Stephen Flaherty Lyrics by Lynn Ahrens Book by Lynn Ahrens and Stephen Flaherty Co-Conceived by Lynn Ahrens, Stephen Flaherty and Eric Idle Based on the works of Dr. Seuss Music Supervised, Adapted and Produced by Bryan Louiselle Overview / Synopsis After all those years being stuck on a page, Did you ever imagine you'd see me onstage?" So says the mischievous Cat in the Hat at the onset of this fantastical, magical, musical extravaganza! All of our favorite Dr. Seuss characters come to life in this delightful Seussian gumbo of musical styles, ranging from Latin to pop, swing to gospel, and R&B to funk! So let your toes tap, your fingers snap, and your imagination run wild for "Oh, the thinks you can think, when you think about Seuss!" Audio Sampler - HL00257760 $10.00 ShowKit - HL00257761 $695.00 This ShowKit includes: 30 Libretto/Vocal Books Piano/Vocal Score Director's Script 2 Performance/Accompaniment CDs Choreography DVD 30 Family Matters Booklets Production Handbook Cross-Curricular Book 60-Minute JR. Request Individual Components 00257751 - Director's Guide $100.00 00257752 - Piano/Vocal Score $40.00 00257753 - Actor's Script $10.00 00257754 - Actor's Script 10-Pak $75.00 00257755 - Performance/Accompaniment CDs $75.00 00257756 - Student Rehearsal CD $10.00 00257757 - Student Rehearsal CD 20-Pak $100.00 00257758 - Choreography DVD $50.00 00257759 - Media Disc $10.00 00257760 - Audio Sampler $10.00 Hear A Sample Oh, The Thinks You Can Think! Horton Hears a Who Biggest Blame Fool Biggest Blame Playoff / Gertrude McFuzz Here on Who Meet JoJo the Who How to Raise a Child Oh, The Thinks You Can Think! (Reprise) It's Possible (Pt. 1) It's Possible (Pt. 2) Alone in the Universe The One Feather Tail of Miss Gertrude McFuzz / Amayzing Mayzie Amayzing Gertrude (Pt. 1) Amayzing Gertrude (Pt. 2) Monkey Around / Chasing the Whos Notice Me, Horton How Lucky You Are Mayzie's Exit / Horton Sits on the Egg / Dilemma / Hunters Egg, Nest and Tree Sold / Mayzie in Palm Beach Mayzie at the Circus Amayzing Horton Alone in the Universe (Reprise) Solla Sollew Gertrude / Espionage (Pt. 1) Gertrude / Espionage (Pt. 2) All for You The Whos Return / The People Versus Horton the Elephant (Pt. 1) The People Versus Horton the Elephant (Pt. 2) Yopp! Alone in the Universe (Reprise) Oh, The Thinks You Can Think! (Finale) Green Eggs and Ham (Finale Bows) Exit Music The Cat in the Hat The Cat in the Hat is the essence of mischief, fun, and imagination. The Cat stirs things up, causes trouble, but always sets things right again, helping JoJo to discover the power of his own imagination as they create the story for the show together. Look for a physically adept actor (male or female) to play THE CAT, one who will be able to play many comic cameos and is comfortable improvising with an audience. The Cat does not need to be your strongest singer, but should still have good rhythm and timing. JoJo JoJo is a "Thinker", a smart child with a wild imagination. He can be played as being a little bit awkward, a little bit of a loner, or simply a rambunctious kid whose Thinks get him into constant trouble. By the end of the show, he learns what it means to be a responsible member of his world, using the power and possibilities of his own Thinks. He should be one of your stronger singers. Horton the Elephant Horton the Elephant is a gentle giant. Think of him as a big-hearted blue-collar guy who is steadfast, responsible and always tries to do the right thing for his friends. He is imaginative and receptive to the world around him. He is very unselfconscious. Horton's view of the world never changes - he believes in its goodness. By the end of the show, without even realizing it, he is ready to become a parent. Gertrude McFuzz Gertrude McFuzz is very self-conscious and aware that her one-feather tail isn't perfect. Gertrude changes during the show from a neurotic, nervous and shy bird into one with the power to protect and care for a baby elephant bird and commit herself to Horton. In other words, she stops worrying about her looks and grows up. Mayzie La Bird Mayzie La Bird is self-centered, selfish, and vain. Mayzie will never admit to her own flaws. She manipulates anyone she can into doing what she wants. But Mayzie isn't all bad. In giving up her egg to Horton once and for all, she has a moment of generosity: she realizes she isn't the kind of person who would be a good parent, and she does the best thing she can for the egg. Sour Kangaroo Sour Kangaroo isn't really sour at all. She's just got a lot of attitude. She's loud, brassy, and a lot of fun. The Wickersham Brothers The Wickersham Brothers are not bad guys! They're simply a lot like kids who tease, play pranks, and get a kick out of making mischief, although often at others' expense. They enjoy hanging around with one another, making music together on the street corner, and playing off on another. Encourage each of your actors to find their own Wickersham persona. The Whos The Whos are a lot like you and me, only so small as to be invisible. Don't think of them as weird little aliens. They should be played for their inherent humanity. Encourage everyone playing a Who to try and create his or her own unique character. Mr. and Mrs. Mayos Mr. and Mrs. Mayos are Whos who are parents trying hard to raise a difficult child in a difficult world. They may get aggravated with JOJO, but they love him dearly and try to do the right thing, even if it turns out to be a mistake. The Jungle Creatures The Jungle Creatures are real people at heart, just like us, even though they may be described as animal characters. We discourage masks and literal "animal costumes." Each student should be encouraged to create his or her own individual character with human characteristics.

Roald Dahl's Willy Wonka Jr. - Broadway Junior | Hal Leonard Menu LEARN MORE About Broadway Junior What Comes With the Showkit®? How to License a Broadway Junior Musical Order an Audio Sampler Frequently Asked Questions 60-Min.ute Musicals [JR.] 60-Minute Musicals 13 Jr. Aladdin Jr. (Disney) Annie Jr. Beauty and the Beast Jr. (Disney) The Big One-Oh! Jr. Bugsy Malone Jr. Chitty Chitty Bang Bang Jr. Dear Edwina Jr. Doctor Dolittle Jr. Dot & The Kangaroo Jr. The Drowsy Chaperone Jr. Elf The Musical Jr. Fame Jr. Fiddler on the Roof Jr. Finding Nemo Jr. (Disney) Finian's Rainbow Jr. Flat Stanley Jr. Frozen Jr. (Disney) A Ghost Tale for Mr. Dickens Jr. (Magic Tree House) Godspell Jr. Guys and Dolls Jr. Hairspray Jr. High School Musical Jr. (Disney) Honk! Jr. Into the Woods Jr. James and the Giant Peach Jr. (Roald Dahl) Junie B. Jones Jr. Legally Blonde Jr. The Lion King Jr. (Disney) The Little Mermaid Jr. (Disney) Madagascar - A Musical Adventure Jr. Mary Poppins Jr. (Disney/Cameron Mackintosh) Matilda Jr. (Roald Dahl) Mean Girls Jr. Moana Jr. (Disney) The Music Man Jr. My Son Pinocchio Jr. (Disney) Newsies Jr. (Disney) Oliver! Jr. Once on This Island Jr. Peter Pan Jr. (Broadway) The Phantom Tollbooth Jr. The Pirates of Penzance Jr. Rudolph The Red-Nosed Reindeer Jr. Schoolhouse Rock Live! Jr. Seussical Jr. Shrek Jr. Singin' In The Rain Jr. Sister Act Jr. Thoroughly Modern Millie Jr. Willy Wonka Jr. (Roald Dahl) Xanadu Jr. 30-Min.ute Musicals [KIDS] 30-Minute Musicals 101 Dalmatians KIDS (Disney) Aladdin KIDS (Disney) Annie KIDS Aristocats KIDS (Disney) Dinosaurs Before Dark KIDS (Magic Tree House) Finding Nemo KIDS (Disney) Frozen KIDS (Disney) The Jungle Book KIDS (Disney) The Knight at Dawn KIDS (Magic Tree House) The Lion King KIDS (Disney) The Music Man KIDS Pirates Past Noon KIDS (Magic Tree House) Seussical KIDS Willy Wonka KIDS (Roald Dahl) Winnie the Pooh KIDS (Disney) A Year with Frog and Toad KIDS Product Information Musical Numbers Cast of Characters Credits Words and Music by Leslie Bricusse and Anthony Newley Adapted for the Stage by Leslie Bricusse and Timothy A McDonald Based on the Book Charlie and the Chocolate Factory By Roald Dahl Overview / Synopsis Roald Dahl's timeless story of the world-famous candy man and his quest to find an heir comes to life in this stage adaptation of Charlie and the Chocolate Factory. With a flexible cast size, a tour-de-force role for the title character, songs from the film classic and some clever new additions, Willy Wonka Junior runs 60-70 minutes and will delight performers and audiences alike! Songs include: Pure Imagination; Golden Age of Chocolate; The Candy Man; I Eat More; Think Positive; I See It All On TV; Cheer Up, Charlie; (I've Got a) Golden Ticket; At The Gates; In This Room Here; Oompa-Loompa-Doompadee-Doo; There's No Knowing; Chew It; I Want It Now!; Finale; and more! Audio Sampler - HL00255623 $10.00 ShowKit - HL00255629 $695.00 This ShowKit includes: 30 Libretto/Vocal Books Piano/Vocal Score Director's Script 2 Performance/Accompaniment CDs Choreography DVD 30 Family Matters Booklets Production Handbook Cross-Curricular Book 60-Minute JR. Request Individual Components 00255611 - Piano/Vocal Score $40.00 00255609 - Director's Guide $100.00 00255612 - Libretto/Vocal Book $10.00 00255613 - Libretto/Vocal Book 10 Pak $75.00 00190461 - Performance/Accompaniment CD $75.00 00255619 - Choreography DVD $50.00 00255620 - Media Disk $10.00 00255615 - Student Rehearsal CD $10.00 00255617 - Student Rehearsal CDs 20 Pak $100.00 00255623 - Audio Sampler $10.00 Hear A Sample Prologue