Anything You Can Do (from Annie Get Your Gun): Piano Vocal

This is a duet built on genuine dramatic tension, not just charm. The competitive back-and-forth structure forces both singers to listen actively and match each other's energy, making it an excellent rehearsal tool for ensemble awareness and comedic timing. It's also a song students actually want to sing, which matters.

A friendly argument set to music. Competitive energy meets playful banter, with both singers constantly raising the stakes while maintaining genuine affection underneath the rivalry. The song feels like a conversation where no one gets the last word for long.

Intermediate to advanced singers working in musical theater, especially those building duet repertoire for auditions or performance. It's equally valuable for students learning how to project character and personality, not just hit notes accurately.

• Establish clear character stakes from measure one. Each singer should enter convinced they can outdo the other, and that confidence shapes every phrase.
• Balance the lyrical call-and-response sections with the rhythmically driving passages. The contrast between "Anything you can do" and the longer answer phrases needs clear articulation.
• Keep the accompaniment bouncy without letting it overshadow the singers' interaction. The piano should feel like it's following the singers' lead, not conducting them.

Pair this with other Irving Berlin selections to explore his approach to character songs and conversational writing, or program it as an intermission novelty that gives audiences a moment of pure entertainment. It's also an effective classroom piece for teaching how composers use repetition and variation to build momentum.

• Dramatic timing and comedic delivery in a vocal duet
• Active listening and responding to a scene partner's choices
• Managing lyrical phrases and rhythmic precision simultaneously
• Projecting personality through vocal energy without sacrificing musicality