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Workin' for a Livin': Marching Band Conductor Score

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Workin' for a Livin': Marching Band Conductor Score

As Recorded by Huey Lewis and The News

Words and music by Mario Cipollina, John Colla, Bill Gibson, Chris Hayes, Sean Hopper, and Huey Lewis [Huey Lewis and The News] / arr. Ralph Ford

Grade: 3 (Medium)

Item: 00-42129S

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Description
Get ready to rock the house with this hard-driving Ralph Ford arrangement of a tune made famous by Huey Lewis and The News. It starts off big and bold and just keeps on going through the final chord. This is pure marching band excitement! (1:20)

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Additional Details
Series: Premier Series for Marching Band
Publisher: Alfred Music
Page Count: 8
UPC: 038081480398
SKU: 00-42129S

More about this title

About the Composer: Mario Cipollina

Mario Cipollina is a bassist and founding member of Huey Lewis and The News, the arena rock band that defined the sound of 1980s pop-rock. His work with the band shaped some of the decade's most recognizable hits, including the infectious grooves that power "Workin' for a Livin'." Cipollina's basslines combine solid pocket playing with the kind of rhythmic drive that translates exceptionally well to marching arts arrangements.

Why we love this

Ralph Ford's arrangement captures the relentless energy of the original without losing the character that made this song an arena staple. The piece gives your entire field something genuinely fun to play while maintaining the precision and control that judges expect at a Grade 3 level. Audience recognition is built in, and the eight-minute runtime leaves room in your show without overstaying its welcome.

What to expect

Pure forward momentum from the opening chord. The arrangement maintains the swagger and radio-friendly polish of the original while translating it into marching arts vocabulary. It's the kind of piece that makes your field sound bigger and more cohesive than it might be, powered by groove rather than complexity.

Who it's for

Marching bands at the Grade 3 level who want to connect with audiences through music that's immediately recognizable and genuinely fun to perform. Directors seeking high-energy repertoire that builds ensemble confidence without excessive technical demands are good candidates. This score is written for the conductor, so you'll manage all ensemble parts from the podium.

How to get the most out of it

  • Lock the pulse with your front ensemble and pit; this tune lives or dies on rhythmic consistency, not embellishment. A tight backbeat will carry the energy for the entire field.
  • Resist the temptation to add extra dynamics beyond what Ford has written. The arrangement already builds momentum through orchestration and repetition rather than dramatic swells.
  • Bring the low brass forward in the first section. Their presence establishes the groove immediately and anchors the harmonic foundation.
  • Mark your tempo clearly in the conductor's score and hold it steady. The "just keeps on going" character depends on forward motion without rushing.

How to use it

Position this as your set closer or late-show crowd pleaser, where its infectious energy and familiar melody work in your favor. It pairs well alongside classic rock or pop-influenced show concepts and can serve as a bridge between traditional marching arts repertoire and contemporary music that builds audience engagement. The 1:20 duration makes it ideal for mixed-length show programming.

Skills your students will build

  • Maintaining steady pulse across extended repetitive sections
  • Executing rhythmic unison in rock groove contexts
  • Balancing ensemble blend while playing in a non-traditional (rock) idiom
  • Reading conductor score parts with clarity and precision

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