Frank Sinatra. Source: Cultedge.com
We’ve focused pretty heavily on sourcing material from proper book musicals and their cousins (Musical Comedy, Revues, etc.) Today we’re going to take a break from our journey through the big eras of Musical Theatre, temporarily shirk the plot-based structure and take a look at the Great American Songbook.
“The Great American Songbook” is a general title for the most popular and influential songs from the 20th Century in American Music. Sometimes pieces from this genre are referred to as “jazz standards” or “lounge music.” This, of course, includes pieces written for musicals. Composers like Irving Berlin, Cole Porter, George and Ira Gershwin, Frank Loesser, and many other big names we’ve covered recently composed so many songs that crossed over from the theatre to the popular music scene. But for our purposes today, we’re going to leave Musical Theatre backstage, so to speak, and examine some other influential American composers whose work can and will prove to be useful and effective additions to your book. On top of that, they are just a downright pleasure to sing.
Structure: Before we talk about specific pieces, let’s talk structure. The vast majority of songs from this genre are audition butter. They are mostly in 32 bar form – meaning that you get to sing the equivalent of a full verse and chorus without having to make cuts, giving you a beautiful beginning, middle and end. Lots of the pieces contain what is called a “sectional verse”. Sectional verse is that common introductory section of many older songs that does not necessarily share melody, tempo, rhythm or even mood with the rest of the piece. They are fairly easy to remove for audition use, however, don’t make the mistake of cutting these sections without considering them first. They often contain fun wordplay, good jokes, and actor friendly direct address. Sometimes they give a pre-story or setting for the rest of the piece. It’s an older convention, yes, but more contemporary pieces use it as well. “I Dreamed a Dream” has a sectional verse: “There was a time when men were kind, and their voices were soft…”
Here is Dorothy Dandridge’s version of “I Got Rhythm ” complete with sectional verse:
Arrangements: Because the Great American Songbook is, by definition, popular, many great artists have interpreted these songs dozens, if not hundreds of ways. This means that there are myriad arrangements out there for you to choose from.
Gender: By virtue of being released from over-arching theatrical structure, don’t feel limited to pieces associated with performers of your own gender. Diana Krall sings songs Frank made famous. Bobby Caldwell sings Leading Lady pieces. Sing whatever you want to, just make it personal.
Preparation: While there is freedom in being released from plot-based structure, there are pitfalls as well. Stand alone pieces have the tendency to turn an audition into a vocal recital. You have to be present in the given circumstances.
Who are you singing to? What do you want from them? What is on the line? What happens if you don’t get what you want? If in doubt, you die. The answer is, you die – emotionally, spiritually, physically. The stakes have to be that high. Why? Because only that level of investment is worth watching. It may sound hyperbolic, but that is how you demand attention. The key is you also have to be truthful. High stakes with no Truth = Melodrama. Truth with No Stakes = Journalism. Actors need both high stake and honesty at all times.
Here’s Bernadette singing “The Way You Look Tonight”. Check and Check.
TORCH: (Let me just say that I have developed the following definition of Torch to be audition-specific. In a larger musical discussion, I would accept a more general definition. We’re talking specifically about your book here.) Some people mistakenly refer to jazz standards generally as “torch” pieces. This is incorrect. Torch is more specific. To be a torch piece, it has to concern lost or unrequited loved. That may seem a bit nitpicky, but as an actor, this is useful. What hurts more than lost love? And what is more interesting to watch than someone trying to overcome it? Both men and women need a torch piece in their book. 1. It’s a universal human theme, and theatre is trying to tell human stories. It’s a good match. 2. Having a torch piece can add a wonderful dimension of classic, grown up sexiness to your book. 3. They are ever so useful, and often appropriate. They can be used to audition for Golden Era musicals, Jazz pieces, specific roles (particularly supporting roles), and are wonderful “second” pieces for general auditions.
Torch is occasionally confused with certain genres of Blues and, to confuse things further, Torch CAN be blues. We’ll talk more about Blues when we talk about Pop and Rock in the future. In short, I would say true Torch will have a “blue note“, but not fall into a true Blues style. True Torch songs (for audition purposes) are ballads, and have a more classic feel than some blues genres. Here is a Johnny Mercer piece called “Blues in the Night” which is considered Great American Songbook, Pop Blues, but NOT (for audition purposes) truly jazz Torch. It’s too upbeat.
Here is Judy Garland singing a true torch piece called “What’ll I Do.”
The difference is the depth. Could “Blues in the Night” have a place in your book? Absolutely yes! (Full disclosure: It does in mine. ) Just don’t use it to fill the Torch spot. Give yourself a little more to work with textually.
UPBEAT: All this discussion of Torch might make you think there’s only ballads to be had here, but never fear. There are lots of upbeat numbers in the Great American Songbook. Look to the group Rat Pack numbers for a ton of examples. I’m particularly attached to Sarah Vaughan’s “One Mint Julep.”
ICONIC COMPOSERS
Johnny Mercer. My man. I learned about Johnny Mercer when I was 17 years old. I saw a Summer Stock musical revue of Mercer tunes. It’s been love ever since. Mercer penned the theme songs to Breakfast at Tiffany’s: “Moon River.” He wrote peppy ditties like, “Jeepers Creepers,” and “The Glow Worm.” His work is, dare I say, “Too Marvelous for Words.”
Harold Arlen. Perhaps you know a little tune called, “Over the Rainbow?”
Schwartz and Dietz: I got to know Schwartz and Dietz as a sixth grader because my Casio played a sample of “You and The Night and the Music” that I sang to my surprised parents. It’s a little disconcerting when your 11 year old seems best accessorized with a brandy snifter. Schwartz and Dietz wrote quite a few Broadway shows that didn’t have a lot of longevity. However, many of the individual songs are prime examples of superb Great American Songbook pieces. Chek out “Dancing in the Dark” or “Got a Brand New Suit.”
Here’s Billie Holiday singing “Moanin’ Low.”
Brown and Freed: The authors of Singin’ in the Rain also penned numbers like “Pagan Love Song” and “You Are My Lucky Star.”
Ray Henderson: Check out “Varsity Drag” and the many many versions of “Bye Bye Blackbird.”
Sammy Cahn: Sammy Cahn is a goldmine of standards. Take a look at “Saturday Night is the Loneliest Night of the Week”, “Bei Mir Bist Du Schoen,” “Let it Snow”, “Three Coins in the Fountain.” Speaking of, here is a scene that encapsulates an experience similar to my own when speaking about The Great American Songbook:
Harry Warren: Harry Warren could prove to be a great starting point for the musical theatre actor who is toe-dipping the Jazz standard genre. Think “Lullaby of Broadway,” “September in the Rain”, and the mega-hit “At Last.”
SAMPLE PERFORMERS
- Frank Sinatra
- Judy Garland
- Diana Krall
- Bobby Caldwell
- Michael Buble (roll your eyes if you want, but this is his bread and butter)
- Ella Fitzgerald
- Tony Bennett
- Rosemary Clooney
- Blossom Dearie
- Julie London
- The Rat Pack
- Nina Simone
- Sarah Vaughan
- Dinah Washington
- Johnny Mathis
- Peggy Lee
- Harry Connick Jr.
- Jane Monheit
- Ann Hampton Calloway
And that’s just a few to get you started.
Using pieces from the Great American Songbook adds dimension, depth, and versatility to your repertoire. The pieces are piano friendly, beautiful to hear, fun to sing, and refreshing. Check out some albums from the performers above. Maybe plink your way through a piano anthology of Johnny Mercer or Harold Arlen. There’s certain to be something there that works for you.
Authentic Auditioning 