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Trumpet in chamber music - quintets and larger
BRASS MINIATURES for brass quintet by Howard J. Buss is in 4 short movements inspired by light and images reflected on polished brass: On the Edge, Refractions, Facets, and Illuminated Reflections. In November of 2018 the composer found a box labeled “1974” in a storage closet. It contained a collection of long-lost scores he had composed 4½ decades earlier. Upon examining the music it was apparent that in these works was a trove of youthful musical ideas that could be developed, polished, and edited into exciting “new” compositions. The musical content of first 3 movements of is close to that in the 1974 brass quintet. The final movement was rewritten to include elements of the original score, but updated to be closer to the composer’s current musical language. While On the Edge, Refractions, and Facets, have a decided edginess to them; Illuminated Reflections is more consonant and lyrical. It includes subtle references to material in the previous movements as well a buffed rendition of the opening melody of the first movement in its coda. Score and parts are included. (7’22”) Grade V.
CASCADES for brass quintet by Roger C. Vogel. Musical “cascades” rush forth from one another throughout in this exciting new work.This work is in 3 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 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. (8) Grade V.
Sound Samples: Excerpt 1.mp3 Excerpt 2.mp3 - Score sample: Excerpt.pdf
CONCORD (1990) for brass quintet 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. Grade V. Sound Samples: Sample 1.mp3, Sample 2.mp3, Sample 3.mp3
- Score sample: Excerpt.pdf
New! FANFARE `A LA STRAVINSKY for three small antiphonal brass choirs (a brass quintet and 2 brass trios) by David M. Sterrett.
The total number of instruments used is 4 trumpets, 3 horns, 3 trombones, and one tuba.
This exciting antiphonal work features loud, brazen chords collectively sounding from groups of players spatially separated, fast melodic lines and gestures being passed around from group to group, different groups competing for attention, etc. The composer weaves in 3 brief quotes from 3 works by Stravinsky at the fanfare's 3 high points. This is a antiphonal brass fanfare with a modern twist, a fanfare 'a la Stravinsky. Score and parts are included. (2'15") Grade V.
PLANE DANCING (1984) for flute, trumpet, bass clarinet, bass trombone, and two percussion by Erik Lund 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) Sound Samples: 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 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 during the 1994 I.T.G. Conference by 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, transcribed by Howard J. Buss was originally composed for keyboard by Domenico Scarlatti around the year 1754 and was titled 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 and one percussion by Howard J. Buss. Entertaining musical representations of 6 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 performed as a feature number 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. The 8 movements may be performed in smaller groupings if so desired by the performers. (18) Grade V-VI.
Sound Excerpts: Prelude.mp3 (with the beginning of narrator's lead-in to the first fable)
The Hawk and the Nightingale.mp3; The Middle-Aged Man and His Two Mistresses.mp3;
The Cat and the Rooster.mp3 (excerpt) The PipingFisherman.mp3 (with the beginning of narrator's lead-in to the next movement)
The Fox and the Leopard.mp3; The Lion and the Bear.mp3; Postlude.mp3
SPANISH MEMOIRS (2004) for solo trumpet & percussion quartet by Howard J. Buss. Spicy, zesty Latin rhythms are juxtaposed with soaring lyrical melodies hugely influenced by jazz. The music is both accessible and sophisticated, audiences love it! Percussion distribution: Perc. 1: Vibes, 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 on the CD Spanish Memoirs by Diego Arias and Yu-Jung Chung et al (available from Brixton).
score sample.pdf, performance notes.pdf
Sound samples: Excerpt 1.mp3, Excerpt 2.mp3, Excerpt 3.mp3, Excerpt 4.mp3
New! TRIBUTE TO STEPHEN FOSTER “A Medley of Six Favorites” arranged for brass quintet by Howard J. Buss. Stephen Collins Foster (1826-1864) is often referred to as “the father of American music.” Many of his songs serve as a window into the spirit of America in his day. Others are exquisitely sentimental. Whether or not one approves of the lyrics of his minstrel songs, the enduring beauty and vitality of his melodies cannot be denied. In addition to the 6 Foster songs in this arrangement, Buss interjects 2 other well-known melodies. The “First Call” bugle call is woven into the tapestry of Camptown Races” and “The Girl I Left Behind Me” serves as a partner song to “Ring, Ring, the Banjo.”
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