The Bed Was Not My Own (from "Hello Again")                                          Sheet Music Preview

The Bed Was Not My Own (from "Hello Again"): Piano/Vocal/Chords

Michael John LaChiusa

Item: 00-XS-0000291

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Description
This first-ever Michael John LaChiusa sheet music collection contains 39 songs from one of the most distinctive and admired theatre composers of our time. More than 250 pages of music chronicle two decades of LaChiusa shows, from early 1990s breakouts First Lady Suite and Hello Again to celebrated favorites like The Wild Party, See What I Wanna See, and much more. The composer supplied a wealth of previously unpublished music for this collection, ensuring that even the most devoted LaChiusa fan will discover new and exciting songs among these pages. Titles: * Adela (from Bernarda Alba) * Beautiful (Marie Christine) * The Bed Was Not My Own (Hello Again) * By the Way (Little Fish) * The Christian Thing to Do (The Seven Deadly Sins) * Coffee (See What I Wanna See) * Curiosity (See What I Wanna See) * Eleanor Sleeps Here (First Lady Suite) * Fraud (Broken Sleep) * The Gift of You (The Nutcracker) * He Wanted a Girl (Giant) * Heaven (Hotel C'est l'Amour) * Hello Again (Hello Again) * Hello, Lover, Hello (Send (who are you? I love you) * The Highest Yellow (The Highest Yellow) * How Many Women in the World? (The Wild Party) * I Don't Hear the Ocean (Marie Christine) * I Ran (Little Fish) * Little Fish (Little Fish) * Martirio (Bernarda Alba) * Mistress of the Senator (Hello Again) * My Husband Was an Army Man (First Lady Suite) * The One I Love (Hello Again) * Optimistic (Lovers and Friends) * People Like Us (The Wild Party) * Private Property (Giant) * Remember Me (Little Fish) * See What I Wanna See (See What I Wanna See) * She Looked at Me (See What I Wanna See) * Simple Creature (Little Fish) * The Smallest Stream (Bernarda Alba) * The Smallest Thing (First Lady Suite) * A Stranger (Giant) * There Will Be a Miracle (See What I Wanna See) * Tom (Hello Again) * Tom Sawyer (Romance Language) * Way Back to Paradise (Marie Christine) * Welcome to My Party (The Wild Party) * When It Ends (The Wild Party).

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Additional Details
Publisher: Alfred Music
Page Count: 260
SKU: 00-XS-0000291

More about this title

About the Composer: Michael John LaChisua

Michael John LaChisua is a composer whose theatrical works have defined a particular strain of American musical theatre: emotionally intricate, harmonically adventurous, and unafraid of structural experimentation. His scores for shows including Marie Christine, The Wild Party, See What I Wanna See, and Bernarda Alba have earned him recognition as one of the most distinctive voices in contemporary musical theatre, with work that challenges both performers and audiences to engage with character psychology through music of real sophistication.

LaChisua's approach to songwriting privileges lyrical complexity and harmonic innovation over conventional theatre formulas. His music has been championed by major regional theatres and by performers drawn to material that demands serious musical and dramatic commitment. This collection represents two decades of his theatrical output and introduces educators and singers to repertoire that expands what musical theatre can express.

Why we love this

This collection gives singers and pianists direct access to repertoire that rarely appears in standard sheet music catalogs. LaChisua's harmonic language rewards serious study; the songs are written for performers who can handle unexpected key relationships and sophisticated rhythmic figures without oversimplifying them. Programming any of these pieces signals that your program values theatrical integrity and compositional craft.

What to expect

LaChisua's music occupies a space where theatrical storytelling meets art song sensibility. These pieces feel intimate even in ensemble settings; the harmonies often surprise, the lyrics cut with emotional precision, and the piano writing suggests a composer equally at home in the concert hall and the theatre. There is intelligence in every measure and emotional authenticity beneath every harmonic turn.

Who it's for

This collection serves advanced vocalists and pianists who are ready for material beyond standard musical theatre repertoire, as well as theatre programs seeking to expand their contemporary music offerings. Voice teachers and coaches working with students preparing for college auditions or professional performance will find distinctive pieces that showcase a singer's ability to handle sophisticated music.

How to get the most out of it

  • Study the harmonic progression carefully before touching the keys. LaChisua's chord choices often serve dramatic purpose, and a performance that rushes through unfamiliar harmony will lose the emotional weight beneath the surface.
  • Coordinate with your vocalist on the relationship between the piano part and the vocal line. These are not accompaniment vehicles; the piano often carries thematic material or harmonic commentary that shapes how the song lands.
  • Attend to dynamics and articulation markings with care. In LaChisua's work, a sudden change in texture or touch often signals a shift in the character's emotional state or interior thought.
  • Resist the urge to over-romanticize the phrasing. Many of these songs benefit from a more conversational, naturalistic delivery that lets the harmonic and lyrical content speak directly.

How to use it

Use individual songs from this collection to program concert seasons that honor contemporary musical theatre composition. A single LaChisua song paired with classic standards or art songs demonstrates the continuity between musical theatre and vocal music tradition. These pieces also serve as audition material for advanced singers and as study scores for musicians learning to navigate contemporary harmonic language.

Skills your students will build

  • Reading complex harmonic progressions and unexpected key relationships
  • Coordinating piano and vocal lines where both carry thematic material
  • Interpreting stage directions and subtext embedded in musical notation
  • Managing rhythmic precision in non-traditional time signatures and syncopated figures
  • Balancing theatrical expression with musical sophistication

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