If you're a tenor, these songs are for you. Welcome to MsMojo, and today we’re counting down our picks for the greatest musical numbers and traditional tracks for tenors.
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00:00 "What I've got they used to call the blues."
00:06 Welcome to Ms. Mojo, and today we're counting down our picks for the greatest musical numbers and traditional tracks for tenors.
00:13 "Will it be? Yes it will."
00:15 "When she mentioned how her aunt bit off the spoon."
00:26 The golden era of Hollywood had a particular sound when it came to movie musicals.
00:31 The most recognizable numbers are upbeat ballads featuring a happy-go-lucky tune.
00:35 Few exemplify this better than "On the Street Where You Live" from "My Fair Lady."
00:39 "I have often walked down this street before."
00:45 A chirpy ballad filled with elongated notes.
00:48 The movie version is sung by Bill Shirley, dubbing actor Jeremy Brent.
00:52 Andy Williams would release his own version the same year the movie came out.
00:56 Taking the key and tempo down a tad in the process.
00:59 "People stop and stare."
01:03 It's straightforward tune and structure, as well as its adaptability,
01:08 make this classic number a classic choice for a classical tenor.
01:11 "On the street where you live."
01:19 Number 9 - "Somebody to Love" - Queen
01:22 "Each morning I get up I die a little. Can barely stand on my feet."
01:28 "Take a look at yourself."
01:30 Freddie Mercury's vocals on "Somebody to Love" are a veritable roller coaster.
01:34 Employing both head and chest voices, the singer goes both low and high,
01:39 reaching a falsetto-led finish via a flurry of improvised notes.
01:42 "I work, we work hard. Every day of my life. I work till I ache my bones."
01:49 But these aren't the most impressive parts of the performance.
01:52 As any singer can employ the same skills,
01:54 the real test for a tenor is the power behind the notes,
01:57 regardless of where they fall within the number.
01:59 "Let's ride in a little motorboat, brave. Oh, we got the confidence."
02:04 For Mercury, every word sounds effortless even though it fills the room.
02:09 And that's before they get to the operatic-esque choral finish.
02:13 Not one syllable is dropped, nor a word wasted.
02:16 "Somebody to love."
02:22 Number 8 - "Just the Way You Are" - Bruno Mars
02:26 "Oh, her eyes, her eyes, make the stars look like they're not shining."
02:30 Bruno Mars' 2010 hit "Just the Way You Are" deserves another video
02:34 just to list its accolades and awards.
02:37 The Best Male Pop Vocal Performance Grammy Award win
02:40 is potentially the biggest qualification for inclusion here, however,
02:43 as the song is a tenor's delight.
02:45 "Her lips, her lips, I could kiss them all day if she'd let me."
02:50 The lyrics are somewhat sappy, which drew criticism from music reviewers.
02:54 But this only seems to draw more attention to the quality of Mars' crisp voice.
02:58 "Cause you're amazing."
03:02 The steep rise at the break into the chorus showcases Mars' range,
03:06 which is a low F to a high tenor C across the song.
03:09 "Just the Way You Are" has been covered numerous times since its release
03:13 by established singers and on reality shows.
03:16 "Just the way you are."
03:20 Number 7 - "Pasajata" - Adam Gettl
03:23 "Come with me, walk with me, walking in my city."
03:30 "The Light in the Piazza" is a Broadway musical that breaks tradition by,
03:33 well, leaning truly into tradition.
03:36 Unlike other shows that debuted at the time,
03:38 Adam Gettl's music shies away from modern pop infusion
03:41 and sticks rigidly to the more operatic, neo-romantic styles of the previous century.
03:45 And it truly works in the musical's favor.
03:55 In fact, critics consider the music to outshine the story.
03:58 And particularly, solos such as "Pasajata" offer young performers
04:02 the opportunity to appreciate older styles with a modern twist.
04:11 For "Pasajata", there is a whirling melody,
04:14 allowing performers the full use of their range in flow.
04:17 Number 6 - "Landslide" - Fleetwood Mac
04:27 Considered one of the best rock songwriters,
04:33 Stevie Nicks has an impressive contralto voice,
04:36 with low tones and vibratos galore.
04:39 But many of her songs are equally attractive for ambitious tenors as well.
04:42 For example, her 1975 song "Landslide",
04:52 a ballad about her struggling to choose a life on the road or back in education,
04:55 has become a favorite of singers.
04:57 The somber melody may have prevented the song from becoming a huge success
05:08 upon its initial release.
05:09 It never passed number 51 on the Billboard charts.
05:12 But the tune resonated with discerning vocalists.
05:15 The best example is the "Smashing Pumpkins" cover,
05:17 where vocalist Billy Corgan did not change the key or tempo at all.
05:21 It was inevitable that we would reach Mr. Sheeran at some point on this list,
05:36 though he may be thinking out loud,
05:38 Sheeran's vocals demonstrate a comfortable ability to play on the tenor range.
05:42 Like his fellow balladsmith Bruno Mars,
05:48 Sheeran uses every opportunity to push his vocals within the track itself,
05:52 as evidenced in the steep dip down in melody for the chorus,
05:56 from straining on the high notes to quieter lows throughout the verses.
05:59 The song covers just shy of a two-octave melody range,
06:05 and so is quite surprisingly conservative.
06:08 But because of the length of time staying in the upper register
06:11 and the crescendo nature of the performance,
06:13 it is a go-to for many tenors in acoustic sets,
06:17 or more likely, weddings.
