My Cousin in Milwaukee (From "Pardon My English"): Piano/Vocal/Chords
My Cousin in Milwaukee (From "Pardon My English"): Piano/Vocal/Chords
My Cousin in Milwaukee (From "Pardon My English") Sheet Music Preview

My Cousin in Milwaukee (From "Pardon My English"): Piano/Vocal/Chords

Ed. Lisa DeSpain

Item: 00-PS-0010440
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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: My Own Best Friend (Chicago) * Back on Base (Closer Than Ever) * That Mister Man of Mine (Dames At Sea) * A Little Brains, A Little Talent (Damn Yankees) * Something of My Own (Dessa Rose) * Ladies (Destry Rides Again) * I Know the Truth (Elton John and Tim Rice's "Aida") * Holding to the Ground (Falsettos) * Think of Meryl Streep (Fame: The Musical) * A Little Girl From Little Rock (Gentlemen Prefer Blondes) * Lazy Afternoon (The Golden Apple) * What Is a Woman? I Do, I Do) * Old Friend (I'm Getting My Act Together and Taking It on the Road) * Last Midnight (Into The Woods) * Moments in the Woods (Into The Woods) * Somewhere That's Green (Little hop of Horrors) * West End Avenue (The Magic Show) * Tell Me Why (A Man of No Importance) * Take It on the Chin (Me and My Girl) * Like It Was (Merrily We Roll Along) * The Music Still Plays On A New Brain) * Mad About the Boy (Oh! Coward) * It's a Fine Life (Oliver!) * How Can I Wait? (Paint Your Wagon) * Zip (Pal Joey) * My Cousin in Milwaukee (Pardon My English) * Notice Me Horton (Seussical the Musical) * Wonderful, Wonderful Day (Seven Brides For Seven Brothers) * What Nice Idea (Two Gentlemen of Verona) * If You Hadn't but You Did (Two on the Aisle ) * Over the Rainbow (The Wizard of Oz) * Millwork (Working).

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Over The Rainbow from The Wizard Of Oz

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Additional Details
Series: Singer's Library of Musical Theatre
Publisher: Alfred Music
Page Count: 224
SKU: 00-PS-0010440

More about this title

About the Composer: George Gershwin

George Gershwin (1898-1937) bridged classical and popular music with a fluency that few composers have matched. His gift for melody, harmonic sophistication, and rhythmic vitality defined an entire era of American song, from concert works like Rhapsody in Blue to dozens of Broadway standards that remain central to the musical theatre canon.

Gershwin's theatrical compositions reveal a composer equally comfortable with jazz idioms, romantic ballads, and complex ensemble writing. His influence on vocal writing is immediate and lasting: singers still return to his songs to study how character, emotion, and musical invention can coexist in a single, perfectly crafted line.

Why we love this

Gershwin's "My Cousin in Milwaukee" captures the wit and theatrical sophistication his songs are known for, making it an excellent audition choice for singers seeking material with genuine character and musical substance. The song's conversational melodic phrasing and harmonic elegance reward singers who listen closely to the text and shape the line accordingly.

What to expect

Gershwin's song carries the ease and charm of a character sharing a story over dinner, with harmonic sophistication that keeps audiences engaged beneath the conversational surface. The melody flows naturally through the voice while the accompaniment adds wit, warmth, and unexpected harmonic color.

Who it's for

Singers preparing auditions for musical theatre roles, those studying the Great American Songbook, and performers building a repertoire of classic Broadway material. This single song works equally well for recital study, audition preparation, or performance in a Broadway-focused concert.

How to get the most out of it

  • Attend to the conversational quality of the melody. Gershwin's songs sit naturally in the voice when you treat them like intelligent speech set to music, not operatic showpieces.
  • Use the harmonic changes as emotional signposts. The piano accompaniment supports and often leads the vocal line; follow those shifts to inform your phrasing and dynamic choices.
  • Balance theatrical personality with genuine vulnerability. Gershwin wrote comedy songs that still require singers to connect emotionally with their material.

How to use it

Pair this with other Gershwin songs or arrange a themed program around early 20th-century American musical theatre comedy. It works particularly well in a recital exploring how Broadway composers used wit and melody to develop character.

Skills your students will build

  • Singing conversational, text-driven melody with theatrical authenticity
  • Interpreting Gershwin's harmonic language and following chromatic shifts in the accompaniment
  • Sustaining character and humor while maintaining vocal legit production
  • Executing 16-bar cuts effectively for audition situations

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