I Gotta Feeling (arr. Mark Brymer): 2-Part Choral Octavo

Mark Brymer's 2-part voicing strips this contemporary hit to its melodic and rhythmic essence without losing the infectious energy that makes the original stick in people's heads. Choirs rarely have opportunities to perform music their own students actually requested, and this arrangement gives them exactly that without compromising musicality. The accessibility of 2-part writing opens this piece to mixed-ability ensembles while maintaining the groove and confidence that define the song.

Propulsive and celebratory, with the kind of optimistic energy that a stadium crowd would recognize instantly. The writing feels modern and accessible, letting singers inhabit confident, active vocal lines rather than traditional choral blend. There's an ease to the two-part writing that lets singers focus on the groove and the joy of singing something genuinely current.

Choirs looking to build connection with student singers by programming music from their actual cultural moment. Works well for groups at the middle school, early high school, and community choir levels seeking contemporary repertoire that doesn't require advanced sight-reading skills. Particularly valuable for ensembles seeking to program pop and rock without resorting to novelty arrangements.

• Establish the groove first, before worrying about notes. The rhythmic pocket matters more here than in traditional choral literature; if the rhythm feels uncertain, the song loses its foundation.
• Layer the parts gradually during rehearsal. Start with the main melody, then add the second part as harmonic reinforcement so singers hear how they interlock rather than compete.
• Keep the energy consistent throughout. This style lives in steady groove and confident delivery; backing off the energy in softer sections will make the arrangement feel like it's losing momentum.

Include this in a concert exploring contemporary vocal music or a themed set about how popular music has influenced choral writing. The piece bridges formal and informal concert settings, making it equally at home in a pops concert, a spring showcase, or a younger ensemble's first steps into arranged popular music. Consider pairing it with other arranged pop standards to show how the same kind of musicality applies across decades and styles.

• Maintaining steady rhythmic pulse in contemporary harmonic contexts
• Coordinating layered vocal lines that function as texture rather than traditional harmonic voice-leading
• Singing with confident articulation in a pop/contemporary style
• Reading and performing two-part arrangements with independence
• Sustaining energy and ensemble cohesion in shorter, groove-based pieces