AverettM 2010-3 BODY

TRUMPET EXCERPTS FROM THE WIND BAND LITERATURE
A DISSERTATION SUBMITTED TO
THE GRADUATE SCHOOL
IN PARTIAL FULFILLMENT OF THE REQUIREMENTS
FOR THE DEGREE OF
DOCTOR OF ARTS
BY
MICHAEL W. AVERETT
DISSERTATION ADVISOR: DR. THOMAS CANEVA
BALL STATE UNIVERSITY
MUNCIE, INDIANA
MAY 2010
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ABSTRACT
Trumpet method books have existed almost as long as the trumpet itself. From
Cesare Bendenelli collecting pedagogical information in the late 16th century, to the most
recent publications, thousands of books have been written for the trumpet. Publishers
including Carl Fisher, Belwin, Alfred, Charles Colin Music, M. Baron Company, and
Alphonse Leduc offer over 400 trumpet method books containing studies on intonation,
high-register, rhythm, orchestral excerpts, transpositions, solos, etc. With such a wealth
of material, there is not one book containing trumpet excerpts from the wind band
literature. This project seeks to fill this void by offering a compilation of 586 of the most
popular and difficult trumpet excerpts from the wind band literature. In addition to the
musical excerpts, each excerpt contains insights from some of the premier players in the
wind band field. The aforementioned insights were applied to each excerpt to give the
reader an easy-to-understand approach to learning wind band repertoire. As a result, this
dissertation will serve multiple functions in the trumpet community, including promoting
the wind band genre; teaching students important, yet neglected, works; developing
healthy practice habits; presenting a more pragmatic application of higher musical study;
and, of course, the identifying and organizing of difficult wind band literature for the
trumpet.
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ACKNOWLEDGEMENTS
I would like to give special thanks to the people who assisted in the completion of
this project. The following people supplied their musical knowledge, expertise,
experience and hard work. I would like to thank Will Arasmith, Amanda McCullough,
Matt Vangjel, Joe Parisi, Steve Davis, Tom Caneva, Mark Norman, Carter Pann, Barry
O’Neal, Ginger Turner, Kurt Dupuis, Robert Couto, Matthew Harding, Maria Iannacone,
Terry Bingham, Frank Tracz, Allan McMurray, Jim Cochran, Donald and Suzanne
Grantham, Cindy McTee, Michael Daugherty and Robert Meunier.
Michael W. Averett
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TABLE OF CONTENTS
ABSTRACT ii
ACKNOWLEDGMENTS iii
INTRODUCTION 1
Purpose Statement 1
LIMITATIONS 1
REVIEW OF LITERATURE 3
Introductory Literature 3
Orchestral Literature 5
Complete Orchestral Trumpet Parts 6
Non-Instructional Orchestral Excerpt Books 7
Instructional Orchestral Excerpt Books 8
Jazz Literature 9
Wind Band Literature 10
SIGNIFICANCE OF THE PROBLEM 13
METHODOLOGY 14
Identification of Music 15
Identification of Contributors 16
Identification of Research Methodology and Organization 17
Identification of Presentation and Format 19
CONCLUSION 20
AVERETT TRUMPET EXCERPTS FROM WIND BAND LITERATURE LIST 21

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EXCERPTS FROM THE WIND BAND LITERATURE 23
Barnes, James
Symphony No. 3 (Work no. 1) 23
Bassett, Leslie
Designs, Images and Textures (2) 25
Sounds, Shapes, and Symbols (3) 27
Bennett, Robert Russell
Suite of Old American Dances (4) 28
Benson, Warren
The Leaves are Falling (5) 34
The Passing Bell (6) 35
Bryant, Steve
Alchemy in Silent Spaces (7) 37
Radiant Joy (8) 38
Camphouse, Mark
Whatsoever Things (9) 40
Chance, John Barnes
Variations on a Korean Folk Song (10) 42
Clifton, William
Symphonic Suite (11) 44

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Colgrass, Michael
Arctic Dreams (12) 47
Déjà vu (13) 51
Urban Requiem (14) 53
Winds of Nagual (15) 56
Copland, Aaron
Emblems (16) 58
Outdoor Overture (17) 63
Corigliano, John
Gazebo Dances (18) 64
Dahl, Ingolf
Sinfonietta (19) 67
Daugherty, Michael
Bells for Stokowski (20) 70
Niagara Falls (Bb & C parts) (21) 74
Raise the Roof (22) 80
Del Borgo, Elliot
Do Not Go Gentle Into That Good Night (23) 83
Del Tredici, David
In Wartime (24) 87
De Meij, Johan
Symphony No. 1 (25) 89

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Finney, Ross Lee
Summer in Valley City (26) 93
Gandolfi, Michael
Vientos y Tangos (27) 99
Gillingham, David
Apocalyptic Dreams (28) 103
Concertino for Four Percussion and Wind Orchestra (29) 108
Galactic Empires (30) 110
Heroes Lost and Fallen (31) 115
Waking Angels (32) 118
Gorb, Adam
Awayday (33) 121
Graham, Peter
Harrison’s Dream (34) 123
Grainger, Percy
Colonial Song (35) 126
Lincolnshire Posy (36) 127
Grantham, Donald
Baron Cimetière’s Mambo (37) 129
Bum’s Rush (38) 133
J’ai été au Bal (39) 135
Southern Harmony (40) 138

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Hanson, Howard
Chorale and Alleluia (41) 139
Hindemith, Paul
Symphony in Bb (42) 140
Holsinger, David
To Tame the Perilous Skies (43) 142
Holst, Gustav
First Suite in Eb (44) 144
Hammersmith (45) 148
Second Suite in F (46) 151
Husa, Karel
Al Fresco (47) 153
Apotheosis of This Earth (48) 157
Cheetah (49) 160
Concerto for Percussion and Wind Ensemble (50) 162
Music for Prague (51) 163
Ives, Charles
Variations on “America” (52) 166
Jacob, Gordon
William Byrd Suite (53) 167
Latham, William
Three Chorale Preludes (54) 171

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Lindroth, Scott
Spin Cycle (55) 172
Mailman, Martin
For Precious Friends Hid in Death’s Dateless Night (56) 176
Maslanka, David
A Child’s Garden of Dreams (57) 179
McTee, Cindy
Soundings (60) 193
Milhaud, Darius
Suite Française (61) 197
Nelson, Ron
Passacaglia (62) 201
Rocky Point Holiday (63) 203
Nixon, Roger
Fiesta Del Pacifico (64) 207
Pann, Carter
American Child (65) 209
Concerto Logic for Piano and Wind Ensemble (66) 212
Four Factories (67) 215
Slalom (68) 220
Wrangler (69) 223

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Persichetti, Vincent
Divertimento (70) 226
Masquerade (71) 227
Parable IX (72) 230
Piston, Walter
Tunbridge Fair (74) 233
Reed, H. Owen
La Fiesta Mexicana (75) 237
Schmitt, Florent
Dionysiaques (76) 239
Schoenberg, Arnold
Theme and Variations (77) 244
Schwantner, Joseph
And the Mountains Rising Nowhere (78) 247
From a Dark Millennium (79) 252
In Evening’s Stillness (80) 254
Schuman, William
Chester Overture (81) 256
When Jesus Wept (82) 258
Sparke, Philip
Dance Movements (83) 260

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Thompson, Virgil
A Solemn Music (84) 267
Ticheli, Frank
Blue Shades (85) 268
Postcard (86) 272
Wild Nights (88) 279
Toch, Ernst
Spiel für Blasorchester (89) 282
Tull, Fisher
Sketches on a Tudor Psalm (90) 283
Welcher, Dan
Circular Marches (91) 285
Laboring Songs (92) 287
Minstrels of the Kells (93) 289
Zion (94) 291
Whitacre, Eric
Ghost Train (95) 297
Williams, Ralph Vaughn
Folk Song Suite (96) 301
Sea Songs (97) 303
Toccata Marziale (98) 305

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Wilson, Dana
Dance of the New World (99) 306
Piece of Mind (100) 307
Yagisawa, Satoshi
Machu Picchu (101) 309
APPENDIX
Alphabetical list of works by title of piece 312
BIBLIOGRAPHY 317
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TRUMPET EXCERPTS FROM THE WIND BAND LITERATURE
The study of orchestral excerpts is a cornerstone of most conservatory and
university applied music lessons. In contrast, the study of important wind band literature
is not as routinely implemented, if at all. The lack of significant pedagogical resources is
partly to blame for this disparity. This document seeks to address this pedagogical
limitation.
This dissertation includes a collection of 101 carefully chosen works for wind
band. The trumpet parts to each work have been carefully evaluated and select excerpts
have been extracted to isolate the most popular and difficult passages. The result is a
compilation of 586 different trumpet excerpts from the wind band literature with
correlated practice suggestions for each.
The purpose of this dissertation is to provide trumpet players of all ability levels
with a resource to study trumpet excerpts from the wind band literature. Via a study of
the collected excerpts, trumpeters will also have the opportunity to 1) learn new
repertoire, 2) apply feedback from respected wind band players, 3) develop a greater
appreciation for wind band music, and 4) develop a greater understanding and application
of musical concepts such as style, phrasing, intonation, etc.
LIMITATIONS
This dissertation contains the following limitations:
1. The dissertation only contains passages that have been extracted from parts
marked as follows: 1st Bb trumpet, 1st C trumpet, Eb trumpet, 1st cornet,
flugelhorn, solo trumpet, backstage solo, or offstage trumpet. This limitation was
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put in place to avoid any confusion regarding which trumpet parts would be
included in the dissertation. Section parts or parts other than 1st trumpet parts are
not intended to be included in this dissertation. As a caveat, section parts are
included for three specific passages where the sections parts were deemed
relevant to the 1st trumpet part. Parts labeled off-stage trumpet, solo trumpet, Eb
trumpet, or flugelhorn were included in this dissertation because they often
represented a unique solo moment or timbre.
2. The dissertation only contains trumpet excerpts from the wind band literature
between the years 1910 to 2005. This limitation was imposed to purposely
exclude hundreds of marches from the 19th Century and to narrow the scope of the
music selected. Furthermore, the date of 2005 was chosen to add a definitive end
to what is an ever-changing repertoire.
3. The dissertation excludes any excerpt from a march or from The Complete Sousa
Marches for Trumpet, Volumes I and II by Peter Piacquadio. Because this
extensive collection of march excerpts is already available, it seemed reasonable
to emphasize contemporary works from the wind band literature.
4. The dissertation is limited to only large works for wind band instrumentation and
excludes all chamber works of 15 or fewer parts. The instrumentation number of
15 was decided upon to eliminate hundreds of works for brass choir, double brass
quintet, and orchestral winds – thereby further defining the scope of the project.
5. The dissertation contains no orchestral transcriptions for wind band other than
those transcribed by the original composer. One purpose of this limitation is to

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further narrow the scope of the project; however, the primary purpose is to ensure
that the dissertation only contains original works for wind band.
6. The dissertation is limited to the excerpts suggested, provided, and discussed by
the individuals who contributed. An important foundation of this project is the
inclusion of only those excerpts suggested by professionals who have extended
experience with the repertoire, thereby providing them with the opportunity to
pass on their knowledge and experience.
REVIEW OF LITERATURE
To thoroughly and accurately review all trumpet literature that pertains to this
dissertation, the review of literature has been separated into four different categories;
introductory literature, orchestral literature, jazz literature, and wind band literature.
Because this dissertation only contains works for large ensemble, only large ensemble
literature was reviewed. Therefore, literature for solo and chamber trumpet is not
included.
Introductory Literature
Introductory literature is material that is aimed at beginning trumpeters. For the
purposes of this dissertation, the introductory literature reviewed adheres to the
limitations previously stated. The most important of these limitations is that the literature
be an exact representation of the original manuscript. A large portion of literature for
beginners consists of famous melodies that have been extracted and re-orchestrated, or
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simplified, so they are more accessible to the reader. Each of the books listed in this
section contain authentic, yet approachable, works for trumpet.
Three standard books for beginners highlight the popular melodic passages by
famous composers such as Mozart, Haydn, Beethoven, and Bach: Easy Classics for the
Young Trumpet Player (Spitzer, 1987), Easy Classics for Trumpet (Spitzer, 1983), and
Exceptional Classics for Trumpet (Hal Leonard, 2005). In each book, the passages
included range from a minimum of eight measures long to a maximum of thirty-two
measures long. While these books contain orchestral-based passages, they are not
substantial enough in content to be considered part of the orchestral literature.
Four additional books include longer passages from less well-known works: First
Repertoire for Trumpet (Calland, 2003), First Repertoire Pieces for Trumpet (Wastall,
1991), First Tunes and Studies for the Trumpet (Wiggins, 1993), and Seven Top Trumpet
Tunes (Humell, 1988). In each of these books, the author went to great lengths to find
authentic literature that is much more approachable by inexperienced trumpeters. These
books contain passages by composers such as George Gershwin, Aaron Copland, Anton
Dvorak, Irving Berlin, and Hoagy Carmichael. The length of the excerpts in these books
ranges from a minimum of sixteen measures to a maximum of sixty-four measures.
Hans-André Stamm’s Ten Easy Baroque Pieces (1999) is designed to provide the
young trumpeter with original melodies in their original keys. While Baroque literature is
often times extremely difficult, Stamm found literature that was very approachable.
Stamm carefully chose music from two sources: “Music for the Royal Fireworks” and
“Water Music”. Both of these collections, by George F. Handel, contain trumpet parts
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that are easy to read, very melodic and constructed primarily of quarter notes and half
notes.
The final collection of instructional literature is made up of play-a-long books;
these books are accompanied by a cassette tape or compact disc. The recording is
typically an orchestra or band playing an accompaniment while the trumpet is featured.
The author found hundreds of play-a-long books in the trumpet repertoire; however, only
five met the criteria listed in the limitations. These books do not feature the trumpet;
rather, they incorporate the trumpet into the original composition. These books include
Baroque Play-a-long (Davies, 1994), Classical Favourites; Play-a-long for Trumpet,
(Skinow, 1996), Classical Greats; Play-a-long for Trumpet (Amsco Publications, 2006),
Classical Play-a-long for Trumpet (Vassiliev, 1992), and Playing with the Band (Hal
Leonard, 2003). These five play-a-long books differ from hundreds of other play-a-long
books because they feature actual trumpet parts. Similar to the book Ten Easy Baroque
Pieces, each of these books features popular Baroque and Classical trumpet melodies in
their original forms. Music for the Royal Fireworks, Water Music and Dances from
Terpsichore were among the popular parts used in each book.
Orchestral Literature
The orchestral canon contains numerous books that were written for the study of
orchestral trumpet playing. The books found to be relevant have been separated into three
different categories.
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Complete Orchestral Trumpet Parts
The first category of the orchestral literature includes collections of complete and
original parts from major orchestral works. The most famous is a collection of 153
original parts that are in PDF format and published in a collection of 12 volumes titled,
The Orchestral Musicians CD-ROM Library (Hal Leonard, 2004). This collection of
works provides the reader with parts from the original Kalmus and Breitkopf & Härtel
editions of orchestral works without any emphasis on specific excerpts or commentary on
how to approach the works. A very similar work, The Trumpet Excerpt Collection on CD
Rom (Cherry, 2005), is almost an identical version of the previous CD-ROM library.
However, this collection by Gordon Cherry is only one volume and contains much fewer
works. The publisher, Musica Rara Editions, offers similar books containing the complete
works of J.S. Bach, George F. Handel, and Henry Purcell: Bach: Complete Trumpet
Repertoire (Guettler, 1971), Handel: Complete Trumpet Repertoire (Minter, 1973), and
Purcell: Complete Trumpet Repertoire (King, 1975). Other books that provide complete
parts for orchestral trumpet include: Bach For Trumpet (Gisondi, 1985), Mozart for
Trumpet (Catherine, 1998), L’histoire du Soldat (Stravinsky, 1959), Wonderful World of
Handel for Trumpet (Wiggins, 1996), and Wonderful World of Haydn for Trumpet
(Wiggins, 1997). These collections are intended to provide a library of orchestral works
for the professional orchestral trumpet player.

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Non-Instructional Orchestral Excerpt Books
The second category of the orchestral literature consists of method books that
contain isolated excerpts for trumpet from the orchestral literature. Unlike the previous
literature reviewed, these books have isolated difficult passages and targeted specific
problem areas for trumpeters in major orchestral literature. Similar to this dissertation,
these books contain shorter passages, called excerpts, which are universally difficult for
trumpeters. Unlike this dissertation, these resources contain no means of instructing the
reader how to approach and correct difficult excerpts.
Additional orchestral literature focuses on specific composers or genres. For
example, Strauss Trumpet Excerpts for Stage Works Volumes 1 &2 (Dessau, 1987) is a
collection of the most difficult opera excerpts by Richard Strauss. Similarly, Trumpet
Orchestral Excerpts (Rossbach, 1950) contains what the author considered the ten most
popular excerpts for trumpet by Richard Strauss. Other examples include two excerpt
books for bass trumpet from the works of Richard Wagner: Wagner Bass Trumpet
Excerpts Volumes 1 & 2 (Biersack, 1973) and Euphonium and Bass Trumpet Orchestral
Excerpts (Hanlen, 1981).
Vincent Cicowicz, the famous orchestral trumpet player and teacher, is the author
of Orchestral Excerpts with Piano Accompaniment (2001) – a book of orchestral excerpts
that includes piano reductions of each orchestral passage. The publisher, De Haske, offers
a series of composer-specific orchestra excerpt books. Each of these books focuses on a
single composer: Play Bach – Eight Famous Works for Trumpet (De Haske, 1992), Play
Grieg (De Haske, 1992), Play Handel (De Haske, 1992), Play Mozart (De Haske, 1992),
and Play Puccini (De Haske, 1993).

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Method books for piccolo trumpet could be organized in another category. In the
last 20 years, several books that teach the literature and pedagogy of piccolo trumpet
have been published. However, these books contain important orchestral excerpts from
composers such as J. S. Bach, George F. Handel, Henry Purcell, and Antonio Vivaldi.
These books include: Festive Baroque (Damrow, 1998), Art of Baroque Trumpet Playing
(Tarr, 1983), Method for Piccolo Trumpet (Webster, 1982), The Piccolo Trumpet
(Hickman, 1989), and The Piccolo Trumpet Big Book (Hickman, 2002).
In addition to the excerpt books that focus on specific composers, or instruments
in the trumpet family, there are several other books that contain a wider range of styles
and literature. These books include: Masterworks for the Trumpet (Arnold, 1985), The
Trumpet Players Studio, a Grand Collection of Solo Trumpet Parts of the Best-Known
Standard Overtures and Orchestral Selections (Gore, 1991), Orchestral Trumpeter (Van
der Roost, 1996), Great Orchestral Solos for Trumpet (Wiggins, 1997), Orchestral Test
Pieces (Lohsch, 1968), The Orchestral Trumpeter (Hering, 1977), and perhaps the most
commonly used Orchestral Excerpts for Trumpet Volumes 1 through 18 (Bartold, 1948).
Instructional Orchestral Excerpt Books
The third category of orchestral literature excerpt books is comprised of books
that contain both excerpts and commentary on how to approach this literature. This
category is the most similar to this dissertation.
Mahler Orchestral Excerpts for Trumpet Volumes 1, 2 and 3 (Sachs, 2007) each
include a combination of difficult and popular excerpts by the composer Gustav Mahler.
These three volumes are different from previously cited resources because they also
include performance notes and suggested practice routines from Michael Sachs, Principal
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Trumpet of the Cleveland Orchestra. Two other books, Top 50 Orchestral Excerpts
(Norris, 1998) and Audition and Performance Preparation for Trumpet Orchestral
Excerpts (McGregor, 1996), share a similar structure with the book by Michael Sachs in
that both include important excerpts followed by professional insight into tempo,
phrasing, transposition, context, and style.
Other popular books in this category include: Art of the Phrase: 26 Etudes for
Trumpet (Ewald, 2001), Method for the Advanced Trumpeter (Thibaud, 1987), and
Orchestral Rhythms for Bb Trumpet (Vacchiano, 1973). Each of these books supplement
specific orchestral excerpts with commentary. The commentary is intended to address
particular aspects of trumpet playing. The book by Vacchiano addresses improper
rhythm, while the book by Ewald focuses on quality phrasing.
Phil Smith, Principal Trumpet of the New York Philharmonic, plays popular
orchestral excerpts and then discusses each one in an informal manner on the audio CD
Orchestral Excerpts for Trumpet (Smith, 1994). Before 1994, the majority of
instructional orchestral excerpt literature either had no commentary or had commentary
from unknown players. There is a significant change in the related literature after 1994.
The Phil Smith CD had such an impact that select publishers began including
commentary from well-known orchestral players. The Sachs and McGregor books are
examples of this trend.
Jazz Literature
The second most popular genre for trumpet literature is the jazz idiom. This genre
includes hundreds of individual books, methods, and articles written for the trumpet;
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however, very few of these articles apply to this dissertation. As a limitation of research,
all improvisational material was eliminated from the review. This material was
eliminated because the efforts of this dissertation have been to present pre-existing
compositions to the trumpet community. Since improvisation is constantly changing by
definition, it was not considered to be relevant. The decision to eliminate improvisation
materials eliminated hundreds of books containing transcriptions of solos from various
artists such as Louis Armstrong, Chet Baker, Miles Davis, Clifford Brown, Lee Morgan,
and Freddie Hubbard. This limitation left a small amount of material in the jazz genre.
Nevertheless, the amount of remaining material surpasses that of all material found in the
wind band literature.
Lead Trumpet Parts From the Basie Book (Nestico, 1999), How to Play Lead
(Shaw, 2005) and Advanced Jazz Band for Trumpet (Sorenson, 2006) each include
original trumpet parts for some of the most famous original jazz compositions. The Shaw
book also includes commentary and famous shout choruses from standard jazz charts.
Other jazz resources, such as The Realbook Volumes 1, 2, 3 and 4 (Sher Music, 1975) and
The Original Fakebook (Hal Leonard, 1961), contain hundreds of jazz standards.
Wind Band Literature
To date, minimal resources are available that focus on trumpet excerpts from the
wind band literature. Hundreds of books have been authored pertaining to the history,
development, and future of wind band literature; however, none of these books provide
actual excerpts from wind band literature. Several of these books are listed in the
bibliography of this dissertation because they provide helpful background information.

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After searching every article published by the International Trumpet Guild since
its formation in 1979, no articles that contained the words “wind band” and “excerpts”
were found. Furthermore, a search on other wind instruments produced only a project for
wind band excerpts for bassoon that was never completed. The majority of relevant
research that has been done in this field lies in three dissertations. An Annotated
Collection of Twentieth Century Wind Band Excerpts for Trumpet, by Carly Jo Lynn
Johnson (2005), is summarized via the following excerpt from her abstract:
The study emphasizes the analysis and preparation of selected excerpts by
trumpet players for both audition and performance purposes. The study
provides background information, musical analysis, practical performance
suggestions, and a select discography on excerpts taken from twenty-two
significant compositions from the wind band repertoire. … The scope of the
selected repertoire has been narrowed to works written specifically for the large
wind band medium and that have demonstrated a significant relevance to the
continued development of the wind band medium in the United States. The
excerpts included in this study were selected primarily from solo and first cornet
and trumpet parts taken from advanced repertoire. This project employs a
historical background, with an emphasis on works from the second half of the
Twentieth Century. (p.4)
The Johnson dissertation shares many limitations with this dissertation. Both dissertations
exclude chamber works, emphasize the preparation of selected excerpts, and include solo
and first cornet trumpet parts taken from the wind band repertoire. However, the Johnson
dissertation is unlike this dissertation in several key areas: 1) it only includes works from
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the second half of the 20th century, 2) it only includes advanced literature, and 3) it
focuses primarily on historical information and musical analysis.
Anthony Kirkland’s (1997) dissertation, An Annotated Guide to Excerpts for
Trumpet and Cornet from the Wind Band Repertoire, is summarized via the following
abstract excerpt:
By surveying prominent performers and teachers, the author compiled a list of
twenty-five compositions that can be considered fundamental repertoire for the
performer preparing for symphonic band performances and auditions. All pieces
included in this study were composed for a wind ensemble or band of at least ten
players using brass, woodwinds, and percussion (or brass and woodwinds). No
compositions for brass choir or brass and percussion were considered. … The
author discusses the most challenging solos and sectional excerpts from these
compositions according to their technical and musical challenges such as
phrasing, rhythm, articulation, dynamics, intonation, and acceptable tempos. The
differences between various editions of the same composition and variances in
interpretation encountered thereby are also presented to give the student an
orientation toward what to expect in real-life situations. (p.12)
The Kirkland dissertation is the model for this dissertation. Kirkland’s dissertation
contains twenty-five of the greatest works composed for band. For each work, Kirkland is
careful to consistently use measure numbers when identifying excerpts, and he provides
great detail concerning phrasing, rhythm, articulation, intonation, and tempi.
Wind Ensemble Music for the Trumpet: An Excerpt Guide (2000), a dissertation
by William Richardson, does not contain as much theoretical information as the Johnson
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dissertation. Rather, Richardson’s dissertation focuses on composer content and historical
information. Unlike the Kirkland dissertation, the Richardson dissertation contains little
musical terminology and only occasionally mentions measure numbers as it pertains to
trumpet passages. Richardson’s purpose is clearly stated in the dissertation abstract:
The purposes of this treatise are (1) to isolate important trumpet excerpts from
wind ensemble literature; (2) to provide a brief history and analysis of each
composer and composition in the study; (3) to offer practical advice regarding
fundamental musical elements within the passage including, but not limited to,
tempo, articulation, dynamics, and phrasing; and (4) to discuss specific
performance problems and practice techniques for each excerpt. (p.5)
As with the Johnson and Kirkland dissertations, the Richardson dissertation does not
contain any musical notation. Each of the three valuable dissertations discussed above
identify the need for trumpet excerpt books from the wind band repertoire.
SIGNIFICANCE OF THE PROBLEM
The problem that this dissertation is meant to address is the lack of trumpet
literature related to the wind band repertoire. As stated in the Review of Literature,
significant trumpet resources are available for both the orchestral and jazz idioms. This
literature helps to 1) educate young musicians, 2) promote the genre which it represents,
3) help advanced musicians prepare for their future careers, and 4) expose all musicians
to great literature that would otherwise go unnoticed. Unfortunately, the wind band idiom
has no such representation. Though there are thousands of public schools and universities
that have wind band programs, the young musicians in those programs are provided few
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avenues to further pursue wind band literature. In addition, music educators in those
school systems do not have any literature to use as a resource to help teach the wind band
repertoire.
Due to the lack of pedagogical literature in the wind band genre, wind bands are
at a severe disadvantage when competing with orchestral and jazz idioms for the interest
of young musicians. With pedagogical tools, such as this dissertation, young musicians
can learn and develop an appreciation for the wind band repertoire.
The lack of pedagogical literature to help prepare musicians for a career in the
wind band field is a significant problem. Many advanced musicians seek employment in
the United States Military because the United States government subsidizes wind bands
in each of the five branches of its services. The ability to win and sustain a job in a wind
band depends on many skills. Preparation and experience are among those skills;
however, the advanced musician must have a familiarity with the literature. This
dissertation will provide the advanced musician with tools necessary to win and sustain
such a job. In addition, this dissertation will help remedy each of the previously discussed
deficiencies.
METHODOLOGY
The concept of this dissertation is to provide a pedagogical tool to the wind band
and trumpet community. To address the lack of literature in the wind band repertoire, this
dissertation includes trumpet excerpts from the wind band literature in musical notation.
To provide pedagogical information, this dissertation contains instructional insights by
well-respected wind band players. To construct this pedagogical tool the following steps
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were taken: 1) determine which music will be used, how it will be used, and why it will
be used; 2) determine who is considered a well-respected wind-player, why they are
considered a well-respected wind band player, and how they will contribute; 3) determine
the best way to research, compile, and organize the information; and 4) determine the
best way to format and present the information so that it is practical and applicable.
Identification of Music
Determining which music to use was the most challenging task. The limitations
established that no music before 1910 or after 2005 would be included and that no
chamber music or orchestral transcriptions would be considered. To select a
representative number of works from the wind band literature, the author worked closely
with several collegiate wind band conductors, including Dr. Thomas Caneva, who is also
the co-chair of this dissertation and Director of Bands at Ball State University; Dr. Steve
Davis, Director of Bands at the University of Missouri Kansas City Conservatory of
Music; Dr. Joseph Parisi, Assistant Director of Bands at the University of Missouri
Kansas City Conservatory of Music; Dr. Frank Tracz, Director of Bands at Kansas State
University; Dr. Scott Weiss, Director of Bands at the University of Kansas; and Dr.
Robert Meunier, Director of Bands at Drake University.
Each individual contributed ideas and provided a list of pieces that they
considered major works in the genre. Each work that was suggested was added to a
master-list and assigned a number on the master-list that represented how many times
that work had appeared. If a particular piece had a number of three or higher, meaning
that piece had appeared on at least three lists, that piece was chosen. At the completion of
16
this process, the list included 105 works. Two composers chose not to participate in this
project, so the final Averett Trumpet Excerpts from Wind Band Literature List
(ATEWBLL) includes 101 works for wind band.
Identification of Contributors
It was imperative to the integrity of this dissertation that performance insights
were added from well-respected wind band trumpet players. This required determining
who is considered a well-respected wind band player, why they are considered a well-
respected wind band player, and how they will contribute. United States Military bands
comprise the largest population of professional trumpet players in the country who play
wind band literature. Selecting the most respected wind band players meant going to the
most respected wind bands in this country. The following bands were chosen: The United
States Navy Band, the “President’s Own” Marine Band, “Pershing’s Own” Army Band
and The Army Field Band.
The specific wind band trumpet players who assisted were Robert Couto, Trumpet
Section leader, United States Navy Band; Ginger Turner, Trumpet Section leader, United
States Army (Field) Band; Matthew Harding, Solo Cornet, United States “President’s
Own” Marine Band; Kurt Dupuis, Trumpet Section, United States “President’s Own”
Marine Band; and Terry Bingham, Principal Trumpet, United States “Pershing’s Own”
Army Band.
17
Identification of Research Methodology and Organization
The third portion of the methodology was how to best research, compile, and
organize the results. The ATEWBLL is the primary tool in which all data is organized.
The ATEWBLL contains each musical piece selected, the composer of the piece, and the
number of excerpts selected from the piece. The selection of the excerpts was done in a
manner similar to the selection of the literature. Each trumpet player contacted was sent
music PDF files via email and was asked to present what he/she thought was a difficult or
important passage. If three or more players agreed, then that particular passage was added
to the ATEWBLL. In total, 586 excerpts were extracted from the 101 selected works. The
ATEWBLL is presented on pages 21 and 22. The number to the far right on the
ATEWBLL represents how many excerpts were used per selected work.
Each excerpt was re-notated using Sibelius 6 software. The ATEWBLL was
organized in alphabetical order by the composer’s last name. Each excerpt created was
designed to resemble the original part as closely as possible. As mentioned in the
limitations, three examples contain 2nd and 3rd trumpet parts in addition to the 1st trumpet
part. These excerpts were notated to preserve the original notation and offer important
information to the reader.
During the process of re-notating every excerpt, the author had to physically
obtain each of the 101 works for wind band. Sixty-five of the works were gathered from
the following schools: Washburn University, Ball State University, Kansas State
University, Drake University, The University of Kansas, and The University of Missouri
Kansas City. Of the remaining 36 pieces, many were modern works that are either
privately owned by publishers or designated as rental only. Twenty-two of these works

18
were gathered by contacting the composer directly. Composers, including Carter Pann,
Suzanne Grantham, Dan Welcher, Cindy McTee, Adam Gorb, and Michael Daugherty,
sent the author PDF files of the trumpet parts or a PDF file of the score. The remaining
fourteen works on the ATEWBLL were the most difficult to obtain. Each of these works
is designated rental-only from Presser Music Rentals. After some negotiation, perusal
scores were granted from Presser Music Rentals.
The final portion of the project was to make sure that there was reliable
commentary below each of the 586 excerpts. Because of the instructional and
pedagogical intentions of this dissertation, the text was essential. The text, or
commentary, was constructed using insights from well-respected trumpet players who
had already participated in the selection of the excerpts on the ATEWBLL. Each trumpet
player added insights on various aspects of excerpt preparation. Some players commented
on the musical aspects of each excerpt while others commented on required performance
skills. Moreover, some players’ commentaries were conversational, even humorous at
times, and others’ were more formal. All of the insights on each excerpt were edited to
present a more cohesive and consistent dialogue with the reader. As few edits as possible
were made to preserve the authentic insights added by each individual while also
presenting the comments in a consistent format. Ultimately, it was decided that each
excerpt should be as concise as possible and only contain a sentence or two of the most
important concepts.
19
Identification of Presentation and Format
The formatting and presentation of this dissertation is designed to be as accessible
as possible. There are never more than three excerpts per page so that the reader can
easily see each excerpt. Above the excerpt, the reader will find the name of the work,
movement number, measure numbers, tempo markings, and whatever descriptive
marking the composer may have notated. The template for the excerpts in this
dissertation is derived from combining the formatting of the Norris book and the content
of the McGregor and Sachs books discussed in the Review of Literature. The layout of
the Norris book displays the title of the piece, movement number, tempo, musical
marking, and measure numbers above each excerpt. This format is adopted to effectively
organize the information in each excerpt. In contrast, the Sachs and McGregor books
feature instructional commentary below each excerpt. This feature is adopted to keep the
commentary separated from the information listed above the excerpt.
All pieces are organized in alphabetical order by their composer’s last name. A
list of every work and coinciding page number can be found in the table of contents at the
beginning of this dissertation. In addition, there is an appendix on page 322 that lists each
piece in alphabetical order by title of work. The appendix is provided to assist readers
who may not know the composer of a specific work.
Furthermore, each work is assigned a “work number” and each excerpt is
assigned an “excerpt number”. The “work numbers” and the “excerpt numbers” are in
chronological order. These numbers are provided to help the reader reference individual
excerpts. For example, the first excerpt of the seventh piece is listed as Excerpt 7.1. In
20
addition, the excerpt numbers are used to reference commentary throughout the
dissertation.
CONCLUSION
This dissertation supplies the trumpet and wind band communities an invaluable
resource. This compilation of 586 excerpts from the wind band repertoire is by far the
most comprehensive collection of music from the wind band genre to date. The added
commentary offers rare insight into preparation and performance aspects of frequently
rehearsed literature in this country. The opportunity for musicians of all ages to emulate
the teachings of top professionals in the wind band field is an innovative development.
In addition to this dissertation, further research and material are needed in the
wind band genre. As compositions continue to be premiered, comparable pedagogical
methods should accompany this literature. Wind band music is an exciting and growing
field. Hopefully, in the future, more wind band promotional and pedagogical literature
will be developed in the trumpet community.

