Don't Stop (arr. Dirk Kokx): SAB Choral Octavo

Dirk Kokx's SAB setting opens this iconic track to choirs that might otherwise skip over it due to typical voicing limitations. The arrangement respects the original's infectious groove while creating genuine musical work for all three parts, avoiding the trap of reducing pop arrangements to mere accompaniment patterns. Students recognize the song instantly, which frees their focus for actual ensemble techniques like rhythmic precision and vowel cohesion.

Optimistic and propulsive, with the kind of melodic confidence that makes you want to move. The arrangement captures that 1970s warmth while the familiar hook gives singers the pleasure of performing something they already love.

Any SAB choir looking for contemporary material that connects with singers and audiences alike. This works well in programs serving middle school through adult community choirs, as the arrangement accommodates varying ranges and vocal maturity levels without sacrificing musicality.

• Lock the rhythmic feel to the original recording by listening to how the drums sit just behind the beat; too much pushing forward kills the groove.
• Shape the repeated "don't stop" hook with subtle dynamic emphasis on the first syllable, keeping it conversational rather than belted.
• Balance soprano and alto lines carefully during the verse, as the two parts often move in contrary motion; neither should dominate the texture.
• Rehearse the bass part separately first to ensure confident harmonic grounding; confident basses make everyone else sound more polished.

Include this in a pops or rock-themed concert to energize the audience and give your singers a confidence boost between weightier classical selections. It also serves as a reliable closer because audiences finish the evening with a song they know, creating immediate connection and strong applause.

• Rhythmic precision in groove-based music
• Balancing independent melodic lines while maintaining ensemble sound
• Connecting lyrical phrasing to natural speech patterns rather than classical legit technique
• Ensemble listening across three parts in a pop context
• Sustaining a steady harmonic foundation as a lower voice