Trumpet Music

Solo trumpet, unaccompanied
A DAY IN THE CITY “7 Vignettes” (1986) for solo trumpet by Howard J. Buss. These colorful musical scenes from the city are excellent study and recital pieces. Each movement is given a title which depicts an occurrence which the composer experienced one day in 1982 during a visit to New York City. The movements are Another Sunrise (based upon an early morning excursion to Central Park to witness the rising of the sun over the buildings); Off to a Busy Day (driving in heavy traffic, zigzagging around to avoid "crazy" drivers); The Lost Key Episode (the composer lost his car keys, but the key of the music is lost too); The Waitin' in Line Blues (an actual blues progression during which the performer alternates between playing with a straight tone and a heavy, obnoxious "corny" vibrato to show frustration at being stuck in a slow-moving line); Romantic Interlude (a beautiful, melodious and flowing waltz); Sudden Storm (getting caught up in a raging thunderstorm); and Out on the Town (has a cheerful Latin feel and breaks into swing as it reaches its climax). "Tonal, charming and imaginative! The low purchase price and the incisive approach of a skilled composer make this a piece worth seeking out.”- PMEA News (10’) Grade IV.
COMMEMORATION (1989) for solo trumpet by Howard J. Buss is a musical tribute to the countless musicians who have contributed to the art of trumpet playing over the centuries. The musical essence of this work is a synthesis of traditional and new trumpet performance techniques. This combination of the old and new is a musical representation of the debt contemporary trumpeters owe to their counterparts in past generations. In sections of Commemoration the trumpet is performed in the traditional manner, indeed, there are a number of quotes from famous trumpet masterpieces of the past. At one point the performer is asked to sing (using the syllable "ah") a portion of the well known Trumpet Voluntary by Jeremiah Clarke while simultaneously sustaining a note on the instrument and using a plunger mute. The effect is truly mystical and becomes a musical synthesis of the past and present. In other sections the trumpet is used as a synthesizer, capable of producing a wide array of timbres and effects. Short quotes from the literature are embedded in this intriguing work which also includes messages expressed by pitch serialism and Morse code. The score includes detailed performance directions as well as a helpful explanation of the coded (serial) sections. “A must for the advanced performer. “- ITG Journal (6’30) Grade VI.

Trumpet with one other instrument or voice

ATMOSPHERES (2005) for trumpet/flügelhorn & one percussion by Howard J. Buss is a colorful, dramatic, and captivating duo in three movements: The Wakening; One Sunday, Long Ago; and On-the-Edge. It was commissioned by the Double Take Duo. The first movement begins with a mysterious and turbulent section featuring dramatic contrasts of dynamics and mood. Eventually this gives way to passages with a hint of playfulness. The movement culminates in an intriguing dance-like section with a distinctively Latin flare. One Sunday, Long Ago is divided into two main parts: the first uses lyrical, soaring melodies played on the Flügelhorn over a delicate ostinato on the maracas. Notable about the percussion part in this section is that the percussionist also plays the bongos and tambourine (setting on a table) with the bodies of the maracas, and the suspended cymbals with the butts of the maraca handles. The movement ends with an intriguing interplay between the marimba and the Flügelhorn,creating a beautiful, and almost meditative, atmosphere. The final movement is energetic, highly dramatic, and is obviously influenced by jazz. The percussion instruments employed include marimba (to low A), two suspended cymbals, bongos, temple blocks, tambourine, maracas, wood block, tam-tam, cow bell, and triangle. The marimba part calls predominately for two-mallet technique.When four mallets are employed (in the third movement) sparingly, they are used in repeated chordal patterns. Atmospheres is a sophisticated work with audience appeal! (10’30”) Grade V-VI.
Sample page: Percussion Set-up.pdf file (will open with Acrobat Reader) Atmospheres is recorded on the Double Take Duo CD ATMOSPHERES (available from Brixton Publications.)

DISCOURSE (1962) for trumpet and trombone by Edward Troupin.
Edward Troupin (1925-2004) enjoyed an international reputation as a composer of instrumental music. Throughout his long and illustrious career as a professor of music at Ithaca College and later the University of Florida, he inspired numerous young composers. Mr. Troupin received his bachelor’s degree from Harvard University with a major in mathematics. Later he earned his master of music degree from the University of Michigan, where he studied with Ross Lee Finney. Troupin’s sound-world is dramatic and full of vitality. His Discourse for trumpet and trombone was composed in 1962, further edited in 2006 by Howard Buss. This entertaining duo is cast in five short and entertaining movements: Assertion, Reflection, Eulogy, Fantasy, and Comedy. The colorful, contrasting sections combine in charming balance making a memorable concert feature. 2 scores included. (8’) Grade IV-V.
THE FROG, HE FLY...ALMOST (2000) for high voice and C trumpet by Roger C. Vogel is an entertaining and humorous look at the amazing amphibian. The vocal range is c# (below the treble staff) to Bb above the staff. (5’) Grade V. Sound Sample.mp3 (900K)
Text: The Frog, He Fly...Almost (Anonymous)
What a wonderful bird the frog are--
When he stand he sit almost;
When he hop, he fly almost.
He ain’t got no sense hardly;
He ain’t got no tail hardly either.
When he sit, he sit on what he ain’t got almost.

