If I Only Had a Brain (From "the Wizard of Oz"): Piano/Vocal/Chords
Ed. Lisa DeSpain
Item: 00-PS-0010341
One moment…
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Description
Titles: I'm Not That Smart (The 25th Annual Putnam County Spelling Bee) * My Unfortunate Erection (Chip's Lament) (The 25th Annual Putnam County Spelling Bee) * Dames (42nd Street) * Radames' Letter (Elton John and Tim Rice's "Aida") * The Gypsy in Me Anything Goes (1988 Revival)) * Ballad of Booth (Part III) (Assassins) * What Am I Doin'? (Closer Than Ever) * Broadway Baby (Dames At Sea) * Blah, Blah, Blah (Delicious) * When the Earth Stopped Turning (Elegies) * You Gotta Die Sometime (Falsettos) * I Want to Make Magic (Fame: The Musical) * Sandy (Grease) * Donna (Hair) * Different (Honk!) * The Phone Call (Lucky Stiff) * Knowing Me, Knowing You (Mamma Mia) * To Each His Dulcinea (Man of La Mancha) * Larger Than Life (My Favorite Year) * I'm Falling in Love with Someone (Naughty Marrietta) * And They're Off (A New Brain) * Stouthearted Men (The New Moon) * Lucky to Be Me (On the Town) * A New Town Is a Blue Town (The Pajama Game) * Extraordinary (Pippin) * There's a Boat Dat's Leavin' Soon for New York (Porgy and Bess®) * You Took Advantage of Me (Present Arms) * Alone in the Universe (Seussical the Musical) * Something to Live For (Sophisticated Ladies) * Strike Up The Band (Strike Up The Band) * Ballad of the Easy Life (The Threepenny Opera) * Calla Lily Lady (Two Gentlemen of Verona) * Love's Revenge (Two Gentlemen of Verona) * They Won't Know Me (Wish You ere Here) * If I Only Had a Brain (The Wizard of Oz)
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Sample Audio
My Man's Gone Now from Porgy And Bess
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Additional Details
More about this title
About the Composer: Harold Arlen
Harold Arlen (1905-1986) composed some of Broadway and Hollywood's most enduring melodies, with a gift for writing songs that sit naturally in the voice while remaining harmonically sophisticated. His work spans from early 1930s Broadway hits through the golden age of musical theatre, and his melodic inventiveness made him a favorite collaborator for lyricists like E.Y. Harburg and Johnny Mercer.
Arlen's songs remain standards in the audition room and on the concert stage because they balance accessibility with genuine musical substance. His ability to craft memorable, singable lines that also showcase vocal range and control makes his catalogue invaluable for developing singers at any level.
Why we love this
This collection gives singers authentic, performance-ready versions of theatre standards across a century of Broadway history, all vetted and presented in their original vocal scoring. The inclusion of cut suggestions and audition guidance means you're not just getting sheet music; you're getting a studied approach to each song from someone who understands both the material and the demands of the audition process.
What to expect
Opening this book feels like stepping into a Broadway dressing room where decades of theatrical tradition meet fresh vocal challenge. Each song carries the weight of its original production while inviting your own interpretation; the material is familiar enough to feel grounded, but substantial enough to demand real musicianship.
Who it's for
Singers preparing auditions across vocal ranges, from high school performers entering college theatre programs through working professionals maintaining a repertoire book. This collection is equally valuable for voice teachers building students' knowledge of standard audition material and for ensemble singers who want to understand the stories and contexts behind the songs they perform.
How to get the most out of it
- Study the historical context provided for each song. Understanding what the character wants in a particular moment will shape your phrasing choices and help you avoid generic interpretations.
- Test both the full song and the suggested 16-bar cut in rehearsal. Some songs breathe differently at audition length, and familiarity with both versions prevents mid-performance surprises.
- Pay attention to the original key; these transcriptions preserve the scoring Arlen and his collaborators intended, which means the vocal range sits specifically for the character type listed in your volume.
How to use it
Use this as your core audition preparation resource, working through songs that match both your range and the character types you're likely to encounter. For ensembles and choirs, select pieces for concert programs that need individual spotlight moments, or build a themed concert around songs from specific eras or shows represented across the collection.
Skills your students will build
- Sustaining vocal line through longer phrases without losing clarity
- Interpreting character context from lyrics and musical setting
- Navigating original Broadway keys and understanding vocal tessitura
- Preparing audition cuts that maintain dramatic arc and narrative coherence
- Reading vocal score notation with chord symbols for accompaniment collaboration