Sheila Franklin / I Believe in Love (from "Hair"): Piano/Vocal/Chords
Music by Galt MacDermot, words by James Rado and Gerome Ragni
Item: 00-PS-0011228
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Description
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More about this title
About the Composer: Galt MacDermot
Galt MacDermot composed the score for Hair (1968), the groundbreaking rock musical that redefined what Broadway could be. His fusion of rock, soul, and pop idioms with theatrical storytelling created a sound that felt urgent and contemporary, capturing the spirit of a generation. MacDermot's work on Hair earned a Tony Award for Best Original Score and established him as a composer who could bridge the gap between popular music and musical theater.
Beyond Hair, MacDermot composed for stage, film, and television throughout a prolific career. His ability to write memorable melodies within unconventional harmonic frameworks made his music accessible to audiences while remaining sophisticated enough to sustain repeated listening. For music educators, his catalog demonstrates how theatrical composition can authentically engage young performers and audiences alike.
Why we love this
MacDermot's melodies sit perfectly under the voice, with chord voicings that work equally well for a vocalist with strong classical training or one rooted in contemporary music. The arrangements maintain the raw energy of the original rock aesthetic while remaining playable by pianists at intermediate levels. Songs like "I Believe in Love" offer genuine emotional weight without requiring technical virtuosity, making them ideal for mixed-level rehearsals and performances.
What to expect
Hair captured an era of social awakening and radical optimism, and these songs still carry that energy. The music feels both earnest and playful, with melodies that lodge in the ear immediately while lyrics that invite reflection. Whether tender or exuberant, each song pulses with authenticity and freedom.
Who it's for
This collection serves high school and adult community musicians who want to perform music from one of Broadway's most influential productions. Vocalists seeking contemporary material with theatrical legitimacy and pianists wanting to expand beyond classical accompaniment will find these arrangements approachable and musically rewarding. Directors programming concert or pops series will appreciate songs that resonate with audiences of multiple generations.
How to get the most out of it
- Let the groove breathe rather than rushing the rhythm. These songs thrive on a relaxed pocket; lock into the pulse with confidence rather than pushing ahead.
- Voice the chords to complement the vocal line rather than fighting it. If a song sits higher in the melody, keep left-hand voicings open and avoid doubling the singer's notes unnecessarily.
- Study the original cast recording alongside this score. Hearing how the ensemble handled dynamics, phrasing, and blend will inform choices that feel authentic to the material.
- Balance the rock idiom with clear diction. The lyrics carry meaning; ensure vocal clarity doesn't get lost underneath full chord voicings or driving rhythmic patterns.
How to use it
Pair these selections with other contemporary musical theater to create a program that spans from traditional Broadway to modern pop-influenced scoring. A single song works beautifully in a pops concert or variety show, while a suite of three to four numbers can anchor a full program exploring 1960s cultural music. Consider programming "I Believe in Love" alongside socially conscious contemporary pieces for a meaningful thematic concert.
Skills your students will build
- Reading and interpreting rock and pop chord changes
- Balancing vocal phrasing with contemporary rhythmic accompaniment patterns
- Voicing jazz-influenced chords in theatrical context
- Understanding the historical role of rock music in modern musical theater
- Performing with stylistic authenticity across multiple contemporary idioms