{"title":"All Repertoire","description":"","products":[{"product_id":"as-0002-ebm","title":"Brahms - Sonntag (EbM) - Op. 47 No. 3","description":"\u003ch5 data-path-to-node=\"5\"\u003e\n\u003cmeta charset=\"utf-8\"\u003eA custom streaming practice\/rehearsal piano track for \u003cbr\u003e\"Sonntag\"(EbM), by Brahms, \u003cbr\u003efrom 5 Lieder, Op. 47 No. 3.\u003c\/h5\u003e\n\u003cp\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cspan\u003eSet to a text by Johann Ludwig Uhland, Brahms composed \"Sonntag\" in 1858. It quickly became one of his most popular vocal works thanks to its undeniable and effortless charm. The song captures the sweet, almost naive longing of a young person who hasn't seen their crush all week and can only catch a glimpse of them outside of Sunday church. It carries the gentle and lilting character of a German folk song, keeping the emotional weight bright, optimistic, and deeply endearing. \u003cbr\u003e\u003cbr\u003e\u003cmeta charset=\"utf-8\"\u003e🎹 Thoughts From the Piano Bench: As far as Brahms go this is pretty straightforward, two quick verses and we're out. Make sure that repeated phrases have dynamic contrasts (echo guestures) and that the 2nd verse has a little extra something something to indicate to the audience a sense of finality.\u003c\/span\u003e\u003c\/p\u003e","brand":"Tuxedo Tracks","offers":[{"title":"Default Title","offer_id":53885368664430,"sku":null,"price":10.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0999\/2726\/1550\/files\/Song_Lit_Thumbnail.png?v=1780752030"},{"product_id":"op-0022-ebm","title":"Weill, Kurt - Street Scene - What Good Would the Moon Be (EbM)","description":"\u003ch5 data-path-to-node=\"5\"\u003e\n\u003cmeta charset=\"utf-8\"\u003eA custom streaming practice\/rehearsal piano track for\u003cbr\u003e\"What Good Would the Moon Be\" \u003cbr\u003efrom \u003cem\u003eStreet Scene\u003c\/em\u003e,  \u003cbr\u003eby Kurt Weill.\u003c\/h5\u003e\n\u003cp\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cspan\u003eKurt Weill and legendary poet Langston Hughes created a fascinating blend of Broadway jazz and traditional opera with Street Scene in 1947. Rose Maurrant sings this aria to express her longing for a simple and genuine love rather than the flashy lifestyle offered by her sleazy boss. The music perfectly captures her grounded nature, requiring the singer to balance a soaring classical soprano sound with highly realistic acting and storytelling. \u003cbr\u003e\u003cbr\u003e\u003cmeta charset=\"utf-8\"\u003e🎹 Thoughts From the Piano Bench: This piece demands a ton of communication between the vocalist and the pianist. Weill wrote incredibly specific rubato moments that require the singer to lead the pacing while the piano provides a lush foundation underneath. Watch out for the tempo changes going into the bridge section, where you will need to cleanly articulate the jazzier rhythms without losing that classical phrasing. Don't let my groove change your style \u0026amp; timbre overmuch!\u003c\/span\u003e\u003c\/p\u003e","brand":"Tuxedo Tracks","offers":[{"title":"Standard Unlock","offer_id":54379724177774,"sku":null,"price":15.0,"currency_code":"USD","in_stock":true},{"title":"Founding Sponsor","offer_id":54379724210542,"sku":null,"price":25.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0999\/2726\/1550\/files\/Opera_Thumbnail.png?v=1780752030"},{"product_id":"mt-0001-cm","title":"Apple Tree, The - Feelings (CM) - Bock \u0026 Harnick","description":"\u003ch5 data-path-to-node=\"5\"\u003e\n\u003cmeta charset=\"utf-8\"\u003eA custom streaming practice\/rehearsal piano track for \u003cbr\u003e\"Feelings\" \u003cbr\u003efrom \u003cem\u003eThe Apple Tree\u003c\/em\u003e,  \u003cbr\u003eby Bock \u0026amp; Harnick.\u003c\/h5\u003e\n\u003cp\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cspan\u003eThe Apple Tree is a unique set of three mini-musicals, and this specific song comes from the first act based on Mark Twain's \"The Diary of Adam and Eve.\" Eve sings this tune as she tries to understand the strange new emotions she is experiencing in the garden. It captures that quintessential Bock \u0026amp; Harnick charm with a balance of humor and discovery (Discovery! Acting™! Making Different Decisions On the Second Verse®!).\u003c\/span\u003e\u003cspan\u003e \u003cbr\u003e\u003cbr\u003e\u003c\/span\u003e\u003cspan\u003e\u003cmeta charset=\"utf-8\"\u003e🎹 Thoughts From the Piano Bench: Once you learn the feel of it and the rhythmic pattern, it's a fairly straightforward song, but you DO have to learn the feel of it 🤷♂️. Also for how short the verses are, most recordings I have heard take a surprising amount of time at the ends, so really go for it and dangle the audience. I show a good chunk of time, but you may want more or less - those are the things to decide so you can show the next pianist you work with!\u003c\/span\u003e\u003c\/p\u003e","brand":"Tuxedo Tracks","offers":[{"title":"Standard Unlock","offer_id":54385258398062,"sku":null,"price":15.0,"currency_code":"USD","in_stock":true},{"title":"Founding Sponsor","offer_id":54385258430830,"sku":null,"price":25.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0999\/2726\/1550\/files\/Musical_Theater_Thumbnail.png?v=1780752030"},{"product_id":"mt-0023-am","title":"Spring Awakening - Mama Who Bore Me (Am) - Sheik \u0026 Sater","description":"\u003ch5 data-path-to-node=\"5\"\u003e\n\u003cmeta charset=\"utf-8\"\u003eA custom streaming a practice\/rehearsal piano track for \u003cbr\u003e\"Mama Who Bore Me\" \u003cbr\u003efrom \u003cem\u003eSpring Awakening\u003c\/em\u003e, \u003cbr\u003eby Duncan Sheik \u0026amp; Steven Sater.\u003c\/h5\u003e\n\u003cp\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cspan\u003eDuncan Sheik and Steven Sater flipped the musical theater world upside down in 2006 by pairing an 1891 German play with a driving alt-rock score. \"Mama Who Bore Me\" serves as the opening thesis for the entire show, introducing Wendla's (and her friends') profound confusion and yearning as she grapples with the transition into adulthood. The song relies heavily on a raw acoustic feel that pulls inspiration straight from 90s alternative rock rather than traditional Broadway writing. I've played the piano book and the violin book for this show, funnily enough, and as far as rock musicals go I think it works very effectively. \u003cbr\u003e\u003cbr\u003e🎹 Thoughts From the Bench: The groove here is everything. On piano I'm imitating the fingerpicked guitar so you can let out your plaintive teenage angst over top. It's a short song so we don't need to make a huge meal of it, but it is worth noting that the final version of the main theme on the last page can be a little stronger (in the show you'd have a few more voices join you for volume \u0026amp; intensity, so when singing as a solo you'll have to shoulder that responsibility by yourself).\u003c\/span\u003e\u003c\/p\u003e","brand":"Tuxedo Tracks","offers":[{"title":"Default Title","offer_id":53885373055342,"sku":null,"price":10.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0999\/2726\/1550\/files\/Opera_Thumbnail.png?v=1780752030"},{"product_id":"tuxedo-tracks-patron","title":"The PPTF - Periodic Piano Tuning Fund","description":"\u003cp\u003e\u003cmeta charset=\"utf-8\"\u003eThe Feline Oversight Committee has decreed that increasing the frequency of piano tuning must not detract from their OTC funds (Occasional Treats \u0026amp; Catnip). Your pawtronage (sorry, it was right there, had to be done) directly keeps the studio running. This general support subscription offsets overhead of more regular piano tunings, storefront\/video hosting, or if you just don't really have a need for what I do but think it's pretty neat™.\u003cbr\u003e\u003c\/p\u003e","brand":"Tuxedo Tracks","offers":[{"title":"Default Title","offer_id":53888924123502,"sku":null,"price":10.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0999\/2726\/1550\/files\/Cat_Head.png?v=1780432762"},{"product_id":"mt-0003-fm","title":"John, Elton - Goodbye Yellow Brick Road (FM)","description":"\u003cp\u003e\u003cmeta charset=\"utf-8\"\u003eA custom streaming practice\/rehearsal piano track for the title track \u003cstrong\u003eGoodbye Yellow Brick Road,\u003c\/strong\u003e\u003cbr\u003efrom \u003cem\u003eGoodbye Yellow Brick Road (1973)\u003c\/em\u003e,\u003cbr\u003eby Elton John.\u003c\/p\u003e\n\u003cp\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cspan\u003eWhen Elton John and Bernie Taupin dropped this title track in 1973, it completely redefined the pop ballad landscape. The lyrics reflect a very real fatigue with the glitz of fame and a longing for simpler roots. This gives the vocalist a massive emotional runway to work with during a performance. It marries classical harmonic progressions with a decidedly rock sensibility, making it a staple crossover piece for singers exploring the boundaries between legit theater and raw rock and roll. \u003cbr\u003e\u003cbr\u003e\u003cmeta charset=\"utf-8\"\u003e🎹 Thoughts From the Piano Bench: The biggest hurdle we face together on this tune is the classic Whiplash situation - If you don't lead your pianist then the steady plunk plunk chords will start to drag, but if we get too excited then the tempo in the choruses can get away from us. Be the boss! Lean into the backbeat with me to keep the groove locked in, but when the time comes to open it up, your melody is where we'll get the sense of sustain and arrival. I'm just along for the ride 😉\u003c\/span\u003e\u003c\/p\u003e","brand":"Tuxedo Tracks","offers":[{"title":"Standard Unlock","offer_id":54379709399406,"sku":null,"price":15.0,"currency_code":"USD","in_stock":true},{"title":"Founding Sponsor","offer_id":54379709432174,"sku":null,"price":25.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0999\/2726\/1550\/files\/Musical_Theater_Thumbnail.png?v=1780752030"},{"product_id":"mt-0004-dbm","title":"Secret Garden, The - How Could I Ever Know? (DbM)","description":"\u003cp\u003e\u003cmeta charset=\"utf-8\"\u003eA custom streaming practice\/rehearsal piano track for \u003cstrong\u003eHow Could I Ever Know?