Sensational Songs for Solo Voice, Volume 2: Medium Low Voice Book & CD

This collection balances beloved standards with fresh arrangements and original settings, giving singers genuine variety without requiring constant page-turning between multiple books. The inclusion of Franck, Ford, and Mozart alongside Leavitt's own compositions creates a cohesive program that feels curated rather than thrown together, and the medium-low voicing opens these songs to a wider range of singers than typical soprano-focused collections.

These songs strike a meditative, graceful tone. Whether approaching Mozart's spirituality, Franck's lush harmony, or the intimate vulnerability of Renaissance and early modern texts, the collection invites singers into genuinely beautiful music without demanding virtuosity. The arrangements breathe and settle, honoring both the voice and the listener's ear.

This book serves lower-voiced soloists preparing recital or audition repertoire, as well as singers in choral programs who need solo material that doesn't require transposition. It works equally well for self-directed practice and for voice lesson study, particularly for singers building confidence in their current range.

• Explore the recorded accompaniments on the included CD to hear how each song sits stylistically; use them as interpretive models rather than performance targets, adjusting tempo and phrasing to suit your own voice.
• Build legato line through phrase-length breath planning rather than trying to sustain every note; these songs reward natural phrasing that honors both the text and the melodic contour.
• Pay attention to the historical context of each piece: the sacred works (Kyrie, Panis Angelicus, Alleluia) benefit from dignity and restraint, while the secular songs invite more expressive shaping.
• Test your dynamic range in the opening songs to establish comfort with the medium-low tessitura; many singers discover more resonance in this range than expected when given time to settle.

Program individual selections from this book into recitals or competitions where you need proven, substantial repertoire that sounds prepared and intentional. Several pieces work especially well in sacred or interfaith concert contexts, while others suit solo competitions where variety and musicianship matter more than flashy technique.

• Sustaining legit tone across a full phrase in medium-low range
• Shaping melodic lines with appropriate historical style (Renaissance through romantic)
• Coordinating breath placement with textual meaning
• Interpreting sacred versus secular vocal writing
• Developing comfort with printed score and recorded accompaniment simultaneously