They Can't Take That Away from Me: TTBB Choral Octavo

Mark Hayes captures the languid elegance of this Gershwin gem without oversimplifying it. The voice writing is genuinely sophisticated; singers get real musical material to sink their teeth into, and the piano part breathes with the same swing sensibility the text demands. This is a standard that feels standard because it earns that status, not because it's watered down.

Warm, conversational, and utterly confident. The melody glides over changes that shimmer with sophistication; there's an ease to the phrasing that masks real harmonic subtlety. Singing this well requires you to sound like you're simply thinking aloud about someone's mannerisms, not performing a song.

TTBB choirs with solid intonation and basic familiarity with jazz idioms. This is an excellent choice for groups looking to program something from the Great American Songbook that doesn't require advanced sight-reading but does respect the singers' intelligence and musicianship.

• Anchor the rhythm section early in rehearsal. The "unhurried swing feel" only works if the rhythm is secure but never rigid; let the choir shadow the piano's phrasing rather than march behind it.
• Shape the melody with the specific lyrics in mind. "The way you wear your hat, the way you sip your tea" each deserve subtle dynamic contours that reinforce the intimacy of what's being described.
• Balance the harmonic complexity without forcing it. Hayes writes rich chords that should blend seamlessly; prioritize blend over individual voice clarity when the two conflict.
• If using the recorded accompaniment, rehearse with it regularly but not exclusively. Your choir needs to own the swing feel independently before they lock in with the track.

Pair this with other Gershwin or Cole Porter standards to create a strong Great American Songbook set, or slot it into a jazz-inflected concert that mixes classical and popular idioms. The twelve-page length makes it manageable within a longer program, and its sophistication works particularly well as an intermission or finale piece.

• Phrasing and shaping over harmonic movement rather than downbeats
• Rhythmic precision in swing contexts without mechanical precision
• Balancing block harmony and independence in TTBB writing
• Interpretation of jazz articulation and diction in a choral setting