INCANTATION (1994) for Bb trumpet & one percussion by Howard J. Buss evokes the mystery and enchantment of the sorcerer's ritual. Tightly structured sections contrast with free-form passages in a manner analogous to the interaction of order and mysticism in an incantation. Printed in the preface to the score is the poem "Incantation" (see below) by the composer which may be narrated before the performance and/or used as written program notes. The instrumentation includes vibraphone, two suspended cymbals, tam-tam, bell tree, wind chimes, cowbell, hi-hat, and tambourine. “The audience was mesmerized as the two wizards cast their unforgettable musical spell.” - The Chicago Tribune. (8’) Grade V. Recorded on the CD Double Take by Sheryl Linch and Don. N. Parker, percussion. The Double Take CD is available from Brixton Publications. It has also been recorded on the Equilibrium CD EQ58 "Old News" by Stephen Dunn, trumpet and John Pennington, percussion.
Incantation Sound Samples: Sound Sample#1.mp3 (1MB) Sound Sample#2.mp3 (1MB)
Text of "Incantation" (free verse by Howard J. Buss) that may be used as program notes):
The sorcerer's ritual -
     based upon science, cast in hope,
          ceremony of portent in a universe of laws,
Unseen enchantment empowered to move the unheard.
Mystical phrases, coldly calculated, yet obscured by sonic spells,
     altered perceptions of immutable reality.
Are not the senses willingly shaken for effect
     no less violated by the magician's design?
Perhaps all can be forgiven -
     for the allure and beauty of incantation
          transcends the cares of scheme and reason.

LITURGICAL IMPRESSIONS (1986) for C trumpet and organ by Robert J. Frank in three movements: Introit, Sanctus, and Gloria. Each movement expresses the nature of that part of the liturgy to the composer. Introit opens with a formal invocation via a melodic 12-tone row in the trumpet, which warms into flowing melodies when joined by the glowing sonorities of the organ’s chorale. In Sanctus the quiet but powerful nature of reverent worship, images of the holy flames above the Ark of the Covenant, and the definition of holy: “being set apart” find musical expression. In the third movement, Gloria, brilliant gestures of unbridled joyful praise burst forth, culminating in the final section where themes from all three movements combine to form a thrilling conclusion. Liturgical Impressions has been recorded by trumpeter Grant Peters and organist Charles Ore on the CD “Friendly Amendments: New Music for Trumpet and Organ by American Composers.” (11’30”) Grade V. Liturgical Impressions sound samples: Excerpt, Movement 1.mp3(1.3MB); Excerpt, Movement 2.mp3 (1.2MB); Excerpt, Movement 3.mp3 (1MB )

MEDITATION AND CAPRICE (1994) for trumpet and piano by Howard J. Buss. The beautiful and contemplative opening movement is followed by a jubilant and energetic fantasy characterized by sparkling melodies and driving rhythms. This work is an exciting addition to any program and also is an effective contest piece. (9’) Grade V.

SKYLINES (2002) for trumpet and piano by Howard Buss. (Solo Bb and C parts included.) Cast in two powerful and engaging movements, it is a picturesque musical urban portrait. Skylines is loosely programmatic in that no specific city is depicted; rather, the composer captures, in a broad manner, the essence of the big city spectacle. The lyrical and majestic first movement, Panorama, suggests the expansive grandeur of cityscape. The second, Amid the Spires, is hugely influenced by jazz and captures the dynamic energy of life on the busy streets. Commissioned for Eric Berlin and the 2003 ITG Conference. (10’30”) Grade V.
Skylines samples: Score sample (in C), movement 1.pdf (2 pages, 236KB)
Score sample (in C), movement 2.pdf (3 pages, 344KB)
Trumpet part sample (in Bb), movement 1.pdf (1 page, 120KB)
Trumpet part sample (in Bb), movement 2.pdf (2 pages, 288KB)
Skylines also exists in a version for solo trumpet (Bb or C) and orchestra. See the listing below under Trumpet and Orchestra.

