Songbooks for Young Singers

Finding appropriate music for young singers can be challenging if you don’t know where to look!  Here are some of my favorite song books that I use with my young voice students. 

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Kids’ Musical Theatre Collection: Volumes 1 and 2  – This is a nice beginning-level book for young singers, with an assortment of kid-friendly songs from movies and Broadway musicals (ages 5 – 12).  Songs are in easily accessible keys that fit comfortably in most young voices, and the piano arrangements are simpler in this book than in some others.  Volume 1 and Volume 2 are sold separately, as well as in the complete edition.  

Singer’s Musical Theatre Anthology: Children’s Edition – This is a great collection of kid-appropriate songs from Broadway musicals, for approximately ages 8 – 14. Some of the song arrangements and piano accompaniments are more challenging than in the other kids’ anthologies.  It includes a mix of songs from classic and contemporary musicals, and includes plot notes for each show.  Songs include: What If (The Addams Family), Maybe (Annie), You’re Never Fully Dressed Without a Smile (Annie), Electricity (Billy Elliot), When I Get My Name in Lights (The Boy from Oz), I Know Things Now (Into the Woods), Getting to Know You (The King and I), I Whistle a Happy Tune (The King and I), Naughty (Matilda: The Musical), Quiet (Matilda: The Musical), Castle on a Cloud (Les Miserables), Gary Indiana (The Music Man), Where is Love (Oliver), The Girl I Mean to Be (The Secret Garden), It’s Possible (Seussical the Musical), I Know It’s Today (Shrek the Musical), Dites-Moi (from South Pacific), and more.  

Broadway Presents! Kids’ Musical Theatre Anthology – Songs include: All I Do is Dream of You (from Singin’ in the Rain ), Alone in the Universe (Seussical: The Musical), Be Kind to Your Parents (Fanny), Big Blue World (Finding Nemo: The Musical), Consider Yourself (Oliver), Different (Honk!), The Girl I Mean to Be (The Secret Garden), Good Morning (Singin’ in the Rain), Green Eggs and Ham (Seussical: The Musical), Heart (Damn Yankees), I Gotta Crow (Peter Pan), I Just Can’t Wait to Be King (The Lion King), I Want It Now (Willy Wonka and the Chocolate Factory), It’s Possible (Seussical: The Musical), Johnny One Note (Babes in Arms), Part of Your World (The Little Mermaid), Pure Imagination ( Willy Wonka and the Chocolate Factory), Shy (Once Upon a Mattress), Supercalifragilisticexpialidocious (Mary Poppins), When I Get My Name in Lights (The Boy From Oz), Wouldn’t It Be Loverly (My Fair Lady) .  Available with downloadable accompaniment tracks.  

Disney Solos for Kids, Volume 1 – contains 10 classic Disney songs: Beauty and the Beast (Beauty and the Beast), Chim Chim Cher-ee (Mary Poppins), A Dream Is a Wish Your Heart Makes (Cinderella), Ev’rybody Wants to Be a Cat (The Aristocats), God Help the Outcasts (The Hunchback of Notre Dame), It’s a Small World (Disneyland, Walt Disney World), The Lord Is Good to Me (Melody Time), Reflection (Mulan), The Second Star to the Right (Peter Pan), Winnie the Pooh (The Many Adventures of Winnie the Pooh).  Additional volumes are also available: More Disney Solos for Kids, and Still More Disney Solos for Kids.    

25 Folk Song Solos for Children – contains easy arrangements of kid-appropriate folk songs: All the Pretty Little Horses,  Animal Fair,  Annabel Lee, The Ash Grove, Bill Grogan’s Goat, Cradle Song, Every Night When the Sun Goes In, Father’s Whiskers, The Generous Fiddler, How Can I Keep from Singing, Hush, Little Baby, The Lark in the Morn, Little Brown Dog, The Mermaid, My White Horse, On Mondays I Never Go to Work, Poor Lonesome Cowboy, The Red River Valley, Scarborough Fair, Shenandoah, Simple Gifts, The Streets of Laredo, Sweet the Evening Air of May, Tell Me Why, The Water Is Wide.  The book comes with downloadable accompaniment tracks for students to practice with.  

