Can't Stop the Feeling (arr. Stefan Flügel): TTBB Choral Octavo

Stefan Flügel's arrangement captures the infectious energy and pop sensibility of the original while crafting genuine four-part writing that keeps all voices engaged. This is the kind of modern pop arrangement that works in concert because it respects both the source material and choral voice leading, giving singers something musically substantial to work with beyond just layering parts over a groove.

Uplifting and propulsive, with the kind of forward momentum that makes audiences respond immediately. The arrangement sustains the original's joyful optimism while grounding it in harmonic richness that gives singers real depth to perform.

Male choral ensembles at the intermediate to advanced level who want contemporary material that doesn't compromise musical integrity. This works equally well for concert choirs seeking a feel-good closer and for groups developing stronger rhythmic and stylistic flexibility.

• Lock the groove with your lowest voices first. Once the basses establish the rhythmic pocket, the tenors and baritones will sit naturally in it. Recording a rhythm section reference before rehearsal speeds this up considerably.
• Shape the dynamics across the form rather than singing the chorus at full volume from the start. Save your peak intensity for the final repeat and let the early sections breathe with more restraint.
• Articulate consonants crisply in the rhythmic passages without overemphasizing them. The pop idiom rewards clarity of diction that doesn't feel labored or oversinging.
• Balance the harmonic blend in close intervals by listening vertically rather than focusing on your individual line. Voices tuned slightly flat often lock better together in jazz-influenced chord voicings.

Position this as a second-half opener or finale where you need energy and connection with an audience. It pairs naturally with other contemporary pop arrangements or works as a stylistic contrast within a mixed concert that also includes classical repertoire, effectively demonstrating ensemble range.

• Rhythmic independence across four parts in pop idioms
• Intonation in jazz-influenced seventh and ninth chord voicings
• Stylistic flexibility and modern articulation techniques
• Vertical listening and harmonic blend in close voicing