Anyone Would Love You (From "Destry Rides Again"): Piano/Vocal/Chords
Ed. Lisa DeSpain
Item: 00-PS-0010371
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Description
Titles: Everything Old Is New Again (The Boy from Oz) * She's My Love (Carnival) * Those Were The Good Old Days! (Damn Yankees) * A Jug of Wine (The Day Before Spring) * Anyone Would Love You (Destry Rides Again) * All of My Life (Do Re Mi) * After Today Dr. Doolittle) * Gigi (Gigi) * Store-Bought Suit (The Golden Apple) * The Best Things In Life Are Free (Good News) * Where Do I Go? (Hair) * I Love My Wife (I Do! I Do!) * It's a Well Known Fact (I Do! I Do!) * No More (Into the Woods) * They Go Wild, Simply Wild, Over Me (Irene) * Progress Is the Root of All Evil (Lil' Abner) * Love Who You Love (A Man of No Importance) * Marriage Proposal (March of the Falsettos) * Me and My Girl (Me and My Girl) * Reviewing the Situation (Oliver!) * I Talk to the Trees (Paint Your Wagon) * Isn't It a Pity? (Pardon My English) * No One Has Ever Loved Me (Passion) * I'm Back in Circulation (Redhead) * Love's a Bond (Saturday Night) * Bless Your Beautiful Hide (Seven Brides for Seven Brothers) * I Don't Remember Christmas (Starting Here, Starting Now) * Once in a Lifetime (Stop The World . . . I Want To Get Off) * The Barber and His Wife (Sweeny Todd) * The Mansion (Two Gentlemen of Verona) * If I Were the King of the Forest (The Wizard of Oz) * A Quiet Girl (Wonderful Town).
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Sample Audio
If I Were King Of The Forest from The Wizard Of Oz
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Additional Details
More about this title
About the Composer: Harold Rome
Harold Rome (1906, 1993) was a composer and lyricist who brought sharp wit and social consciousness to Broadway musicals. His work spanned from the 1930s Depression-era revues through mid-century comedies, and he had a gift for writing singable melodies that served character and story without sacrificing sophistication.
Rome's songs reveal a craftsman who understood vocal writing deeply. His lines sit comfortably in the voice, his lyrics scan naturally, and his harmonies support rather than obscure the text. For singers and teachers, his catalog offers reliable, well-constructed material that rewards careful interpretation.
Why we love this
This collection anchors itself in one of Broadway's most practical and honest strengths: songs that actually work for singers across multiple ranges. Rome's melodic clarity and the careful orchestration of this collection mean you're not fighting the material to find your voice in it. For audition preparation or recital programming, having these songs in their original keys with historical context and cut suggestions removes the guesswork and lets singers focus on performance.
What to expect
These songs breathe with the theatrical confidence of mid-century Broadway, where melody could be both sophisticated and direct. Rome's writing feels conversational in the best sense; the music serves what the character needs to say, whether that's confession, comedy, or romance. There's an easiness to the vocal writing that masks considerable craft.
Who it's for
Singers preparing for auditions, building audition books, or programming recitals will find this library essential. Vocal teachers using Broadway material for lesson repertoire gain access to historically accurate transcriptions with pedagogical support built in. This collection serves professionals brushing up on standards and students encountering these shows for the first time.
How to get the most out of it
- Consult the provided 16-bar cut suggestions if you're preparing for auditions; they're marked with the audition context in mind and preserve the emotional arc of the song.
- Pay attention to Rome's harmonic language in accompaniment. It's sophisticated but transparent; let it inform your phrasing choices rather than overshadow your vocal line.
- Read the historical and contextual notes before learning the piece. Understanding the character, show, and dramatic moment shapes interpretation choices that feel earned rather than imposed.
How to use it
Build an audition book across multiple volumes by vocal range, selecting material that represents different eras and character types within a single collection. Layer these songs into semester-long vocal curricula alongside classical art song and contemporary material to keep students engaged with repertoire that connects to living theatre. Consider programming selections in a Broadway retrospective or Golden Age musical theatre concert.
Skills your students will build
- Authentic interpretation of mid-century Broadway vocal writing and style
- Navigation of harmonic language in theatrical accompaniment
- Audition-ready phrasing and cutting techniques
- Character development through lyrical analysis and historical context
- Sight-reading from vocal scores with guitar chords