Pure Imagination [Wonka] Golden Age of Chocolate [Oompas, Wonka, All] SCENE 2 The Candy Man [Candy Man, James, Charlie, Matilda] SCENE 5 I Eat More [Mrs. Gloop, Augustus, Phineous] SCENE 7 Think Positive [Charlie, Mrs. Bucket, Mr. Bucket] SCENE 10 I See It All on TV [Mike, Ms. Teavee] SCENE 11 Cheer Up, Charlie [Grandpa Joe, Mrs.Bucket, Mr. Bucket] SCENE 12 Think Positive (Reprise) [Charlie] (I've Got a) Golden Ticket [Charlie, Grandpa Joe, Mr. Bucket, Golden Ticket Winners] SCENE 13 At the Gates [Wonka] In this Room Here [All] Factory Reveal Sequence [Wonka, Kids & Parents] SCENE 14 Oompa-Loompa 1 [Oompas, Augustus, All] SCENE 15 There's No Knowing [Wonka, Mr. Salt, Mrs. Beauregarde, Grandpa Joe] SCENE 16 Chew It [Violet, Mike, Veruca, Charlie, All] Oompa-Loompa 2 [Oompas, Augustus, Violet, All] SCENE 17 Flying [Charlie, Grandpa Joe] Burping Song [Charlie, Grandpa Joe] SCENE 18 I Want It Now [Veruca] Oompa-Loompa 3 [Oompas, Veruca, All] SCENE 19 Oompa-Loompa 4 [All, Mike] SCENE 20 Finale [All] Willy Wonka Willy Wonka is an enigmatic character; at once mysterious and mischievous but also charismatic. There are a number of directions to take with Wonka, ranging from Gene Wilder's version in the original film, Willy Wonka and The Chocolate Factory, to Johnny Depp's portrayal in the recent film, Charlie and The Chocolate Factory, and everything in between. Pick a young man (or a young woman) who is charismatic, engaging and has a great voice (in the case of a young man, preferably a changed voice). The actor should be able to be funny and serious and change between the two on a dime. It is preferred that Wonka double as the Candy Man, as it helps reinforce that Wonka has staged the Golden Ticket competition and is somewhat controlling this contest along the way. Charlie Bucket The role of Charlie Bucket is the emotional heart and soul of the musical. The actor performing Charlie should have an unchanged voice and lots of pluck and enthusiasm. Think a male "Annie." Charlie is in nearly every scene, so make sure you select an actor who can handle the demands of a sizable role. Grandpa Joe Grandpa Joe is the grandfather we all wish we had when we were Charlie's age. He is caring, patient, sweet and always reminds Charlie to remain cheerful. Cast an actor who can be kind and funny. The role sings a bit, but the singing is secondary. Mr. and Mrs. Bucket Mr. and Mrs. Bucket are great roles for young people who have nice voices, and are natural nurturers. Both sing solos; Mr. Bucket performs the number "Think Positive" with Charlie and Mrs. Bucket sings "Cheer Up, Charlie" with Mr. Bucket and Grandpa Joe. Mr. and Mrs. Bucket can double as Oompa-Loompas in the second half of the show. Phineous Trout Phineous Trout is the reporter who announces the winners of the Golden Ticket contest throughout the show. The role requires some singing, and can be doubled by Wonka or played by another actor. In addition, either a boy or a girl can play the role. The Oompa-Loompa Chorus The Oompa-Loompa Chorus can be as small as a handful of performers or as large as your stage and theater can accommodate. Consider casting your youngest performers as Oompa-Loompas (like the sixth grade chorus) and augment them with a handful of older students who can take the lead and serve as Oompa-Loompa wranglers. Augustus Gloop Augustus Gloop is the overachieving eater who represents the evils of eating too much. Be extremely sensitive in casting this role as it is tempting to cast an overweight young person and that can be scarring-especially if the child struggles with this issue. Consider casting a thin child and creating the illusion of size via the costume. Either a boy or a girl acting like a boy can play Augustus. Augustus sings "I Eat More!" along with his mother and Phineous Trout. The song is on the difficult side, but does not need to be sung with a polished pretty voice, in fact, the more character the better. Mrs. Gloop Mrs. Gloop is Augustus' mother who has overindulged her son with food. She accompanies Augustus on the tour of the factory, and sings "I Eat More!" which is one of the more difficult songs in the score for young people. The role requires a character actress who isn't afraid to take positive risks both in her acting and her singing. Mike Teavee For this adaptation Mike Teavee is not just a TV junky. He is also addicted to video games, the Internet and any other mindnumbing technological device. Mike is bratty, loud and obnoxious. He does not know the word "no." Mike and Ms. Teavee sing "I See It All On TV" so he should be a reasonable singer, but does not need to be phenomenal. Mike could also be portrayed by a girl playing a boy, but generally works best with a male actor. Ms. Teavee Ms. Teavee is a take on all television moms of the distant past. Think June Cleaver (Leave it to Beaver) or Marion Cunningham (Happy Days) or even Carol Brady (The Brady Bunch). She's perfectly put together and a bit vacant. She sings "I See It All On TV" but does not require a polished voice. Violet Beauregarde Gum chewer extraordinaire, Violet Beauregarde hails from Snellville, Georgia, so it's nice if she has a Southern American accent, but not necessary. Violet should stand in stark contrast to Veruca Salt. Veruca is a wealthy refined brat; Violet is more of a bluecollar, middle class brat. She sings "Chew It" along with Willy Wonka. The song is a tour-de-force for the right voice, so cast a young lady with strong voice. Veruca Salt Veruca Salt is the wealthy, class-conscious, spoiled brat. She is often portrayed with a high British accent that is by no means required (brats come in all nationalities). Veruca's solo number "I Want It Now" is deceptively tricky and comes late in the show, so select a young woman with a strong voice. Veruca should contrast sharply with Violet Beauregarde in terms of look and physical type. Grandma Josephina, Grandma Georgina and Grandpa George Charlie's three grandparents are mainly non-singing character roles. Cast performers that are innately interesting, who have good comic timing and are solid actors. These actors can double as Oompa-Loompas in the second half of the show. James James is Charlie's friend from school. He has a few lines and sings the introduction of "The Candy Man" along with Matilda and Charlie. Matilda Matilda is also a schoolmate of Charlie's, but she's a bit of bully. Matilda has a few lines and sings the introduction of "The Candy Man" along with James and Charlie. The Candy Man The Candy Man Kids sing "The Candy Man" and their numbers may be expanded as you see fit and your program will allow. The names of the characters have been drawn from other Roald Dahl books. Feel free to assign additional names to match the number of performers you cast. (All students like to go home and exclaim "I'm playing Alfie in Willy Wonka JR." versus "I'm just Kid 2 in 'The Candy Man.'") You may also cast a single class (say the sixth grade chorus) to perform these roles, as they appear only in this number unless you choose to double them as Cooks and Oompa-Loompas. Mrs. Beauregarde Mrs. Beauregarde is a teacher of geography and has invested a great deal of hard-earned money on therapy for her orally fixated daughter, with less than stellar results. The role is virtually non-singing. Her accent should match Violet's. Mr. Salt Mr. Salt's solution to most problems is to buy his way out. He is upper class, and usually portrayed with a high British accent. (But this accent is not necessary-just make sure Veruca and Mr. Salt sound like they hail from the same place.) He sings very little. A female actress playing male may also play the role. Chorus of Cooks Chorus of Cooks is an optional chorus. The Cooks appear during "I Eat More!" presenting Augustus with a smorgasbord of food choices. (Check out the Director's Guide note in the song for more information.) Double the Candy Man Kids Chorus and Oompa-Loompa Chorus or cast a single class of kids to perform this section. (For example, Mrs. Ripley's third grade class.) The Squirrels The Squirrels are non-speaking, non-singing roles and you can cast as many as necessary. This is a great part for beginning actors.

