I Only Have Eyes for You Cover Image

I Only Have Eyes for You: SAB Choral Octavo

$2.25 USD
$2.25 USD
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I Only Have Eyes for You Cover Image
I Only Have Eyes for You: SAB Choral Octavo

I Only Have Eyes for You: SAB Choral Octavo

Words by Al Dubin, music by Harry Warren / arr. Mark Hayes

Item: 00-48876

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Description
This swingin' standard made Rolling Stones' "500 Greatest Songs of All Time" list and has been recorded by various artists from The Flamingos and Art Garfunkel to Michael Bublé. This big-band style arrangement includes a dash of scat singing toward the end and plenty of jazzy syncopations along the way. Besides the obvious meaning of the title, a current-day twist hints at smizing over a face mask (wink, wink).

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Additional Details
Series: Alfred Pop Choral Series
Publisher: Alfred Music
Page Count: 16
UPC: 038081562001
SKU: 00-48876

More about this title

About the Composer: Harry Warren

Harry Warren (1893-1981) composed some of the most enduring popular songs of the twentieth century, contributing prolifically to both stage and screen musicals. His melodic gift and sophisticated harmonic sense made him a favorite collaborator for lyricists and a prolific force in American songwriting during the Golden Age of Hollywood and Broadway.

Why we love this

Mark Hayes captures the wit and rhythmic swagger of this standard while keeping the voicing accessible for mixed choirs. The scat passage gives singers a chance to inhabit the jazzy vocabulary of the piece without requiring advanced improvisation skills, and the contemporary reference in the arrangement proves that classic material can stay relevant.

What to expect

The arrangement radiates vintage big-band charm with enough modern touches to feel current rather than nostalgic. Syncopations and jazz harmonies keep things energetic, while the scat singing brings an infectious, playful energy that gets audiences smiling.

Who it's for

Mixed choirs with at least some jazz or contemporary music experience will find this arrangement rewarding and fun to perform. High school, college, and community choirs looking to program a swinging standard that balances accessibility with genuine style will connect with this piece.

How to get the most out of it

  • Lock the rhythmic precision of the syncopated figures by having singers speak the text on pitch before adding the melody; this clarifies where beats land within the measure.
  • Balance the scat section so it sits as a playful layer rather than overpowering the harmonic foundation; mark dynamics clearly during rehearsal.
  • Shape the phrasing around the lyrical content; let the 'only have eyes for you' moments breathe while keeping the up-tempo sections bouncing forward.
  • Use the recorded accompaniment strategically in early rehearsals to anchor the jazz vocabulary, then gradually pull away so singers own the rhythmic independence.

How to use it

Pair this with other standards or jazz-influenced pop songs to build a set with consistent style and energy. It works particularly well in spring concerts or program closers where you want to send audiences out smiling, and the humorous updated reference gives directors a natural talking point with audiences.

Skills your students will build

  • Reading and executing syncopated rhythms in jazz style
  • Singing scat passages with clear articulation and rhythmic precision
  • Balancing jazz harmonies and swing feel across three-part SAB voicing
  • Phrasing popular song material with appropriate swing interpretation

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