When I Get My Name in Lights (From "The Boy from Oz"): Piano/Vocal/Chords
Item: 00-PSP-000656
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Description
Titles: Corner of the Sky (Pippin) * The Games I Play (Falsettos) * I've Got a Crush on You (Strike Up the Band) * Not While I'm Around (Sweeney Todd) * On the Street Where You Live (My Fair Lady) and more.
When I Get My Name in Lights (From "The Boy from Oz"): Piano/Vocal/Chords isn't in MakeMusic Cloud just yet...but it could be. Let us know you'd like to see it, and you'll help shape what comes next. In the meantime, start a free trial and dive into thousands of interactive titles your students can play along with today.
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Gliding from Ragtime
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Additional Details
More about this title
About the Composer: Peter Allen
Peter Allen was an Australian-American composer, lyricist, and performer who became one of Broadway's most prolific and inventive songwriters. His work spanned five decades, from the 1960s through the 1990s, and earned him a Tony Award for Best Original Score for "The Boy from Oz" in 2003. Allen's gift for crafting singable melodies with conversational, witty lyrics made him a favorite among performers and audiences alike.
Why we love this
This collection captures some of Broadway's most vocally generous songs, and "When I Get My Name in Lights" exemplifies Allen's talent for writing character-driven material that sits beautifully in the voice while telling a specific story. The original keys and authentic transcriptions mean singers prepare material exactly as it was written and performed on stage, which is invaluable preparation for auditions and professional work.
What to expect
These songs breathe with theatrical ambition and personality. Allen's melodies are immediately memorable yet deceptively sophisticated, sitting comfortably in the voice while demanding emotional presence and clear diction. The orchestral contexts shimmer with clever arranging that supports rather than overwhelms the singer.
Who it's for
This book serves singers preparing for musical theatre auditions and performances who want authoritative, professional-quality transcriptions in their correct keys. It's equally valuable for voice teachers building a repertoire library for students, vocal coaches working with performers, and anyone serious about studying Broadway literature at a high level.
How to get the most out of it
- Pay attention to the phrasing marks and breath placements in the original score; they reveal how Allen intended the lyrical lines to sit in the voice and where emphasis lands for maximum storytelling impact.
- Use the chord symbols not just as harmonic reference but as guides to shape rubato and phrasing; Broadway songs often ask for flexibility around the beat in ways that classical music may not.
- Invest in the character work early; knowing who is singing, what they want in this moment, and why the song matters to them transforms the performance from technically competent to compelling.
How to use it
Include this repertoire in recitals and showcases where Broadway material is appropriate, particularly when programming songs that span decades of musical theatre history. A well-chosen selection from this collection works well alongside art song or contemporary musical theatre to demonstrate vocal range and interpretive depth.
Skills your students will build
- Authentic interpretation of Broadway style and phrasing
- Reading chord symbols and understanding harmonic context
- Character development and storytelling through song
- Audition preparation in original keys and published arrangements
- Navigating conversational, speech-like lyrics over melody