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

Vocal Considerations 
Musical Style. This music fits solidly in the singer-songwriter pop ballad category, with the piano 
functioning to establish a slow pulse. The emphasis on text paired with the sparsity of underscored 
texture brings to mind ballads like Joni Mitchell’s “Both Sides Now”, Billy Joel’s “Lullabye (Goodnight, 
My Angel)” or some of the more sobering songs of Elton John’s later catalogue like “The Last Song”.
These pieces have distinct elements of introspection as well as characters who resign themselves to 
solitary moments. 
Range. (F
2
– E
♭
4
) This piece requires almost a two-octave range performed with the facility to 
lightly access notes surrounding an LMV’s secondo passaggio as related to the soloist’s fragile or 
weakened state of being. The tessitura is most prominently in the C
3
-C
4
range, while there are only a few 
brief ventures into the bass range; F
2
notes sung on the second syllable of “about” and as eighth note pick-
ups on “I” could find greater vocal resonance by modifying the [aʊ] or [aɪ] diphthongs towards an 
emphasis of [ɑ] or [ɒ] and a slight puckering of lips for an elongation of the vocal tract. Great piece for a 
bass or bass-baritone with facility in mix voice while not needing to sustain a large amount of tones 
within the passaggio. 
Vocalism. Within contemporary pop musical theatre, the sound is driven by the emotions.
Minimal use of vibrato is preferred, but the nature of a cabaret setting should also encourage the use of 
vocal distortions like fry, cry, or ache that fit perfectly within the text of the piece.
4
Because the array of 
emotions and thoughts within this piece are so varied (and fluctuate), the expectation is that the chosen 
vocal colors should be congruent with the emotional journey, even if that means changing vocalisms 
4
Sanders, 226. 

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within the middle of a phrase. The emotions of the text are intimate and can be reflected in the dynamic 
choice and use of “breathy” quality.
5
 
Cabaret Songs by the Same Composer. “And I Will Follow”, “Nothing in Common”.
5
Ibid., 247. 

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