They Can't Take That Away from Me: Concert Band Conductor Score & Parts

Warren Barker's arrangement captures the sophisticated charm of Gershwin's melody while writing idiomatically for concert band. The optional solo (vocal or instrumental) gives you flexibility for spring programming, and the Grade 4 scoring keeps the ensemble parts musical and engaging without demanding excessive technical demands. This is a piece that sounds far more polished than its difficulty level suggests, making it an excellent choice for programs that need to sound intentional and stylish.

Smooth sophistication wrapped in a familiar, accessible melody. The arrangement has the swagger of 1930s Broadway without pretension; it swings gently and lets the soloist shine while the band creates a rich, supportive texture. There's an optimistic ease to the piece, the musical equivalent of a well-tailored suit.

Concert bands at the Grade 4 level looking for accessible, audience-friendly repertoire with star power. Directors who want to showcase a strong vocalist or solo instrumentalist while keeping the ensemble part rewarding for all sections. Programs that pair American standards with classical or contemporary pieces and need something that feels at home in a spring or outdoor concert context.

• Let the soloist own the song's natural phrasing and rubato; the arrangement is written to support flexible, legit singing or playing, not rigid metronomic precision. If you're using an instrumentalist, remind them that this is a vocal melody at heart and should breathe like one.
• Balance the band carefully during tutti sections so the melody stays prominent. The arrangement likely adds harmonic color and rhythm section support, but Gershwin's tune must always be the focal point.
• Attend to intonation in the sustained harmony parts. The chord progressions in Great American Songbook standards can expose small tuning issues, especially in the middle and lower voices.
• Shape the ending with the soloist. Whether it's a sustained note, a rhythmic tag, or a final phrase, rehearse how the band transitions into and out of the soloist's last moments; clarity here makes the difference between a good performance and a memorable one.

Feature this in a spring concert that celebrates Great American Songbook standards, or pair it with other Gershwin or contemporaneous American popular classics. Outdoor performances benefit from its bright, memorable character and its appeal to audiences of all ages. It works equally well as a concert closer (if the soloist has significant presence) or as a compelling mid-program transition into lighter or more playful territory.

• Supporting and balancing around a featured soloist
• Sustaining harmonic tuning in jazz-inflected chord progressions
• Playing with swing inflection and appropriate rhythmic flexibility
• Sectional listening and blend (especially in inner harmony voices)
• Phrasing lyrical material idiomatically when the melody lies with a soloist rather than the ensemble