I Ought to Cry: Piano/Vocal/Chords

Brad Ross's writing sits squarely in the contemporary musical theatre tradition, with melodies that stick without feeling sentimental and harmonies that reward careful listening. This folio captures songs that work equally well in a full theatre production or stripped down to a single vocalist and pianist, making it versatile for audition prep, recital programming, and showcasing dramatic range.

Contemporary musical theatre writing that balances accessibility with musical substance. The songs move between conversational, character-driven moments and larger emotional swells, with piano writing that is both supportive and musically interesting.

Vocalists preparing audition material for musical theatre, singers building recital programs that showcase contemporary composition, and vocal teachers seeking repertoire with strong character and substantive accompaniment parts. This collection works for high school and college-level singers with solid musicianship.

• Build the emotional arc across the full selection; many of these songs benefit from understanding where they sit in the show's narrative, even when performed independently.
• Balance the piano accompaniment so it supports without overwhelming the vocal line, especially in the more introspective moments like 'Nocturne'.
• Pay attention to the lyrics and character intention written into each song; Ross's music follows the emotional contour of Ellen Greenfield and Hal Hackady's book and lyrics.

Select individual songs for vocal recitals or audition prep, or program several selections from the folio as a song cycle that tells a cohesive story. The range of moods and tempos across the ten songs makes the collection work as a complete set within a longer concert program.

• Musical theatre style and phrasing conventions
• Character development and emotional storytelling through song
• Ensemble coordination between voice and piano accompaniment
• Sight-reading contemporary vocal scores with varied harmonic language