21
AVERETT TRUMPET EXCERPTS FROM THE WIND BAND LITERATURE

LIST
Title Composer Excerpts

1. A Child’s Garden of Dreams David Maslanka (7)
2. A Solemn Music Virgil Thomson (3)
3. Alchemy in Silent Spaces Steve Bryant (1)
4. Al Fresco Karel Husa (6)
5. American Child Carter Pann (5)
6. An Outdoor Overture Aaron Copland (1)
7. And the Mountains Rising Nowhere Joseph Schwantner (7)
8. Apocalyptic Dreams David Gillingham (9)
9. Apotheosis of This Earth Karel Husa (4)
10. Arctic Dreams Michael Colgrass (10)
11. Awayday Adam Gorb (5)
12. Baron Cimetière’s Mambo Donald Grantham (7)
13. Bells for Stokowski Michael Daugherty (8)
14. Blue Shades Frank Tichelli (6)
15. Bum’s Rush Donald Grantham (4)
16. Cheetah Karel Husa (5)
17. Chester Overture William Schuman (4)
18. Chorale and Alleluia Howard Hanson (1)
19. Circular Marches Dan Welcher (3)
20. Colonial Song Percy Grainger (2)
21. Concertino for Four Percussion & Wind Orchestra David Gillingham (5)
22. Concerto for Percussion and Wind Ensemble Karel Husa (2)
23. Concerto Logic for Piano and Wind Ensemble Carter Pann (7)
24. Dance Movements Philip Sparke (13)
25. Dance of the New World Dana Wilson (2)
26. Déjà vu Michael Colgrass (5)
27. Designs, Images and Textures Leslie Bassett (5)
28. Dionysiaques Florent Schmitt (11)
29. Divertimento Vincent Persichetti (1)
30. Do Not Go Gentle Into That Good Night Elliot Del Borgo (8)
31. Emblems Aaron Copland (13)
32. English Folk Song Suite Ralph V. Williams (4)
33. Fiesta Del Pacifico Roger Nixon (4)
34. First Suite in Eb Gustav Holst (7)
35. From a Dark Millennium Joseph Schwantner (2)
36. For Precious Friends Hid in Death’s Dateless Night Martin Mailman (4)
37. Four Factories Carter Pann (11)
38. Galactic Empires David Gillingham (11)
39. Gazebo Dances John Corigliano (6)
40. Ghost Train Eric Whitacre (7)
41. Hammersmith Gustav Holst (9)
42. Harrison’s Dream Peter Graham (3)
43. Heroes Lost and Fallen David Gillingham (6)
44. In Evening’s Stillness Joseph Schwantner (4)
45. In Wartime David Del Tredici (8)
46. J’ai été au Bal Donald Grantham (6)
47. Laboring Songs Dan Welcher (3)
48. La Fiesta Mexicana H. Owen Reed (5)
49. Lincolnshire Posy Percy Grainger (5)
22
50. Machu Picchu Satoshi Yagisawa (6)

51. Masquerade Vincent Persichetti (7)
52. Minstrels of the Kells Dan Welcher (5)
53. Music for Prague Karel Husa (4)
54. Niagara Falls (Bb & C parts) Michael Daugherty (14)
55. Parable IX Vincent Persichetti (4)
56. Passacaglia Ron Nelson (4)
57. Piece of Mind Dana Wilson (6)
58. Postcard Frank Ticheli (5)
59. Radiant Joy Steve Bryant (4)
60. Raise the Roof Michael Daugherty (7)
61. Rocky Point Holiday Ron Nelson (7)
62. Second Suite in F Gustav Holst (5)
63. Sea Songs Ralph V. Williams (4)
64. Sinfonietta Ingolf Dahl (3)
65. Sketches on a Tudor Psalm Fisher Tull (4)
66. Slalom Carter Pann (9)
67. Soundings Cindy McTee (10)
68. Sounds, Shapes, and Symbols Leslie Bassett (2)
69. Southern Harmony Donald Grantham (2)
70. Spiel für Blasorchester Ernst Toch (3)
71. Spin Cycle Scott Lindroth (8)
72. Suite Française Darius Milhaud (9)
73. Suite of Old American Dances Robert R. Bennett (11)
74. Summer in Valley City Ross Lee Finney (17)
75. Symphonic Suite William Clifton (6)
76. Symphony in Bb Paul Hindemith (4)
77. Symphony no. 1 Johan de Meij (8)
78. Symphony no. 3 James Barnes (3)
79. Symphony no. 2 David Maslanka (7)
80. Symphony no. 2 Frank Tichelli (9)
81. Symphony no. 4 David Maslanka (14)
82. Symphony no. 6 Vincent Persichetti (3)
83. The Leaves are Falling Warren Benson (1)
84. The Passing Bell Warren Benson (3)
85. Theme and Variations Arnold Schoenberg (7)
86. Three Chorale Preludes William Latham (2)
87. Toccata Marziale Ralph V. Williams (1)
88. To Tame the Perilous Skies David Holsinger (4)
89. Tunbridge Fair Walter Piston (6)
90. Urban Requiem Michael Colgrass (8)
91. Variations on a Korean Folk Song John Barnes Chance (5)
92. Variations on “America” Charles Ives (1)
93. Vientos y Tangos Michael Gandolfi (9)
94. Waking Angels David Gillingham (6)
95. Whatsoever Things Mark Camphouse (3)
96. When Jesus Wept William Schuman (2)
97. Wild Nights Frank Ticheli (7)
98. William Byrd Suite Gordon Jacob (9)
99. Winds of Nagual Michael Colgrass (6)
100. Wrangler Carter Pann (4)
101. Zion Dan Welcher (8)
23
EXCERPTS FROM THE WIND BAND LITERATURE
Symphony Number 3 (Work No. 1)
Excerpt 1.1
Symphony Number 3 Op. 89: Mvt. 1
1st Cornet in Bb, measures 82-97.
Lento James Barnes
Approach this excerpt with a very large and dark sound. Be prepared for the conductor to increase or
decrease the tempo.
24
Excerpt 1.2
Lento James Barnes
Notice the tempo stringendo at the top of the excerpt. Practice the excerpt faster than necessary to
accommodate any acceleration you may encounter. Exaggerate all articulations so that the musical line is
not lost.
Excerpt 1.3
Allegro James Barnes
See Excerpt 1.2 for performance instructions.

25
Designs, Images, and Textures (2)
Excerpt 2.1
Designs, Images, and Textures: 1. Oil Painting
1st Bb Trumpet, measures 32-37
Quarter note = 134 Leslie Bassett
Excerpt 2.1 is a solo. Follow the dynamics indicated to help create a musical phrase. In context, each note
change will create dissonance. Emphasize each note change to accentuate the dissonance.
Excerpt 2.2
Designs, Images, and Textures: 2. Water Color
Half note = 52 Leslie Bassett
The soft entrance in measure 7 of excerpt 2.2 is in unison. Practice breath attacks to achieve a subtle
entrance. If needed, pull the main tuning slide out a small amount to compensate for the use of the straight
mute.
Excerpt 2.3
Designs, Images, and Textures: 3. Pen and Ink Drawing
1st Bb Trumpet, measures 19 - 22
This is a solo passage. Because the solo is only a small portion of a larger melody, practice subtle entrances
and releases. This will aid in appearing into the melodic texture and disappearing into the melodic texture.
26
Excerpt 2.4
Designs, Images, and Textures: 5. Bronze Sculpture
Practice both lines of this part. Record yourself playing each line and practice playing the opposite line
along with the recording. The performers sense of voice-leading is crucial at this moment.
Excerpt 2.5
Designs, Images, and Textures: 5. Bronze Sculpture
1st Bb Trumpet, measures 54 – 75
Practice excerpt 2.5 with a metronome. Write in the part of the beat the sixteenth notes occur on and keep
the sixteenth-note subdivision in your head.
Sounds, Shapes, and Symbols (3)
Excerpt 3.1
Designs, Sounds, Shapes, and Symbols: Mvt. I.
Largo Leslie Bassett
Excerpt 3.1 uses scaler lines to build intensity. The chords are often complex and dissonant. Security in
pitch is a necessity in this excerpt. To help pitch, practice buzzing and singing the pitches. Play the excerpt
on the piano to ensure that the singing and buzzing are correct.
Excerpt 3.2
Designs, Sounds, Shapes, and Symbols: Mvt. III.
Allegro Leslie Bassett
See excerpt 3.1.

28
Suite of Old American Dances (4)
Excerpt 4.1
Suite of Old American Dances: Cake Walk
1st Bb Cornet, measures 38 - 54
Quarter note = 90 Robert Russell Bennett
The composer has created a Cake Walk style using rhythms and articulations. Do not push the tempo or
swing the rhythms; rather, carefully play the style that is dictated on the page.
Excerpt 4.2
See Excerpt 4.1.

29
Excerpt 4.3
Observe all articulations Excerpt 4.3. Be sure to play the notes in measures 157, 158, 159, and 160 very
long.
Excerpt 4.4
1st Bb Cornet, measures 169 – 182
Play the “A’s” in measures 173, 174, and 175 with the third valve. This should make the tremolos easier to
play.
30
Excerpt 4.5
Timbre, style, and volume should all be consistent in the call-and-response measures of 109 through 114.
Excerpt 4.6
Suite of Old American Dances: Schottische
In a Schottische, the dotted 8th sixteenth note can be played more like double dotted 8th sixteenth note.
31
Excerpt 4.7
Suite of Old American Dances: Western One-Step
In Excerpt 4.7, emphasize the articulations to create the style.
Excerpt 4.8
Suite of Old American Dances: Western One-Step
See Excerpt 4.7.

32
Excerpt 4.9
Suite of Old American Dances: Wallflower Waltz
Emphasize the downbeat to keep the waltz “feel” in one.
Excerpt 4.10
Suite of Old American Dances: Rag
Half note = 100 Robert Russell Bennett
Use short note lengths and strong articulations on the off beats to emphasize the syncopated “feel”.
33
Excerpt 4.11
Suite of Old American Dances: Rag
Half note = 100 Robert Russell Bennett
See Excerpt 4.10.

34
The Leaves are Falling (5)
Excerpt 5.1
The Leaves are Falling
Largo Warren Benson
Control your breathing on Excerpt 5.1. Use breath attacks to make soft entrances. Do not break the melody
by breathing over the bar lines. Instead, breathe with the rest of the ensemble to ensure cohesive attacks.
35
The Passing Bell (6)
Excerpt 6.1
The Passing Bell
Quarter note = 48 - 52 Warren Benson
Tune the intervals in Excerpt 6.1 by using the drone sound on the tuner. Set the drone of the tuner to the
note you are not playing.
Excerpt 6.2
The Passing Bell
Quarter note = 60 Warren Benson
In Excerpt 6.2, use a soft mute that blends well and has reasonably accurate pitch.
36
Excerpt 6.3
The Passing Bell
Quarter note = 40 Warren Benson
Be accurate with the sixteenth notes. Do not play them as slow as eighth notes or crunch them together like
grace notes.
37
Alchemy in Silent Spaces (7)
Excerpt 7.1
Alchemy in Silent Spaces: Points of Attraction (The Moon and the Sun)
Quarter note = 96 Steve Bryant
Practice the complex rhythm in Excerpt 7.1 by playing the entire excerpt on one pitch. The use of a “C”
trumpet is also advised.
38
Radiant Joy (8)
Excerpt 8.1
Radiant Joy
Excerpt 8.1 is in unison with the first alto saxophone. Listen to the first alto saxophone to unify style,
articulation, and intonation.
Excerpt 8.2
Radiant Joy
Excerpt 8.2 is rarely ever played loud enough. Play a true fortissimo.
39
Excerpt 8.3
Radiant Joy
See Excerpt 8.1.
Excerpt 8.4
Radiant Joy
In measures 144 and 148, the trumpet section has different individual rhythms that build a larger composite
rhythm. Work on these measures in a sectional and be prepared.
40
Whatsoever Things (9)
Excerpt 9.1
Whatsoever Things
Quarter note = 78 Mark Camphouse
Excerpt 9.1 contains multiple intervals that are difficult to hear. Practice singing the pitches and buzzing
the pitches on the mouthpiece.
Excerpt 9.2
Whatsoever Things
Practice the rhythm of Excerpt 9.2 by playing the excerpt on one pitch. When the rhythm is mastered, add
in the written pitches.
41
Excerpt 9.3
Whatsoever Things
Due to the high register demands of Excerpt 9.3, practice this excerpt down an octave.
42
Variations on a Korean Folk Song (10)
Excerpt 10.1
Variations on a Korean Folk Song
Quarter note = 132 John Barnes Chance
The “C” natural in measure 52 should be played with the 2nd and 3rd valves depressed. This will create an
easy pattern to execute.
Excerpt 10.2
See Excerpt 10.1.

43
Excerpt 10.3
See Excerpt 10.1.
Excerpt 10.4
Excerpt 10.4 is the primary melodic theme of this piece. Listen to other sections as they play the theme
first. Be prepared to copy your colleagues.
44
Excerpt 10.5
Play Excerpt 10.5 as two eight-bar phrases. Play across the bar lines and breathe only in measure 131.
Symphonic Suite (11)
Excerpt 11.1
Symphonic Suite: March
Allegro Vivo William Clifton
The dynamic in Excerpt 11.1 should be played louder than piano because it is a solo.
45
Excerpt 11.2
The term Ossia means optional. If Excerpt 11.2 is too difficult to play well, do not play it.
Excerpt 11.3
See Excerpt 11.2
Excerpt 11.4
Do not let the dotted eighth note sixteenth note rhythm be played in a swing style.
46
Excerpt 11.5
Symphonic Suite: Antique Dance
Andante William Clifton
Practice both lines and be prepared to play both lines.
Excerpt 11.6
Symphonic Suite: Jubilee
Allegro Energico William Clifton
Emphasize every accent in Excerpt 11.6. This will help drive the music forward.
47
Arctic Dreams (12)
Excerpt 12.1
Arctic Dreams: Mvt. 2
Allegro Michael Colgrass
On the forte-pianos, do not try and decrescendo. Instead, play harder attacks. A “Bb” piccolo trumpet is
recommended.
Excerpt 12.2
1st Bb Trumpet, measure 130
Andante Michael Colgrass
Emphasize each note of the groupings. This will create the desired effect.
48
Excerpt 12.3
Largo Michael Colgrass
Begin subdividing the beat into triplets on beat one of measure 137. In measure 141, play the notes in the
order they are written until the conductor cues the next measure.
Excerpt 12.4
Free time Michael Colgrass
Excerpt 12.4 consists of three separate ideas. Put space between each idea.
49
Excerpt 12.5
Play Excerpt 12.5 on “Bb” piccolo trumpet.
Excerpt 12.6
See Excerpt 12.5.

50
Excerpt 12.7
Create the hemiola effect by replacing the forte-pianos with hard accents.
Excerpt 12.8
Do not play this section. It is doubled in all the other trumpet parts. Resting in measures 514 through 519
will add endurance later in the work.
Excerpt 12.9
Practice Excerpt 12.9 without the grace notes and without the ties. Add the grace notes and ties when the
excerpt has been learned.
51
Excerpt 12.10
Use a “Bb” piccolo trumpet in Excerpt 12.10.
Déjà vu (13)
Excerpt 13.1
Déjà vu
Lento Michael Colgrass
Practice Excerpt 13.1 by substituting one eighth note for every two sixteenth notes. When the intervals are
learned, add the sixteenth notes.
Excerpt 13.2
Déjà vu
1st Bb Trumpet, measures 73 -74
Lento Michael Colgrass
See Excerpt 13.1.

52
Excerpt 13.3
Déjà vu
Play Excerpt 13.3 using a Harmon mute with the stem extended. For better pitch, use a quality Harmon
mute such as a Jo Ral.
Excerpt 13.4
Déjà vu
1st Bb Trumpet, measures 171i – 171w
Practice Excerpt 13.4 down an octave. An “Eb”, “C”, or piccolo trumpet may be better suited for this
excerpt. Try each horn and decide which is best suited for the excerpt.
53
Excerpt 13.5
Déjà vu
Simplify measure 181 by playing a rushed set of sixteenth notes.
Urban Requiem (14)
Excerpt 14.1
Urban Requiem
Start the trill of excerpt 14.1 on the written pitch. Use short trills. Do not trill through the note.
Excerpt 14.2
Urban Requiem
Use a “Bb” piccolo trumpet for Excerpt 14.2. Only play a forte dynamic. The register will produce most of
the volume.
54
Excerpt 14.3
Urban Requiem
Use plenty of time in the timed measure. Do not rush. Rushing will make the excerpt sound sloppy.
Excerpt 14.4
Urban Requiem
Free time Michael Colgrass
Play Excerpt 14.4 very slowly. Do not rush.
Excerpt 14.5
Urban Requiem
Depress the valves halfway to create the slide effect between notes.
55
Excerpt 14.6
Urban Requiem
Practice Excerpt 14.6 using only one pitch to create the dynamic effects. When this is comfortable, play the
written pitches.
Excerpt 14.7
Urban Requiem
Play Excerpt 14.7 as if it were in two-four time.
Excerpt 14.8
Urban Requiem
See Excerpt 14.8.

56
Winds of Nagual (15)
Excerpt 15.1
Winds of Nagual: The Desert
Flugelhorn, measures 29 - 34
Keep a very focused and centered sound below the staff. Do not play too loud.
Excerpt 15.2
Winds of Nagual: The Desert
Focus on rhythm and subdivide. Counting in three-four time will help the hemiola “feel”.
Excerpt 15.3
Winds of Nagual: The Gait of Power
1st and 2nd Bb Trumpets, measures 288 - 296
Excerpt 15.3 is an agogic acceleration. Practice with a metronome to ensure that only the rhythm
accelerates and not the tempo.
57
Excerpt 15.4
Winds of Nagual: Asking Twilight for Calmness and Power
Solo 1st Bb Trumpet, measures 313 – 317
Practice Excerpt 15.4 by playing the rhythms on one note. When the rhythms are comfortable, play the
written pitches.
Excerpt 15.5
Winds of Nagual: Asking Twilight for Calmness and Power
Flugelhorn, measures 400 - 414
See Excerpt 15.4.

58
Excerpt 15.6
Winds of Nagual: Juan Clowns for Carlos
1st and 2nd Bb Cornets, measures 474 - 482
Practice Excerpt 15.6 using a “da” syllable. The “da” syllable creates a lighter and smoother sound.
Emblems (16)
Excerpt 16.1
Emblems
1st Bb Cornets, measures 13 – 15
Quarter note = 72 Aaron Copland
Practice Excerpt 16.1 with a light articulation. The light articulation will keep the music from dragging and
falling behind.
Excerpt 16.2
Emblems
1st Bb Cornets, measures 45 - 56
Excerpt 16.2 contains two short solos. Do not neglect the brief solo.
59
Excerpt 16.3
Emblems
See Excerpt 16.2.
Excerpt 16.4
Emblems
See Excerpt 16.2
Excerpt 16.5
Emblems
Excerpt 16.5 contains the melody from the hymn Amazing Grace.
60
Excerpt 16.6
Emblems
Notice the accent on the last part of beat one in measure 149.
Excerpt 16.7
Emblems
Excerpt 16.7 is much faster than the previous excerpts. Practice clarity and precision with a metronome.
Excerpt 16.8
Emblems
See Excerpt 16.2

61
Excerpt 16.9
Emblems
Practice creating the syncopation “feel” in Excerpt 16.9 by carefully observing each articulation.
Excerpt 16.10
Emblems
Although the dynamic marking is fortissimo, play Excerpt 16.10 very light and lyrical.
62
Excerpt 16.11
Emblems
Use a very soft fiber mute for Excerpt 16.11.
Excerpt 16.12
Emblems
See Excerpt 16.5.
Excerpt 16.13
Emblems
Subdivide using the eighth note pulse. This is the only way to accurately place the thirty-second notes.
63
Outdoor Overture (17)
Excerpt 17.1
Outdoor Overture
1st Bb trumpet, measures 16 -34
Practice singing and conducting Excerpt 17.1. Play accurate quarter note triplet subdivisions in measure 27,
28 and 29. A “C” trumpet is often used to perform this excerpt.
64
Gazebo Dances (18)
Excerpt 18.1
Gazebo Dances: Overture
Quarter note = 138 John Corigliano
Trill the “A” natural in measure 30 of Excerpt 18.1 up to a “B” natural. In measure 32, place the “A” grace
note on the downbeat.
Excerpt 18.2
Gazebo Dances: Overture
Trill the “G” natural in measure 116 of Excerpt 18.2 up to an “A” natural. In measure 118, place the “A”
grace note on the downbeat.
Excerpt 18.3
Gazebo Dances: Waltz
Dotted half note = 66 John Corigliano
Like most waltzes, Excerpt 18.3 should be practiced and performed in one.
65
Excerpt 18.4
Gazebo Dances: Waltz
1st Bb trumpet, measures 43 - 55
Dotted half note = 66 John Corigliano
Excerpt 18.4 is an uneven waltz in five-four. The downbeats should be emphasized to highlight the five-
four time.
Excerpt 18.5
Gazebo Dances: Adagio
Unlike Excerpt 18.4, do not highlight the meter in Excerpt 18.5.

66
Excerpt 18.6
Gazebo Dances: Tarantella
Dotted Quarter note = 138-144 John Corigliano
As with Excerpt 18.4, use accents on one and two to emphasize the meter.
67
Sinfonietta (19)
Excerpt 19.1
Sinfonietta: Introduction and Rondo
Backstage trumpets, measures 8 – 40
Allegro Ingolf Dahl
68
Excerpt 19.1 is an offstage trumpet part. The volume will need to be louder than written and the pitch will
need to be adjusted to accommodate for the distance.
Excerpt 19.2
Sinfonietta: Nocturno Pastorale
1st Bb trumpet, measures 92 – 97
Lento Ingolf Dahl
Subdivide the beat into eighth notes beginning with the first beat of measure 92.
69
Excerpt 19.3
Sinfonietta: Dance Variations
Backstage trumpets, measures 240 – 259
Allegro Ingolf Dahl
See excerpt 19.1

70
Bells for Stokowski (20)
Excerpt 20.1
Bells for Stokowski
Quarter note = 82 Michael Daugherty
Written “A’s” and “D’s”, in Excerpt 20.1, are in unison in the trumpet section. The fortissimos occur at
different times and are meant to create an effect. Do not overplay the fortissimos. A “C” trumpet is a very
good option for this work.
71
Excerpt 20.2
Bells for Stokowski
Practice Excerpt 20.2 both single-tongued and double-tongued.
Excerpt 20.3
Bells for Stokowski
Letter “O” is the beginning of a quick tempo change. Because an organ enters, the forte at letter “O” can be
played much louder.
72
Excerpt 20.4
Bells for Stokowski
Do not compress the thirty-second notes in Excerpt 20.4.
Excerpt 20.5
Bells for Stokowski
Observe the slurs and accents in Excerpt 20.5. This will create a “jazzy” style.
73
Excerpt 20.6
Bells for Stokowski
In Excerpt 20.6, the trumpet part only represents one color of the ensemble. Although it is easy to play
extremely loud in this register, do not play too loud.
Excerpt 20.7
Bells for Stokowski
Practice Excerpt 20.7 with a slow double-tongue. Clarity and rhythmic accuracy are more important than
volume.
74
Excerpt 20.8
Bells for Stokowski
A “C” trumpet is a very good option for Excerpt 20.8
Niagara Falls (21)
Excerpt 21.1
Niagara Falls
1st C trumpet, measures 28 – 30
Practice Excerpt 21.1 with a metronome. Use the eighth note as the beat. Excerpt 21.2 is the same passage
written for “Bb” trumpet.
Excerpt 21.2
Niagara Falls
See Excerpt 21.1.

75
Excerpt 21.3
Niagara Falls
Excerpt 21.3 requires a plunger. When using a plunger, focus on the release. Place the releasing “waah”
sound directly on the "and" of the beat.
Excerpt 21.4
Niagara Falls
See Excerpt 21.3.

76
Excerpt 21.5
Niagara Falls
Create the appropriate effect in Excerpt 21.5 by putting space in beat four of measure 72 and 76.
Excerpt 21.6
Niagara Falls
See Excerpt 21.5.
Excerpt 21.7
Niagara Falls
1st C trumpet, measures 121 - 125
Do not be late off of beat two in measure 121.

77
Excerpt 21.8
Niagara Falls
See Excerpt 21.7.
Excerpt 21.9
Niagara Falls
At the beginning of measure 129, set the embouchure for the “C” above the staff.
Excerpt 21.10
Niagara Falls
See Excerpt 21.9.

78
Excerpt 21.11
Niagara Falls
Exaggerate the fp’s in Excerpt 21.11.
Excerpt 21.12
Niagara Falls
See Excerpt 21.11.

79
Excerpt 21.13
Niagara Falls
Practice Excerpt 21.13 by playing it through several times in a row. If this exercise is too tiring, take a
break when needed.
Excerpt 21.14
Niagara Falls
See Excerpt 21.13.

80
Raise the Roof (22)
Excerpt 22.1
Raise the Roof
Play Excerpt 22.1 extremely loud so that the Harmon mute will be heard. Intonation will be quite different
using a Harmon mute with the stem half-out. Use a tuner to fine-tune each note of excerpt 22.1.
Excerpt 22.2
Raise the Roof
Like Excerpt 22.1, use a tuner to fine-tune the straight mute.

81
Excerpt 22.3
Raise the Roof
In Excerpt 22.3, the embouchure should be set for the “A” above the staff. Do not change this setting for
the duration of Excerpt 22.3.
Excerpt 22.4
Raise the Roof
A “lead” trumpet sound is very appropriate for Excerpt 22.4.

82
Excerpt 22.5
Raise the Roof
Accent the “Bb’s” in Excerpt 22.5. Play the eighth notes in measures 261 and 262 very long.
Excerpt 22.6
Raise the Roof
Practice Excerpt 22.6 very slowly with a metronome.

83
Excerpt 22.7
Raise the Roof
See Excerpt 22.6.
Do Not Go Gentle Into That Good Night (23)
Excerpt 23.1
Do Not Go Gentle Into That Good Night
Andante Elliot Del Borgo
In Excerpt 23.1, do not compress the sixteenth notes in measures 27 and 29.
84
Excerpt 23.2
See Excerpt 22.2.
Excerpt 23.3
Andante Maestoso Elliot Del Borgo
Anticipate rubato in Excerpt 23.3.
Excerpt 23.4
Execute the two-beat triplets in Excerpt 23.4 by subdividing in eighth note triplets.
85
Excerpt 23.5
Create shape in Excerpt 23.5. Observe all dynamics closely.
Excerpt 23.6
Andante Cantabile Elliot Del Borgo
Excerpt 23.6 is a section tutti. Rest during Excerpt 23.6.

86
Excerpt 23.7
The solo 1st player should lead with style, dynamics, sound, and articulation. The 2nd player should follow.
Excerpt 23.8
See Excerpt 19.1.

87
In Wartime (24)
Excerpt 24.1
In Wartime: Hymn
Quarter note = 80 David Del Tredici
solo (((((( ) ) %# %)# # # #$# # #% # $# #%#% # %# # % #

! ! # ' # ! %# # # # # # %# # # #$# # # * "
" ! $# % # & # # # + ,
!
%)# # # #$# # # #%# #%# # # # # $#$# # # # # # # # # # # # # # # , %#- # # # # #%# #- # #

soli
"
" sub. cresc. molto !!
# $# %# # %# # %# %# $# # %& #" # # %#
. # %# %#. + , /
"
!!
Practice the Ingrace

Piece: notes
Wartime: in Excerpt 24.1 on the beat and before the beat. Note: Excerpts 24.1 through 24.8
I. Hymn
are written for “C”
Composer: Davidtrumpet.
Del Tredici
Part: Trumpet 1 in C
Measures: 97-106
Tempo: Tempo primo (# = 80)
Be aware
Excerpt 24.2that this part is written for C trumpet. The tempo is not as fast as you think so take your time and be patient.
InPractice
Wartime:placing
Hymn the grace notes on the beat and before the beat. Some of the leaps up to higher notes are hard to slur
1stso
C Itrumpet, measure
use a very light121
tongue.
" #" $" " " " "% " " "% " "
senza sord.
! #" " " "

! ##
TonguePiece:
eachInnote in Excerpt
Wartime: I. Hymn 24.2. When note accuracy is achieved, slur Excerpt 24.2.
Composer: David Del Tredici
Measures: 121
Tempo: Tempo primo (" = 80)
You may want to practice tonguing this excerpt at the beginning to insure that you have accurate subdivision.
Excerpt 24.3
In Wartime: Battle March
&# & &

#$# # #%# # # # # # # # # # #! # # # # # # #!
Maestoso (! = 72)
" !! #$# #! # # #!
solo soli
" " #
Piece: In Wartime: II. Battlemarch

Use dynamics
Composer:toDavid
outline the direction of the phrase.
Del Tredici
Measures: 124-127
Tempo: Maestoso (! = 72)
Play the musical line. Use the dynamics to outline the direction of the phrase.
88
Excerpt 24.4
solo # ! $# #! % # ' solo # ! $# #! % # ( %#) $# !

& %'# $# # '

! " " * "
" " " "

See Except 24.2.David Del Tredici
Composer:
Measures: 218-222
Tempo: Subito meno mosso, con brio (! = 112)
Excerpt 24.5
InSee the previous
Wartime: excerpt.
Battle March
st
1 C trumpet, measures 258 – 269
'%
% (% " % % % % (% ! % % $ % % % % (% ! % %
(% ) ) )
Allegro, con brio (" = 112)
! $
#" & " $ % % % (% % %( % % %
!!
% % $ % % % % %) !(% %
) ) %%
% )%%
%
$ % % % ( % % % ( % % % $ % % % ( % % % $ % % % ( %
#
%) % % ( %) % % %) % % %) % %
soli
)% % % ) % ) ) )% % % ) % ) )
# (% % % % % % % % (% % % % % % % %
!! brillante
%) % % ( %) % % %) % % %) % %
#

IdentifyComposer:
all of the unison passages in Excerpt 24.5. Rest during the unison passages to help endurance.
David Del Tredici
Measures: 258-269
Tempo: Allegro, con brio (" = 112)
Excerpt 24.6
InThere
Wartime:
is aBattle
lot ofMarch
unison parts is this passage. Identify those parts and lay out. This will keep you fresh for the high
1stand
C trumpet, measures 284 – 285
loud sections.
$ "# " " " " " " ! $ "# " " " " " " !
con sord.
solo
!
! # ! #

Let the Composer:
dynamicDavid
markings create the desired effect in Excerpt 24.6.
Del Tredici
Measures: 284-285
Go with the dynamics and create the effect.

89
Excerpt 24.7
senza sord.
)
accel. Più mosso
%# # # #
solo
! " #$ &
%' (#
*" + ,
" ('
# "
Composer: David Del Tredici
See Excerpt 24.6. 1 in C
Part: Trumpet
Measures: 289-292
Tempo: Allegro, con brio (! = 112)
Although this is a short solo it is very important. Do not disregard measures 291 and 292.
Excerpt 24.8
' &% % % & (

'% % % ) ! # % % %( ) ! # # $*%+%
% *% %
! " # $'% % % # $ %*% %
&
! ! !
*&% +% % & ,
! % *% +% % $ % +% % # "
molto !!

PracticeComposer:
singingDavid
and Del
conducting
Tredici Excerpt 24.8.
Measures: 344-349
This is a rhythmically tough passage. Conduct and sing to make sure you can count the rhythms in time. It will be
Symphony Number 1 (25)
tempting to be close but strive for 100% accuracy.
Excerpt 25.1
Symphony Number 1: Gandalf
'% % %( %( % % % % ') ! )!
Andante Johan De Meij
$ ) *%
# $ "! %& )!
"
! !!
Piece: Symphony No. 1, The Lord of the Rings: Mvt. 1 - Gandalf

Use theComposer:
syllablesJohan
“tkt”deto produce a clear fanfare triplet.
Meij
Part: 1st Trumpet
Measures: 1-5
Tempo: n/a
This is the opening to Johan de Meij's Symphony number one. Play the first five bars as a full-on fanfare. I use "tkt"
to acheive a very pronounced fanfare triplet. What ever you use, be sure to create the appropriate character.
90
Excerpt 25.2
% ! $% (
% *% )% % ! )%
$! $% $% $% !
cantabile
&% % % )(
# $ " % % %! ' %
!" !"
$ &
# $ )% )% ! % *% % ! *% )( !
' )%

The two climaxes,
Composer: in de
Johan measures
Meij 18 and 23, are the most important parts of Excerpt 25.2.
Part: Solo 1st Trumpet
Measures: 15-23
Tempo: n/a
Excerpt 25.3
This is the first theme or motif of this very programatic symphony. Play a beautiful musical phrase that outlines the
climaxes in measures 18 and 23.
$ % % & % $ % % %' (% % %
# $ "! % % $% % % % % % % % % % % %
!
$$ % % % % % % %$ % % % % ) )
#
""

Maintain a steady crescendo throughout Excerpt 25.3.
Composer: Johan de Meij
Part: 1st Trumpet
Measures: 101-107
Tempo: n/a
Excerpt
This is25.4
another big climax moment. Be careful to not rush the sixteenth notes in bars 104 and 105. Maintain a steady
Symphony
crescendoNumber 1: Lothlóriento end.
from beginning
Solo Flugelhorn, measures 64 – 73
Lento Johan De Meij
)
! & & & )& & "#
$ $
%
$ ! & & '! ( &! & && & & & &) & & &! && & & & & '
&) &) ' ) &) ) )
!" !# !"
*
$ "# '! '! '! '! & % % ( %
!"
Employ “scale-line
Piece: Symphonybalance” by playing
No. 1, The Lord theMvt.
of the Rings: lower notes louder than the higher notes. This will produce an
2 - Lothlórien
even sound throughout
Composer: the excerpt.
Johan de Meij
Part: Solo Flugelhorn
Measures: 64-73
Tempo: n/a
This is a great moment for solo flugelhorn. Use scale-line balance by playing the lower notes louder so that the line
sounds even. Also, make sure there is a difference between the 32nd notes and the 16th notes.
91
Excerpt 25.5
Symphony Number 1: Lothlórien
( ! ( (! ( ! ( (
$ % !" & ! & ! ' ' ( ( ( ( #" ( ( ( ( ( ()( *( !)( ( ( ( *( !)( ( ( ( ( (
Lento Johan De Meij
% (! + + (!
!" !" dolce, leggiero
% , , ( (! )( ( ( ( ( ( ( ( ( ( ( ! ( ( (! ( ( ( ! ( ( ( ( )(
$ % *( ( ( )( -
%% *( ! )( ( (! ( ( *( ( )( ( (+(+(! ( ( *...( ( )( (, (! )( ( ( !
cresc. !#
$ ( & '
#
Piece: Symphony No. 1, The Lord of the Rings: Mvt. 2 - Lothlórien

PracticePart:
Excerpt 25.5 using a metronome. Put the beat on the
1st Trumpet eighth note pulse.
Measures: 105-117
Tempo: n/a
Practice this with a metronome on the 8th note. Keep the line smooth and legato and tongue very lightly. Also,
practice playing the grace notes on the beat and off the beat.
Excerpt 25.6
Symphony Number 1: Gollum
Allegro Johan De Meij
' %' ( %' (

$ ! % % (% ! % % & %! % %)% *% % % % & )% !
% % %
# " & %) % % % %) % %) %
!!
'
$ % & % )(% ! %' %' ) (% (% ) (% (% %+ %' (% ! %%%
)% % %
% & %' % !
(
% *% % % % %
% &
#
"
)% % )% % )% % )% %
)% % !
" %, - !
$ % *% % % %$% )% % % )% % % )% % % % '
# , , ,
Piece: Symphony No. 1, The Lord of the Rings: Mvt. 3 - Gollum

Practice ExcerptJohan
Composer: 25.6dekeeping
Meij the embouchure set on a “C” above the staff.
Part: 1st Trumpet
Measures: 253-270
Tempo: n/a
Use commentary from previous excerpts to help learn this excerpt. The "C" in the staff to the "D#" above the staff is
the hardest part. Concentrate on the "D#" before the "C" so you can hear the octave.
92
Excerpt 25.7
Symphony Number 1: Hobbits
Allegro Johan De Meij
# '( '( '( %!

soli
" !$ ' '

' ' ( '( ' ' '( '( ' ' ''' ''
&% '
'( &' ! ' %!

! brightly
#
" ' ' ' '( ' ' '*' '( '( ' ' +' ' ' ' ' '
( ) ' ' '
( (
( &% ! ' ' ' &' ! ' ' &' ! ' ,' !
#
" ' ' *' ! ' ' ' +' '
(
' ( +'
) ' ) -
) ( (
'( '( "
Piece: Symphony No. 1, The Lord of the Rings: Mvt. 5 - Hobbits

See Excerpt 25.4.
Part: 1st Trumpet
Measures: 38-55
Tempo: n/a
Play this melody with lots of lilt and bounce. Keep the notes light and very dry. Also, play the low "As" louder to
achieve scale-line balance.
Excerpt 25.8
Symphony Number 1: Hobbits
Solo Flugelhorn, measures 138 – 154
Lento Johan De Meij
# $ "! % % & &'&(& & & ( & ! & (& & & & & & & (& '& ! (&* & & (& (& & + &, &, +
$ )
!" &
!"
$ & ! & & &! -

# $ & & & & & &! &) & & & + &&& && & & & & *
&
Piece: Symphony No. 1, The Lord of the Rings: Mvt. 5 - Hobbits
See Excerpt 25.4.Johan de Meij
Composer:
Measures: 138-154
Tempo: n/a
See previous excerpts.

93
Summer in Valley City (26)
Excerpt 26.1
Summer in Valley City: Fanfare
Half note = 92 Ross Lee Finney
$ $ &% $ $ &$ &$ & ) &$ &$ &$

! = 92
Solo
' $ % $( ' 5
"! # # # #
"" (brassy)
G. P. $ $ &% $ ) &$ $ )$ )&$ 10

$ $ ) &$ $ -$ $ ) $ .&$ $ .&%
" * # + , #
Piece: Summer in Valley City: Fanfare

Excerpt 26.1 should
Composer: beFinney
Ross Lee loud but still “dance-like”.
Part: 1st Bb Trumpet (Bb Cornet)
Measures: 1-11
Tempo: ! = 92
Play this solo very loud and brassy. Bring out all syncopations and make sure you observe the grand pause.
Excerpt 26.2
Summer in Valley City: Fanfare
1st Bb Trumpet, measures 47– 62
# # %$ ! $! $! # # %$
Half note = 92 Ross Lee Finney
! # %# # $ 50
#
"! & ' ( & ' (
!! !!! !! Bells up
# "# # # "# # ) ) 55 , %$ # , # # # "# #

"
" * +
!!!
,) ) ) ) ,#
60
" ( +
%!!&
Piece: Summer in Valley City: Fanfare
See Composer:
Excerpt 26.1.Ross Lee Finney
Part: 1st Bb Trumpet (Bb Cornet)
Measures: 47-62
Tempo: $ = 92
Follow directions from the previous excerpt. Pace yourself! You also may want to consider a C trumpet or E#
trumpet to help with range and endurance.
94
Excerpt 26.3
Summer in Valley City: Interlude
Half note = n/a Ross Lee Finney
Interlude
# # % ()))))))))))))) '" % '& *& &
" $ & & & & & & & & & & && & $ '&
Solo legato
&'&
!
! "! nostalgic "#
'" & & &'& & %
! &' & '& &'&'&& &
+& & & + & * & ' & & $ +"
# ##
%
!
#
! +"
FollowPiece:
the directions in Excerpt
Summer in Valley 26.3 very carefully.
City: Fanfare/Interlude
Composer: Ross Lee Finney
Part: Bb Cornet
Measures: 78 (Fanfare) - Solo
Tempo: Rubato
Excerpt
This is26.4
a very fun solo. Follow all directions and really sell the solo. Don't speed the two accel. goupings up too fast
Summer
or theyinwill
Valley
loseCity:
theirParade
character.
Muted $ ! $! $!
Quarter note = 132 Ross Lee Finney
# !"
#$ %%
Piece: Summer in Valley City: Parade

Use a high-quality
Composer: Ross fiber mute for Excerpt 26.4.
Lee Finney
Part: 1st Bb Trumpet
Measures: 26-28
Tempo: !" = 132
Pitch! Use a mute with good intonation. Also, don't try and play softer than you can.
Excerpt 26.5
Summer in Valley City: Parade
!
& ' ' (" !

