Fantasmic! - Part 2 (Princess Medley): Marching Band Conductor Score & Parts
Arranged by Michael Brown
Grade: 3-4
Item: 35-PK01603581
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Why we love this
Brown's orchestration respects the melodic integrity of both songs while giving the marching band real textural and dynamic range to work with. The pacing feels intelligent; neither tune overstays its welcome, and the transition between them rewards careful attention to the score. This is the kind of medley that sounds effortless but requires thoughtful conducting to land.
What to expect
Underwater wonder meeting ballroom elegance. The arrangement glides between tender and lush, with enough harmonic color to feel sophisticated without losing the immediate charm of the original melodies. Your audience will recognize these songs instantly, but they'll hear them reimagined.
Who it's for
Marching bands at the Grade 3 to 4 level looking for a production number that doesn't sacrifice musicality for crowd appeal. Directors programming a show with a lighter, more theatrical energy will find this accessible without feeling simplistic.
How to get the most out of it
- Balance the legit melody line (likely in clarinets and trumpets) against the harmonic foundation in the lower voices; the expressive quality depends on hearing both layers clearly.
- Take time to shape the transition between the two songs. A slight ritardando before the key change can make the shift feel intentional rather than abrupt.
- Let the band sit with dynamic contrasts rather than playing everything at a middle volume. The 'change-of-pace' character the arranger mentions lives in the restraint of quieter moments.
How to use it
This works beautifully as a change-of-pace feature within a larger show, especially if you're building toward something bigger or louder. The Disney content gives it natural appeal at family concerts, and the two-part structure lets you use it strategically to shift the emotional temperature of your set.
Skills your students will build
- Legit melodic playing with sustained phrasing across phrase lengths
- Dynamic shaping and contrast at the band level
- Transitions between tonal centers without losing ensemble cohesion
- Balancing featured melodies with harmonic accompaniment