C'est Moi (from "Camelot"): Piano/Vocal/Chords
Songs of Classic Heroes and Villains of Musical Theater
Item: 00-XS-0000342
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Description
Bad guy titles include Alive (Jekyll & Hyde) * Everybody's Got the Right (Assassins) * Razzle Dazzle (Chicago) * Think Vulgar (Chitty Chitty Bang Bang) * and many more.
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More about this title
About the Composer: Frederick Loewe
Frederick Loewe (1901-1988) composed the scores for some of Broadway's most enduring musicals, including Brigadoon, My Fair Lady, and Camelot. Working in close collaboration with lyricist Alan Jay Lerner, Loewe created melodies that balanced theatrical grandeur with genuine emotional depth, establishing a model for musical theater composition that influenced generations of writers. His gift for writing singable, memorable lines that served character and story made him one of the most performed composers in musical theater education.
Why we love this
This collection gives singers and pianist-accompanists access to a range of character types and vocal styles from Broadway's golden age, all within a single resource. "C'est Moi" itself is a showcase for confident legit tenor singing, making it especially valuable for teaching how a villain's song can carry theatrical conviction and musical sophistication without apology.
What to expect
Stepping into the world of mid-century Broadway glamour and melodrama. Loewe's music carries both romantic sweep and theatrical flair; "C'est Moi" bristles with chivalric pride and self-aware humor, inviting performers to embrace the character's unapologetic confidence while maintaining vocal control and legit technique.
Who it's for
Singers preparing audition material or working on character songs from the American songbook, and accompanists building a library of Broadway standards at an accessible level. This folio works well for high school and community theater singers, voice teachers seeking vocally mature repertoire, and pianists accompanying musical theater classes or recitals.
How to get the most out of it
- Balance the piano accompaniment so the vocal line stays prominently featured; Loewe's orchestrations are lush, but the song's power depends on clarity of text and melody.
- Shape the melody with the character's arc in mind. Lancelot's swagger should come through in your phrasing and energy, especially on the boastful passages.
- Work the chord symbols as a learning tool if you're accompanying yourself; understanding the harmonic movement underneath the vocal line will sharpen your interpretive choices.
How to use it
Pair this with other character songs from the same show or era to build a recital exploring hero and villain archetypes in musical theater. It also serves as an excellent audition piece for singers developing their legit belt and sustained vocal line, and the piano/vocal format makes it practical for rehearsal, lesson, and performance settings.
Skills your students will build
- Singing sustained legit lines with clarity of text and consistent vocal placement
- Accompanying while managing dense harmonic textures and keeping the vocal line in focus
- Interpreting character through song structure and melodic contour
- Reading and performing from chord symbols in a piano/vocal score