Can't Stop The Feeling (from Trolls) (arr. Audrey Snyder): 3-Part Mixed Choral Octavo

Audrey Snyder's arrangement captures the relentless energy and joy of the original without losing accessibility for three-part mixed ensembles. The material sits in a comfortable range for developing singers while the rhythmic drive keeps rehearsals lively and performances infectious. Pop arrangements this well-crafted are rare; Snyder knows exactly which elements make the song tick and which can flex or simplify for a school setting.

Pure forward momentum. The arrangement captures that unstoppable optimism of the original; rhythmic precision and clear harmonic movement propel listeners forward. There's no heavy lifting here, just the satisfaction of executing something groovy and fun with precision.

Directors building a pop-forward concert or seeking contemporary music that genuinely excites teenagers without condescending to them. This works equally well for middle school ensembles with strong basics and high school choirs looking for an energetic set piece or opener.

• Keep the groove locked even when the texture thins. The bass line and rhythmic foundation carry the piece, so anchor your ensemble's sense of timing there rather than relying solely on melody.
• Shape phrases with deliberate lift rather than sustain. This song breathes in short, punchy gestures; resist the urge to hold notes longer than written.
• Layer dynamics intentionally across the three parts. Let the strongest singers carry melody while others provide rhythmic and harmonic color, then swap roles as the arrangement develops.
• Balance the rock sensibility with ensemble precision. The style asks for swagger, but internal rhythmic accuracy prevents it from sounding sloppy.

Position this as a concert opener to establish energy and audience connection immediately, or pair it with other contemporary pop arrangements to build a cohesive set. It's also an excellent spring or end-of-year showcase piece when students have developed the rhythmic control to deliver the material confidently.

• Rhythmic precision in syncopated pop idiom
• Part independence across three voices
• Sustaining groove and forward momentum in ensemble
• Blending pop articulation with choral balance
• Reading and executing contemporary notation and rhythm patterns