Disney's Finding Nemo KIDS - Broadway Junior | Hal Leonard Menu LEARN MORE About Broadway Junior What Comes With the Showkit®? How to License a Broadway Junior Musical Order an Audio Sampler Frequently Asked Questions 60-Min.ute Musicals [JR.] 60-Minute Musicals 13 Jr. Aladdin Jr. (Disney) Annie Jr. Beauty and the Beast Jr. (Disney) The Big One-Oh! Jr. Bugsy Malone Jr. Chitty Chitty Bang Bang Jr. Dear Edwina Jr. Doctor Dolittle Jr. Dot & The Kangaroo Jr. The Drowsy Chaperone Jr. Elf The Musical Jr. Fame Jr. Fiddler on the Roof Jr. Finding Nemo Jr. (Disney) Finian's Rainbow Jr. Flat Stanley Jr. Frozen Jr. (Disney) A Ghost Tale for Mr. Dickens Jr. (Magic Tree House) Godspell Jr. Guys and Dolls Jr. Hairspray Jr. High School Musical Jr. (Disney) Honk! Jr. Into the Woods Jr. James and the Giant Peach Jr. (Roald Dahl) Junie B. Jones Jr. Legally Blonde Jr. The Lion King Jr. (Disney) The Little Mermaid Jr. (Disney) Madagascar - A Musical Adventure Jr. Mary Poppins Jr. (Disney/Cameron Mackintosh) Matilda Jr. (Roald Dahl) Mean Girls Jr. Moana Jr. (Disney) The Music Man Jr. My Son Pinocchio Jr. (Disney) Newsies Jr. (Disney) Oliver! Jr. Once on This Island Jr. Peter Pan Jr. (Broadway) The Phantom Tollbooth Jr. The Pirates of Penzance Jr. Rudolph The Red-Nosed Reindeer Jr. Schoolhouse Rock Live! Jr. Seussical Jr. Shrek Jr. Singin' In The Rain Jr. Sister Act Jr. Thoroughly Modern Millie Jr. Willy Wonka Jr. (Roald Dahl) Xanadu Jr. 30-Min.ute Musicals [KIDS] 30-Minute Musicals 101 Dalmatians KIDS (Disney) Aladdin KIDS (Disney) Annie KIDS Aristocats KIDS (Disney) Dinosaurs Before Dark KIDS (Magic Tree House) Finding Nemo KIDS (Disney) Frozen KIDS (Disney) The Jungle Book KIDS (Disney) The Knight at Dawn KIDS (Magic Tree House) The Lion King KIDS (Disney) The Music Man KIDS Pirates Past Noon KIDS (Magic Tree House) Seussical KIDS Willy Wonka KIDS (Roald Dahl) Winnie the Pooh KIDS (Disney) A Year with Frog and Toad KIDS Product Information Musical Numbers Cast of Characters Credits Music and Lyrics by Kristen Anderson-Lopez, Robert Lopez Book Adapted by Lindsay Anderson Music and Orchestrations Adapted and Arranged by Myrna Conn Based on the 2003 Disney / Pixar film Finding Nemo written by Andrew Stanton, Bob Peterson, David Reynolds and directed by Andrew Stanton Overview / Synopsis Disney's Finding Nemo KIDS is a 30-minute musical adaptation of the beloved 2003 Pixar movie Finding Nemo, with new music by award-winning songwriting team Kristen Anderson-Lopez and Robert Lopez. Marlin, an anxious and over-protective clownfish, lives in the Great Barrier Reef with his kid Nemo, who longs to explore the world beyond their anemone home. But when Nemo is captured and taken to Sydney, Marlin faces his fears and sets off on an epic adventure across the ocean. With the help of lovable characters such as optimistic Dory, laid-back sea turtle Crush, and the supportive Tank Gang, Marlin and Nemo both overcome challenges on their journey to find each other and themselves. Featuring memorable songs such as "Just Keep Swimming," "Fish Are Friends Not Food," and "Go With the Flow," Finding Nemo KIDS brings a vibrant underwater world to life on stage in a story full of family, friendship, and adventure. Audio Sampler - HL00467224 $10.00 ShowKit - HL00467225 $495.00 This ShowKit includes: 30 Actor's Books Digital Showkit Choreography Videos (Digital) Downloadable Resources and Media Guide Vocal and Performance Tracks (Digital) Piano/Vocal Score Streaming License (US & Canada Only) 30-Minute KIDS Request Individual Components 00467221 - Piano/Vocal Score $40.00 00467220 - Director's Guide $100.00 00467222 - Libretto/Vocal Score $10.00 00467223 - Libretto/Vocal Score 10-pak $75.00 00467224 - Audio Sampler $10.00 One Dedicated Father Big Blue World Fish Are Friends Not Food We Swim Together Just Keep Swimming (Part 1) Just Keep Swimming (Part 2) Go With The Flow We Swim Together (Reprise) Just Keep Swimming Together Finale (Part 1) Finale (Part 2) Cast of Characters Cast Size: Large (21 or more performers) Cast Type: Children Nemo A curious young clownfish who brims with excitement to explore the wonders that lie beyond the Great Barrier Reef. Born with a "lucky fin" - or what humans would call a limb difference - Nemo quickly learns that the world possesses incredible dangers in addition to the promise of big adventures. By making new friends, finding strength within, and practicing teamwork, Nemo transforms into a capable and brave leader, able to self-advocate and take on challenges big and small. Gender: Any Vocal range top: Eb5 Vocal range bottom: A3 Marlin An anxious clownfish and Nemo's overprotective father who prefers the safety of his anemone to the frightening unknowns of the open ocean. As he travels across the sea in search of Nemo, Marlin develops the courage to face the unpredictable ocean and the wisdom to trust others - including his own kid. Gender: Male Vocal range top: Eb5 Vocal range bottom: A3 Dory An optimistic and bubbly blue tang, experiences frequent short-term memory loss and finds herself wandering through the ocean with no place to call home. Sparking friendships with whomever she meets, Dory immediately offers to help Marlin find his lost child, and the two set out on an adventurous journey through the ocean. Along the way, Dory's kindness and bright spirit ease Marlin's fears, and the unlikely duo finds comfort and family in each other. Look for a performer with great charisma and a stage presence that can light up a room. Gender: Female Vocal range top: Eb5 Vocal range bottom: A3 Nigel, Sprit, Tiller & Jib A knowledgeable pod of pelicans, are the show's helpful narrators. These informative birds are responsible for conveying important plot points and must be played by enthusiastic actors with excellent diction and volume. Gender: Any Sea Chorus Functions as the general ensemble, creating the environment of the play and becoming the characters that Marlin and Dory interact with on their journey to Sydney. They will also help with the transitions from the Ocean to the Aquarium Tank. Your Sea Chorus can be filled with any species of sea creatures you would like, but below are the featured roles that can emerge from this Ensemble: JELLYFISH YOUNG SEA TURTLES (1 & 2) SMALL FISH SEAHORSES (1 & 2) SEAGULLS FISH are a school of fish, including FISH 1 REEF KIDS REEF PARENTS SHELDON'S PARENT PEARL'S PARENT TAD'S PARENT Reef Kids PEARL, a friendly flapjack octopus who is quick to befriend Nemo SHELDON, an H2O-intolerant seahorse with an appetite for trouble who taunts Nemo to swim beyond the reef TAD, a self-admittedly obnoxious butterflyfish who joins Sheldon in encouraging Nemo to swim past the Drop-Off Professor Ray A stingray and Nemo's enthusiastic teacher, takes pride in sharing the curiosities and marvels of the world with the class and encourages every student to be a brave explorer. Gender: Any Scuba Mask Dancer A performer responsible for floating the diver's mask through the water whenever it appears onstage. You can make this role's choreography as complex or as simple as you like depending on your selected actor's dance level and experience. Gender: Any Bruce An intimidating great white shark, is the sharks' ringleader. Despite Bruce's best efforts to adopt a vegetarian diet, Bruce loses control and is sent into a frenzy, threatening to devour every fish in sight. Gender: Any Chum and Anchor Two of Bruce's shark friends, try to live vegetarian lifestyles but are eventually forced to restrain an out-of- control Bruce from eating innocent fish. Gender: Any Bubbles A yellow tang who is captivated by bubbles, is one of the first to welcome Nemo to the tank. This friendly fish exclusively uses the word "bubbles" to communicate. Gender: Any Bloat An open-minded and supportive blowfish, is proud to be part of the Tank Gang family and helps keep everyone's spirits up, even when things seem bleak. Gender: Any Gurgle Frightened of strangers and the germs they carry with them, is a royal gramma who enjoys the safety and regulated cleanliness of the tank. Gender: Any Peach A mature and down-to-earth starfish, offers guidance and reassurance to all those who need it. Gender: Any Gill A relentless and inspiring leader who will stop at nothing to return to the freedom of the ocean. This Moorish idol fish believes in the Tank Gang and concocts countless plans to bust them out of the aquarium. Gill is the first fish Nemo has ever met with a similar "fin difference," quickly becoming a mentor and inspiration for the young clownfish. Gender: Any Sea Turtles & Sea Turtle Kids Righteously mellow creatures featured in "Go With the Flow." CRUSH, a 150-year-old sea turtle who knows how to hang loose, teaches Marlin a thing or two about being a good parent. Look for a strong singer who can confidently belt "Go With the Flow" to make it a truly radical jam. SQUIRT, offspring of Crush, fearlessly twirls through turbulent waters of the ocean and enjoys trying out cool new moves in the high- speed EAC. KAI and BREEZE each have individual singing solos in "Go With the Flow."

Roald Dahl's Willy Wonka Kids - Broadway Junior | Hal Leonard Menu LEARN MORE About Broadway Junior What Comes With the Showkit®? How to License a Broadway Junior Musical Order an Audio Sampler Frequently Asked Questions 60-Min.ute Musicals [JR.] 60-Minute Musicals 13 Jr. Aladdin Jr. (Disney) Annie Jr. Beauty and the Beast Jr. (Disney) The Big One-Oh! Jr. Bugsy Malone Jr. Chitty Chitty Bang Bang Jr. Dear Edwina Jr. Doctor Dolittle Jr. Dot & The Kangaroo Jr. The Drowsy Chaperone Jr. Elf The Musical Jr. Fame Jr. Fiddler on the Roof Jr. Finding Nemo Jr. (Disney) Finian's Rainbow Jr. Flat Stanley Jr. Frozen Jr. (Disney) A Ghost Tale for Mr. Dickens Jr. (Magic Tree House) Godspell Jr. Guys and Dolls Jr. Hairspray Jr. High School Musical Jr. (Disney) Honk! Jr. Into the Woods Jr. James and the Giant Peach Jr. (Roald Dahl) Junie B. Jones Jr. Legally Blonde Jr. The Lion King Jr. (Disney) The Little Mermaid Jr. (Disney) Madagascar - A Musical Adventure Jr. Mary Poppins Jr. (Disney/Cameron Mackintosh) Matilda Jr. (Roald Dahl) Mean Girls Jr. Moana Jr. (Disney) The Music Man Jr. My Son Pinocchio Jr. (Disney) Newsies Jr. (Disney) Oliver! Jr. Once on This Island Jr. Peter Pan Jr. (Broadway) The Phantom Tollbooth Jr. The Pirates of Penzance Jr. Rudolph The Red-Nosed Reindeer Jr. Schoolhouse Rock Live! Jr. Seussical Jr. Shrek Jr. Singin' In The Rain Jr. Sister Act Jr. Thoroughly Modern Millie Jr. Willy Wonka Jr. (Roald