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Trumpet in chamber music - quintets and larger
(in alphabetical order)
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. Sound sample: Excerpt.mp3)
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 engagingtour 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.
Sound Samples: Excerpt 1 (the opening).mp3
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.
Sound Samples: Sample 1.mp3, Sample 2.mp3, Sample 3.mp3
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)
Excerpt 1 (the opening).mp3; Excerpt 2 (the ending).mp3
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 during the 1994 International Trumpet Guild Conference hosted by the University of Illinois, Urbana with percussionist David Collier and trumpeters James Ketch, Charles Gates, Roy C. Griffen and Craig Hurst. (8) Grade V.
Rendezvous Sound Samples:Excerpt 1.mp3; Excerpt 2.mp3; Excerpt 3 (the ending).mp3
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 composers unique style, including his compositional use of register with florid treble parts and a strictly functional, supportive bass. (630) 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 Aesops 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) Sound Samples:
Prelude.mp3 (excerpt with the beginning of narrator's lead-in to the first fable)
The Hawk and the Nightingale.mp3 (excerpt)
The Middle-Aged Man and His Two Mistresses.mp3 (excerpt)
The Cat and the Rooster.mp3 (excerpt)
The PipingFisherman.mp3 (excerpt, with the beginning of narrator's lead-in to the next movement)
The Fox and the Leopard.mp3 (excerpt) 1.1MB; The Lion and the Bear.mp3 (excerpt)
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! 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. Recorded Recorded on the CD Spanish Memoirs by Diego Arias and Yu-Jung Chung et al (available from Brixton). score sample.pdf file, performance notes.pdf
Sound samples: Excerpt 1.mp3, Excerpt 2.mp3, Excerpt 3.mp3, Excerpt 4.mp3
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.
Sound sample: Excerpt.mp3
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