$ $ $
" )"$ )"$ " ) " ) " * "
55
#" " + '
! " $ "! %! "
! $% !! % ! $%

Practice singingRoss
Composer: andLee
playing
Finney Excerpt 26.5 on the piano.
Measures: 55-59
Tempo: "# = 132
Learn the intervals. Using a piano, singing, solfeg and mouthpiece buzzing are all great methods.
95
Excerpt 26.6
$
#" "$ #" " "$ "$ $ "$ "$ "$ "$ #" &"$ #" " "$ "$ 140#" &"$ "$ &"$ '"$ & " & "(
"
! % % % ) %
!" " %"
Keep every note short

Piece: Summer in Excerpt
in Valley 26.6. Always place extra emphasis on the accents.
City: Parade
Measures: 137-141
Tempo: #$ = 132
Follow previous directions. Keep all notes short and be sure to place emphasis on the accents.
Excerpt 26.7
!
150
$ ! %$ $ ! %$
** %Harmon $ ! %$ $ ! %$
Muted
!" $ $ ! $
( "# = " )
# %$ &
!! wa wa wa wa wa wa wa wa etc. !! wa wa wa
!
'$
155
# $! $ '$ &
wa wa wa
** These notes repeated in any rhythm.

Follow the directions in Excerpt 26.7.
Measures: 145-155
Tempo: "# = 132
Follow directions closely. Use a quality harmon mute, with stem, and use your hand to create a wa sound. In measure
Excerpt 26.8
145, use your imagination to play those two notes in a pattern.
st
1 Bb Trumpet, measures 270 - 271
$"# &" &" " " $" $" "# '&" &"
260
( #
" 265
! % % % % $" " "# " " " "% ) "% )

!! "
$"# &" &"

"# '&"
! "! "
"# & " " $" $" &" (
270
" ) * % % % %
%
See Excerpt 26.6.
Measures: 260-271
Tempo: # = 132
Follow directions on previous excerpts.

96
Excerpt 26.9
'&%
Open (
% % % %( %( '&%
(
% % % %( %( *)! %
! #"
290
$" +
!" "
! *&%
(
% % % *% %( % *% *%( % %( %( ,) ! *%
- + + .!
$"
!" "

See Excerpt 26.6.Ross Lee Finney
Composer:
Measures: 288-294
Tempo: Piu mosso #$ = 144
Excerpt 26.10
Summer in Valley City: Games
% '%
Quarter note!==144
144
% %%%
Ross Lee Finney
!
"! # $
& # # ( # #
5
""" #""$ & % ) ) )

#" % %%
Piece: Summer in Valley City: Games
Only play forte in measures 1 and 2.
Measures: 1-6
Tempo: Piu mosso ! = 144
Do not overplay the notes in measures 1, 2, and 3 or you will split every entrance.
Excerpt 26.11
% $%($% $ $ *$)$ $ )$% '$ ! $ '$ $% '$ $! $ $% )$% *$%

'$ ! '
25
% ( $ %
$ )$ $ & & &
! " # $& $ $! # )$
& &
!" "
1 2 3 4
Mutes on -! $
3'' 2'' 3'' 2''
+ $ " , "
!
#" % sub. #" " "

Measures: 21-29
Tempo: $ = 144
Follow directions on previous excerpts to play measures 21 through 26. For measure 29, hold the D while the
conductor cues 4 times. The numbers between the circled number is the amount of seconds the conductor will hold
each cue.
97
Be prepared to hold the “D” above the staff for 20 seconds.
Excerpt 26.12
1 3'' 2 3
%$ % $ & $ '
2'' 3''
Mutes off
! " #
!! "! #
4 5 6 7 8 !
%'
4'' 1'' 4'' 4'' 1''
!
"!% # cresc. ! !!

Measures: 47-48
Tempo: $ = 144
Excerpt 26.13
% % ' % %
# *# #% $ # +
$# $# &# $ # $ # & # #( ) $'# # #(% )
! "
! !! "! #
1 2 3 4 5 6
-
1'' 2'' 1'' 3'' 2'' 4''
!
,,
cresc. !
$ = 144
%
# $# # $ # $ - - - #
&
, #
&
!, . ( ) . "
%! cresc. "! # ! "!

In Excerpt 26.13, count each of the six cues. On the sixth cue, be prepared for the new tempo.
Measures: 56-64
Tempo: $ = 144
There are six notes conducted to the band while the first trumpet holds a high B. Watch for each of the six cues and
be ready for bar 60.
98
Excerpt 26.14
Summer in Valley City: Fireworks
! = 60
Muted
!
#" $ $ $ %
" (Air, no pitch, valves 1/3 down) ##
Piece: Summer in Valley City: Fireworks

Follow theComposer:
directions
RossinLee
Excerpt
Finney 26.14.
Measures: 1-3
Tempo: ! = 60
Follow26.15
Excerpt all directions closely.
$# ! # $&# # $ # # '# (# (# )
35
) )
! " %
!" " "" $ # sub. ##
#!
------------------------- .-------
(# (# # (# # # &
40 shake
# * % % $# +
! % * + , +
!" ## sub.

Flutter-tongue measures 40, 41, and 42.
Measures: 32-42
Tempo: % = 60
Follow all dynamics very carefully. The subito pianissimo is measures 40, 41, and 42 is going to be next to impossible
Excerpt 26.16 doing a shake. The composer is looking for an effect. I suggest flutter-tonguing this passage. It is
to do while
still difficult, however, it is more realistic.
Quarter note = n/a Ross Lee Finney
* $"# "# $ "# "# ! %"#%"# $"#! "# "# "# !$ "# $"#!
1
10'' 2 6''
# "
!
!!! dim. !
3 6'' 4 4'' 5 c. 6''
! &
Bb Cornet
(
'
(Open)
" Air, no pitch
* These notes in any order as fast as possible.

Measures: 47-End
Tempo: None
Follow all directions closely.

99

Excerpt 26.17
Summer in Valley City: Night
! == 50
Quarter note 60 Ross Lee Finney
% '%
Bb Cornet Solo
# "! $ $ (
5
% &% % %
(freely)
% % &% ( % &% % % %
""
1!
calmo
Muted Bb Trumpet
# $ &( )% $ $
""
&'% '% % * '( %! &( !

10
%!
(!
# %
% &% ( &% % %
Lightly tongue beat two in measure two.
Piece: Summer in Valley City: Night
Part: Bb Cornet
Measures: 1-13
Tempo: ! = 50
Vientos y Tangos (27)

Play this solo very lyrically and a bit louder than pianissimo. You may need to lightly tongue beat two in measure 2.
Excerpt 27.1
Vientos y Tangos
1st C Trumpet, measures 22 - 25
Quarter note = 120 Michael Gandolfi
'%& ( % % % % % %
! ) ) *% % ) ) % %! %(% '% ) $ #
"! # $ +
"
Piece: Vientos y Tangos

To create the tango,
Composer: payGandolfi
Michael close attention to the articulation markings. Note: This is a “C” trumpet part.
Part: Trumpet 1 (C)
Measures: 22-25
Tempo: ! = 120
This is the first entrance of the tango. Pay close attention to the articulation and the rhythm and the style will follow.
Note: This is a "C" trumpet part.
Excerpt 27.2
Vientos y Tangos
'%& ( % % % % % %
) ) *% %+ ) ) % %! %(% '% ) *'% '% ) $
" !! # $ + + ) +
" #" "

See Excerpt 27.1.Michael Gandolfi
Composer:
Part: Trumpet 1 (C)
Measures: 30-33
Tempo: ! = 120
See the previous excerpt.

100
Excerpt 27.3
Vientos y Tangos
" = 60 accel.
% % % % % % % %
! " $# " # # " " # " # # " " $# " # & " $#' # # # " " $# " # " # # "
senza sord.
! cresc.
$(#%
" " # # # (#% " " (#% " # (#% " $#% " (#% " " $# # # (#% " " $(#% # # (#% " (#% "
!
#

Composer: Michael Gandolfi
Play very
Part: short staccatos
Trumpet 1 (C) and lean into the slurs to move the line forward.
Measures: 92-99
Tempo: " = 60
Work on creating the style. Use short notes and lean into the slurs to move the line forward.
Excerpt 27.4
Vientos y Tangos
#" #" #" #" #" #" #' #" #" #" #" #" #" #'
Tango maniaco e brutale
$ $ % &&% $ & & $

! ( $ % &&% $ & & (
più !
#" #" #" #" #" #" )#' #" #" #" #" #" #" #'
$ $ % &&% $ & & ( $ $ % &&% $ & & (
!
#" #" #" #" #" #" #' #" #" #" #" #" #" #'
$ $ % &&% $ & & $
! ( $ % &&% $ & & (
#" #" #" #" #" #" )#' #" #" #" #" #" #" #'
$ $ % &&% $ & & $ $ % &&% $ & &
! ( (

SubdividePart: Trumpet 1 (C)
Excerpt 27.4 using the sixteenth note.
Measures: 139-154
Tempo: " = 120
Obviously, the rhythm is going to be the most difficult part of this passage. Once you learn the rhythms once it just
repeats itself. Play the part down an octave and subdivide using 16th notes.
101
Excerpt 27.5
Vientos y Tangos
$ $ $
$# $#% &$# $#% $#% $# &$#% $# $#% $#% & $# $#% & # ' #% " & #% ($# $#% &$# $#% $#%
Variazione
! " " " " " " " " " " "
!!
$# & $#% $# $#% $% $ $% $# $% $% $#% & $# $#% "($#% $# $#%

# & # # '# " & # ( $
# "&#$ #% " # # #) " * +
! " " " " " " " "
$
Carefully
Part:observe
Trumpet 1each
(C) articulation in Excerpt 27.5.
Measures: 190-198
Tempo: " = 120
Learn the rhythms in this passage the same as the previous passages. Work carefully with articulations. This will
create style.
Excerpt 27.6
Vientos y Tangos
!
" = 220 El Ultimo Tango en...Cinco
%$ & & %& $ %& & & %$ %$ & & %& $ %& & &
# "! ' (
!
)$ ! ' ( )$ & & %& $ %& & &

$ *& $
#
& $ %& & & $ & %&

# + + ' %& , &

In Excerpt 27.6, Michael
Composer: maintain a smooth and connected style.
Gandolfi
Part: Trumpet 1 (C)
Measures: 310-324
Tempo: " = 220
5
This passage feels like it should be in 8. Group the measures in 3+2 and keep the lines smooth and connected at all
times.
102
Excerpt 27.7
Vientos y Tangos
%$
" !! # %$ %$ $%$ $%$ $ %$ $%$ $%$ $%$ $ $ $ $ $ %& $ %$ $%$ $%$
!" cresc. " "
$ %$ $%$ $%$%$ $%$ $ $ $ $ $ %& $ %$ $%$ $%$ $ %$ $%$ $%$%$ $%$ $ $ $ $ $

"
" %& #

ExcerptPart:
27.7 is a fugue. Note:
Cornet 1 (Bb)
Excerpt 27.7 is written for “Bb” trumpet.
Measures: 133-139
Tempo: $ = 120
This is part of a fuge-like section towards the end of the piece. Notice that this part is written for B# trumpet. There
are two 1st parts on this piece. The B# parts are more technical so learn the fingerings and play with strict time.
Excerpt 27.8
Vientos y Tangos
#" ! $" $" " # $ $ #" !( $" $" " # ( $" $ #! $ $

! %&&%' % "& "" % " ' %&&%' % "& " % " ' )" " % "& "& % '
!" "# sempre simile to m. 174
)#" " $" $"

$"* " " ) #" $"* " " #" $"* " " ) #"
! % & % ' % % % % % %
""
$"* $#" " $#" " ( $#" ! $#" +$#" $#
,
! % % &

See Excerpt 27.5.
Part: Cornet 1 (Bb)
Measures: 168-179
Tempo: $ = 120
Use ideas found earlier in this piece on this passage.

103
Excerpt 27.9
Vientos y Tangos
$ $#% $ $% $#% $# $#% $# &$#% '$#% &$# $#% $ $% $#%

var. I. 'Bandoneon'
$# $#% $# $#% &$#%
! " # " ##" " " " " #
" #" " " "
!
$# &$#% $# &$#% '$#% $ &$#% $# '$#% &$#% $# $% $# &$#% # # $#

! " " " " &# " " " # " " ( " ) *

See Excerpt 27.5.
Part: Cornet 1 (Bb)
Measures: 199-206
Tempo: " = 120
Apocalyptic Dreams (28)
This is the exact same passage that was played earlier on C trumpet. Use ideas from that passage and apply it here.
Excerpt 28.1
Apocalyptic Dreams: The Vision
Quarter note = 100 David Gillingham
$ ! &$
56 Pesante (" = 100)
# "! &$ ! &$ ! '$ &$ '%$

% % % &%$ %$ &%$ &%$ ! %$ !
#
$
$! $ $ $
#
$ &$ &( $
% &$ % % %
!
%
% % &%$ '(
$! &$ %$ %$ '%$ &$ ! &$ $ ! & $ '%$
$
#
# $! &$ & $ '$ $ $

$! %
!! ! % %
$! &$
#
! '%$ ! &$
# $ &$ &$ ! &$ &) ! &%$ ! &$ &%$
#
$! $ '$
!! !
% % % &%$ %$ & (
% $
%) ! $! '%) ! $! %$ %$ %#$ &%$ &( % $ $ * +!
# &$&$ ! &$&%$ ! !
$ ' $ $ '
$! %
&$
&$ %
!!
!
!!
Piece: Apocalyptic Dreams: I. The Vision

Composer: David Gillingham
See Excerpt 25.4.
Part: 1st Trumpet in Bb
Measures: 56-69
Tempo: Pesante (" = 100)
This is a very aggressive excerpt. However, keep your sound under control and do not let it spread. Hearing each
pitch will help you be more accurate and avoid missed notes and intonation issues. Achieve this by playing the notes
on the piano and being able to sing along.
104
Excerpt 28.2
% $# # # $###&$# $### $ %$# !%"$###!%"$###$# $###$###% $#

71 straight mute
% & ' $### $

! " " ' ( " % ### ' ( " ' ( " ( " )###
" "
! " "
%$# # #%$# # #%'# ( " !%"# # #!%"$# # # $# (

% $# # # $# # #&$# $ $
accel.
%$# ( " ' ( "
! ' '
79 Tempo primo
$# # # $ % $# $# $# &$# )$# $
(accel.)
+ #
( " *#
($ = 80)
& # # # ' ( " $# # #)$# # # %$# mute $ &
open
! "
out
&#
'
#! !! #!
+ # + # + $
# + # + # #
! " *#
!!! &
Practice Excerpt
Piece: 28.2 Dreams:
Apocalyptic down an octave.
I. The Vision
Measures: 71-85
Tempo: Pesante ($ = 100)
Excerpt
Begin28.3
learning this excerpt by practicing it down an octave. When you are comfortable with the pitches and rhythm
st begin playing the excerpt where it is written. Do not play too loud and run our of gas! Pace yourself.
Note:note
Quarter Practice
= 80 this excerpt on a C or even E% trumpet. You may find that it works better on another horn.
David Gillingham
! "! ! &' !
) %)
101
%+%
"
# $
%( % % % ) %
(
"
%&% ' %( % % % ( % * % % &% ' %

! )) ) ) ))
) " ) ) "
&)' &)%
)'
! % % % &'
+ % +% % % % %! % +%
) ) ) )% % %
) " &)' )' !

%! )% &*
) % ,
ritard.
* % * %
! % % % # $ (%
) ) !! cresc. !!!! attacca
See Excerpt
Piece:25.4.
Apocalyptic Dreams: I. The Vision
Measures: 101-112
Tempo: Tempo primo (# = 80)
Strive for a full and resonant sound on this excerpt. Practice it first as a ballad with very smooth and flowing lines.
Next, add in the more aggressive articulations and volumes, however, always think of the musical line.
105
Excerpt 28.4
Apocalyptic Dreams: Cataclysmic Events
& % (% (%
9
!
"! # $ % % % # $ %!! % '# '$
#
! " "
(% % % % % (% % % (% (% % % % % (% % % (%
)(% (% (% (% %)%'% % % ) % * * , *+
17
*+ , *+ *+
"
" # ##
(% % % % % (% % % (% (% % % % % (% % % (% (% % % % % (%
*+ * , *+ *+ * , *+ *+ , *+ -
"
Piece:
Practice Apocalyptic
measure Dreams:anII.octave
17 down Cataclysmic
andEvents
with a metronome.
Measures: 9-21
Tempo: Ferocious (% = 144)
The hardest part of this excerpt is the section at bar 17. I use a C trumpet to help make this easier. If you still struggle,
you may want to use a B$ piccolo trumpet. It creates a very compact and icy sound which is very fitting.
Excerpt 28.5
47
&! $# % ! $# # # &# # # # $#$&# # # #
! " #$#$%
' '
# $# & $#
# & # # & # # &
! " ! " !
&# # # &# # # &# # # &# # # &# # # &# # # &# # # ( &#

55
' '
!
!! " # # !!
&# # # &# # # &# # # &# # # &# # # &# # # &# # #( &# ( &# &#
! ) )
" !! !! !!
Piece: Apocalyptic Dreams: II. Cataclysmic Events

Observe all1stdynamics
Part: Trumpet in and
Bb accents in Excerpt 28.5.
Measures: 47-59
Tempo: Ferocious ($ = 144)
This is not a very difficult excerpt but you must pay attention. Observe all dynamics and articulations and you will
be fine.
106
Excerpt 28.6
( ) & '&( & '& '& &( ) *& !

'& & & + & *
( ) ) , ,!
& '& ) *& '&( *&
92
!"#"!
% $ '& '& (
& &'*& !
!" " !"
. .
% - ,!
" "$ ""
StudyPiece:
the time signature
Apocalyptic in II.
Dreams: Excerpt 28.6.
Cataclysmic Events
Measures: 89-96
Tempo: Ferocious (# = 144)
Look at the time signature! Do not be caught off gaurd. I suggest writing in the major beats above where they occur.
Approach this excerpt very slowly giving great consideration to time and pitch. In bar 94, don't be afraid, go for it!
Excerpt 28.7
%$ ! $!
( )%$ ! *$ !
%
# !" $ ! $! '%& !
%$ !
&
% % %&
!
'%& '& & & & '%& '& & & & '%& '& & & & '%& %& %& %& %& %&
& & &
#
!!
Do not Piece:
play Apocalyptic
loud in Excerpt
Dreams: 28.7. The register
II. Cataclysmic Events will create the desired volume. Note: Use a smaller
instrument such David
Composer: as a “C” or “Eb” trumpet if needed.
Gillingham
Measures: 131-142
Tempo: Ferocious (" = 144)
Once again, there is another physically taxing excerpt in this piece. Hopefully, there will be another 1st trumpet to
help carry the load. If so, take breaks and be smart. Don't play too loud, rather, pace yourself. The high notes will
be heard.
107
Excerpt 28.8
Apocalyptic Dreams: Messianic Kingdom
57 Bright and Joyous
( ( (& !! ' )(* (*
$ %! & & & & & & )(*
'
(" = 88)
( ( (& & (*
" !! # & & & & & & ) & )&
!
(( ((
61 (
(& & & &-(& & (& & & & & & & (& & - . *! )(&
, &
" + & & & & & & & &, &
!
( ( !!
( ( ) (
.
+ )&)(& & (& & & &
"
!!! #
See Excerpt 28.7. Dreams:

Piece: Apocalyptic III. Messianic Kingdom
Measures: 56-66
ExcerptTempo:
28.9 Bright and Joyous (" = 88)
Apocalyptic Dreams: Messianic Kingdom
Use previous advice from this piece to help learn this excerpt. Once again, I recommend using a C trumpet to make
% % #&# %# # # # %# # # #$# %# # # %# #&# %# # # # # # %#

76
life easier.
! "$ # # # # # # # # # $# # # # $# #
!
% $ # # %#& # # # # $ # # #
$# %# # #$%# # # # # # # %# # # # # # #$ # $#$# %# # # # #&# # #
! #
%
% %
#&%#'# # # # # # %# # # # # # #&%#'# # # # #'#'# #&# # # # # %# # # %# # # # # #'# # #
!
# %# # '# '# # # %# ! %# $ )# ) ) )
86 Maestoso (# = 60)
%# %# $%# %
rit.
( # $# # * )# )# #
!
"""
%
%# $# %# # '# '%# # # '%# # $ + +
90 Bright and Joyous (# = 88)
%
rit.
! + $# #
" ""
Piece: Apocalyptic Dreams: III. Messianic Kingdom

Practice Excerpt 28.9 one measure at a time. Do not play fff at measure 86, only play forte.
Measures: 76-92
Tempo: Bright and Joyous (# = 88)
Practice this excerpt one measure at a time to avoid wasting your chops. Take high notes down an octave when
learning difficult passages and practice singing the excerpt frequently to give your chops a break.
108
Concertino for Four Percussion and Wind Orchestra (29)
Excerpt 29.1
Concertino for Four Percussion and Wind Orchestra
1st trumpet in Bb, measures 19 – 23
%$ & %& %&,%&

a tempo
!
molto marcato
"! # '() # & &*& & + () # & & & '(

% % % %*%& & * & * & & %,%&%& %& %
"" """ "" % % % % rit. "" """
Piece: Concertino for Four Percussion and Wind Ensemble

In Excerpt 29.1,
Part: Bb crescendo
Trumpet 1 the descending lines to create “scale-line” balance.
Measures: 19-23
Tempo: Adagio (mysterioso) ! = 52
As with a lot of Gillingham, the music is very rhythmical. Make sure to create drive and pulse. Do this by moving
the line forward. Use articulations and volume to help create energy. In bar 21, crescendo down to the B or the line
will not be heard.
Excerpt 29.2
('%& * + , ' '' ' ' ' ' '&

# !! $ %& * + !" %)& * %& %& * %)& !! %)& * %)& * * (%)& %) * $
$
$ + (%
)
!"
'
!" #
('% ('% '
##
' '-
('% ('% '% '% ' ' ('% ('% '-
$
# (- % (%
('% ('% '
(-
$
'- ('% '% .'-
'- ! '% '
0 0!
# !/

In Excerpt 29.2, sustain all of the accented quarter notes, half notes, and whole notes.
Part: Bb Trumpet 1
Measures: 120-132
Tempo: Allegro spiritoso % = 144
Bars 120 through 123 are very percussive and should be played as such. Keep the notes very short and tongue with lots
of front to the note. In measures 124 through 132, play the melody in a sustained way but keep lots of front on the note.
This will create a bit of decay on most notes which is desired.
109
Excerpt 29.3
$# ! %$# $# ! $# $# ! $# $# ! %$#
! !
#$ #!% # $# #!%$# $# #!% # $# #! $# %$# ! $ $ $ $# ! $ $ $
!
176
"! #
%# # # # # %
!" cresc. poco a poco
$( ! $# 185 ) $# !
# = #$
$( $(
181
$ %$# $ $ $
# $
# $
#
%
&'
)#%# # )#
%
# #$)$# $ * +
%
" %# %( #$ $# $
""
#$ $# $ $ """

In Excerpt 29.3,David
Composer: avoid playing the dotted eighth note sixteenths like triplets.
Gillingham
Part: Bb Trumpet 1
Measures: 176-185
Tempo: Allegro spiritoso # = 144
Excerpt 29.4 176 through 179, keep the dotted eighth sixteenths very accurate and crisp. Avoid the swing feel of triple
In measure
Concertino
eighths. In formeasures
Four Percussion and Wind
181 through Orchestra
185, make sure the line builds all the way to the end.
%$ %$ % &%' ! '! '!

!$ = !
$&%$ %$ %$ %$ %$ &%$ %$ %$ %$ %$ %$ ! %$
" #!
&
233
$ ! # (
"" ""# "" """

In Excerpt 29.4,David
Composer: practice using the triple-tongue syllables “ttk” and “tkt”.
Gillingham
Part: Bb Trumpet 1
Measures: 227-233
Tempo: Allegro spiritoso ! = 144
With this
Excerpt 29.5excerpt, make sure you practice with a metronome. The tempo is 144 so you will likely have to multiple
tongue
Concertinothefortriplets. Practiceand
Four Percussion triple
Windtonguing with the "k" in the middle and the "k" at the end. This will give you more
Orchestra
1flexibility
st
trumpet inand
Bb, more options.
measures 241 – 248
= 160" = 160
%$# ! %$& %$# ! %$& %$& ! %& $& $& ($& %$& %$& ($& $& %$& ($& %$& %$& ($& $&
Quarter note
Presto David Gillingham
241
!
"! '
$
!!
) ) )
"
!!!
See Excerpt 29.2. for Four Percussion and Wind Ensemble

Piece: Concertino
Part: Bb Trumpet 1
Measures: 241-248
Tempo: Presto " = 160
Once again, create energy and drive. Use a strong articulation to move the tempo forward. Make a gradual crescendo
from 241 all the way to 248. Most importantly, do not lose time.
110
Galactic Empires (30)
Excerpt 30.1
Galactic Empires
Ferociously " = 160
&%#$ %#$ &%#$ %#$ % % %#*%# % %*# #

*# #&+ !
#
!
"! ' ( ( ' ) '((') # # *# %#&%# %# % # # # # # # %*%# %#
#
# #
!!! %# % % % %% # #
!!!
%
# *+ #! %# # ! *+
" &+ !
# #
, #
# # #
# *# # # *# %# &%# %# % # # * # # #
% %% %% % %% %# &%# % % %%
% # %# + ! % %*%# %+ ! % %*%# %+ ! # %# %# - *%# ( )
#
" # * # #*#
#
#
#% &%# %#*%# % % # ! '
# # #
Piece: Galactic Empires

Practice the triplets
Composer: David R.triple-tongued.
Gillingham Do not play the dotted-eighth sixteenth notes as triplets.
Part: Bb Trumpet 1
Measures: 1-14
Tempo: Ferociously " = 160
David Gillingham marks this piece "Ferociously". The tempo is 160 so it moves pretty quick. Practice the triplet
Excerpt 30.2
with multiple tonguing so you are not caught off guard. Also, be careful to not play the dotted eighth note sixteenths
Galactic Empires
stlike a triplet.
! &%#$ %#$
#
%
"
% %#*%# % %*# "
# ## # # *# #
( ( ) #
" " "
"! ' '
*# # &+
!!! %# % % % #% *%# %# %# %# %# *%# %#&%# %# % % %%
" "
*%+ #! %# # ! *+
" &+ !
"
# *# # # *# %# &%# %# %#
" " "
# +! #
% % % % % % %% # *%#
%
#
"
#
"
" "
#
"
"
#
"
"
# *,% +! #!*%# %# ( ) -
" *# #&# # ### # *# #&# # ### # '
%# % % % % % %# % % % % % %# % % % % % %# % % % % % !!! # !!!

See Excerpt 30.1.
Composer: David R. Gillingham
Part: Bb Trumpet 1
Measures: 23-35
Tempo: Ferociously $ = 160

111
Excerpt 30.3
Galactic Empires
%$# $# $# ! $ # ! %$#
straight mute
! " ### ### ### # # & " ' (

# # #
"

Triple-tongue the triplets
Composer: David in Excerpt 30.3. Use the syllables “tkt” instead of “ttk”.
R. Gillingham
Part: Bb Trumpet 1
Measures: 48-49
Tempo: Dark and Mysterious ! = 80
Triple tongue the triplets. Also, practice double tonguing beat four. At tempo, it will be necessary.
Excerpt 30.4
Galactic Empires
# ####
[still muted]
# # # # #! # # #! # # $
! "
" # # ""

See Excerpt 30.3. 1
Part: Bb Trumpet
Measures: 64-66
Tempo: Dark and Mysterious ! = 80
See the previous excerpts for advice.

112
Excerpt 30.5
Galactic Empires
%%% % %
%$ %$ %$&%$ %$ %$ %$ %
! " # $ $ $ &$' ( # " $ &$ ( # " &$ ( # %$ $ $&%$ $ $ $&$ ( %$ $ $
!! # ! # # !! #
"!
# # #
% % % %$ % % % %$ %
! &$ $ $ #
$ $ $ $$$ &$ ( $ $ $ &$ $ $ # $ $ $ &$ $ $ &$ ( $ $ $ &%$ $ $ # %$ $ $ %$ $ $
%
# # # # # # # # # # # # #
%$ % % % %
&$ ( $ $ $&$ $ $ # %$ $ $&%$ $ $ $&$ ( %$ $ $ &%$ $ $ # %$ $ $ %$ $ $ $&$ ( %$ $ $&%$ $ $ #
!
# # # # # # # # # # # # #
%$ $ $ &%$ $ $ %$ &$ %$ $ $ &%$ $ $ %$ $ $ %$ $ $ %$ &$ %$ $ $ &%$ $ $

! ( # ( #
# # # # # # # # # #
%$ $ $ &%$ $ $ %$&$ %$ $ $ &%$ mute out

! ( ' ( # "
# # # #

See Excerpt
Composer:30.3. InR.addition,
David Gillinghammake sure there is a difference between the “two sixteenth note” rhythm and
the “two-note triplet
Part: Bb Trumpet 1 and a rest” rhythm.
Measures: 74-91
Tempo: Tempo Primo $ = 160
See the previous excerpts for advice on preparing this passage. One quick note, do not let the triplets which have a
rest on30.6
Excerpt the third note sound like two sixteenths. This rhythm is in measure 76 and 77. Do not confuse the two.
Galactic Empires
Dotted Quarter note = 60 David Gillingham
(open) expressively
&!
$ $$$$ $ $ $ %$ $ $ %$ %$ $ &! '$ '$ '$
# !"
solo
$ $ $ %$ $ $
#$ & & %

Measure 123 is the climax of Excerpt 30.6.
Part: Bb Trumpet 1
Measures: 120-125
Tempo: !" = 60
Play the musical line. Aim for the fourth space E as the high point of the phrase.
113
Excerpt 30.7
Galactic Empires
Half note = 100 David Gillingham
$# $# $# $# $# $# #&% $# $# $# #&% $# $# $# $# $# $# #&% $# $# $# #&% $# $# $# #&%

accel.
!
"! ' ( ' ( ' ( ' ( ' (
" " " " " " "
! !! ! !! ! !! ! !! ! !!
&% # = 120
$# $# $# $# $# $#) $# $# $# $# $# $# #'
" ( * +
" " " " !!!
!

CloselyComposer:
observe David
the dynamics written in Excerpt 30.7.
R. Gillingham
Part: Bb Trumpet 1
Measures: 176-180
Tempo: # = 100
See the pattern and play the pattern. Make sure to create the burst of volume on each note grouping.
Excerpt 30.8
Galactic Empires
# # " #" $#" " # #"

" "
"
! $" "$" " $% $"

" "
" " $" $" " " " $" $" " " "
# # # #
!!!
% = 60
#" # #" $#% % # #" $#%"
% # $=%
#
&& $'
! " % " %
" #" # &

See Excerpt 25.4.
Part: Bb Trumpet 1
Measures: 204-213
Tempo: # = 120
Play with a nice full sound. Do not let the lower notes get lost but play with a sense of scale line balance.
114
Excerpt 30.9
Galactic Empires
solo
)$ $& ( $& $& * , , , ,
( %$ $ $ $& $& $& $ $& (
#
! '
# #
# " $ %$ $ $%$& ( ( +
%$ $ $
" #
with a jazz feel

Use the written articulation
Composer: to create the “jazz feel”.
David R. Gillingham
Part: Bb Trumpet 1
Measures: 231-234
Tempo: ! = 120
Play the rhythms very tight and compact. Use a brassy sound and the written articulations to create the "Jazzy feel."
Excerpt 30.10
Galactic Empires
% % % % % %
" !! # $$$$ ' ( $$$$ ' ( $$$$ ' ( $$$ $ ' ( $$$$ ' ( $$$$ ' (
& & & & & &
!" # # # # # #
%
$ $
%
$ $ $ %$ $ %$ $ ) %$ %$ %$ %$ %$ %$ $%$= 120
" $ $& ' ( $ $& ' ( ( ' & ' ' '' ( #
# # # #
"""
%! % %
,$ $ + !
" * + $
# #
$ ,$ $ $ $ + $ - #
$
% ,%$ % %$ -
% % % $% % %+ % %$ % %
""
% %$ %$ %$ %
$ + +
# #
" $ ,$ $ $ $ ,$ $ $ $ +
% % %$ % $ %# %
% = 160
%/ %/ ,%$/ %$/
Ferociously
%+ % .. , $& ' ' $& # & ' ' & #
#
" + - -
% %+ % """

Practice Composer:
Excerpt David
30.10R.with a metronome. Subdivide using the quarter note pulse.
Gillingham
Part: Bb Trumpet 1
Measures: 270-296
Tempo: $ = 120
Be precise! Use a metronome and subdivide using a quarter note.

115
Excerpt 30.11
Galactic Empires
#" #" " " " #" #" " " " #" #" " " " #" #" " " " #$ % $! # # # #" "(' (' (' ('
! " "&" ) * * ") + " " *
" " " "
!! !!!
#"'
"(' "(' "(' * "(' "(' "(' "(' "(' * "(' "(' "(' * "(' + "." " " ) * + / -, &" ! " !
"# ! #" ! # #
! * ) ) )
!!!
# #"&#" #"
! .$ !
# #$ ! -- "(' "(' * * "(' + "(' *
) ) " + /
% % $!
$$ "
!!!
See Excerpt 30.10.
Part: Bb Trumpet 1
Measures: 300-314
Tempo: # = 160
Use advice and commentary from all previous excerpts.
Heroes Lost and Fallen (31)
Excerpt 31.1
Heroes Lost and Fallen
# "! $! % % & ')( ( *( ( ( ( ( (*( ( ( ( ( ( ( + ! ( & % % $!

6
straight mute %
,
% % % %
$ morendo $$$
"#
Piece: Heroes, Lost and Fallen

Finger the fourth-line
Composer: David “D” with the first and third valves to eliminate flexibility issues.
R. Gillingham
Measures: 5-7
Tempo: Mysterious ! = 60
This excerpt can be quite challenging. Remember, it is only quarter note equals sixty beats. Don't rush! I
recommend using a softer fiber mute rather than a metal straight mute.
Note: If you have trouble with the lip trill play "D" with one and three. This will help eliminate flexibility issues.
116
Excerpt 31.2
! "!
%$%$ $ $ $ $ $ $ $ $ $ $ %$%$ $ $ $ $ $ $ $ $ $ $ $ $ $ $ $ $ $ $ $ $ $ $ $ $ $ $ $ $ $ $ $ $ $ $
#
open
# $ $ $ $ $ $ $ $
cresc.

Finger Composer: David R.“D#”
the fourth-line Gillingham
with the second and third valves to eliminate flexibility issues.
Measures: 29-30
Tempo: Mysterious " = 60
Excerpt 31.3
This excerpt is the exact same as the previous excert. See the previous excerpt for practice ideas.
Heroes LostIfand
Note: Fallen
there are issue with flexibility play D! using second and third valves instead of second valve. This will
1st Bb Trumpet,
help measures 60 - 64
with flexibilty.
%!
64
str. mute
Fast and intense # = 144
# !! $ % &% "" ) * $ +
solo
' ' (
" morendo

Practice Excerpt 31.3
Part: 1st Bb with a tuner.
Trumpet
Measures: 60-64
Tempo: ! = 92
At quarter note equals ninety-two, there is not much time to enjoy this solo. Practice with a tuner for good
Excerpt 31.4
intonation
Heroes Lost andand play a bit louder than piano since it is a solo.
Fallen
st
120
# # #
'" $ !
"
"# #"%#$ ! "# #"%#$ !

