This Man: Piano Vocal

Curtis writes for the voice with genuine understanding of what sits well in the passaggio and where the melody can soar. The piano part never overwhelms the singer, yet it contains enough musical interest to keep accompanists engaged throughout the thirteen pages.

The song carries the warmth and directness you expect from Broadway writing, with enough harmonic color to feel modern and thoughtful. The relationship between voice and piano creates an intimate sound, even when performed in larger venues.

Singers preparing audition material, voice students exploring contemporary Broadway writing, and accompanists looking for accessible yet musically rewarding repertoire. This works equally well for high school soloists, college voice students, or community theater casting.

• Shape the vocal line through long phrases rather than emphasizing each bar line; let the text guide your breath placement.
• Balance the piano accompaniment so it supports without competing; the vocalist should always be heard clearly.
• Pay attention to any key or tempo changes between the verse and chorus to ensure smooth navigation for both parts.

Include this in a musical theater revue or concert of contemporary solo songs. It also serves singers preparing for auditions who need material that showcases legit voice quality without requiring extensive dramatic baggage.

• Phrasing across longer melodic lines
• Balancing vocal production in various tessitura
• Interpreting text within a contemporary harmonic context
• Ensemble coordination between voice and piano accompaniment