36 Solos for Young Singers – traditional and folk songs with limited ranges that are well-suited to young voices (ages 6 – 12).  Featuring songs from a variety of countries and composers, including: April Fool, The Blue Bells of Scotland, Country Gardens, Cuckoo, Dandelions Gold and Green, The Desperado, MacNamara’s Band, Old King Cole, The Quest, Red River Valley, Sidewalks of New York, Sweet and Low, Toyland, and more.  The book comes with downloadable accompaniment tracks for students to practice with.  

36 More Solos for Young Singers – is a second volume of traditional and folk songs for young voices.  This is great for students who are working on developing the middle range of their voices.  

Art Songs for Children – contains 13 songs songs for young classical singers (ages 5-12), including: Come to the Fair, Cradle Song, Simple Gifts, A Twilight Fancy, The Water Is Wide, and more.  

Daffodils, Violets, and Snowflakes: High voice / Daffodils, Violets, and Snowflakes: Low voice – Contains 24 classical songs appropriate for young singers ages 10 to mid-teens, in suitable keys for developing voices.    

Some books are published in different versions for different voice types– often containing the same songs but in higher or lower keys.  Singers should decide with the help of a teacher which range is best for them.  

Practice Tips for Beginning Singers

How to Practice Singing

Step 1: Always Warm Up!

Loosen up your body with some stretches, shoulder rolls, and deep breaths

Start singing gently, with some of the warm up exercises you’ve learned in your lessons

It’s usually best to start each exercise in the middle of your range, and then move by half steps up or down to stretch your range.  Don’t push your voice to extreme high or low notes, instead you should stay within the range that is comfortable for you.

Once your voice has had a chance to warm up with simple exercises, it’s a good idea to spend a few minutes singing some of the more challenging scales that we have worked on in your lessons.  This is the most effective way to build technique and strengthen your voice.

Step 2: Practicing Songs

When learning a new song, it’s best to practice the words and the melody separately at first:

  1. Speak the words as if they were lines in a play, so that you can feel connected to the meaning of the song.
  2. Speak the words in rhythm.  Do this slowly at first to make sure your rhythms are accurate.
  3. Learn the melody without the words, on a neutral syllable like “ah” or “oo”
  4. When you are ready, put the words and melody together.

Try not to rely on listening to recordings to learn new songs.  It’s important to come up with your own interpretation, rather than imitating another singer’s performance.

Rather than singing through the whole song over and over, try focusing on the sections that are most difficult first.  You can try singing these passages on an open vowel “ah” or “oh,” or on a lip trill to help relax the tone.  Pay attention to which sounds are most comfortable, and use those to help relax your voice when you have trouble.

Step 3: Learning to Read Music

I encourage all of my students to develop their music reading skills and learn the basics of music theory.  This will improve your overall performance, improve pitch and tuning, and make learning new songs much easier.  I use several sets of exercises that focus on developing basic music reading skills using Solfege (or Solfeggio) Syllables: Do, Re, Mi, Fa, Sol, La, Ti, Do.  I will try to work through at least one of these exercises during each lesson, but it is very beneficial to practice them regularly at home.

When learning a song, try to get as much information as you can from the printed music, rather than learning by ear.  Which direction are the notes moving?  Are the pitches close together or far apart?  How many beats does each note get?  Are they loud or soft?  Asking yourself these types of questions about the music will help you become more skilled at interpreting the symbols of music notation.

Step 4: Follow Up

I recommend keeping track of your practice sessions, and writing down any questions or concerns that come up so that they can be addressed in your next lesson.  I’d like to hear about improvements you notice as well as difficulties you might have during the week.  If something is not working for you, we can try another approach.