SONATA FOR TRUMPET AND PIANO (1984, revised 2006) by Robert J. Frank is cast in three movements: Con Forza, Adagio, and Allegro Pesante. Inspired by the neo-classical “Gebrachmusik” of Hindemith, this early work by the composer builds upon the traditional sonata form. Contrasting themes in the the first movement are developed and combined in numerous manners within a modified sonata allegro form. The second movement uses a derivative of the Russian folk tune, “Bears Are Sleeping” for its second theme within a ternary form. The third movement contrapuntally combines and develops themes in a virtuosic, modified rondo. Sonata for Trumpet and Piano has been recorded by Grant Peters on the CD “From the Hills.” (16’) Grade V-VI.
Sonata for Trumpet and Piano sound samples: Excerpt, Movement 1.mp3 (1.2MB);
Excerpt, Movement 2.mp3 (1.1MB); Excerpt, Movement 3.mp3 (1.4MB)
SUITE CHANGES (1985) for trumpet and piano by Morgan Powell is a masterful expression of its poetic preface: “The sweetness of dreams, the sweetness of what is implied - restlessly remembered.” It was commissioned by the Concert Artist Guild of New York City for David Bilger. It was premiered by Bilger and Jim Winn in the Carnegie Recital Hall in 1986. Recorded on the CD “Morgan Powell” by Ray Sasaki, trumpet and Jean Dayton Sasaki, piano on New World Records 80499-2. (15’11”) Grade VI. Suite Changes Sound Samples:
Sample 1.mp3 (717K) Sample 2.mp3 (818K) Sample 3.mp3 (873K)

THREE JAZZICALS (2009) for Bb trumpet and tuba by Howard J. Buss is dedicated to tubist Jay Hunsberger. This colorful composition is in 3 movements - To Bop or Not to Bop, Sounds from the Cool Smoke, and Hotish. The composer states, “ In Three Jazzicals it was not my aim to create a specific hybrid style by synthesizing jazz and modern classical music; rather, my intent was to systematically strip away the fundamental elements of jazz to explore at what point the music ceases being jazz and becomes classical. The style of Three Jazzicals is the resultant this procedure. It is understood that because the subject of what constitutes jazz (there are so many kinds) is so complex, depending upon the background and views of the listener, Three Jazzicals will sound jazzy (in varying degrees) to most, and mostly classical to some.” The instruments employed have been traditionally used in jazz. However, stripped away is the rhythm section; traditional chord progressions; melodic, rhythmic and formal clichés; and improvisation. Among the elements kept is the allowance for personal expression through each player’s tone, inflections, and articulations. The players are specifically asked not to swing at any time. (12’) Grade VI.
TIME CAPSULE (1996) by Howard J. Buss is an entertaining sonatina in four movements: Daybreak, Chorale, Rendezvous, and Homeward Bound and is both fun to play and listen to. The first movement has a frolicking and optimistic character. Chorale breaks with the traditional structure of the chorale in that each phrase gets a measure longer. The harmonies of the second movement contain some spicy dissonances as well. Rendezvous, is in a lilting 6/8 and really "works up a lather" as it progresses to an exciting climax. The final movement, Homeward Bound, begins with a fanfare-like passage that gives way to a spirited dance characterized by an intriguing interplay between the two instruments. (7’) Grade IV.
VOYAGES (1996) for trumpet and one percussion by Roger C. Vogel. This colorful work in three movements was commissioned by trumpeter Edward Sandor and is recorded on ACA Compact Disc Number CM 20042. The CD is available from Albany Music Distributors, Inc. (Phone: 1-800-752-1951). The approximate duration of the movements of Voyages are as follows: I. 5'45", II. 5'45", and III. 5'20". It is scored for C trumpet, B-flat piccolo trumpet, B-flat flügelhorn, vibraphone, snare drum, suspended cymbal, and steel drum. The composer writes in the performance notes in the preface to the score that "If a treble steel drum is not available, then the part may be played entirely on the vibraphone (without rolls.) The flügelhorn part may be played on a Bb trumpet with a bucket mute or felt hat." (17’) Grade V-VI.
Voyages Sound Samples: Sample Movement 1.mp3 (1.1MB)
Sample Movement 2.mp3 (1MB) Sample Movement 3.mp3 (1020K)

Trumpet ensembles

AVE VERUM CORPUS by Mozart transcribed by Howard Buss for trumpet quartet - 3 Bb and one Bb bass (or baritone or trombone). A bass clef part is included for the 4th part in case a bass trumpet is not available. This sensitive rendition of one of Mozart’s most sublime works makes an outstanding feature number for a recital as well as a wonderful musical offering in church. (3’30”) Grade III.

