Let the Good Times Roll (arr. Michael Brown): Marching Band Conductor Score & Parts

Michael Brown and Will Rapp capture the infectious swagger of the original while building an arrangement that sits perfectly on the field. You get genuine big band energy without sacrificing the tight ensemble work marching bands need, and that optional trombone/tenor sax solo gives your section leader a real moment to shine.

Straight-ahead joy wrapped in sophisticated jazz harmony. The hard-hitting ensemble moments feel celebratory rather than bombastic, while the laid-back groove underneath gives everything room to breathe. You're hearing a band that knows how to have fun without apology.

Grade 4 marching bands that want contemporary swagger without losing their heads. Directors programming dance line or sideline features will find this especially useful. It works equally well for groups that compete and groups that perform for community entertainment.

• Lock the backfield and front ensemble into a unified pulse early in rehearsals. This arrangement depends on everyone feeling the same groove, so establish that pocket before drilling individual section parts.
• Balance the full ensemble punches with clarity rather than volume. The impact comes from precision and articulation, not from blowing harder.
• Give your soloist freedom within the structure. A trombone or tenor sax solo needs space to breathe and swing, even within the constraints of marching field positions.
• Shape the brief percussion breaks as punctuation marks. These moments define the arrangement's character, so rehearse them with the same care you'd give to the melodic passages.

Drop this into a ballad or concert segment that needs immediate energy and crowd engagement. It pairs well alongside other contemporary pop or jazz charts, or stand it alone as a set opener that signals your group's modern sensibility. The optional instrumentation makes it flexible enough to feature different soloists across multiple performances throughout the season.

• Executing syncopated rhythmic figures with precision
• Sustaining a consistent groove across sections
• Balancing dynamic control in forte ensemble textures
• Responding to optional solo improvisation as an ensemble
• Understanding big band voicing and sectional balance