That's What I Like: Concert Band Conductor Score & Parts
As Performed 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 (Easy)
Item: 00-PK-0007769
One moment…
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Description
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: Concert Band 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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More about this title
About the Composer: Christopher Brown
Christopher Brown is a songwriter and producer who has shaped the sound of contemporary pop music through his work with major artists. His contributions to chart-topping tracks demonstrate a gift for crafting accessible melodies that resonate across audiences while maintaining musical sophistication.
Why we love this
This arrangement captures the infectious groove and infectious optimism of the original without requiring advanced technique from your ensemble. The straightforward voicing and rhythmic clarity make it accessible for middle school bands while still delivering the contemporary energy your students want to play.
What to expect
Upbeat and buoyant, with the kind of infectious melody that sticks with you long after rehearsal ends. The arrangement maintains the original's charisma while fitting comfortably within a concert band setting, delivering grooves that feel current without requiring a rhythm section beyond standard instrumentation.
Who it's for
Middle school and junior high concert bands looking to program contemporary music that excites students and audiences alike. High school bands can use it as a confidence-building opener or a fun contrast in a concert featuring more traditional literature.
How to get the most out of it
- Keep the groove locked in the rhythm section. Consistent articulation in the bass line and drums is what makes this chart feel current and propulsive.
- Balance the melody across sections so it cuts through without drowning out the harmonic foundation. This isn't about volume; it's about placement and clarity.
- Let the syncopation breathe naturally. Overplaying the rhythmic figures will flatten the swagger that makes this piece work.
How to use it
Program this early in a concert to establish energy and connection with your audience immediately. It works well as a palate cleanser between more classical pieces or as part of a pop music segment that showcases your ensemble's range.
Skills your students will build
- Reading syncopated rhythms in contemporary style
- Maintaining consistent groove and meter
- Balancing melody and accompaniment in a pop idiom
- Articulation control for modern, non-classical music