Comes Once In A Lifetime (from Subways Are For Sleeping) Sheet Music Preview

Comes Once In A Lifetime (from Subways Are For Sleeping): Piano Vocal

Item: 35-DS00471413

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Additional Details
Publisher: Hal Leonard
Page Count: 3
SKU: 35-DS00471413

More about this title

About the Creator

Jule Styne composed the music for Subways Are For Sleeping, the 1964 Broadway musical that captured the quirky energy of New York City life. Working with lyricist Betty Comden and Adolph Green, Styne crafted a score that balanced comedy with genuine emotional moments, showcasing his gift for melody and theatrical sophistication.

Styne's career spanned decades of American musical theater, from Gypsy to Funny Girl. His ability to write songs that served character and story while remaining musically engaging made him one of Broadway's most reliable voices during the Golden Age of musicals.

Why we love this

The song walks a fascinating line between wistfulness and optimism, making it rewarding for singers who want to explore emotional nuance within a accessible pop idiom. Styne's melody has real singability and charm without sacrificing the sophistication that keeps it interesting for seasoned performers.

What to expect

This song radiates a bittersweet nostalgia mixed with tender hope, the kind of moment that stops the action in a musical to let a character share something true about themselves. The melody unfolds with gentle logic, and the harmonic language feels both of its era and timelessly expressive.

Who it's for

Pianists and vocalists building a jazz standards and American songbook repertoire will find this piece both accessible and musically satisfying. Community theater singers, audition prep students, and performers exploring classic Broadway material will connect with its emotional directness and theatrical authenticity.

How to get the most out of it

  • Anchor the phrasing to the natural speech rhythms of the lyric rather than forcing every phrase into symmetrical patterns. This conversational quality is what gives the song its warmth.
  • Balance the vocal line's exposure in early sections by ensuring the piano part stays transparent and supportive without competing for attention.
  • Let the harmonic movement breathe; Styne's chord changes often arrive at moments that benefit from slight space and reflection rather than rushing through them.

How to use it

Include this alongside other Golden Age Broadway selections in a concert exploring classic American musical theater, or offer it as a solo feature in a cabaret or revue format. Its three pages make it practical for audition preparation or as a centerpiece in a recital devoted to standards.

Skills your students will build

  • Shaping longer melodic phrases with intentional breath and phrasing direction
  • Interpreting harmony to inform emotional expression and pacing
  • Coordinating vocal line with piano accompaniment through style-appropriate rubato and ensemble awareness
  • Bringing theatrical storytelling to intimate solo material

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