Hello Again (from "Hello Again") Sheet Music Preview

Hello Again (from "Hello Again"): Piano/Vocal/Chords

Michael John LaChiusa

Item: 00-XS-0000292

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Description
This first-ever Michael John LaChiusa sheet music collection contains 39 songs from one of the most distinctive and admired theatre composers of our time. More than 250 pages of music chronicle two decades of LaChiusa shows, from early 1990s breakouts First Lady Suite and Hello Again to celebrated favorites like The Wild Party, See What I Wanna See, and much more. The composer supplied a wealth of previously unpublished music for this collection, ensuring that even the most devoted LaChiusa fan will discover new and exciting songs among these pages. Titles: * Adela (from Bernarda Alba) * Beautiful (Marie Christine) * The Bed Was Not My Own (Hello Again) * By the Way (Little Fish) * The Christian Thing to Do (The Seven Deadly Sins) * Coffee (See What I Wanna See) * Curiosity (See What I Wanna See) * Eleanor Sleeps Here (First Lady Suite) * Fraud (Broken Sleep) * The Gift of You (The Nutcracker) * He Wanted a Girl (Giant) * Heaven (Hotel C'est l'Amour) * Hello Again (Hello Again) * Hello, Lover, Hello (Send (who are you? I love you) * The Highest Yellow (The Highest Yellow) * How Many Women in the World? (The Wild Party) * I Don't Hear the Ocean (Marie Christine) * I Ran (Little Fish) * Little Fish (Little Fish) * Martirio (Bernarda Alba) * Mistress of the Senator (Hello Again) * My Husband Was an Army Man (First Lady Suite) * The One I Love (Hello Again) * Optimistic (Lovers and Friends) * People Like Us (The Wild Party) * Private Property (Giant) * Remember Me (Little Fish) * See What I Wanna See (See What I Wanna See) * She Looked at Me (See What I Wanna See) * Simple Creature (Little Fish) * The Smallest Stream (Bernarda Alba) * The Smallest Thing (First Lady Suite) * A Stranger (Giant) * There Will Be a Miracle (See What I Wanna See) * Tom (Hello Again) * Tom Sawyer (Romance Language) * Way Back to Paradise (Marie Christine) * Welcome to My Party (The Wild Party) * When It Ends (The Wild Party).

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Additional Details
Publisher: Alfred Music
Page Count: 260
SKU: 00-XS-0000292

More about this title

About the Composer: Michael John LaChisua

Michael John LaChisua is a composer and lyricist whose theatrical works have earned him recognition as one of Broadway's most inventive voices. His scores blend operatic sophistication with contemporary musical theater storytelling, drawing on diverse influences from classical music to pop idioms. Over two decades, he has created music for shows that challenge conventional narrative structures and explore complex emotional terrain, earning Tony nominations and a devoted following among theater musicians and audiences alike.

Why we love this

LaChisua's melodic gifts shine across every page here. Whether you're hunting for audition material that stands apart from the standard repertoire or seeking songs that reward close musical study, this collection offers sophisticated vocal writing that respects both the singer and the listener. The range of shows represented means you can program these songs in nearly any theatrical context without feeling repetitive.

What to expect

These songs pulse with intelligence and emotional precision. LaChisua writes vocal lines that sit comfortably in the voice while challenging singers to find nuance in every phrase, and his harmonies create a sense of both warmth and underlying tension. The music feels literary; it moves like a scene rather than a conventional song.

Who it's for

Singers preparing audition material, music theater performers seeking challenging contemporary repertoire, and pianists who want to deepen their understanding of modern theatrical composition. This collection also serves music teachers and coaches looking for songs that demonstrate sophisticated songwriting craft beyond the standard repertoire.

How to get the most out of it

  • Study the harmonic language before diving into the vocal line. LaChisua's chords often contain unexpected movement that informs phrasing and breath placement.
  • Attend to lyrical subtext as carefully as you would in a classical art song. These songs often contain irony or emotional complexity that changes how you approach dynamics and tempo.
  • Use the piano part as a conversation partner, not just accompaniment. The composer frequently writes dialogue between voice and keyboard that shapes the interpretation.
  • Lean into the theatrical specificity of each piece. Each song exists in a particular dramatic moment; understanding the character's situation will clarify your musical choices.

How to use it

Pair individual songs with classic theater repertoire to create programming that spans different compositional eras and approaches. These pieces work beautifully in recitals devoted to contemporary musical theater, or interspersed throughout a season to introduce audiences to LaChisua's work. The diversity of shows represented means you can find material suited to different voice types and dramatic situations.

Skills your students will build

  • Reading complex harmonic progressions and understanding functional harmony in contemporary theater music
  • Interpreting theatrical subtext and translating dramatic context into musical choices
  • Executing clean chord changes and managing piano/vocal balance in music with intricate accompaniment
  • Sustaining lyrical coherence across longer musical phrases while managing contemporary song forms

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