I Only Have Eyes for You: SATB Choral Octavo

Mark Hayes brings swagger and accessibility to this timeless standard without sacrificing harmonic sophistication. The arrangement's playful nods to current culture (the smizing reference) give singers permission to inhabit the song freshly, while the scat section and syncopated rhythms keep the energy propulsive and fun to rehearse. You get a crowd-pleaser that actually challenges your section work and tuning.

Smooth and buoyant, with just enough spice to keep things interesting. The energy sits somewhere between a classic doo-wop warmth and contemporary jazz sophistication; singers will feel the lift of a well-swung phrase and the satisfaction of locking into tight, syncopated rhythms together.

Choirs comfortable with jazz vocabulary and rhythmic independence will thrive with this arrangement. It works for concert and popular music programs alike, and it's accessible enough for good high school and community choirs while offering enough harmonic and rhythmic detail to keep advanced singers engaged.

• Anchor the swing feel by having your rhythm section (or recorded accompaniment) lock the backbeat first; once they're settled, the choir will find the pocket naturally rather than rushing or dragging.
• Bring out the scat singing moment as a playful spotlight. It works best when the section sounds spontaneous and conversational, not metronomic, so encourage singers to listen to each other and respond.
• Balance the syncopated lines so they sing through the shape of the phrase rather than hitting each rhythmic accent in isolation; this keeps the swing fluid and prevents a choppy feel.
• The title's double meaning (the face mask twist) gives you a permission structure to direct with some lightness and humor, which will loosen up your ensemble and make the jazzy articulations more natural.

This works beautifully as a lighter moment in a mixed concert, especially if you're pairing classical or contemporary choral work with something more accessible. The recorded accompaniment option makes it practical for pops concerts or cabaret-style programs where a full band isn't available. Its presence on the Rolling Stones' all-time list gives you a natural talking point when introducing it to your singers.

• Swing rhythms and syncopated articulation
• Jazz chord changes and harmonic progression
• Blending voices in close harmony
• Scat singing and rhythmic freedom
• Phrasing and legit placement in a contemporary idiom