They Won't Know Me (From "Wish You Were Here"): Piano/Vocal/Chords
Ed. Lisa DeSpain
Item: 00-PS-0010358
One moment…
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Description
Titles: I'm Not That Smart (The 25th Annual Putnam County Spelling Bee) * My Unfortunate Erection (Chip's Lament) (The 25th Annual Putnam County Spelling Bee) * Dames (42nd Street) * Radames' Letter (Elton John and Tim Rice's "Aida") * The Gypsy in Me Anything Goes (1988 Revival)) * Ballad of Booth (Part III) (Assassins) * What Am I Doin'? (Closer Than Ever) * Broadway Baby (Dames At Sea) * Blah, Blah, Blah (Delicious) * When the Earth Stopped Turning (Elegies) * You Gotta Die Sometime (Falsettos) * I Want to Make Magic (Fame: The Musical) * Sandy (Grease) * Donna (Hair) * Different (Honk!) * The Phone Call (Lucky Stiff) * Knowing Me, Knowing You (Mamma Mia) * To Each His Dulcinea (Man of La Mancha) * Larger Than Life (My Favorite Year) * I'm Falling in Love with Someone (Naughty Marrietta) * And They're Off (A New Brain) * Stouthearted Men (The New Moon) * Lucky to Be Me (On the Town) * A New Town Is a Blue Town (The Pajama Game) * Extraordinary (Pippin) * There's a Boat Dat's Leavin' Soon for New York (Porgy and Bess®) * You Took Advantage of Me (Present Arms) * Alone in the Universe (Seussical the Musical) * Something to Live For (Sophisticated Ladies) * Strike Up The Band (Strike Up The Band) * Ballad of the Easy Life (The Threepenny Opera) * Calla Lily Lady (Two Gentlemen of Verona) * Love's Revenge (Two Gentlemen of Verona) * They Won't Know Me (Wish You ere Here) * If I Only Had a Brain (The Wizard of Oz)
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Sample Audio
My Man's Gone Now from Porgy And Bess
Sample Video
Additional Details
More about this title
About the Composer: Harold Rome
Harold Rome was a composer and lyricist who shaped American musical theatre across four decades, beginning in the 1930s. His work ranged from intimate revues to full-scale Broadway productions, and he had a gift for writing songs that felt both theatrically urgent and personally intimate. Rome's contribution to the canon lies not in spectacle but in character study: his songs make space for singers to reveal vulnerability, uncertainty, and the small truths that drive dramatic moments.
Why we love this
This collection pulls from decades of theatrical writing across wildly different contexts, which means singers get exposure to Rome's range without needing to hunt down individual scores. The editorial framework (historical notes, audition cuts, contextual commentary) transforms a song book into a study tool that actually prepares you for the audition room and the stage.
What to expect
The songs gathered here carry the weight of character moments: the embarrassment of desire, the exhaustion of reinvention, the strange loneliness of being on stage in front of strangers. They're theatrical without being overwrought, and they demand that singers find truth inside convention.
Who it's for
Singers preparing for auditions, voice students working through repertoire across multiple shows, and performers building a flexible audition book. This collection serves experienced singers who want authoritative texts in original keys and singers new to musical theatre who need guidance on song selection and cuts.
How to get the most out of it
- Read the historical and contextual notes before learning the song. Knowing which show it comes from and what the character wants in that moment will guide your interpretation from the first read-through.
- Study the 16-bar cut suggestions provided, but use them as a starting point, not a mandate. Understanding why the editors chose those bars teaches you how to make smart cuts for your own audition needs.
- Work with the chords to understand the harmonic movement. Rome's accompaniments often do subtle emotional work, and recognizing those shifts will deepen your phrasing.
- If you're preparing multiple songs from this collection, notice how Rome handles different character types and emotional registers. Building that awareness helps you navigate between contrasting audition pieces.
How to use it
Use this as the core text for a musical theatre repertoire class, where students can work through multiple songs and apply the contextual commentary to their own audition preparation. You can also pull individual selections for concert programming or assign specific songs as technical challenges that build skills across different styles and eras.
Skills your students will build
- Singing in original keys and interpreting the composer's harmonic intent
- Understanding character motivation and translating it into vocal choices
- Preparing audition-ready cuts using editorial guidance
- Comparing song writing across different theatrical eras and genres
- Reading piano/vocal scores with confidence and specificity