\u003c\/strong\u003e\u003cbr\u003efrom \u003cem\u003eThe Secret Garden\u003c\/em\u003e,\u003cbr\u003eby Simon Lucy \u0026amp; Marsha Norman.\u003c\/p\u003e\n\u003cp\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cspan\u003e\"How Could I Ever Know\" is the hauntingly beautiful climax of the 1991 Broadway musical adaptation of The Secret Garden. In this emotional moment, the ghost of Lily appears to her grieving husband Archibald to finally grant him permission to move on and love their child. Lucy Simon composed a truly soaring legit theater score that demands incredible classical vocal technique while keeping the storytelling grounded in raw human grief. It requires you to balance that ethereal ghostlike presence with deep and soaring passion. \u003cbr\u003e\u003cbr\u003e🎹 Hot take from the piano bench here - the biggest challenge is navigating the expansive rubato and breath pacing alongside the singer without losing the underlying pulse of the tune. Emotional without getting toooo soupy, yes? The piano texture is fluid with some arpeggiations that need to swell naturally with your vocal line. When you're in the room with your live pianist, communicate clearly on the breath during those octave leaps to ensure the downbeats land together, especially when the dynamic pulls back for the fragile and quiet moments of the lyrics.\u003c\/span\u003e\u003c\/p\u003e","brand":"Tuxedo Tracks","offers":[{"title":"Standard Unlock","offer_id":54379708907886,"sku":null,"price":15.0,"currency_code":"USD","in_stock":true},{"title":"Founding Sponsor","offer_id":54379708940654,"sku":null,"price":15.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0999\/2726\/1550\/files\/Musical_Theater_Thumbnail.png?v=1780752030"},{"product_id":"as-0005-dm","title":"Quilter, Roger - 3 Shakespeare Songs, Op. 6 - O Mistress Mine (DM)","description":"\u003cp\u003e\u003cmeta charset=\"utf-8\"\u003eA custom streaming practice\/rehearsal piano track for \"\u003cstrong\u003eO Mistress Mine\" (DM),\u003c\/strong\u003e\u003cbr\u003efrom \u003cem\u003e3 Shakespeare Songs\u003c\/em\u003e, Op. 6 No. 2,\u003cbr\u003eby Roger Quilter.\u003cbr\u003e\u003cmeta charset=\"utf-8\"\u003eThis is the D Major listing, Eb Major is also available.\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cspan\u003eWritten in 1905, Roger Quilter's setting of \"O Mistress Mine\" takes its text straight from the mouth of Feste, the court jester in Shakespeare's Twelfth Night. It captures the Edwardian parlor song aesthetic while delivering a gentle, playful plea for a lover to seize the moment. The song is a reminder that youthful romance is fleeting, wrapped up in a melody that feels nicely organic and true to the original poetry. Could fit into Bridgerton somewhere imo. \u003cbr\u003e\u003cbr\u003e\u003cmeta charset=\"utf-8\"\u003e🎹 Thoughts From the Piano Bench: Quilter writes a surprisingly complex piano part with an active bass line and plenty of specific articulation directions throughout. This means you have to trust the collaborative interplay rather than just resting on thick chords. There is a nice fluidity to the tempo that requires us to breathe together at phrase endings, especially leading into the second verse where the text asks a new question. What will you want to do differently for the second verse? How crisp should your diction be? When do you want to be light and bouncy with your melody vs a little more legato and sustained? All those good questions.\u003c\/span\u003e\u003c\/p\u003e","brand":"Tuxedo Tracks","offers":[{"title":"Default Title","offer_id":53896178925934,"sku":null,"price":10.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0999\/2726\/1550\/files\/Song_Lit_Thumbnail.png?v=1780752030"},{"product_id":"br-0006","title":"Ropartz, Guy - Piece in eb minor -  for Trombone \u0026 Piano","description":"\u003cp\u003e\u003cmeta charset=\"utf-8\"\u003eA custom streaming practice\/rehearsal piano track for \u003cstrong\u003ePiece in eb minor for Trombone \u0026amp; Piano\u003c\/strong\u003e,\u003cbr\u003eby Guy Ropartz.\u003c\/p\u003e\n\u003cp\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cspan\u003eRopartz composed this in 1908 specifically for the Paris Conservatory Concours des Prix (or \"morceau de concours\" as you've probably seen at the top of a number of Alfonse Leduc published scores for french pieces from around this time period). The Conservatory was a great engine for new work in the 20th century brass and woodwind repertoire - I could spend a year just recording all the Bozza\/Ibert\/Messager\/Desenclos\/etc pieces from around this time. \u003cbr\u003e\u003cbr\u003eThis staple of the brass repertoire balances a lyrical, chorale style opening with a rhythmic and more technically demanding Allegro section for both the trombone and the piano. I'm a big fan of these single-movement pieces that feel like a very complete story, Sulek and Lebedev and all them. \u003cbr\u003e\u003cbr\u003e🎹 Thoughts From the Piano Bench: This score features incredibly lush chords that I'm glad to perform with trombone, means I can really let it rip and play true fortes and fortissimos. The middle section introduces some syncopations and rubato passages where the piano and trombone absolutely must breathe together. I've always thought there's a couple awkward-ish transitions in this piece, like those sudden fortes at key changes that die away to piano in just a measure or two, so be careful to keep your dynamics at the forefront of your consideration and not go on auto pilot!\u003c\/span\u003e\u003c\/p\u003e","brand":"Tuxedo Tracks","offers":[{"title":"Default Title","offer_id":54265051480430,"sku":null,"price":15.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0999\/2726\/1550\/files\/tbn.png?v=1783207261"},{"product_id":"as-0007-ebm","title":"Quilter, Roger - 3 Shakespeare Songs, Op. 6 - O Mistress Mine (EbM)","description":"\u003cp\u003e\u003cmeta charset=\"utf-8\"\u003eA custom streaming practice\/rehearsal piano track for \u003cstrong\u003eO Mistress Mine,\u003c\/strong\u003e\u003cbr\u003efrom \u003cem\u003e3 Shakespeare Songs\u003c\/em\u003e,\u003cbr\u003eby Roger Quilter.\u003cbr\u003e\u003cmeta charset=\"utf-8\"\u003eThis is the Eb Major listing, D Major is also available.\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cspan\u003eWritten in 1905, Roger Quilter's setting of \"O Mistress Mine\" takes its text straight from the mouth of Feste, the court jester in Shakespeare's Twelfth Night. It captures the Edwardian parlor song aesthetic while delivering a gentle, playful plea for a lover to seize the moment. The song is a reminder that youthful romance is fleeting, wrapped up in a melody that feels nicely organic and true to the original poetry. Could fit into Bridgerton somewhere imo. \u003cbr\u003e\u003cbr\u003e\u003cmeta charset=\"utf-8\"\u003e🎹 Thoughts From the Piano Bench: Quilter writes a surprisingly complex piano part with an active bass line and plenty of specific articulation directions throughout. This means you have to trust the collaborative interplay rather than just resting on thick chords. There is a nice fluidity to the tempo that requires us to breathe together at phrase endings, especially leading into the second verse where the text asks a new question. What will you want to do differently for the second verse? How crisp should your diction be? When do you want to be light and bouncy with your melody vs a little more legato and sustained? All those good questions.\u003c\/span\u003e\u003c\/p\u003e","brand":"Tuxedo Tracks","offers":[{"title":"Default Title","offer_id":54265051513198,"sku":null,"price":10.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0999\/2726\/1550\/files\/Song_Lit_Thumbnail.png?v=1780752030"},{"product_id":"br-0008","title":"Neuling, Hermann - Bagatelle - for Fr. Horn \u0026 Piano","description":"\u003cp\u003e\u003cmeta charset=\"utf-8\"\u003eA custom streaming practice\/rehearsal piano track for \u003cstrong\u003eBagatelle - for Low Horn \u0026amp; Piano\u003c\/strong\u003e,\u003cbr\u003eby Hermann Neuling.\u003c\/p\u003e\n\u003cp\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cspan\u003eNeuling was a low horn player for the Staatsoper Unter den Linden in Berlin during the early twentieth century. He wrote this piece to demonstrate the rich lower register of the instrument and it famously became a highly requested audition requirement in the 1980s. Legend has it that a candidate for the Berlin Philharmonic played it successfully without ever hearing the piano part before the audition. It stands as a decent Neoclassical challenge that demands finesse (and a little humor) from the soloist.\u003c\/span\u003e\u003cspan\u003e \u003cbr\u003e\u003cbr\u003e\u003c\/span\u003e\u003cspan\u003e\u003cmeta charset=\"utf-8\"\u003e🎹 Thoughts From the Piano Bench: With soime of these start and stop concert pieces, I'm curious if people find this structure useful, or if I should just record the piece in chunks and then musicians can activate whichever 'chunk' they want to enter. Hopefully my conducting and general navigation through all the short cadenza lines is up to par, but happy to accept feedback if anyone has thoughts! Better to figure out a good system now, especially if I tackle more Bozza or other Paris Conservatory concours pieces, lots of segmented rep like this in the near future.\u003c\/span\u003e\u003c\/p\u003e","brand":"Tuxedo Tracks","offers":[{"title":"Standard Unlock","offer_id":54379705467246,"sku":null,"price":15.0,"currency_code":"USD","in_stock":true},{"title":"Founding Sponsor","offer_id":54379705500014,"sku":null,"price":25.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0999\/2726\/1550\/files\/horn.png?v=1783207261"},{"product_id":"mt-0009-ebm","title":"Music Man, The - Till There Was You (EbM)","description":"\u003cp\u003e\u003cmeta charset=\"utf-8\"\u003eA custom streaming practice\/rehearsal piano track for \u003cstrong\u003eTill There Was You,\u003c\/strong\u003e\u003cbr\u003efrom \u003cem\u003eThe Music Man\u003c\/em\u003e,\u003cbr\u003eby Meridith Willson.