CANZONA by Florentio Maschera (1540-1584) transcribed by Howard Buss for trumpet quartet - 3 Bb and one Bb bass (or baritone or trombone). A bass clef part is included for the 4th part in case a bass trumpet is not available. This late Renaissance work is written in a stirring imitative style. It makes an outstanding feature number for a recital as well as a memorable musical offering in church. (2'30") Grade II.

DRY BONES, the well-known African American spiritual (the foot bone's connected to the leg bone, the leg bone's connected to the...), arranged for trumpet quartet - 3 Bb & one Bb bass (or baritone or trombone) by Howard Buss, makes a memorable concert feature as well as a rousing musical offering in church. Multiple players may be used on each part to expand the ensemble. This arrangement is hugely influenced by jazz. The composer wrote an extended two-part introduction which begins hymn-like, and then breaks out in a jubilant jazzy section. This is followed by a more traditional rendering of the spiritual; however, as the music reaches its climax, the jazz "licks" from the introduction are brought back as counterpoint against the main melody of the spiritual. The result is exhilarating, and for a bit of humor, just as the work ends, there is a "tongue-in-cheek" plagal cadence. (2’30”) Grade IV.
FESTIVE OVERTURE (2003) for 8-part Bb trumpet ensemble by Howard Buss was composed during the Fall of 2003. The music is characterized by joyous and energetic sections contrasting with subdued, and at times, mystical passages. Much color interest is added by the sensitive use of mutes, as well as by player 1 doubling on piccolo trumpet and player 6 doubling on Flügelhorn. This engaging work makes a rousing, memorable feature number. Commissioned for Jay Coble and the 2004 ITG Conference in Denver. (6’30”) Grade V.
JUBILANCE (2003) for 6-part Bb trumpet ensemble by Rodney S. Miller is an uplifting and accessible work, a true joy to play and listen to. Following an introductory pyramid fanfare, the composition is developed in ABA form. With rhythmic energy, interesting harmonies, and a bright tempo, the first theme captures the spirit of jubilant excitement. The contrasting second theme allows the ensemble to demonstrate some haunting sonorities as the piece slowly builds, utilizing both minor and modal harmonies. The concluding section marks the return of the opening theme and culminates in a rousing finish. (4’30”) Grade IV-V.
Jubilance Sound Sample: Excerpt.mp3 (1MB)

ILLUMINATIONS IN BRASS (2003) for solo Bb trumpet & 6-part trumpet ensemble by Roger C. Vogel was written in 2003 for Fred Mills and the University of Georgia Trumpet Ensemble. The title refers to intellectual enlightment as well as to physical brightening. The brilliant and energetic opening fast section eventually gives way to a more subdued and reflective slower section before the opening mood returns and builds in ever-increasing intensity to the rousing conclusion. The trumpet ensemble is scored for Bb piccolo trumpet, 2 Bb trumpets, 2 Bb Flügelhorns, and Bb bass trumpet (with an optional trombone part included as a substitute for part 6. (10’00”) Grade V.
Illuminations in Brass Sound Samples:
Excerpt 1.mp3 (1.1MB), Excerpt 2.mp3 (1MB), Excerpt 3.mp3 (1024K)
PRELUDE AND INTRADA (2006) for four Bb trumpets by Howard Buss. This attractive quartet features lyrical writing, and spirited rhythmic drive. The Prelude is an interesting combination of fanfare and lyrical sections as well as tonal and polytonal harmonies. The festive Intrada is in an ABA-Coda format and features crisp, energetic rhythms and lyrical contrapuntal writing. This work makes a memorable feature number or an impressive contest piece. Multiple players may be used on the parts to expand the ensemble. (5’15”) Grade V.
Transposed score sample.pdf (4 pages, 576KB)

RENDEZVOUS (1994) for four B-flat trumpets & one percussion by Howard J. Buss is a showpiece composed for and premiered at the 1994 International Trumpet Guild Conference. It opens with a stirring fugue (the percussionist performs the subject on the xylophone). Following the opening section are an intriguing series of passages featuring contrapuntal writing and the use of ostinati. The work culminates in an intense and exciting finale. Rhythmically and harmonically, the music is influenced by jazz. Percussion: 2 suspended cymbals, temple blocks, tam tam, 5 tomtoms, and finger cymbals. The percussion writing employs primarily 2 mallet technique with some use of 4 mallets on the xylophone in a passage of repeated eighth note chords.Rendezvous was first performed on June 18, 1994 during the International Trumpet Guild Conference hosted by the University of Illinois, Urbana with percussionist David Collier and trumpeters James Ketch, Charles Gates, Roy C. Griffen & Craig Hurst. (8’) Grade VI. Rendezvous Sound Samples: Excerpt 1.mp3 (908B); Excerpt 2.mp3 (949KB); Excerpt 3 (the ending).mp3 (1.1MB)

