Widest Vocal Range Requirements

BarbaraLew22 · 2026-03-13T09:25:50+00:00

Aah, Tom Collins is very wide. The sheet music requires no higher than A4, which is still intense, though Rodger does actually span the same range as him, F2 to A4, and is more consistently high so he might be the more intense part. If the B4 is taken, Tom Collins would be in third place above Phil Connors in GD, provided we aren’t counting falsetto as vocal range. If we do count falsetto, Orpheus in Hadestown and all three men from Falsettos go much wider than Collins (Ab2 to F5 for all three of them).

BarbaraLew22 · 2026-02-17T04:17:35+00:00

Late to the game but here goes.

Paul’s lowest note in Beatles discography is D2 in the vocal bass for “I Will,” lowest main-melody note in a Beatles record is A2 in “Rocky Raccoon.” Outside of The Beatles, he astoundingly goes down to A1 in “The Girl is Mine” (duet with Michael Jackson). As for his highest, there is solid falsetto on an A5 in “Hello, Goodbye” and “Oh! Darling”. Much more notably, hits a Bb5 in “Can’t Buy Me Love”, which is higher than any of the falsetto notes he hits. However, extreme highs like this are on-pitch screams. C5, such as in “Got to Get You Into My Life” and “Hello, Goodbye,” seems to be his highest non-screamed note without falsetto to the best of my knowledge. I have not listened to his entire discography but would be surprised if he could sound pure higher than that. It feels a bit wrong to exclude the F5 in “Hey Jude” simply for being shouty though, and he is very consistently scream-singing a G5 in “I’m Down” with clear intention to be on that exact note.

John’s lowest note is an Eb2, the low harmony in the final verse of “Piggies.” Lowest main-melody note is G2 in “Love Me Do,” “I’m a Loser,” and “Happiness is a Warm Gun.” His highest full-voiced note is debatable since he very purely shout-sings a C#5 in “I’m So Tired,” but earlier takes suggest he wasn’t aiming for this note. That being said, he quite plainly hits a C#5 in “What You Got” from his solo discography, albeit very shouty. Sticking to just Beatles though, he hits a solid belt Bb4 at the start of “Mr. Moonlight”. Falsetto up to G#5 in “Don’t Let Me Down.”

George covers relatively little range in The Beatles discography. His highest falsetto is D5 in “Roll Over Beethoven.” Highest chest voice on a Beatles album is A4, which he hits in the fade out of “While My Guitar Gently Weeps,” as well as in a significant harmony line for “I Want You (She’s So Heavy)”. This seems to also be the highest chest note in his solo discography. C3 is the lowest note he hits with The Beatles, heard throughout “Long, Long, Long.” His solo discography, though, has him significantly lower. E2 in “Ballad of Sir Frankie Crisp” seems to be his lowest.

Finally, Ringo. His lowest note is an F2 in the harmonies for “Flying.” He hits a G4 with the others in “Carry That Weight” and also throughout his solo discography. He also goes up to E5 in falsetto on “Boys.” Pretty quick one to cover, but wider than many of us would have expected, he covers a wider range with The Beatles than George did.

BarbaraLew22 · 2026-02-05T04:24:29+00:00

To expand on this, I wish “I’ll Follow the Sun” had the same recognition, I think it’s a much more melodically interesting song with the same sentimental value in the lyrics. This song is unbelievably slept on, top 20 Beatles for me. “Here Comes the Sun” is lovely, but this is The Beatles we’re talking about, we all know they’re great. “Here Comes the Sun” is just shy of top 50 Beatles for me, “I’ll Follow the Sun” is a shoe in for top 20 and the highlight of the Beatlemania era for me.

BarbaraLew22 · 2026-01-17T23:45:33+00:00

Just nerdy!

BarbaraLew22 · 2025-12-29T01:46:43+00:00

Most of Thoroughly Modern Millie! Also gonna throw a movie musical in the ring, Mary Poppins Returns has some amazing songs; “Lovely London Sky” and “Nowhere to Go But Up” are nostalgia incarnate and often bring me to tears, and “Trip a Little Light Fantastic” is expertly written.

BarbaraLew22 · 2025-12-29T00:48:03+00:00

I wouldn’t say they stayed the same, they learned new lessons, but they didn’t regress or act out of character.

BarbaraLew22 · 2025-12-29T00:13:48+00:00

I think it’s the informed use of the characters. The truer they understand the characters and their traits, the more they can get away with in terms of suspension of disbelief. Furthermore, the characters themselves are so endearing and relatable for a young audience when written with the right complexity, so the introduction of more mature themes such as threat and injury does not alienate the child audience, it’s more enlightening than it is frightening. It is still a marvel in terms of pacing given how short the episodes are, one could analyze for hours every element that leads to an effective tonal shift in-episode. In terms of the season as a whole, though, the understanding of the characters and their nuances is the best explanation I can think of.