\u003c\/p\u003e\n\u003cp\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cspan\u003eMeredith Willson originally penned an early version of this tune for an unproduced show before recycling it into The Music Man in 1957, where it acts as the emotional turning point for Marian Paroo as she confesses her change in feelings towards Harold, cementing its status as a cornerstone of golden age musical theater repertoire. \u003cbr\u003e\u003cbr\u003e🎹 Thoughts From the Bench: As a pianist I am giving some attention to all the inner voice movement in the piano - I love these rich ballads where the original full orchestration includes so much lugubrious chromaticism (lugubrious chromaticism, new band name, I call dibs). While yes I enjoy giving a little more motion to the B section, don't be in such a hurry that you don't take some emotional cues from the hints of sour dissonance in the piano - there's some good crunchy chords in there that you can use as inspiration for tension \u0026amp; release in your phrasing. Tons of places to dangle the audience and make them wait, I've shown some here but with your live pianist you can decide how extravagant you'd like to be! Enjoy. \u003c\/span\u003e\u003c\/p\u003e","brand":"Tuxedo Tracks","offers":[{"title":"Standard Unlock","offer_id":54379704910190,"sku":null,"price":15.0,"currency_code":"USD","in_stock":true},{"title":"Founding Sponsor","offer_id":54379704942958,"sku":null,"price":25.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0999\/2726\/1550\/files\/Musical_Theater_Thumbnail.png?v=1780752030"},{"product_id":"op-0010-bbm","title":"Mozart, W.A. - Le Nozze Di Figaro, K. 492 - Voi, che sapete (BbM)","description":"\u003cp\u003e\u003cmeta charset=\"utf-8\"\u003eA custom streaming practice\/rehearsal piano track for \u003cstrong\u003eVoi, che sapete,\u003c\/strong\u003e\u003cbr\u003efrom \u003cem\u003eLe Nozze Di Figaro\u003c\/em\u003e,\u003cbr\u003eby Wolfgang Amadeus Mozart.\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eCherubino is essentially a teenager Going Through Changes and trying to figure out what love actually feels like, and Mozart captures that frantic, fluttering heartbeat perfectly in the orchestration. This aria happens right after the young page is caught hiding and is forced to perform a song he wrote for the Countess, creating a scene of awkward vulnerability on stage. \u003cbr\u003e\u003cbr\u003e🎹 Thoughts From the Bench: Consistency is what makes this (or really any classical era or earlier work) difficult for the piano. Yes it's easy to play the steady articulation of the LH for 8 measures or 16, but the odds of getting a complete run without a bunch of notes sticking out or varying in length is what makes me sweat compared to some thick 20th century piano part that just makes a wash of sound. Vocally, of course you have a generous handful of Mozart 2-note slurs to keep light, but also note the couple of opportunities to terrace your dynamics during sequences during the last third of the piece before the recap. \u003c\/span\u003e\u003c\/p\u003e","brand":"Tuxedo Tracks","offers":[{"title":"Default Title","offer_id":54265051611502,"sku":null,"price":12.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0999\/2726\/1550\/files\/Opera_Thumbnail.png?v=1780752030"},{"product_id":"op-0011","title":"Menotti, Gian Carlo - The Old Maid and the Thief - Steal me, sweet thief","description":"\u003cp\u003e\u003cmeta charset=\"utf-8\"\u003eA custom streaming practice\/rehearsal piano track for \u003cstrong\u003eSteal me, sweet thief,\u003c\/strong\u003e\u003cbr\u003efrom \u003cem\u003eThe Old Maid and the Thief\u003c\/em\u003e,\u003cbr\u003eby Gian Carlo Menotti.\u003c\/p\u003e\n\u003cp\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cspan\u003eMenotti originally wrote the opera directly for NBC radio back in 1939!\u003cbr\u003e\u003cbr\u003eIn this scene, the clever young maid Laetitia is plotting to keep the handsome houseguest Bob around by convincing her spinster boss to start stealing from the neighbors. She is entirely frustrated with waiting around for romance to happen and decides that just taking exactly what she wants is the only logical way forward. \u003cbr\u003e\u003cbr\u003e\u003cmeta charset=\"utf-8\"\u003e🎹 Thoughts From the Piano Bench: Dynamics dynamics dynamics. The sudden mood swings are honestly easier to put together in person, since your pianist can look to you for melodramatic intake of breath. I also like advising that some of the sections where you are complaining (\"he eats and drinks and sleeps. He talks of baseball and boxing\") can sort of feel heavy on the beat, just plodding along with Laetitia's gripes about Bob's mundane behaviors when she longs for a romantic sweeping guestures.\u003c\/span\u003e\u003c\/p\u003e","brand":"Tuxedo Tracks","offers":[{"title":"Standard Unlock","offer_id":54379702976878,"sku":null,"price":15.0,"currency_code":"USD","in_stock":true},{"title":"Founding Sponsor","offer_id":54379703009646,"sku":null,"price":25.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0999\/2726\/1550\/files\/Opera_Thumbnail.png?v=1780752030"},{"product_id":"mt-0012-cm","title":"Last Five Years, The - Still Hurting (CM)","description":"\u003cp\u003e\u003cmeta charset=\"utf-8\"\u003eA custom streaming practice\/rehearsal piano track for \u003cstrong\u003eStill Hurting,\u003c\/strong\u003e\u003cbr\u003efrom \u003cem\u003eThe Last 5 Years\u003c\/em\u003e,\u003cbr\u003eby Jason Robert Brown.\u003c\/p\u003e\n\u003cp\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cspan\u003eJason Robert Brown opens his two-person musical with this devastating solo. Cathy sits alone at the end of her marriage reading a farewell note from her husband Jamie. The song demands immense emotional vulnerability right out of the gate since the audience has no prior context for their relationship. It requires the singer to ground themselves immediately and build an arc of betrayal and heartbreak that anchors the entire rest of the show. \u003cbr\u003e\u003cbr\u003e\u003cmeta charset=\"utf-8\"\u003e🎹 Thoughts From the Piano Bench: I hope this gets a few downloads because I actually practiced that string interlude 😤. Especially playing through this by myself and having to audiate the voice part, this is a song that the tempo can pick up a couple clicks if you're not focused on 'living in it'. Yes the recurring L5Y motive is very effective, but I just love love love those tense chord progressions during the bridge. In a live situation there are a couple of balance issues to be aware of, be careful for example in the second verse as the piano texture thickens but the voice stays in that bottom-of-the-staff register, easy for some words to get swallowed up.\u003c\/span\u003e\u003c\/p\u003e","brand":"Tuxedo Tracks","offers":[{"title":"Standard Unlock","offer_id":54379701829998,"sku":null,"price":15.0,"currency_code":"USD","in_stock":true},{"title":"Founding Sponsor","offer_id":54379701862766,"sku":null,"price":25.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0999\/2726\/1550\/files\/Musical_Theater_Thumbnail.png?v=1780752030"},{"product_id":"op-0013-dm","title":"Gluck, Christoph Willibald - Paride ed Elena, Wq. 39 - O del mio dolce ardor (dm)","description":"\u003cp\u003e\u003cmeta charset=\"utf-8\"\u003eA custom streaming practice\/rehearsal piano track for \u003cstrong\u003eO del mio dolce ardor,\u003c\/strong\u003e\u003cbr\u003efrom \u003cem\u003eParide ed Elena\u003c\/em\u003e,\u003cbr\u003eby Christoph Willibald Gluck.\u003cbr\u003e\u003cmeta charset=\"utf-8\"\u003eThis is the d minor listing, f minor is also available.\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cspan\u003eThis aria comes from Gluck's opera Paride ed Elena and is sung by the character Paris as he expresses his intense longing and romantic obsession for Helen. Gluck was a master at stripping away the excess ornamentation of his era to focus on pure emotion. The short ascending cadenza lines have to walk the tightrope of impassioned singing with the lightness of Gluck's French \u0026amp; Italian classical operatic style. Interestingly, this opera is the least performed of the three he wrote while in Vienna (Orfeo ed Euridice and Alceste being the other two). Nevertheless, this aria at least has made its way as a cornerstone of solid arias for students to cut their teeth on some classically dramatic singing. \u003cbr\u003e\u003cbr\u003e\u003cmeta charset=\"utf-8\"\u003e🎹 Thoughts From the Piano Bench: I already mentioned the tricky balance for the vocalist so just from a pianist's perspective, this is one of those deceptively simple reductions. You don't want to do TOO much with the waxing and waning of the ostinato underneath the solo lines, but you don't want it to be stagnant either. When you have the rare moments where you introduce a melodic idea while the vocalist breathes, make sure to not rely toooo much on pedal for continuing the legato. Classical era pedaling for reductions like these is such a nuanced thing: if you just play this dry like you might some Clementi or early Beethoven\/Mozart solo piano works, it'll sound so clunky and nothing like the hushed tone of spiccato strings, so it needs SOME pedal just for connection of all the repeated notes, but never can get blurry. Easy enough to do for a couple phrases, hard to do consistently enough to get through a full run of the piece the way you want.\u003c\/span\u003e\u003c\/p\u003e","brand":"Tuxedo Tracks","offers":[{"title":"Default Title","offer_id":54379682005358,"sku":null,"price":10.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0999\/2726\/1550\/files\/Opera_Thumbnail.png?v=1780752030"},{"product_id":"op-0014-fm","title":"Gluck, Christoph Willibald - Paride ed Elena, Wq. 39 - O del mio dolce ardor (fm)","description":"\u003cp\u003e\u003cmeta charset=\"utf-8\"\u003eA custom streaming practice\/rehearsal piano track for \u003cstrong\u003eO del mio dolce ardor\u003c\/strong\u003e\u003cbr\u003efrom \u003cem\u003eParide ed Elena\u003c\/em\u003e,\u003cbr\u003eby Christoph Willibald Gluck.