'" " $ ( '" ) "' " "' " "
snarly " "
! "# # # "# # #
" &#" " ' " # #
# # # # '#"
!! "
* '#" 130
# # # %#$ ! " %$ !
"! " $ " ( ( " " '"
"
! $ " %$ " %" %"
# #
!!! !! #" # # #" # # # #
(
" " "
! %$ %#$ '" '" " " % " #$ ' $ #$
' #" # #$ $! ' #" # #$
# #$ # # #
138
# # # # %#"
! ( %$ +$ %" %" +" " "
"
"&##" #" %#$ " "# #" %#" %#" +#" %#$ "
"
#"
cresc.
Composer: David
When practicing R. Gillingham
quarter note and half notes triplets, subdivide using eighth note triplets.
Measures: 120-141
Tempo: # = 144
Observe the composer's intent for this excerpt. Snarly! Use a hard articulations and lots of volume. With all the
accidentals make sure you hear the pitches. Practice singing and buzzing them before you play. Also, make sure
you are subdividing eight note triplets over quarter note and half note triplets. This will give you accurate time.
117
Excerpt 31.5
$
" #" " %"$ & " #" " %" " #" " '" #" #" &
191
" '" " %" & " #" " %" " #"
! $
!" " !" " # # # # #
!" " !" " !" cresc.
" !'"("
198
(
" '" #" #" " " " & " " %" %" %" " " " #" " ) * & +
!
# # "" "" # ""
"
(" (" (" (" (" ("
! ) * & + ) * & + ) * & ) * & ) * & ) * &
accel. ""

See Excerpt 31.4.
Measures: 190-202
Tempo: $ = 144
This excerpt is very similar to the last excerpt. Use information from that excerpt to help learn this passage.
Note: In measures 198 through 202 some players find it easier to breathe through their notes so they don't have
to reset their embouchre for the high register.
Excerpt 31.6
Dotted Quarter note = 160 David Gillingham
('% % '% ! ('% % '% ! % ! % % ('% ! % %

217
# !" $ ! % %
) * * % &% %
fanfare - like
% & % ) ) ) )
cresc.
!
('% !
' '% '% '%
225
% % ('% % '% % ('% % '% % %)
# ) ) ) ) ) * * ) * * ) * * ) * *
!!!
Practice Part:
Excerpt
1st Bb31.6 with a tuner.
Trumpet Avoid playing the “F#” and “C” sharp.
Measures: 216-226
Tempo: $% = 160
This is the heroic moment. Play the fanfare with lots of gusto and energy. This is unison, so watch pitch on the
F" and E, both of which are tricky notes on a B# trumpet.
118
Waking Angels (32)
Excerpt 32.1
Waking Angels
gliss. w.3rd valve slide
%$ % + * %&, %&, %&, %&, %&, %&, %&, %&, -

39
'& '& & (& & )& * &+ $
(3)
" !! # &
#$ # $ $$ ### $$$
Piece: Waking Angels

Gillingham instructs the trumpeter to play the “E” in measure 35 with the third valves only. Create the
Part: Bb Trumpet 1
glissando into measure 36 by slowly extending the third valve slide.
Measures: 35-39
Tempo: With quiet reverence " = 60
The glissango in measure 35 is not meant to be played half-valved. Read the instructions carefully and play the "E" 3rd
valve. Use the 3rd valve slide to bring the pitch down to a D!.
Excerpt 32.2
Waking Angels
61
& !" '

51
# ) !" # ) !"
#
,(
#
$% (! ( ' ' ( +*( *( * *( ,*( *' $% (! ( '
!! cresc. poco a poco "" " "!
*# *( *( *#
69
#
+( ( , ( (
#
( ( ( *( ( ( ( $%
# *( ( ( *( ( *( ( !"
& ' ( +*( *( * + (
* * *( ,*( *(
"" """ ""
! *( ( ( ( *( ( ( ( # *( ( ( *( ( *( ( ! *( ! ( ( *(+( ( *( ! ( ( *(+( (
&" $% "
# # # #
%""& %""& %""& %""&
Emphasize the accents in measures
Part: Bb Trumpet 1
69 through 74 to highlight the meter.
Measures: 56-74
Tempo: $ = 120
7 7
Do not be confused by the 16 measure. Play the groupings! The 16 should be counted as 3+2+2. In bars 70 and 72,
I triple tongue the first three and the bouble tongue the next two groups. This helps reinforce the compound meter.
119
Excerpt 32.3
Waking Angels
#"
$ #" #" #" #" $ #" #" #" #" $ #" #" #" #" #" #" #" #" #" #" !
93
#" & % ' (
! %
# # # # #
"""

Do notPart:
play Excerpt 32.3 at the
Bb Trumpet 1
written dynamic. Only play forte in this excerpt.
Measures: 87-93
Tempo: ! = 120
This excerpt is pretty self-explanatory. However, do not be over zealous and play too loud!
Excerpt 32.4
Waking Angels
" $" " $" " $" " $" " $" " $" " $" " $" " $" " $" " $" " $" " $" " $" " $" " $" "
97
! #" "#" " " "#"

! !!!
$" ""$ ""$ ""$ " $" ""$ ""$ ""$ " $" ""$ ""$ ""$ " $" ""$ ""$ ""$ " $" ""$ ""$ ""$ " $" ""$ ""$ ""$ "
101

See Excerpt 32.3.
Part: Bb Trumpet 1
Measures: 96-106
Tempo: " = 120
Like the last excerpt, this passage is self-explanatory. Be sure to bring out all of the accents and do not play too loud.
120
Excerpt 32.5
Waking Angels
(' # (' %(#' %(' %&(

" !! #
open
%$ & & ' ('%(' )(' *(' %& '
' ((%'
!! " """ ""! """
( ' %($ ! ' %(' (' (' %(' (' (' (' (' (' %(' (' (' (' (' (' (' (' (' (' (' (' %('
199 204
%&
"
# #
%($ !
"""! """"
!!
%('
208
" & + #
( &
( &
( """"

Do notComposer:
let the pitch
David change while playing the crescendo. Practice measures 199 through 204 with a tuner.
R. Gillingham
Part: Bb Trumpet 1
Measures: 192-208
Tempo: Faster $ = 132
In this passage, be sure to use your entire dynamic range. Use the crescendos and accents to move the line forward.
The big issue here is practice playing a crescendo from really soft to really loud without letting the pitch change.
Excerpt 32.6
Waking Angels
(blow air through instrument) voice (at pitch) 230 to instrument
! " # $ % ! # # # # #
& ' $ %
"" #$ "" Ah

Part:
Follow theBbinstructions
Trumpet 1 in Excerpt 32.6 carefully.
Measures: 227-230
Tempo: Slower ! = 52, Gently & serenely (with liberties)
Follow Gillingham's instructions.

121
Awayday (33)
Excerpt 33.1
Awayday
Half note = 144 Adam Gorb
6
$ !! % && && && && '&& && &&'&& && && #" && '&& '&& % !! && && && &&'&& && && '&& &&'&& && &&
!!
&&) '&&) &&) * !!

7
'& ''* *
$ & * * !( * !!
''&&)
+ '&
' &) +
!!" ! !!
!
$ ''&& , '&&- && && '& , .&&- && && '& %
) ) '& ''&&) ) '& ''&& ''&&
Piece: Awayday
Observe the five-four measure in Excerpt 33.1.
Composer: Adam Gorb
Part: Trumpet in Bb 12
Measures: 49-63
Tempo: Presto # = 144
This excerpt does not look that difficult, however, watch the tempo, which is a half-note equals 144. Be accurate.
Learn both parts so you know how they fit together.
Excerpt 33.2
Awayday
Dotted Half note = 144 Adam Gorb
'
%!
' (& (& &* (& & (& (&&((&& (&&* (&&
senza sord.
# "! $ % & &' (&' (& & (&

1
& ) )
! "#
(&& (&& ( && (&& (&& (&& && && && ((&& (&& && ( && (&& (&& (&& && &&((&& (&& (& (&& &* + $
# & &
Be prepared to play Excerpt 33.2 in one.

Piece: Awayday
Composer: Adam Gorb
Measures: 214-226
Tempo: Presto $ = 144
As with the last excerpt, learn both lines so you are more familiar with how things work. Also, be sure to highlight
composite rhythms with the rest of the band.
122
Excerpt 33.3
Awayday
# # # # ! # ! $# %
32
!
" ! $# # # # $# # #
A2
% # $#$# # # #$# % #& '
!! !" ! !"
! %!
## $## $## ## ## ##$## ( $% ! % !! !! )) !!
33
# $# #
# $ $% ## )) ))
" # # $## & '
! !" ! $!
Piece: Awayday
Measures 283 Adam
Composer: through
Gorb290 are unison passages. Do not play too loud.
Measures: 283-297
Excerpt 33.4
Awayday
35
# "! $ % & " '& '(( && && '&& ''(( '(( ''&& && '&& ''&& $
'& & '& '& '& " ' &
! "
'&
# ''&& '&& && '&& && ''(( '&& ''(( '(( ''&& '&& && '&& *) && '&% '&% &$
'& & & '& & &

# "" + & "! (! & "" ',, *) && % % $
allargando
$ (! ,,
"
-
"!
Piece: Awayday
ObserveComposer:
the five-four measure in Excerpt 33.4.
Adam Gorb
Measures: 311-325
This is much like the other excerpts. Look at each of those excerpts for practical advice. Also, since this is such a
brisk tempo, be careful not to slow down.
123
Excerpt 33.5
Awayday
( $
'( ' '
39
! $
# #$ %#$ & ''( ' '
'
' '
$
%%## ) %%## )
" ! # %#$ #$
A2
!"
$ " "" """ """
$ $ $
%##$ %## ## ## %## %%## %%## %## ## %#$ $ %#$ # # %#$ %#$
" % * + # ) %%## ) %%## * # # #%%## % # ) % # )
$ +
#$ # # #$ # #
40
$ $
%%## * %#+ # # %%## %%## * %#+ # # %%## , %## ## ) & & !! ) %## ## ) ## ##
" !
""
%#### %## % # # %## ## ) #### , )%#### ## ## ) #### !
" ) & & ) # # ) #### ) # # ) ! ) !
%#### ) %## ## ) %-- !! .# %.# .# .#

41
! ) '' '' '' '' A2
"!
""$ """
Piece: Awayday
The tempo of Excerpt
Composer: 33.5 is, half note equals 152. Be prepared to play this tempo.
Adam Gorb
Measures: 357-385
Tempo: A tempo più mosso # = 152
Once again, see the previous excerpts for advice. Be careful to play the articulations and the dynamics. Remember,
Harrison’s Dream (34)
this excerpt is even faster so be ready to play on the off beat accurately.
Excerpt 34.1
Harrison’s Dream
Eighth note = 168 Peter Graham
%$ $ &! %& *%& )%& %& &

& )& )&
14 St. mute
!
#" ' ( ' + , - - -
%& %& & & %&
!" #!$ !
) & % )& %
# , - + + - &,
)& + + & )& & & .&/ + '
!!
Piece: Harrison's Dream for Wind Orchestra

Practice singingPeter
Composer: andGraham
conducting Excerpt 34.1.
Measures: 14-23
Tempo: Allegro % = 168
Practice this excerpt without the horn and with a metronome. Go lsowly, singin and conducting until you
have mastered the rhythms. when you add the trumpet, play the excerpt on on enote only until you are
secure with the rhtyhms.
124
Excerpt 34.2
Harrison’s Dream
%%% %% % %% % %%% %%
159
%%
# !" $ % % & $' ( ( $% % )% % %)% % ( ( $%
!
% %%%% %
# % % )% % % )% % $ % % % % % )% % % % % % % % % % $ % %
!
% %% %
%% % %)% % % % )% $ % % % % %)% % % % % % % )% % *
# )% % % % +*
* % % % )% % ! -%
# +* )% " , ' %$$%' & $' ( ' %$$%'
! "! ! "!
)% % % )% %
sempre marc.
-% $ $ .% % - % $ $ .% ) %
# ( ' $ % $ $ $ $ $ $ &
! "! cresc.

Composer: Peter Graham
See Excerpt 34.2.
Measures: 159-181
Tempo: Disturbed (like a grotesque waltz) # = 192
Apply all of the practice guidelines from the previous excerpt to this one. Much time is wasted by playing the
excerpt before the rhythm is secure. Sing and conduct first before attepting to play.
125
Excerpt 34.3
Harrison’s Dream
' %& %& (% ! % ' % (% ! % % %& %& ' (% ! % % (% ! % % ' %& %& (% ! % % (% ! % % *(% ! % % (% ! % %
328
!
#" $ ) ) )
%& %& (% ! % % (% ! % % %& %& (% ! % % (% (% % % %& %& (% ! % % (% ! % % %& %& (% ! % % (% ! % %

!" "
# ) ) ) )
%& %& (% ! % % (% ! % % %& %& (% ! % % (% (% % % %& %& (% ! % % (% ! % % %& %& + (% ! % % (% %

# ) ) ) ,-

PracticeComposer:
ExcerptPeter
34.3Graham
on one note only. Use a metronome on the eighth note pulse and remove all ties.
When thePart:rhythm is secure, insert the ties.
1st Bb Trumpet
Measures: 324-338
Tempo: Tempo Primo # = 168
Practice this excerpt on one pitch only. Use a metronome and keep and eighth note beat. Go slow! Remove
ties but practice articulations at all tempos.
126
Colonial Song (35)
Excerpt 35.1
Colonial Song
1st Flugelhorn, measures 21 - 36
Quarter note = 58 Percy Grainger
IN TIME, BUT SOMEWHAT WAYWARD (# = about 58)
" # ! $ $ $ $ $ $ $ $ $ $! $ $ $ $ $ $ $ $ $ $ ! $ $ $ $ $ $! $&
% %
1st Flugelhorn solo
$
21
!"
$ !" louden
very feelingly (and well to the fore)
Slacken IN TIME, SLIGHTLY FASTER THAN 1ST SPEED
Still (# = about 63)
'$ '
Slacken
% $ $$$$ % 29 $ $#$ $ $ $
More
#
" &$ $ $ $ $$$ $ $ $ $ $ ( ( $ $$$ $ $
!$ louden
' !$ very feelingly $
) ) $ *
$ $ $ $
$ $!! $ $ $ $ $ #$ $ #'$ '$ +'$ ,'$ '$ #'$
"#
$ louden
SLOW OFF LOTS

$ $ $ $ $ *
'$ *
'$ '$
36
" # $ $ & ( -
passionately louden
Piece:
The solo in Nr. 1 Colonial
Excerpt 35.1 isSong
begun earlier in the soprano saxophone. Copy the phrasing of the soprano
Composer: Percy Grainger
saxophonePart:
player to create ensemble.
1st Flugelhorn in Bb
Note: Excerpt 35.1 is written for flugelhorn.
Measures: 21-36
Tempo: (# = about 58)
This is a beautiful solo that should be performed on flugelhorn. The solo is begun by a soprano saxophone and handed
Excerpt
to the35.2
flugelhorn at letter 21. Listen to the soprano and try to create similar phrases. Play with a large, full sound that
Colonial
is verySong
warm. Take your time and don't be afraid to use rubato throughout. Watch out for a few pitch issues. The D
1st in
Bbmeasure
trumpet, measures
22 needs56to -be
66triggered as does the A to A octave jump in measure 35.
Quarter noteIN= 42
TIME, SLOWER THAN 1ST SPEED (# = about 42) Percy Grainger
56 tenderly, but well to the fore
# %
! " # # # # # #$ # # & # # # # # # # # &! # # ####
!" feelingly louden
# ####
SOMEWHAT SLOWER GRADUALLY SLOW OFF LOTS
# # # #% '# # # # #! #% &
62 66
#
IN TIME, 1ST SPEED
!" # # & $ & #

( )
$ soften
""
Play Excerpt 35.2

Piece: Nr. with aSong
1 Colonial warm sound. Try to blend with the flugelhorn sound if possible.
Measures: 56-66
Tempo: (# = about 42)
Like the flugelhorn solo, this is a very delicate and sensitive solo. Use a trumpet and strive for a warm sound. Practice
singing this excerpt until is is internalized. Finally, do not be alarmed that the solo takes place within a very sparse
texture. Don't be afraid to steal the show.
127
Lincolnshire Posy (36)
Excerpt 36.1
Lincolnshire Posy: Lisbon
Dotted Quarter note = 100 Percy Grainger
# " ! % &' & ' & & &! & & )& & & & &! & &' & ' & & &! & & )& & & & &! & &
Brisk, with plenty of lilt
$$$ ! %(Muted) & ( ( ( ( & ( ( ( ( (

!" (detached)
# $ $ )& &' & ' ' & &' ' &' & ! & &' & &' & & &! & & )& &( & & &! &( * *
$ & && & && ( ( (
Piece: Lincolnshire Posy: I. Lisbon

Use a high-quality fiber mute for Excerpt 36.1. Play all eighth notes short and all quarter notes full value.
Part: 1st Trumpet
Measures: 1-17
Tempo: n/a
This is the first of many prominent trumpet solos in Lincolnshire Posy. This is the melody and it should be played
short and detached. Although the notes are short, don't rush. Play the dotted quarter notes full value. This will
help keep from rushing. Use a darker more cornet-type sound. Don't play heavy and use a faster, more British,
vibrato.
Note: I choose to use a fiber mute to help add "lilt".
Excerpt 36.2
Lincolnshire Posy: Lisbon
Dotted Quarter note = 100 Percy Grainger
# $ $ !" % ! '! *!
$ (
' ') ' ' ' '
(heroicly)
& )
# #
'! *!
' '( (' ' ' '''
!" ( louden
$$$ '! $(' ! * ! ' ('+ # ( !

'+ '+ * ' ') ' ' ' *! )& &
# '! '
" #
( ( (marked)
Piece: Lincolnshire Posy: I. Lisbon

Excerpt 36.2 is not aPercy
Composer: trumpet solo. Blend and balance with the low brass and saxophones.
Grainger
Part: 1st Trumpet
Measures: 36-49
Tempo: n/a
Make sure you subdivied using the eighth note through this passage. Blend and balance with the saxes, it is not a
trumpet solo.
128
Excerpt 36.3
Lincolnshire Posy: Horkstow Grange
Largo Percy Grainger
!
&! ( $ (! ( ( ( # ( *( ( ( ( ( ( ( )
Solo
% & &" ' ( # ( ( ( ( " )

!"(!#) (freely, To the fore, tone strengths at will)
,( Linger
& ( (- ( (
% & & "+ )! ( ( + ( +
Slow...off...
# ( ( ( ! *( ( ( (! ( ( " )!
#
(huge) louden
Piece: Lincolnshire Posy: II. Horkstow Grange

Excerpt 36.3Part:
is not in strict time. Use a wide dynamic
1st Trumpet range to express the music. Do not breathe between
measures 21Measures:
and 22. 19-28
Tempo: n/a
This is one of the most beautiful trumpet solos in all of the wind band literature. Interpret the dynamics loosely.
Be musical and follow the conductor. He will give you direction with tempo and volume. Take a big breath before
you enter and don't breathe between bars 21 and 22. Also, try and not take a breath between bars 24 and 25. This
is very difficult, especially if you are asked to crescendo quite a bit. However, the affect is very lovely.
Excerpt 36.4
Lincolnshire Posy: Rufford Park Poachers
Optional Solo Flugelhorn Part, measures 19 – 46
Quarter note = 120 Percy Grainger
! '* !
(very feeling and vibratingly) (well to the fore)
& ' "! ( ( ) *+ #$ * * * * %" * * * $! * *+ #$ *+ * * * "! * * * ! * *

, ,
!" "
* * % * * * ! * .* % * * * *! -
&' -!
,
$! ) ) * %" * * * $! * " $ + " $!
!" "
/* / / In Time
*, * # * * *
Linger
,
! * % * * ! * * " * * ! * % * * * ,%
& '$ ** " * $ + $+ + $ .*+ " $ * "
""
!" ## "
* ! * "! * * *
*! * * * ! 0* * -! -!
, ,% *
& ' %" * * *
quicken slightly
+ * ( (
## slow off " soften
slightly
Piece: Lincolnshire Posy: III. Rufford Park Poachers

Excerpt 36.4 is an optional part. It is most often played on trumpet instead of flugelhorn. Consult with the
conductor Measures:
to establish
19-46
what sound is desired.
Tempo: n/a
There are two versions, A and B, of Rufford Park Poachers. One version calls for soprano saxophone and the
other calls for solo flugelhorn. The above version is the solo flugelhorn part. Most players choose to perform this
excerpt on B$ trumpet, however, the conductor may want flugelhorn, cornet, or something else. This excerpt is a
combination of two and three. You will want to consult with the conductor and find out the combinations of twos
and threes in this excerpt. Finally, this excerpt is chamber music, work with other musicians to create music.
129
Excerpt 36.5
Lincolnshire Posy: Lord Melbourne
Largo Percy Grainger
) ) ) ) $ !
Strict time
(! ) )* ) )! ) ) ))) +
) ) ) %& )
' ( " )* # "!
Solo
%) )
*
#
!" (lyrically)
Play Excerpt 36.5

Piece: in strictPosy:
Lincolnshire time.V. Lord Melbourne
Measures: 2-8
Tempo: n/a
Follow all directions clearly. "Strict time" means just that. Subdivide in three, four, and eight using the eighth note.
No dynamics are written but be musical and create a line.
Baron Cimetière’s Mambo (37)
Excerpt 37.1
Baron Cimetière’s Mambo
Half note = 104 Donald Grantham
'&$% ! '&% '&$% ! '&% '&$% ! '&% '$% ,

$ $ '$% + + -
$
" # ! ($ ! )$* $ $
'&% '&% '% $ $ '$% $ $ '$% *
* *
! cresc. !!
$ $ $ '$% '% # $ '$% # '$ #$% )'$ % '

"# . / + $* . / . / + * * + )$ + $* ($% + .
*
Piece: Baron Cimetière's Mambo

Composer: Donald Grantham
Emphasize the accents in Excerpt 37.1 to
highlight the hemiola.
Measures: 51-60
Tempo: Very driving and rhythmic (" = 104)
This excerpt is all about highlighting the hemiola. The hemiola is meant to make the excerpt sound like it is in 3 instead
of two. Be sure and play what is written. Play the first two notes long and the third short. Don't worry about the high
register, it will be heard.
130
Excerpt 37.2
%#$ %#$ %#$ %#$ %#$ ) #($

%#$ %#$ %#$ %#$ %#$ #($ %#$ %#$ %#$ %#$ & %#$ %$
& & & & & "#
!" ' '
!!
%
" & "%#$ #$ & + ,
#$ "#$ & #$ & "#$ & #$ & #$ & )# # # -#
! * * * & *
"" cresc. " #" !!
( $ %#$ & #($ %#$ %#$ & %#$
# %#$ & %#$ %#$ & %#$ ) #($ )%#$ %#$ & %#$ %#$ & %#$ #$ $ #
!" ' + & #*$ "# & /.
! !!
%#$ %#$ #($ %$ %#$ #($ %$ #($
. & # & # -# # ) #
! "/ & &**& 0 *&, +
See Excerpt
Piece: 37.1.
Baron Cimetière's Mambo
Measures: 67-81
Tempo: Very driving and rhythmic ($ = 104)
This excerpt is the same as the previous excerpt. Focus on the hemiola. Play the dynamics and create a musical line.
Practice this down an octave to focus on rhythm instead of high notes. Play all notes very short and seco.
Excerpt 37.3
'& (& ! '(& !

'&( !
'& &
"! # $ % '& & & & & & & &
open
) ) &
"
)
!! broad, extravagant
, ,&/
" '&( !
& & &
)
& -& & & & .
+* . )
% $ #
$!% & !!

In Excerpt 37.3,
Composer: focus
Donald on connecting the notes across the bar lines.
Grantham
Measures: 172-179
Tempo: Very driving and rhythmic (# = 104)
Most of the excerpt is the same as the previous excerpts. Play with a big full sound and play across the barlines. Don't
slow down because it is slurred.
131
Excerpt 37.4
*& ) shake ++*) *&

A tempo, raucous!
( *)
molto rit.
&&&
molto riten.
& & & & & & & & & & '& &&&&
" #! $ % '&
!" cresc. poco a poco ##
&
" # & & '& &( % & & & & & & & & #& & '& & & & - % .
* , &(
*
( *&(
# &/( # *& & & & & & & & & '& & & & & ' &
& 0 % % 0
"# . % 0 $ $ %
Practice flutter-tonguing
Piece: Baron Cimetière's Excerpt
Mambo 37.4 to help maintain airflow across wide intervals.
Measures: 184-195
This excerpt is very difficult due to a large amount of wide interval leaps. Practice the intervals at a slow tempo and
keep the air moving. Practice flutter-tonguing to make sure the air is constantly moving. As for the shake, either do a
real shake, where you shake the horn, or a lip trill. You may find that 3rd valve makes the shake easier.
Excerpt 37.5
'%
% % % % % % %
!" # $ & % % % % % (% '%) $ % % %
!
% " %-)
!" % % % % %"% % (% % % + $ , , $&#
%* %
cresc. #$
')
See Excerpt 37.4.
Measures: 203-208
Tempo: Very driving and rhythmic (" = 104)

132
Excerpt 37.6
'& & % & & & ' '& ' $

-
% & & ! & & & & &
breve
$% & " &( ) ) & & & & && # &*&%&+& &+&*&%& & & & ( , ,
"
' '
dim. #

Play the
Part:“C” naturals
Trumpet in Bb in
1 measure 215 using the second and third valve combination. This alternate fingering
will improve
Measures:the turn on beat three.
214-217
Tempo: Very driving and rhythmic (! = 104)
This is a very similar excerpt to the last three. However, let highlight a few things. Beat three in measure 215 is just a
turn. Do not make this harder than it is. Measure 216 is much easier than it looks. Play beat one 1st valve, beat two,
2nd and 3rd valve, beat three, 1st and 3rd valve and beat four 1st, 2nd, and 3rd valves.
Excerpt 37.7
%#$ %#$ %#$ %#$ %#$ ) #($ %#$ %#$ %#$ %#$ %#$ #($ %#$ %#$ %#$ %#$ & %#$ %$
& & & & & "#
!" ' '
!!
%
"%#$ #*$ & + $ "#$ #$ "#$ #$ #$ )# # #-# # %#$ & %#$ %#$ & %#$ ) #($
#
"
! *& , *& & & & &*& '
""cresc. " #" !!
( $ %#$ & #($ %#$ %#$ & %#$ %#$ & %#$ %#$ %$
) %#$ %#$ & %#$ %#$ & %#$ #$
!" +
$
& #*$ "#
#
& ./ * , , & * & * #* & 0
! !!
%#$ %#$ %#$ %#$ %$ %$

# & #
%#$ %$
# 1 1
! "0 & * * & , * & * & * * &
%!& "

See Excerpt 37.1.Donald Grantham
Composer:
Measures: 218-235
See the first excerpt for advice.

133
Bum’s Rush (38)
Excerpt 38.1
Bum’s Rush
Quarter note = 72 Donald Grantham
( &! '%) '%

+%* ,% +% % % ( % ')%
$
"! # $ '% %
$
&!
Solo
%
! espress.
& % %
' )
"! ! cresc. "# "! cresc.
% /////' )% % '& %///',% %'% & % '%'% % %'% ! % -.

& )
" 0 ! &! '%
"# # $ !! "!
dim. "! "#
')% '% +% % ($ ) & % ///' )% % '& %///',% %'%

$
" &! &! , +% % % %) '%

'%
! cresc. $
"# #
" & % '%'% % %')% ! %
Piece:38.1,
In Excerpt Bum'spractice
Rush interval accuracy by singing and buzzing the mouthpiece.
Measures: 47-62
Tempo: Mysterious, foreboding, but crisply articulated (% = 72)
Excerpt 38.2
Notice
Bum’s Rushthe part is in C! There are several difficult intervals to hear so practice mouthpiece buzzing or singing. Be sure
1st to
C trumpet,
work outmeasures 47 rhythms
the triplet - 62 every time they occur. Play the solo with a beautiful sound and great phrasing. Finally,
Quarter
noticenote
that= measures
138 56 through 62 are the exact same as measures 44 through 55. Donald Grantham
& & & & & & & & & # (& *&) , *& &*&*& & *(&) , *& &*&*& !
&
& '
138
$ !" %
0
1 1
" + + "
3 2 0 2 0 3 0 3
!"# $%
( ( ( ( ( ""
molto cresc. sempre ben marc.
! &*&*(& &-&-& & & .(&-& &-&-& .& & # -& &/ , -& & & & -& &/ , -& &-& & !
$" *& " "
() ()
! / # &
(& -& &) &) &
.&
(& -& &) &)
& - & & .& - & (&) - & & & &
$ " -& &) , " + ,
(
(
- & (&) & & & &. & - & ! - & - & - & & & (&-& & (&
$ " & *& & & "# -&-&-& &-& & (& & & &.&-&.(&
( (
Piece: Bum's Rush

PracticeComposer:
Excerpt Donald
38.2 from quarter note equals 138 up to quarter note equals 160.
Grantham
Measures: 138-160
Tempo: Fast and brutal (' = 138)
Be aware that there is a huge window of lattitude on the tempo. Practice this excerpt between the listed 138 and 160.
As far as notes go, look for patterns and good luck!
134
Excerpt 38.3
Bum’s Rush
&% &' &% % tr." *****
&
! % % % &% %' ) ) % # +%' ) ) % +%+%+% % % % % +% % % % % % % !
$" ( ) ( % " ( % % "
!! #
&% , % &% %
cresc.
&% ,% %' %' &% % %' %' & -% %' %' &%'
! ,% ,% % % ,% % -% ,% ,%' ) ,% ( ) .
$" (
&/ ! /!
$! !
&%'
$
#" / /
( ) .
!! &!' # !!
Piece: Bum's Rush

Composer:
Measures: 219-231
Tempo: Fast and brutal (% = 138)
Watch out for dynamics! This excerpt is difficult, however, don't get so caught up in the notes that the musical line
is ignored. Practice flutter-tonguing through this excerpt to make sure your air is consistent.
Excerpt 38.4
Bum’s Rush
( ( (& (& ' ) (& ' )&+ tr.&" ,,,,,, +' ( & &.&!*"(& & ) &+'
(lip trill)
! ) '
& '
& ) & & ) ) & & & & #" - *&.&
$" % % % % *& )& %
(!!) # # #
# #
# # # # # #
)& & .& .&!*" (& & ) &+' '

)& '
& ) ' ) &' ) &' *(&'
& .&' .&' . &' &' . &' 0#
$ - & "! - / % - #"
# # # # # # # $!% !
)(& & &

ben marc.
(&' (&' )(& & )&+'
8va ad lib.
# % ) % % *& ) & % 1 %
plunger #
% 6
$" &$
)&
5
2 4'
!! #
3
# # # # !!
#
Piece: Bum's Rush

Composer:
Excerpt 38.4 Donald Grantham
is a notated form of “swing” eighth notes.
Measures: 398-407
Tempo: Meno mosso (& = 96)
This excerpt looks very hard!! However, this is not as hard as it looks. The style is a blues/burlesque. Grantham has
notated the style with triplets. Each sixteenth note is just a late(?) and in the jazz style. Practice this excerpt with the
eighth note getting the beat on a metronome then just swing. It is not as hard as it looks. Finally, in measure 404 do
not sound bad trying to be a hero.
135
J’ai été au Bal (39)
Excerpt 39.1
J’ai été au Bal
) + (
7
!
%" &
1. Solo
#$ *' ' ' ,' ' *'( *' '
' *' !" ,'- . '! #$ ' . /
-
"# $ $$$
Piece: J'ai été au bal (I went to the dance)

To create an effective
Composer: decrescendo, begin measure five at a volume of forte.
Donald Grantham
Part: Bb Trumpet 1
Measures: 4-8
Tempo: Heavy, deliberate (! = 69)
Very full mf so that the piano is soft enough. Be sure to crunch the grace note as close as possible to the next
down beat.
Excerpt 39.2
J’ai été au Bal
(
+ ,('+ (
(' '+ '+ '+ # '+ ('#',' ', '
146
# ( + '
"# ! $ % &)' ' % $ % & ) % - % &*
* *
!!
# ' ' + (
+ ('152+ + (' (' + + (' ( ( ' ('+ + # '+ + #'+ + #('
# ' ' ,' ' & ' ' & ,' ' & #'+ '+ &
+ + ,' & &#' & &#' & ' ' '#'
"# &*
( +
# + ,' '+ '+ ) ' ' , '+ '+ (' ,'+ '+ )(' '+ '+ ,'+ ,'+ #'+ (' ' ,' #'
" # '+ ' & & & '+ & & & & & #'

Pay careful attention to each articulation marked in Excerpt 39.2.
Part: Bb Trumpet 1
Measures: 145-159
Tempo: Very lively & spirited in a light swing rhythm (" = 96+)
This excerpt should be practiced with heavy accents and short staccatos. Practice playing only the accented notes.
Take care not to accent a note when it is not marked. This section is kind of a "hokey swing".
136
Excerpt 39.3
J’ai été au Bal
$&% ( (
216
" ($ $% $% $% " $% ($"$ ,$ $, $ " $ $ $% ($% ($ ,$% $% ($ % % ($

(Swing rhythm)
!" # ' ) + + '* '* ' $$'

*
!! sub.
% % ($ ( ( $ ($% % " $% % " %

$ % "($ 224
" ,$ $ ' "$% $% ' ,$ ' ' "$ ' ' " $ ' $ $ $ "$ $ + #
!"
(%
Composer:
Part: Bb Trumpet 1
Measures: 216-224
Tempo: Swing rhythm (" = 96+)
Practice these measures the same as mm. 145-159.
Excerpt 39.4
J’ai été au Bal
%# #
Loose and dirty (! = 60)
" # # # &%# # '

$# ) # $# &# &%# "# %# $%# #
# #
! " $# # #
Soli
( ( ( # )
# #
( #
" # cresc.
" $# # &# $# &# &# # # "# "# # # ) &%# # $# # # &*

poco rit.
! " "* # # ) #'

"" # # # # # %"& $ # $$
#
$ sub.
Part: Bb Trumpet 1
MeasureMeasures:
228 of 227-231
Excerpt 39.4 is a notated form of “swing” eighth notes.
Tempo: Loose and dirty (! = 60)
This "dirty" section is just that. Dirty! Practice the short notes as a line so that the pitches don't get missed. There
also needs to be great dynamic contrast.
137
Excerpt 39.5
J’ai été au Bal
( '& &* ( '& &* ( '&* * *

& ( & * + ('&* (&* ,&*
310
!
#" $ % ) ) % % ) % ) % ) % (&) % &* (&* &* % )
!"
( '& * ' *
('& ' * *
&* % & &* % (&) ,&* &* & & % ) &) % ( & & % ( &)
' * '&* (&* * '&*
# % ) ) % ) & ) % $
cresc. "

Composer:
Part: Bb Trumpet 1
Measures: 305-317
Tempo: Very quick and lively (# = 138)
Once again, practice this excerpt like the previous measures. Connect all notes so that you hear the line and the
notes. After you have acheived this, chop it up and practice it as written.
Excerpt 39.6
J’ai été au Bal
& &
$ & & & $ & & $ & & $
# ' %#& # # %# # # # %# # %# #& %#& %$# #& %#& # # # )
392
! " %#
(
#,& #,& #,& #,& $#&
(!!) "!# ! cresc.
) %$# %# # % # # % # ( ' "
! ( ' ' ( " ( ' +* ( ' ' "
!!

