Charles Strouse

I mastered that pretty well.

That's fantastic.

That's fantastic.

That's fantastic.

Thank you.

Thank you.

Thank you.

I have so much to say on this subject.

I have so much to say on this subject.

I have so much to say on this subject.

Well, that's really an interesting question because yes and no. The yes is a part of my musical background. I know what kids' ranges and sopranos and tenors are. The no part is that I wanted to squeeze a little bit more out of them because the emotional part of the music is when kids sing... Hi, they scream. You know, I did it in Bye Bye Birdie.

Well, that's really an interesting question because yes and no. The yes is a part of my musical background. I know what kids' ranges and sopranos and tenors are. The no part is that I wanted to squeeze a little bit more out of them because the emotional part of the music is when kids sing... Hi, they scream. You know, I did it in Bye Bye Birdie.

Well, that's really an interesting question because yes and no. The yes is a part of my musical background. I know what kids' ranges and sopranos and tenors are. The no part is that I wanted to squeeze a little bit more out of them because the emotional part of the music is when kids sing... Hi, they scream. You know, I did it in Bye Bye Birdie.

And in Bye Bye Birdie, they sang notes in the telephone hour that they didn't think they could sing. And actually, I had learned a lot of that. I used to work for Frank Lesser. I was his assistant for two years. And I remember when Frank was testing people for range, he would often have them sing dissonances. From Bushel and a Peck. From Bushel and a Peck.

And in Bye Bye Birdie, they sang notes in the telephone hour that they didn't think they could sing. And actually, I had learned a lot of that. I used to work for Frank Lesser. I was his assistant for two years. And I remember when Frank was testing people for range, he would often have them sing dissonances. From Bushel and a Peck. From Bushel and a Peck.

And in Bye Bye Birdie, they sang notes in the telephone hour that they didn't think they could sing. And actually, I had learned a lot of that. I used to work for Frank Lesser. I was his assistant for two years. And I remember when Frank was testing people for range, he would often have them sing dissonances. From Bushel and a Peck. From Bushel and a Peck.

And because he would put it in a key with the pianist, that it would be out of their range.

And because he would put it in a key with the pianist, that it would be out of their range.

And because he would put it in a key with the pianist, that it would be out of their range.

Could or could not hit it. Had you said sing that note legitimately in a song like, I don't know, If I Loved You or something, they would have said they can't reach it. But when they were playing these characters, they could. So I devised, it's not my own invention, or maybe it is, I don't know. These kids would come in, and I would just have them sing Happy Birthday.