As Time Goes By Cover Image

As Time Goes By: Full Orchestra, Ensemble Works Conductor Score & Parts

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As Time Goes By Cover Image

As Time Goes By: Full Orchestra, Ensemble Works Conductor Score & Parts

By Herman Hupfeld / arr. Mike Lewis

Item: 36-A862990

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Description
Instantly recognizable from the Warner Brothers film Casablanca, As Time Goes By has become one of the most beloved tunes of the film world. It is a true classic. Instrumentation: 3.1+EH.2+BCl.2: 4.3.3.1: Perc(3): Str (9-8-7-6-5 in set).

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Additional Details
Series: Kalmus Orchestra Library
Publisher: Keiser Productions, Inc.
ISBN10: 1-68-296367-5
ISBN13: 978-1-68-296367-8
UPC: 676737557546
SKU: 36-A862990
Instrumentation: 3.1+EH.2+BCl.2: 4.3.3.1: Perc(3): Str (9-8-7-6-5 in set)

More about this title

About the Composer: Herman Hupfeld

Herman Hupfeld (1894, 1951) was an American songwriter and composer who specialized in popular songs during the golden age of American musical theater. Though he wrote extensively for stage and film throughout the 1920s and 1930s, he remains best known for a single composition: "As Time Goes By," which he wrote in 1931. The song's enduring fame stems largely from its placement in Michael Curtiz's 1942 film Casablanca, where it became inseparable from the film's romantic legend.

For music educators, Hupfeld's work represents the sophisticated melodic writing and harmonic language of the Great American Songbook era. "As Time Goes By" demonstrates how a straightforward, singable melody paired with elegant harmonic support can achieve timeless emotional resonance. The song's simplicity is deceptive; beneath its accessibility lies the craftsmanship that defined quality popular music composition in the early twentieth century.

Why we love this

Arranging this Casablanca favorite for full orchestra gives you a piece that connects with audiences instantly while offering genuine musical substance across the ensemble. The Kalmus orchestration balances accessibility with orchestral color, allowing you to feature different sections without demanding virtuosity. Programming a standard this recognizable opens doors for crossover audiences and community partnerships while keeping your orchestra engaged with material that sits confidently in their hands.

What to expect

The melody unfolds with the quiet dignity of memory itself, intimate even when the full orchestra sounds. There's a gentle wistfulness underlying every phrase, the musical equivalent of looking back through old photographs. The orchestration frames this emotional core with warmth rather than drama, letting the tune speak for itself.

Who it's for

Conductors programming pops concerts, holiday shows, or gala performances will find an immediate vehicle for audience connection. This works equally well for orchestras seeking repertoire that bridges classical and popular traditions, or for ensembles wanting to include Great American Songbook material without the vocal requirements.

How to get the most out of it

  • Balance the melody line with restraint in the accompaniment during the opening statement. This tune carries itself; resist the temptation to thicken the orchestration early.
  • Shape the piece through subtle dynamic shaping rather than dramatic swells. The emotional weight comes from the melody's inherent poignancy, not from aggressive crescendos.
  • Establish clear sectional independence between strings and winds. Each family should know whether it's carrying the primary line, supporting harmonically, or providing textural foundation.
  • Lock the tempo early and maintain it steadily. Rubato can creep in during rehearsals; nail down a consistent pulse so the sentimentality reads as intentional rather than dragged.

How to use it

Position this as a standalone feature on a pops or concert program, or use it to open a second half where you want to shift the emotional temperature. It pairs naturally with other standards or light classical fare. For holiday or gala settings, its romantic association makes it a natural choice for creating an elegant atmosphere during receptions or transitions between pieces.

Skills your students will build

  • Balancing melodic prominence with accompaniment texture
  • Maintaining steady tempo through lyrical material
  • Coordinating independent line work across multiple sections
  • Shaping long-phrase singing tone in orchestral context
  • Reading full orchestral score with multiple instrumental families

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