Hard articulations
Part: Bb Trumpetwill1 substitute for volume in measures 398 through 401.
Measures: 390-401
Tempo: Very fast
From 390 to the end do not emphasize the volume but rather the articulation. This will bring out the part and
make your job easier!
138
Southern Harmony (40)
Excerpt 40.1
Southern Harmony: The Soldier’s Return
Allegro Donald Grantham
$ !
a2
$ % % $ % % % %$ % % %$ % % % % % %$ % % % % % $ & ! &! %! %
'((
# $ " %$ % % %
" cresc. #"$" cresc. ""
Piece: Southern Harmony: IV. The Soldier's Return

In Excerpt 40.1, set the embouchure for the “Db” above
Part: 1st and 2nd Trumpets
the staff.
Measures: 81-88
Tempo: n/a
This is a difficult passage in a seminal work. Anticipate the D! when you start in measure 81. Set your
embouchre for the last note and you will be better prepared to execute the passage.
Excerpt 40.2
Southern Harmony: The Soldier’s Return
Allegro Donald Grantham
! ! $ ben
st. mute
% % %# % % % %# % % % %# % % % % %& % % % %& $ $ ' # ' #

marc.
Trumpet in B!"1 #"
#$ #%
! # % % % % %& %& % % % % %& $ $ ' # ' #

"# "
' $
ben marc.
% % % %#
st. mute
Trumpet in B!"2
% % %#
#$ #%
Piece: Southern Harmony: IV. The Soldier's Return

Practice both parts of the duet in Excerpt 40.2. Use a tuner to tune each dotted quarter note.
Part: 1st and 2nd Trumpets
Measures: 106-109
Tempo: n/a
This is a duet between 1st and 2nd trumpet. It is not difficult, but it is very important. Learn both parts! Use a tuner
so you know where to place each pitch. Also, use a score to determine the quality of each chord and your note
placement within that chord. This will help you know how to balance and where to tune.
139
Chorale and Alleluia (41)
Excerpt 41.1
Chorale and Alleluia
Quarter note Largamente
= 50 (# = 50) Howard Hanson
lagatissimo molto 1 2
% &
& & & & & & & & & '! #" ' !
,
$ % ! & & & & & & & & '!
!" $
% , (3 4
$ % '! '! # &)& & & ! *& & )& & & & )& & & '! #" '! '!
!" $$
& ! & & & & .& ! .& & ! &-

% 5 . . & & & & &
$% '!
!+ , &
- -
& & &
!"
7
% 6 Doppio movimento
$%/ & & & & & & )& & #" '!
(# = 100)
& & & & %& '! '!
$$
Piece: Chorale and Alleluia

Excerpt 41.1 is a chorale
Composer: written for the brass section. As 1st trumpet, be prepared to lead the chorale.
Howard Hanson
Measures: 1-28
Tempo: # = 50
This excerpts looks easy, but do not be fooled. Chorale and Alleluia is a well-known and often performed work.
Because it is so well-known, it is imperative that you be well-prepared for the opening of this piece. The opening
to number two is an all-brass chorale. This also applies to the sections from number 3 to number 4 and number 6
to number 7. You must lead this chorale. Practice with a tuner to ensure good pitch and always strive for a relaxed,
round sound.
140
Symphony in Bb (42)
Excerpt 42.1
Symphony in Bb: Mvt. 1
%! % % % (% ) ! %+ '% !
Moderately fast with vigor Paul Hindemith
# "! $
' ' ' ' (% (% (% ! * + +
% *
& (% '% '% (') %%
%)
! "
% ,% ! ,%& ) !
'.%
'
# % % % %
"
* ! (%* % !
% % , % , % - % %! (% -% &
,% !
'.% '.%
% ,) % ,) % % ,% ! % )
# % % % / & & 0
Subdivide
Piece:Excerpt
Symphony42.1 using
in B-flat the quarter
for Concert note1 subdivision.
Band: Mvt.
Composer: Paul Hindemith
Part: Solo Cornet
Measures: 1-11
Tempo: Moderately fast, with vigor
This is one of the most popular wind band excerpts in the repertoire. Don't get confused as to the subdivision. Write
down where one, two, and three are in every measure. Keep to time consistent and moving forward. The difference
between playing this excerpt well and playing it great is subdivisions. Subdivide! Also, the opening is unison, do not
over blow.
Excerpt 42.2
+&% % % % ) %' ( ! +&% &% ! &% , &% ! &% % %

&&
&% &( )&% &(
!
&(
!
#" $ ' )% * ' * ' ' % ""
! " "
- ( ,%
# "" $
Piece: Symphony in B-flat for Concert Band: Mvt. 1

See Excerpt 42.1.
Part: Solo Cornet
Measures: 63-68
All of the criteria of the opening excerpt apply to this passage. Also, take time to learn pitches by singing the
passage with a piano or recording.
141
Excerpt 42.3
% % !)%
#!
% )%)(
! % %'% %)(
" ! # $& % )% )% )% %! % % ( % *
)%+% %'% % (
* *
$
*
!" #
)( ! % % )% )(
" * # % )( +( )( % % % , -
Piece: Symphony
See Excerpt 38.1. in B-flat for Concert Band: Mvt. 1
Part: Solo Cornet
Measures: 129-139
Apply all the practice ideas from earlier excerpts to this one. Write in beats one and two, sing the passage, and be
musical.
Excerpt 42.4 You may need to conduct while you sing to really establish time.
Andantino Grazioso Paul Hindemith
$!! $ $ $! $ $$ $ $ &$ $&$ $

" !! # $ $! $ $! $ $ %$ # # &$ ' ( &#
!" # !" !"
&$ ! $ $ $, -$ $&$ ! $ * %$ ' ' (

)
"! %$ $ $ $ $ $ $! $&$&$ $ !! %$ ' ' $ $ $ $
, , +
!"
) %$ ! %$. $ ! . ! ' ( &$ !!

$$ $! $ $! $ # '
"! $ %$ $ ! $ # $ $ $
# # espr. #
%$ $ $
%$ $ %$ %# . /%$ $ %$ $ %$ %$
$
$
" ' $ %$ $ $ &$ $&$ $
%$ $$ %$ $ $
# espr. !# espr. #
$ $ # $ $ &$ $ * &$ $ $ $ $ ) $, # $
$ $ $ /, + /, /, +/ ' '
" $
!" #
Piece: Symphony in B-flat for Concert Band: Mvt. 2

See Excerpt 37.4.
Part: Solo Cornet
Measures: 1-26
Tempo: Andantino grazioso
See all earlier excerpts from this work.

142
To Tame the Perilous Skies (43)
Excerpt 43.1
To Tame the Perilous Skies
1st, 2nd, and 3rd Bb trumpets, measures 34 – 55
Allegro David Holsinger
! ! # %#$# ##%#$# ## #$# $# % # # ## # ## % %# # ##$%# # # $# $##$ # # # #$# # # # # ### &# # %#

$ $ $ $
" ! ## # ##
$ $ $
Trumpet in B!"1
#$ #$ #$
Trumpet in B!"2 "!! ' ' ' ' '
!
"" ! ' ' ' ' '
$# $ $# $ $# $ $# ) $ $ $# $ $ $# # # #%$# $ #
Trumpet in B!"3
! # # # # # # # # # # # # # # #) # # # # # & # # # # # # #
" %# # # # # # ## # ###
% (
% % %
" ' ' ' ' '
"" ' ' ' ' '

! # ## # # % # # #$# #$# # ## ##% # $ # $# # ##$ # ## # # ## #% # $ # # ## # # ##$##$##$# % # $ #
$ $ $ $ $ $ $
"
$# $ $ $# $# grad. $# $
+ ## # #% # * # # # # ## # # ##### % # ##### %
$
$
cresc.
$ $
" *
,
#$ grad. cresc.
""
' ' ' '
! $# $# # ## # ##$##$##$# % # $ # $# # # $# # # # $## # #% # $ # # ### # $ # $# % # # # # ####$# # #
$ $ $ $ $
"
##$##$# # #$ # # # ## ## %# # # $## # $# # #$ # ##%## # # ## # ## %####$# # $#
%
##
%
" # # #### % ## ## ##
$# # # $# #% # % # $# # $# #% # $# $# # #
$
#
"" ' - .
% % % %
143
! % # $ ##$# $# ## # # # # $# # $# # $#% # # $ # $# $# # # % # $ # $# # # $# # # $# # # ! $# % # # $# # #
$ $$ $ $
# "
# #$ # # # # # #%$# #%# # # # # # ## # # $# # # $# &# $# ##$# # ! $# # # $# #

! !
$ $ $ $
##
! ! !
# # %# # # #% # #" # #
$# #% # # $ # # $# # # # $ ## $# #% # # # ##% # $# ## # $% # # #% # $#
! !
$ $ $
! ! !
# # !"
"# ! ! ! ! ! !
! !
Learn eachPiece:
part To
inTame the Perilous Skies
Excerpt 43.1.
Composer: David Holsinger
Part: Solo 1st Cornet; Solo 2nd Cornet @ meas. 44; Solo 1st Trumpet @ meas. 49
Measures: 34-55
Tempo: n/a
Excerpt 43.2
This is a very difficult trumpet section excerpt. I suggest learning each part so that you are aware of what each person
To Tame
is the Perilous
playing. ThisSkies
will help line up the section as well as correcting any mistakes if someone loses their place.
st
1 Bb trumpet, measures 61 - 64
' & & '& !! & & & (& & & &
'
!
$" % & # (& & & & &(& & & &(& ) %
)!
!! "
Piece: To Tame the Perilous Skies

Do not diminuendo until beat three of measure 63.
Composer: David Holsinger
Part: 1st Trumpet
Measures: 61-64
Tempo: n/a
Excerpt This is a very heroic and bold statement. Play this excerpt with authority and do not dimenuendo until the last note.
43.3
& % &'% % & " % % &% # &% ! &% % ! ) *!

! &
$ ! % % % % % % % '% % % '%
% %! ! ( ! !#
& & &
!"#
% &% &% &% ' % ! ' &%( % ! ') '% &% &% &% % ! ' &%( %
& & &
*!
$ ( ( ! !# ( (
!"# !"# !"# !"#
' &* ! *! % ' % &% &% &* % "

&% % ,
( + !! -% .
$ ( + ( ( ( + ! /
!"#

See Excerpt 37.1.David Holsinger
Composer:
Part: 1st Cornet and 1st Trumpet
Measures: 147-164
Tempo: n/a
Be sure to outline the accents in this excerpt. The accents occur in the beginning on every third note. This helps to
create a hemiola feel. Also, be careful from measure 156 to 157. The B$ to C can be an easy interval to miss.
144
Excerpt 43.4
*
) *+ ! *
) *+ !
(' ' '''
$ % & '(' ' ' ' ' ' ' ' ' ' ' ' ' ' ' ' "! "" "! #!
'
!" "" #"""$
', ', ', *
) ) ) *
) *
) ',
!
$# - - - "" - %
#"""$ #"""$ #"""$ #"""$ cresc. "" #"""$

MeasuresComposer:
455 andDavid
465 Holsinger
are a “G” major scale.
Part: 1st Cornet
Measures: 455-467
Tempo: n/a
The opening scale is just a G major scale. Do not over complicate this scale. The "#"""$" mark is to simply get a
very accented note.
First Suite in Eb (44)
Excerpt 44.1
First Suite in Eb: Chaconne
1st Bb cornet, measures 25 – 40
Quarter note = 105 Gustav Holst
!
A Solo
' & & && & & && &
) ( % *& & & &) ( % & & &
Tutti
# $ " % % & && & ( % & & & ) ( % )(%

!" !"
& & & & & & & & & & & & & & & ( &' ( & & ( ' ( '
#$ & & & & & & & ( &) ( &*& & & ( &
cresc. "
' ' ' & &&

#$ ( & & & & ( & ( & & & & ( & ( & & & & ( & ( & & & & & & & & & & & & ) (
cresc. ""
Piece: First Suite in Eb for Military Band: Mvt. I, Chaconne

Composer: Gustav Holst
PracticePart:
Excerpt 44.1
1st Cornet with a variety of different sounds,
in Bb dynamics, and articulations.
Measures: 25-40
Tempo: n/a
This is a very famous excerpt containing the primary melody of Holst's First Suite in a very disjunct and seperated way.
measures 25 through the downbeat of 30 should be played very lightly and with lilt. Measure 30 through 32 should all
lead into the melody in bar 33. Use a crescendo and/or countinuous air to help build energy into this climax. At 33,
focus on keeping a warm, round cornet-type sound while playing louder and heavier.
Note: While the suggestions are fairly standard, practice the excerpt with a variety of different sounds and articulations.
Different conductors may ask for different things so be prepared!
145
Excerpt 44.2
First Suite in Eb: Chaconne
1st Bb cornet, measures 48 - 56
%!
%
$ % $ % $ $$ % %!
ten.
!" # # $ % $ $ % % % #
% $ % $
dim.
The upper
Piece:octave in measures
First Suite 52 through
in Eb for Military 56I, Chaconne
Band: Mvt. should be very light. Do not play Excerpt 44.2 loud.
Part: 1st Cornet in Bb
Measures: 48-56
Tempo: n/a
Excerpt 44.3
This
First excerpt
Suite in Eb:isChaconne
almost always overdone. Intonation and sound is paramount. When playing the upper part, be gentle.
1st Keep the sound
Bb cornet, warm
measures 80 –and
87 stay in tune! The 1st trumpet part is a nice cherry on top, not eh main dish!
Soli
D
$
Pesante
!" # # $ % $ $ % % % $ $ $ $ #
! $ % %
Piece: First Suite in Eb for Military Band: Mvt. I, Chaconne

In Excerpt 44.3, Gustav
Composer: try and blend the trumpet sound into the low brass sound.
Holst
Measures: 80-87
Tempo: n/a
Excerpt 44.4
Be careful! This is a very soft soli section that can be treacherous. Practice playing very softly and with a metronome.
First Suite in Eb: Intermezzo
stWhen you are with the band, try and blend your sound into the low brass.
1 Bb cornet, measures 1 - 25
*%sordini% % ! % %& %& % ! % &

Vivace
! %& Senza sordini Solo + Con
# $" ' ( ) ) ( % %
+
' % %& %& ! + %+ *% %
!! Rip
* * *% * '
"#
% ! % %& %& , % ! %& %! % %& %& % % %& % % ! $%' % ! % %! % %& %& %

#$ ' & & & ' & %&$%& %&
+* % ! % %& %& % ! % %& & %& ! + + *% % % ! % %& %& % ! (

#$ , %! %+ % % %' % %
* * *% * '
Piece: First Suite in Eb for Military Band: Mvt. II, Intermezzo
ExcerptComposer: Gustav
44.4 is in Holstwith the oboe. Listen to the oboe and anticipate being behind.
unison
Measures: 1-25
Tempo: Vivace
Listening is key! This excerpt is a unison passage with the oboe. Often times, the trumpet is far away from the oboe
and time/style issues occure. Meet with the oboist and agree on style, breathing, articulation, etc. When playing,
emphasize the downbeat to keep energy and avoid losing time.
146
Excerpt 44.5
% & & & & & & & & & & & &! &' & & & ( !
D
" # !! $ & &&
Solo Senza sordini
& & &

!" dolce
# & & & & & &! & & & & ( ! & & &&& & &
" ) & & & &! &' & & &
& && &&& & && & &

"# (! & & & ! & ! &+ & , %
* ' '
Solo & Rip.
& & &

!" #
Approach
Piece: Excerpt
First Suite 44.5 in Military
in Eb for two instead of four.
Band: Mvt. II, Intermezzo
Measures: 83-100
Tempo: Vivace
Watch for this passage to be conducted in two. Thinking in two help to give the player a better idea of prasing and helps
to avoid "choppy" playing. This is indeed a solo so don't be shy. Play with a very open, beautiful cornet-style sound.
Note: A conductor may ask you to not breathe in measure 91. Be prepared.
Excerpt 44.6
# ( #' ! ' '+ '+ ' ! ' '+ + ' ! ' '
" # !! $ % & ') #') ' '* % & ')
Solo Solo
' * % $ $
(
!"
( (
# ) ( ' ! ' '+ '+ ' ! ' '+ '+ , '! ' ' ' '
" # ' ' '* & $
(
## '! ' '! ' ' ! ' '! ' ' ! ' -' ! ' ' & % % & ) (' (' ! $
" * * * * * * '
* ( *
Piece: First Suite in Eb for Military Band: Mvt. II, Intermezzo
The lastPart:
three notes inofBbExcerpt 44.6 are part of a composite
1st Cornet rhythm. Listen carefully to the rest of the band.
Measures: 127-140
Tempo: Vivace
Be ready to play the previous melody in another key! Some of the intervals have changed so make sure you hear the
modulation. To accomplish this, practice singing and buzzing the excerpt. Finally, be aware that the last three notes
are a motif that bounces around the band. Try and fit your three notes perfectly in time with the ensemble.
147
Excerpt 44.7
First Suite in Eb: March
$ $ $ $ $$$$ &% $ $
$ $ $ $ $ $ $ $ $ $ $ $ $ $ $ ' &%
D
#
" !! $ $ $ $ $ $ $ $ $
!!
( ( $ $$$$ $ $ $$$$ $ ( ( $$$$ $$$$

" # $! $ $ $ $! $ $ $ $! $ $ $ $! $ $ $
" "
! ! $ $$$$ $ $ $$$$ $ $ $$$$ $ $ $$$$ $ $ $$$$ $

"
$ $ $ $ $ $ $ $
"# ) )
" " "
"
$ &% $ $ $ $ $$$$$ $ $ $$$ $ $ $ $ $$$$$

"# ' $ $ $ $$$ $
% % % % % $ $ % % $ $
"# $ ' % %
$ $ $ $ *
% %
%
"# +
!!!
ExcerptPiece:
44.7First Suite in Eb for Military Band: Mvt. III, March
is marked ff throughout. Only play forte until the final crescendo.
Measures: 123-162
Tempo: Vivace
Letter D is a reoccuring melody in the final March Mvt. of this piece. Keep the energy and line moving througout.
Think of the march in 8 bar phrases, this will help connecting notes. Measure 161 is a huge climax but be careful to
not overdo it. Keep a nice sound at all times.
148
Hammersmith (45)
Excerpt 45.1
Hammersmith
Allegro Gustav Holst
% '% ! '% )% '%& %& %& %& & *)%

"# ( !
a2
!
"
$ " %& %& '%& % ( % + ,

!!! " "
"
Piece: Hammersmith, Prelude and Scherzo

Subdivide Excerpt 45.1 using the quarter note.
Part: 1st and 2nd Trumpet
Measures: 47-48
Tempo: n/a
This can be a rhythmically challenging Prelude and passage. Make sure you subdivide to the quarter note at all times.
Also, because this piece is not diatonic most of the time, spend time working on hearing the pitches and the intervals.
Excerpt 45.2
Hammersmith
&
! ( '%&' % ( )% % '%')% ( % '% '% % '%'% '% % % % %' )%
# " $ '%& $% $ * '% $ % '% $ * % * % * ' %
! stacc.
) )
See Excerpt 38.1.Gustav Holst
Composer:
Part: Solo and 1st Cornets
Measures: 100-107
Tempo: n/a
Spend time with a piano on this passage. When the intervals are easy to hear practice singing them or buzzing them on
a mouthpiece. This will increase accuracy and improve intonation.
Excerpt 45.3
Hammersmith
1st and 2nd Bb cornets, measures 171 - 177
! ! &$'$ $# $ $ $ $ $% $% $% $% $% % *) # )# )# $# +#
B! Cornets # " &$% % % ( ( &$
%
*-$ a2$&$ #Soli$ & $( $ $ $%& $ $%&$%
"""
!
B!#Trumpets
"# " , , , , $ ( (..
"""
SeePiece:
Excerpt 38.1.
Hammersmith, Prelude and Scherzo
Part: Cornets and Trumpets
Measures: 171-177
Tempo: n/a

149
Excerpt 45.4
Hammersmith
% % % $'$ $ $ $ $
# !" $ $& $ $ $ $ $& $ $ $ $ $ $ $ $'$ $ ! $ $& $ $ $ $ $ $
!!!
$! $ $ $ )$ ! $ +
(
# $ $'$ $ !
( $'$ $)$ ! $ )$& $ )$ $)$ $)$)$ $ *!
&
See Excerpt 38.1.Gustav Holst
Composer:
Measures: 191-203
Tempo: n/a
Excerpt 45.5
Hammersmith
1st and 2nd Bb cornets, measures 207 – 215
! !
%" & & ' # '' ' # '' #$ ' ' '' ' ' ' ' ' ' ' ' ' ' ' ' ' ' ' ' ' ' ' ' ' ' ' ' '
(
' # '' ' # ' ' "
Cornets in B!
" % " ' # '' ' # ' ' &

Trumpets in B!
! & #$ & & & & &
"

Anticipate the transition from simple time to compound time.
Measures: 207-215
Tempo: n/a
This excerpt gives you an idea of what happens before the cornet entrance. Play both lines so you hear the transition.
Also, I play the entire cornet part with a 1st and 3rd valve combination.
Excerpt 45.6
Hammersmith
Allegro Moderato Gustav Holst
'& & & )& &! * '& & ! * & '* ! '*'& ( !
&
!
#" $ ! % '& ( &
)( (!
+
! !!

See Excerpt
Part:38.1.
Solo and 1st Cornets
Measures: 275-283
Tempo: n/a
See the previous comments concerning soft dynamics and pitch.

150
Excerpt 45.7
Hammersmith
) **+ !
! % ) % $ $ $ $& $ $
# " &$ $' $ $ $( $% $ $ $ $( $&$ $ $ $ $ $! &$ $' &$ $ $ $ $ $ $$$$ $
&$ $
!!

CarefullyComposer:
observeGustav
all note
Holstlengths in Excerpt 45.7.
Measures: 304-311
Tempo: n/a
Concentrate on a very soft and focused sound. Also, pay close attention to the note lengths. This attention to detail
will take the piece to another level.
Excerpt 45.8
Hammersmith
! ! ! ! !
'& '& & '& & ! &- &!
!
+ + + + +
Allargando
! '& # )
%" '&( &( $ '& & & & & & &'& & & & * ",
! !!
& & & & '& +

% '& & '& & '&( &( &( & . "#
+ (
a tempo

See Excerpt 38.1. Gustav Holst
Composer:
Part: Solo and 1st Cornets
Measures: 319-331
Tempo: n/a
Yet again, pitch and hearing intervals are key! Use solfeg or a piano to make sure you hear the musical line and not
just blow through it.
Excerpt 45.9
Hammersmith
&*$ ! $ % % % *$ ) !
! % $% $% % &$% % %$ $% $%&$ ! $ !
*
! & $ $ $ &$ & $ ) !
Soli
# " &$%&$%'$% & $ $ ( ( $ &$ $+$

* (
!!

See Excerpt 38.1.
Measures: 359-366
Tempo: n/a

151
Second Suite in F (46)
Excerpt 46.1
Second Suite in F: March
#! $ % $% $% $% $% $ $ $% $% $% $% &
$ $ ' $ % $% $% $% $% $ $
$
$
" ! $% $% % % $
$% $% % %
!
$!
%
# $ $% $% $% & $ ' &
A $ $% $% &
(
$ $% $% $% % %
$ $
"
% % %
# $$$ $ % %
$ $ $ $% $% $% $ $ $% $% $ $ $ $ $% $ $% & $ '
" $ %
Double-tongue the Suite

Piece: Second eighth notes in
for Military Excerpt
Band 46.1;
in F Major: however, do not rush them.
I. March
Part: 1st Bb Cornet
Measures: 3-18
Tempo: Allegro
Excerpt 46.2
ThisSuite
Second is a lively March in 2. Make sure to not crush the eighth notes when you double tongue them. Avoid heavy, loud
in F: March
playing.
1st Bb cornet, This is a great
measures example of British Brass music and it needs to be played like it. Keep it light, moving ahead,
78 – 110
and don't
Quarter note =let the sound get any edge. Think round, cornet-type sound.
108 Gustav Holst
& $ $ $ $ '
$ ! $%
" &
G
& & & &
! # & ' &
!!
"& &!
$ ! $%
& $ &! $ & & & & & & &
! '
$! $ & & $ $ $ $
$! $ &
" ( & $ $ &
! & & & & %
"' & & &! $ &! $ & &

!
"
! & $ $ &! $ $ $ $ ' & #
$
Fine
Piece: Second Suite for Military Band in F Major: I. March

In Excerpt 46.2, copy
Composer: Gustav the
Holststyle and sound of the euphonium that has previously played this melody.
Part: 1st Bb Cornet
Measures: 78-110
Tempo: Allegro
As with the first excerpt, the sound concept needs to be very cornet-like. This is a great melody. Lead the ensemble
at 78 and enjoy it!
152
Excerpt 46.3
Second Suite in F: Song Without Words
#! &'& ( & & &! ) & & !

Solo
"# ! $ %
& & &
&&&& & ( & & &
&&&&
!"
# '& ( & & '& & & & (! & '& & '& & & & & '& & & &
"# &
+
) & ! & & '& & & & & (
&! & (!
#
"# & & & & (! & * ( %
Piece: Second Suite for Military Band in F Major: II. Song without words "I'll love my Love"
In Excerpt 46.3, avoid breathing over the bar lines.
Part: 1st Bb Cornet
Measures: 18-34
Tempo: Andante
This "love song" is a very mysterious and dark melody. Occuring in a minor key, this excerpt is a great solo to show
off sound and musicality. Take big breaths to avoid breathing over a bar line and play with a full beautiful sound. The
conductor may let you use rubato or may demand you follow. Either way, find ways to explore tempo and dynamics.
Excerpt 46.4
Second Suite in F: Song of the Blacksmith
$ ( (
B ( ( (
# % & '! ' ' ' ' ' ' '! ' "! '( ' ' ' ' * '+ "" ' '( ' ' ' ' '! ' "! '!''!''( '( * ! ""
'
) ( ''
!"
$ ' ' ' ' )' '(( ' ' ' ' ' '
# "" '( '( '! ' ' ' ' ' ' '+ ' * ' ' ' ' ' ' ' ' ' ' ' * + "!
# cresc. "
$!
# "''' & &
Practice the rhythm in Excerpt 46.4 by playing the entire excerpt on one note. Use a metronome at all
times. Piece: Second Suite for Military Band in F Major: II. Song of the Blacksmith
Part: 1st Bb Cornet
Measures: 14-23
Tempo: Moderato e maestoso
This is a nice little excerpt that exposes the trumpet. Don't get caught off guard. Just becuase it is not a solo make
sure you can nail this easy looking, but tricky, passage.
153
Excerpt 46.5
Second Suite in F: Fantasia on the “Dargason”
Quarter note = 120 – 145 Gustav Holst
$ ! % ! % &' & ) ) & & & & & & ) ) & & & & & & ) ) & &' & & &
# " ( & & &' ( & & &' ( & & &' (
!
$ & ) ) & &( & & & E

& &) & &) & & & & & & &) & &') & &( & & & & &) & &)
# & & &' (
' '
$& &' & & &

( & )
& & &'
) & & & & &
( &! &! &! &!
#
$ ! &! &! &!

*& " *& * " * * " *& *& " *& *& " * * " *
# & & & & & & & & &) & & &
* * * * *
Practice Piece:
ExcerptSecond Suite for Military Band in F Major: III. Fantasia on the "Dargason"
46.5 at mezzo forte. Do not play too loud or the Dargason will lose its character.
Part: 1st Bb Cornet
Measures: 96-120
Tempo: Allegro moderato
The Dargason, or Irish Washer Woman, is a lively, upbeat melody. Lead the ensemble with a spirited, light sound.
Don't overblow or play too loud, it will lose its character and charm. Also, accent the beginning of every triplet, this
will help give it a bounce.
Al Fresco (47)
Excerpt 47.1
Al Fresco
Molto Moderato Karel Husa
Harmon stem off
!!
!
!! !!
! % %
%!! !
fastest flutter
%!!!
&%
&%!!! !!
Tpt. 2
&% &%
30
!$ ' ( )
"! # ! $ *
!! non cresc.
Piece: Al Fresco
See Excerpt 38.1.Karel Husa
Composer:
Part: Bb Trumpet 1
Measures: 30-32
Tempo: Molto Moderato
Before practicing this excerpt, make sure that you hear the pitches and can sing them. Practice this down the
octave without the mute, then add the mute. Repeat this process up the octrave. When using a harmon mute,
intonation is crucial.
154
Excerpt 47.2
Al Fresco
Allegro Risoluto Karel Husa
#"! # $ ( $ ! # $ %$ $ $ # " ! # $ ( $ ! # $ %$ $ $# $)
55
$ %$ $ %$
! & ' & & & ' *+&
$) $) $) $) $)
!
60
! , - ' & , ' & - - ' & , ' & - - ' &
% $)
cresc. poco a poco
$) )
$) & %$) & %$' & ' & -
65
! , ' & - -
' '
. ,
"
Piece: Al Fresco
Composer: Karel Husa
See Excerpt 38.1.
Part: Bb Trumpet 1
Measures: 55-66
Tempo: Allegro risoluto
Divide this excerpts into two parts, the first four bars and the last eight bars. Conduct and sing the first four bars,
they are tricky! Concentrate on good rhythm throughout and be carful that you don't crescendo too soon.
Excerpt 47.3
Al Fresco
%#$& %#$ %#$ %#$(%#$ %#$

&# ! & # !(# # ,

open 75 "
! " ' ' " ) & # * ' # # # # #$ #$ #$ #$ #$ #$ #$ #$ #$+# '

! marc.
#$ #$ #$ #$ #$ +#, ' #$ #$ #$ +#, '

,
#$ +# #$ #$ #$ #, '
" " "
'
"
, '
"
! #$ #$ #$ #$ #$ #$ #$ # #$ #$
# +# # # # # # # # # # # # +# # # # # # # # # # #
!" " " " " " " " " " " " " " " " " " " " " " " "
80
# "
sub. cresc.
" " "# &"#

+# (#
" " "# &"#
# &#
fl. t. quasi gliss.
" " "

#
"#
# &#
" " "# &"#
# &#
!
" " "
&#" " " " "
85
! # &# # # , ' - "

# &# # &#$
Piece: Al Fresco
In Excerpt 47.3,
Part: Bb do 1not let
Trumpet the dotted eighth sixteenth notes become triplets.
Measures: 72-85
In this excerpt, it is very critical that the dotted eighth sixteenths and the triplets do not sound the same. The
glissando at measure 82 can be acheived by using flutter tongue, half valve, alternate fingerings, or by bending
the pitches. The important issue is that you create the effect.
155
Excerpt 47.4
Al Fresco
#$ #$ % #&#'# $ $ $ $
# $ ( #$ ( #$ #$
# ' # ( #$ #$ #$ ( #$
( # ( # # ) + ," - (#(#$ #$ #$(#. ," -
! " )"* * "*
$
! cresc. dim.
Piece: Al Fresco
In Excerpt 47.4,
Composer: keep
Karel all staccatos even and consistent.
Husa
part: Bb Trumpet 1
Measures: 128-132
Make sure to keep all staccattos equal and consistant on this excerpt.
Excerpt 47.5
Al Fresco
# # # # # # # # # # # # # # # # # # # # # # # #
open
! $" % " " % "&" % " " % " '" % " " % " " % " " % " " % " " % "$" % " " % "
! "!
# ## ## ## #
( '"# % "# "# % "# "# % "# "# % "# " % " " % " " % " " % " "# % "# "# % "#'"# ) *
195
! $"# ) * + , -
! !
$"# % "# "# % "# &"# % "# "# % "# "# % "# "# % "# $"# % "# $"# % "#
200
!
$"# % "# &"# % "# "# % "# "# % "# $"# % "# &"# % "# "# % "#$"# % "# $"# ) *
"! cresc.
! , +
#
Piece: Al Fresco
Composer:
Part: Bb Trumpet 1
Measures: 192-204
Practice the excerpt on one pitch only. Make sure that all articulations are even and matched and that all
dynamics are observed.
156
Excerpt 47.6
Al Fresco
. &/
219
' & ! & +& & ' & & & ' & & & ,+& '& " ' - 0 ,, & $!
# %$ & '& & ) * & & " ( ) ,) ( " 0
(
(!) (cresc. poco a poco) !! ! molto espr.
$! & &! &

1
225
$ &%1& 1& +& & & &% & %& & & %1& %1& %$
# %& & ) +& &) )
1/4 tone lip gliss. gliss.
( ( ( ( (
" "
$ & %1& 1& +& & 2 & & % & %& & 1& %& %&%$ & %& & %1& &!+& &!%&
230
# %& & ) +& ( ( ( (

" "
poco a poco
& 1& 1& %& & & & & +& , & & %& !%& & 1 1%1& &! & %& & & & & & &(
cresc.
235 allarg.
$
236
# & %& ( ( )* 3
" "
Piece: Al Fresco
Composer:
Part: Bb Trumpet 1
Measures: 216-236
Begin by holding one note the duration of this excerpt. Use the note to shape all crescendos and decrescendos
throughout. When the shape of the line is established, place a metronome on the 16th note. Use this subdivision
to ensure rhythmic integrity.
157
Apotheosis of This Earth (48)
Excerpt 48.1
Apotheosis of This Earth: Apotheosis
Quarter note = 60 Karel Husa
%" !
78
!
85
%" ' " gliss. "
Harmon,
%$ "! $ ' "
! #" %$ $& " (
stem on completely
!" #
$ %" ! "!
) -
+ "$ %"" "" "" "" ""$ "" ""
92
""& , + "$
$ %"
(muted) flt.
$
" "
* (
"
!
!" !"
!
-
"" " "" "" "
100
! #"" "" " " "" " " "" "

$ " $ $ $ .$ ." $ .$ ." $ .$ ." $ #$
" &,(
cresc. poco a poco
.0" !
! + " "" " "" "" "" " )/ & , + (
$ $ $ $ $ $ $ .$ " "! " "!
108
+ ."quasi
gliss
.0$ ! $ "
" cresc. piu " " dim. poco a poco
" "! 2
)) ' "! $! 1
114 120
! .$ ' " $! $ 3 &

1
$ ! $ $ ! $& '
!" cresc. " espres. e maestoso
$ .0" .$ ! .$ $ $!
'
$ ." !
127
.$ ' &
! & &
' $ .$ ' $! . $ .$# $ ! 1$ " 10" "!

4
! & , + & +
.$
# !# ""
Piece: Apotheosis of this Earth: I. Apotheosis

In Excerpt 48.1,Karel
Composer: useHusa
a tuner to frequently check pitch.
Part: Bb Trumpet 1
Measures: 78-133
Tempo: $ = ca. 60
When learning this excerpt, use a tuner to constantly check pitch with the harmon mute. To hear the line, practice
playing only the front of every note. This will help endurance as well.
158
Excerpt 48.2
Apotheosis of This Earth: Tragedy of Destruction
"#! %& ' ( "#! "#! )"#! & ' ( )"# "# & ' ' *"# "#)"#& ' *"# %& ( )"# "#*"# "# "#)"#
5
! $ $ ' (
sempre ! " simile sempre " #
*"# "# "#)"# & )"# "#*"# "# "#)"# ' ' )"# "# "# "# & ( *"# "# % & '
10
! $ %& ' ' +

" # # "
"#"#)"#& ' ' "# 15( * J.)"#"#*"#"#"#)"# " & ( )"#"#*"#"#"#)"#' ' )"#"#*"#"#"#)"# " & '
" "
! )"# # )" )"# # )"

" #
# # #
#
" )"# "# *"# "#)"#*"# & ' *"# "#)"# & ' ' "$# % &
#
) " *"
! ( ' ")" %& ' ' $ % & (
20
)" " " "
) # "# *"# "# # # "

" ) "# "# "# "# *"# "# # # #
" )" " )"
! ' )"# "# )" & ' %& ' )"# "# )" )" *" %
cresc. #
# " #
# #
* " ) "# "#*"# "# # # #
)"# "#%& ' ' *"# %& *"#"#)"#& ' ' )"#"#*"#"# "#)"#
" )"
25
! ' $ %& ) " "

# # )")"# *" % + $
#
# "
piu !
" #
)"# "#*"#"# # # " )"#"#*"# "# # # #

30
, *"# "# "#)"#& & "#"#%
' " )" ) " " & " " )" " *" % ' ( $ %& '
! # # )" # # )")"#
#
# # # !! " "
)"#"#*"#"#"#)"# " )"#"#*"#"#"#)"# " # *"#"#-"#

# # #
*"
35
)"
" " "
! ' )"# # )")"*"% ' %' & & & "

)"# # )")"*" """# )")""# """# """# # )"# #
# # # # # # ## # # ## ## "
Piece: Apotheosis of this Earth: II. Tragedy of Destruction

PracticeComposer:
ExcerptKarel
48.2Husa
very slowly. Set the metronome pulse on the eighth note.
Part: Bb Trumpet 1
Measures: 5-36
Tempo: $ = ca. 80
This is a tough excerpt! Go slowly and use a metronome! This is an important part of the piece that needs to be
present.
159
Excerpt 48.3
"# "# $"# % & "# "# ' % & "# "# $"# % & "# "# ("# "# "# $"# "
50 #
! $"# # $" $" ("# '

" " " #
# #
* *
(!!)
$ # "#("# "# # #
"
#
$"# "#("# "# "#$"# "
#
"
55
! ) $" $"# "#$"$"(" ' ) $"# # $"$"(" '

#
# # !! #
# #
$ # "#("# "# # #
"
#
$ # "#("# "# # #
"
#
" "
60
! & $" $"# "#$"$"(" ' & + ) & $ " $"# "#$"$"(" ' & )
#
# # !! #
# #
See Excerpt
Piece: 48.2.
Apotheosis of this Earth: II. Tragedy of Destruction
Part: Bb Trumpet 1
Measures: 50-61
Tempo: $ = ca. 80
See previous suggestions.
Excerpt 48.4
+
! " # ' '
! ! !
& $% $% &$% $% $% & $% $% &$% $% $% $% $% $% $% $% $% )( *
, $% $%)$% $% $% &$% $%)$% $% $%&$% ! &$% $%)$% $% $%&$%

1st sequence
$% &$% $% )$% $% &$%

. !
115 120 121 6 sec.
! # - . . . / '. / '.
"" sempre
% $%)$% $% % % % &$% $%)$% $% % % % 14 sec. %

2nd sequence
&$ &$%&$)$ &$&$ $% . $ $ $% . !!