06:34 Similar to "Landslide," which would follow four years later,
06:37 "Rainy Days and Mondays" is easily adaptable for a tenor.
06:40 The melody has a definite tinge of melancholy that supports a dramatic interpretation,
06:45 but the almost whimsical narrative keeps it from becoming over the top.
06:48 And the big false finish is also very attractive to those seeking something a little different.
07:00 In other words, there is plenty to play with in this song.
07:03 ♪ Run and find the one who loves me ♪
07:10 If you're a tenor who wants to tell a story with more dynamics than "Landslide,"
07:14 then look here.
07:15 ♪ Rainy days, Mondays, always get me down ♪
07:21 ♪ Safe behind these windows and these parapets of stone ♪
07:29 ♪ Gazing at the people down below me ♪
07:32 Alan Menken's time as Disney Animation's go-to composer
07:36 is somewhat of a golden era for "The House of Mouse."
07:38 ♪ All my life I've memorized their faces ♪
07:42 ♪ Knowing them as they will never know me ♪
07:46 With nine Academy Award nominations for Best Original Song for his animated feature works
07:50 between 1989's "The Little Mermaid" and 1997's "Hercules,"
07:54 it's not difficult to see why.
07:56 Yet while each movie would have one or two big numbers,
07:59 it is a somewhat lesser acclaimed one that earns a place on this list.
08:03 "Out There" sung by Quasimodo in "The Hunchback of Notre Dame."
08:06 ♪ Out there, where they all live on and where ♪
08:13 The upbeat, big, and brassy and almost operatic ballad
08:17 is not an easy song for tenors to attempt,
08:19 as it requires a lot of breath.
08:21 But anyone who can belt out these notes deserves applause.
08:24 ♪ With my share, won't resent, won't despair ♪
08:32 ♪ Hold and bend, I won't care ♪
08:35 Number 2. "Something's Coming."
08:38 Leonard Bernstein and Stephen Sondheim.
08:40 ♪ Could be, who knows ♪
08:46 From "West Side Story" and from not one, but two musical legends,
08:51 "Something's Coming" is the very opposite of our previous entry "Out There."
08:55 Tony's hopeful song is a very hushed and controlled affair,
08:58 which would give any performer a lot of work to do.
09:01 ♪ Could it be, guess it could ♪
09:03 ♪ Something's coming, something could ♪
09:06 Even the original movie's Tony, Richard Beamer,
09:08 had to be dubbed over to ensure the quality was just right.
09:11 "Something's Coming" requires a broad range,
09:14 going from quiet low notes to a falsetto high finish very quickly.
09:18 ♪ Come on something, come on in ♪
09:20 ♪ Don't be shy, meet a guy, pull up a chair ♪
09:25 And is rarely adapted to fit the singer,
09:27 meaning the singer must fit the song.
09:29 But make no mistake, when performed well, it is a guaranteed hit.
09:35 ♪ Maybe tonight, maybe tonight ♪
09:46 Before we unveil our top pick, here are some honorable mentions.
09:50 "Fast Car," Tracy Chapman.
09:52 Chapman's unique vocals are silky smooth and reach all.
09:55 ♪ I, I had a feeling I could be someone ♪
10:00 ♪ Be someone, be someone ♪
10:02 "Somewhere Over the Rainbow," Israel Kamakavivole.
10:06 The beautiful, soothing sounds go straight for the soul.
10:08 ♪ Vivo ver do contú ♪
10:15 "Stay With Me," Sam Smith.
10:17 Sam Smith fuses this pop ballad with a truly warm effect.
10:21 ♪ But darling, stay with me ♪
10:25 "Heaven on Their Minds," from Jesus Christ Superstar.
10:29 No matter who plays Judas, every cast member wants this number.
10:32 ♪ We are occupied ♪
10:35 ♪ Have you forgotten how put down we are ♪
10:40 "She's Always a Woman," Billy Joel.
10:42 Joel's versatile melody matches his versatile vocals.
10:45 ♪ Blame it all on yourself 'cause she's always a woman to me ♪
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11:06 Number 1, "Nessun Dorma," Giacomo Puccini.
11:11 ♪ Nessun dorma ♪
11:16 Sadly, Giacomo Puccini never witnessed arguably the greatest tenor of all time.
11:20 Luciano Pavarotti performed the Act III Turandot aria "Nessun Dorma."
11:25 ♪ Ed il mio bacio scoglierai le stelle ♪
11:30 Translated to "Let No One Sleep," it is aptly named,
11:34 as the climactic crescendo at the song's closing note
11:36 is sung with such gusto by the late opera star that few,
11:39 or perhaps none, will ever forget hearing it.
11:43 With all due respect to all other tenors out there,
11:46 and there are some brilliant renditions,
11:48 they will all be unfavorably compared to Pavarotti's emotional vocals,
11:52 and rightfully so.
11:53 ♪ Travantate stelle ♪
11:59 While he made a name hitting high Cs in Donizetti's "Pogmonam"
12:02 and holding notes forever in "Uno furtivo lagrima,"
12:06 "Nessun Dorma" will always be Pavarotti's song.
12:08 ♪ All'alba vincerò ♪
12:14 Are our picks too bass or too alto for your tastes?
12:18 Sound off, pun intended, in the comments.
12:20 ♪ Maybe tonight ♪
12:24 Do you agree with our picks?
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12:32 ♪ ♪ ♪