They Can't Take That Away From Me (from An American In Paris): Piano Vocal

The vocal line sits beautifully for singers at this level, with a contour that feels natural without being simplistic. The piano part offers jazz voicings and interpretive flexibility that rewards thoughtful comping without demanding advanced technique, making this ideal for students building their jazz vocabulary.

Conversational and intimate, with an underlying resilience. The melody moves through a landscape of sophisticated harmonies that suggest longing without melancholy, asserting something essential about the human heart that circumstances cannot diminish.

Singers developing their jazz and American songbook repertoire, alongside pianists who want to deepen their jazz comping skills within a accessible, melodically satisfying context. Voice students and jazz singers preparing for recitals, auditions, or informal performances will find this a rewarding addition to their catalog.

• Shape the phrases with rubato, especially in the A sections; Gershwin's melody thrives on a conversational quality rather than metronomic regularity.
• The rhythm section should listen closely to the singer's phrasing and respond with subtle accompaniment; let the vocal line breathe without rushing through the changes.
• Explore the harmonic ambiguity in the piano voicings. Gershwin's jazz influences mean some chords suggest multiple interpretations, giving you room for artistic choice.
• Build the emotional arc from tender vulnerability in the early sections toward quiet confidence by the final statement of the melody.

Pair this with other standards from the 1930s and 1940s to build a concert set exploring the Great American Songbook, or feature it as a solo moment in a revue or musical theater production. Its five-page length makes it substantial enough to carry weight in a recital without dominating an entire program.

• Reading and performing jazz harmony and seventh chord voicings
• Phrasing and shaping a vocal melody with rubato and interpretive flexibility
• Listening and responding as an accompanist to a soloist's musical choices
• Understanding the form and harmonic progression of a 32-bar standard
• Comping techniques that support rather than overshadow the vocal line