\u003cbr\u003e\u003cmeta charset=\"utf-8\"\u003eThis is the f minor listing, d minor is also available.\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThis aria comes from Gluck's opera Paride ed Elena and is sung by the character Paris as he expresses his intense longing and romantic obsession for Helen. Gluck was a master at stripping away the excess ornamentation of his era to focus on pure emotion. The short ascending cadenza lines have to walk the tightrope of impassioned singing with the lightness of Gluck's French \u0026amp; Italian classical operatic style. Interestingly, this opera is the least performed of the three he wrote while in Vienna (Orfeo ed Euridice and Alceste being the other two). Nevertheless, this aria at least has made its way as a cornerstone of solid arias for students to cut their teeth on some classically dramatic singing. \u003cbr\u003e\u003cbr\u003e\u003cmeta charset=\"utf-8\"\u003e🎹 Thoughts From the Piano Bench: I already mentioned the tricky balance for the vocalist so just from a pianist's perspective, this is one of those deceptively simple reductions. You don't want to do TOO much with the waxing and waning of the ostinato underneath the solo lines, but you don't want it to be stagnant either. When you have the rare moments where you introduce a melodic idea while the vocalist breathes, make sure to not rely toooo much on pedal for continuing the legato. Classical era pedaling for reductions like these is such a nuanced thing: if you just play this dry like you might some Clementi or early Beethoven\/Mozart solo piano works, it'll sound so clunky and nothing like the hushed tone of spiccato strings, so it needs SOME pedal just for connection of all the repeated notes, but never can get blurry. Easy enough to do for a couple phrases, hard to do consistently enough to get through a full run of the piece the way you want.\u003c\/span\u003e\u003c\/p\u003e","brand":"Tuxedo Tracks","offers":[{"title":"Default Title","offer_id":54265051742574,"sku":null,"price":10.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0999\/2726\/1550\/files\/Opera_Thumbnail.png?v=1780752030"},{"product_id":"mt-0015-cm","title":"Fiddler on the Roof - Far From the Home I Love (cm)","description":"\u003cp\u003e\u003cmeta charset=\"utf-8\"\u003eA custom streaming practice\/rehearsal piano track for \u003cstrong\u003eFar From the Home I Love\u003c\/strong\u003e\u003cbr\u003efrom \u003cem\u003eFiddler on the Roof\u003c\/em\u003e,\u003cbr\u003eby Bock \u0026amp; Harnick.\u003c\/p\u003e\n\u003cp\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cspan\u003eThis iconic piece by the legendary duo Bock \u0026amp; Harnick is a solid selection for musical theater auditions, vocal juries, or acting through song classes. \u003c\/span\u003e\u003cspan\u003eHodel sings this moving number as she prepares to leave her family and everything she knows to join her fiancé in a Siberian labor camp. Bock \u0026amp; Harnick capture an incredible mix of heartbreak and resolute hope in this score. The melody is rooted in traditional Jewish musical modes that give it a timeless and aching quality. You will want to lean into the simplicity of the vocal line rather than overcomplicating it with modern pop stylings.\u003c\/span\u003e\u003cspan\u003e \u003cbr\u003e\u003cbr\u003e\u003c\/span\u003e\u003cspan\u003e\u003cmeta charset=\"utf-8\"\u003e🎹 Thoughts From the Piano Bench: This is more \"fun context\" but this song was one of the first ones that started me down the path to making this business - a couple years ago a student I played for asked me to make a track for this because they couldn't find a good one online. I was genuinely surprised; is this not a super popular song? Anyway, I've made a couple recordings of it over the years, glad to have this one up and readily available. \u003c\/span\u003e\u003c\/p\u003e","brand":"Tuxedo Tracks","offers":[{"title":"Standard Unlock","offer_id":54379681481070,"sku":"100","price":15.0,"currency_code":"USD","in_stock":true},{"title":"Founding Sponsor","offer_id":54379681513838,"sku":"100","price":25.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0999\/2726\/1550\/files\/Musical_Theater_Thumbnail.png?v=1780752030"},{"product_id":"as-0016-fm","title":"Fauré, Gabriel - 2 Songs, Op. 4 - Lydia (FM)","description":"\u003cp\u003e\u003cmeta charset=\"utf-8\"\u003eA custom streaming practice\/rehearsal piano track for \u003cstrong\u003eLydia\u003c\/strong\u003e\u003cbr\u003efrom \u003cem\u003e2 Songs\u003c\/em\u003e,\u003cbr\u003eby Gabriel Fauré.\u003cbr\u003e\u003cmeta charset=\"utf-8\"\u003eThis is the F Major listing, Eb Major is also available.\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cspan\u003eGabriel Fauré's exquisite French art song \"Lydia\" was written when he was around 25 years old, using a poem by Leconte de Lisle as his foundation. He cleverly leans into the title of the poem by utilizing the Lydian mode, raising the fourth scale degree to give the melody a floating and slightly unresolved celestial quality. It stands out as one of his earliest masterworks, shedding the heavier romanticism of the era in favor of the pure, distilled elegance that would eventually define French vocal repertoire. \u003cbr\u003e\u003cbr\u003e🎹 Thoughts From the Bench: One of the reasons this is such a great song to work on ensembally is the for both performers to feel the amount of time needed for the breaths. It's not a full luftpause, it's just a little daylight in between phrases to allow the previous thought to finish and gather air for the following. I'm keeping a close eye on the voicing of all my chords to ensure the top line sings right along with you, very duet-like. Those two bar phrase arcs at the ends of each verse can have a little more of that French Romanticism present - lead and soar!\u003c\/span\u003e\u003c\/p\u003e","brand":"Tuxedo Tracks","offers":[{"title":"Default Title","offer_id":54265051808110,"sku":null,"price":10.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0999\/2726\/1550\/files\/Song_Lit_Thumbnail.png?v=1780752030"},{"product_id":"as-0017-ebm","title":"Fauré, Gabriel - 2 Songs, Op. 4 - Lydia (EbM)","description":"\u003cp\u003e\u003cmeta charset=\"utf-8\"\u003eA custom streaming practice\/rehearsal piano track for \u003cstrong\u003eLydia,\u003c\/strong\u003e\u003cbr\u003efrom \u003cem\u003e2 Songs\u003c\/em\u003e,\u003cbr\u003eby Gabriel Fauré.\u003cbr\u003eThis is the Eb Major listing, F Major is also available.\u003c\/p\u003e\n\u003cp\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cspan\u003eGabriel Fauré's exquisite French art song \"Lydia\" was written when he was around 25 years old, using a poem by Leconte de Lisle as his foundation. He cleverly leans into the title of the poem by utilizing the Lydian mode, raising the fourth scale degree to give the melody a floating and slightly unresolved celestial quality. It stands out as one of his earliest masterworks, shedding the heavier romanticism of the era in favor of the pure, distilled elegance that would eventually define French vocal repertoire. \u003cbr\u003e\u003cbr\u003e🎹 Thoughts From the Bench: One of the reasons this is such a great song to work on ensembally is the for both performers to feel the amount of time needed for the breaths. It's not a full luftpause, it's just a little daylight in between phrases to allow the previous thought to finish and gather air for the following. I'm keeping a close eye on the voicing of all my chords to ensure the top line sings right along with you, very duet-like. Those two bar phrase arcs at the ends of each verse can have a little more of that French Romanticism present - lead and soar!\u003c\/span\u003e\u003c\/p\u003e","brand":"Tuxedo Tracks","offers":[{"title":"Default Title","offer_id":54265051840878,"sku":null,"price":10.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0999\/2726\/1550\/files\/Song_Lit_Thumbnail.png?v=1780752030"},{"product_id":"as-0018-em","title":"Clarke, Rebecca - Down by the Salley Gardens (em)","description":"\u003cp\u003e\u003cmeta charset=\"utf-8\"\u003eA custom streaming practice\/rehearsal piano track for \u003cstrong\u003eDown by the Salley Gardens\u003c\/strong\u003e,\u003cbr\u003eby Rebecca Clarke.\u003c\/p\u003e\n\u003cp\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cspan\u003eClarke completed her setting of William Butler Yeats's famous poem in 1919, capturing the bittersweet nostalgia of a love lost to the foolishness of youth. While many composers like Benjamin Britten and Ivor Gurney tried their hands at this text, Clarke's version is distinctively beautiful in its simplicity. She leans into the traditional folk roots of the Irish text, providing a sparse and atmospheric texture that gives the singer incredible freedom to tell the story without being overpowered.\u003c\/span\u003e\u003cspan\u003e \u003cbr\u003e\u003c\/span\u003e\u003cspan\u003e\u003cbr\u003e🎹 Thoughts From the Piano Bench:  This is one of those songs that needs to be rhythmically \u0026amp; ensembally correct (of course), BUT without sounding like either of us is counting or really hammering out the metronome of it. Making our cross rhythms of triplets and slow duples still have flow rather than being to beat-y with the 2 against 3. My real secret is that I feel the first verse as in a broad flowy cut time, and then the second half where it's a tick slower I perceive in 4 for just a little more of a staid quality.\u003c\/span\u003e\u003c\/p\u003e","brand":"Tuxedo Tracks","offers":[{"title":"Standard Unlock","offer_id":54379669553518,"sku":"100","price":15.0,"currency_code":"USD","in_stock":true},{"title":"Founding Sponsor","offer_id":54379669586286,"sku":null,"price":25.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0999\/2726\/1550\/files\/Song_Lit_Thumbnail.png?v=1780752030"},{"product_id":"ww-0019","title":"Bozza, Eugene - Aria - for Saxophone \u0026 Piano","description":"\u003cp\u003e\u003cmeta charset=\"utf-8\"\u003eA custom streaming practice\/rehearsal piano track for the \u003cstrong\u003eAria for Saxophone \u0026amp; Piano\u003c\/strong\u003e,\u003cbr\u003eby Eugene Bozza.