Don't Start Now: SATB Choral Octavo

Alan Billingsley's arrangement captures the infectious energy of the original without losing sight of what makes this song work in a choir: the groove is immediately recognizable, the harmonic palette has room for interpretation, and the optional alto solo gives you a natural moment to spotlight a confident section leader. Programming this alongside other contemporary pop arrangements signals to your singers that choral music lives in the world they actually listen to.

Infectious and celebratory. The nu-disco energy swings between sleek, controlled verses and explosive choruses full of string bursts and that irresistible cowbell. This is a song about independence delivered with swagger, confidence, and just the right amount of groove.

Choirs seeking contemporary repertoire that connects with current pop culture while remaining musically rewarding. SATB ensembles at the high school and collegiate level will find the voicing accessible, though the style demands rhythmic precision and comfort with syncopated phrasing.

• Anchor the ensemble's rhythmic cohesion by isolating the bassline during early rehearsals; the percolating funk foundation supports every other part.
• Shape the synth chord entrances as deliberate moments rather than background texture. These create dynamic momentum between verse and chorus.
• If you feature an alto soloist, rehearse the transition back to full ensemble carefully so the shift lands with confidence, not hesitation.
• The recorded accompaniment captures those electronic textures and the signature cowbell; using it strategically during dress rehearsals helps singers lock into the contemporary production sound.

Pair this with other modern pop arrangements to create a contemporary set within a mixed concert, or use it as an opener to establish an upbeat, energetic tone for the evening. The post-breakup theme and pop sensibility make it an ideal choice for spring or end-of-year concerts where your audience expects to hear repertoire beyond the classical canon.

• Singing syncopated rhythms in a pop/funk context
• Maintaining groove and rhythmic independence across voice parts
• Interpreting electronic and synthesized harmony through acoustic voice
• Balancing solo and ensemble roles with seamless transitions
• Responding to contemporary production choices in choral arrangement