Lost!: Marching Band Conductor Score & Parts
By Chris Martin / By Guy Berryman / By Jon Buckland / By Will Champion / As performed by Coldplay / Arranged by Michael Brown / Arranged by Will Rapp
Grade: 2-3
Item: 35-PK00173721
$55.00
Pickup currently not available
Buy Extra Parts (Digital PDF Download)
| Product | Price | Quantity |
|---|---|---|
| Lost! - Full Score | $6.00 | |
| Lost! - Flute/Piccolo | $6.00 | |
| Lost! - Bb Clarinet | $6.00 | |
| Lost! - Eb Alto Sax | $6.00 | |
| Lost! - Bb Tenor Sax | $6.00 | |
| Lost! - Eb Baritone Sax | $6.00 | |
| Lost! - 1st Bb Trumpet | $6.00 | |
| Lost! - 2nd Bb Trumpet | $6.00 | |
| Lost! - 3rd Bb Trumpet | $6.00 | |
| Lost! - F Horn | $6.00 | |
| Lost! - Bb Horn/Flugelhorn | $6.00 | |
| Lost! - Trombone | $6.00 | |
| Lost! - Baritone B.C. (Opt. Tbn. 2) | $6.00 | |
| Lost! - Baritone T.C. | $6.00 | |
| Lost! - Tuba | $6.00 | |
| Lost! - Electric Bass | $6.00 | |
| Lost! - Mallet Percussion | $6.00 | |
| Lost! - Snare Drum | $6.00 | |
| Lost! - Cymbals | $6.00 | |
| Lost! - Quad Toms | $6.00 | |
| Lost! - Multiple Bass Drums | $6.00 | |
| Lost! - Aux Percussion | $6.00 |
Parts Added to Cart!
Description
This impressive arrangement of the Coldplay hit from 2008 features a wealth of moods and dynamics. Written in a moderate rock tempo it includes feature spots for woodwinds, solo trumpet, and also places for the entire band to really open up. Powerful!
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Additional Details
Publisher:
Hal Leonard
SKU:
35-PK00173721
More about this title
About the Composer: Chris Martin
Chris Martin is the lead vocalist and primary songwriter of Coldplay, one of the most commercially successful rock bands of the 21st century. His gift for crafting emotionally resonant melodies paired with sophisticated harmonic choices has made Coldplay's catalog rich territory for educational arrangements.
Why we love this
Arrangers Michael Brown and Will Rapp have preserved everything that makes this track engaging while writing it in a way that lets your band sound genuinely powerful at a grade 2-3 level. The strategic placement of solos and full-band moments means you're not asking everyone to carry the weight all the time, yet the result never feels thin or apologetic.
What to expect
Introspective and moody in its quieter moments, then expansive and driving when the full band opens up. The rock foundation gives it forward motion and energy while maintaining the emotional core that made the original resonate so widely.
Who it's for
Bands at the grade 2-3 level who want a contemporary arrangement that feels substantial without overshooting their technical abilities. This works especially well for directors building confidence in students still developing their range and control.
How to get the most out of it
- Balance the woodwind features carefully in the moderate rock tempo; they should sing over the rhythm section without stepping into oversized dynamics.
- Plant the solo trumpet sound with a warm, focused tone; this is a moment that defines the arrangement's character, so rehearse it as a section until the band knows exactly what they're listening for.
- Shape the full-band explosions by bringing them in gradually during rehearsal rather than jumping straight to performance intensity; this builds confidence and locks the energy across the ensemble.
- Use the dynamic contrast to create real architecture in the piece; the shifts from intimate to powerful should feel intentional, not accidental.
How to use it
This fits naturally into a concert that blends contemporary music with your traditional repertoire, especially if you're looking to showcase what your younger or developing players can handle. The moderate tempo and clear phrase structure also make it valuable as a teaching tool for musical communication and dynamic control.
Skills your students will build
- Reading in moderate rock tempo with consistent groove
- Executing terraced dynamic shifts from soft to full band
- Balancing featured sections with accompaniment texture
- Sustaining focus during extended solo passages
- Responding to conductor cues for dramatic transitions