\u003c\/p\u003e\n\u003cp\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cspan\u003eBozza penned this Aria in 1936 during his time at the Villa Medici in Rome after winning the prestigious Grand Prix de Rome. Originally dedicated to the legendary French saxophonist Marcel Mule, the piece actually borrows its melodic framework directly from the third movement of J.S. Bach's Pastorale in F Major for organ! Bozza blended classic baroque structural sensibilities with lush twentieth century French romanticism, resulting in one of the most widely performed and genuinely beloved lyrical works in the entire classical saxophone canon. \u003cbr\u003e\u003cbr\u003e🎹 Thoughts From the Bench:  I indicate SOME of the possibilities for rubato and shaping in this piece, but we\/you have to communicate clearly on exactly where we are stretching and where we are snapping back to tempo, so in your rehearsal with your own pianist be sure to drive the bus, so to speak. It's funny to me that Bozza wrote all these strange and quirky pieces, but this work for saxophone (an instrument we associate with strange and quirky pieces) instead is the most lovely aria. \u003cbr\u003e\u003cbr\u003eOne thought that I communicate with people as we rehearse is that in a lot of music (especially once you get into the romantic era and later), sudden dynamic changes do not happen in a vaccuum. If we're going from forte to piano dynamic, the piano (instrument) will need a microsecond to allow the louder transients to stop ringing, or the space that you're play in will need a hint of time to let some of the sound clear out. So the couple of super dramatic subito p's and subito pp's in this piece will have just a hint of extra time.\u003c\/span\u003e\u003c\/p\u003e","brand":"Tuxedo Tracks","offers":[{"title":"Default Title","offer_id":54265051906414,"sku":null,"price":12.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0999\/2726\/1550\/files\/sax.png?v=1783207261"},{"product_id":"mt-0020-ebm","title":"Anastasia - In My Dreams (ebm) - Flaherty \u0026 Ahrens","description":"\u003cp\u003eA custom streaming practice\/rehearsal piano track for \u003cstrong\u003eIn My Dreams\u003c\/strong\u003e\u003cbr\u003efrom \u003cem\u003eAnastasia\u003c\/em\u003e,\u003cbr\u003eby Flaherty \u0026amp; Ahrens.\u003c\/p\u003e\n\u003cp\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cspan\u003eFlaherty and Ahrens completely revitalized the music from the classic 1997 animated film when they brought this story to the Broadway stage in 2017. \"In My Dreams\" serves as the massive central 'I Want' song for Anya as she tries to piece together the shattered fragments of her childhood memories. The vocal line demands an emotional arc that starts with fragile uncertainty and explodes into a triumphant or desperate, or however you are led to portray it, declaration of hope.\u003cbr\u003e\u003cbr\u003e🎹 Thoughts From the Bench: This whole show constantly modulates and keeps the pit on their toes. Be sure to know when are where you're going to pull back the intensity and dynamic - if you park and bark and stay strong, your pianist will happily be led astray to play loud the whole time since the part is usually quite thick. Have a plan and follow your emotional contours, there's some nice poignant moments where we can bring it back down together.\u003c\/span\u003e\u003c\/p\u003e","brand":"Tuxedo Tracks","offers":[{"title":"Standard Unlock","offer_id":54379666735470,"sku":"1000","price":15.0,"currency_code":"USD","in_stock":true},{"title":"Founding Sponsor","offer_id":54379666768238,"sku":"1000","price":25.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0999\/2726\/1550\/files\/Musical_Theater_Thumbnail.png?v=1780752030"},{"product_id":"br-0021","title":"Vaughan Williams, Ralph - Concerto for Tuba - I. Allegro Moderato","description":"\u003cp\u003eA custom streaming practice\/rehearsal piano track for \u003cstrong\u003eConcerto for Tuba - I. Allegro Moderato\u003c\/strong\u003e,\u003cbr\u003eby Ralph Vaughan Williams.\u003c\/p\u003e\n\u003cp\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cspan\u003eRalph Vaughan Williams essentially put the tuba on the map as a serious solo voice when he wrote this concerto in 1954. Before this piece, the instrument was mostly relegated to holding down the bass line in the back of the orchestra. He composed it specifically for Philip Catelinet, the principal tuba player of the London Symphony Orchestra, and it demands surprising agility alongside a massive singing tone. The first movement jumps right into a bouncy, march-like energy that shows off exactly how nimble the instrument can be in the right hands. \u003cbr\u003e\u003cbr\u003e🎹 Thoughts From the Bench: Okay so one of my main thoughts with this piece is for the pianist (in this case myself) - maintaining the strict tempo through the metric modulations is a task, whenever I switch to the 6\/8 I always want to tumble forward a little bit (and I've heard that same issue with any number of pianists over the years 👀). For you, my dear soloist, we need maximum articulatory contrasts from section to section. The opening is a weighty proclamation as you set the mood, but as soon as we hit that first cantabile after square 2 it's all on you to add the lyricism and soaring melodies the piece requires - your orchestra (me) is still staccato there, so all the sustain and legato is courtesy of the soloist!\u003c\/span\u003e\u003c\/p\u003e","brand":"Tuxedo Tracks","offers":[{"title":"Standard Unlock","offer_id":54379716346222,"sku":null,"price":15.0,"currency_code":"USD","in_stock":true},{"title":"Founding Sponsor","offer_id":54379716378990,"sku":null,"price":25.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0999\/2726\/1550\/files\/tuba.png?v=1783207261"},{"product_id":"as-0033","title":"Argento, Dominick - Six Elizabethan Songs - Spring","description":"\u003cp\u003eA custom streaming practice\/rehearsal piano track for \u003cstrong\u003eSpring\u003c\/strong\u003e\u003cbr\u003efrom \u003cem\u003eSix Elizabethan Songs\u003c\/em\u003e,\u003cbr\u003eby Dominick Argento.\u003c\/p\u003e\n\u003cp\u003eWritten in 1957, Six Elizabethan Songs was one of Dominick Argento's breakthrough works and perfectly showcases his ability to set classic poetry to uniquely fresh and modern textures. The text for \"Spring\" comes from Thomas Nashe and paints a delightfully (almost manic?) picture of the changing seasons complete with bird calls and bursting blooms.\u003c\/p\u003e\n\u003cp\u003e🎹 Thoughts From the Bench: I love this set, but they're tricky to get exactly how you'd like them. Follow along looking directly at the piano part once - look at how specific Argento is about what notes to lengthen. Notice the times that it lines up with what you are singing, versus times when we are each independent; can impact the balance between us at times!\u003c\/p\u003e","brand":"Tuxedo Tracks","offers":[{"title":"Standard Unlock","offer_id":54483760873838,"sku":null,"price":15.0,"currency_code":"USD","in_stock":true},{"title":"Founding Sponsor","offer_id":54483760906606,"sku":null,"price":25.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0999\/2726\/1550\/files\/Song_Lit_Thumbnail.png?v=1780752030"},{"product_id":"as-0034","title":"Argento, Dominick - Six Elizabethan Songs - Sleep","description":"\u003cp\u003eA custom streaming practice\/rehearsal piano track for \u003cstrong\u003eSleep\u003c\/strong\u003e\u003cbr\u003efrom \u003cem\u003eSix Elizabethan Songs\u003c\/em\u003e,\u003cbr\u003eby Dominick Argento.\u003c\/p\u003e\n\u003cp\u003eContinuing our journey through the Six Elizabethan Songs, Argento transitions from the frantic energy of the opening movement into a state of total tranquility (except for a couple intrusive restless thoughts in the middle). Utilizing text by Samuel Daniel crafts a hypnotic and floating atmosphere that feels suspended in time. I've only performed this one a time or two, doesn't get done as a standalone as much as some of the others but it's gorgeous.\u003c\/p\u003e","brand":"Tuxedo Tracks","offers":[{"title":"Standard Unlock","offer_id":54483760972142,"sku":null,"price":15.0,"currency_code":"USD","in_stock":true},{"title":"Founding Sponsor","offer_id":54483761004910,"sku":null,"price":25.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0999\/2726\/1550\/files\/Song_Lit_Thumbnail.png?v=1780752030"},{"product_id":"as-0035","title":"Argento, Dominick - Six Elizabethan Songs - Winter","description":"\u003cp\u003eA custom streaming practice\/rehearsal piano track for \u003cstrong\u003eWinter\u003c\/strong\u003e\u003cbr\u003efrom \u003cem\u003eSix Elizabethan Songs\u003c\/em\u003e,\u003cbr\u003eby Dominick Argento.\u003c\/p\u003e\n\u003cp\u003eAs we hit the midway point of the Six Elizabethan Songs cycle, Argento uses a classic Shakespeare text to paint a cynical picture of the freezing cold. The music completely sheds the floating beauty of the previous movement in favor of angular melodies and aggressive articulations that mimic shivering and chattering teeth. SUPER fun piano part to play, and these two 'season' movements (Spring and Winter) are the ones that I have played the most for standalone juries and studio classes and what have you.\u003c\/p\u003e","brand":"Tuxedo Tracks","offers":[{"title":"Standard Unlock","offer_id":54483761037678,"sku":null,"price":15.0,"currency_code":"USD","in_stock":true},{"title":"Founding Sponsor","offer_id":54483761070446,"sku":null,"price":25.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0999\/2726\/1550\/files\/Song_Lit_Thumbnail.png?v=1780752030"},{"product_id":"as-0036","title":"Argento, Dominick - Six Elizabethan Songs - Dirge","description":"\u003cp\u003eA custom streaming practice\/rehearsal piano track for \u003cstrong\u003eDirge\u003c\/strong\u003e\u003cbr\u003efrom \u003cem\u003eSix Elizabethan Songs\u003c\/em\u003e,\u003cbr\u003eby Dominick Argento.\u003c\/p\u003e\n\u003cp\u003eThis movement of the Six Elizabethan Songs has always made me uneasy. Weird piano texture - those couple of resolutions to E Major are so nice, but other parts of the texture feel like jangling dissonant chimes. Tolling bells of death through the fog? Too on the nose?