RICERCARE ON C by Andrea Gabriel (1510-1586) transcribed by Howard Buss for trumpet quartet - 3 Bb and one Bb bass (or baritone or trombone.) A bass clef part is included for the 4th part in case a bass trumpet is not available. This late Renaissance work is written in a stirring imitative style. Particularly interesting are the meter changes involving metric modulations, a trait found in much of the dance music of the day. It makes an outstanding feature number for a recital as well as an uplifting musical offering in church. (2’30”) Grade III.

THE WALLS OF JERICHO (2003) for solo Bb trumpet & six-part Bb trumpet ensemble by Howard Buss was composed during the Fall of 2003 for Jay Coble and the University of South Florida Trumpet Ensemble. Inspired by the Biblical story of Joshua and the Battle of Jericho, the music is characterized by a juxtaposition of intense, energetic sections with subdued passages. A great deal of color interest is added by the sensitive use of mutes in the solo and ensemble parts, as well as by the players on parts one and four doubling on Flügelhorn. This composition makes a rousing and memorable feature number for the advanced ensemble.(8’45”) Grade VI. Sound Sample 1.mp 3 (800K) Sound Sample 2.mp3 (1.2MB)

Trumpet in chamber music (including brass trios, quartets, quintets, and brass choir):

AVE VERUM CORPUS for brass quartet (2-1-1) by Wolfgang Amadeus Mozart, transcribed by Howard J. Buss. This sensitive rendition of one of Mozart’s most sublime works makes an outstanding feature number for a recital as well as a wonderful musical offering in church. (3’30”) Grade II-III.

BROM BONES for 10-part brass choir by Howard J. Buss musically depicts the character and exploits of Washington Irving’s dashing prankster in The Legend of Sleepy Hollow. The musical ensemble consists of 4 Bb trumpets (an optional Eb part is included for trumpet 1), one French horn, 3 tenor trombones, one bass trombone and tuba. This entertaining composition is in 5 movements, the first two are interconnected:
         I. Overture   (2:00)
           II. The Smoke Out    (2.40)
                                  III. The Schoolhouse Caper (2:00)
                                  IV. Ichabod’s Romance    (3:40)
                                  V. Night Encounter   (3:10)
Following the energetic and heroic Overture, in The Smoke Out tone clusters represent the buildup of smoke in Ichabod’s singing school. Chorale-like passages suggest the music of the singers in training. The movement ends in transition, as Brom Bones and his small band of pranksters gallop off to their next adventure. The third movement, The Schoolhouse Caper, combines very aggressive and topsy-turvy passages with humorous, plodding interjections. Ichabod’s Romance begins as a beautiful unaccompanied ballad which is abruptly disturbed by a cacophony of muted brass, suggesting the whining of Brom’s mocking dog. Beautiful hymn-like sections serve as the backdrop to heartfelt solo passages, which are again disturbed by Brom’s annoying dog. The movement ends as it began, with the beautiful solo. The intense final movement, Night Encounter, depicts Ichabod’s frightening and fateful run-in with the Headless Horseman, suspected by some to be Brom Bones in disguise. (14’30”) Grade V-VI.

CANZONA by Florentio Maschera (1540-1584) for brass quartet (2-1-1 or 2-0-2) part 3 of the music can be played by either a trombone or a French horn, transcribed by Howard J. Buss. This late Renaissance work is written in a stirring imitative style. It makes an outstanding feature number for a recital as well as a wonderful musical offering in church.(2’30”) Grade III.
CASCADES for brass quintet (2-1-1-1) by Roger C. Vogel. Musical “cascades” rush forth from one another throughout in this exciting new work. Cascades is divided into three main sections. A fast energetic opening eventually gives way to a slower section before the opening mood returns in increasing intensity to the rousing conclusion. This accessible composition makes an outstanding contest piece, feature number, or because of its character, a dashing encore. (4’) Grade IV-V. Cascades sound sample: Excerpt.mp3 (1 MB)