# & $ $ &$ % $ . ' $ &$ % $ % % . & $% $%)$% $ $%&$% % $% % % '
! &$ &$ % )$
&$&$ % % %%
&$% $% )$% $% $% &$% % $% ' &$% $% )$% $% $% $% % $%

! &$ $ &$ &$ )$% $ $ $% !! . &$ &$ $% $ $ $ !!
% % % % % %
Piece: Apotheosis of this Earth: II. Tragedy of Destruction
See Excerpt 48.2.
Part: Bb Trumpet 1
Measures: 112-122
Tempo: # = ca. 80
This is similar to the two previous excerpts. However, there is more happening in the piece at this point and this part
just helps to create chaos. Remain accurate and do not get carried away with loud playing.
160
Cheetah (49)
Excerpt 49.1
Cheetah
$% $% $% $%&$% $% $% $% $%&$% ' ( # ! %%%%%%%%%%%%%%%

! )&$ $ $ $ $ $ $ $ $ $ $ $ $ $ $
harmon mute (stem in)
"! # *
!
$% % % % % % % % % % %%% %%%%%%
" # ( ) $ $ $ $&$ $ $ $ $ ) # # ( ) $ $ $ &$ $ $ $ $ $ ' # *
$% $% $% $% $% $% $% $% $%&$% $% $% $% $%&$% ) ( #
+ %%%%%
" ( )&$ $ $ $ $ ' # *
"!
% $% $% $% $% $% $% $% $% $% $% % % % % % % % % % % % % % % %
" )&$ ( * # ( ' $ $ $ $ $ $ $ $ $ $ $ $ $ $ $, ) '
"$
Piece: Cheetah
In Excerpt 49.1,Karel
Composer: practice
Husa producing clear and consistent staccatos. Note: Excerpt 48.1 is written for “C”
trumpet.
Measures: 16-38
Tempo: Allegro moderato # = ca. 92
Notice this part is for "C" trumpet. With this excerpt practice accurate and even single tonguing. Use a good quality
harmon mute with the stem in.
Excerpt 49.2
Cheetah
! #" %$ ! $
&
$ $
& ( )
'''''''''''''''''''''''''''''''''''''''''''''''''''''
Glissando
" dim. $
Piece: Cheetah
Play thePart:
“F#” in measure
Trumpet 1 in C 40 using all three valves, then half-valve down to the “D”.
Measures: 40-41
Tempo: Allegro moderato # = ca. 92
I recommend executing this glissango by using a 1, 2, 3 F! fingering and then using half-valves to complete the line.
161
Excerpt 49.3
Cheetah
"&% "&% ' ( & " " #*#" " " ! "&%
Più vivo " = 99
# # " $! $ "&% "&% ' "% "&% ' ) *#" #" " "
Straight metal mute
! "" ) "
! !
&% " # -" . " "% "% %

Avanti
" " ( #"*#" "
! " + + ", + ' " ' "*" + ) *" "% )
sim. !# cresc. !
Piece: Cheetah
See Excerpt 46.4.
Measures: 88-96
Tempo: Più vivo " = 99
Pay close attention to articulations. Make the marcatos short and tenutos long. Seperate the sixteenths in the last measure.
Use a good metal straight mute. In measure 92 think of the last note as a pick-up for the next bar. The same goes for beat
two of measure 93.
Excerpt 49.4
Cheetah
$"
# "#$"#%"# "&# ' ( ) "# "#$"#%"# "&# ' ( ( $"# "#$"#%"# "# ' ' "# "#$"# "# "# '$"# "#$"#%"# "# " ( )
(accel. poco a poco)
! $ "
! cresc.
"* $ +* ! "
" = 102 poco accel.
& '( )
! ( '& ,
!!
Piece: Cheetah
See Excerpt 49.1.
Measures: 107-111
Tempo: Più vivo " = 99
This excerpt is still muted. Play out and use advice from previous Cheetah excerpts.
162
Excerpt 49.5
Cheetah
!# $ ! $ ! $ #"!= 106 $ $ !$ !$
brassy poco accel.
#" $ #$
open nat.
%&&'( $ $ $ $ & '*$( $ $( ' & & ' ( *$ $

brassy
! ( '& )
! " " " più "
+" ! $ '$ , $ $ ! $ $ & & '# $( $!# $ $! $ ) *.-$ ! $ $

# = 112 rit. poco a poco
! % )
""
Adagio # = 56
$ *.-$ ! $ " "! *.-$ ! $ /
" .$ / .$ , ,
lunga
%&
0000
!
"! cresc. molto """
To savePiece:
endurance,
Cheetah practice Excerpt 49.5 on a “Bb” trumpet. When the excerpt is learned, return to the “C”
trumpet.
Measures: 113-127
Tempo: # = 102
This excerpt is physically demanding. The concert B's make this excerpt pretty high. Practice this excerpts on a B$
Concerto for Percussion and Wind Ensemble (50)

trumpet as written to build confidence. When it is solid, proceed to C trumpet.
Excerpt 50.1
Concerto for Percussion and Wind Ensemble: Movement III
$% % $% ! $% &$% % % $% $% ( & *$ , ,
# !" $ $ &$ ' ( ) +
!!
, $ $% $% % % % %
poco accel.
011111111111111111111111111111111111 2
$
# -$ .$+ ) ( / ) (
$ , ,
Piece: Concerto for Percussion and Wind Ensemble: III.
Play thePart:
marcato accents in Excerpt 50.1 as loud and
Bb Trumpet 1 (Cornet)
detached as possible.
Measures: 133-142
Tempo: Allegro ma non troppo (" = ca. 92)
This is a loud, aggressive excerpt. Make the sixteenths as hard and seperated as possible. At FF, the liklihood
of missing notes is great. Practice singing to internalize the pitches and increase accuracy.
163
Excerpt 50.2
Concerto for Percussion and Wind Ensemble: Movement III
& "(#
'
! "! # #
$
#! #) # % % %
solo 253 tutti accel.
% % %
! "! cresc.
+ + ,# % # ,# % # #-
# " #+ #+ #+ #+ #+ # #
brassy
! %
% * "
260
*
$$ % naturale
Piece: Concerto for Percussion and Wind Ensemble: III.

Composer:
Part: Bb Trumpet 1 (Cornet)
Measures: 250-265
Tempo: Allegro ma non troppo (# = ca. 92)
In measures 250-253 play the dynamics a bit louder since it is a solo. Approach measures 260 to the end the same
as the previous excerpt.
Music for Prague (51)
Excerpt 51.1
Music for Prague: Introduction and Fanfare
!#
brassy %$ ! %& & &' ' &'*&' & &
& $ &' &'*&' &' +
"! ( ) ,
!!
&' &'*&' &'-&' &'*& $ $ &' &' &'*&' & ! & &' &' &'*&' &'-&' &'*&' )
" , (
!!
Piece: Music for Prague 1968 for Concert Band: I. Introduction and Fanfare
The first
Part: seven beats of Excerpt 51.1 is a unison passage in the
1st Trumpet trumpet section. Play the non-unison chord
Measures:
on beat three of 35-43
measure two much louder.
Tempo: n/a
This is the opening trumpet fanfare from Music from Prague. This work is so epic and the opening needs to reflect that.
You are the invading Russian Army, be brassy! The first seven beats are unison. Crescendo on beat four at bar 36 so
that the harmony is highlighted. The sixteenth notes need to be aggressive, short, and pointed.
164
Excerpt 51.2
1st, 2nd, 3rd, and 4th Bb trumpets, measures 54 – 59
! " # # $ & $' $'($' $' & $' $'($' $ # #

Trumpet in B!"1 ! %
# $& )
% & $ $ $($ ## *
# $$ $
+# # $ ' ' ' $' ' $' '
Trumpet in B!"2 ! " % & & ($ $ $ & ) " " ) $ $$ * *
$$ $
(+# # $ & $' $'($' $' & $' $'($' $ # # # $& ) & $ $ $($ ## *
Trumpet in B!"3 ! " % %
$$ $
# # $ & & ($' $' $' $' & ) " '''

" ) $$$$ # # *
Trumpet in B!"4
"! " %
# $$ $
Excerpt 51.1 demonstrates
Composer: Karel Husa the composite rhythms used throughout this work. The reader should learn all
partsPart:
of this excerpt.
1st Trumpet
Measures: 54-59
Tempo: n/a
Excerpt 51.3
1st, 2nd, 3rd54
Measures , and 4th Bb trumpets,
through measures
59 highlight 66 – 70
the type of writing seen throughout this work. Be accurate and observe dynamics.
Quarter note = 105
Fit your part in with everyone elses. Karel Husa
! Harmon
campana in aria
$ #$mute, &#
$ #& $ #$#$%#$#
# % # #$%#$#'#$ (
stem in
Trumpet in B!"1 ! " "

## ##
#$#$%#$## &
$
#$%#$#'#$" #$#$%#$##
! ( (
Cup mute
Trumpet in B!"2
## ## ##
#$#$%#$# # $
#$%#$#'#$( #$ #$%#$#&
! ( " "
St. mute
Trumpet in B!"3
## ## ##
$
#$%#$#'#$" #$#$%#$#& #
"!
Trumpet in B!"4 ) (
# #
! ( $ $ $
* #%# #'# # + # %#$ #$'#$ #$ * (
!
#$ #$%#$ #$ " "

$ $ $
* # # # ## # ## %#$ #$ #$ #$ * " (
!
##
#$#$%#$# # $
#$%#$#'#$( #$ #$%#$#&
Trumpet in B!"3 ! ( " "
## ## ##
$
#$%#$#'#$" #$#$%#$#& #
"!
165
Trumpet in B!"4 ) (
# #
! $ $ #$ # %#$ #$'#$ #$ * (
! ( * #%# '# # +
#$ #$%#$ #$ " "

$ $ $
* # # # ## # ## %#$ #$ #$ #$ * " (
!
##
#$ #$%#$ # & * #%# #'# # # %# #'# # *

$ $$ $$ $ $
! # )
##
$ $ $ $ $
& #$%#$ # '#$ " * #%# #'# * "
"! " )
#
Excerpt 51.3 demonstrates the composite melody written for the trumpet section. The reader should learn
Part: Trumpets
all partsMeasures:
of this excerpt.
66-70
Tempo: n/a
Once again, Husa uses independent lines to create a much larger macro melody. Each trumpet entrance will help build
due to mutes used. Use a good quality harmon mute and practice with a tuner. Use lots of air to help balance out
crescendos.
Excerpt 51.4
1st, 2nd, 3rd, and 4th Bb trumpets, measures 83 – 87
!
" " " " "

!
" " " " "

!
!
" " " " " "

!
"
" " " "

"!
See Excerpt 51.2.
Part: Trumpets
Measures: 83-87
Tempo: n/a
166
Excerpt 51.5
Music for Prague: Toccata and Chorale
Dotted Quarter note = 100 Karel Husa
'%& '& %& %& & & %& & %&

# !" $ !
a2
&% %& %& ( % %& ( '%& & %& & %
( % % ( ( ( % % (
) %& %& %&
!
'
%& & & %& %&
% * ( ( $ (
# ( %& %& %& %
%& %& %& %&
Piece: Music for Prague 1968 for Concert Band: IV. Toccata and Chorale
Excerpt 51.5 is an important solo passage. Practice this excerpt slowly with a metronome. See Excerpt 25.4
Part: Trumpets
for additional instructions.
Measures: 106-113
Tempo: n/a
This is a solo line that is played in two other sections prior. This is the melody so make sure you play it musically.
Practice by making all of the note durations longer. Hear the melody! This part is muted so use a good quality
mute. Play the low register louder to balance the high register. Also, make sure the secondary player blends with
your sound.
Variations on “America” (52)
Excerpt 52.1 & & & & & & & & & & & &
Var. V (! = ca. 138)
Variations on “America”: Variation V $ ! % % % % $% % % % % %
# "%
Charles Ives,
%Charles Ives
Quarter note = 138 Variations on America
& & & & & & & & & &
"#
& & & & & &
$ % % % % % % % $% % % % $% % % &'
# % ! %% % % % %$% % %$% %
% % % % % & & & & %( % %
& & & & & & & & & & & & & &
& &
$% %%%%%
"#
%
# %%%% % %' )% % % $% % % $% % % % % % % % % % % %
& & & & & & & & & & &
$ & & & & & & & & & & & & & & & & & &
&
# % % % % % % % % % % % % % % % % % % % % % % %' % % % $% % % % %
&( & & & & & &
$
# % * + +
(&
Practice Excerpt 52.1 using one breath. If playing the entire excerpt in one breath is not possible, take a
second breath.
Piece: Variations on America
Composer: Charles Ives
Part: Bb Trumpet
Measures: (N/A)
Tempo: ! = ca. 138
This is one of the most popular excerpts for trumpet of all time. Appearing on nearly every military band audition,
Variations on America is a standard. Begin slowly! Consider every articulation, dynamics, note grouping and
phrasing indication. Use a metronome to ensure good time, as well as, accurate tempo. Some other notes, try using
167
William Byrd Suite (53)
Excerpt 53.1
William Byrd Suite: The Earle of Oxford’s Marche
Un Poco Pomposo Gordon Jacob
$! % %%%%%
3
%% %%%%%%% & % ' % ( %%%% %% $% % % % % % % % *
# " % % '% %% % )(
!
$ %' +% % % +% %' ' ' %' 4

# * % % % %, ( - %
( % % % % ) %+% % % % % % %
& % - %.
"# !
$ .% .% % %' %' % % % % % % % % % % % % % % %' % %. ,

%. %( -
$
# . $
% ' ' . ' *
Piece: William Byrd Suite: No. 1. The Earle of Oxford's Marche

Play Excerpt 53.1
Composer: veryJacob
Gordon light and with a lilt.
Part: 1st Bb Cornet
Measures: 26-48
Tempo: Un poco pomposo
Start this line very softly above the staff. Listen for the other parts because there is a lot of interplay especially 3
measures before number 4. At 4, play the melody as it has been already been presented. Notice the marking
pomposo.
Excerpt 53.2
" $# #% #% #% # # #% $# # # # # ! # # # # # # # # # # #
7
! # # #! #! # # # # #
& # # #%
! ma marc. cresc. "# # "#
"
8
$# # # # # # # # # # # $# # #
! #$ #% #% # # # # ' $ # ## # $%%% % $ ####### (
#
Piece: William Byrd Suite: No. 1. The Earle of Oxford's Marche

ExcerptComposer:
53.2 is aGordon
Renaissance
Jacob dance. Do not be confused by the polyphonic texture at rehearsal number 7.
Part: 1st Bb Cornet
Measures: 65-90
Number 7 is to be played like a solo. This is the primary melody. Number 8 through the end of the marche is very
polyphonic so focus on playing your part with rhythmic accuracy.
168
Excerpt 53.3
" #$ # % # # #$ # % # # #$ %# # #"# # &# # # ####

9
! ## # ## # # ## '# ##
più !
))))))
" #! # # (# ## %# "# # # %
10
# %
# # # # # ' # # # # # ' # %# # # # ' # # # # # #
# # #
! %
" %# # # #
! ####### '# # # # # #* +
!!
Piece: William
See Excerpt 53.2. Byrd Suite: No. 1. The Earle of Oxford's Marche
Composer: Gordon Jacob
Part: 1st Bb Cornet
Measures: 81-94
See the previous comments. Rhythmic accuracy is top priority. Measures 86 through 91 can be a bit tricky. You may
have to ignore other voices and concentrate on counting.
Excerpt 53.4
William Byrd Suite: Pavana
Molto Lento Gordon Jacob
" ! #!
1
# # %# & %# # # # & # # # #
$
! ben sost. e legato cres.
& #! # # # # # # # # # # # # # # # # # # # # # '& '&

"
" dim. !!
Piece: William Byrd Suite: No. 2. Pavana

Excerpt 53.4 is a brass chorale scored for two trumpets and two trombones. Listen carefully to pitch and
timbre.
Part: 1st Bb Cornet
Measures: 9-16
Tempo: Molto lento
Intonation is key in this excerpt. Spend time with a tuner. This is a brass chorale scored for two trumpets and two
trombones. Listen to the other players for pitch, timbre and balance.
169
Excerpt 53.5
William Byrd Suite: John Come Kiss Me Now
Allegro Con Grazia Gordon Jacob
& ( (
# ! $ % %'% % % % % $ &% % % % % % %( ) % %#% % ) (
% %%%
(
" ! ) % %%%
!
#* '% % % %
% % % %%
"
!
Practice Excerpt
Piece: 53.5
William Byrdwith
Suite: aNo.
metronome
3. Jhon Comeusing theNow
Kisse Me quarter note as the beat.
Part: 1st Bb Cornet
Measures: 26-32
Tempo: Alltto con grazia
This is a very tricky passage. Listen to the flutes who are in unison. Aim for the big beats at all times. Practice in
four with a metronome.
Excerpt 53.6
William Byrd Suite: John Come Kiss Me Now
Allegro Con Grazia Gordon Jacob
# # ! # (# # '# # # # # '#
'# (#
! #! # # # % #! # # # %
" $ $ & )
! !
" # # # # '# # # # # % % % #&* +

! # )
!! !!!
Play Excerpt 53.6 as

Piece: William a Suite:
Byrd solo. No. 3. Jhon Come Kisse Me Now
Part: 1st Bb Cornet
Measures: 57-67
Tempo: Alltto con grazia
This is yet another very exposed solo section. Connect the notes and play in a very lyrical fashion. In measure 61,
don't try to enter too softly.
170
Excerpt 53.7
William Byrd Suite: Wolsey’s Wilde
Con Moto Gordon Jacob
# !!!" $! $& ' & $! $ !

% $ $! $ $ ) (
$ ' $ $ ' ' ' $$ $ $ $ $ %
$ $ $ $ ' ' $ ! $!
%
2
& ( & &
! " !
* ' $ $ $ $ +$ ! ' $ $ , $ $ $ $ , $ $ $ $ , $ $ $ $ $ $ $ ! $ $ $ $ $ $ $ $
# & & & & $$
! #"
$! $ !
% (
%
$ $ $ $ $ *!
%
$ $ $ $ $ *!
(
$ $ $% ' ) ! $ $ $ $ $$$$
& & ($ ! &
1. 2.
# & '
! " "
Piece: William Byrd Suite: No. 5. Wolsey's Wilde

Subdivide Excerpt
Composer: 53.7
Gordon Jacobusing the eighth note as the pulse.
Part: 1st Bb Cornet
Measures: 21-36
Tempo: Con moto
The hardest part of this excerpt is playing measure 24 clearly and playing measures 29 and 30 in time. For the latter,
don't be late! The tendency is to wait too long. Subdivide into eighth notes and play each entrance on the "ands" of
the eighth notes.
Excerpt 53.8
William Byrd Suite: The Bells
Tempo Moderato Gordon Jacob
# "! $
Solo.
% % $ % % ' '
& % & %
!!
1
# % %%%% & ' $ $ % % %! % % % % % &
% %
!! sempre. !!
Piece: William Byrd Suite: No. 6. The Bells

In Excerpt 53.8,Gordon
Composer: practice breath attacks on all entrances.
Jacob
Part: 1st Bb Cornet
Measures: 4-15
Tempo: Tempo moderato
Watch intonation! I use a breath attack to sneak in very softly. I also keep the 3rd valve slide out before I begin so
there is not an abrupt movement. This does neet to be very quiet, however, keep a beautiful, focused sound.
171
Excerpt 53.9
William Byrd Suite: The Bells
Tempo Moderato Gordon Jacob
$ $ $ ! $ $ $! $!
$ $ $ $ $! &$ ! ' !
# !" $ $% % % ( $ $ $! $ $ $% ( ( $! $ $ $ ! $ $
%
!!
$ $ $ $ $ $ ! $ $ *) $ ( $, $ $! $ $ $ $ +
$ 8 , - , , &$ &
+!
$! $ $ ' ( $% $ $ $ $
# %
& !!!
&$ &$ , & & . , & 9 & &$ $ $ $ $ &$ &$ &&
$ $ $ $ $ $ $ ( ( % $ $ $ $ ( ( $% $ $ $ $ $ ( ( $ $ $ $ $ $ &$
# % % $ % % %
& %
& $ $ $ $ $ $ &$ &$ $ $ $ $ $ $ &$ + ! +!
, $
&$ . ,$ % ( ' '
# % ( $ $ $
%
Piece: William Byrd Suite: No. 6. The Bells
Rehearsal number
Composer: nineJacob
Gordon is a tutti passage. Do not play from rehearsal number nine until measure 93.
Part: 1st Bb Cornet
Measures: 76-98
Tempo: Tempo moderato
This passage is at the end of a very demanding movement. Be sure to play the melody with a nice big sound at
number 8. Number 9 is a section tutti so you may want to leave it out and save it for the last few bars.
Three Chorale Preludes (54)
Excerpt 54.1
Three Chorale Preludes: Now Thank We all our God
Allegro Guisto William Latham
% % '% ! % % % % %%%%%% % %%% %%

#! $ !
!
Allegro guisto
" %
%& %& %& & & % % % % % ( % %
'% ! % % % % % %
! sempre stacc. e marc.
"
# ( % % % % % % % % % % % % % % % % % %
#% % % % % % % % % % % % $
11
"
Piece: Three Chorale Preludes: III. Now Thank We All Our God
Composer: William P. Latham
In Excerpt
Part: 54.1,
1st Bb practice single-tonguing and double-tonguing
Cornet (Trumpt) all eighth notes.
Measures: 1-11
Tempo: Allegro guisto
This is the opening of the 3rd movement of William Latham's "Three Chorale Preludes". This opening needs to be an
exciting, upbeat, and heroic fanfar. the movement is in two making for a very tricky excerpt. Begin by practing this
excerpt very slowly. When you feel confident with the pitches and rhythn, start to speed up the excerpt. I recommend
double-tonguing all eighth notes at a very slow tempo to develop accuracy. On a side note, many trumpeters prefer
C trumpet for this piece.
172
Excerpt 54.2
Three Chorale Preludes: Now Thank We all our God
Allegro Guisto William Latham
"#
13
$ $ $ $ "$ %$ ! "$ $ $ $ $ $ $ $$$$$$
! $
$"$ $ $ $ & $ $ $ $ $
!
"$ $ $ $ $ $ $ $ $ $ $ $ $ $ $ $ $ $ $ $ $ $ $ $ $ $ $
!
!!
(
%
"$ $ $ $ $ $ $ $ $ $ $ $ $ $ $ %$ % %$ %$ '
! $ $
rit. molto
See Excerpt 54.2.Chorale Preludes:

Piece: Three III. Now Thank We All Our God
Composer: William P. Latham
Part: 1st Bb Cornet (Trumpet)
Measures: 39-51
Tempo: Allegro guisto
Much like the earlier excerpt, this excerpt is very tricky. Use the previous advice and always strive to be light and
smooth. Be aware, playing too loud or tonguing too hard can create an undesirable sound.
Spin Cycle (55)
Excerpt 55.1
Spin Cycle
Allegro Scott Lindroth
(' ! ' ' (' ' ' '* ' '

(muted)
#" +(', - - (', - (', ('+'* ' (' ' ''( ' ' +(,' - - (' - (', $#
13
& !" $# %$ )
,
(' ! ' '
!" "
' / ' '* '+ '+ ' ' '+ ' ' ' + ' ' ' '
%$ . !
Open
#
&$ ) "# . . %$ )
" !" "
Piece: Spin Cycle

Composer: Scott Lindroth
PracticePart:
Excerpt 55.11using
Bb Trumpet a metronome on the eighth note pulse.
Measures: 10-20
Tempo: n/a
It is emperative that this entire piece be practiced with a metronome on the 8th note pulse. That being said, observe the
dynamic changes and the articulation patterns in measures 10, 11, 13, and 14.
173
Excerpt 55.2
Spin Cycle
%$ $ $ $ $ %$ %$ $ $ $ " %$ $&'%$ $ %$ $ $ %$ ($ %$ $ %$ $&'%$ $ %$ $ $ %$ ($ %$ $

51
!
#" "
!
Piece: Spin Cycle

See Excerpt 46.4.
Part: Bb Trumpet 1
Measures: 51-53
Tempo: n/a
Excerpt 55.3
Spin Cycle this passage on a single note. When the rhythm and articulations are solid, play the written pitches.
Practice
&% % % '&% % % % &% '% % &% % % &% ! &%

# "! $ ( ) *
!
Piece: Spin Cycle

See Excerpt 45.4.
Part: Bb Trumpet 1
Measures: 67-69
Tempo: n/a
Excerpt 55.4
Spin Cycle
st
1 Bb trumpet, measures 90 - 108
"" , -)'( !-)'( ! )'( ! )'( ! !" ".#'/ 0 '*'(*'( "" *'( 0 , 1
)( (
*)'(*)'( #
(muted) 94
! * '
&" ( ( * ' $ + + %$
)) /
!
"
#" *' !*' ! !" *' *' )'( *'( "" "# '( !*'( !*'( ! '( ! !"
)
99 103
& %$ ' ! ( ( ' ! )( )(

+ %$ +
)( ) ) )( ) ) ) )
"" '".#' '-)'( ! -)'( ! )'( ! )'( ! !" ".#' *'( ' ' .'(*'(
)( *)'( ( ( (
& !" *'( *'( ' $# + ( ( (
)) "! !
Piece: Spin Cycle

See Excerpt 55.1. Scott Lindroth
Composer:
Part: Bb Trumpet 1
Measures: 90-108
Tempo: n/a
Once again, practice with a metronome on the 8th notes. The dotted 8th note measures create a hemiola which
suggests that the meter has changed from simple to compound. Be sure to emphasize this area.
174
Excerpt 55.5
Spin Cycle
"" , -)'( !-)'( ! )'( ! )'( ! !" ".#'/ 0 '*'(*'( "" *'( 0 , 1
)'( )(
(muted)
)( ( 94
*
& " *'( ( *' $#
! * ' +
/
+ %$
))
!
"
#" *' !*' ! !" *' *' )'( *'( "" "# '( !*'( !*'( ! '( ! !"
)
99 103
& %$ ' ! ( ( ' ! )( )(

+ %$ +
)( ) ) )( ) ) ) )
"" '".#' '-)'( ! -)'( ! )( )'( ! ! ".#'( *'( '( '( .'(*'(
'! "
)( *)'(
& !" *'( *'( ' $# + ( ( (
)) "! !
Piece: Spin Cycle

See Excerpt 55.1. Scott Lindroth
Composer:
Part: Bb Trumpet 1
Measures: 90-108
Tempo: n/a
Once again, practice with a metronome on the 8th notes. The dotted 8th note measures create a hemiola which
suggests
Excerpt 55.6that the meter has changed from simple to compound. Be sure to emphasize this area.
Spin Cycle
'
! ('& & & & '&(& & &*& & & & ! !" (& &( & + + ('&( & & (& &( & + + $
%" # ) , "
!! !
* & !*" & '& & & '&.

195
$
%" - - +
Piece:37.4.
See Excerpt Spin Cycle
Part: Bb Trumpet 1
Measures: 190-196
Tempo: n/a
Excerpt 55.7
SpinSee previous excerpts.
Cycle
! &%$ $ $ $ $ %$ %$ $ $ $ " &%$ $' (%$ $ %$ $ $ %$ &$ %$ $ &%$ $' (%$ $ %$ $ $ %$ &$ %$ $
#" "
!
See Excerpt
Piece:46.4.
Spin Cycle
Part: Bb Trumpet 1
Measures: 210-212
Tempo: n/a

175
Excerpt 55.8
Spin Cycle
+%! % %
'%
'%& ! ' %+ %,
$ " % !(% ! % ! " (%
' ' & &
& # & %(% % ! + %
! & & " ) * %+% ) +% + % - *
! !
!
$
+ % % % % % % % % +% +%
+% % ./ ) !" '%& ! '%& ! ('%& ! '%& ! /! % %(% % % % 0.
.
('% ! %! %!
'%& '%& '%
%
.
$ 0.
./ * !
!!
Piece: Spin Cycle

See Excerpt 55.1.
Part: Bb Trumpet 1
Measures: 239-253
Tempo: n/a
Difficult rhythms in addition to awkward intervals makes this a tricky passage. Use earlier methods to address the
rhythms. Work out the pitch by singing the intervals.
176
For Precious Friends Hid in Death’s Dateless Night (56)
Excerpt 56.1
For Precious Friends Hid in Death’s Dateless Night: Mournful Hymns did hush the Night
Quarter note = 72 Martin Mailman
-!
30
Wah-wah mute I ! " ! " !" ! " !" " ! " ! " ! " ! " 36
!
#! $ % &
distant
+* ' & % * !" '. / & &
' ,'(
)( n ) n
Piece: For precious friends hid in death's dateless night: I. mournful hymns did hush the night
Composer: Martin Mailman
Use a Harmon mute in Excerpt 56.1. The plus sign indicates a covered stem and
the zero sign indicates an
open stem.
Measures:the
Use left hand to open and close the stem.
30-36
Tempo: Allegro ! = 72
This piece uses lots of atonal and 20th century compositional techniques. For this excerpt, use a wah-wah
or harmon mute. A wah-wah mute is preferrable and can be found at any large instrument retailer, but a
harmon mute will suffice. Use your left hand, ala jazz plunger, to create the plus and minus effect. + = closed
and o = open. Be sure to decrescendo to n, or niente (nothing).
Excerpt 56.2
For Precious Friends Hid in Death’s Dateless Night: Mournful Hymns did hush the Night
47
$ # $$ $ ) &$ $% ) &$ $% &$ $ $ ( &

Moving ahead
&(
" !! # '$ '$% (
a2 Str. mute
$
&%
!"#
&% &$ $ $ $ $ $ $ '$% % &
$ $ $ $ $ $ $ * $ &$% # &$% '$% % $
" # *$ # *$
'$%
$ &
'$% * ( !
& &
$ '&$% &% + ( '$% *( $ *$ ,&$% &$%
" # * $ !
Piece: For precious friends hid in death's dateless night: I. mournful hymns did hush the night
See Excerpt 37.4.
Part: Bb Trumpet 1 & 2
Measures: 47-60
Tempo: Allegro % = 72
As with most atonal trumpet parts, pitch is challenging. Practice singing and buzzing the part with a mouthpiece.
Hearing the part will help you be more accurate and musical.
177
Excerpt 56.3
For Precious Friends Hid in Death’s Dateless Night: Broken Loops of Buried Memories
1st and 2nd Bb trumpets, measures 49 - 67
! ! &' &' ( &' &' ( & & )&

50
# $ % & * % $ #
open
"!
!
! ,
"" ! $ + % & % + # $ % &' &' & & &
open
&' &' & &

&' &' & ) ' '
!
! % & & &( & & & & )& %

' ' ' '
" $ &' &' &(&' &' & ''
& & + + % & & & & &* % + % &' &'
* )
& & % + % &' &' & &' &' & & ( & # &' &' &' &' & )
& &&% + &' &' & &
"" & * * % (& % +
*
! (& )& & &&& & ' ' -& ' ' ) )
% & & & & & -& & & &
58
#
open
" &
!
!"
% (& & & & & &
"" & (& & # $ + % &
Wah-wah mute
! + -)& & & %# )& & &' % #

) /
% -& & & -& & & & + $
)
% &(& &* %
" .
# 1 ) "!"!"!&"!"! (!)&"! "! "

!"! "!" !"! "! "! )! "! "! " ! "!" !" ! " ! "! )!"!"!"! !"!
"" & % &* & 0 &* & % + % &* & 2 * %
*
! $ )(& & )3& &

& & $ ()& & & + $
()& & &
(& & & & & (& )&( & & &
"
! "2! "!"! "! !)&" !2"! "! "! )!"!"!
3 & & "! "!2 "!"!
"" + % * % * $ #
open
Piece: For precious friends hid in death's dateless night: II. broken loops of buried memories
LearnPart:
bothBbtrumpet
Trumpet 1 parts
& 2 in Excerpt 56.3.
Measures: 49-67 This excerpt is challenging because of the interplay between tumpets 1 and 2.
Tempo: Allegro " = 132 This is an exact replica of the trumpet part. Both parts are on the same page
to help the player understand it batter. Learn both parts! Practice to 1st part
using ideas from previous excerpts. Then, practice the second part where the
first part rests. This will help with continuity.
178
Excerpt 56.4
For Precious Friends Hid in Death’s Dateless Night: Which by and by Black Night doth Take Away
1st and 2nd Bb trumpets, measures 92 - 106
% 94 &( ! ) &( !! &( !

& '% ! %
% %! % ( % ''%% % )( ! *( (! ! ! !
# "! $ % ( % !!!!! !! !!!
)
! !
&( !
!!!
)&( !
"
&( ! ( !!
# (! ! ! ! ! ) (! ! ! ! ! ! )( !
) +
$ $ , %- %-
a2
! ! ! ! ! ( ! ! !
!!
)&( ! )&( ! )&( !

!!!
+
% - - % &% % % % &% % % %
# % % %
!!!
!! !!! = waves of sound made by briefly stopping

air then continuing sound without an attack
!! ! ! = gradual diminuendo
! ! ! = gradual crescendo
! ! ! ! = steady dynamic
Piece: For precious friends hid in death's dateless night: III. Which by and by back night doth take away
Follow all
Part:directions
Bb Trumpetin
1 &Excerpt
2 56.4.
Measures: 92-106
Tempo: Allegro # = 60
This is perhaps one of the most unique devices you will ever see. Practice playing long tones with an exaggerated
vibrato. Follow the air patterns in the part and have fun!
179
A Child’s Garden of Dreams (57)

Excerpt 57.1
A Child’s Garden of Dreams:
There is a Desert on the Moon where the Dreamer Sinks so Deeply into the Ground that she Reaches Hell
&% ! & &' &% ! &% &'% &% ! &% &'% % &% ! &% &% ! &% &'% )
Andante David Maslanka
%
" !! # $ %% ( * + $ #
!!
Piece: A Child's Garden of Dreams: Mvt. I - There is a desert on the moon where the dreamer sinks so deeply into the
In Excerpt 57.1, practice double-tonguing
ground that she reaches hell the thirty-second notes.
Composer: David Maslanka
Part: 1st Trumpet
Measures: 34-37
Excerpt 57.2
Tempo: n/a
Rhythmic
There accuracy
is a Desert is a must.
on the Moon where Practice thisSinks
the Dreamer excerpt slowlyinto
so Deeply with
thethe 32ndthat
Ground noteshegetting
ReachestheHell
beat. Also, practice the
dotted
1st Bb 16thmeasures
trumpet, both short
84 and
- 89 long in anticipation of what the conductor may want.
)% + )*% ! )*% % )*% % )*% ! % )*% % % )% + %

Andante David Maslanka
# $ ! &%' &% % % $! ' ' $! (

% % %
! " ' ($
% % )*% % !+ )*% % + )*% % )*% ! % %

! !!
! ' ($ #
Practice Excerpt 57.2 without any ties. When the rhythm is accurate, add the ties back in.
Piece: A Child's Garden of Dreams: Mvt. I - There is a desert on the moon where the dreamer sinks so deeply into the
ground that she reaches hell
Part: 1st Trumpet
Measures: 84-89
ExcerptTempo:
57.3 n/a
AOnceDrunken Woman
again, Falls into theaccurate.
be rhythmically Water and Practice
comes outthe
Renewed
excerptand Sober the tied notes then add them in. Also, in bar 87, I
without
st
1suggest
Bb trumpet, measures
not taking 8 – 26so you don't have to resest the embouchure. If you do this, make sure you tak a big breath
a breath
Andante
in bar 86. David Maslanka
Solo
# !! $ % ! % %' %! $ "
Whisper mute
$ $ $ ( % ) ( ( !
& ) ) % %
!" plaintive, mysterious !"
" ! % % $ % % $! '
# ! $! % % % ! % %%$ $ %* % % % % )
# % ( ( % !" $! % % ) )!
% % %
dying away... fade...
Use a tuner to avoid intonation problems with the whisper mute.

Piece: A Child's Garden of Dreams: Mvt. II - A drunken woman falls into the water and comes out renewed and sober
Part: 1st Trumpet
Measures: 8-26
Tempo: n/a
For this solo, follow the contour of the melody. Make sure to add shape and musical line. Intonation is a must so
practice with different mutes and a tuner. I suggest a trumcor lyric mute.
180
Excerpt 57.4
A Horde of Small Animals Frighten the Dreamer. The Animals Increase to a Tremendous Size and one of them devours the Little Girl.
Adante David Maslanka
# "! $ ') & % +

nastier!
% '&( & & ' & & '& & ' & & * +
!!
Piece: A Child's Garden of Dreams: Mvt. III - A horde of small animals frighten the dreamer. The animals increase to a
Interpret “nastier”temendous
by usingsize,
moreand one of them devours the little girl.
articulation.
Part: 1st Trumpet
Measures: 82-85
Tempo: n/a
Although there are no articulation markings, most conductors will ask for a very aggressive marcato style.
Excerpt 57.5
An Ascent into Heaven where Pagan Dances are being celebrated; and a Descent into Hell where Angels are doing Good Deeds.
Allegro David Maslanka
! %$%$ %$ $ %$%$ %$ $ %$%$ %$ $ %$ $ % %$%$ %$ $ %$%$ %$ $ %$%$ %$ $ %$ $ % %$ " $ $'$ $ !

#! & & & &$ $ & & & &$$ ! !
! %$%$ %$ $ %$%$ %$ $ %$%$ %$ $ %$ $ %$ $ %$%$ %$ $ %$%$ %$ $ %$%$ %$ $ %$ $ %$ $ ( $

#! & & & & & & & & ) * &+ , +
Piece: A Child's Garden of Dreams: Mvt. V - An ascent into heaven where pagon dances are being celebrated; and a descent
See Excerpt 57.2. into hell, where angels are doing good deeds.
Part: 1st Trumpet
Measures: 108-117
Tempo: n/a
Excerpt 57.6
Practice this excerpt by putting a 16th note in the rest and removing the tie. This makes the excerpt very easy. After
An this is comfortable,
Ascent put the
into Heaven where tie Dances
Pagan back in.areWhen this is solid,
being celebrated; andput the restinto
a Descent back
Hellin.
where Angels are doing Good Deeds.
! #$#$#$%#$#$#$%#$#$#$%#$#$#$% #$#$#$%#$#$#$%#$#$#$%#$#$#$% #$#$#$%#$#$#$%#$#$#$%#$#$#$% #$#$#$%#$#$#$%#$#$#$%#$#$#$%

"!
! cresc.
#$#$#$%#$#$#$%#$#$#$%#$#$#$% #$#$#$%#$#$#$%#$#$#$%#$#$#$% #$#$#$%#$#$#$%#$#$#$%#$#$#$% #$#$#$%#$#$#$%#$#$#$%#$#$#$%

"
See Excerpt 49.1.
into hell, where angels are doing good deeds.
Part: 1st Trumpet
Measures: 185-192
Tempo: n/a
Like the previous excerpt, repeat the third 16th note in the rest. Playing continuous 16th notes, work on playing very
short, seco(?) notes and creating the cresendo. When this is accomplished, add the rest back in.
181
Excerpt 57.7
An Ascent into Heaven where Pagan Dances are being celebrated; and a Descent into Hell where Angels are doing Good Deeds.
$% $% & $% ' $! $% " $% $% % %

!
#! ! $ $ $ ! $ !! $( & ) * +
!! "!!# !!
into hell, where angels are doing good deeds.
See Excerpt 57.2.
Part: 1st Trumpet
Measures: 207-209
Tempo: n/a
Once again, remove all ties and learn the excerpt. Focus on articulations and dynamics. When this is accomplished,
add the ties back in.
Note: At all times please use a metronome.
Excerpt 58.1
Symphony Number 2: Movement I
1st trumpet in F, measures 28 – 48
#$ %! & #$ %! & #$ %! & #$

' (! ' (! ' (! ' (!
(open)
%! &
" !!
& ) %$ ! & ) %$ !
! " ! " ! " ! "
%$ ! %$ ! %$ ! & %$ ! &
' (! ' (! ' (! ' (! ' (! ' (!
& &
"
! " ! " ! " ! " ! " ! "
) #$ %! & ) %$ ! & ) %$ ! $
& ) &$ & ) &$ & ) # #
" ' (! ' (! ' (! ' (! ' (!
! " ! " ! " ! ! !! !
Piece: Symphony No. 2: Mvt. 1

Excerpt 58.1 is written
Part: 1st Trumpet infor
F “F” trumpet. Play Excerpt 58.1 up a fifth using a “Bb” piccolo.
Measures: 28-48
Tempo: n/a
Notice that this part is in F transposition. This part is a Beast! Most times it is played on B# piccolo up a major 5th.
There are only two records that have ever been made. Search them out and listen to the piece. Finally, as if it were not
hard enough, the second trumpet dove tails in and out of the same notes. Practice playing the written notes and going
up a step at a time.
182
Excerpt 58.2
1st and 2nd trumpets in F, measures 57 – 69
Allegro Moderato David Maslanka
$ "" !! %% $$ #"" !! %% $ "" !! %% $$ "" !! %% ($ "" !! %% $ "" !!

