17 Great Broadway Songs For Beginners

It takes courage to start learning how to sing. But for many students, the motivating factor is the opportunity to sing their favorite songs. These can be pop songs, country tunes, arias, hymns, and more, but we hear about one preference over and over: songs from Broadway musicals.

Many show tunes are catchy, and they don’t exactly sound virtuosic. But there are challenges hidden in every song. We tell beginners that they will benefit most from music that sits comfortably in the voice, tells a clear story, and allows time to focus on breath, tone, and diction rather than survival. Broadway tunes do offer many excellent options that do exactly that. This list breaks those songs down by voice type, with practical reasons why each one works for singers who are still building technique.

If you’re interested in developing your voice with an experienced and caring voice teacher, Bucks County School of Music works with students in and around Doylestown and would love to help you get started.

Songs For Beginner Sopranos

“Part of Your World” – The Little Mermaid

Many beginners gravitate toward this song because of the popularity of the movie and the original voice actress. The verses sit in a comfortable range and move mostly stepwise, which makes them workable for singers still learning breath coordination. The main issue shows up near the end, where singers often hold their breath too long and tighten before the higher notes. If the song feels high, modulating to a lower key keeps the same musical goals intact without forcing the voice.

“Somewhere That’s Green” – Little Shop of Horrors

This song stays within a narrow range and follows natural speech patterns. That makes it excellent for working on text. If consonants are not pronounced clearly, the lyrics quickly turn into a blur. Because the tempo is relaxed, singers cannot rely on momentum to carry them. Every word has to be placed deliberately.

“Castle on a Cloud” – Les Misérables

The melody stays light and centered, with short phrases that reveal breath habits very quickly. Singers often disengage support when singing softly, which causes pitch to sag. Jaw tension also shows up fast on sustained vowels. Practicing this piece slowly helps singers notice how the sound starts and how the breath releases.

“The Sound of Music” – The Sound of Music

This song moves in a familiar pattern that makes wrong notes easy to spot. Singers hear immediately when pitch drifts because the melody does not jump around. Sustained notes require steady breath, and extra breaths in the middle of phrases break the musical line. Treating each phrase like spoken language usually solves most issues.

Beginner Broadway Songs For Altos

“Pulled” – The Addams Family

The range stays accessible, but the lyrics move quickly. The main challenge is keeping the rhythm steady while making every word understandable. If the singer rushes or locks the jaw, the text falls apart. Speaking the lyrics in rhythm before singing them often fixes these problems. A lighter vocal approach works better than pushing for volume.

“Not While I’m Around” – Sweeney Todd

This song focuses on sustained tone and controlled phrasing. Many singers lose breath support at the ends of lines, which causes pitch to drop. Thinking about finishing the sentence rather than squeezing out the last note helps keep the line stable. Careful consonants prevent the sound from becoming choppy.

“Once Upon a December” – Anastasia

The melody unfolds gradually and encourages singers to shape longer phrases. Singers who push emotionally too early run out of space later in the song. Holding back at the beginning allows the musical growth to feel natural. The piece works best when expression comes from phrasing rather than added volume.

Beginner Theater Songs For Tenors

“If I Were a Rich Man” – Fiddler on the Roof

This song sits close to a speaking range and relies heavily on rhythm and character. The humor only works if the timing stays consistent. Pitch problems often appear on repeated notes when breath energy drops. Keeping the breath active through each phrase stabilizes the sound without forcing it.

“Corner of the Sky” – Pippin

The verses allow singers to focus on phrasing without immediate pressure. Trouble usually appears when singers treat the higher moments as something to push through. Lowering the key makes this song far more useful early on. Consistent vowel shape helps keep the tone even as the range rises.

“Giants in the Sky” – Into the Woods

This piece alternates between storytelling and excitement. Singers who use the same vocal weight throughout miss that contrast. Treating the narrative sections more conversationally makes the emotional moments land better later. Clear diction matters, especially when the lyrics move quickly.

“Out There” – The Hunchback of Notre Dame

Most of the song stays in a moderate range and favors sustained singing. The opening phrases reveal issues with vowel consistency right away. Planning breaths before the climactic moments prevents fatigue. Many singers find pitch improves when they sing with less volume.

For the Beginning Baritone

Baritones often progress fastest with songs that emphasize steady tone and text rather than vocal display.

“Edelweiss” – The Sound of Music

This song exposes breath issues immediately. Long notes reveal whether the singer supports the sound all the way through. When breath drops, pitch follows. Thinking of each phrase as one complete thought helps maintain consistency.

“Santa Fe” – Newsies

The verses sit comfortably and encourage thoughtful phrasing. Problems often appear in the chorus when singers push instead of staying grounded. Choosing a comfortable key makes the song much more productive as a learning tool.

“Stars” – Les Misérables

The slow tempo requires restraint. Starting too loudly leads to fatigue. Careful breath planning keeps the tone steady across long phrases. Over-darkening the sound often causes pitch issues.

Songs For Basses Just Starting Out in Theater Music

“Ol’ Man River” – Show Boat

This song demands steady breath across long lines. Slow tempo does not mean relaxed support. When singers disengage the breath, the sound loses stability. Low notes respond better to resonance than pressure.

“They Call the Wind Maria” – Paint Your Wagon

The melody flows naturally but stretches phrases over long spans. Breaking phrases for air weakens the musical shape. Planning breaths ahead of time keeps the sentence intact. Clear diction matters, especially on longer words.

“If Ever I Would Leave You” – Camelot

This song rewards consistency. Large tempo shifts make it feel unstable. Keeping the pulse steady allows the musical line to speak clearly. Matching vowel shape across sustained notes helps keep pitch secure.

How to Choose the Right Broadway Song as a Beginner

Remember that comfort matters more than something that is fast, high, or “hard” sounding. If you are not qualified to tackle a particular song, the audience will know!  Songs that seem simple often reveal technique issues faster than difficult ones. A good teacher can help adjust keys, refine phrasing, and guide singers toward music that builds skills efficiently.

Work With a Qualified Teacher 

Broadway music offers excellent opportunities for singers just beginning their journey. The right song builds confidence, technique, and musical awareness without rushing the process.

To take excellent music lessons with an experienced and caring teacher, contact Bucks County School of Music. We teach students in and around Doylestown and would love to work with you.