They Can't Take That Away from Me: Vocal Solo with Jazz Ensemble Conductor Score & Parts

Dave Wolpe's arrangement captures the elegant simplicity that makes Gershwin standards endure, and the reversible format (B-flat and E-flat on one set of pages) means you're not reprinting parts or shuffling multiple versions. The Sinatra-style ensemble writing keeps your rhythm section engaged without overwhelming the vocalist, and the vocal range sits comfortably across two keys so you can feature singers with different tessituras without transposing everything yourself.

Elegant and wistful. The song unfolds with the unhurried confidence of a late-night jazz standard, where every note lands with intention and the lyrics linger just long enough to matter. The ensemble creates a warm, sophisticated backdrop that lets the story come through clearly.

Any jazz ensemble with a strong vocalist and the maturity to balance solo and ensemble textures. Grade 3.5 in difficulty means your musicians understand swing articulation and can handle the moderate harmonic language without excessive preparation, making this ideal for mid-level jazz programs and skilled high school or college groups.

• Balance the vocalist's lyrical line against the ensemble's swing feel by having the band lay back slightly on dynamic peaks; the vocalist should float above, not fight against.
• Work the reversible pages intentionally during rehearsal. Assign one key for early rehearsals and switch to the second key only when the ensemble has the chart solid, so musicians stay focused and confident on either side.
• Shape the phrasing as a conversation between singer and band. Gershwin's melody rewards legato singing, while the ensemble benefits from light articulation that lets the vocalist breathe.
• Let the rhythm section lock the tempo first before bringing in horns and vocalist; a relaxed, slightly behind-the-beat feel suits the song's nostalgic character better than a metronomic pulse.

This works beautifully as a concert closer or as the emotional centerpiece of a jazz-focused set. Pair it with up-tempo swingers earlier in the program to showcase range, or use it to anchor a set exploring the American songbook. The three-minute duration fits neatly into most concert arcs without overshadowing shorter instrumental numbers.

• Swing articulation and phrasing in ensemble context
• Balancing vocal line projection over jazz accompaniment
• Reading reversible parts and transposing between two keys
• Responding to a soloist's rubato while maintaining ensemble cohesion
• Interpreting standards with period-appropriate stylistic nuance