CHROMATIC FANTASY (1997) for brass quintet (2-1-1-1) by Howard J. Buss was composed for the United States Air Force Brass Quintet. This exciting and engaging“tour de force” is a riveting excursion through driving ostinati and sparkling chromatic flourishes. Chromatic Fantasy was premiered by the U.S.A.F. Brass Quintet at the Eastern Trombone Workshop hosted by the U.S. Army Band in Ft. Meyer, VA. (8’) Grade V-VI.
Chromatic Fantasy Sound Samples: Excerpt 1 (the opening).mp3 (1MB);
Excerpt 2.mp3 (984KB)

CONCORD (1990) for brass quintet (2-1-1-1) by Howard J. Buss teems with the vitality of youth. Lyrical passages are juxtaposed with fanfare-like sections to create a dramatic and festive atmosphere. Written for the opening of a performing arts high school in Florida, this exciting composition was winner of the 1991 “Erik Satie Award” of New York City. This significant addition to the repertoire makes a great contest piece or rousing feature number.(6’) Grade V. Concord Sound Samples: Sample 1.mp3 (1MB); Sample 2.mp3 (1.2MB) Sample 3.mp3 (412K)

CONTRASTS IN BLUE (2001) for trumpet, trombone & piano by Howard J. Buss. A dramatic and colorful work in 2 picturesque movements: Evening Shadows and Summer Sea The music is evocative of the imagery suggested by the titles of the movements and of the musical “blues” as well. The themes of shadows and water also suggest a kinship with the impressionist style of 100 years earlier. (15:30) Grade V-VI.
Contrasts in Blue Sound Samples: Movement 1 Sample.mp3 (795K);
Movement 2 Sample A.mp3 (1MB); Movement 2 Sample B.mp3 (730K)
DIVERTIMENTO (1969) for trumpet, trombone, and French horn by Edward Troupin. Troupin’s sound-world is dramatic and full of vitality. His Divertimento for trumpet, trombone, and French horn was composed in 1969. In this entertaining and delightful brass trio the beautiful and lyrical Andante is surrounded by brilliant, energetic movements. The colorful and contrasting sections within each movement combine in charming balance to make a memorable concert feature. (9’) Grade IV-V.
DRY BONES, the well-known African American spiritual (the foot bone's connected to the leg bone, the leg bone's connected to the...), arranged for brass quartet (2-1-1 or 2-0-2) by Howard Buss, makes a memorable concert feature or a rousing musical offering in church. Part 3 of the music can be played by either a trombone or a French horn (both parts are included). Multiple players may be used on each part to expand the ensemble. This arrangement is hugely influenced by jazz. There is an extended 2-part introduction which begins hymn-like, and then breaks out in a jubilant jazzy section. This is followed by a more traditional rendering of the spiritual; however, as the music reaches its climax, the jazz "licks" from the introduction are brought back as counterpoint against the main melody of the spiritual. The result is exhilarating, and for a bit of humor, just as the work ends, there is a "tongue-in-cheek" plagal cadence. Grade IV.
EINE KLEINE SNAILMUSIK for high voice (soprano or tenor), trumpet, cello, and piano by Roger C. Vogel is a humorous setting of May Sarton’s poem of the same name. Theatrical gestures are used in this lighthearted and playful work. In the preface to the score thecomposer writes, "The humor in this work will be greatly enhanced by setting a lighthearted mood before beginning the work and by appropriate gestures throughout." The vocal range is from d below the treble staff to Ab above the staff. (8’) Grade V.
Eine Kleine Snailmusik Sound Sample: Excerpt.mp3 (1MB)

FUGA VII from the Well-Tempered Clavier, Book 2, BWV 876, by Johann Sebastian Bach for brass quartet, [two B-flat trumpets, French horn (an optional trombone part is included as a substitute for the horn on part 3), and trombone] transcribed by Howard J. Buss. Rather than intending to elicit a strong emotional response from listeners, this elegant music is designed to showcase compositional craftmanship and stilulate the intellect. This outstanding transcription makes a wonderful addition to a concert and is especially appropriate for performance in church. (3’) Grade III.
PLANE DANCING (1984) for flute, trumpet, bass clarinet, bass trombone, and two percussion by Erik Lund makes an exciting and colorful contrast on any program. This is music with thrust, intensely alive. Percussion distribution - Perc.1: 3 cymbals, tom toms (5), vibraphone, temple blocks, iron frying pan, cow bell, and brake drum; Perc. 2: Maracas. “An excellent addition to the chamber music program.” - Percussive Notes (5’) Grade V.
Plane Dancing Sound Samples:
Excerpt 1 (the opening).mp3 (1.1MB); Excerpt 2 (the ending).mp3 (1.2MB)

