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Grade Exam Music

This product includes pieces featured in grade exams. Click on a grade to view the full syllabus.

ABRSM Singing for Musical Theatre from 20192  


A Quiet Girl
Art for Art's Sake from The Cradle Will Rock
Farewell, Me Butty fr Juno
Francie fr No For An Answer
Ireland's Eye fr Juno
Love at First Word fr Reuben Reuben
Lovely Song fr Goloopchik
Lullaby fr No For An Answer
Mamasha Goose fr Goloopchik
Miracle Song fr Reuben Reuben
Monday Morning Blues fr Reuben Reuben
Music, Music fr Regina
Musky and Whiskey fr Reuben Reuben
My True Heart fr Juno
Never Get Lost fr Reuben Reuben
Outside Agitator fr No For An Answer
Quarrel Song fr Juno
Rosa-Sacco Duet fr Sacco and Vanzetti
Sacco's The Whole Shoe fr Sacco and Vanzetti
Secret Singing fr No For An Answer
Send for the Militia from Parade
Smoking Glasses
Stay in my Arms
The Hills for Amalfi fr Reuben Reuben
The Russian Language fr Goloopchik
Under the Sky fr Idiots First
Vanzetti's First Aria fr Sacco and Vanzetti
Vanzetti's Last Statement fr Sacco and Vanzetti
Weep for Me fr No For An Answer
What Is the Stars? fr Juno
Who Knows? ("Let's Be Blue")

Press Reviews

"...the two volumes of the Marc Blitzstein Songbook comprise a unique and extremely valuable resource of American music worthy of much further study and performance. They are desperately needed additions to even the most basic music library and theater music collections."
Melissa J. De Graaf, MLA Notes, September 2003

Volume two of Blitzstein's songs contains thrity-one songs, again mostly from stage works. Twenty-five have never been published before and include a trio, nine duets, and four duet arrangements. The volume contains four excerpts from Blitzstein's unfinished grand opera Sacco and Vanzetti, commissioned by the Ford Foundation and optioned by the Metropolitan Opera in 1959. The ultimate protest work, it was to be the story of two Italian immigrant anarchists who were executed by the State of Massachusetts in 1927 for a crime they did not commit. The opera has recently been finished by Leonard Lehrman and was performed in the summer of 2001. Extensive notes from the editor give background and performance history of the songs. As in the first volume, there are several illustrations of cover sheets of music publications, photographs, performance programs, and a cartoon. Both volumes together present a valuable repository of Blitzstein's creative work as well as a window on a time in American history when some artists were using their art to address social problems.
Judith Carman, Journal of Singing, May/June 2003

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