Sheet music $10.97

Original

Sweeney Todd The Barber. Vocal Score. Sheet Music. Unison Voice, Piano Accompaniment. UNIS. PFA. Carey Blyton.

Translation

Sweeney Todd The Barber. Vocal Score. Sheet Music. Unison Voice, Piano Accompaniment. STATES. PFA. Carey Blyton.

Original

The time is the early 1840’s. The place is the shop of Sweeney Todd the barber, where many more customers go in than ever come out. This is a fun piece for schools and contains some amusing lyrics set to catchy tunes. It may be performed quite simply as written, or the score here may be used as the basis for something more elaborate involving scenery, costumes and props. or it can be done in any way in between. Written for narrator, unison voices and piano, the seven songs may be sung by all the voices or solo voices can sing the character parts in contrast to the choruses. If instruments are used to accompany the voices then choose banjo. ukelele rather than guitar, cornet rather than trumpet, an so on. In other words, aim for a music hall orchestra sound. There is ample opportunity to make the most of the conventions of Victorian melodrama such as hissing at the villain and overdone, nasty laughter in You’re In My Power.

Translation

The time is the early 1840’s. The place is the shop of Sweeney Todd the barber, where many more customers go in than ever come out. This is a fun piece for schools and contains some amusing lyrics set to catchy tunes. It may be performed quite simply as written, or the score here may be used as the basis for something more elaborate involving scenery, costumes and props. or it can be done in any way in between. Written for narrator, unison voices and piano, the seven songs may be sung by all the voices or solo voices can sing the character parts in contrast to the choruses. If instruments are used to accompany the voices then choose banjo. ukelele rather than guitar, cornet rather than trumpet, an so on. In other words, aim for a music hall orchestra sound. There is ample opportunity to make the most of the conventions of Victorian melodrama such as hissing at the villain and overdone, nasty laughter in You’re In My Power.