REMEMBRANCES (2000) for trumpet, cello, and piano by Howard Buss is a lyrical, enjoyable work written in an appealing modern style. It was written immediately following the death of the composer's 97-year-old grandmother. Rather than being a somber memorial or musical epitaph, this charming and melodious composition is a celebration of life. The character of the opening section is contemplative. Gradually the music becomes more animated and Remembrances finishes in a spirit of buoyant optimism. (8’) Grade IV-V.
RENDEZVOUS (1994) for four B-flat trumpets and one percussion by Howard J. Buss is a flashy showpiece composed for and premiered at the 1994 International Trumpet Guild Conference. The composition opens with a stirring fugue (the percussionist performs the subject on the xylophone). Following the opening section are an intriguing series of passages featuring contrapuntal writing and the use of ostinati. The work culminates in an intense and exciting finale. Rhythmically and harmonically, the music is influenced by jazz. Percussion: 2 suspended cymbals, temple blocks, tam tam, 5 tomtoms, and finger cymbals. The percussion writing employs primarily 2 mallet technique with some use of 4 mallets on the xylophone in a passage of repeated eighth note chords.Rendezvous was first performed on June 18, 1994 during the International Trumpet Guild Conference hosted by the University of Illinois in Urbana with percussionist David Collier and trumpeters James Ketch, Charles Gates, Roy C. Griffen and Craig Hurst. (8’) Grade VI.
Rendezvous Sound Samples: Excerpt 1.mp3 (908B); Excerpt 2.mp3 (949KB);
Excerpt 3 (the ending).mp3 (1.1MB)
RICERCARE ON C by Andrea Gabrieli (1510-1586) transcribed by Howard J. Buss for brass quartet (2-1-1 or 2-0-2) part 3 of the music can be played by either a trombone or a French horn. This late Renaissance work is written in a stirring imitative style and includes several metric modulations, typical of much of the dance music of the time. It makes an outstanding feature number for a recital as well as a lively musical offering in church. (2’30”) Grade III.
SONATA K. 380 by Scarlatti, Domenico for brass quintet (2-1-1-1), transcribed by Howard J. Buss. This delightful work was originally composed for keyboard by Domenico Scarlatti around the year 1754 and was entitled Sonata in E Major K. 380 (Longo 23). This transcription for brass quintet preserves the essential traits of the composer’s unique style, including his compositional use of register with florid treble parts and a strictly functional, supportive bass. (6’30”) Grade IV.
SONIC FABLES: “Lessons from Aesop” (1991) for brass quintet (2-1-1-1) and one percussion by Howard J. Buss. Entertaining musical representations of six of Aesop’s famous fables are presented between a Prelude and Postlude. The text of the fables is printed on a preliminary page to the score and may be used as written program notes. Each fable may also by recited by a member of the ensemble or a narrator prior to performing the accompanying movement. Because of the programmatic subject matter and the colorful spirit of the music, Sonic Fables works well with all types of audiences, including those of children. It is frequently used as a feature number by professional ensembles on school programs. Percussion: 2 suspended cymbals, temple blocks, snare drum, tomtom, triangle, tambourine, wind chimes, xylophone, and tam-tam. The total duration is about 17 minutes; however, the 8 movements may be performed in smaller groupings if so desired by the performers. (18’) Grade V-VI. Sonic Fables Sound Samples:
Prelude.mp3 (excerpt with the beginning of narrator's lead-in to the first fable) 844KB
The Hawk and the Nightingale.mp3 (excerpt) 916KB
The Middle-Aged Man and His Two Mistresses.mp3 (excerpt) 1MB
The Cat and the Rooster.mp3 (excerpt) 1.2MB
The PipingFisherman.mp3 (excerpt, with the beginning of narrator's lead-in to the next movement) 940KB
The Fox and the Leopard.mp3 (excerpt) 1.1MB; The Lion and the Bear.mp3 (excerpt) 764KB
Postlude.mp3 (excerpt) 1.2MB

SPANISH MEMOIRS (2004) for solo trumpet & percussion quartet by Howard J. Buss is characterized by spicy, zesty Latin rhythms juxtaposed with soaring lyrical melodies hugely influenced by jazz. The music is both accessible and sophisticated, audiences love it! Sound Sample#1.mp3 (1MB) Sound Sample#2.mp3 (768K) Sound Sample#3.mp3 (480K) Percussion distribution: Perc. 1: Vibraphone, snare drum, conga drum, tambourine, and wood block; Perc.2: Marimba, sand blocks, and claves; Perc.3: Marimba and guiro; Perc. 4: Marimba, bass drum, 2 suspended cymbals, bongos, maracas and tam-tam. (10’) Grade V. "...sure to be applauded by soloist, ensemble and audience alike. A melodious trumpet part, an animated accompaniment featuring toe-tapping rhythms, some flashy mallet playing, and the influences of the jazz and Latin idioms will go a long way to ensure the success of this piece." - John R. Raush, Percussive Notes - June 2005. score sample.pdf file performance notes.pdf file
TRIGON (1989) for trumpet, trombone & tuba by Howard J. Buss. This riveting and energetic piece is characterized by lyrical passages juxtaposed with aggressive, angular sections. All three players are given substantial solo lines in this exciting tour de force. (10’) Grade V.

