Falling In Love With Love (with This Can't Be Love) (arr. Kirby Shaw): SATB Choral Octavo

Kirby Shaw's arrangement pairs two Rodgers and Hart classics in a single octavo, giving your choir a chance to explore the composers' melodic gifts across contrasting moods. The jazz voicings and sophisticated harmonic language keep singers engaged while remaining achievable for intermediate ensembles, and the pairing creates a natural programming unit that feels both fresh and timelessly elegant.

These arrangements capture the intelligent wit and genuine lyricism that made Rodgers and Hart essential. You'll find moments of lush harmonic richness alongside moments of almost conversational simplicity, all grounded in melodies that seem to have always existed.

Intermediate to advanced SATB choirs seeking quality Broadway material beyond the obvious showstopper territory. Directors building a concert around jazz standards or American songbook traditions will find this pairing both musically substantial and immediately audience-friendly.

• Balance the inner voices carefully during the jazz harmonies; these chords work only when every line is heard. Have altos and tenors mark their phrases during early rehearsals to develop ownership.
• Shape the melodic line with intentional phrasing rather than pushing through chord changes. These songs benefit from a singer's attention to lyrical arc, not just pitch accuracy.
• Let the two pieces breathe as distinct emotional statements. The opening number's romantic idealism contrasts beautifully with the second piece's rueful sophistication; avoid blending them into one mood.

This works beautifully as a complete set in a jazz or standards-focused concert, or you can split the pieces across different programs to highlight different aspects of your choir's versatility. Consider pairing it with other American songbook material to build a concert around mid-twentieth-century musical theater, or use it as a sophisticated pop-vocal option for spring concerts.

• Jazz voicing interpretation (seventh chords, extensions, and alterations)
• Lyrical phrasing in a theatrical context
• Part independence within chromatic harmonic movement
• Stylistic nuance in contrast between two songs with different emotional content