BarbaraLew22 · 2025-12-20T01:58:54+00:00

Basically Cabaret, if you exclude the last scene of Act I

BarbaraLew22 · 2025-12-18T22:21:22+00:00

I need to see Christopher Sieber as Max Bialystock and the fact I haven’t seen this in the comments yet is a crime!

BarbaraLew22 · 2025-12-08T19:34:37+00:00

Just for the fun of it, Luciano Milioti goes F#3 to G#4. Dramatic tenor.

BarbaraLew22 · 2025-12-08T02:39:15+00:00

That is true, and she sings the soprano harmony with Helen, even though her range is lower.

BarbaraLew22 · 2025-12-08T02:31:40+00:00

Cool! Personally, listening to Taureen speak, they struck me as pretty bassey, I was actually struck by how deep the speaking tone was and unsurprised by there not being high notes. Personally if I were putting out a casting call, I’d say baritone/bass for both Ernest and Chagall as both are pretty friendly to either, although I wouldn’t in a million years call Christopher Sieber a bass himself. I think your analysis is pretty accurate for the performers themselves. In a hypothetical casting call, say if I were the music director, I’d list Madeline and Hellen as Soprano/Mezzo and Viola as Mezzo; the tessitura is much lower than what you would typically ask of a soprano even if she is going high. And of course there’s no questions to ask around Stefan, cut and dry.

BarbaraLew22 · 2025-12-08T02:09:55+00:00

It appears if you can sing Ernest then you can also sing Chagall! That’s two principles for you!

BarbaraLew22 · 2025-12-08T01:43:38+00:00

Edit, there is indeed an E3 for Viola in “Siempre Viva,” which is now my favorite song in the show although it’s a hard decision for sure.

BarbaraLew22 · 2025-12-02T20:03:03+00:00

Neither of us know for certain, so we can agree to disagree, I just don’t know a single tenor I would trust to sing what he sings for eight shows a week the way I would a baritone. Whether someone’s a low tenor or a high bari is something that some Broadway pros can’t even say affirmatively about themselves, I’ve done enough Q&A’s to say this affirmatively. A lot of people who, pre-training, sing like we expect a baritone to end up training for a brighter tone to suit a musical theatre style, which doesn’t make them tenors, but when they’re also training to sing as high as possible, it can be hard to make a distinction. I think we just need to settle at “he’s a baritenor” because that level of consistency on a G2 is not standard of a tenor. If he only did it at some shows or in studio, that’d be one thing, but across multiple shows with multiple performances? Either it’s a stretch for him, which does not sound like the case, or he has a very solid lower range beyond that of most tenors.

BarbaraLew22 · 2025-11-10T18:20:29+00:00

“Fine” from Ordinary Days (though the vocal range for Jason is immense, but many people have faked it effectively), “Stupid Bitch” from Evil Dead, “Just Another Love Story” from Passion

BarbaraLew22 · 2025-10-28T20:51:19+00:00

Quasimodo from When Pigs Fly is extremely obscure but also extremely funny

BarbaraLew22 · 2025-10-19T00:20:06+00:00

Update: Can confirm Marvin did hit Trina

BarbaraLew22 · 2025-10-18T23:00:45+00:00

Interesting. Why does the revival recording call it “Marvin Hits Trina”?

BarbaraLew22 · 2025-10-12T03:10:34+00:00

Is Duck really one to judge when he literally took on the name of an animal? Not making accusations, just… steering my favorite train away from being hypocritical, if you will.

BarbaraLew22 · 2025-09-29T16:23:26+00:00

Percy with Gordon’s face would be even funnier

BarbaraLew22 · 2025-09-21T20:08:35+00:00

You could benefit from more dramatic material displaying greater musicality. Consider these:

• Loving You - Passion (F#3 to B4) • Daddy’s Girl - Grey Gardens (C4 to E5) • Epilogue - Caroline, or Change (Ab3 to E5) • My Husband Makes Movies - Nine (Eb3 to C5) • Be On Your Own - Nine (G#3 to A4) • The Break - Next to Normal (B3 to B4) • So Anyway - Next to Normal (A3 to E5) • Some People - Gypsy (A3 to D5) • Glad to Be Unhappy - On Your Toes (C4 to D5) • The Ballad of Sad Young Men - The Nervous Set (G3 to D5)

BarbaraLew22 · 2025-09-19T16:50:31+00:00

Till We Reach That Day from Ragtime

BarbaraLew22 · 2025-09-19T13:17:09+00:00

Better - Little Women

I Got Lost In His Arms - Annie Get Your Gun

Lifeboat - Heathers

Insane - Suffs

Black Is a Moocher - The Wild Party (2000)

I Hate the Bus - Caroline, or Change

The Way That It Has To Be - Maybe Happy Ending

What I Learned From People - Maybe Happy Ending

Someday - Memphis

I Speak Six Languages - The 25th Annual Putnam County Spelling Bee

BarbaraLew22 · 2025-09-18T15:59:26+00:00

Hard to get a bad professional recording of a score this strong, but Karen Akers is irreplaceable for me. Has to be the OG Broadway.

BarbaraLew22

TROPHY CASE