Dahl) Xanadu Jr. 30-Min.ute Musicals [KIDS] 30-Minute Musicals 101 Dalmatians KIDS (Disney) Aladdin KIDS (Disney) Annie KIDS Aristocats KIDS (Disney) Dinosaurs Before Dark KIDS (Magic Tree House) Finding Nemo KIDS (Disney) Frozen KIDS (Disney) The Jungle Book KIDS (Disney) The Knight at Dawn KIDS (Magic Tree House) The Lion King KIDS (Disney) The Music Man KIDS Pirates Past Noon KIDS (Magic Tree House) Seussical KIDS Willy Wonka KIDS (Roald Dahl) Winnie the Pooh KIDS (Disney) A Year with Frog and Toad KIDS Product Information Musical Numbers Cast of Characters Credits Words and Music by Leslie Bricusse and Anthony Newley Adapted for the Stage by Leslie Bricusse and Timothy A. McDonald Based on the book: "Charlie and the Chocolate Factory" By Roald Dahl Overview / Synopsis The delicious adventures experienced by Charlie Bucket on his visit to Willy Wonka's mysterious chocolate factory light up the stage in this captivating adaptation of Roald Dahl's fantastical tale. Featuring the enchanting songs from the 1971 film starring Gene Wilder, in addition to a host of fun new songs, Roald Dahl's Willy Wonka KIDS is a scrumdidilyumptious musical guaranteed to delight everyone's sweet tooth. Roald Dahl's Willy Wonka KIDS follows enigmatic candy manufacturer Willy Wonka as he stages a contest by hiding golden tickets in five of his scrumptious candy bars. Whomever comes up with these tickets will win a free tour of the Wonka factory, as well as a lifetime supply of candy. Four of the five winning children are insufferable brats, but the fifth is a likeable young lad named Charlie Bucket, who takes the tour in the company of his equally amiable grandfather. The children must learn to follow Mr. Wonka's rules in the factory - or suffer the consequences. Roald Dahl's Willy Wonka KIDS has a flexible cast size with many featured and ensemble roles, including the singing and dancing Oompa-Loompas. Audio Sampler - HL01149056 $10.00 ShowKit - HL01149057 $545.00 This ShowKit includes: 30 Student Scripts Piano/Vocal Score Director's Script Rehearsal/Accompaniment CD Choreography DVD 30 Family Matters Booklets 30-Minute KIDS Request Individual Components 01149053 - Piano/Vocal Score $40.00 01149052 - Director's Guide $100.00 01149054 - Libretto/Vocal Score $10.00 01149055 - Libretto/Vocal Score 10-Pak $75.00 01146056 - Audio Sampler $10.00 Hear A Sample The Candy Man Golden Age of Chocolate At the Gates (Pure Imagination) Factory Reveal Sequence Oompa-Loompa 2 Oompa-Loompa 3 Burping Song Oompa-Loompa 4 (I've Got a) Golden Ticket Oompa-Loompa 1 I Want It Now! Bows Cast of Characters Cast Size: Medium (11 to 20 performers) Cast Type: Children Dance Requirements: Standard Grandma Josephina Charlie's three grandparents are mainly non-singing character roles. Cast performers that are innately interesting, who have good comic timing and are solid actors. These actors can double as Oompa-Loompas in the second half of the show. Gender: Female Grandma Georgina Charlie's three grandparents are mainly non-singing character roles. Cast performers that are innately interesting, who have good comic timing and are solid actors. These actors can double as Oompa-Loompas in the second half of the show. Gender: Female Grandpa George Charlie's three grandparents are mainly non-singing character roles. Cast performers that are innately interesting, who have good comic timing and are solid actors. These actors can double as Oompa-Loompas in the second half of the show. Gender: Male The Candy Man Kids Sophie, Danny, Alfie, Billie and additional kids as needed are The Candy Man Kids. These kids sing "The Candy Man" and their numbers may be expanded as you see fit and your program will allow. The names of the characters have been drawn from other Roald Dahl books. Feel free to assign additional names to match the number of performers you cast. All students like to go home and exclaim "I'm playing Alfie" versus "I'm just Kid 2 in 'The Candy Man.'") You may also cast a single class (say the sixth grade chorus) to perform these roles, as they appear only in this number unless you choose to double them as Cooks and Oompa-Loompas. Gender: Any Oompa-Loompa Chorus The Oompa-Loompa Chorus can be as small as a handful of performers or as large as your stage and theater can accommodate. Consider casting your youngest performers as Oompa-Loompas and augment them with a handful of older students who can take the lead and serve as Oompa-Loompa wranglers. Gender: Any Willy Wonka / Candy Man Willy Wonka is an enigmatic character; at once mysterious and mischievous but also charismatic. There are a number of directions to take with Wonka, ranging from Gene Wilder's version in the original film, Willy Wonka and The Chocolate Factory, to Johnny Depp's portrayal in the recent film, Charlie and the Chocolate Factory, and everything in between. Pick a young man (or a young woman) who is charismatic, engaging and has a great voice (in the case of a young man, preferably a changed voice). The actor should be able to be funny and serious and change between the two on a dime. It is preferred that Wonka double as the Candy Man, as it helps reinforce that Wonka has staged the Golden Ticket competition and is somewhat controlling this contest along the way. Gender: Male Vocal range top: E5 Vocal range bottom: G3 Phineous Trout Phineous is the reporter who announces the winners of the Golden Ticket contest throughout the show. The role requires some singing, and can be played by either a boy or a girl. If played by a girl, be sure to change the pronouns appropriately. Gender: Any Mrs. Gloop Mrs. Gloop is Augustus' mother who has overindulged her son with food. The role requires a character actress who isn't afraid to take positive risks both in her acting and her singing. Gender: Female Violet Beauregarde Gum chewer extraordinaire, Violet hails from Snellville, Georgia, so it's nice if she has a Southern American accent, but not necessary. Violet should stand in stark contrast to Veruca Salt. Veruca is a wealthy refined brat; Violet is more of a blue-collar, middle-class brat. Gender: Female Vocal range top: Db5 Vocal range bottom: C4 Matilda Matilda is also a schoolmate of Charlie's, but she's a bit of bully. Matilda has a few lines and sings the introduction of "The Candy Man" along with James and Charlie. Gender: Female Vocal range top: B4 Vocal range bottom: C#4 Candy Man The Candy Man goes from neighborhood to neighborhood selling candy, much like an ice cream truck. He should be pleasant, charismatic, and friendly. It's possible for a girl to play this role, but she should play the role as male, otherwise, the title of the song may not make sense. Gender: Male Vocal range top: E5 Vocal range bottom: G3 Mr. Bucket These are great roles for young people who have nice voices, and are natural nurturers. Mr. and Mrs. Bucket can double as Oompa-Loompas in the second half of the show. Gender: Male Mike Teavee For this adaptation Mike is not just a TV junky. He is also addicted to video games, the Internet and any other mindnumbing technological device. Mike is bratty, loud and obnoxious. He does not know the word "no." Mike could also be portrayed by a girl playing a boy, but generally works best with a male actor. Gender: Male Vocal range top: Db5 Vocal range bottom: Db4 Squirrels The squirrels are non-speaking, non-singing roles and you can cast as many as necessary. This is a great part for beginning actors. Gender: Any Charlie Bucket The role of Charlie Bucket is the emotional heart and soul of the musical. The actor performing Charlie should have an unchanged voice and lots of pluck and enthusiasm. Think a male "Annie." Charlie is in nearly every scene, so make sure you select an actor who can handle the demands of a sizable role. Gender: Male Vocal range top: D5 Vocal range bottom: A3 Mrs. Bucket These are great roles for young people who have nice voices, and are natural nurturers. Mr. and Mrs. Bucket can double as Oompa-Loompas in the second half of the show. Gender: Female Augustus Gloop Augustus is the overachieving eater who represents the evils of eating too much. Be extremely sensitive in casting this role as it is tempting to cast an overweight young person and that can be scarring-especially if the child struggles with this issue. Consider casting a thin child and creating the illusion of size via the costume. Either a boy or a girl acting like a boy can play Augustus. Gender: Male Vocal range top: Db5 Vocal range bottom: Eb4 Ms. Teavee Ms. Teavee is a take on all television moms of the distant past. Think June Cleaver (Leave it to Beaver) or Marion Cunningham (Happy Days) or Carol Brady (The Brady Bunch). She's perfectly put together and a bit vacant. Gender: Female Veruca Salt Veruca is the wealthy, class-conscious, spoiled brat. She is often portrayed with a high British accent that is by no means required (brats come in all nationalities). Veruca's solo number "I Want It Now" is deceptively tricky and comes late in the show, so select a young woman with a strong voice. Veruca should contrast sharply with Violet Beauregarde in terms of look and physical type. Gender: Female Vocal range top: D5 Vocal range bottom: A3 James James is Charlie's friend from school. He has a few lines and sings the introduction of "The Candy Man" along with Matilda and Charlie. Gender: Male Vocal range top: A4 Vocal range bottom: A3 Mrs. Beauregarde Mrs. Beauregard is a teacher of geography and has invested a great deal of hard-earned money on therapy for her orally fixated daughter, with less than stellar results. The role is virtually non-singing. Her accent should match Violet's. Gender: Female Grandpa Joe Grandpa Joe is the grandfather we all wish we had when we were Charlie's age. He is caring, patient, sweet and always reminds Charlie to remain cheerful. Cast an actor who can be kind and funny. Gender: Male Vocal range top: D5 Vocal range bottom: C4 Chorus Of Cooks Please note this is an optional chorus. The Cooks appear during "I Eat More!" presenting Augustus with a smorgasbord of food choices. (Check out the Director's Guide note in the song for more information.) Double the Candy Man Kids Chorus and Oompa-Loompa Chorus or cast a single class of kids to perform this section. (For example, Mrs. Ripley's third grade class.) Gender: Any Mr. Salt Mr. Salt's solution to most problems is to buy his way out. He is upper class, and usually portrayed with a high British accent. (But this accent is not necessary-just make sure Veruca and Mr. Salt sound like they hail from the same place.) He sings very little. A female actress playing male may also play the role. Gender: Male

