Can't Get Enough (Of Your Love): Marching Band Conductor Score & Parts

Roland Barrett's arrangement captures everything that made this Bad Company classic irresistible: the slinky shuffle groove, the confident riff work, and that swagger that makes students actually want to show up to rehearsal. At Grade 3, the writing is smart about distribution across the full marching band, giving everyone meaningful parts rather than just doubling the melody.

Confident and groovy. The shuffle rhythm gives everything a swagger; this isn't a march and it isn't a ballad, but something cooler and more contemporary. Students play with a rock attitude while maintaining the precision marching bands demand.

Marching bands at the Grade 3 level (high school JV programs, developing middle school bands, or warm-up programs for competitive shows). Directors seeking contemporary rock repertoire that engages students without requiring advanced technique or maturity will find this immediately accessible. The 1:17 runtime fits flexibly into rehearsals or stand-alone performance slots.

• Lock the shuffle rhythm in the rhythm section first. The front percussion and low brass need to establish the pocket before the full ensemble joins; a click track set to the backbeat helps cement the feel.
• Balance the melodic layers so riffs in the woodwinds and brass cut through without overwhelming the foundation. This is a groove chart, not a power ballad.
• Shape each phrase with dynamic contrast. The "cool licks" mentioned in the description deserve space to breathe; resist playing loud the whole way through.
• Mark key entrances and transitions clearly in parts so the ensemble can lock together during the form changes. A rockin' chart only works if the group knows where they're going.

Program this as a crowd-pleaser in a concert or field show context where you want an energy spike. It works well opposite a classical or lyrical work, or as a finale when you want the audience and students to leave energized. The Grade 3 level also makes it a solid choice for early-season or non-competitive performance, freeing rehearsal time for more demanding contest repertoire.

• Shuffle rhythm and rock groove fundamentals
• Riff-based writing and phrase layering across sections
• Balancing melody and accompaniment in contemporary idioms
• Transitioning between forms and managing key musical moments
• Stylistic interpretation of rock articulation and dynamics