I Want to be Seen with You Tonight (from "Funny Girl"): Piano/Vocal/Chords

This collection gives singers and pianist duos access to Funny Girl's most iconic numbers in arrangements that reflect what audiences actually hear in performances, not older, generic versions. The inclusion of "Funny Girl" from the 1968 film adds dimension to what's already a remarkably singable score, and the mix of comedy, drama, and pure showmanship means you can program a single number or teach through multiple selections without repertoire fatigue.

The Funny Girl score glides between genuine emotional vulnerability and theatrical bravura, often within the same song. You'll find yourself playing music that's both unapologetically sentimental and sharply comedic, sometimes in the same phrase, which captures the character of Fanny Brice herself—a performer who makes you laugh one moment and believe in her longing the next.

This folio suits singers preparing auditions, recital programs, or concert performances, as well as pianists who accompany vocalists or teach voice students. It works equally well for advanced high school singers and college music majors exploring classic Broadway repertoire with a more sophisticated harmonic and lyrical palette.

• Balance the vocal line with the piano accompaniment so lyrics remain crystal clear; these songs are character-driven, and diction matters as much as vocal beauty.
• Use the chord symbols to explore different interpretations at the keyboard; Styne's harmonies are sophisticated enough to reward both straight-ahead playing and thoughtful reharmonization.
• Let the personality of each song inform your tempo choices. "Don't Rain on My Parade" demands energy and forward motion, while "The Music That Makes Me Dance" needs space and breath.

Feature a single Streisand standard as a recital anchor, or build a small concert around three or four numbers that tell Fanny's story in miniature. These songs also pair beautifully alongside other Golden Age material in a Broadway-focused vocal master class or studio recital.

• Singing legit Broadway soprano lines with full voice and diction clarity
• Playing piano accompaniment that serves the singer rather than overshadowing
• Interpreting lyrics to reveal character motivation and emotional subtext
• Managing dynamic contrast within a single song to maintain listener engagement
• Navigating moderate harmonic complexity while maintaining rhythmic steadiness