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Collected Songs, Vol. 12 (1917): Mixed Voice, High/ Low., Collections, VS

$12.95 USD
$12.95 USD
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Collected Songs, Vol. 12 (1917) Cover Image
Collected Songs, Vol. 12 (1917): Mixed Voice, High/ Low., Collections, VS

Collected Songs, Vol. 12 (1917): Mixed Voice, High/ Low., Collections, VS

By Jerome Kern

Item: 36-M243491
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The Collected Songs by Jerome Kern are published in 16 volumes and include the master song-smith's best known tunes from his different eras. Volume 12 (1917) includes the following: 1. We're Going to Be Pals (from "Oh Boy!"); 2. Rolled Into One (from "Oh Boy!"); 3. A Package of Seeds (from "Oh Boy!"); 4. Every Day (from "Oh Boy!"); 5. Ain't It a Grand and Glorious Feeling (from "Oh Boy!"); 6. Be a Little Sunbeam (from "Oh Boy!"); 7. Nesting Time in Flatbush (from "Oh Boy!"); 8. An Old Fashioned Wife (from "Oh Boy!"); 9. Till the Clouds Roll By (from "Oh Boy!"); 10. You Never Knew About Me (from "Oh Boy!"); 11. We're Crooks (from "Miss 1917"); 12. Go Little Boat (from "Miss 1917"); 13. I'm the Old Man in the Moon (from "Miss 1917"); 14. Land Where the Good Songs Go (from "Miss 1917"); 15. Peaches (from "Miss 1917"); 16. The Picture I Want to See (from "Miss 1917"); 17. Tell Me All Your Troubles Cutie (from "Miss 1917"); 18. The Bungalow in Quogue (from "The Riviera Girl"); 19. Just Because You're You (from "Ziegfeld Follies of 1917"). Reprint edition.

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Additional Details
Series: Master Vocal Series - LudwigMasters
Publisher: Keiser Productions, Inc.
ISBN10: 8-89-810344-1
ISBN13: 979-889-810-3446
UPC: 605258676863
SKU: 36-M243491
Instrumentation: Voice and Piano

More about this title

About the Composer: Jerome Kern

Jerome Kern (1885-1945) fundamentally reshaped American musical theatre through his sophisticated harmonic language and genuine melodic gift. Working across Broadway's Golden Age, he collaborated with lyricists like P.G. Wodehouse and Oscar Hammerstein II to create songs that transcended their original theatrical contexts and became standards of the American songbook.

Kern's influence on music education extends beyond his melodies. His songs demand singers develop interpretive maturity, phrase with intention, and navigate the rhythmic and harmonic subtleties that distinguish early-twentieth-century popular song from simpler material. For voice teachers and choir directors, his catalogue represents a bridge between classical art song and American vernacular, offering students access to songs written for trained singers.

Why we love this

This volume captures Kern at a particularly prolific moment, drawing heavily from "Oh Boy!" (1917), one of his most successful theatrical collaborations. The collection offers singers 19 distinct songs that showcase his harmonic sophistication and gift for character-driven melody without requiring operatic weight. For mixed ensembles and solo recitalists alike, these pieces provide material that rewards genuine musicianship and clear diction.

What to expect

Buoyant and urbane, with a conversational warmth that never sacrifices musical substance. The harmonic language recalls art song traditions while the theatrical origins give each piece a narrative specificity and personality. These are songs built on genuine melody, not novelty, yet they sparkle with theatrical charm.

Who it's for

Solo singers preparing art song recitals, mixed voice ensembles seeking accessible yet sophisticated repertoire, and voice students developing interpretive skills with American song. This collection works equally well for advanced high school singers and college-level vocalists.

How to get the most out of it

  • Honor the lyrical clarity. Kern's melodies often sit in the singer's passaggio; resist the temptation to oversing. Let the text emerge naturally.
  • Approach the piano accompaniment as a conversation partner, not merely support. Many of these songs include witty or motivic interplay in the accompaniment that shapes phrasing.
  • Attend to the character implied by each song's title and source. "Nesting Time in Flatbush" and "An Old Fashioned Wife" call for distinctly different interpretive choices.
  • Shape phrases toward the harmonic rhythm. Kern's chromatic vocabulary and jazz-inflected changes reward singers who listen ahead.

How to use it

Program individual selections from this volume alongside other American song standards to build a cohesive recital section on early-twentieth-century Broadway. The theatrical provenance also makes these pieces suitable for concert programming that explores the musical theatre canon. Mixed voice ensembles might select a handful of contrasting cuts to introduce audiences to Kern's work without programming an entire themed concert.

Skills your students will build

  • Phrasing across chromatic harmony and jazz-influenced chord changes
  • Interpreting character and narrative in song selection
  • Balance between legit and vernacular vocal styles
  • Accompanist collaboration and rhythmic flexibility
  • Diction clarity in rapid, text-driven passages

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