You Can't Stop the Beat (from Hairspray): Jazz Ensemble Conductor Score & Parts

John Berry's arrangement captures the raw momentum of this showstopper without demanding virtuosity from younger players. The hard-hitting brass figures sit comfortably within the range of most high school ensembles, yet the arrangement never sounds simplified or stripped down. What sets this apart is how Berry preserves the rock groove and theatrical drive of the original while building the piece specifically for what developing musicians can execute.

Pure kinetic energy. This arrangement channels the infectious optimism of the show's finale: a driving rock beat, punchy brass answers, and the sense that something celebratory is unstoppable. Students feel the difference between playing "exercise music" and playing something that demands joy and commitment.

Jazz ensembles at the high school level and strong middle school groups who want to perform something recognizable, contemporary, and genuinely fun. The Grade 2 level makes this accessible to programs building their repertoire without extensive jazz experience, while the Broadway context appeals to directors seeking crossover material that resonates with student musicians and audiences alike.

• Lock the rhythm section (drums, bass, piano) into a tight pocket before layering in the horns. The fast rock groove only lands when the foundation sits behind the beat with complete confidence.
• Shape the brass figures dynamically. They're written as "hard hitting," but dynamics within those hits (starting slightly longer, clipping slightly shorter) prevent them from sounding blunt or exhausting over the course of the piece.
• Balance the ensemble so the lead voice stays audible through the vertical density. With younger bands, the instinct is to play louder when playing higher; dial that back and trust the arrangement.
• Let the ending breathe. The final moments of this piece are about celebration and catharsis. Resist the urge to rush toward the final hit; plant it deliberately.

Close a concert or jazz evening with this piece. Its theatrical DNA makes it especially effective as a finale for variety shows, spring jazz concerts, or pops programs where you want to send the audience out energized. It also works as a bridge piece that brings non-jazz ensemble students into the rehearsal space, since the musical language is familiar to anyone who knows the show.

• Reading and executing a tight rock groove in an ensemble setting
• Balancing vertical texture when playing unison and divisi brass lines
• Phrasing articulated figures clearly at a fast tempo
• Responding to dynamic contrast within repeated material
• Sustaining energy and focus through a 3-4 minute performance piece