Someone Like You/Rumour Has It: Marching Band Conductor Score & Parts

Michael Brown's arrangement captures what makes these songs compelling without requiring your ensemble to become a pop cover band. The baritone and alto sax solos give strong players showcase moments, while the full ensemble passages maintain enough sophistication to keep section leaders engaged. This is contemporary music that doesn't feel apologetic about being contemporary.

The opening section lingers in intimate space, with the baritone's vulnerability framed by delicate woodwind colors. When "Rumour Has It" arrives, the energy shifts into something grounded and driven, with a blues sensibility that feels mature and confident. The final push rewards every ensemble voice with a moment of genuine power.

Directors building a marching band program that reflects their students' musical world while maintaining musical credibility. This works equally well for groups looking to engage audiences beyond the traditional marching arts audience, especially at pep events, football halftime shows, or community festivals where popular music connects.

• Balance the opening baritone solo against the woodwind accompaniment by having the supporting voices sit naturally behind the line, resisting any urge to support it with too much weight. The magic here is contrast, not blend.
• The transition into "Rumour Has It" needs rhythmic lock. Your rhythm section should feel the groove as a pocket, not a march; record a rehearsal and listen back to catch any rigidity creeping into the pulse.
• The bluesy solo instrument (alto sax or trumpet) should lean into space and inflection rather than precision. Encourage the soloist to shape the phrase like a vocalist would, with breath points and dynamic swells that honor Adele's original interpretation.
• Control the final push carefully. This moment can easily become frantic. Set a clear tempo and reinforce that power comes from unified ensemble commitment, not individual effort.

Reserve this for mid-season, once your ensemble has developed enough stability to handle contrasting dynamics and solo spotlight. It pairs well on a concert or field show program alongside stronger contemporary arrangements; the emotional range gives you programming flexibility and natural variety. This also works as a strategic choice for engaging band parents and community members who may not typically attend marching events.

• Balancing solo lines against harmonic accompaniment
• Sustaining groove and pulse in non-march idioms
• Dynamic control across full ensemble voicings
• Responding to jazz and blues inflection in classical training
• Shaping phrases for expressive communication rather than technical execution