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

Vocal Considerations 
Musical Style. This is written with many elements of classical and golden age repertoire – the use 
of wide-ranging arpeggiations and a multitude of suspensions and delayed harmonic arrivals bring to 
mind Chopin’s Nocturne in C# minor or Beethoven’s Moonlight Sonata. In keeping with that 
comparison, Frollo’s melody seems almost more instrumental than anything written to display vocal 
range or complexity. This allows the focus to be on the text and timbre of his instrument—this
contemporary legit aesthetic is also in complete juxtaposition with the styles in which the other lead 
character’s sing. This fuller sound (and taller vowels) is associated with the order and music of the 
church, like the congregant choir that sings throughout the show. 
Range. (G#
3 
– A
3
) Frollo’s portion of this number has both the smallest range and lowest 
tessitura out of all analyzed material – this means there is a low probability of this piece creating bass 
vocal fatigue, being below both registration breaks and primarily in an area without low extremes as well.
The longest scored notes in the song proper are in the C#
3
-A
3
range, while the lowest notes occur as pick-
up notes at the beginning of each stanza. A teacher can help guide a student in goals such as the use of 
subtle vowel changes towards accomplishing an evenness of timbre, support, coordinated onsets, and 
pitch accuracy without having to concurrently address issues of the passaggio with a young low voice. 
Vocalism. Stronger elements of the legit musical theatre style (consistent vibrato, warmth and 
depth to the sound) should be expected when singing. The shorter phrases and onomatopoeia of words 
like “cruel”, “ugly”, “thru”, and “wicked” should be practiced and performed with a conscious effort to 
spend significant time on voiced and unvoiced consonants instead of trying to sing a long vowel. 
Songs in a Similar Style. “Fear No More” from The Frogs, “Pierre and Andrey” from Natasha, 
Pierre & The Great Comet of 1812. 

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77 
Table 8.5. “Practical Arrangement”