Historial de Ediciones de Series

A full index of all the songs in the series may be found at www.halleonard.com. Click on "Vocal," then click on "View Promotions & Teacher Resources."

Because there are so many volumes in the series, it is perhaps helpful to know the publishing history of these collections for Soprano, Mezzo-Soprano/Belter, Tenor and Baritone/Bass. The Singer's Musical Theatre Anthology Volume I was released in 1987 and revised in 2000. Volume 2 was released in 1993; the Soprano and Mezzo-Soprano/ Belter volumes were revised in 2000. Volume 3 was released in 2000. Volume 4 was released in 2006. Volume 5 was released in 2008. And now Volume 6 is being released in 2015.

The aims of The Singer's Musical Theatre Anthology have remained constant since the first volumes were released: ⚫ collecting songs that deeply represent the vast variety in the body of musical theatre literature ⚫ choosing a deliberate mix of contemporary and classic ⚫ categorizing songs by voice type (Soprano, Mezzo-Soprano/Belter, Tenor, Baritone/Bass) ⚫ presenting songs in the most authentic edition possible (which almost always means based on the vocal are, not the vocal selections arrangements which traditionally have the melody in the piano part) ⚫ no repetition of songs from previous volumes (except three very specific cases that are explained in notes those instances) ⚫ providing information on each show and song so that a singing actor can bring some context to understanding a song

Some songs are easy to classify regarding voice type. Others are trickier. The trend of roles written for a soprano who belts is challenging as to voice type categorization. The many "bari-tenor" songs, straddling the ranges of a high baritone or a tenor, have to be categorized for the purpose of the series. Beyond just range, I consider vocal issues and tessitura, and also vocal color and comfort. In the end, sometimes it's simply a subjective editorial choice as to whether a song lands in the Soprano or Belter volume, or the Tenor or Baritone/Bass volume. Many theatre singers, particularly women, tell me they use both voice type volumes for their gender.

The aims of The Singer's Musical Theatre Anthology have remained constant since the first volumes were released: ⚫ collecting songs that deeply represent the vast variety in the body of musical theatre literature ⚫ choosing a deliberate mix of contemporary and classic ⚫ categorizing songs by voice type (Soprano, Mezzo-Soprano/Belter, Tenor, Baritone/Bass) ⚫ presenting songs in the most authentic edition possible (which almost always means based on the vocal are, not the vocal selections arrangements which traditionally have the melody in the piano part) ⚫ no repetition of songs from previous volumes (except three very specific cases that are explained in notes those instances) ⚫ providing information on each show and song so that a singing actor can bring some context to understanding a song

The aims of The Singer's Musical Theatre Anthology have remained constant since the first volumes were released: ⚫ collecting songs that deeply represent the vast variety in the body of musical theatre literature ⚫ choosing a deliberate mix of contemporary and classic ⚫ categorizing songs by voice type (Soprano, Mezzo-Soprano/Belter, Tenor, Baritone/Bass) ⚫ presenting songs in the most authentic edition possible (which almost always means based on the vocal are, not the vocal selections arrangements which traditionally have the melody in the piano part) ⚫ no repetition of songs from previous volumes (except three very specific cases that are explained in notes those instances) ⚫ providing information on each show and song so that a singing actor can bring some context to understanding a song As the curator/editor of the series, I regularly keep notes on what songs from new shows are candidates for inclusion, as well as what classic musical theatre songs have not been used in the