Selections from Encanto (arr. Paul Murtha): Concert Band Conductor Score & Parts

Paul Murtha has crafted an arrangement that captures the infectious energy of Encanto without sacrificing playability at the Grade 3 level. The medley structure lets you program recognizable hits from a film your students likely know, creating natural buy-in while the Latin rhythmic foundation builds genuine musicianship. You get five songs that showcase different textural and emotional colors, giving your band real variety within a single work.

This medley pulses with the warmth and resilience that defines Encanto. You'll hear the family at the heart of the story in the opening warmth of The Family Madrigal, feel the tension of We Don't Talk About Bruno, and land in moments of genuine vulnerability before swinging back into the bright, celebratory Latin rhythms that frame the whole arc.

Concert bands at the Grade 3 level who want to program contemporary film music with real substance. Your students will recognize these melodies immediately, which means they can focus on executing the rhythmic and textural details that make Miranda's writing distinctive.

• Lock the clave rhythm in the percussion section first; this foundational pattern sits under everything and keeps the ensemble grounded through tempo changes.
• Shape the lyrical passages (particularly in Dos Oruguitas) with real legit, resisting the urge to clip note endings just because the overall style feels energetic.
• Balance the Latin percussion parts carefully so they support rather than overwhelm the melodic lines; these colors should enhance, not compete.
• Mark the style shifts between numbers in rehearsal so the band understands when to pull back dynamics for intimate moments versus pushing forward in the high-energy sections.

Drop this into a family or pops concert where you want to connect with audiences who loved the film. Its natural energy makes it an excellent closer for a school concert or a standalone set that showcases your band's rhythmic precision and sectional balance. The variety across five songs means it reads as substantial programming rather than a novelty piece.

• Reading and executing Latin rhythmic patterns (clave, tumbao, conga grooves)
• Balancing melodic lines against rhythmic accompaniment figures
• Transitioning cleanly between contrasting musical sections
• Articulation and phrasing appropriate to contemporary film music style
• Ensemble cohesion in fast-moving medley arrangements