A Little Bit in Love (From "Wonderful Town") Sheet Music Preview

A Little Bit in Love (From "Wonderful Town"): Piano/Vocal/Chords

Ed. Lisa DeSpain

Item: 00-PS-0010386

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Description
For aspiring and professional singers who love Broadway, Alfred's Singer's Library of Musical Theatre presents an elegant collection of the best-loved musical theatre songs in their original keys, authentically transcribed from their original vocal scores. Perfect for study, and equally suitable for the most important auditions and performances, each volume is dedicated to a specific vocal range, and contains dozens of songs from a variety of shows that span decades of theatre history. Multiple volumes are available for each of four vocal ranges: Soprano, Mezzo-Soprano/Alto, Tenor, and Baritone/Bass. Authoritative historical and contextual commentary, audition tips, and 16-bar cut suggestions for each song make it the most useful and relevant song library of its kind.

Titles: All for You (Saturday Night) * Autumn (Starting Here, Starting Now) * Ballad of Dependency (The Threepenny Opera) * The Boy Friend (The Boy Friend) * Bring on Tomorrow (Fame -- The Musical) * Goodbye, Little Dream, Goodbye (Anything Goes 1988 Revival) * I Speak Six Languages (The 25th Annual Putnam County Spelling Bee) * I'm a Stranger Here Myself (One Touch of Venus) * Jilted (Of Thee I Sing) * Just Imagine (Good News) * A Little Bit in Love (Wonderful Town) * A Little Bit of Good (Chicago) * Long Ago (Half a Sixpense) * Love in a Home (Lil' Abner) * Love Is Sweeping the Country (Of Thee I Sing) * Mira (Carnival) * My Love Is on the Way (The Golden Apple) * My Man's Gone Now (Porgy and Bess) * Once Upon a Dream (Jekyll & Hyde) * Only Love (Scarlet Pimpernel) * Patterns (Closer Than Ever) * Practically Perfect (Mary Poppins -- Stage Version) * Romance (The Desert Song) * Safety in Numbers (The Boy Friend) * The Sailor of My Dreams (Dames at Sea) * Some Other Time (On the Town)* The Sun Whose Rays Are All Ablaze (The Mikado) * Tell Me (Marie Christine) * This Is All Very New to Me (Plain and Fancy) * Timid Frieda (Les Timides) (Jacques Brel Is Alive & Well & Living in Paris) * Was She Prettier Than I? (High Spirits) * Why Shouldn't I? (Jubilee) * Windflowers (The Golden Apple) * Yes, My Heart (Carnival).

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Sample Audio

Lucky To Be Me from On The Town

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Additional Details
Series: Singer's Library of Musical Theatre
Publisher: Alfred Music
Page Count: 196
SKU: 00-PS-0010386

More about this title

About the Composer: Leonard Bernstein

Leonard Bernstein stands as one of the most consequential composers in American musical theatre, bridging classical training with popular idiom in ways that transformed what Broadway could express. His scores for Wonderful Town, West Side Story, and Candide showcase his gift for melody, sophisticated harmony, and orchestration that serves the drama rather than overshadowing it. For music educators, Bernstein's theatrical works represent a masterclass in how to write for singers who must act, sing, and convey character simultaneously.

Beyond his Broadway achievements, Bernstein's Young People's Concerts and his decades conducting the New York Philharmonic demonstrated his commitment to music education and accessibility. His influence on generations of musical theatre composers remains direct and measurable. Teaching his songs gives students exposure to a compositional mind that operated across multiple genres while maintaining artistic integrity.

Why we love this

Bernstein's theatrical writing sits at the intersection of operatic sophistication and theatrical directness. The curated collection here spans authentic period styles, from the urbane New York comedy of Wonderful Town to the darker social commentary of The Threepenny Opera, giving singers genuine variety within a single book. The 16-bar cut suggestions and audition tips transform this from a song anthology into a practical audition coach, while the original keys preserve the dramatic intent each song was written in.

What to expect

There's sophistication in these songs that doesn't announce itself loudly. They swing between tenderness and comedy, between intimate character moments and clever social satire. Bernstein's melodies linger after you sing them; his harmonies can surprise you even on the tenth run-through, always serving the emotional truth of what's happening onstage.

Who it's for

This collection serves serious musical theatre singers preparing for auditions, as well as advanced students looking to understand how contemporary theatrical composition works. Teachers building a rigorous vocal curriculum will find the variety of styles and the contextual notes invaluable for teaching repertoire selection and the relationship between character, era, and vocal choice.

How to get the most out of it

  • Study the historical context notes provided for each song; understanding whether you're singing bright 1950s optimism or vintage operetta irony changes how you shape phrases and color your voice.
  • Test the 16-bar cuts in the book before auditions, but also experiment with cutting at different points if the dramatic arc of a particular passage feels stronger to your voice.
  • Balance Bernstein's chromatic harmony with clear diction; his melodic lines often sit in unexpected registers, so articulation and vowel clarity prevent the music from sounding muddy or overly complex.
  • Pay attention to tempo markings and use the original theatrical context to inform your choices about rubato and phrasing rather than defaulting to a steady pulse.

How to use it

Include songs from this collection in a Broadway history concert that traces the evolution of musical theatre across decades, letting students hear how Bernstein and his contemporaries advanced the form. These pieces also work beautifully in a recital focused on American song, where the theatrical lineage feels natural alongside art song and folk traditions.

Skills your students will build

  • Singing in original Broadway keys with attention to how tessitura affects character interpretation
  • Analyzing jazz harmony and chromatic voice leading typical of mid-20th-century theatre composition
  • Selecting and executing effective audition cuts while maintaining dramatic arc
  • Interpreting comedic and dramatic text with theatrical specificity rather than purely vocal technique
  • Understanding the relationship between era, style period, and vocal production choices

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