If you are not sure what to practice, please ask!  Remember that the goal of practice is to reinforce the new skills introduced in your lesson, so that is usually a good place to start.  Also remember that consistent practice at home will help you learn songs faster, which allows us to focus on more advanced (and more fun!) concepts in lessons, instead of spending our time learning the notes and rhythms.  Also keep in mind that taking time to learn new music carefully and accurately will save the time you’d spend re-learning music learned incorrectly or undoing bad habits.

Additional Tips

I’d recommend using some kind of system to keep track of your progress.  You could try keeping a singing journal, where you write thoughts and reactions to lessons, practice sessions, and performances.  A journal is also a great way to keep track of goals and your progress toward them.  Or you can track of your practice time in a calendar or planner.  I use my Google Calendar to schedule practice time, because it helps me make sure I stay on track and practice as often as I’d like to.

Set a timer while you’re practicing so that you can stay focused.  I’m much less distracted if I know I need to keep going until the timer goes off, rather than constantly checking the clock.

Even if you’re busy and it seems like you have no time to practice, 15 minutes of practice is better than nothing.  It’s better to practice a little every day than for an hour at a time only once or twice a week.

If you are struggling with something and can’t seem to make progress, take a break and work on something else for a while.  Doing the same thing over and over unsuccessfully is not productive and will only make you frustrated.

Practicing in front of a mirror can help in two ways: first, it will let you keep track of your facial expressions and help develop your acting skills.  Secondly, it lets you see when you are doing something that will get in the way of your singing, like tightening your jaw or lifting your shoulders.

When you do listen to recordings of other singers, try to analyze what they are doing and find things that you specifically like or don’t like about their performance.  For example, is the tone breathy or bright?  Is the singer using head voice, chest voice, or a mix of both?  Where does the singer change the tone, and why do you think he/she does that?  Asking these questions will improve your listening skills and make you a more analytical singer.

Happy Practicing!

Why I teach music.

I’ve wanted to be a music teacher since I was old enough to appreciate how amazing my own music teachers were.  Freshman year of high school, to be more precise.  But I got distracted by what people thought I should do, and by my own ego and ambition.  I went to the San Francisco Conservatory because I was so excited to have been accepted, but I really had no idea what I was getting into.  Then I got caught up in the beauty of opera and the wonderful hard work of classical singing, and for a while I thought I wanted to be a professional opera singer.  Soon after I finished my Bachelor’s Degree, however, I realized I was on the wrong path.

Don’t get me wrong– I love opera, and I love singing.  Being on stage is fun and exciting, and I enjoy the intense, focused work that goes into preparing for an excellent performance.   But I’ve learned that I just don’t have the personality of a professional opera singer.  A professional singer needs to be tough, driven, outgoing, extremely confident, and able to tolerate rejection.   It’s not an easy career, and you have to want it badly enough to push through all of the challenges you’ll face before you start succeeding.

My amazing voice teacher in college used to ask me this question at least once a year: “What do you need in order to be happy?”  Do you need to be famous?  Do you need to be popular?  Do you need a family?  My answer was always the same:  I need to sing.  I don’t need to sing on big, fancy opera house stages.  I just need to sing.  I don’t need to always be the center of attention, and I don’t need fame to make me feel validated.  Not that I have anything against my colleagues who are pursuing a professional opera career–  I really admire their dedication and strength.  I often feel a slight twinge of jealousy when I hear about the success of my former classmates, and part of me still wishes I had kept going down that path.

But then I started teaching, and I can’t imagine devoting my life to anything else.  My students are amazing, and I learn as much from them as they learn from me.  Teaching voice is like solving the most beautiful, intricate puzzle you can imagine, and I love puzzles.  Teaching piano and music theory is equally rewarding, and watching my students learn and grow makes me so proud.  This is not some kind of marketing scheme or insincere exaggeration, I am lucky to have found a career that I genuinely love this much.

I will use this blog to express my thoughts on music, education, creativity, life, adventure, and other things that bring me joy, and to connect with others who share those interests.  Most of all, I want to share with young musicians the vital pieces of knowledge that I did not learn until later.