# %%
& '! & '! & '! & '! & '! & '!
sim.
( "" !! %% $ "" !! %% ( "" !! "" !! %% $ "" !! %% ) "" !!

! " ! "
%% %%
! & '! & '! & '! & '! & '! & '!
$ ""* ""*
!
#!$" #!$"

See Excerpt 58.1.
Part: 1st and 2nd Trumpets in F
Measures: 57-69
Tempo: n/a
Like the previous excerpt, good luck!
Excerpt 58.3
1st and 2nd trumpets in Bb, measures 122 – 135
" ## "" ) ## "")

! "" ##""$##""%# ""&&"" $## ""' % ( ( ""## "" $## "" %# " &&"" $ ' % "" $ $ ( *
!
+ + +
""## "" $# "" % ""## "" $## ""' %## "" $ $&&"" "" "+" $##"" % +"" +"" $ +"" % ##"" $ $##+""
! '
! cresc. !!
-+. ! " " !" " ! "/ " $ ""/ -" "! """ "
+
$ #" " $ &" $ #"##"", &+", $a2 $-" " " $ ( * (a2)
! # " " & ", # " & " "
++ + + + + !
! . " "-" " ""-" " " " ""/ -"0 ! """ 0" " " %!-" ! "!" . " "-" " ""-" " " " % ! (
' '
sub. #

ExcerptComposer:
58.3 is written for “Bb” trumpet. See Excerpt 46.4.
David Maslanka
Part: 1st and 2nd Trumpets in Bb
Measures: 122-135
Tempo: n/a
This part is back on B" trumpet. Practice playing the rhythms on a single pitch and then add the notes. Celebrate the
dissonance.
183
Excerpt 58.4
# ! ##### ! # # # # &
%$
#$ # ! ## ### ! # # # #! #
1. (Solo)
! " # &! ' "

open
&!
!" ## !"
#! # # # # # # # # #! *
! #! #( # # # # ")## & ' ,$-# &
# &
(lip into note)
+$ (
!" " no dim. (")
!
-& -# ! # # # # -# ! -# & # # # -# & +
-# # # -# & & -& + &!

! , ( '
dim. ##

See Excerpt 38.1.
Measures: 201-220
Tempo: n/a
Excerpt 58.5
Symphony
This is a Number 2: Movement
big departure 2 rest of the piece. Play with a rich, full tone and do not be in a hurry. Tempo is quarter
from the
note equals 88-92.
Quarter-note = 96 David Maslanka
& & ( ! $#
very slow slide
'
1 Solo whisper mute (with Tbn. 1)
! " $# # # % $% # $#
!!
& ( ! $& & ( ! $&

' % very slow rise % # (no slide)
! # $# #
)
poco
* , $# &
,
$& $# & , *# ! %
quick
! $& &
poco

Bend each note by
Composer: depressing
David Maslanka all three valves halfway down.
Measures: 34-48
Tempo: " = 96-100
This is a half-valve bend excercise. Make the bends even and do not arrive at the note too quickly.
184
Excerpt 58.6
Symphony Number 2: Movement 2
Quarter note = 96 David Maslanka
%%$## ## ## ## ## $## %%$## ## ## $# # # $# # # % # # $# % $# # # %*#

& ' (!
mute
! " %# # #&) ( # # # & %# # # ) " ) ( %# # # % # )

!
% $# # # # # $# $# # # % # # $#
+ + + % # # # & # # # ( ) # # # ( & %# # # ) "
! ,
%%$## $## $##-

!
%%$## $## $## %%$## ## ## ## ## $## open
! + () " " & ,( + + " )

(!)
% $# # # # # $# a2 % $
### % $# # #
%# # # & # # # ( )
! ) , + " ( ) " ( ) +
% $# # #- $# #- $# #- $# # % $# # # % $# # #
! ) + " ( ) + ( ) "
% $# $# $# $*#% *# % $# # # $# # # % $# # # $# # # % $# # $## $## $# #

! ) ) () () () () " & & & &
# # & # # &% # # & # # & # # & # # & # # & # # & % # # & # # & # # & # # & # # & # # &%# (
sim.
! ,
% $# # # # # $# $# # # # # $# % $# # # # # $# # # # # # # # #
! ( & ( & ( & & & & &
$# # # # #
# # %# # # # & # # & # # &%# # & # # &%# # & # # &% # # &
! & & ) ( ( &
-
##&.##&% # #& ##&%##& ##& #, ( %$####- $####- $####- %$####- ####
+ ) ) )
sim.
!
" " " " "
%# ### #### #### %# ### #### #### %# ### ### #% $# # $# # *# # $# #

! ) ) & & & &
" " " " " " " "
185
#sim.
" " "" "" #" "
$ $ $ " " $ " " $# " " $#" " $ " " $ " " $ " " $ $ " " $ " " $ " " $#" &
! %
# " " "" "" " " "" "" "" "" "" # " " ""
""
$ $ $ $ $ $ $ $ "" "" # " "
$#" "$ $ $ $ $ $ $
!
#" " " " " " #" " " " " "
!
" " $ " " $#" & $ $ $ ""$ $ $ $ " " $ " " $#" " $#" " $ " " $
%
" " " " #" " " " " " " " # " " " " # '" " " " " '"
! $ $ $ $ $ $#" & $#" " $ " " $ $ $ % &
%
# '" " " " " '" " " " " " " " " " " " # " " " " '" " " " "
! $ % & $ $ $ $ $$ $ $ ""$ ""$
# " " "" "" #" "

"" $# " "$ $ $ $ "" $ "" $ "" $ #" "$ $ "" $ "" $ "" $ "" $ "" $ ""$
!
' '
#" " $ "" $ "" $ "" $# " " $ "" $ "" $ "" $ # " " $ "" $ "" $ " " $ "" $ "" $ "" $ "" $
!
"" $# " "$#" " $ "" $ "" $ "( " $ "( " $ "( " $
!

See Excerpt 58.1. Note: Excerpt 58.6 is in unison with the xylophone.
Measures: 58-114
Tempo: n/a
This excerpt is back to B! piccolo. Play all the notes very pointed and with a lot of bite. Listen for the xylophone.
The majority of the part is in unison with the xylophone.
186
Excerpt 58.7
Symphony Number 2: Movement 2
#" " # # #
# # # " " " " " " " " " " "$" " " " " " " " "
open a2
! $" " " " " " " " " " " " " " $" " "
!!
$ " #" "
"" ' (! ) * * %& * && $#" " " " " " " #" " " " " " "
!
!!
$#" " " #" " " " #" " " " " " #" "$" " " " #" " " " "$ " #" "' !
! " " " ( ) *
#" " #" #" #

$" " " " " " " $" " " " " "
" " "$ " +"" " " " " ""$$"" +"" "" ( )
" " " $" " " "
! " " " " " " "$"" "" "" "" "" "" "" " " " ,
# # #
!!

See Excerpt 58.1.
Measures: 287-301
Tempo: n/a

Excerpt 59.1
Symphony Number 4
1st trumpet in C, measures 141 – 157
! '&% % %( &% % %( ) # '&%( %% ) '% % %% '% %% %% %

"! % % ) #" %% ) "! % % ) #" %% ) "!
sim.
$" "
!!
! % % % % % % ) # % % % ) ! % % % % % % ) # % % % ) ! '% % % % % % ) #
$" " " " " "
'% '% % '% &

$ " % % ) "!
# % %) %'% % % % *% % % % '&% %'% % %'% +% % %
+&% %%
Piece: Symphony No. 4

Part: 1st Trumpet in C
Excerpt 59.1 is written for “C” trumpet.
Measures: 141-157
Tempo: n/a
This is a very will known and important work in the wind band repertoire. Strive to play exactly what Maslanka has
written on the page.
Note: This part is written for C trumpet.
187
Excerpt 59.2
Symphony Number 4
'%& ('%& '% % % %( % % % % % %(% % ('% (% (% % %
! ! ! ! ! !
!
#" $ ( (%
!!

It is important to understand
Composer: that Excerpt 59.2 is not the melody.
David Maslanka
Measures: 286-288
Tempo: n/a
Be accurate and listen to the ensemble. You are not the melody.
Excerpt 59.3
Symphony Number 4
% % 1. only %
#$# #& ' !
$ # $ #$ # " $ # $#$ # " $ # $ #$ # "
(mute)
! " # # # # # #
## # # # # # #
!" #
dim. grad.

See Excerpt 25.4.
Measures: 301-304
Tempo: n/a
Excerpt 59.4
Symphony Number 4
#" " " " " " "

mute
#" " " " " " " #" " " " "%
! $ $ $
" #" #"

Excerpt 59.4
Part: is written
Piccolo Trumpetfor “Bb”
in Bb piccolo trumpet.
Measures: 370-371
Tempo: n/a
Notice that the part changes to Piccolo trumpet in B!. Be ready!

188
Excerpt 59.5
Symphony Number 4
$# # # # # $# # # # # $# # # # # ## ####
' &! &!
mute
'%
! " %" & ( ) %" "
!"
############### #
( ( & # % (
!
$# # # #
! ( & " "
!"

See Excerpt 59.4.David Maslanka
Composer:
Part: Piccolo Trumpet in Bb
Measures: 383-393
Tempo: n/a
Practice measure 390 about a hundred times. Put a metronome on the 8th note subdivision and make sure you are
accurate. Practice this at all tempos. Maslanka always seems to be faster than you think.
Excerpt 59.6
Symphony Number 4
(' ! () ) (
( (
* ' (' ) '
) ) ) )
"#$ "#$
# !" $
+&, , +&, $
open
% &
sim. ' ! ) ) ) ) ' ' ) )

!!
' ') ' ' ' ' '
"#$ " " %#&
+ & , % , & +
# &
'! ' ' '!
"#$
) ) * ' '
+ & , % +
# % $ % &
' ' ' '! ) '' ' - ' (' '

# + + + +&, % % , +&, % $

ExcerptPart:
59.6Piccolo
is written
Trumpetfor “Bb”
in Bb piccolo trumpet. Practice this excerpt down an octave to learn the
intervals.
Measures: 407-420
Tempo: n/a
This is a very high and sustained passage. Practice it down an octave to create a musical line and to hear the macro
rhythms.
189
Excerpt 59.7
Symphony Number 4
Tempo Moderato David Maslanka
%$ ! $!
%$ ! %
& '
!
#"
"" "! ( ) * *
!!

PracticeComposer:
ExcerptDavid
59.7Maslanka
with a tuner.
Measures: 497-501
Tempo: n/a
Intonation with yourself and with the band is key in measure 499.
Excerpt 59.8
Symphony Number 4
Tempo Moderato David Maslanka
'&! &
& &( & (& & ! & * ! % % #
'
1, 2 mute
! "! % & &(&(&(& ) , * % % ""
(a2)
$" % ) " + +
' ' '('& '' ' '
!! !!
!" & , , & &- * * &- "" & , , & * /& ! & "! &! & & !! & "" &! &10 !
'
$ "" "!
all open
+ )
. .
&! & /& ! & &! & & ! & &! & & ! & " &! & 0 !
!!
! &
$" . . . " . * % 2

ExcerptPart:
59.81stisTrumpet
writtenin for
C “C” trumpet.
Measures: 573-588
Tempo: n/a

Note: You are back to C trumpet.
190
Excerpt 59.9
Symphony Number 4
''''''' '''' ' ' ' ' '+

' ' ' ' & (& (& & ,!&
3. !!
% ( && & & && "" *%&*& ! ' ' '
& & (& & (& & )&
# "! $ ! (&
$
& (& &
)& & & &(& &
' ' '(& &
1. only
& & & &&& & - & &* &*& $ & ,

# & .
See Excerpt
Piece: 37.4.
Symphony No. 4
Measures: 611-615
Tempo: n/a
The first player will play the stems up part. If you are the first player you will still want to play the solo part at the
end of bar 12.
Excerpt 59.10
Symphony Number 4
' ' ' ', - ' ' ' ' ', ! ' '
$ " % (&)& * &+ % &)& * & #" & )& * &+ % "! )&)& * & % & & * &+ % )& & % &)& * &+ % ""
!
hand mute
!!
0 0
%!
' '
$ "" )& )& * & % &. * &+ % & * * &
a2
/ * & & &1&
1, 2
&- 2
) &- ' 1 & ' ( & 1 & &
!! '
$ / "! * & & 1& '& 1& & (& 2 %!
' &
See Excerpt 46.4. No. 4
Piece: Symphony
Measures: 628-636
Tempo: n/a
Practice this passage with a metronome and accents using only one pitch. When this is solid, play the written pitches.
When that is solid, place your hand over the bell for the "hand mute".
191
Excerpt 59.11
Symphony Number 4
+%' +%'
& & +% +% +% + +% / +%' +%
1. mute
! )% '
(% * *(+% )% ( % + %' * , * "
# ! $ (% ' * , - - $ % $
( % .% .% !
' +' +
!!
+
+ +
" ( % % % ( %
0 % % .% * % %
% (% % .% %
a2
#!
+ +
+ +
Piece: Symphony No. 4 "!#
See Excerpt 37.4.
Measures: 641-645
Tempo: n/a
Excerpt 59.12
Symphony Number 4
&% ! # &% !! #
!
1, 2 a2 soli
! ' ( %% %% ' % '*) % % ' ( %%% ! % ' ( %% %%' % ') %
$" % % + " & % & %*% % " & % & + "
& & &% &%
!!
&% !! & %&% %% ( %&% !! %&% %

&% %
*%% (% % &
, %&%%%
, % , , &, % % ,
$ #" % ' %
!%'
" '% ' + % ' '% ' + %' '% ' ""
&% & *%
-, &% %-,
-, % % , % , *% % %-, -, & &% , *&% , ( &% %
% ' % *% . /! (% ' % %*% *%)%*% %0 / ! %, ' *% *% . /!
& -
$ ""
&% &% &% - - & & &
% *% . /! ' )% %*% . / ! ' % %*% . /! 1
& & &
$ ' % %, ' % %*% %*% %*% %
open
%,
%-, -, & &% - - & *&% ( %&% %% %%
( % ' % *% *%)%*&% % %, ' %*% % *% % . /! / *%)% %*%
&
2
$ % *%)%
%,
See Excerpt 37.4. in C
Part: 1st Trumpet
Measures: 672-688
Tempo: n/a
See the earlier excerpts.

192
Excerpt 59.13
Symphony Number 4
! & % %'% %(&% !(&%(%(%(%(% %) ! & (% % % ! , (% % %(% ! & (% % %(%(% % % "

#! %$ ' )* * +%% ** % % ) * %% !
&
!
- % % &% &% &% ! &% &% &% &% &% &% &% &% &% &%
!! " "
"
& &
" !! /! & & &% &/ / %*
#!
. .
!" %% .
!! !!# !! $
&% % % % % ! &% % % % % &% % % % % ! % % * ! * % % % % + $ % % % % %) * !

# )* * +$ )* 0 0 % % % ) %
&
!!
# * % %
% % % + $ % % % % %) * ! * % % % % % + $ % % % %
&% % & &

# ) *! % % % % % *!
% , % % % *! % % % % % *! % % % % % *!
& ) ) )

Excerpt 59.13 consists of scales. Recognize the patterns and do not be intimidated.
Measures: 795-815
Tempo: n/a
See the earlier excerpts.
Excerpt 59.14
Symphony Number 4
#" #" #" #$

Picc. Tpt.
$! " #" #" #" #$ #" #" #" #$
% & '
!
" #" #$ #$ ! $!
!! " " "
" #" #" #" #" $! $ "

! % & % &
"

Excerpt 59.14 isDavid
Composer: written for “Bb” piccolo trumpet.
Maslanka
Measures: 829-839
Tempo: n/a
Notice that the part has returned to Piccolo trumpet in B#. Practice this down an octave to hear the part. When playing
the part listen carefully to the unisons with the piccolo flute, you must be in tune!
193
Soundings (60)
Excerpt 60.1
Soundings: Fanfare
Dotted Quarter note = 76 Cindy McTee
' ' ' ' ' ' # (! + '! '

% " & ! & ''''
! $ $$ ' & ) !" ' ' ' ' ' ' $$ '* (
!! !!
( ( ( ,$ !" ' '' ' ' ' $# ' ' ' "# ' ' ' $$ ' ''' ( ,$
% ) -
!!! !
% ,$ - !" ' ' ' ' ' .' $# ' ' ' "# .' ' ' !" ' ' ' ' ' ' $#
' '
% $# ' "# .' ' ' $# ( &
Practice Excerpt
Piece: 60.1I. with
Soundings: Fanfarea metronome on the eighth note pulse.
Composer: Cindy McTee
Part: Bb Trumpet 1
Measures: 24-44
Tempo: "# = 76
Excerpt 60.2
Watch out
Soundings: for the mixed meter. The 8th note will stay the same so practice this passage with a metronome on the
Gizmo
1st trumpet
8th note
in pulse.
Bb, measures 128 – 138
Quarter note = 152 Cindy McTee
$( $ * )
!
" ! # %$ $ & ' ' %$ $ & # # %$ $ & # $ $ & ( $ ( $ $ ( $ ( $ $
! "! !
" + # $ $ & # %$ $ & + # %$ $ & # $$&
($ $ $ ( $ * $ $ ($ $ $ ( $ ( ) $
( $ ( $ $ ( $ $ $ $ $ , & , & # '
"
"! !!
Piece: Soundings: II. Gizmo

The sixteenth
Composer:note
Cindypassages
McTee in Excerpt 60.2 are “Ab” major scales.
Part: Bb Trumpet 1
Measures: 128-138
Tempo: $ = 152
Work out the scales in measures 131 and 136. The runs are pretty much A# major scales. Keep it simple.
194
Excerpt 60.3
Soundings: Gizmo
' %$ %$ $ ' $!%"$ "" ' $%$%$

$ %$ )
# "! %$& ' ( &
( *
! "
!
# (
+$ $ ' ( $ $ ' !" $ ' ( $ $ ' $ $ $ ' $ $ "" ' %$%$ $%) (
& &
! "
The Piece:
triplets in Excerpt
Soundings: 60.3 are chromatic scales.
II. Gizmo
Part: Bb Trumpet 1
Measures: 155-165
Tempo: # = 152
Watch out for placements of every note. Be precise. Also, don't worry about the triplets they are only chromatic.
Excerpt 60.4
Soundings: Waves
!)"% *% ( &% &% % % % %+ &% &%

#$%
&% &%
# "! $ % % ( ' &%(
Cup Mute
$ ' &% ' %
!" "
% *, ,# % $ $
#
'
Piece: Soundings: III. Waves

Excerpt 60.4 is Cindy
Composer: very McTee
slow. Subdivide this excerpt to ensure accurate time.
Part: Bb Trumpet 1
Measures: 201-208
Tempo: & = 48
This solo is very slow. Be sure that you subdivide so that you move at the correct time. This is very hard to do at a
slow tempo.
195
Excerpt 60.5
Soundings: Waves
# # # # $# $#
#$%
# # $# $# % & # '# % #& $# $# % $#&

(Straight Mute)
! " " $# (
!" "
!
# ') )! # " "
'
See Excerpt 60.4.

Piece: Soundings: III. Waves
Part: Bb Trumpet 1
Measures: 231-238
Tempo: & = 48
Excerpt
See the60.6
previous excerpt.
Soundings: Transmission
" !! !$"# # # # # % # '

&# # # # ##%## ' # # # ##%## ' # # # ##%## '

decresc. "#
Piece: Soundings: IV. Transmission

In Excerpt 60.6, be
Composer: careful
Cindy McTeeto observe the rest on beat three of each measure.
Part: Bb Trumpet 1
Measures: 297-300
Tempo: ! = 144
ExcerptSee60.7
the earlier excerpts.
'" $" &" " &"

! " # " " # $"% " &" ( " # " " $" " &"
!"#
"
!
" " " " ) ) "

! " " % # ( *
See Excerpt 38.1.

Part: Bb Trumpet 1
Measures: 394-400
Tempo: $ = 144
See similar excerpts earlier in this work.

196
Excerpt 60.8
$ $ $ $$&
& ' $ $$& $ !&
"#$
# %$ %$ $ $ $ ""
( %$ $ $ )$ $ $ %$ "
!! !
%$ , $%$ $ & ,
"$ )$ $)$ $ $ -$ ' %$%$%$ $ $
%&
"#$
#" + ( ' ,
$%$ ' , *
"
!! ! !!

See Excerpt 38.1.
Part: Bb Trumpet 1
Measures: 409-418
Tempo: % = 144
See similar excerpts that are earlier in this work.

Excerpt 60.9
$ %$ $ ' , $ %$ $ $ '
$%'
#$%
" !! # %$& %$ %$ $ ( #
""

See Excerpt 38.1.
Part: Bb Trumpet 1
Measures: 435-437
Tempo: ! = 144

Excerpt 60.10
%$
%$ $ &$ '$ $ '$ ( $ $ %$ $&$&) $ $

"! &$ ) "" $ %$ $ %$ $ $ % $ '$
"#$
#
!!
,!
&$ $ )
# * + ( * + ( (
See Excerpt 38.1.

Part: Bb Trumpet 1
Measures: 483-488
Tempo: % = 144

197
Suite Française (61)
Excerpt 61.1
Suite Française: Normandie
1st trumpet in Bb, measures 1 - 9
Dotted Quarter note = 144 Darius Milhaud
$! $ % $ $ $ $ $ $ $ % $ $ $ $
Animé !" = 144
! % % $$
5
$
a2
# " $ $ $& $ & $ $& $ $ $ & $& $ & & & $ & &
#
! $ ( )! $ ( )!
10
# ' ) ( $ ( ) ( $ ( ) ( $!
*$ ! a2* *!
15
$! $! $ $& $ $ *$$ !! $$ ! % % a2
$$ $& $$ ! $ $!
div.
$ $ $ $
div.
$ )
# & & & &
Piece: Suite Francaise: I. Normandie
PracticeComposer:
ExcerptDarius
61.1Milhaud
lightly and with a lilt.
Part: Solo and 1st Bb Cornet
Measures: 1-19
Tempo: !" = 144
This is a lightly played melody with a lot of bounce. Milhaud explores a lot of jazz harmonies so do not be afraid to
let the 6 swing a little bit. Like always, this will be subject to the conductor.
8
Excerpt 61.2
Suite Française: Ile de France
Half note = 112 Darius Milhaud
'% '% % % '% '% '% % % '% ' ' '

5
"! # $ %%% % %% %%%% % %%%%%%%

a2
& '
!
'
" % % % (
'
Piece: Suite Francaise: III. Ile de France
In Excerpt 61.2, emphasize
Composer: the hemiola by exaggerating the written accents.
Darius Milhaud
Measures: 2-7
Tempo: Vif " = 112
Notice the odd placement of the accents. Really stress the meter that is suggested by the accents. This will displace
the beat and create a neat effect.
198
Excerpt 61.3
35
# %$ $ $ %$ $ $ $ $ $ %$ $ $ $ $ %$ $ $ $ $ $ $ #
Mute Solo
! "
!$

Use a fiber mute in
Composer: Excerpt
Darius Milhaud61.3.
Measures: 32-36
Tempo: Vif # = 112
Play a beautiful melody with this solo. However, do not drag. Notice the tempo. I use a trumcor lyric mute to create
a nice mellow !".
Excerpt 61.4
# ' '$
70
'
Cornet 1. Open
# $$ $ $ $ $$ $ $ $$$$ $ $ $ $$ $ $ $$$$ $ $$$$

Mute Solo
! " " %&

!
'$ '$ $ $ %$ ( ' ' ' '$

75
$ $ $
a2
! $ $ $ $ $ $ $ $ $ $ $ $ $ $ $ $
' !!
'$
$ $ $ $ $ $ $ $ $ $ $ $ $ $
! $ $ $ $ $ $ $

See Excerpt 61.3.
Composer: Darius Milhaud
Measures: 66-79
Tempo: Vif " = 112
See the previous two excerpts.

199
Excerpt 61.5
Suite Française: Alsace Lorraine
! %$ %$ $ $ &$ $
25 Solo mute 30
$ $ &$ $ $ $ &$ $ $ $ ' $ &$
#"
!! Cornet 1.
* ) $! $ &$ %$
35
$ $+ $ &$ &$ $ $ &$ &$ $ $! $ &$

Open
$ &$ $ $ $
# ( )
Piece: Suite Francaise: IV. Alsace - Lorraine
Composer: Darius Milhaud
See Excerpt
Part: 61.3.
Solo and 1st Bb Cornet
Measures: 25-36
Tempo: Lent "# = 58-60
See the previous three excerpts.
Excerpt 61.6
%$ $! $ $ $
# $ $ $ %$ $ $
Open Solo
! " $
$%

In Excerpt 61.6, execute
Composer: the sextuplet by aiming for the downbeat of measure 47.
Darius Milhaud
Measures: 46-48
Tempo: Lent "# = 58-60
In this solo, aim for the down beat of measure 47. Try to play the sextuplet in time, however, if it is not quite perfect
make sure the F! is solidly on the downbeat.
200
Excerpt 61.7
#" " " " " "$" " "$" " "$" " " "! " "$"$" "
70 75
! $" " "$" " " " % &
!
! "#
"! "$" #" "$"$" " "! "$" $"" !$"""'" ! " !! "
80
! "" $#"" " $%

85
! " " $" $$"
"
$$"" $" " $ " $"# $ %# $$"" $" "
# ##
" " ! " "$" " $" " ! " "$" "
$$""$$"" ! "
$
90
$" $" "
a2
! $$""$$""$ " $$""#$$""# $$"% "$"$" "$"
$ %% $$"" $""
$"(#"" ($"" $"" $$"" $""
100
$$%%
95
! $$"" $$"" $"" $"" $""
$%% %% $$'%%
105
" $"
! $$%% $"" $$"" "" $"" $$"" $"" $$"" $"" $" $ "

In Excerpt 61.7, subdivide
Composer: using the eighth note as the pulse.
Darius Milhaud
Measures: 68-109
Tempo: Lent $% = 58-60
This is 61.8
Excerpt another very beautiful, slow section. Constantly subdivide to the 8th to be rhythmically accurate. Often times,
slowFrançaise:
Suite passagesAlsace
are not rhythmically accurate.
Provence
Quarter note = 138 Darius Milhaud
# !$#$# # % $# $# #"&##$# # ! # # $#$# # #$# '

50
" ! $#$# # # #$# #$# # # #

!"
Piece: Suite Francaise: V. Provence

See Excerpt Composer:
38.1. Darius Milhaud
Measures: 50-53
Tempo: Animé # = 138
This is a very up tempo and technical excerpt. Learn the notes and be accurate.
201
Excerpt 61.9
Suite Française: Alsace Provence
Quarter note = 138 Darius Milhaud
# $# # # $# #
# # #%# # #&# # # # # # # # #%# # #! #%#
80
! " ' '
!!
()))))) * 85
! # #%# # #
# ##### %# ! # # # # ! # # %# # # # +! #
, ,
! %+ + - # " .
Piece: Suite Francaise: V. Provence

See Excerpt 38.1.Darius Milhaud
Composer:
Measures: 77-89
Tempo: Animé " = 138
Passacaglia (62)
Excerpt 62.1
Passacaglia
Quarter note = 64 Ron Nelson
% &% %
$ &% % '% (%(% % % % % )% %&% %(%(% % )'% &% '% '%
60
# "! $!
! #!
Practice Piece: Passacaglia

musicality by singing and conducting Excerpt 62.1.
Composer: Ron Nelson
Part: Bb Trumpet 1
Measures: 60-65
Tempo: " = 64
This is a very slow and lyrical melody. Be sure to sound fluid and musical. Do not fore the volume or the tone may
become too stident. Think beauty and musical line.
202
Excerpt 62.2
Passacaglia
#" &"% "% #" ! "%&"% "*#"( )! ) $ " #"( )! $ "% "% "% ) ! "+ &"," ) '
% %#
$&" " $
140
! $ ' ( ) $ ( % #%
!
#"&"% *#"& "% *"% #" "% #" Open

*#" ,#"*"% ( )! ' '
#","% ,#"&"% #" #"*#"
! $ ' ) ' " $ " " ) ) ' $ ) ) & " ," $
# #% % %
!!
Use a metronome to correctly learn Excerpt 62.2. Pay close attention to all articulation markings.
Piece: Passacaglia
Part: Bb Trumpet 1
Measures: 137-145
Tempo: " = 74
Subdivide!
Excerpt 62.3 Practice at half tempo and learn the excerpt with the accents incorporated from the beginning. Get a score
and recording to see how this part fits in with the rest of the group and the rest of the piece.
Passacaglia
#$# # # # # # # # # # # #" &" ' ' #$# # # # # # # # # # # #" &" ' '
"" "" "" "" "" "" "" "" "" "" "" "" "" "" "" "" "" "" "" "" "" "" "" ""
!!!!!!!!!!!!! % !!!!!!!!!!!! %
!"
#$# # # # # # # # # # # #" &" ' ' #$# # # # # # # # # # # #" & " ' '
"" "" "" "" "" "" "" "" "" "" "" "" 180 "" "" "" "" "" "" "" "" "" "" "" ""
!!!!!!!!!!!!! % !!!!!!!!!!!! %
#"" (#"" )#"" $#"" #"" (#"" )#"" #"" #"" (#"" )#"" #"" #" & " ' '
! ! ! ! ! ! ! ! )!#)!# ! ! % &" ' '
#"" (#"" )#"" $#"" #"" (#"" )#"" #"" "" "" #"" )#"" (#"
! !!!!!!!!!!! %
!
(#"" )#"" $#"" (#"" )#"" #"" (#"" )#"" #"" (#"" )#"" $#"" (#" " (#"" #"" (#"" )#"" (#"" )#"" #"" (#"" #"" )#"" (#"" )#""
!! ! ! ! ! ! ! ! ! ! ! ! % & ' ! ! ! ! ! ! ! ! ! ! ! !
'
(#" &" ' (#"" #"" (#"" )#"" (#"" )#"" #"" (#"" #"" )#"" (#"" )#"" (#" & " '
! ! ! ! ! ! ! ! ! ! ! ! %
190
! % ' '
Practice Excerpt
Piece: 62.3 single-tongued and double-tongued.
Passacaglia
Part: Bb Trumpet 1
Measures: 175-192
Tempo: # = 74
Practice this passage without the double tonguing first. This excerpt is only !" and should be approached as though you
are joining something already in progress with each entrance.
203
Excerpt 62.4
Passacaglia
,& (' & '

' & ' ' ,& )& ' &+ &+
! & "# '
,& '
&
$" % *
!!
)' !
210
& ,, ,& ,& )& )& ' & ++++ ++++ ++++ ++++ ++++ ' !
' & * & & & .&
$ - " " " " "&
'/ ! '! '! '!

0
220 Optional Fermata
' '! &

$ & - * % %
Cresc. To Maximum!
Piece:62.4,
In Excerpt Passacaglia
do not play louder than forte or it will overpower the ensemble.
Part: Bb Trumpet 1
Measures: 201-222
Tempo: # = 74
This is the climax of the piece. Pace yourself! You may wat to try C trumpet or E" trumpet to help with projection and
register. When you crescendo to maximum do not overblow! Play as loud as you can comfortably play but do not let
the sound begin to break up or spread.
Rocky Point Holiday (63)
Excerpt 63.1
Rocky Point Holiday
Allegro Vivace Ron Nelson
' &% ' &% &% &% ' &%

'% % '% % '&% &% &% &% '&% ) $
# !" $ (
"" heavy
Piece: Rocky Point Holiday

In Excerpt 63.1, be prepared for the first two measures.
Measures: 1-5
Tempo: Allegro vivace
This is the opening of the piece, so be ready for the E! right away! The tempo usually necessitates double-tonguing
the 16th notes. Practice double-tonguing five-note scalar patterns above the staff.
204
Excerpt 63.2
Rocky Point Holiday
2
$ # # ' &# #
(muted)
# # # &# &# # &# # # # # '#

Tutti detached
%
! " # # # # # # # # " (
!"# $" cresc. sub. $" "
&# # # # # # &# # # &# # # " # )

3
! # &# # # # # # # # #( " # (
!"#

In Excerpt 63.2, follow the dynamics closely.
Measures: 25-39
Play the dynamics exactly. The sub. $" in the 5th measure is a change of the "feel". It should be lighter and more
dance-like.
Excerpt 63.3
Rocky Point Holiday
&
6
& %# %'# $ $%$# %'# ' %$# $#%$# %$#%$# %$# %$#%$#
" "
! %# #%# %#' #' %# # %#' " %## %# " ( ( ( %#%#
$ $ $ $ $ $ ( $$
!" "
$ $ $
" %#& # %# %'# %#'
7
*) +* " & %# %# " %#( # %#
(open)
! %#& " , - %$# $# $ ' %#'

$ $ $ $
"
%'# ' $ $ %$# % # %$# $# %$# % #( %$# $# %$# % #(

! %# " %#( # ( " , - " ( " , " ( " ,
""

In Excerpt 63.3, play the tenuto quarter notes full value.
Measures: 73-96
Do not cheat the tenuto quarter notes. These notes are full value and cannot be rushed. Use a metronome and be
vigilant about not crunching rhythms. Playing the 8th notes a bit longer will help this issue.
205
Excerpt 63.4
Rocky Point Holiday
13
( (
12
# $# %# &$# '# ( ( # # # # # * ,
(mute)
"
! # # " ) %# # )
+
!" !" #"$
&*# # ' # #! # &# ! # $# & # # &*# &*# # &*# &*# * * (open)

14
# #
! - # + + ) + &# # , ) "
&*#
# &# &# # ! &# &# # # &# &$#

""
"
* * fanfare * *
! - ./ $# &$# '*# *#&*#&# 0/ ( ( 15#quasi
+
"" "
*
*# *# ( # *# # # # *# ( ( # *# *# *# *# *# *# *# #
! + ) "

In Excerpt 63.4, practice the rapid mute changes.
Measures: 154-194
Excerpt 63.5a number of fast mute changes in this piece. Practice them! Practice playing the excerpts with one hand
There are
Rocky Point Holiday
stholding the mute in you bell (worst-case scenario). The lines should soar above the band. Exaggerate the swells. Do
1 trumpet in Bb, measures 219 – 229
not getVivace
Allegro too lound too soon. At 2 after 14 the notes become more pointed and separated. Ron Nelson
%$ %$ %$ &%$
(mute) * %$ ! $' & $' %$ $ $ & $' %$ (open)
# !" ( ( ) * +
!
%$ %$ %$ &%$ %$ ! % $ $ %$
20
- &$ $ $
19
$ ( ) *
# , (
"!!# !
* May be played 8va bassa

See Excerpt 63.4.
Measures: 219-229
This is an interjection from the trumpet section in octaves. Bring out the accents. Practice the mute change! With
metronome.
206
Excerpt 63.6
Rocky Point Holiday
%(% % % % % % ' ' "! ' ) #" '

Solo (muted)
$ % %& ' % % % % % '

& "#
!
$ ' ' % % % %+ %% % . / ) % % -%
* *, , -,%
$!%
,% ,% !
, , , ,%
, ,% -,% ,% ! ,% -,% ,% ,% # ,%*
$ % % "/ * " / )
%
,% , ,% ,% %, ,% -,% ,
Use a loud
Piece:metal muteHoliday
Rocky Point in Excerpt 63.6.
Measures: 242-265
Excerpt 63.7
Rocky Point Holiday
1stThough
trumpet this is measures
in Bb, a more lyrical solo a metal mute is still recommended. In bar 16 of the excerpt the character shifts and
339 – 367
the notes should
Allegro Vivace be shorter and more articulated. Ron Nelson
'
$ * * &$ $ &$ &$ $ $&$&$ $,( !
% %$ &$ + '
" ! # $ &$
(open)
&$ $ ( $ # -
% ' ) ) ''
!! !
&$ ! $&$. &'$ &$ ( ",#(

'$
* /$ ! $ $ /( ! $! $
30
&$
Brassy
&$ * $)
" # # $ $ $ &$ )
"! #!$ "!
''''
'$ ! ' '$ '$ &( ! , $ '(
!
' '&'$ 0 ( ' ' 1 ''

" &$ $ * $$ * $ $ $* $$$$#
) ) ' ''
!!% !
23 &%( !
marc.
%(
1 * # $ '$ ! $ $ '$ * # 0% 33 0 %( %(
(
34
rit. poco a poco
" $ ) ( (%
!! 5
&$ '
$ '$ '$ '$
$ $
" 34 $ $ $ $ $6 7 * $ $ $ $6 7 * $ $ $ $ $ $ $ $6 7 * $ $ $ $ $6 7 * # * )
'$
1
" 6 7* # $ $ $ $ $ * # #
'''' '
To help endurance, practice all sustained notes with an sfz at the beginning of them.
Measures: 339-367
This is a long blow, be careful that you do not overplay the band. The interjection two before 30 is very aggressive.
From the "rit. poco a poco" try to stagger, do not lose energy in the sustains. Practice the last 6 measures slowly and
207
Fiesta Del Pacifico (64)
Excerpt 64.1
Fiesta Del Pacifico
Quarter note = 138 Roger Nixon
' &% &% &% &% &% ' &% &% &% &% &% &% ' &% ( % '% &%'% %(% % '&% &% & '&% &% '&%
Tutti
"
40 senza
!
#" $
sord.
'%
"
!! dehors
'&% &% '&% '&% &% '&% (2+3) +, + 50 + +

# * % % % % % '%- % % %, % % %, "! . !
)
.! .!
& & & & & & & &
$ sub. !!
Piece: Fiesta del Pacifico
Composer: Roger Nixon
In Excerpt 64.1, emphasize the quarter notes in the five-eight measures.
Part: 1st Bb Cornet
Measures: 40-54
Tempo: Allegro (# = 138)
Fiesto del Pacifico is written with a southwestern/Latin American feel. Play this with that in mind. Emphasize the
quarter notes in the 5 measures and play the eighth notes on beat 5 as pickups to the next measure. Bar 41 is
Excerpt 64.2 8
Fiestatutti
Del Pacifico
so don't play too loud.
st
( ) '& '&) '& & & ) + )

'& ' & !
( (
! $ % '& '&) '& '& '& & &'&) % % '&
con sordino
#" $ % '& '& & % $ $

* * *
! " # ! ! " # !
/
180
/ / / +
' &' &&&'&' & & &&& ' &'&' &' &&&& & '&' &&&' &' & $ , -. ..
0 0 0 "!
(3+2) (3+2+3)
# ) ) ) ) "
# # # # ""
cresc.
34& & &/ & & & 4&) 3 & & &/ & & & 4&) 3 & &5&/ & & & 4&) + 36
190
!
#" % & & & & .1 & &! & 2. 6!
(2+3+2)
"!
# # # "! sub.
""
! 34& & &/ &&& 4&) 3 & & &/ &&& 4&) 3 & &5&/ &&& 4&) + 36 -. &! & &! & (2+3)& &!
#" % & & & &
(3+2)
# # # "! sub. ""

""

Excerpt Composer:
64.2 is inRoger
a Latin
Nixonstyle. In this style, play the marcatos extremely short.
Part: 1st Bb Cornet
Measures: 175-198
Tempo: Allegro ($ = 138)
Measures 175 through 182 in this excerpt are little flourishes that ornament the melody. Have fun with these and
play them in the approprate style. The articulations will help you with the style. Use a loud, metal mute.
208
Excerpt 64.3
Fiesta Del Pacifico
! &% % &% $ & %& % % % % % ' $ & %& % % % % % ' $ &%& % ' $ % %
Solo-con sordino
# " $ &% ' $ % ' $ & % '

!!
$ & %& % % % % % ' $ &%& % % % % % ' $ & %& % ' $ % % ' $ & %&% '
320
# ' $ & %& % '

!
&% % % % % % ' $ &% % % % % % ' $ & %& % ' $ % % $ & % % % % % % ' ' $ & %& % '
# $
(con sordino)
% % % &% % &% % %%%%% % %%%%%

$ &% % % ' $&&%%& % ' $ %% % ' $&&%%& % ' $ & %& % % % % % ' $ & %& % % % % % '
Tutti divisi 330
#
"!
(
# ' ' %% &%% %% % $ &% &%% % %% % %%&)%% %% % % &% &%%&)%% %% %% %% %% %% %%&&%% %% %%
&% & % % % % &% & %
(
# $ &&%% &%% %% %% %% %%&)%% %% %% &%% &&%% &%%&)%% %% %% %% %% %% %% &&%% %% %%
"$

Composer: Roger Nixon
Though the1stmuted
Part: solo is written
Bb Cornet pp, play the solo with a metal mute.
Measures: 311-335
Tempo: Allegro (# = 138)
Subdivide this excerpt. The solo starting in bar 311 can be a bit louder than pp. Use the slurs to group the notes
and keep a constant eighth note subdivision in your head.
209
Excerpt 64.4
Fiesta Del Pacifico
&'! % %% '! '! * % % +' ! '! '!

