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

Mark Hayes's arrangement captures the elegance of this Gershwin classic without overcomplicating it. The piano writing stays supportive and idiomatic, the horn and sax voicings fall naturally under the voices, and the whole thing swings with genuine sophistication. This is the kind of arrangement that sounds effortless but actually teaches singers how to phrase through a jazz idiom with real musicality.

Warm, urbane, and gently swinging. The melody unfolds with the ease of someone reflecting on what makes a person unforgettable—not the grand gestures, but the small, particular habits of grace. The arrangement wraps this intimacy in cool jazz colors without ever letting it feel detached.

This arrangement works for mixed choirs at the intermediate to advanced level who are ready to tackle jazz phrasing and swing rhythm. It's equally suited for show choirs looking to add Great American Songbook repertoire, or concert choirs wanting to program something sophisticated and accessible.

• Establish the swing feel first in the rhythm section (piano, bass, drums) before rehearsing vocals; the horns and saxes will lock in once that pocket is solid.
• Shape the vocal lines with the rubato of conversational speech. Gershwin's melodies are singable because they follow natural language patterns; honor that in your phrasing.
• Balance the horn parts carefully so they enhance rather than cover the choir. These aren't background stabs; they're comments on the text.
• Let the recorded accompaniment set your tempo and feel, then rehearse without it so singers own the time and style themselves.

Slot this into a concert exploring the Great American Songbook or a program built around jazz and popular song traditions. It pairs naturally with other Gershwin material or with standards arranged in similar style. The sophisticated harmonic language and elegant orchestration make it a strong closer for a mixed concert or a centerpiece for a focused thematic program.

• Swing phrasing and rhythmic placement in a jazz idiom
• Balancing vocal lines with optional instrumental colors
• Reading and performing jazz harmony and chromatic voice leading
• Maintaining musical independence while blending with wind instruments