A Little Brains, A Little Talent (From "Damn Yankees"): Piano/Vocal/Chords
Ed. Lisa DeSpain
Item: 00-PS-0010482
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Description
Titles: My Own Best Friend (Chicago) * Back on Base (Closer Than Ever) * That Mister Man of Mine (Dames At Sea) * A Little Brains, A Little Talent (Damn Yankees) * Something of My Own (Dessa Rose) * Ladies (Destry Rides Again) * I Know the Truth (Elton John and Tim Rice's "Aida") * Holding to the Ground (Falsettos) * Think of Meryl Streep (Fame: The Musical) * A Little Girl From Little Rock (Gentlemen Prefer Blondes) * Lazy Afternoon (The Golden Apple) * What Is a Woman? I Do, I Do) * Old Friend (I'm Getting My Act Together and Taking It on the Road) * Last Midnight (Into The Woods) * Moments in the Woods (Into The Woods) * Somewhere That's Green (Little hop of Horrors) * West End Avenue (The Magic Show) * Tell Me Why (A Man of No Importance) * Take It on the Chin (Me and My Girl) * Like It Was (Merrily We Roll Along) * The Music Still Plays On A New Brain) * Mad About the Boy (Oh! Coward) * It's a Fine Life (Oliver!) * How Can I Wait? (Paint Your Wagon) * Zip (Pal Joey) * My Cousin in Milwaukee (Pardon My English) * Notice Me Horton (Seussical the Musical) * Wonderful, Wonderful Day (Seven Brides For Seven Brothers) * What Nice Idea (Two Gentlemen of Verona) * If You Hadn't but You Did (Two on the Aisle ) * Over the Rainbow (The Wizard of Oz) * Millwork (Working).
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Over The Rainbow from The Wizard Of Oz
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Additional Details
More about this title
About the Composer: Richard Adler
Richard Adler composed the score for Damn Yankees alongside lyricist and co-composer Jerry Ross, one of Broadway's most celebrated partnerships of the 1950s. Adler's gift for crafting memorable melodies and sophisticated harmonies made him a defining voice in the Golden Age of musical theatre, and his work continues to anchor audition books and recital programs across voice studios and conservatories.
Why we love this
This collection anchors itself in the original vocal scores rather than reductions or simplified editions, giving singers the authentic harmonic context and musical integrity they need for serious audition work. The inclusion of audition tips and 16-bar cut suggestions alongside the full arrangements means singers can make smart programming choices without hunting through multiple resources.
What to expect
Opening these pages feels like stepping into the rehearsal rooms and theatres where these songs were born. The original keys and full harmonic settings restore the vitality and dramatic weight these songs carry on stage, far beyond what simplified or transposed editions can offer.
Who it's for
Soprano singers preparing audition books, studying Broadway repertoire in voice lessons, or building recital programs that showcase musical theatre in its most authentic form. This collection serves both emerging singers refining their craft and working professionals maintaining a current audition library.
How to get the most out of it
- Study the historical and contextual notes provided with each song; they illuminate the character's emotional arc and help you find the song's dramatic center rather than simply executing the melody.
- Use the suggested 16-bar cuts to prepare audition-length versions, but also spend time learning the full arrangement to understand how the song builds and resolves.
- Pay attention to the chord symbols and work with an accompanist who understands these voicings; the richness of the original orchestration lives in how the pianist voices these harmonies.
How to use it
Build a recital around songs from different eras and shows represented here, using the contextual notes to shape a narrative arc across the program. Individual songs work beautifully in themed concerts exploring character types, emotional landscapes, or decades of Broadway, while the collection as a whole serves as a daily resource for voice study and audition preparation.
Skills your students will build
- Singing from original vocal score arrangements with full harmonic and rhythmic complexity
- Interpreting character and dramatic intention through historical context
- Preparing audition-ready cuts while maintaining musical and theatrical integrity
- Working with accompanists using chord symbols and stylistically appropriate voicings
- Building a soprano audition book with authentic, era-appropriate material