I've Got You Under My Skin [Jazz version] (from Born To Dance) (arr. Brent Edstrom): Piano Vocal

Brent Edstrom's arrangement captures the sultry sophistication of this Porter classic while keeping the piano part accessible enough for solid intermediate players. The jazz voicings and rhythmic flexibility give singers room to explore phrasing and dynamics in ways that straight pop charts simply don't allow, making this a genuine teaching tool disguised as a standard.

Intimate and knowing. The piano sets a sophisticated urban scene, all slanted light and clever observations. The melody unfolds with the kind of effortless elegance that masks the emotional complexity underneath, pulling listeners into a very personal moment of vulnerability wrapped in impeccable style.

Vocalists with a few years of training who are ready for standards beyond pop repertoire, and pianists comfortable with jazz voicings and the independence they require. It suits recitals, jazz combos, or cabaret-style programs where a single well-crafted song carries real weight.

• Approach the rubato as conversational rather than indulgent. Porter's harmonies do the heavy lifting; let the piano breathe where the lyric naturally pauses without losing forward motion.
• Balance the vocal line against the jazz comping. The arrangement works best when neither drowns the other out. Have the pianist listen actively to phrase endings and dynamic contours.
• Test different tempos in rehearsal. This song lives equally well at a contemplative pace or with more swing energy. Find the version that matches your vocalist's strengths.

Include this as a centerpiece in a jazz or standards recital, or pair it with other Porter songs for a focused set on American songwriting. It also works beautifully as a palate cleanser between heavier classical or contemporary vocal pieces, offering audiences a moment of pure sophistication and charm.

• Jazz chord voicing interpretation and harmonic awareness
• Phrasing and rubato in standard jazz ballads
• Lyrical storytelling with emotional restraint
• Piano comping techniques and rhythmic independence
• Stylistic navigation between classical training and jazz idiom