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In this fun and engaging course, your learner will be taught the elements of writing for the musical stage. This course may be useful to any singer/songwriter.

Those elements include:
Step 1
1. What does it take to make a great musical? -The first classes explore the history of musicals, particularly the defining musicals of the past one hundred years, and what made these shows successful. (Show Boat, 1927, to the present) From the onset of our lessons, the learner will also present any writing, and composition,  and move steadily forward creating new lyrics and melodies to fictional and non-fictional ideas and characters they are assigned.

Step 2
We move forward in step 2 to take a deep dive into the creative genius of Porter, Gershwin, Rogers, Sondheim, Coward, Berlin, and other lyricists. We'll begin to discuss the development of a musical: who is your audience?, where to find ideas?,  We'll learn the types of songs typically found in musicals, and how to realistically shape dialogue as we learn to think about how to "flesh out" the characters in the songs they continue to create, lyrics, melodies, and harmonies.

Step 3-4
At this juncture, it is time to assess the student's strengths and weaknesses. I will reach out to the parent to make recommendations: 1) Does the student possess the skills to move independently forward, 2) Does the student need collaboration? (move to a class of 2. If your student is a gifted lyricist, the student will be paired with a composer whose gift may be musical composition, and vice-versa, 3) 1 and 2

Step 4
This is a unit of collaboration and a partial overlap of step 3. Songs will be drafted. As a note, I will be transcribing the songs for the students should the student not possess the means to do it themselves.

*For the composition students, they will be offered additional classes in theory, composition, and how to write it down using the free notation software Musescore, or I can offer Sibelius, and Dorico (Finale is now defunct) but those require purchasing, and both have student discounts available. 

Step 5
This is where the fun (and real hard work) begins. Finding, or writing, a story! Extracting the theme, the message, (Take hope for example, and how that shapes the grief, love, loss, courage, community, etc., our characters act out) Where, when, or by whom can the student(s)think to tell the message? Romeo and Juliet was told anew in A West Side Story...you get the idea.


Step 6
Now the students will "flesh-out" their characters.
Believable characters are crucial to a great musical. You always find characters with 1) distinct personalities, 2) opposing goals, and 3) a variety of motives. These well-thought-out characters are often the best ingredients for a great musical. And they are compelling to watch because of the inherent tensions between different peoples. S. Sondheim kept a card index of his characters and the traits, and idiosyncrasies.

Step 7
Draft the structure: This section is sub-titled: draft the scenes. We don't often end up finishing anything from the draft we started, but we have to start somewhere. All stories have an arc and most have some conflict from the get-go. Even stories without words, like tone poems, have a moment when the story strives for conflict/resolution, anti-resolution, or twist, and some stories even leave you hanging on and wanting more. Whatever the type of story, a good balance and pace, with just the right emotional and theatrical manipulation to send the audience home satisfied, is, when all is said and done, necessary for a great musical. Of course, should the student's musical make it to having a first reading, it's there pacing becomes more discernable. 


Step 8
Write the Songs. Re-write. There are several different types of musicals, and those are fine to explore. This class emphasizes a generical type of musical. One can find the following songs in this generic type: opening number, the "me" song (often referred to as the "I want" song), love ballad, villains tune, the "I'm sorry" "apology" song, somewhere in the musical a showstopper, the finale. From this template, the students are free to explore new territory, always with the idea of making their musical entertaining. 

Step 9
Now what to do with a completed musical? We'll begin to investigate the outlets, agents, theatres, and competitions to pursue once a musical is completed. 

and

Step 10
Can you put on a show, and see it realized? Piano tracks of the songs will be provided.


As a former Equity Actors Association member, I have over 175 professional theatrical credits in my career including national tours, off-broadway, and regional LORT houses in the NY area. I've been a musical director and vocal coach to Broadway Actors and played Ocean Liners and clubs (and Chruches) in France, Italy, and Greece. I've even worked with Dick Van Dyke on TV. It's been a widely theatrical/musical career.

Most, if not all,  students need collaboration with their peers. I've always believed that in this type of learning environment, and with this type of interest, facilitating the collaborative effort is my responsibility.

As a graduate of the BMI LEHMEN-ENGEL MUSICAL THEATER WORKSHOP in NYC, as a composer of hundreds of songs, and instrumental compositions in secular and sacred genres, I have learned much. Over the years I've put what I've learned into writing, arranging, composing, performing, worshiping, and teaching. I also love passing the knowledge on to alacritous students. 

I'm fun, passionate about what I do, and extremely positive toward all regardless of race or gender, and welcome those who may have a disability. I will proactively communicate with students about accessibility needs, using inclusive language, incorporating diverse learning modalities, adapting assignments to individual needs, and openly discussing disability awareness to foster understanding and respect among all students; always prioritize the individual as a person first, not defining them solely by their disability. 



*Many moons ago, I arrived at Oberlin Conservatory and promptly met all theory and aural skills requirements. In my second semester of freshman year, I began teaching and grading upperclassmen. I have a BM and MM in Music.

Best to you!
From the father of 2 gifted boys, one of whom is autistic. 
Mr. Chris