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That's What I Like: Full Orchestra Conductor Score & Parts

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That's What I Like Cover Image

That's What I Like: Full Orchestra Conductor Score & Parts

As Recorded by Bruno Mars

Words and music by Christopher Brown, Jeremy Reeves, Jonathan Yip, Bruno Mars, Philip Lawrence, James Fauntleroy, Ray Romulus, and Ray McCullough II / arr. Michael Story

Grade: 2

Item: 00-46699

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Description
This chart-topping hit from Bruno Mars was the 2017 GRAMMY® Award-winning Song of the Year. Although it is scored for full orchestra, the piece is playable by string orchestra alone, or with any number of added winds or percussion. "That's What I Like," arranged by Michael Story, is a perfect pop selection to motivate students!

Don't just read it, hear it, play along with it, and watch your students grow with it. In MakeMusic Cloud, That's What I Like: Full Orchestra Conductor Score & Parts comes alive with professional accompaniment, adjustable tempo, and built-in practice tools that turn solo practice into real progress.

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Additional Details
Series: Pop Intermediate String/Full Orchestra
Publisher: Alfred Music
Page Count: 142
UPC: 038081533452
SKU: 00-46699

More about this title

About the Composer: Christopher Brown

Christopher Brown is a songwriter and producer who co-wrote "That's What I Like" during Bruno Mars' explosive run in the mid-2010s. His work on this track helped shape one of the decade's most infectious pop songs, earning him co-writing credit on a GRAMMY Award-winning composition that became a cultural touchstone.

Why we love this

Michael Story's orchestration captures the infectious groove of the original while remaining completely playable by a standard school ensemble. The Grade 2 scoring means your students can nail the style and energy of a chart-topping hit without drowning in technical complexity, and the flexibility to perform with strings alone or add winds and percussion lets you customize the arrangement to your instrumentation.

What to expect

Smooth and groovy. The orchestration sparkles with modern sensibility while maintaining the sophisticated simplicity that made the original unforgettable. You get all the style and swagger of a GRAMMY-winning track without a shred of pretension.

Who it's for

Conductors seeking contemporary repertoire that engages students without requiring advanced technical skills. This works equally well for orchestras with strong string sections or full ensembles, and it appeals across middle school through early high school levels.

How to get the most out of it

  • Maintain the pocket. This arrangement lives in the groove, so lock the rhythm section early in rehearsals and build the rest of the ensemble around that foundation.
  • Shape the melody lines with light articulation. Avoid playing it too heavily; the original has a sleek, modern feel that gets lost with a thick attack.
  • Balance the brass hits. They punctuate key moments, but should feel like accents rather than separate statements from the strings.
  • Let the recorded accompaniment guide your tempo. The swing and pocket of this tune matter more than metronomic precision.

How to use it

Pair this with other contemporary pop selections in a "Modern Hits" concert, or use it as the crowd-pleaser finale on a mixed program of traditional and modern repertoire. It works particularly well as a spring concert closer when you want students and audiences to leave smiling.

Skills your students will build

  • Maintaining groove and pocket in ensemble playing
  • Light, modern articulation style
  • Listening to and responding to a recorded accompaniment
  • Balancing ensemble texture across multiple instrument families
  • Playing contemporary arrangements with rhythmic confidence

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