I Don't Hear the Ocean (from "Marie Christine"): Piano/Vocal/Chords
I Don't Hear the Ocean (from "Marie Christine"): Piano/Vocal/Chords
I Don't Hear the Ocean (from "Marie Christine") Sheet Music Preview

I Don't Hear the Ocean (from "Marie Christine"): Piano/Vocal/Chords

Michael John LaChiusa

Item: 00-XS-0000257
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$5.99

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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 The composer supplied a wealth of previously unpublished music for this collection, ensuring that even the most devoted LaChiusa fan will discover new and exciting songs among these pages.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-0000257

More about this title

About the Composer: Michael John LaChisua

Michael John LaChisua stands among the most inventive musical theatre composers working today, known for creating scores that blend sophisticated harmonic language with deeply human storytelling. His work spans two decades of acclaimed productions, from the ambitious operatic scope of Bernarda Alba to the intimate character studies of Hello Again and The Wild Party, each demonstrating his gift for writing music that reveals emotional truth through melodic specificity and unexpected harmonic turns.

Why we love this

This collection captures a composer whose theatrical instincts are matched by genuine craft; the songs stand equally well as concert pieces and as moments within larger narratives. "I Don't Hear the Ocean" exemplifies LaChisua's ability to layer psychological complexity into seemingly straightforward vocal lines, making this particular song rewarding for singers and pianists who want to explore contemporary musical theatre writing that demands real musicianship.

What to expect

The music carries the weight of longing and absence; it lives in the space between what is said and what remains unspoken. The accompaniment suggests both the geography of memory and the emotional landscape of the character, anchoring the voice in a world that feels lived-in and specific.

Who it's for

Singers preparing contemporary musical theatre repertoire for recitals, auditions, or concert performance will find this score essential. Pianists accompanying musical theatre repertoire or exploring contemporary vocal writing will value the sophistication and detail of LaChisua's accompaniment design.

How to get the most out of it

  • Study the harmonic movement underneath the vocal line; LaChisua's piano writing often contains the emotional subtext that shapes how the melody should be sung.
  • Attend to dynamic nuance in the accompaniment. The piano part is never merely supportive; it comments on and deepens what the voice is expressing.
  • Find the moment-to-moment intent of the lyric before deciding on phrasing; this song's power comes from specificity of emotion rather than broad interpretive gestures.

How to use it

This song works as a concert closer or as part of a curated set of contemporary musical theatre pieces that explore intimacy and restraint. It pairs naturally with other character-driven contemporary theatre music and offers singers a chance to demonstrate vocal maturity and interpretive depth.

Skills your students will build

  • Shaping legit and contemporary musical theatre vocal lines with harmonic awareness
  • Interpreting sophisticated piano accompaniments that function as dramatic partners to the voice
  • Understanding how modern theatre composers use unexpected harmonic movement to deepen emotional expression

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