It's a Well Known Fact (From "I Do, I Do"): Piano/Vocal/Chords
It's a Well Known Fact (From "I Do, I Do"): Piano/Vocal/Chords
It's a Well Known Fact (From "I Do, I Do") Sheet Music Preview

It's a Well Known Fact (From "I Do, I Do"): Piano/Vocal/Chords

Ed. Lisa DeSpain

Item: 00-PS-0010362
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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: Everything Old Is New Again (The Boy from Oz) * She's My Love (Carnival) * Those Were The Good Old Days! (Damn Yankees) * A Jug of Wine (The Day Before Spring) * Anyone Would Love You (Destry Rides Again) * All of My Life (Do Re Mi) * After Today Dr. Doolittle) * Gigi (Gigi) * Store-Bought Suit (The Golden Apple) * The Best Things In Life Are Free (Good News) * Where Do I Go? (Hair) * I Love My Wife (I Do! I Do!) * It's a Well Known Fact (I Do! I Do!) * No More (Into the Woods) * They Go Wild, Simply Wild, Over Me (Irene) * Progress Is the Root of All Evil (Lil' Abner) * Love Who You Love (A Man of No Importance) * Marriage Proposal (March of the Falsettos) * Me and My Girl (Me and My Girl) * Reviewing the Situation (Oliver!) * I Talk to the Trees (Paint Your Wagon) * Isn't It a Pity? (Pardon My English) * No One Has Ever Loved Me (Passion) * I'm Back in Circulation (Redhead) * Love's a Bond (Saturday Night) * Bless Your Beautiful Hide (Seven Brides for Seven Brothers) * I Don't Remember Christmas (Starting Here, Starting Now) * Once in a Lifetime (Stop The World . . . I Want To Get Off) * The Barber and His Wife (Sweeny Todd) * The Mansion (Two Gentlemen of Verona) * If I Were the King of the Forest (The Wizard of Oz) * A Quiet Girl (Wonderful Town).

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If I Were King Of The Forest from The Wizard Of Oz

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Additional Details
Series: Singer's Library of Musical Theatre
Publisher: Alfred Music
Page Count: 188
SKU: 00-PS-0010362

More about this title

About the Composer: Harvey Schmidt

Harvey Schmidt spent decades shaping American musical theatre with a gift for intimate storytelling and memorable melodies. As composer and lyricist (often working with Tom Jones), he created shows that prioritized character and emotion over spectacle, influencing generations of theatre musicians who came after him.

Why we love this

This collection pulls from Schmidt's most singable work across multiple decades of Broadway, giving singers access to authentic vocal scores in their original keys. The contextual notes and audition cuts save hours of preparation time, while the sheer variety means singers can build a audition book that sounds cohesive yet never repetitive.

What to expect

Schmidt's songs blend conversational storytelling with surprising harmonic sophistication. There's warmth in the melodies, a sense of real people navigating love and life, often with humor that emerges from character rather than forced jokes.

Who it's for

Singers preparing auditions or recitals who want trusted, authoritative transcriptions from one of Broadway's most elegant composers. This collection serves both young singers building their repertoire and professionals looking for material that showcases range and musicality without requiring dramatic gymnastics.

How to get the most out of it

  • Listen to recordings of the original cast to absorb Schmidt's phrasing and rhythmic character; his melodies often sit differently on the voice than you'd expect on first reading.
  • Pay close attention to the lyrical intent in quieter moments. Schmidt's songs frequently live in intimate scales, so a whisper can communicate more than a belt.
  • Use the 16-bar cuts as starting points, but study the full arc of each song to understand where your character is emotionally within the larger narrative.

How to use it

Pair these songs with art song or other intimate musical theatre selections to create recitals that emphasize vocal storytelling over production value. They also work beautifully as audition material for conservatory programs, community theatre, or regional theatre positions where casting directors value clear diction and emotional specificity.

Skills your students will build

  • Sustaining legit voice production across the passaggio without strain
  • Interpreting lyrics with specificity and character intention
  • Navigating diatonic and chromatic harmonic language typical of mid-20th-century Broadway
  • Phrasing conversational text rhythmically while maintaining musical line

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