Disney's Winnie the Pooh KIDS - Broadway Junior | Hal Leonard Menu LEARN MORE About Broadway Junior What Comes With the Showkit®? How to License a Broadway Junior Musical Order an Audio Sampler Frequently Asked Questions 60-Min.ute Musicals [JR.] 60-Minute Musicals 13 Jr. Aladdin Jr. (Disney) Annie Jr. Beauty and the Beast Jr. (Disney) The Big One-Oh! Jr. Bugsy Malone Jr. Chitty Chitty Bang Bang Jr. Dear Edwina Jr. Doctor Dolittle Jr. Dot & The Kangaroo Jr. The Drowsy Chaperone Jr. Elf The Musical Jr. Fame Jr. Fiddler on the Roof Jr. Finding Nemo Jr. (Disney) Finian's Rainbow Jr. Flat Stanley Jr. Frozen Jr. (Disney) A Ghost Tale for Mr. Dickens Jr. (Magic Tree House) Godspell Jr. Guys and Dolls Jr. Hairspray Jr. High School Musical Jr. (Disney) Honk! Jr. Into the Woods Jr. James and the Giant Peach Jr. (Roald Dahl) Junie B. Jones Jr. Legally Blonde Jr. The Lion King Jr. (Disney) The Little Mermaid Jr. (Disney) Madagascar - A Musical Adventure Jr. Mary Poppins Jr. (Disney/Cameron Mackintosh) Matilda Jr. (Roald Dahl) Mean Girls Jr. Moana Jr. (Disney) The Music Man Jr. My Son Pinocchio Jr. (Disney) Newsies Jr. (Disney) Oliver! Jr. Once on This Island Jr. Peter Pan Jr. (Broadway) The Phantom Tollbooth Jr. The Pirates of Penzance Jr. Rudolph The Red-Nosed Reindeer Jr. Schoolhouse Rock Live! Jr. Seussical Jr. Shrek Jr. Singin' In The Rain Jr. Sister Act Jr. Thoroughly Modern Millie Jr. Willy Wonka Jr. (Roald Dahl) Xanadu Jr. 30-Min.ute Musicals [KIDS] 30-Minute Musicals 101 Dalmatians KIDS (Disney) Aladdin KIDS (Disney) Annie KIDS Aristocats KIDS (Disney) Dinosaurs Before Dark KIDS (Magic Tree House) Finding Nemo KIDS (Disney) Frozen KIDS (Disney) The Jungle Book KIDS (Disney) The Knight at Dawn KIDS (Magic Tree House) The Lion King KIDS (Disney) The Music Man KIDS Pirates Past Noon KIDS (Magic Tree House) Seussical KIDS Willy Wonka KIDS (Roald Dahl) Winnie the Pooh KIDS (Disney) A Year with Frog and Toad KIDS Product Information Musical Numbers Cast of Characters Credits Music and Lyrics by Robert B. Sherman, Richard M. Sherman, Robert Lopez and Kristen Anderson-Lopez Music Adapted & Arranged and Additional Music & Lyrics by Will Van Dyke Book and Additional Lyrics by Cheryl Davis Based on the stories of A.A. Milne and the 2011 Disney Animated feature film Overview / Synopsis Disney's Winnie the Pooh KIDS is a delightful show based on the beloved characters of A.A. Milne and the 2011 Disney animated feature film. Featuring favorite songs from the film, as well as new hits by the Academy Award-winning Robert and Kristen Lopez (Frozen), this honey-filled delight is as sweet as it is fun. Welcome to the Hundred Acre Wood, where Winnie the Pooh is once again in search of honey. Along the way, he meets his pals, Tigger, Piglet, Rabbit and Owl, but soon discovers that Christopher Robin has been captured by the mysterious Backson! As they prepare for a rescue operation, the animals learn about teamwork, friendship and, of course... sharing snacks. Filled with all of their favorite characters, Disney's Winnie the Pooh KIDS is a favorite for children to perform. There is ample opportunity for adding a large ensemble and filling your stage with as many creatures of the Hundred Acre Wood as possible. Audio Sampler - HL00609284 $10.00 ShowKit - HL00609223 $545.00 This ShowKit includes: 30 Libretto/Vocal Books Piano/Vocal Score Director's Guide Choreography Videos Guide Vocal Tracks Performance Accompaniment Tracks Logo Pack (Coming Soon!) 30-Minute KIDS Request Individual Components 00609219 - Piano/Vocal Score $40.00 00609218 - Director's Guide $100.00 00609220 - Libretto/Vocal Score $10.00 00609221 - Libretto/Vocal Score 10-Pak $75.00 00609284 - Audio Sampler $10.00 Hear A Sample Winnie the Pooh Winnie the Pooh (Playoff) The Wonderful Thing About Tiggers (Part 1) The Tummy Song The Wonderful Thing About Tiggers (Part 2) The Wonderful Thing About Tiggers (Part 1) Pooh and Piglet Honey! The Backson Song Honey Two! Piglet's Picnic Rabbit's Fall Tigger Bounces In Roo's Bounce Down Kanga's Tumble The Backson Song (Reprise) All in the Trap How to Capture a Backson Halfway Down Out of the Trap Honey Three! Hip Hip Pooh Ray / Winnie the Pooh (Finale) Exit Music Exit Music All in the Trap Cast of Characters Cast Size: Large (21 or more performers) Cast Type: Children Winnie The Pooh Winnie the Pooh is a bear with very little brain. His good heart and love of honey will capture your audience's hearts as he helps his friends find Christopher Robin. Cast a performer who is a strong singer, as Pooh has several solo lines. Gender: Male Vocal range top: D5 Vocal range bottom: B3 Piglet Piglet is a shy and quiet pig. They are often afraid of their own shadow but are also incredibly smart and noble and a great problem solver. Cast a performer who can portray the timid side of Piglet while projecting their voice and personality to the audience. Piglet's solo lines are perfect for a singer with a sweet voice. Gender: Any Vocal range top: B4 Vocal range bottom: C4 Tigger Tigger is a tiger and a bundle of energy. He is fiercely loyal, never stops bouncing and is always up for an adventure. Cast a student who can bring a big personality and a lot of excitement to the role. While a good singer will have a fun time with Tigger's song, it is most important that the personality of this character comes through. Gender: Male Vocal range top: C5 Vocal range bottom: D4 Eeyore Eeyore is a gloomy but loyal donkey. He can never seem to shake his bad luck and is constantly losing his tail. Despite his gloomy attitude, he always wants the best for his friends. While Eeyore has one solo singing line, this is primarily an acting role that requires a disciplined actor with good diction. Eeyore's lines are a treat for the audience, and can lead to a case of the giggles. Gender: Male Vocal range top: Bb4 Vocal range bottom: C4 Rabbit Rabbit is a worrisome rabbit who means the best for his friends but is not always sure how to help. The actor playing this role should be able to find variety in the ways to portray Rabbit's nervousness. Rabbit primarily sings as part of the ensemble with only one solo singing line, so cast a strong actor in this role. Gender: Male Vocal range top: Bb4 Vocal range bottom: A4 Owl Owl is a well-educated, slightly pompous owl. He is quick to explain or lecture, even when he isn't sure of the right answer. Still, the other animals look up to Owl and come to him when Christopher Robin has gone missing. Owl's solos in "The Backson Song" are some of the most challenging in the show but can be spoken if necessary. Cast an actor with a good sense of rhythm and pitch in this role. Gender: Male Vocal range top: C5 Vocal range bottom: B3 Kanga Kanga is a gentle kangaroo and mother to Roo. She is good-natured and always ready to take care of the other animals. This role has one solo singing line and is perfect for a performer with a lot of heart. Consider casting a performer who is taller than the actor playing Roo. Gender: Female Vocal range top: Bb4 Vocal range bottom: A4 Roo Roo is a kangaroo and the youngest animal in the wood. They are boisterous and playful and always look up to their friend Tigger. This is a great role for a student new to theater. You may want to audition Kanga and Roo at the same time, since they will always be together onstage. Gender: Any Vocal range top: A4 Vocal range bottom: E4 Seven Narrators The Seven Narrators - Red, Orange, Yellow, Green, Blue, Indigo, Violet - introduce us to the Hundred Acre Wood and help tell our story. These non-singing roles are perfect for your strong actors who can speak clearly and make good eye contact with the audience. Gender: Any Animal Chorus The Animal Chorus is the ensemble of animals in the Hundred Acre Wood, including Squirrels, Frogs, Beetles, Gophers, Chipmunks, Birds, Raccoons and any other animals you want to add! For added fun and ownership, you can let the students of the Animal Chorus decide which animals they want to be. This ensemble sings in almost every song and is critical