Who Are You Now? (from "Funny Girl"): Piano/Vocal/Chords

This folio captures the full theatrical scope of Styne and Merrill's score in arrangements that honor the original cast recordings rather than simplified versions. Singers get to experience the real harmonic language beneath these famous melodies, while pianists play genuinely interesting accompaniments that support and enhance the vocal line without overwhelming it. Programming any song from Funny Girl signals musical sophistication and gives your students access to repertoire they've likely heard but rarely performed in authentic form.

Funny Girl radiates the glamour and heartbreak of the Jazz Age, with Styne's orchestrations translating into lush piano voicings that feel both theatrical and intimate. These songs balance infectious comedy with genuine emotional vulnerability, moving between the footlights-facing swagger of "I'm the Greatest Star" and the tender vulnerability of "People." From the syncopated charm of "Sadie, Sadie" to the soaring romanticism of "You Are Woman, I Am Man," the score captures a character audience roots for even when she's breaking her own heart.

Pianists preparing for vocal accompanying roles, singers working on American musical theater standards, and anyone building a recital program featuring Broadway's Golden Age classics. This collection works equally well for private studio teaching, recital preparation, or classroom exploration of theatrical songwriting. Advanced high school singers and college-level performers will find substantial musical material here.

• Balance the vocal line against the piano accompaniment by thinking of the keyboard as an ensemble voice rather than a solo vehicle. These arrangements support the singer, so resist the urge to play loudly through the verse.
• Pay close attention to the rhythm section figures in uptempo numbers like "Don't Rain on My Parade." Crisp articulation and steady groove matter more than dramatic dynamics.
• Treat the jazz-influenced harmonic movement in ballads like "The Music That Makes Me Dance" with care; lean into unexpected chord changes slightly to let listeners hear Styne's harmonic sophistication.
• When playing for a vocalist, follow their phrasing and breath. These melodies are written for singers, so your accompaniment should breathe with them rather than push ahead.

Build an entire recital around Funny Girl, or select individual songs to anchor a Broadway-themed concert alongside other Styne works or contemporary musical theater. The variety of styles and moods within this collection means you can program uptempo novelty numbers and vulnerable ballads on the same program without tonal monotony. This folio is especially valuable for developing singers' ability to shift between comedic acting and genuine lyrical expression, a skill central to musical theater performance.

• Reading jazz-influenced harmonic progressions and chromaticism typical of mid-century Broadway
• Accompanying singers by balancing accompaniment texture with vocal presence
• Performing in varied styles within a single score (comedic patter, romantic ballad, novelty song, torch number)
• Interpreting theatrical language and character subtext through musical choices
• Sight-reading complex piano/vocal scores with multiple staves and tempo changes