They Can't Take That Away from Me: Choral SoundPax

Mark Hayes's arrangement captures the unhurried elegance of the Gershwin style while building in just enough instrumental color to keep singers engaged and audiences entertained. The voice writing sits comfortably within the range of a mixed choir, and the optional saxophone and brass parts give you flexibility to feature your strongest players or keep things intimate with piano alone. This is sophisticated repertoire that feels accessible to students, which is precisely what makes it teachable.

There's a warmth and urbanity to this song that feels like stepping into a 1930s nightclub where the band knows exactly what it's doing. The melody curves and settles with a conversational ease, never demanding but always charming. The rhythm section's easy swing creates space for the voices to breathe, making this feel like a genuine collaboration between singers and players rather than a formal choral statement.

This arrangement suits intermediate to advanced mixed choirs with access to optional jazz instruments. Students benefit from exposure to swing style and the sophisticated harmonic language that Gershwin brings, while directors gain a piece that programs beautifully alongside other American standards or as a changeup from classical choral fare.

• Establish the swing feel early in rehearsal by having the ensemble listen to a classic recording first. The rhythm section especially needs to feel the offbeat lilt that defines this style.
• Balance the optional saxophone and brass parts so they enhance rather than overwhelm the vocal lines. These instruments should feel like they're accompanying a singer at a piano bar, not overpowering an ensemble.
• Shape the melody with gentle dynamics and rubato in the verses. The charm of this song lives in its conversational quality, not in driving forward aggressively.
• If using the recorded accompaniment, rehearse without it first so singers own their parts independently. The recording is a rehearsal tool and performance option, not a crutch.

Program this as a concert closer or as a sophisticated break in a set of more serious choral work. It pairs naturally with other Great American Songbook selections or with contemporary jazz arrangements. This is also an excellent teaching piece for a winter or spring concert where you want to showcase your choir's range and demonstrate that choral music includes the full spectrum of American song.

• Singing with swing rhythms and offbeat phrasing
• Balancing choral blend with conversational text delivery
• Responding to jazz-influenced harmonic language
• Collaborating with optional instrumental parts
• Interpreting and sustaining a lyrical ballad with understated emotion