\u003cbr\u003e\u003c\/p\u003e","brand":"Tuxedo Tracks","offers":[{"title":"Standard Unlock","offer_id":54483761332590,"sku":null,"price":15.0,"currency_code":"USD","in_stock":true},{"title":"Founding Sponsor","offer_id":54483761365358,"sku":null,"price":25.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0999\/2726\/1550\/files\/Song_Lit_Thumbnail.png?v=1780752030"},{"product_id":"as-0037","title":"Argento, Dominick - Six Elizabethan Songs - Diaphenia","description":"\u003cp\u003eA custom streaming practice\/rehearsal piano track for \u003cstrong\u003eDiaphenia\u003c\/strong\u003e\u003cbr\u003efrom \u003cem\u003eSix Elizabethan Songs\u003c\/em\u003e,\u003cbr\u003eby Dominick Argento.\u003c\/p\u003e\n\u003cp\u003eAs we near the conclusion of the Six Elizabethan Songs, Argento abruptly pulls us out of the mourning of the previous movement and drops us into a bright, flirtatious dance. Using text by Henry Constable crafts a sweeping pastoral scene filled with bouncing meter and rapid, playful vocal lines. This piece acts as a nice palate cleanser in the set before the classy ending. Little bit of a workout for the piano though, have to decide how to split all those 3rds \u0026amp; 6ths between your hands! Andre Previn \u0026amp; Barbara Bonney take this movement lickety split, as the kids say, but I chose a more standard tempo (hire me for your recital if you want a different speed!)\u003cbr\u003e\u003c\/p\u003e","brand":"Tuxedo Tracks","offers":[{"title":"Standard Unlock","offer_id":54483761463662,"sku":null,"price":15.0,"currency_code":"USD","in_stock":true},{"title":"Founding Sponsor","offer_id":54483761496430,"sku":null,"price":25.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0999\/2726\/1550\/files\/Song_Lit_Thumbnail.png?v=1780752030"},{"product_id":"as-0038","title":"Argento, Dominick - Six Elizabethan Songs - Hymn","description":"\u003cp\u003eA custom streaming practice\/rehearsal piano track for \u003cstrong\u003eHymn\u003c\/strong\u003e\u003cbr\u003efrom \u003cem\u003eSix Elizabethan Songs\u003c\/em\u003e,\u003cbr\u003eby Dominick Argento.\u003c\/p\u003e\n\u003cp\u003eTricky ending to control! Concluding our series on the Six Elizabethan Songs, Argento uses a Ben Jonson text to build our cathartic ending. Ben Jonson, 1572-1637, described as \"the second most important English dramatist, after William Shakespeare, during the reign of James I\". See, I learn things too when I'm making these captions, now I need to check out some Ben Jonson plays.\u003c\/p\u003e\n\u003cp\u003eAnyway, this movement and Dirge I think are the two that really benefit from a more live recital space, my living room is not quite the optimal resonant space, but I hope you enjoy the conclusion to the set, it really is beautiful - and not a stodgy take on a chorale-esque ending, think this still feels unique to Argento's compositional style.\u003c\/p\u003e","brand":"Tuxedo Tracks","offers":[{"title":"Standard Unlock","offer_id":54483761561966,"sku":null,"price":15.0,"currency_code":"USD","in_stock":true},{"title":"Founding Sponsor","offer_id":54483761594734,"sku":null,"price":25.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0999\/2726\/1550\/files\/Song_Lit_Thumbnail.png?v=1780752030"},{"product_id":"as-0039-fm","title":"Beach, Amy - The Rainy Day (fm)","description":"\u003cp\u003eA custom streaming practice\/rehearsal piano track for \u003cstrong\u003eThe Rainy Day\u003c\/strong\u003e,\u003cbr\u003eby Amy Beach.\u003c\/p\u003e\n\u003cp\u003e\"The Rainy Day\" was the very first art song written by American composer Amy Beach - A gorgeous and melancholic setting of Henry Wadsworth Longfellow's famous poetry. Beach was a trailblazer in American classical music and would go on to put her stamp on large symphonic writing, but this tune was the beginning, written when she was 13. Firmly in late Romantic sensibilities, the piano mirrors the bleak imagery of a cold and dreary storm before ultimately shifting toward a message of lingering hope.\u003c\/p\u003e\n\u003cp\u003e🎹 Thoughts From the Bench: Okay this is very important lore that many vocalists might not know - the opening melody is a direct quote of the opening to the 3rd movement of Beethoven's Pathetique sonata (Pathetique in c minor whereas this is f minor, but it's a direct transposition). Amy Marcy Cheney Beach was a brilliant pianist (and concertized as a successful performer of both her own works and others'), and would of course know many of the same Great Piano Works™ that are still part of our canon today. It's fun to think about a 13 year old pianist beginning to compose and using a melody, maybe in the Beethoven sonata they were working on at the time, as a jumping off point to write a song.\u003c\/p\u003e","brand":"Tuxedo Tracks","offers":[{"title":"Default Title","offer_id":54483761660270,"sku":null,"price":10.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0999\/2726\/1550\/files\/Song_Lit_Thumbnail.png?v=1780752030"},{"product_id":"as-0040-gm","title":"Boulanger, Nadia - Versailles (gm)","description":"\u003cp\u003eA custom streaming practice\/rehearsal piano track for \u003cstrong\u003eVersailles\u003c\/strong\u003e,\u003cbr\u003eby Nadia Boulanger.\u003c\/p\u003e\n\u003cp\u003e\"Versailles\" is by 20th century French composer and legendary teaching pedagogue Nadia Boulanger. A stunning and melancholic impressionist mélodie for voice and piano with poetry by Albert Samain, this piece perfectly captures the haunting and faded glory of the famous French palace in the middle of autumn. Nadia Boulanger is perhaps best known as a highly influential composition teacher of the 20th century, but her own early vocal works are absolute impressionist gems.\u003c\/p\u003e","brand":"Tuxedo Tracks","offers":[{"title":"Default Title","offer_id":54483761758574,"sku":null,"price":10.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0999\/2726\/1550\/files\/Song_Lit_Thumbnail.png?v=1780752030"},{"product_id":"as-0041-dm","title":"Hageman, Richard - Do not go, my love (dm)","description":"\u003cp\u003eA custom streaming practice\/rehearsal piano track for \u003cstrong\u003eDo not go, my love\u003c\/strong\u003e,\u003cbr\u003eby Richard Hageman.\u003c\/p\u003e\n\u003cp\u003eA deeply dramatic and romantic art song setting of Rabindranath Tagore's poetry, this piece is a lesser-heard gem. Written in 1917,  Hageman perfectly captures the pleading and intense emotion of Tagore's text through sweeping melodic lines and dense harmonic structures.\u003c\/p\u003e\n\u003cp\u003e🎹 Thoughts From the Bench: Personally, every time I play this I always have to remember how to divvy up the ending between the hands 😅. This is a great piece to mention a concept that you probably are already aware of, but makes the ensemble in this easier once you've internalized the idea: Generally speaking, when piano is rolling chords, \"time\" starts when the final note of a rolled chord is played. In earlier eras of music or brisker pieces that we want to stay in time, we 'steal' a little time BEFORE the beat so that the final top note of a rolled chord is played right ON the beat. 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Written in 1917,  Hageman perfectly captures the pleading and intense emotion of Tagore's text through sweeping melodic lines and dense harmonic structures.\u003c\/p\u003e\n\u003cp\u003e🎹 Thoughts From the Bench: Personally, every time I play this I always have to remember how to divvy up the ending between the hands 😅. This is a great piece to mention a concept that you probably are already aware of, but makes the ensemble in this easier once you've internalized the idea: Generally speaking, when piano is rolling chords, \"time\" starts when the final note of a rolled chord is played. In earlier eras of music or brisker pieces that we want to stay in time, we 'steal' a little time BEFORE the beat so that the final top note of a rolled chord is played right ON the beat. However, in more lugubrious music like this, I don't necessarily want to start the rolled chord early (adds to much energy to the pickups), so I just stretch as needed, and then the actual BEAT happens with the final top note of the roll and we go on in time from there. \u003c\/p\u003e","brand":"Tuxedo Tracks","offers":[{"title":"Default Title","offer_id":54483761889646,"sku":null,"price":12.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0999\/2726\/1550\/files\/Song_Lit_Thumbnail.png?v=1780752030"},{"product_id":"as-0043-am","title":"Haydn, Franz Joseph - Six English Canzonettas, Hob.XXVIa:27 - A Pastoral Song (AM)","description":"\u003cp\u003eA custom streaming practice\/rehearsal piano track for \u003cstrong\u003eA Pastoral Song\u003c\/strong\u003e\u003cbr\u003efrom \u003cem\u003eSix English Canzonettas\u003c\/em\u003e,\u003cbr\u003eby Franz Joseph Haydn.\u003c\/p\u003e\n\u003cp\u003eWritten in 1794 during his time in London, Haydn set this beautiful text by Scottish poet Anne Hunter to create an absolute gem of the English classical repertoire. The speaker is lamenting the absence of her beloved, yet the music retains some classical lightness and elegance rather than sinking into total despair. I'll admit I don't think it's as captivating as some of Haydn's other output\/arias and oratorios, but it is neat to play Haydn songs that were actually written for piano rather than an orchestral reduction as with most of his vocal works.\u003cbr\u003e\u003c\/p\u003e","brand":"Tuxedo Tracks","offers":[{"title":"Default Title","offer_id":54483761987950,"sku":null,"price":12.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0999\/2726\/1550\/files\/Song_Lit_Thumbnail.png?v=1780752030"},{"product_id":"as-0047-em","title":"Musto, John - Shadow of the Blues - Litany (EM)","description":"\u003cp\u003eA custom streaming practice\/rehearsal piano track for \u003cstrong\u003eLitany\u003c\/strong\u003e\u003cbr\u003efrom \u003cem\u003eShadow of the Blues\u003c\/em\u003e,\u003cbr\u003eby John Musto.