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(We're Gonna) Rock Around the Clock: Full Orchestra Conductor Score

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(We're Gonna) Rock Around the Clock Cover Image

(We're Gonna) Rock Around the Clock: Full Orchestra Conductor Score

Arr. Bob Cerulli

Grade: 2.5

Item: 00-FO9801C

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Description
This classic anthem of rock 'n' roll was sent screaming up the charts not once but twice by Bill Haley and his backup band The Comets. It was a time when all the boys and girls were devoting 24 hours a day to the celebration of every new rock tune and dance craze. Who would have thought that after forty years, kids (of all ages) still remember, whistle and hum this hip swingin' winner. Program this and your orchestra will declare you "right on time!" (3:03)

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Additional Details
Series: Pop Intermediate Full Orchestra
Publisher: Alfred Music
Page Count: 20
UPC: 029156908923
SKU: 00-FO9801C

More about this title

About the Arranger: Bob Cerulli

Bob Cerulli

Bob Cerulli studied double bass at the Curtis Institute of Music under Roger Scott, then earned degrees in music education from the University of the Arts and conducting from the College of New Jersey. He performed as principal bass for several regional orchestras including the Greater Trenton Symphony and Delaware Valley Philharmonic, and freelanced extensively in Philadelphia and Atlantic City alongside Broadway performers and film composers including Henry Mancini, Michel LeGrand, and Marvin Hamlisch.

Cerulli spent 29 years teaching music in public schools and continues as a Senior Adjunct Professor at Rowan College at Burlington County. His own compositions, including the orchestral work Celebration and Romance in D Major for cello and piano, have been performed by major orchestras. He has conducted orchestra reading sessions and performances at regional music festivals throughout his career.

Why we love this

Cerulli's arrangement captures the infectious energy of this rock 'n' roll cornerstone while keeping the orchestral writing accessible for younger ensembles. At grade 2.5, the parts balance playability with authentic rhythmic swing, making it genuinely fun to conduct without sacrificing the driving spirit that made the original a chart sensation. Your orchestra gets to experience a genuine pop classic with real pedagogical value, not a watered-down novelty.

What to expect

From the opening downbeat, you're transported into a driving 1950s rock party. The arrangement maintains relentless forward momentum through interlocking rhythmic lines, bright brass figures, and that signature rock 'n' roll swagger that made this song impossible to ignore for generations.

Who it's for

This score works beautifully for intermediate full orchestras seeking engaging repertoire that connects with student audiences. It's ideal for conductors building ensembles that thrive on rhythmic precision and pop literature without sacrificing musicianship.

How to get the most out of it

  • Lock in the rhythmic pocket early in rehearsal. This piece lives and dies by steady eighth-note subdivisions and backbeat clarity; have the section leaders tap the groove independently before adding ensemble texture.
  • Shape the opening figures with rhythmic lift rather than strict metronomic precision. Rock feel depends on controlled relaxation, not mechanical exactness.
  • Bring out the interlocking rhythmic patterns between the rhythm section and melody instruments. They're what drive the forward motion and keep the arrangement from feeling static.
  • Balance the dynamic range carefully during the busy middle sections. With so many moving parts, transparency matters more than volume.

How to use it

This works brilliantly as a concert opener or finale, instantly energizing any audience and bridging classical and pop worlds in your programming. It pairs naturally with other era-appropriate rock or pop arrangements in a full concert, or stands alone as a crowd-pleasing standalone feature that showcases your orchestra's rhythmic precision.

Skills your students will build

  • Executing steady eighth-note subdivisions in rock idiom
  • Reading and performing syncopated rhythmic figures across multiple instrument families
  • Maintaining ensemble lock with backbeat and driving pulse
  • Balancing transparent texture when many parts move simultaneously
  • Interpreting swing feel and rhythmic relaxation in orchestral context

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