I Can't Do the Sum (From "Babes in Toyland"): Piano/Vocal/Chords
I Can't Do the Sum (From "Babes in Toyland") Sheet Music Preview

I Can't Do the Sum (From "Babes in Toyland"): Piano/Vocal/Chords

Item: 00-PSP-000623
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Description
For aspiring and professional singers who love Broadway, Alfred's Singer's Library of Musical Theatre presents an elegant collection of the best-loved musical theatre songs in their original keys, authentically transcribed from their original vocal scores. Perfect for study, and equally suitable for the most important auditions and performances, each volume is dedicated to a specific vocal range, and contains dozens of songs from a variety of shows that span decades of theatre history. Multiple volumes are available for each of four vocal ranges: Soprano, Mezzo-Soprano/Alto, Tenor, and Baritone/Bass. Authoritative historical and contextual commentary, audition tips, and 16-bar cut suggestions for each song make it the most useful and relevant song library of its kind.

Titles: Anything Goes (Anything Goes) * Don't Rain on My Parade (Funny Girl) * People (Funny Girl) * Send in the Clowns (A Little Night Music) * Whatever Lola Wants (Lola Gets) (Damn Yankees) * When You're Good to Mama (Chicago) and more.

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Sample Audio
1 Forty Days --:--
2 Summertime --:--
3 The Lady Is A Tramp --:--
4 Without You --:--

Forty Days

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Additional Details
Series: Singer's Library of Musical Theatre
Publisher: Alfred Music
Page Count: 204
SKU: 00-PSP-000623

More about this title

About the Composer: Victor Herbert

Victor Herbert (1859-1924) was an Irish-American composer and conductor whose operettas and musical theatre works defined American popular music in the early 20th century. A virtuoso cellist trained in Stuttgart and Paris, Herbert brought European operatic sophistication to Broadway while crafting melodies of infectious charm and accessibility. His gift for orchestration and gift for memorable vocal lines made him one of the most performed composers of his era, and his works remain central to the vocal repertoire.

Why we love this

Herbert's melodic generosity shines in this number, giving singers a tune that sits beautifully in the voice while offering real character work. The song's theatrical humor and straightforward charm make it accessible for auditions and performances without sacrificing musical sophistication, and the original key transcription ensures singers encounter Herbert's intent without unnecessary transposition.

What to expect

A charming, slightly wistful moment that mines humor from a child's mathematical confusion. The music is warm and lightly comedic, with the kind of memorable tune that stays with you long after the curtain falls.

Who it's for

This song serves singers preparing classical Broadway auditions, performers building recital programs centered on early musical theatre, and vocalists studying the melodic and harmonic language of operetta. It's equally valuable for singers wanting to understand how Herbert's European training shaped American musical theatre song.

How to get the most out of it

  • Anchor the rhythm section to maintain the song's lilting waltz-like quality, especially if you're working with a live pianist rather than a recorded accompaniment.
  • Find the comedy in the lyrics without overselling it; the music's sweetness will contrast naturally with the absurdity of the premise.
  • Ensure clear diction in the sung text so the audience follows the song's narrative and its humorous payoff.
  • Shape the melodic line to highlight Herbert's natural phrase breaks rather than rushing through longer passages.

How to use it

Program this as a palate-cleanser between heavier dramatic numbers, or include it in a concert exploring operetta and early musical theatre history. It pairs well with other Herbert works or songs from the same era, offering audiences a taste of pre-jazz-age Broadway sophistication.

Skills your students will build

  • Singing in original Broadway keys with authentic transcriptions
  • Interpreting comedic character songs with vocal maturity
  • Understanding early 20th-century operetta style and phrasing
  • Preparing audition material with historically accurate arrangements

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