I Only Have Eyes for You: Choral Octavo SoundTrax CD

Robinson's arrangement respects the melodic integrity of Warren's tune while opening it up harmonically in ways that challenge and delight singers. The solo writing at the beginning gives your soloists real moments to shine, and the supporting harmonies underneath provide enough complexity to keep the choir engaged without sacrificing the song's fundamental warmth.

Smooth, sophisticated, and swinging. The arrangement drapes warm jazz harmonies over a melody everyone knows, creating that perfect balance of familiarity and discovery. There's genuine charm here, not slickness; the song feels like it was written for the voice.

Choirs with solid music reading skills and a few singers who can comfortably carry a solo line. This works equally well for community choirs, high school groups, and college ensembles looking to program a recognizable standard with real musical substance.

• Balance the opening solos carefully in rehearsal so the female and male voices can establish the melody clearly before the ensemble enters.
• Work the jazz harmonies in isolation before running full sections; these voicings reward precision but fall apart quickly if singers aren't locked in.
• Let the recorded accompaniment anchor your first few rehearsals, then gradually pull singers away from it so they develop independence and confidence in the changes.
• Shape the final chord with intention; these '40s standards benefit from a clean, focused release that honors the era without sounding stiff.

Pair this with other mid-century standards in a jazz-focused concert, or use it as a contemporary pop piece on a mixed program where you want something with harmonic depth and historical roots. It also works beautifully as a finale or second-to-last number; audiences respond immediately to the tune, and the arrangement's polish leaves a strong impression.

• Reading and executing jazz harmonies (seventh chords, extensions, altered dominants)
• Balancing solo lines against harmonic backgrounds
• Interpreting swing rhythms and jazz phrasing conventions
• Voice leading within jazz chord progressions
• Ensemble blend and intonation in complex harmonic contexts