WARP! (1994) for brass quintet by Robert J. Frank. The title was inspired by the term from Star Trek where warp engines would bend time and space to propel the ship at incredible speeds. Exploring relationships between time and space in a musical sense, this work begins with motives and fragments free-floating in space. These gradually build in energy and motion until coming into phase with one another. After this cadence, a motor section expands and develops the previous free-floating motives over driving, repeated patterns. As the speed increases, these motives fade in and out of phase with each other until the motives come back into phase at "warp speed" in the exciting finish. (3') Grade V.
Warp! sound sample: Excerpt.mp3 (966KB)

Trumpet and Orchestra

SKYLINES for trumpet (Bb or C ) and orchestra by Howard Buss is a picturesque musical urban portrait in two movements. The work is loosely programmatic in that no specific city is depicted; rather, the composer captures, in a broad manner, the essence of the big city spectacle. The lyrical and majestic first movement, Panorama, suggests the expansive grandeur of cityscape. The second, Amid the Spires, is hugely influenced by jazz and captures the dynamic energy of life on the busy streets. The trumpet and piano version was premiered by Eric Berlin, trumpet, and Nikki Stoia, piano, on May 22, 2003 at the International Trumpet Guild Conference held at Texas Christian University in Forth Worth. The orchestra version was completed in the Spring of 2006.
I. Panorama (5:35)
II. Amid the Spires (4:35)
total performance time: approximately 10 1/2 minutes, Grade V.
Skylines for trumpet amd orchestra sound samples:
Excerpt 1.mp3 (1MB); Excerpt 2.mp3 (761KB); Excerpt 3 (the ending).mp3 (1MB)

number of parts in complete set/instrumentation
1 - Solo Bb trumpet
1 - Solo C trumpet
2 - Flutes 1, 2
2 - Oboes 1, 2
2 - Bb Clarinets 1, 2
1 - Bb Bass Clarinet
2 - Bassoon 1, 2
2 - Horn in F 1, 2
2 - Bb Trumpets 1, 2
1 - Percussion 1
1 - Percussion 2
1 - Percussion 3
8 - Violin 1
8 - Violin 2
6 - Viola
6 - Cello
4 - Contrabass

Trumpet recordings

Atmospheres featuring Sheryl Linch, trumpet, and Don N. Parker, percussion.

This significant and exciting new release by the Double Take Duo (Don N. Parker, percussion and Sheryl Linch-Parker, trumpet) is a "must". The CD takes its name from the first work on the recording, Atmospheres by Howard J. Buss (published by Brixton Publications). The CD includes:
Atmospheres (2005) for trumpet and percussion by Howard J. Buss
[1] I. The Wakening                     4:41
[2] II. One Sunday, Long Ago     4:03
[3] III. On-The-Edge                   3:52
[4] Where Sirens Dwell (2006) by William L. Cahn    12:46
     for trumpet and percussion with prerecorded CD
Six Interlocutions for Trumpet and Percussion
[5] I. Opening Statement             3:02
[6] II. Light Banter                      3:00
[7] III. Call                                  1:15
[8] IV. Be Correct or Happy       5:32
[9] V. Response                           1:27
[10] VI. Conclusion                     6:23

Double Take featuring Sheryl Linch, trumpet, and Don N. Parker, percussion. An exquisite recording which is a “must” for any serious trumpeter or percussionist. Included on the CD is Interplay for Trumpet and Percussion by Murray Houllif, Four Pieces for Trumpet and Marimba by Erwin Chandler, Sonata No. 2 by Anthony Cirone, Suite for Trumpet and Marimba by Alec Wilder, and Incantation for Trumpet and Percussion by Howard J. Buss. CD-105
Incantation Sound Samples: Sound Sample#1.mp3 (1MB) Sound Sample#2.mp3 (1MB)

Music or CDs may only be returned if defective.

To order Site Map Contact Us What's New Howard J. Buss, Editor/Composer

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