\u003c\/p\u003e\n\u003cp\u003eJohn Musto composed \"Litany\" as a core movement of his acclaimed song cycle \"Shadow of the Blues,\" choosing Hughes's powerful text to anchor the work. The poem operates as a quiet, mournful prayer, and Musto supports this with a brooding harmonic language that feels distinctly American. This song in particular reminds me of something akin to Copland's somber moments. The music perfectly captures the stillness and weight of the text, requiring the singer to sustain long, spun-out phrases over a gently syncopated lush piano texture.\u003c\/p\u003e","brand":"Tuxedo Tracks","offers":[{"title":"Standard Unlock","offer_id":54483762053486,"sku":null,"price":15.0,"currency_code":"USD","in_stock":true},{"title":"Founding Sponsor","offer_id":54483762086254,"sku":null,"price":25.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0999\/2726\/1550\/files\/Song_Lit_Thumbnail.png?v=1780752030"},{"product_id":"br-0050","title":"Vaughan Williams, Ralph - Concerto for Tuba - II. Romance","description":"\u003cp\u003eA custom streaming practice\/rehearsal piano track for \u003cstrong\u003eConcerto for Tuba - mvmt II. Romance\u003c\/strong\u003e,\u003cbr\u003eby Ralph Vaughan Williams.\u003c\/p\u003e\n\u003cp\u003eWritten in 1954 for Philip Catelinet, the principal tuba of the London Symphony Orchestra, this piece put the solo possibilities for tuba on the map. Vaughan Williams crafted this Romanza movement to showcase the instrument's capacity for breathtaking lyricism and vocal-like phrasing. The music requires breath control and a velvety tone to navigate the sweeping, sustained melodies without losing the underlying pulse. Especially at a couple of the climactic moments, be careful that your subdivisions remain proportional - you can control the tempo as long as your mental 'conducting' is clear!\u003c\/p\u003e\n\u003cp\u003eNo, I don't know what happened to the aspect ratio of this video, apologies for that. This was filmed right when I was switching back to my 'real' camera instead of using the webcam I had setup for the first batch of tracks, so I must have had something set strangely with my capture card or with OBS. When I get around to filming mvmt. 3 it'll be back to normal!\u003c\/p\u003e","brand":"Tuxedo Tracks","offers":[{"title":"Standard Unlock","offer_id":54483762184558,"sku":null,"price":15.0,"currency_code":"USD","in_stock":true},{"title":"Founding Sponsor","offer_id":54483762217326,"sku":null,"price":25.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0999\/2726\/1550\/files\/tuba.png?v=1783207261"},{"product_id":"mt-0024-cm","title":"Little Mermaid, The - Part of Your World (CM) - Menken \u0026 Ashman\/Slater","description":"\u003cp\u003eA custom streaming practice\/rehearsal piano track for \u003cstrong\u003ePart of Your World\u003c\/strong\u003e\u003cbr\u003efrom \u003cem\u003eLittle Mermaid, The\u003c\/em\u003e,\u003cbr\u003eby Alan Menken \u0026amp; Ashman\/Slater.\u003c\/p\u003e\n\u003cp\u003eWritten in 1989 for the animated film and later adapted for the 2008 Broadway stage production, this piece fundamentally changed the landscape of modern musical theater. Howard Ashman and Alan Menken brought the structure of a classic Broadway \"I Want\" song to feature animation, giving Ariel a deeply human and urgent desire to explore a world she barely understands. The lyrics are conversational and peppered with pauses as she searches for the right human words. This gives the performer a good amount of freedom to act through the song rather than just singing pretty phrases.\u003c\/p\u003e\n\u003cp\u003e🎹 Thoughts From the Bench: Pacing is everything when we collaborate on this one, you'll see me try and pace through some of the spoken interjections - apologies if you want more time or want to imbue some of Ariel's lines with more urgency, I picked a middle-of-the-road amount of time! That'll be the things you can tweak with your live pianist. I think one of the reasons this song is so popular with such a wide range of ages is that it can play in a bunch of different directions; are you earnestly yearning? Do you lean into the comedy of the fish-out-of-water (ha) lyricism? Are you restless? Resentful? Ingénue? It's a great song to explore, which is why it is a great tune for younger singers earlier in the journey of emoting while performing as well.\u003c\/p\u003e","brand":"Tuxedo Tracks","offers":[{"title":"Standard Unlock","offer_id":54483762315630,"sku":null,"price":15.0,"currency_code":"USD","in_stock":true},{"title":"Founding Sponsor","offer_id":54483762348398,"sku":null,"price":25.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0999\/2726\/1550\/files\/Musical_Theater_Thumbnail.png?v=1780752030"},{"product_id":"mt-0025-cm","title":"Pirates! The Penzance Musical - I Am the Pirate King (CM) - Gilbert \u0026 Sullivan (adapted by Rupert Holmes)","description":"\u003cp\u003eA custom streaming practice\/rehearsal piano track for \u003cstrong\u003eI Am the Pirate King\u003c\/strong\u003e\u003cbr\u003efrom \u003cem\u003ePirates! The Penzance Musical\u003c\/em\u003e,\u003cbr\u003eby Gilbert \u0026amp; Sullivan (adapted by Rupert Holmes).\u003c\/p\u003e\n\u003cp\u003eRupert Holmes brought a fresh, modern theatricality to the beloved 1879 Gilbert and Sullivan operetta with this 2025 adaptation. The Pirate King is an exaggerated caricature of a swashbuckling villain who views his pirate lifestyle as a deeply moral and noble calling compared to the corrupt politicians on dry land.\u003c\/p\u003e\n\u003cp\u003e🎹 Thoughts From the Bench: I didn't know this adaptation\/rework existed until recently! A fun twist on one of the most well-trod operettas - I've subbed as a rehearsal pianist for a couple productions of Pirates over the years and have played some of the hits a whole bunch of times, so it's funny to be cruising through familiar territory only to be suddenly hit with some modern musical theater walking bass and comping. I should go record the parallel 'original' versions for comparison, super fun project.\u003c\/p\u003e","brand":"Tuxedo Tracks","offers":[{"title":"Standard Unlock","offer_id":54483762446702,"sku":null,"price":15.0,"currency_code":"USD","in_stock":true},{"title":"Founding Sponsor","offer_id":54483762479470,"sku":null,"price":25.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0999\/2726\/1550\/files\/Musical_Theater_Thumbnail.png?v=1780752030"},{"product_id":"mt-0026-ebm","title":"Pirates! The Penzance Musical - Modern Major General (EbM) - Gilbert \u0026 Sullivan (adapted by Rupert Holmes)","description":"\u003cp\u003eA custom streaming practice\/rehearsal piano track for \u003cstrong\u003eModern Major General,\u003c\/strong\u003e\u003cbr\u003efrom \u003cem\u003ePirates! The Penzance Musical\u003c\/em\u003e,\u003cbr\u003eby Gilbert \u0026amp; Sullivan (adapted by Rupert Holmes).\u003c\/p\u003e\n\u003cp\u003eRupert Holmes brought a fresh, modern theatricality to the beloved 1879 Gilbert and Sullivan operetta with this 2025 adaptation. This tune keeps it fairly close to the original, actually. Respectful move by Holmes ;)\u003c\/p\u003e\n\u003cp\u003e🎹 Thoughts From the Bench: It's Modern Major General, possibly the most famous english patter aria. What tempo do you want, and can we hear every word of your diction? 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The Penzance Musical\u003c\/em\u003e,\u003cbr\u003eby Gilbert \u0026amp; Sullivan (adapted by Rupert Holmes).\u003c\/p\u003e\n\u003cp\u003eIn the same tradition of Gilbert and Sullivan's original ironic setting, \"With Cat-Like Tread\" features a band of pirates supposedly sneaking onto Major-General Stanley's estate with absolute silence, while simultaneously singing at the absolute top of their lungs and stamping their feet. The 2025 Broadway adaptation by Rupert Holmes retains this brilliant central joke, where the sheer volume of the \"sneaking\" gives them away immediately. Get it? They're sneaking, but the orchestra and the ensemble are actually making a ton of noise? Ehh? EH?? Good stuff.\u003c\/p\u003e","brand":"Tuxedo Tracks","offers":[{"title":"Standard Unlock","offer_id":54483762807150,"sku":null,"price":15.0,"currency_code":"USD","in_stock":true},{"title":"Founding Sponsor","offer_id":54483762839918,"sku":null,"price":25.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0999\/2726\/1550\/files\/Musical_Theater_Thumbnail.png?v=1780752030"},{"product_id":"mt-0030-cm","title":"Pirates! The Penzance Musical - We're All From Someplace Else (CM) - Gilbert \u0026 Sullivan (adapted by Rupert Holmes)","description":"\u003cp\u003eA custom streaming practice\/rehearsal piano track for \u003cstrong\u003eWe're All From Someplace Else,\u003c\/strong\u003e\u003cbr\u003efrom \u003cem\u003ePirates! The Penzance Musical\u003c\/em\u003e,\u003cbr\u003eby Gilbert \u0026amp; Sullivan (adapted by Rupert Holmes).\u003c\/p\u003e\n\u003cp\u003eThis is a complete live piano rehearsal track for \"We're All From Some Place Else\" from the 2025 Rupert Holmes adaptation of Pirates! The Penzance Musical, originally composed by Arthur Sullivan with lyrics by W.S. Gilbert. A New Orleans jazz finale replacing the traditional operetta ending, this ensemble piece is a fantastic choice for musical theater showcases, collegiate scene studies, and energetic choral performances.\u003c\/p\u003e\n\u003cp\u003eFor this 2025 Broadway adaptation, Rupert Holmes reimagined the famous \"For he is an Englishman\" aria (from an entirely different G\u0026amp;S operetta, HMS Pinafore!) to give a little modern satire flair to the finale. The original melody is still recognizable under the hood, but arranger Joseph Joubert transformed it into a block party that perfectly wraps up the updated New Orleans setting for the show.\u003c\/p\u003e","brand":"Tuxedo Tracks","offers":[{"title":"Standard Unlock","offer_id":54483762872686,"sku":null,"price":15.0,"currency_code":"USD","in_stock":true},{"title":"Founding Sponsor","offer_id":54483762905454,"sku":null,"price":25.