to the storytelling. Gender: Any Word Chorus The Word Chorus sings "Halfway Down" and helps all of the animals out of the Backson pit. This group is great for your strong choral singers. If you do not have enough performers to support this number, the Narrators and the Animal Chorus can double as the Word Chorus. Gender: Any Vocal range top: C5 Vocal range bottom: A3 Christopher Robin Christopher Robin is a kind boy who plays with his animal friends in the Hundred Acre Wood and leads by example. While his disappearance creates the scare of the Backson, his return sets everything right again. This non-singing role is a wonderful opportunity for an actor who can deliver spoken lines loudly and clearly. Gender: Male Pooh's Tummy Pooh's Tummy is the endearing - but very hungry - part of Pooh! This role can be one or more performers who are onstage, offstage or any way that fits your production. The Tummy does not have any spoken lines and may be a great role for performers new to theater. While not necessary, you may want to find performers who are shorter than your actor playing Pooh. Gender: Any Vocal range top: C5 Vocal range bottom: A3 Bees The Bees are a flashy, energetic group who ultimately help Pooh get his honey. They pop in and out through the story and can be a ton of fun for the performers. The more bees you have, the more volume you'll get in the Honey songs, so cast as many as you can handle! Gender: Any Vocal range top: C5 Vocal range bottom: Eb4

Hal Leonard Vocal Competition - 2021 Winners | Hal Leonard THE 2021 HAL LEONARD VOCAL COMPETITION WINNERS Complete List ART SONG WINNERS Children's Voices Ages 12 and under (as of February 1, 2021) First Place Liliy Yezdanian (age 12) Clifton, New Jersey Lacordiare Academy Pianists: Liliana Sotrova, Glenn Gordon Voice Teachers: Amelia DeMayo, Lilana Sotirova Second Place (tie) Heidi Hager (age 10) Herndon, Virginia Navy Elementary School Recorded Accompaniment Voice Teacher: Ingrid Lestrud Maya Louise Joshi (age 11) Cresskill, New Jersey Cresskill Middle School Pianist: Liliana Sortirova Voice Teachers: Amelia DeMayo, Glenn Gordon, Liliana Sotirov Third Place (tie) Katherine Berdovskiy (age 11) Davis, California Sutter Peak Charter Academy Recorded Accompaniment Voice Teacher: Irina Leykina Diya Koul (age 11)) Lexington, Massachusetts Maria Hastings Elementary School Recorded Accompaniment Voice Teacher: Elizabeth Sterling) Honorable Mentions Kayla Cochamiro (age 11) Short Hills, New Jersey Joseph Kushner Hebrew Academy Recorded Accompaniment Voice Teacher: Rebecca Thompson-Galecki Baylee Horvath (age 12) Gilbert, Arizona Christ Greenfield School Recorded Accompaniment Voice Teacher: Nichole Jensen Juliet Lee (age 10) Vienna, Virginia Harmonia School of Music and Art Recorded Accompaniment Voice Teacher: Sonia Yon Madison Miller (age 12) Ooltewah, Tennessee Homeschooled Recorded Accompaniment Voice Teacher: Nichole Jensen Luke Reimer (age 12) Coralville, Iowa Recorded Accompaniment Voice Teacher: Mia Fryvecind Chelsea Sun (age 11) University Park, Texas McCulloch Intermediate School Recorded Accompaniment Voice Teacher: Yixuan Han Gloria Wang (age 11) Johns Creek, Georgia Wilson Creek Elementary School Pianist: Jungkyu Han Voice Teacher: Qian Li Finalists Rayna Batreja (NJ) Juliet Besch-Turner (NY) Isha Bhandari (NJ) Claire Butler (TX) Davna Ceron (NJ) Alera Cetrulo (CA) Maya Cheng (IA) Chloe Ding (CA) Scarlett Diviney (NY) Charlotte Dugan (NH) Jacqueline Foley (AZ) Agustya Harsh (NJ) Daphne Hatzigiannis (MA) Lucia Hendricks (WI) Ashley Hua (GA) Anjali Kandur (GA) David Kupchenko (IL) Audrey Lee (NJ) Josephine Martin (NY) Donna Megules (NJ) Maggie Miao (NY) Brooke Naznitsky (NJ) Shreya Philips (TX) Katherine Pottkotter (TX) Rebekah Rogstad (CA) Kendall Sorenson (NY) Ainsley Sorenson (NY) Savannah Swiatkowski (AZ) Carmen Tarajano (NC) Madeline Thach (TX) Matthew Vallero (CA) Brynn Walker (CA) Ainsley Zauel (VA) C’nai Zecharya (PA) Semi-Finalists Anika Agrawal (VA) Lyla Eve Bauer (TX) Lilia Bernstein (CA) Cadence Bleakley (CA) Theodore Burke (CA) Bekah Calaway-Habeck (IL) Kaitlin Cho (CA) Montanna Coil (AZ) Lilliana DeBoer (NJ) Rudrani Ghoshal (NC) Ellivia Gold (NY) Jianna Gutt (NY) Tilly Haselhuhn (CA) Trinity Hu (MA) Rei Huston (NH) Joyce Huynh (CA) Marcy Elizabeth Ip (GA) Catherine Ji (GA) Sid Kamat (NJ) Julia Kartvelishvili (IA) Chloe Kim (NJ) Mady King (AZ) Charlie Kratz (PA) Jiaxuan Li (GA) Elina Ma (GA) Olivia Ma (GA) Sally Marlin (IN) Brittany McGraw (NJ) Lily Mei (NJ) Lily Morgan (VA) Anh-Thu Nguyen (CA) Kaia Olberg (IL) Saisha Pal (VA) Katherine Purdy (NY) Ryan Rahman (CA) Lillian Rogers (TX) Aanya Santosh (IL) Akiv Shah (NJ) Anna Smith (TX) Sophia Toncich-Mandel (NJ) Kate Walker (CA) Reed Walker (CA) Grace Wang (GA) Owen Wang (ON) Ava Whytsell (SC) Claire Xiao (NH) Audrey Zelkovic (NY) Lindsey Zhao (TX) Early Teen Voices Ages 13-15 (as of February 1, 2021) First Place Kennedy Percival (age 15) Upland, California Homeschooled Pianist: Desireé Bryner Voice Teacher: Camille Waage Second Place Lia Zheng (age 15) San Diego, California Canyon Crest Academy Recorded Accompaniment Voice Teacher: Zeping Cai Third Place (tie) Evelyn Hsu (age 14) San Jose, California Lynbrook High School Pianist: Dmitriy Cogan Voice Teacher: Haruna Shiokawa Andrea Nalywajko (age 15) New York, New York Stuyvesant High School Pianist: Mun Tzung Wong Voice Teacher: Catherine Mazzone Honorable Mentions Jude Frazier (age 13) Orlando, Florida Osceola County School for the Arts Recorded Accompaniment Voice Teacher: Jeanai LaVita Christine Kelly (age 15) Geneva, Illinois Geneva High School Pianist: Clare Chenoweth Voice Teacher: JoEllyn Caulfield Aurna Mukherjee (age 14) Austin, Texas Liberal Arts and Science Academy Pianist: Sunkyong Park Voice Teacher: Stella Yoon Avery Nokes (age 13) Arlington, Virginia Sidwell Friends School Recorded Accompaniment Voice Teacher: Tricia Grey Lukas Palys (age 13) Dallas, Texas St. Mark’s School of Texas Pianist: Rami Palys Voice Teacher: Nili Riemer Evan Shidler (age 15) Short Hills, New Jersey Millburn High School Recorded Accompaniment Voice Teacher: Ronald Cappon Finalists Emelia Aceto (OH) Elisabeth Baer (GA) Zoey Blackman (NJ) Gabrielle Brayman (NJ) Elizabeth Cho (MD) Alicia Chu (DE) Grace Chung (NJ) Henry Cornell (NY) Eva Crichton (NY) Janie du Pont (DE) Ciela Elliott (NY) Wesley Geary (AZ) Anushri Ghoshal (NC) Shayla He (CA) Michaela Hieb (CO) Amelie Kaufman (NY) Estella Sky Keyoung (CA) Meghan Linnington (OK) Bridget Lomax (NJ) Gianna Macedon (VA) Brianna Nita (ON) Adithi Nythruva (AZ) Maxine Park (CA) Hasitha Putcha (TX) Aashna Rana (CA) Rachel Rogstad (CA) Viveka Saravanan (CA) Jocie Schnee (VA) Erin Schumacher (AZ) Elena Skirgaudas (WA) Gina Vicari (VA) Ashley Wang (CA) Roger Wang (CA) Andreas Warren (IA) Sophia Welch (VA) Samantha Wu (CA) Eddie Yin (WA) Sabrina Zhu (CA) Semi-Finalists Mithra Ajoy (CA) Alexandra Bae (NJ) Ty Brennan (WI) Max Budowski (CA) Mary Campbell (CA) Silvan Friedman (CT) Ashmita Ghosh (NC) Sophia Holmgren (MA) SangHoon Jung (NJ) Erin Kazmierczak (NY) Alex Kim (NC) Morgan Lomax (NJ) Stephanie Lopez (NY) Salina Mu (TX) Violet Pasmooij (CA) Renna Popli (CA) Raghav Ramgopal (CA) Kirby Rosplock (FL) Csepke Sallai (VA) Michelle Skylar (FL) Skye Stauffer (TX) Sarah Traphagan (TX) Sindhu Vemulapalli (CA)) Julia Wall (MA)) Xinpei Wang (TX)) Margaret Zhang (NY) High School Voices Ages 16-18 (as of February 1, 2021) First Place Joseph Murphy (age 17) Brooklyn, New York) Edward R. Murrow High School Pianist: Dmitry Glivinskiy Voice Teacher: Christine Moore Vassallo Second Place (tie) Bradley Boatright (age 18) Smithville, Texas Smithville High School Recorded Accompaniment Voice Teacher: Michelle Haché Katherine Ramirez (age 17) San Antonio, Texas New Trail Homeschool Academy Pianist: Daniel Zamora Voice Teacher: Crystal Jarrell Johnson Third Place (tie) Eloise Fox (age 16) Landenberg, Pennsylvania Avon Grove High School Pianists: Katelan Tran Terrell, Mathew Odell Voice Teachers: Lorraine Nubar, Cynthia Sanner Saman de Silva (age 16) Los Altos Hills, California Henry M. Gunn High School Recorded Accompaniment Voice Teacher: Jace Witti Honorable Mentions Avni Kamat (age 16) Lexington, Massachusetts Lexington High School Recorded Accompaniment Voice Teacher: Noune Karapetian Alison Kessler (age 17) New Rochelle, New York The Leffell School Pianist: ? Voice Teacher: Lorraine Nubar Ava Kuntz (age 17) Santa Ana, California Orange County School of the Arts Pianist: John Henri Voice Teacher: Kathleen Martin Lizi Kvernadze (age 17) Brooklyn, New York Edward R. Murrow High School Pianist: Dmitry Glivinskiy Voice Teacher: Christine Moore Vassallo Audrey Michael (age 17) Traverse City, Michigan Traverse City West Senior High Pianist: Jamie Hardesty Voice Teacher: Jayne Sleder Ella Rescigno (age 18) Columbia, South Carolina Spring Valley High School Pianist: Luke Fang Voice Teacher: Rachel Calloway Aida Skaraite (age 17) Lemont, Illinois Lemont High School Pianist: Lisa Kristina Voice Teacher: Rachel Olson Finalists Mia Baron (CA) Ellie Brenner (WI) Mina Brooks-Schmidt (AK) Alexandra Cook (CA) Matthew Danforth (NJ) Miriam Friedman (IL) Ethan Hardyk (PA) Erin Hess (NY) Samuel Higgins (MA) Emilia Jurzyk (IL) Paige Klemenhagen (MN) Mary Julia Lashley (OH) Natalie Mastali (FL) Emily Mulva (TX) Alyrie Silverman (NJ) Thalia Suleymanov (NY) Kirsten Tierney (VA) Cherie Uyanik (CA) JoEllen West (TX) William Yang (TX) Peggy Yin (NY) Flora Yuan (CA) Anna Zavelson (TX) Semi-Finalists Arya Balian (MD) Benjamin Barham-Wiese (NY) Anushku Basu (CA) Ellina Bolster (MI) Chelsea Cannon (AZ) Karly Cahn (NY) Olivia Dubay (NC) Andie Earl (NJ) Grace Finke (CA) Katrina Franco (CA) Sydney Horan (FL) Henry Hsiao (NJ) Lexi Lanni (RH) Beau Leavenworth (IA) Wyatt McDaniel (NY) Murphy McDermott (NY) Keely McNab (TX) Kylie Merrill (AZ) Tiffani Mezitis (NY) Cassie Miller (AZ) Kyubin Moon (IL) Shikta Mukherjee (NJ) Ashwini Narayanan (IL) Abby Olson (CA) Bria Petrella (NJ) Reatan Plank (AZ) Aanya Pramanik (TX) Melody Prater (KS) Tanisha Pulla (CA) Sanjna Rajagopalan (NJ) Akash Raman (MI) Olivia Roberts (OR) Soren Ryssdal (CA) Emma Stamper (FL) Abigail Sundahl (MO) Mayu Tayama (CA) Gabriella Treutle (FL) Jessica Wastchak (AZ) Amelia Williams (FL) Amy Yan (TX) Damla Yesil (NY) College/Univeristy Voices Ages 18-23 (as of February 1, 2021) First Place Sophie Naubert (age 22) Conservatoire de musique de Montréal Pianist: Chloe Dumoulin Voice Teacher: Aline Kutan Second Place (tie) Adam Catangui (age 20) Eastman School of Music Recorded Accompaniment Voice Teacher: Nicole Cabell Dalia Medovnikov (age 19) Curtis Institute of Music Pianist: Emily Olin Voice Teacher: Emily Olin Third Place (tie) Colin Aikins (age 21) Curtis Institute of Music Pianist: Lisa Keller Voice Teacher: Julia Faulkne Kaya Giroux (age 20) Carnegie Mellon University Pianist: Rosie Irwin Voice Teacher: Maria Spacagna Honorable Mentions Morgan Mastrangelo (age 22) Northwestern University Recorded Accompaniment Voice Teacher: Pamela Hinchman Madison Miller (age 22) University of Michigan Recorded Accompaniment Voice Teacher: Scott Piper Madelin Morales (age 20) Eastman School of Music Pianist: Seoyeon Park Voice Teacher: Kathryn Cowdrick Rachel Schlesinger (age 18) Purchase Conservatory of Music Pianist: Djordje Nesic Voice Teacher: Sherry Overholt MUSICAL THEATRE WINNERS Children's Voices Ages 12 and under (as of February 1, 2021) First Place Katherine Berdovskiy (age 11) Davis, California Sutter Peak Charter Academy Recorded Accompaniment Voice Teacher: Irina Leykina Second Place (tie) Ayla Collins (age 12) Alexandria, Virginia Carl Sandburg Middle School Recorded Accompaniment Voice Teacher: Aimee Barnes Charlie Russell (age 11) Alexandria, Virginia Belle View Elementary School Recorded Accompaniment Voice Teacher: Aimee Barnes Third Place (tie) Agustya Harsh (age 12) Edgewater, New Jersey homeschooled Pianist: Glenn Gordon Voice Teachers: Amelia DeMayo, Liliana Sotirova, Glenn Gordon Caitlin Hayles (age 12) Brooklyn, New York Medgar Evers College Preparatory School Pianist: Shane Schag Voice Teacher: Jeanai La Vita Honorable Mentions Anna Burnham (age 11) Georgetown, Indiana Highland Hills Middle School Recorded Accompaniment Voice Teacher: Katherine Maras Haulter Ryan Coglianese (age 11) Western Springs, Illinois McClure Junior High Recorded Accompaniment Voice Teacher: Tracey Ford Amelie Cruz (age 12) Chicago, Illinois Urban Prairie Waldorf School Recorded Accompaniment Voice Teacher: Rachel Olson Elsa Dees (age 12) Greenwich, Connecticut The Brearley School Pianist: Shane Schag Voice Teacher: Jeanai La Vita Baylee Horvath (age 12) Gilbert, Arizona Christ Greenfield School Pianist: Jenn Crandell Voice Teacher: Nichole Jensen Ashley Hua (age 10) Marietta, Georgia Mount Bethel Elementary School Recorded Accompaniment Voice Teachers: Tina Cui, Madison Zahorsky Maya Louise Joshi (age 11) Cresskill, New Jersey Cresskill Middle School Pianist: Glenn Gordon Voice Teachers: Amelia DeMayo, Liliana Sotirova, Glenn Gordon Anna Smith (age 11) Austin, Texas Zach Performing Arts Academy Recorded Accompaniment Voice Teacher: Laura Mehl Addison Valentino (age 11) Buchanan, New York Blue Mountain Middle School Pianist: Glenn Gordon Voice Teacher: Amelia DeMayo Lily Yezdanian (age 12) Clifton, New Jersey Lacordaire Academy Pianist: Glenn Gordon Voice Teachers: Amelia DeMayo, Liliana Sotirova Finalists Chloe Aldrete (CA) Ava Barabasz (IL) Lilia Bernstein (CA) Adrish Bhattacharyys (CA) Alyse Biukians (PA) Lydia Bogdonovitch (MA) Gabriella Bozan (OH) Angelina Bubel (NY) Ryan Buggle (NJ) Theodore Burke (CA) Jack Burns (WA) Claire Butler (TX) Melanie Caplan (FL) Amelia Carlson (CA) Davna Ceron (NJ) Alera Cetrulo (CA) Karolina Coelho (FL) Elle Cohen (NC) Grace Coon (MS) Catherine Copland (NC) Adeline DeFeo (MA) Alaina Fernando (IL) Hadley Fugate (AZ) Anne Gao (VA) Liam Garrett (AZ) William Goldsman (NY) Delilah Grad (TX) Ashley Hansen (CA) Natalie Hartung (WI) Annabel Hightower (VA) Nicole Hodges (TX) Veronica James (NJ) Felice Kakaletris (NJ) Sid Kamat (NJ) Sudhisksha Kamatham (TX) Chris Khourty (MA) Diya Koul (MA) Audrey Lee (NJ) Bella Leybovich (AZ) Ruthie Manasseh (CA) Embry Marcum (IN) Carter Meza (CA) Grace Millar (OR) Madison Miller (TN) Yifan Monroe (WA) Ruchira Mukherjee (CA) Brooke Naznitsky (NJ) Mollie Pedersen (NH) Shreya Philips Komattu (TX) Elliot Roa (OR) Rebeka Rogstad (CA) Agneya Roy (NC) Gemma Schleper (NJ) Akiv Shah (NJ) Amelia Shunaman (ON) Molly Kate Skupien (LA) Olivia Bee Sposa (NJ) Charlotte Storm (TX) Ailey Tetrault (FL) Lydia Tracy (TX) Emilie Tseng (CA) Ella Valente (FL) Mariela Vazquez (FL) Ansley Wadle (TX) Brynn Walker (CA) Reed Walker (CA) Angela Xiao (WA) Ainsley Zauel (VA) Samantha Zell (AZ) Semi-Finalists Nethania Ajan (TX) Anna Athungal (NJ) Anne Frances Atkinson (MS) Jennifer Augusta (CA) Nevena Aurelius (FL) Ella Bailey (AZ) Eunice Bang (NJ) Gwendolyn Bartow (OR) Gabriela Bashir (VA) Alisha Batreja (NJ) Luna Baxter (WA) Cadence Bleakley (CA) Leticia Bromley (TX) Lexi Brown (TX) Olivia Bucci (IN) Catalina Chang (NY) Amber Chen (GA) Maya Cheng (IA) Vinya Chhabra (NJ) Annabelle Chung (VA) Sua Chung (VA) Phoebe Rose Claeys (GA) Montanna Coil (AZ) Kayla Colchamiro (NJ) Valerie Combs (CA) Zoe Cook (WA) Maliyah Cooper (IN) Lucy Cox (GA) Savannah Cox (AL) Aja Crockett (MA) Lucia Cunningham (CA) Amelie Curry (CT) Avery Davis (CT) Brenley Day (TX) Lilliana DeBoer (NJ) Aerina DeBoer (NJ) Peyton Deignan (PA) Katelyn Dempsey (IL) Chloe Ding (CA) Scarlett Diviney (NY) Olivia Dulik (IL) Vince Ermita (NJ) Maya Eswaran (VA) Jacqueline Foley (AZ) Kathleen Gahagen (IN) Yiqing Gao (TX) Rudrani Choshal (NC) Riley Glenn (MD) Ellivia Gold (NY) Heidi Hager (VA) Olivia Haller (AZ) Hazel Hay (VA) Ella Hebeisen (MD) Lucia Hendricks (WI) Avital Hermann (NJ) Cassandra Herrador (NY) Amelia Holly (IL) Rei Huston (NH) Anjali Kandur (GA) Sahana Karthik (TX) Adhya Karukurichi (MN) Katelyn Kieninger (IL) Mady King (AZ) Niyati Kotagal (GA) Frederick Kranenburg (OR) Faith Krieger (PA) Farrah Lane (AL) Juliet Lee (VA) Noa Levin (IL) Nola Linder (VT) Tatum Littlejohn (AZ) McKenzie Lopezlira (AZ) Ethan Ly (LA) Mark Ma (GA) Eve Manasseh (CA) Josephine Martin (NY) Brittany McGraw (NJ) Donna Megules (NJ) Maggie Miao (NY) Aubrey Morgan (TX) Lily Morgan (VA) Ena Mujakic (ON) Elina Nartates (WA) Braylen Nelson (TX) Elsa Newbower (MA) Danica Nolasco (AZ) Kaia Olberg (IL) Sophie Ostrovski (ON) Elise Pacheco (MA) Joshua Parecki (CA) Danielle Parsons (PA) Katherine Pottkotter (TX) Mackenzie Pressley (FL) Anna Przybylko (NJ) Katherine Purdy (NY) Nikila Rajan (TX) Charlotte Raynor (PA) Guy Riskind (FL) Lillian Rogers (TX) Ruby Sachs (NY) Shea Sanders (IA) Clara Seay (IN) Samaira Singh (NJ) Ainsley Sorenson (NY) Kendall Sorenson (NY) Savannah Springer (AZ) Aditi Sridhar (VA) Sienna Stoll (AZ) Jacob Sturgis (PA) Chelsea Sun (TX) Kailey Sunwoo (NJ) Sofia Swade (NC) Savannah Swiatkowski (AZ) Madeline Switzer (OR) Carmen Tarajano (NC) Madeline Thach (TX) Sophia Toncich (NJ) Karstyn Traylor (TX) Sofia Trompeter (FL) Renee Tse (TX) Ciana Tzuo (NY) Matthew Vallero (CA) Clara Visser (IA) Alice Wade (IN) Gloria Wang (GA) Claire Xiao (NH) Savannah Zeis (NY) Kacey Zhang (ON) April Zhong (WA) Chloe Zittel (NY) Early Teen Voices Ages 13-15 (as of February 1, 2021) First Place Lizzie Gill (age 15) Dublin, Ohio Dublin Coffman High School Pianist: Amy Pottkotter Voice Teacher: Stephanie Henkle Second Place (tie) Christine Kelly (age 15) Geneva, Illinois Geneva High School Pianist: Clare Chenoweth Voice Teacher: JoEllyn Caulfield Rachel Parsons (age 15) Clairton, Pennsylvania Thomas Jefferson High School Recorded Accompaniment Voice Teacher: Erin Kesser Third Place (tie) Emelia Aceto (age 15) Hinckley, Ohio Highland High School Recorded Accompaniment Voice Teacher: Denise Milner Howell Callie Chae Pyken (age 13) Los Angeles, California Colburn School Pianist: Nick Wilders Voice Teachers: Julia Gregory, Cassie Okenka Honorable Mentions Sienna Gasparrelli (age 13) Mentions Escondido, California homeschooled Pianist: Pam Revitte Voice Teacher: Pam Revitte Morgan Greco (age 15) Camas, Washingtoon homeschooled Pianist: Elizabeth Morris Voice Teacher: Teresa Schnell-Hochanadel Shayla He (age 14) Saratoga, California The Harker School Recorded Accompaniment Voice Teacher: Alison Collins Clare Keman (age 13) Southlake, Texas Regina Caeli Academy Recorded Accompaniment Voice Teacher: Laura Melson Christopher Kranenburg (age 15) Central Point, Oregon St. Mary’s School Recorded Accompaniment Voice Teacher: Andrea Hochkeppel Camryn Malo (age 14) Barrie, Ontario The Melody in Me Pianist: Katie Pergau Voice Teacher: Margot Hamilton Aurna Mukherjee (age 14) Austin, Texas