Can't Fight This Feeling (from Glee) (adapt. Alan Billingsley): 2-Part Choral Octavo

This arrangement captures what made the original resonate across generations while opening it to singers at an accessible level. Two-part voicing keeps the focus on the melody and emotional arc rather than dividing attention across multiple parts, making it ideal for choirs building confidence or blending newer singers with experienced ones. The pairing of Tim Davis and Adam Anders as arrangers guarantees solid musicianship; Davis brings extensive choral experience and Anders brings his background from the Glee production itself, so this version honors both the song's integrity and its television legacy.

Vulnerable and gradually assertive. The song sits in that honest space where someone admits they can't control how they feel, and there's both resignation and liberation in that surrender. The arrangement builds from restraint toward release without losing the intimacy that makes the original powerful. Singers will feel the shift from introspection to acceptance as it unfolds across the pages.

Intermediate choirs looking for substantial contemporary material that isn't novelty work. This suits groups with mixed ages and experience levels because the two-part texture doesn't demand advanced sight reading or intricate voice leading, yet the emotional content and performance challenges are genuine enough to engage singers who want real music.

• Shape the phrases by thinking about the text as speech first. The lyrics drive the emotional release, so breathe where the words naturally want to breathe rather than forcing breaths at bar lines.
• Balance the accompaniment level so the vocal line feels exposed enough to carry the full weight of the melody. This song lives in the singers' voices, not in the instrumental support.
• Find the moment when the song shifts from questioning ('Can't fight this feeling') to acceptance. Mark that turning point in rehearsal so singers understand they're building toward emotional resolution, not staying stuck in doubt.
• Work the recorded accompaniment in sections first before running straight through. Let singers hear their part in isolation, then gradually bring in the full track so they trust their line in context.

Place this in a concert built around themes of resilience, coming of age, or emotional honesty. Its familiarity from Glee makes it a strong anchor for programming alongside other contemporary selections, or use it as a bridge piece that connects classical or art song programming to more popular musical territory. The relatively compact page count makes it manageable for smaller concert settings or as part of a longer contemporary set.

• Sustaining legit singing through emotional climaxes without losing vocal efficiency
• Balancing vulnerability with vocal projection across a full auditorium
• Following text interpretation and phrasing rather than purely harmonic cues
• Maintaining steady support through long phrase lines in a contemporary pop arrangement