Low male voice repertoire in contemporary musical theatre: a studio and performance guide of selected songs 1996-2020 by

REFRAIN 3 - VAMP: Repeated melodic and harmonic nature of first half of B section
3x ||: B
♭m7 – E♭7 – A♭ – D♭ :|| Bbm7 – Eb7 – A♭ – G7b5
ii
7
V
7
I IV ii V7 I alt. dom. 
EXTENDED VERSE/TAG: Harmonization similar to the second 7-bar phrase of Verse 2, melody has 
inversions to descend into bass-baritone range 
Cm – E
♭ – A♭ – D♭ Cm – A7♭5 – A♭6 – G7(♭5) C – C7/E – Fm7 – A♭7
i III VI TTsub i TTsub VI alt. dom. I V
6
5
/iv iv
7
sec. dom.
for V
7
/VI 
Cm Ab7 Fm7 – G7(b5) 
i sec. dom. iv
7 
alt. dom. 
Cm  A
♭6 – D♭7 Cm – G7 Cm – Cmaj9#11 Cm 
i VI TT sub i V
7
i N/A i
 
Sources: Data adapted from David Yazbek, “Yesterday, Tomorrow and Today,” (Milwaukee, WI: Hal Leonard, 
2011): 1-6; Brian Stokes Mitchell, “Yesterday, Tomorrow and Today,” track 13 on Women On The Verge Of A 
Nervous Breakdown (Original Broadway Cast Recording), Ghostlight Records, 2011, Amazon Music streaming 
audio, https://music.amazon.com/albums/B076YHFLZ8?trackAsin=B076YL22X9&ref=dm_sh_f755-59e8-dmcp-
2b0f-f0b63&musicTerritory=US&marketplaceId=ATVPDKIKX0DER. 
Vocal Considerations 
Musical Style. This piece has classical and legit musical theatre influence starting from the 
arioso-like grand opening. The entire piece has a much higher degree of focus on the actor’s resonant and 
warm voice quality than other “I am” songs in contemporary musical theatre – Ivan’s charm and success 

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comes often tied to what he is successful in; sensuous, sonorous singing. The chorus section includes a 
lighter speech and character approach to the beginnings of lines, as the environment turns to one of 
wooing rather than declaiming one’s sensuality.
Range. (G
2
– F
4
) This piece requires the need for almost two octaves of technical vocal facility; a 
consistent rich middle and low register are needed for the verse sections, while free but quick access to 
the passaggio and above the second break are needed in the refrain sections. In the final, slowed down 
section, the modified melody descends to a G
2
. This low note is preceded by a [
æ] mid-range (F
3)
vowel, 
offering both a point of forward focus and wide air passage with which a performer should keep in 
descending to the low note before adding consonant and arriving on an [i] vowel. The original recording 
showcases an audible glissando on Brian Stokes Mitchell’s descent; similar work in moving from open 
timbre vowels to close vowels in the low voice.
Vocalism. While most of the piece takes place at a brisk tempo, the melody covers an incredible 
range, and there should be an expectation of similar if not equal timbre by the vocalist up to 
approximately E
♭
4
, based off of Mitchell’s original recording. The allegro, hard-driving feel with the 
constant “boom-chick” patters draws comparison in musical theatre repertoire to “I Could Be in Love 
with Someone Like You” by Jason Robert Brown, or “Everybody Says Don’t” from Sondheim’s Anyone 
Can Whistle. 
Songs from the Same Show. “Lie to Me” (Duet). 
Songs in a Similar Style. “Masculinity” from La Cage Aux Folles (1983). 
 
 
 

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30 
Table 4.6. “We Look to You”