Liberal Arts and Science Academy Pianist: Sunkyong Park Voice Teacher: Stella Yoon Amanda Swickle (age 15) Jericho, New York Jericho High School Pianist: Nicholas Ferla Voice Teacher: Allie Brault Ananya Yadati (age 13) Beachwood, Ohio Hathaway Brown School Recorded Accompaniment Voice Teacher: Helen Todd Finalists Audrey Barr (NJ) Maddie Basich (CA) Lydiia Berckley (TX) Ainsley Buice (CA) Nana Castle (NC) Henry Cornell (NY) Halina de Jong-Lambert (NY) Juliana Dees (CT) Keely Donlan (NJ) Ciela Elliott (NY) Hadley Fitton (MA) Patrick Ford (MD) Macy Gabel (NY) Anika Ganesan (VA) Aleah Garcia (AZ) Julianna Gutekunst (PA) Michael Hieb (CO) Isabel Hoch (NY) Whit Jury (IA) Ellie Kim (TX) Alex Kim (NC) Sofia Lee (GA) Meghan Linnington (OK) Stephanie Lopez (NY) Grace Martin (NJ) Avery Mattison (CA) Alysia McCarthy (NV) Mia McFarland (AZ) Sarah McKinley (TX) Ellie Michaels (MI) Avery Nokes (VA) Adithi Nythruva (AZ) Maxine Park (CA) Kennedy Percival (CA) Gabe Ponichter (NY) Jennifer Ribble (TN) Frida Ruiz-Berman (TX) Ava Saba (AZ) Devin Sadler (IL) Sydney Safarik (TX) Joelle Sellers (TX) Milan Shetty (WA) Amelia Silberman (NC) Elena Skirgaudas (WA) Nandu Sreekanth (FL) Lauren Sun (NY) Marget Tenters (MA) Cooper Turk-Gagel (IN) Roger Wang (GA) Sophia Welch (VA) Claira Williams (FL) Samantha Wu (CA) Semi-Finalists Sneha Arya (TX) Madeline Austin (IA) Madeline Ayala (TX) Elisabeth Baer (GA) Anneliese Baum (NY) Kaitlin Black (TX) Zoey Blackman (NJ) Eillie Brower (MI) Vivian Brown (OH) Gracie Butt (AZ) Lilly Carroll (OR) Kate Clemetson (NV) Gianna Codispoti (FL) J.C. Colella (NJ) Eva Crichton (NY) Maeve Cunningham (NJ) Amelie Damseaux (FL) Jordan Daniels (CA) Zoe Dempsey (IL) Sophie DeOliveira (MA) Franziska Diefenbach (NY) Aniela Egan (MD) Elizabeth Babiar (GA) Jacquelyn Erickson (CO) Francesca Falbo (CA) Silvan Friedman (CT) Lucia George (MI) Ashmita Ghosh (NC) Anushri Ghoshal (NC) Ava Haller (AZ) Jessica Holliday (NJ) Kaelynn Jackson (NJ) Amelie Kaufman (NY) Jocelyn Knorr (PA) Vanessa Li (MMD) Bridget Lomax (NJ) Morgan Lomax (NJ) Cassidy Loria (VA) Aden Hayhew (IL) Elizabeth McDonald (LA) Libby McDonald (WA) Alex Metivier (OH) Sierra Milone (NJ) Lara Miranda (FL) Henley Nance (MS) Sean Nesamoney (CA) Joon-Hyung Daniel Noh (CA) Violet Pasmooij (GA) Lena Racelis (AL) Anastasia Ramirez (CA) Andrew Rickey (NJ) Kylan Ritchie (TN) Rachel Rogstad (CA) Himawari Rueff (CA) Katherine Ryan (NY) Jocie Schnee (VA) Erin Schumacher (AZ) Cole Seevers (VA) Darcy Serenbetz (NJ) Jayla Shedeed (CO) Jessica Smith (PA) Abigail Springer (AZ) Skye Stauffer (TX) Sydney Steiner (NJ) Grace Stoltzfus (PA) Addison Stout (IN) Charlotte Teeples (VA) Annabel Tew (PA) Naomi Thuren (OR) Donatella To (CA) Josh Townshend (MD) Hailey Tramonte (OH) Aaryahi Vaidya (CA) Ella Vakiner (IA) Isabella Vazquez-Janik (PA) Gina Vicari (VA) Lila Wagner-Gleeson (OH) Sydney Wechsler (NJ) Katie Wylie (MA) Margaret Zhang (NY) High School Voices Ages 16-18 (as of February 1, 2021) First Place Aliyah Douglas (age 16) Oro Valley, Arizona Ironwood Ridge High School Recorded Accompaniment Voice Teacher: Stephanie Fox Second Place (tie) Matthew Danforth (age 17) Demarest, New Jersey The Dwight Englewood School Pianists: Glenn Gordon, Steve Marzullo Voice Teachers: Amelia DeMayo, Liliana Sotirova Alyssa Sunew (age 17) Katy, Texas Seven Lakes High School Pianist: Jeannine Rowden Voice Teacher: Jeannine Rowden Third Place (tie) Ellie Brenner (age 16) Durand, Wisconsin Interlochen Arts Academy Recorded Accompaniment Voice Teacher: Elizabeth Gray Katrina Franco (age 16) San Francisco, California San Francisco University High School Recorded Accompaniment Voice Teacher: Heidi Moss Honorable Mentions Serena Dailey (age 17) Brooklyn, New York Edward R. Murrow High School Pianist: Thomas Hodges Voice Teacher: Christine Moore Vassallo Amelia Gibbons (age 16) De Pere, Wisconsin West De Pere High School Recorded Accompaniment Voice Teacher: Kaara McHugh Rachel Ginn (age 17) Pewaukee, Wisconsin Catholic Memorial High School Pianist: Kaoko Miyazawa Voice Teacher: Christine Flasch Evelyn Hecht (age 17) Maple, Ontario Westmount Collegiate Institute Pianist: Narmina Efendiyeva Voice Teacher: Miriam Eskin Ava Kuntz (age 17) Santa Ana, California Orange County School of the Arts Pianist: John Henri Voice Teacher: Kathleen Martin Lauren Marchand (age 16) Jericho, New York Jericho Senior High School Recorded Accompaniment Voice Teacher: Giuseppe Spoletini Kylie Merrill (age 17) Chandler, Arizona Perry High School Pianist: Jenn Crandall Voice Teacher: Nichole Jensen Janessa Minta (age 17) Corvallis, Oregon Corvallis High School Pianist: Joy Ueng Voice Teacher: Beverly Park Josh Pike (age 16) Peoria, Arizona Arizona Conservatory for Arts and Academics Recorded Accompaniment Voice Teacher: Susan Washburn Alexa Reeves (age 17) Mentions Cherry Hill, New Jersey (continued) Paul VI High School Pianist: Melissa Daniels McCann Voice Teacher: Melissa Daniels McCann Ty'Ria Rounds (age 17) Alton, Illinois Alton High School Voice Teacher: Eddie Hitchcock Emma Wallace (age 17) Austin, Texas McCallum High School Recorded Accompaniment Voice Teacher: Michelle Haché Finalists Maya Baijal (NY) Mia Baron (CA) Shayne Barrett (NJ) Skyy Brooks (PA) Mina Brooks-Schmidt (AK) Alison Bruner (PA) Caitlin Callahan (OR) Nicole Campos (TX) Amelie Chaouat (TX) Joceyln Coburn (NY) Hadley Connor (MA) Alexandra Cook (CA) Giorgia Dallasta (MD) Lucy Daniels (IL) Meghna Das (NJ) Andrew Dlugosch (TX) Andie Earl (NJ) Natalie Evans (AB) Eniya Fields (IL) Grace Finke (CA) Isabella Fisher (NY) Karli Fisher (TX) Sarah Fountain (CA) Francesca Gamba (NY) Alexis Gearty (MI) Ainsley Gilbert (TX) Matthew Gordon (WA) Seth Greene (NC) Grace Hahn (CA) Julia Hancock (MD) Jasmine Harrick (WA) Isabel Hernandez (IL) Hannah Hess (NC) Eveyln Izdepski (VA) Jessica Jang (TX) Nicole Jones (VA) Grace Kang (VA) Zy’Miracle Kearney (NC) Alison Kessler (NY) Erika Kessler (NJ) Rachel Lewiski (PA) Annie Martin (NJ) Zoe Martinez (CA) Wyatt McDaniel (NY) Hannah McLaughlin (NC) Olivia Miniuk (VA) Libby Mullins (VA) Kyla O’Deay (LA) Alexandra O’Farrell (ON) Abby Olson (CA) Emily Orlowski (NJ) Olivia Ostlund (CA) Marius Pearson (NJ) Bria Petrella (NJ) Samantha Phat (NC) Reagan Plank (NC) Sara Porjosh (VA) Melody Prater (KS) Tanisha Pulla (CA) Alexa Pupich (IL) Ava Jolie Savino (NJ) Madi Shaer (MA) Rose Shyk (PA) Ethan Staver (WI) Yumeko Stern (CT) Madalyn Stevens (MA) Peter Sunseri (CA) Jillian Swartout (CA) Julia Taglang (PA) Kirsten Tierney (VA) Hannah Tramonte (OH) Julisa Veron (CA) Nick Vitale (CA) Vanessa Vu (CA) Jessica Wastchak (AZ) Natalie Wiley (IL) Alaina Wilkins (NJ) Amelia Williams (FL) Bethany Yeh (MD) Peggy Yin (NY) Isabel Young (WI) Amelia Zakroff (NJ) Anderson Zoll (TX) Semi-Finalists Marissa Abbott (WI) Marina Adel (CA) Yara Afifi (VA) Cayman Alatalo (WI) Lottie Arnold (OH) Kristin Barker (MD) Bella Birdsley (TX) Sophia Bogdanovitch (MA) Mariella Boudreau (WI) Eliza Brennan (NY) Carolyn Calbeck (IL) Julia Campion (AZ) Elizabeth Crawford (MA) Samantha Croco (IA) Deborah Cusnir (FL) Jackson Daley (MA) Kathryn Dooley (TX) Olivia Dostal (AZ) Giovanni Faltz (NJ) Emersen Fitch (NC) Arijana Florez (NY) Oliva Fortuna (NJ) Simone Gelety (AZ) Jared Gibson (WI) Madeline Giebels (OR) Lauren Goldsborough (NJ) Katie Jo Graham (KY) Avery Horn (IL) Corrine Jones (IL) Faith Kirkland (AZ) Nicole Kirshy (MA) Jadyn Krouse (NJ) Sophia Kumagai (IL) Elizabeth Larabee (MA) Beau Leavenworth (IA) Cassie Miller (AZ) Kieralynn Moshier (AZ) Emma Myers (PA) Ashwini Narayanan (IL) Annemarie Pongonthara (ON) Lou Ponticiello (IL) Audrey Pottkotter (TX) Ella Reidway (VA) Leah Rettig (TX) Katya Sacharow (MA) Mackenzie Schubert (NJ) Paige Shanks (AZ) Clare Shannon (VA) Caleigh Sheehan (NY) Daniel Shirk (WI) Lillian Slater (IL) Sarah Smith (NJ) Kate Tomson (IA) Olivia Ustinovich (MA) Kavya Vandavasi VA) Ariana Velasquez (NJ) Lucy Walter (TX) Sasha Warm (NY) Skie Weaver (WA) Avery Woods Weber (CT) Kayla Xu (CA) Young Adult Voices Ages 18-23 (as of February 1, 2021) Enrollment in a school is not required in this category, nor is a voice teacher, but if the singer provided that information it appears below. First Place Morgan Mastrangelo (age 22) Northwestern University Recorded Accompaniment Voice Teacher: Pamela Hinchman Second Place (tie) Ashlyn Combs (age 21) Nashville, Tennessee Recorded Accompaniment Sarah Juliano (age 22) University of Michigan Pianist: Eric Banitt Voice Teacher: George Shirley Third Place (tie) Benjamin Perkinson (age 19) University of Mary Hardin – Baylor Recorded Accompaniment Voice Teacher: Michelle Haché Piero Regis (age 23) Boston Conservatory at Berklee Pianist: Lindsay Albert Voice Teacher: Victor Jannet Honorable Mentions Margot Frank (age 22) Millikin University Pianists: Roberta Duchak, Cameron Burgess Voice Teacher: Roberta Duchak Shavon Lloyd (age 23) SUNY Potsdam Crane School of Music Recorded Accompaniment Voice Teacher: Lonel Woods Madison Miller (age 23) University of Michigan Recorded Accompaniment Voice Teacher: Scott Piper Sabrina Shah (age 18) Recorded Accompaniment Voice Teacher: Jeanai LaVita Finalists Sarah Allbrandt Sarah Duren Katelyn Farebrother Sophia Fortuna Charlie Grass Joanna Heneveld Sam Joseph Renee Kauffman Sarah Lambert Tate McElhaney Katie Murphy Madison Raef Emma Robinson Ayaka Shimada Abigail Storm Will Upham Back To Top