I Can't Believe That You're In Love With Me (arr. Kirby Shaw): SAB Choral Octavo
I Can't Believe That You're In Love With Me (arr. Kirby Shaw) Sheet Music Preview

I Can't Believe That You're In Love With Me (arr. Kirby Shaw): SAB Choral Octavo

Arranged by Kirby Shaw

Item: 35-DS01567686
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Additional Details
Publisher: Hal Leonard
Page Count: 11
SKU: 35-DS01567686

More about this title

About the Arranger: Kirby Shaw

Kirby Shaw

Kirby Shaw's influence spans five decades and six continents. Armed with degrees in Music Education and Choral Composition from San Jose State University and a DMA in Choral Conducting from the University of Washington, Shaw has taught thousands of students across 45 states and numerous countries, founding and directing vocal jazz ensembles at College of the Siskiyous, Colorado State University, and the University of Missouri at Kansas City. His gift for making music instruction both rigorous and joyful has earned him collaborations with legends like Bobby McFerrin, Al Jarreau, and Jon Hendricks.

With over 2,500 choral arrangements and compositions in print and nearly 20 million copies sold worldwide, Shaw has become one of the most performed arrangers in choral music. His prolific output includes five college albums, two solo recordings, and membership in the a cappella ensemble Just 4 Kicks. The Mormon Tabernacle Choir has commissioned his work, and his creative reach extends beyond music into musical theater; he and his wife Markita co-wrote an adaptation of A Christmas Carol called Scroogical. Multiple ASCAP awards recognize his enduring contributions to music education and composition.

Why we love this

Shaw's jazz arranging combines accessibility with genuine stylistic authenticity. This arrangement captures the warmth and swing of the original without overwhelming a three-part choir, making it achievable for groups still developing their jazz vocabulary while still sounding genuinely good in performance.

What to expect

A swinging, conversational love song with genuine joy running through it. The SAB texture keeps things accessible while preserving the sophistication of the harmonic language, creating an arrangement that feels both warm and rhythmically alive.

Who it's for

Intermediate to advanced treble and mixed choirs ready to explore jazz literature. Works equally well as a standalone showstopper or as part of a jazz-focused concert, provided your singers have some comfort with swing interpretation and basic jazz vocabulary.

How to get the most out of it

  • Pay attention to the jazz articulation marks. Shaw uses precise notation to indicate where lines should be legato versus where they should have rhythmic definition; honor these choices rather than smoothing everything out.
  • Record a run-through and listen back to how the three parts blend in the closeharmony sections. SAB voicing can sound muddy if the parts aren't balanced, and this arrangement sits close enough that awareness makes an immediate difference.
  • Let the rhythmic vitality live. This tune has natural swing; a tempo that feels conversational and slightly behind the beat (rather than metronomic) will unlock the character Shaw built in.

How to use it

Use this as your jazz feature if you're building a mixed concert that includes pop or contemporary work. It pairs naturally with other swing-era standards and sits well as a mood piece between more energetic numbers, allowing audiences a moment of lyrical breathing room while your choir demonstrates vocal finesse.

Skills your students will build

  • Swing rhythm interpretation and feel
  • Jazz articulation and phrasing
  • Three-part SAB blend and balance
  • Reading and executing jazz notation and markings
  • Vocal jazz interpretation of standards

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