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0999\/2726\/1550\/files\/Musical_Theater_Thumbnail.png?v=1780752030"},{"product_id":"mt-0031-cm","title":"Addams Family, The - Pulled (c#m) - Lippa, Andrew","description":"\u003cp\u003eA custom streaming practice\/rehearsal piano track for \u003cstrong\u003ePulled\u003c\/strong\u003e\u003cbr\u003efrom \u003cem\u003eThe \u003c\/em\u003e\u003cem\u003eAddams Family Musical,\u003c\/em\u003e\u003cbr\u003eby Andrew Lippa.\u003c\/p\u003e\n\u003cp\u003eThis recording is in c# minor, d minor is also available.\u003c\/p\u003e\n\u003cp\u003eThis song was already part of the show when it had it's 2009 pre-Broadway premiere in Chicago, and has been a solid cornerstone of the modern rep ever since. The song requires a mix of deadpan comedic timing and explosive vocal energy to really sell the absolute panic she feels about falling in love. It gives a singer a playground to make distinct physical acting choices while navigating the bouncy melodic lines.\u003c\/p\u003e\n\u003cp\u003e🎹 Thoughts From the Bench: I used to be the pianist for a private voice studio in Georgia and played this song hundreds of times. This isn't helpful collaborative info, just a fun fact. It's my description, I can relive the past if I want to. Finally played the whole show a couple years ago and was surprised how early on this tune is. Also another side note, but I was reading about how the intro song for the ensemble used to be a darker number in Chicago pre-broadway shows (\"Clandango\"), that was replaced with \"When You're an Addams\" for the New York premieres in 2010, so now I'm curious and want to track down music for the earlier version!\u003c\/p\u003e","brand":"Tuxedo Tracks","offers":[{"title":"Standard Unlock","offer_id":54483762938222,"sku":null,"price":15.0,"currency_code":"USD","in_stock":true},{"title":"Founding Sponsor","offer_id":54483762970990,"sku":null,"price":25.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0999\/2726\/1550\/files\/Musical_Theater_Thumbnail.png?v=1780752030"},{"product_id":"mt-0032-dm","title":"Addams Family, The - Pulled (dm) - Lippa, Andrew","description":"\u003cp\u003eA custom streaming practice\/rehearsal piano track for \u003cstrong\u003ePulled\u003c\/strong\u003e\u003cbr\u003efrom \u003cem\u003eThe \u003c\/em\u003e\u003cem\u003eAddams Family,\u003c\/em\u003e\u003cbr\u003eby Andrew Lippa.\u003c\/p\u003e\n\u003cp\u003eThis recording is in d minor, c# minor is also available.\u003c\/p\u003e\n\u003cp\u003eThis song was already part of the show when it had it's 2009 pre-Broadway premiere in Chicago, and has been a solid cornerstone of the modern rep ever since. The song requires a mix of deadpan comedic timing and explosive vocal energy to really sell the absolute panic she feels about falling in love. It gives a singer a playground to make distinct physical acting choices while navigating the bouncy melodic lines.\u003c\/p\u003e\n\u003cp\u003e🎹 Thoughts From the Bench: I used to be the pianist for a private voice studio in Georgia and played this song hundreds of times. This isn't helpful collaborative info, just a fun fact. It's my description, I can relive the past if I want to. Finally played the whole show a couple years ago and was surprised how early on this tune is. Also another side note, but I was reading about how the intro song for the ensemble used to be a darker number in Chicago pre-broadway shows (\"Clandango\"), that was replaced with \"When You're an Addams\" for the New York premieres in 2010, so now I'm curious and want to track down music for the earlier version!\u003c\/p\u003e","brand":"Tuxedo Tracks","offers":[{"title":"Standard Unlock","offer_id":54483763003758,"sku":null,"price":15.0,"currency_code":"USD","in_stock":true},{"title":"Founding Sponsor","offer_id":54483763036526,"sku":null,"price":25.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0999\/2726\/1550\/files\/Musical_Theater_Thumbnail.png?v=1780752030"},{"product_id":"op-0045-gm","title":"Menotti, Giancarlo - The Medium - The Black Swan (gm)","description":"\u003cp\u003eA custom streaming practice\/rehearsal piano track for \u003cstrong\u003eThe Black Swan\u003c\/strong\u003e\u003cbr\u003efrom \u003cem\u003eMedium, The\u003c\/em\u003e,\u003cbr\u003eby Giancarlo Menotti.\u003c\/p\u003e\n\u003cp\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cspan\u003eWritten in 1946, The Medium explores the terrifying psychological breakdown of a fraudulent spiritualist. The character Monica sings \"The Black Swan\" as a dark, hypnotic lullaby to calm the agitated mute servant Toby. Menotti fuses a simple folk style melody with a creeping and dissonant piano texture to perfectly capture the unsettling atmosphere of a séance parlor dripping with paranoia. As I've mentioned in a couple videos at this point, I'm leaving time for you to breathe in climactic moments without needing to cut short any dramatic phrasing. Your pianist will wait for you, don't rob the music of any of its intensity!\u003c\/span\u003e\u003c\/p\u003e","brand":"Tuxedo Tracks","offers":[{"title":"Standard Unlock","offer_id":54483763069294,"sku":null,"price":15.0,"currency_code":"USD","in_stock":true},{"title":"Founding Sponsor","offer_id":54483763102062,"sku":null,"price":25.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0999\/2726\/1550\/files\/Opera_Thumbnail.png?v=1780752030"},{"product_id":"op-0046-fm","title":"Mozart, W.A. - The Magic Flute - O Isis Und Osiris (FM)","description":"\u003cp\u003eA custom streaming practice\/rehearsal piano track for \u003cstrong\u003eO Isis Und Osiris\u003c\/strong\u003e\u003cbr\u003efrom \u003cem\u003eThe \u003c\/em\u003e\u003cem\u003eMagic Flute,\u003c\/em\u003e\u003cbr\u003eby W.A. Mozart.\u003c\/p\u003e\n\u003cp\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cspan\u003eHere is the iconic bass aria from Wolfgang Amadeus Mozart's 1791 opera, The Magic Flute. Known for its profound depth and solemn beauty, this piece is a frequent and essential choice for collegiate vocal juries, young artist program auditions, and professional operatic repertoire building. \u003cbr\u003e\u003cbr\u003eMozart wrote the role of Sarastro for the bass Franz Xaver Gerl, who clearly had a beastly lower register. Sung at the beginning of the second act, this aria acts as a majestic prayer to the gods to protect Tamino and Papageno as they face their trials. The music demands a truly grounded, noble stage presence and heavily relies on the singer's ability to maintain a gorgeous spinning tone even when the melodic line dips into the basement of the vocal range. \u003cbr\u003e\u003cbr\u003e...BUT, I also think there's a kernel of possible humor just in how straight-faced Sarastro is played against the flightiness and manic energy of some of the other characters. Just bringing the scene to a halt to sing a couple of ponderous moral sermons feels very Mozart-brand humor (especially considering the other funny stories about why the Queen of the Night aria is written the way it was, etc).\u003c\/span\u003e\u003c\/p\u003e","brand":"Tuxedo Tracks","offers":[{"title":"Default Title","offer_id":54483763134830,"sku":null,"price":10.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0999\/2726\/1550\/files\/Opera_Thumbnail.png?v=1780752030"},{"product_id":"op-0048-fm","title":"Purcell, Henry - I'll Sail Upon the Dog Star (FM)","description":"\u003cp\u003eA custom streaming practice\/rehearsal piano track for \u003cstrong\u003eI'll Sail Upon the Dog Star,\u003c\/strong\u003e\u003cbr\u003efrom \u003cem\u003eA Fool's Preferment\u003c\/em\u003e,\u003cbr\u003eby Henry Purcell.\u003c\/p\u003e\n\u003cp\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cspan\u003e\"I'll Sail Upon the Dog Star\" is a famous 1688 Baroque vocal piece composed by Henry Purcell for high voice and continuous keyboard support. Originally featured in Thomas D'Urfey's play A Fool's Preferment, this virtuosic \"mad song\" remains a favorite choice for collegiate vocal juries, classical recitals, and competitive auditions. \u003cbr\u003e\u003cbr\u003eThis piece left an impression on me during my time in undergrad, sitting in on a lesson as a freshman or sophomore and watching\/listening to Dr. Gerald Gray's animated exhortations to a student at SUNY Fredonia to bring out the manic energy and quirky lyricism of the piece. Dr. Gray passed in 2017 but there's a few songs that always remind me of him; this is one of them. Hadn't played it in a number of years before bringing it back - just getting me in the headspace to do more nimble classical arias soon!\u003c\/span\u003e\u003c\/p\u003e","brand":"Tuxedo Tracks","offers":[{"title":"Default Title","offer_id":54483763167598,"sku":null,"price":10.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0999\/2726\/1550\/files\/Opera_Thumbnail.png?v=1780752030"},{"product_id":"ww-0044","title":"Mangani, Michele - Love Theme","description":"\u003cp\u003eA custom streaming practice\/rehearsal piano track for \u003cstrong\u003eLove Theme\u003c\/strong\u003e, for clarinet and piano,\u003cbr\u003eby Michele Mangani.\u003c\/p\u003e\n\u003cp\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cspan\u003eMichele Mangani is a prominent contemporary Italian composer whose works for woodwinds have become popular in recent decades. \"Love Theme\" shows his signature cinematic style, giving the clarinet a sweeping, romantic melody that feels heavily influenced by classic film scores. We generally trade off who's 'driving the bus' so to speak - I'm just trying to provide a comfortable sound bed for you to soar on top of, and then when I take over I'll swell my dynamic quite a bit and let those big interludes bloom.\u003c\/span\u003e\u003c\/p\u003e","brand":"Tuxedo Tracks","offers":[{"title":"Standard Unlock","offer_id":54483763200366,"sku":null,"price":15.0,"currency_code":"USD","in_stock":true},{"title":"Founding Sponsor","offer_id":54483763233134,"sku":null,"price":25.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0999\/2726\/1550\/files\/Clarinet_Thumbnail.png?v=1780752030"}],"url":"https:\/\/tuxedotracks.com\/collections\/all-repertoire.oembed","provider":"Tuxedo Tracks","version":"1.0","type":"link"}