Bad Girls: Concert Band Conductor Score & Parts

Victor López's arrangement channels the unstoppable groove of the original without losing sight of what your band can actually execute at this level. The infectious energy, clear voicing, and strategic use of dynamics mean students feel like they're playing something genuinely fun and contemporary, not a dumbed-down novelty. Your audience will recognize it immediately, and your ensemble will sound confident.

Propulsive and celebratory. The groove is relentless but never frantic, and the melody sits perfectly in that sweet spot between accessible and satisfying. There's swagger here, a sense of confidence and movement that keeps everyone engaged from downbeat to final note.

Concert bands working at Grade 2 who want repertoire that feels contemporary and genuinely fun to play. Students respond to material they recognize, and "Bad Girls" delivers both pedagogical value and real audience engagement.

• Lock the rhythm section early. The groove lives in the kick pattern and bass line; once your percussion and low reeds nail the pocket, everything else sits naturally on top.
• Shape the peaks in the main melody. This isn't a march; allow small dynamic swells to build anticipation and keep the energy from flattening out over the piece's three-minute arc.
• Balance the countermelodies carefully. Supporting lines shouldn't upstage the hook, but they should be audible enough to add texture and interest, especially in the midsection.
• Use the recorded accompaniment to guide tempo and feel if available. The original recording's swagger is part of what makes this arrangement sing.

This works beautifully as a crowd-pleaser in spring concerts, especially paired with other pop-era arrangements that showcase your band's range beyond classical literature. It's also an excellent closer or encore option; the three-minute runtime and high energy make it the kind of piece that sends audiences out smiling.

• Maintaining steady rhythmic grooves across repeated sections
• Balancing melody against supporting harmonic lines
• Responding to dynamic shape and phrasing in contemporary idiom
• Reading and executing syncopated rhythmic figures
• Ensemble cohesion under active, driving tempos