' )
&(% (% (% &('
380 , !
!
# " $ $ &%
! cantabile sempre !
'! '! '! '! '!

3 555
390
" - . / 0
# *1%2 1% %1% %%% % %%%1%4 % % % *1%1% %1% %%%

# # #
" !! "
%3 % % %1%4 %5 %5 %5 * % 1%4 % %4 % 1%4 % %4 % %4 % %4 % % %1%4 % %3 % % %

# 6
# "" sub. # # cresc.
!!
4 % %3 % % % %4 %5 +7' ! '! '! %

accel. 400
# 1% 6 * $ $
# !" !!
In Excerpt 64.4,
Piece: Fiestause
del crescendos
Pacifico to keep the music moving forward. Especially in measures 381 through
389. Composer: Roger Nixon
Part: 1st Bb Cornet
Measures: 374-400
Tempo: Allegro ($ = 138)
This is the end of Fiesta del Pacifico. Create an exciting ending by observing and exaggerating all dynamics
and articulations.
American Child (65)
Excerpt 65.1
American Child
Half note = 56 Carter Pann
metal straight mute
( *% ,
poco rit. a tempo poco rit. (freely)
%% ( % ( (
$ % % "! & ( () * )( * #" *
easily %
) ( %( ( ( +
%
' (( ( ' & &
% &&
#$ #&
Piece: American Child

See Excerpt 46.4.Carter Pann
Composer:
Part: Trumpet 1 (Bb)
Measures: 23-26
Tempo: " = 56
This excerpt requires a great deal of attention to rhythm. Pick a comfortable note, I suggest A! - which is the key
signature, and practice playing only the rhythms with a metronome. Use the eight-note triplet to subdivide the
quarter-note triplets. When the rhythm is solid, practice playing the excerpt in a very light and lyrical manner.
210
Excerpt 65.2
American Child
$' ' ! ,
allarg.
( , .
$$
# $ $ "! % & )' ' +')')'+'+, * -
* poco
"# ## $ sub.

See Excerpt 46.4.
Composer: Carter Pann
Measures: 37-39
Tempo: ! = 56
Practice this excerpt much like the previous one. Note that the thirty-second notes in measure 37 are not
chromatic. Also, pay close attention to the dynamics in bar 38.
Excerpt 65.3
American Child
)(' '!' )' (' $)' ' " ' ' ' ' ' '
' ' '" $' ' " ' ('
! ( ( $
$$ * * ' '
# $ $ "! %
""
a tempo non rit.
''
& (
! !, not !! "
$$$ ' ' ' ' ' ' ' ' '''' ! (' ) '"
$ '!' ' "+ , , ""
# +&
#! $ non cresc.
)
' '
C a tempo
$ ' $$ "! ,
poco rit.
# $ $$ "" - . ' ' , ,

! $ non cresc.

See Excerpt 46.4.
Measures: 50-58
Tempo: % = 56
This is a tricky excerpt! Practice it, once again, like the first excerpt. Use a metronome and keep the quarter note,
or eighth note, as the pulse. Also, practice the grace notes both before the beat and on the beat. The conductor may
ask for either so be prepared.
211
Excerpt 65.4
American Child
Quarter note = 144 Carter Pann
)' ) )' ) )' )( )'( )( (

( ( ( ( ( ( ( ( (! ( (! ( (!
poch. allarg.
$!
#
# $ " % &' ( & ( &'

((
(
' '
!", not " non cresc. " ""
" )'( )'(

Epochal (poco meno mosso)
" )'( " )'( ( " )'( )'( ( ( ( (
$
((
(( ( " )'( "
( ("(
)'( (( (( "
#$ % (( (( ((
"" sost.
)(+ )+ )+ )+ )( )( )( )&
( ( ( )(+ )(+ & & &
$
'
#$ ( ( *" % ,
(
' ' " ' %"&
"""

Composer:
See Excerpt Carter Pann
46.4.
Measures: 69-84
Tempo: $ = 144
This is a very bold and boisterous excerpt. Go for it! Make sure you keep your air moving and maintain a musical
line at all times. Practice this excerpt down an octave and play it as a ballad. When this is comfortable, strengthen
your attacks and increase the volume.
Excerpt 65.5
American Child
)!
solo tone mute
$
# $ "! % & '( '
lontano
""

In Excerpt
Part:65.5, use1 a(Bb)
Trumpet solo-tone mute. Do not use a straight mute.
Measures: 108-109
Tempo: ! = 76
This excerpt is included so that you are not caught off gaurd. This is a very difficult entrance which requires very
good response. Practice whispa-tones and breath attacks.
Note: I also recommend using a trumcor stealth or lyric mute.
212
Concerto Logic for Piano and Wind Ensemble (66)
Excerpt 66.1
Concerto Logic for Piano and Wind Ensemble: Dogs and Jackals
'(' ) ' ! ('+*

Spring-loaded ! = 176
% "$#' $'
sinister (same tempo)
!
# $" % % & , % ' (' ' $' ' $' ' )' ('
(open)
)f.t.' ! ('+*
"" #
)' "
# $ (' )' " )' ' '
' -! '+ '+ & ! %
" % & '( ' $ , %
# $" ""
Piece: Concerto Logic, Piano and Wind Symphony: I. Dogs and Jackals (C-minor Fantasy)
In Excerpt 66.1, dynamic contrast will create the effect.
Part: Trumpet 1 in Bb
Measures: 1-11
Tempo: Spring-loaded ! = 176
Play this excerpt with great intesity. I would play the piano dynamic as a very serious whisper to create the "sinister"
effect. In measures 10 and 11, practice the entire lick flutter tongued. As it becomes more comfortable, only flutter
the B.
Excerpt 66.2
'& !&( &( ' ( ( " '& !&(&( ' ( ( " ( &($&( &( &( &( &(&( &( &( &( &(
& !& & ! & ! && ! )
G Majestic ! = 138
&
# $ !! % ) !! % & &
&( &( & & ( (
((
&
% % & &
" joyous % % #$
In Excerpt 66.2, carefully
Part: Trumpet 1 in Bb observe all articulations.
Measures: 120-124
Tempo: Majestic ! = 138
Pay close attention to the articulation markings. I prefer to double tongue the sextuplets in measure 124.
213
Excerpt 66.3
I Harder Rock ! = 88, bone-chilling
'"
! &
$ $ &$
shake
$ $ &$ $
wildly!
$ $
" # !!
$$
$
legato
! !% %
" #" sub.
If the shake in measure 146 is problematic, play a tremolo using alternate fingerings.
Measures: 146-148
Tempo: Harder Rock ! = 88, bone-chilling
Be prepared to shake the "A" in measure 146. If anything, over exaggerate the shake. Failure to commit will likely
produce a very weak sounding effect.
Excerpt 66.4
Concerto Logic for Piano and Wind Ensemble: Dancing with Caissa
&'&% &% &% %( & &% &% &) &'&% &% &% ! %,+ .
! = 136 Horrible!
% %
!
"! # $ % % *% ( -
"" # # #
Piece: Concerto Logic, Piano and Wind Symphony: IV. Dancing with Caissa
In Excerpt 66.4,1practice
Part: Trumpet in Bb using both “ttk” and “tkt” triple-tongue syllables.
Measures: 1-3
Tempo: ! = 136 Horrible!
This passage can be a bit raw. The marking is horrible so don't be timid! I prefer triple tonguing with a "tkt" to get a
very pronounced triplet, however, practice both ways and see what works best.
Excerpt 66.5
harmon mute
% '
(no stem)
$ &$ &$ &$ ($ ) ,, !

) $+ $ $+ $
open
# !" * ($ $ $ $ )
"#
,,
$
The Part:
plus Trumpet
sign in1Excerpt
in Bb 66.5 indicates that a hand should be over the mute. The zero sign indicates an
openMeasures:
mute. 32-39
Tempo: Allegro spirito ! = 172
Use a harmon mute with no stem in measure 32 and 33. Begin with your hand over the mute and remove your hand in
measure 33.
214
Excerpt 66.6
H
&% &'
Grand, meno mosso ! = 100 A Tempo Subito ! = 172
'!
accel.
&% & ))))
allarg.
## ! % % % % % % ( %%%% ( ' % %%%%

" !$ %
"" espansive (solo!) #"$ %" """
To achieve an even1 inand
Part: Trumpet Bb consistent sound, play the low notes louder than the high notes.
Measures: 136-142
Tempo: Grand, meno mosso ! = 100
This is a very high and exposed solo. You MUST use your air and commit to the D. Failure to do so will result in
either missing the D or a very weak sound.
Excerpt 66.7
R Suddenly as the very beginning ! = 136 accel. subito
' '
'& '& '& ( & &) '& '& '& ('*
(optional: picc.)
& & ' '& '& ( , *

&.- % $ $
open
# $ % +& "! % (&- )

)
"" % % % #"$$ non cresc. " "
See Excerpt 66.4.1 in Bb
Part: Trumpet
Measures: 275-279
Tempo: Suddenly as the very beginning ! = 136
See the "horrible" excerpt for advice about this passage.

215
Four Factories (67)
Excerpt 67.1
Four Factories: Movement I
! = 136
(
$$ ! ' %!& ' ' ) % ! * (% (% $(%
# ! !" ! +, - . /
molto
""" # sub. """" shrill!
(% * (% (%
$ 0 (" )"
a tempo
#$ / !" ) !! ' ' ' % +, - .

molto
""" # sub. """"
Piece: Four Factories Wind Symphony: I.

In Excerpt 67.1, focus on creating the effect.
Measures: 1-13
Tempo: ! = 136
Pay close attention to dynamics in this piece and always focus on the effect that needs to be created. In measure 5
and 13 play the 32nd notes extremely aggressive!
Excerpt 67.2
% '$% '$% $% "$%

accel.
"
"
% % % % % & % $%
$ % % &$% '$% "$% '$%
$ & $
!"# '$
$% "$% $% &$% % '$( ) * &$ '$ "$ '$ ( ) * '$ ( ) *
! " "
"
#=152
%
$ % %
$ % "$%" $% +$ % '$%& $% ' $% " $% ,+$
$ $ $ ' $ $ & $ $ "$ '$
" "$ &$ $ '$ $ "$ #
!"( ) *
" " $ $
!!!
+$
&,/ $
! +$
" ""#+$ -. /
$$
!"# #
!! %!!& !!
In Excerpt
Piece: 67.2, practice
Four Factories theSymphony:
Wind quintuplets
I. in various multiple-tongue combinations.
Measures: 26-32
Tempo: # = 136
I play this excerpt by multiple tonguing all of the quintuplets. I use the pattern tk tkt to create a crisp and clean line.
Use whatever works best but have the flexibility to do whatever the conductor asks. Remember to make bar 29 the
climax of the phrase.
216
Excerpt 67.3
" %' %'

harmon mute
" % & % &

(stem in)
! # $ & $ $ & $ #
"#

Practice Excerpt 67.3 down an octave.
Measures: 89-91
Tempo: ! = 160 Aggressive, With Unbelievable Dexterity...
Good luck with this excerpt. Practice it down an octave to learn the intervals.
Excerpt 67.4
(
harmon mute
! 1"
" # $ %& ' ' ' ' ' ' ' ' %
(stem out)
2 3 4 5 6 7 8
! #
!" #
F
! " sneak breaths when necessary... ) ) ) ) )
% ' ' ' ' %%%%%% ' ' %) %) %) %) %) % ' '
no
" &
mute
! # $ $ $
#
) ) ) ) ) %) %) %) %) %) % %) %) %) %) %) %
" %%%%%% ' ' ' ' ' '
! $ $ $
****** *% *% *% *% *% *% *% *% *% *% *% *%
" %%%%%% ' ' ' ' '
! $ $ $
## sub. #

See Excerpt 67.2.1 in Bb
Part: Trumpet
Measures: 131-170
Tempo: % = 160 Aggressive, With Unbelievable Dexterity...
In this excerpt, I tongue the quintuplets the same as the previous excerpt. If you have an assistant have them spell
you every few bars. If there is no assistant you will need to pace yourself. Do not play too loud!
217
Excerpt 67.5
&% &% '% ( % &%

" $% $% % $%
! # $% % % #
Trp. 2 !! !!" !!
&
"%
&% &% !)"&%
J Keep Tempo
)&% &% &% &% +
! )&% % % % %* , - #
' ' '
$!

In Excerpt 67.5, crescendo down the scale so that the lower notes are heard.
Measures: 137-150
Tempo: # = 166 Charged to the End
Keep 67.6
Excerpt your air moving all the way through to "e". While the "e" is the climax of the line you will need to crescendo
Fourdown the scale
Factories: so the IInotes are heard.
Movement
1st trumpet in Bb, measure 18
#### ! $ $ $% '
" !$ & (
##
Piece: Four Factories Wind Symphony: II.

In Excerpt 67.6, focus
Composer: Carter on creating the effect.
Pann
Measures: 18
Tempo: " = 116 Gothic
This lick is very difficult to play. Make sure you play a G! on the "+" of beat one and that there is a crescendo leading
up to it. Effect is important!
Excerpt 67.7
Four Factories: Movement II
""
"
%! '
1.harmon mute
% % %! '" % %
!""# $ &
$ & & $ ( # & $ (
(no stem)
!", not "
Piece: Four Factories Wind Symphony: II.

In Excerpt
Part:67.7, use1ainhigh-quality
Trumpet Bb Harmon mute and practice with a tuner.
Measures: 32-35
Tempo: # = 116 Gothic
You will have to play Really loud to accomplish !" on a harmon mute with no stem. Also, put the mute on a tuner
and find whatever adjustments you may need to make.
218
Excerpt 67.8
Four Factories: Movement IV
!" ( ! (! ## *) ! %*) ) *)
%%%% ! &' '
accel.
!! &
(open)
$ ! & &
+
!"# !"# """ "
%%%% ) ,*) ! %*) *) ,*) ! %*) ) ,*) )+%*) ! ) % ) & (---------

* * '
"" ""
& ( (
connected shake
$ + + #"
""# """
Piece: Four Factories Wind Symphony: IV.

In Excerpt 67.8, the
Composer: first
Carter trumpet should lead the ensemble.
Pann
Measures: 48-60
Tempo: $% = 160 Mercrial, with great precision
Bring out the hemiola in measures 54 through 57. Be sure to play these notes long and build to the high B. Lead the
ensemble!
Excerpt 67.9
##! &' (& *)& # &' # )& + #&

" # #! $ % % & #& #& ! &- % & & ! *&- % #& & ! &-
' ' ) ,' ' ) '
ben ! ,"!! !! ,
' ' ' ' ' ' (&' (&' (&' . 0

() & (& (& (& (& (& (& /(& (& (&
C Large, Heroic (only slightly held back in tempo)
## #& &"/& & #& & &#& & &
"##% + .
# # # !!! # # #
" (&'
strident
## & /& #& (& (& (& /(& (& (& /& & & /(+ !
/& &
" # # #& 1 23
#
0 +!
# # # !!!
"!%

See Excerpt 38.1. 1 in Bb
Part: Trumpet
Measures: 74-88
Tempo: Heavy-driving ($ = 128)
Pay close attention to pitch. This excerpt is a bit more difficult to hear so work to get it in your ear. Follow Pann's
instructions at letter C. Play with a big, full sound and hold the triplets back slightly.
219
Excerpt 67.10
+' ,' ! ') +') (+') +') +) ) ) +

Dotted Quarter note = 160 Carter Pann
$$$$ ! ! ) + + +'
& ! (' ' ' (' * ' ' ' ' * (' ' *
Muscular suddenly
' '(' ' ') -
"
# " %
+ " "
! " " "
ben ! sempre
+ + ) ) + +)
+' +' (' ' +' +' ' ' ' ' ' ' ') ' +') +') +') +')
& ! '! ') ') ') ') ') ') ') '! ') ')
"
#- . * / * *
" " "
" !
) ') - +' +' +' +' ! +' +' - +' +' +' +' +' +' ! ' ! ' - '1 '1 0
(short)
'! )
' )
' )
' )
' - '
#- ' %
!! %!& molto !!!
See Excerpt 46.4.

Measures: 130-146
ExcerptTempo:
67.11 With restrained joy, keep tempo (#$ = 160)
Work diligently on the rhythms. Play the rhythms on a single note until they are solid. I also recommend removing
tiesHthen adding them back in.
As the very beginning ! = ca. 228
completely mechanical
&
!" = !
% #!$ % % % % % % % % %
!
"!
### $ sub. # $ #
% % % % % % % % % % %
"
$ # $ # $ # $
' ' ' ' ' ' % %

"
# $ # $ # $
&# &# ( &#

% ' ' .
" )* + , -
molto
#### shrill!
Practice Excerpt 67.11 in context and with a tuner.

Measures: 190-219
Tempo: As the very beginning ! = ca. 228 completely mechanical
For this excerpt, good luck! Practice the excerpt an octave down with all the dynamics. The most important thing is
to put the "a" on a tuner and not let the pitch change as the dynamics change.
220
Slalom (68)
Excerpt 68.1
Slalom
$! % % % % $!
%%%% % %%%%$ %%%% % % % % '

C
'
!
" #! & %%%%
molto
!" cresc. $$
Piece: Slalom
PracticeComposer:
ExcerptCartar
68.1Pann
at a piano dynamic.
Part: Bb Trumpet 1
Measures: 26-31
Tempo: Presto, nimble # = 162, or even faster
This is a very fast and demanding piece both in range and articulation. This excerpt is one of the first entrances and
must be played !". Do not get too loud, too soon.
Excerpt 68.2
Slalom
%&
harmon mute
%& &
% &
% %&
$ %& ( ) ' ( ) $ $ ) %& ( ) ' ( $ $ ' ( ) ) ' ( ) ' ( #
(stem in)
!" # ' '
"# #
Piece: Slalom
PracticeComposer:
ExcerptCartar
68.2 Pann
at a fortissimo dynamic.
Part: Bb Trumpet 1
Measures: 41-44
Tempo: Presto, nimble ! = 162, or even faster
Because of the mute it is necessary to play the dynamics louder than what is marked. These notes are very short and
almost accented. In the band the rest of the section fills in a chord, make sure your octaves are in tune!
Excerpt 68.3
Slalom
# $ #$ #$ #$ #$ #$ #$ #$ # # # # #$ #$ #$ #$ #$
#
#
!" # #
open
%&' (
!
PracticePiece:
Excerpt 68.3 with a metronome.
Slalom
Composer: Cartar Pann
Part: Bb Trumpet 1
Measures: 54-56
Tempo: Presto, nimble " = 162, or even faster
Go slowly at first. Work for pristine note changes in the 16th note groupings. Isolate the 2nd group of 16th notes and
practice the fingering combinations in all octaves.
221
Excerpt 68.4
Slalom
& &# &# &' &# # &# # &

$ $ #
!" # # # # # # # # # # # # # $ % #
! "!!# !!
&' &# &#

H JUMPS!
&#
!" # % ( )
Piece: Slalom
In Excerpt 68.4, Cartar
Composer: practice
Panndouble-tonguing the “D” in measure 119.
Part: Bb Trumpet 1
Measures: 112-119
Tempo: Presto, nimble $ = 162, or even faster
The dynamic effects are so important in this piece. Get out of the way on long sustains. The Ds at letter H must be
double tongued at the Presto tempo, in order to maintain the integrity of the rhythm.
Excerpt 68.5
Slalom
' '
all trumpets (open)
'& '$ $ '$ $ '$ $ $ '$ $ '$ $ $ $ $ $ $ $ $ $ '$ '$

stand up!
"
!" # $ $$ $' $'
%%%
!!
" " "
triumphant!
$ $ $ $
!" $ $ $
"
See Excerpt
Piece: 25.4.
Slalom
Part: Bb Trumpet 1
Measures: 230-235
Tempo: Presto, nimble # = 162, or even faster
This passage should be as flowing and connected as possible. Isolate the large leaps and practice them individually to
ensure good intonation and great tone.
222
Excerpt 68.6
Slalom
Massive suddenly!
' )( (
#
)*' )*' )#* )
!! "! !!
' ' *' ' # +(
f.t.
'
#$ % & '' %
)* )'* '*
!
!!! ) ! !!!!
Piece: Slalom
See Excerpt 67.5.
Part: Bb Trumpet 1
Measures: 259-262
Tempo: Presto, nimble " = 162, or even faster
Excerpt 68.7 jumps out of the texture and is the loudest part of the piece. Work to maintain the !!! dynamic while
This excerpt
Slalom
stdescending. The low B should be slightly louder than the high C. Make sure you get to !!!! in the alloted time.
1 trumpet in Bb, measures 279 -284
$! % % % % $! %%%% % %%%%$ %%%% % % % % T' '

!
" #! & %%%%
molto
!" cresc. $$
Piece: Slalom
See Excerpt 68.1.
Part: Bb Trumpet 1
Measures: 279-284
Tempo: Presto # = 162 (+)
See68.8
Excerpt opening.
Slalom
MOUNTAIN BASE IN SIGHT
V poco più mosso
%$ $ $ $ % $ $ $ $'&$ &$ &$ &$ &$ (

& ( (
straight
%$ $ %$ $
mute
!" # %$ $ %$ $
""" ##
""
Piece: Slalom
See Excerpt 37.4.Cartar Pann
Composer:
Part: Bb Trumpet 1
Measures: 308-312
Tempo: Presto ! = 162 (+)
Practice first the intervals. Take out the double-tonguing and play 8th notes. Slur the passage slowly until clean slurs
are achieved. This will improve accuracy. Pace the decrescendo so you do not get too soft too soon.
223
Excerpt 68.9
Slalom
$$ $$
% $$ $$
% %$$ %$$ %$$ %$$ % " '% &
! " # % % !% ! ! !% ! ! ! ! ! !
$$ % $$ % (
" ""
Piece: Slalom
Composer:
In Excerpt Cartar Pann
68.9, focus on keeping the throat open while double-tonguing in the high-register.
Part: Bb Trumpet 1
Measures: 332-333
Tempo: Presto ! = 162 (+)
Use the same strategy as meas. 308-312.
Wrangler (69)
Excerpt 69.1
Wrangler
(
*
' ' ' ) ' ') ' ' ') ' '
*
' ' '' '
' ' '
" # !! $ % &' ' ' ' ' '
macho
' ') +' + ' + ' ' ' ' ') '' '
!
, ' , , ) '!, (' ' ') ) ) )

accel.
)
" # '( ') & ') & ' ' ' ' & ') & ' ' #' & -' & '. & . / ' ' '/ + & % $
"# "!
Piece: The Wrangler: Cowboy Dances

See Excerpt 46.4.
Measures: 67-74
Tempo: A Confident Swagger ($ = 100)
This is a new work by Carter Pann with some challenging trumpet parts. For this excerpt, the key signature is not
challenging, but the rhythms are tough. Put a metronome on the 8th note and go slow. As you speed up put the
metronome on the quarter note. Finally, play with a full and aggressive sound. Note the composer's mark of "macho".
224
Excerpt 69.2
Wrangler
%% ! & & ' "

I !==7272
Quarter note Carter Pann
! ( )& )& ) ) )
accel.
& & ) " & )& )& & ) & )& )& & ) & & & & & #
tight
$ ! *)& + %& ! %& %& %& !

"###$
[% = 108] Majestic ! = 92
! = 152 riten. molto
%% # & & ! ! ) )&
& & & & & & & &. &. &. &. !! /
evenly
$ ! & & & & & & & & ,- & & &
(((( (
In Excerpt 69.2,
Part: observe
Trumpet 1 (Bb)all tempo changes carefully.
Measures: 119-129
Tempo: ! = 72
Note the four tempo changes in these 11 bars. At the top, play a "tight" or crunched set of grace notes. In mm.
121-123 be sure to speed up the 152. Crescendo bar 152-155 until the 4 . In m. 128 don't go too fast but articulate
hard. 16
Excerpt 69.3
Wrangler
& )& )& *& &' *

& & )( )&( *
"
$ % &' & & & & & & *& &* *& + +* *+
!"# ' *% & %+
!" # !# legato
)+ )+ & & )& )& )+ , & & & +" & &&& &&+ +" )&(
Strident!
!
" &&&
%'
!"
## $#" $#
)&(Burning
"
!"' % $ #

In ExcerptComposer:
69.3, play thePann
Carter high “C’s” as soft as possible for as long as possible.
Measures: 156-168
Tempo: Allegro volante % = 172
Be aware of all dynamics and tempo markings. There is a lot of information in this excerpt. At the strident, don't be
afraid to let it hang out.
225
Excerpt 69.4
Wrangler
# #
! " $# $# # "#
"# %# # # $# # # "# # # ##
open
& #
##
!" cresc. #
$('
Keep tempo
')))))))))))))))drawn
)))))))))out)))jazz
)))))))))))))))))))))))))))))))))
gliss. as low as poss...
!" )))))))))))))))))))))))))))))))))
))))))))))))))))))))))))))))))
"""
ad. lib.
Use allPart: Trumpet 1 (Bb)
three valves to glissando down. Do not be afraid to play pedal tones.
Measures: 191-199
Tempo: Hoe-Down (same tempo, $ = 172)
This excerpt is here because of the fall. This is a unique notation. Take it seriously and practice falling down. Don't
hold on too long and play ugly pedal tones.
226
Divertimento (70)
Excerpt 70.1
Divertimento: Soliloquy
1st trumpet in Bb, measures 1 -35
Lento Vincent Persichetti
% !&% $ ! %! %
&% % ! % &%
5 *
Slowly
!
Solo
' % $ % $ %
"! # $ %! % &% %! % % % () #
!" dolce !#
% !
-
# $ .% ! % .$
.%
15
% % % % %
10
" % &% $
'
%) # + ,
"
% &% $ ! % % $!
20
% $ % %
" $ .$ # $ % $ % $
!" espress. cresc.
% .% % .% % .%
25
.% . % .% .$ % % ./
" .% % # /
!# !" "
35
% %! &% % ! % /
30 0
' %) $ / /
" # $ %! % &% %! % % % (
( %
!# dolce " ""
Piece: Divertimento for Band: V. Soliloquy

Composer: Vincent Persichetti
See Excerpt 38.1. in Bb
Part: Trumpet
Measures: 1-35
Tempo: Slowly
This is a beautiful solo in the middle of a multimovement work for band. Play this solo in a Dolce, or sweet, way.
Use lots of rubato and a little bit of vibrato. Strive to create a "line" at all times. Thick horzontally at all times, never
vertically. Also, use a piano and buzz your mouthpiece to ensure that you hear every pitch properly. This will help
you play the solo very sweetly.
227
Masquerade (71)
Excerpt 71.1
Masquerade
Quarter note = 168 Vincent Persichetti
%
$ % % $% * )$% )$%
$ % ) $ $% * $% $% )$ ($ +
$
($ $ ($ $ (+$
senza sord.
# "! & ' & ' ' & ' & ' & $+ ($
+
" deliberato ""
Piece: Masquerade for Band

See Excerpt 38.1.Vincent Persichetti
Composer:
Part: 1st Bb Cornet
Measures: 76-80
Tempo: ! = 168
This piece by Persichetti contains bitonality and serialism. Throughout the piece it will be difficult to hear intervals and
relationships.
Excerpt 71.2 Work on hearing the intervals in this passage. Accuracy will improve and the piece will function better.
Masquerade
$# #! & $# # ! '$# ($#'# !

$
$ # ! .- .# .# & #% #! #
senza sord.
!
"! % % % #! % &#) * + , #
% %*+ ,
%
"" marc.

See Excerpt 37.4.
Part: 1st Bb Cornet
Measures: 138-143
Tempo: ! = 184
As with before, continue working on hearing the pitches and the intervals.
Excerpt 71.3
Masquerade
" # $ $ # $ $ %$ $ $ $!
! & $ %$ #! $ %$
!" "
N Più mosso (# = 120)

! %$ %$ $ $ '$ ($ ($ '$ '" " $ '$) * +
accel.
See Excerpt 38.1.
Part: 1st Bb Cornet
Measures: 180-188
Tempo: Andantino (# = 96)
Although this is atonal, play this solo as if it were diatonic. Connect the notes, use vibrato and play the line.
228
Excerpt 71.4
Masquerade
#$ '#$ #$ " " #$ #$ #$ ## ## ## #####

! " % & " % " % % " & ( ( ( "
"# #

Emphasize the hemiola in measure
Part: 1st Bb Cornet
207.
Measures: 205-207
Tempo: Più mosso (! = 120)
Watch out for measure 207. Make sure the hemiola is symmetrical and accurate.
Excerpt 71.5
Masquerade
Eighth note = 104 Vincent Persichetti
$ %$ %$ $ %$ ! %$ $ $ % $ $ %$ '$ $ %$ !
(straight mute)
con sord.
# !" %$ %$ %$ $ & &
! doloroso
# $ $ %$ '$ ! $ ($) $ $ ($ $! ($ $
) $! *!
!!

See Excerpt 37.4.
Part: 1st Bb Cornet
Measures: 241-248
Tempo: Andante (" = 104)
As with the solo, this must be a well-played beautiful line. Also, like all atonal music, it is very important that you play
each note written accurately and at the right time. Failure to do so might affect the 12 tone row being used.
229
Excerpt 71.6
Masquerade
1st trumpet
X in Bb, measures 373 - 392
' '
Quarter noteVAR.
= 152 X Vincent Persichetti
# !" $% &$% $ &$ $ $ $ $ $ $ &$ $ &($ ($ &$ & $ &$ &$) &($ $ &$
!! robusto (marc.) ( (
% % % (
# $ *$ *$ $ *$ $ *$ $ $ $ *$ $ +$ &$% $ &$ $ $ $, &$ $,
cresc. !!! marc.
() ($) $) *$) &$) &($)

# $ &$ $ $ - . , - . $) , - .
,
See Excerpt 38.1.
Part: 1st Bb Cornet
Measures: 373-392
Tempo: Allegro molto (" = 152)
See previous excerpt for commentary.
Excerpt 71.7
Masquerade
& % &% & % !

Z
! &% &% % '% % ( % % % % % % % )

#" $ % *% )
!! dim.
, !
% *% + % *% +
# *% ! % % ! % $
% % *% -
" "" cresc. !! " cresc.
+ + % ,% * % + %.
- ) / )
# *%.
!! " !!!
,
Part: 1st Bb Cornet
See Excerpt 38.1.
Measures: 418-433
Tempo: Allegro molto (# = 152)
See previous excerpts for commentary.

230
Parable IX (72)
Excerpt 72.1
Parable IX
' $ $ ' ($ ' $ $ ' $ $'$ $ ' $ +$'$ $

16
%$ $ $ +$ $'$+$ $ +$ $ # ) -
! *
!
"! # & & # ) %$ +$ , %$,
" "" " "" #
Piece: Parable for Band (Parable IX)

ExcerptComposer:
72.1 is an entire
Vincent twelve-tone row. Practice so that each note in the row is heard.
Persichetti
Measures: 15-17
Tempo: ! = 69
This is a very difficult passage. Persichetti's Parable is a series of twelve-tone rows passed around the band.
This is the trumpet's turn to play the row. It is crucial that the correct notes are played to retain the intgrity of
the row. Slow the excerpt down and work out the pitches in time. Use flutter-tonguing on beat one at number 16.
Some players advise using dashes to identify larger beats.
Excerpt 72.2
Parable IX
%#$ &# # #$ %#$ (# #$ %#$ #$ )(# #)# # (#$ (# # # # (#$ (# ,

(con sord.)
!
"! ' * + -
! ! decisivo
( ( ($
/ (# # # #%(#$ #$ #$ #$ ) #$ #%#%#% # #* + 0
99 (sord.)
" !. !! ' * + 0
Trpts.
#! ! !!

In Excerpt 72.2, practice
Composer: each articulation carefully.
Vincent Persichetti
Measures: 93-101
Tempo: " = 160
Articulations are imperative for this excerpt. Distinguish staccato, accent, slur, and staccatto-accent from each other.
the excerpt is also fast, at quarter note equals 160, so start slow and work your way up.
231
Excerpt 72.3
Parable IX
Quarter-note = 160 Vincent Persichetti
! %$ !
con sord.
& & &% & & & & &%& & % $ & & & &%& & & & ' &(& & & & & &!(&%&) *&
"! # )
"# espr.
#

Practice Excerpt
Composer:72.3 with
Vincent a metronome. Be careful to not rush the sixteenth notes.
Persichetti
Measures: 229-232
Tempo: ! = 160
Subdivide! Be careful not to crunch the sixteenth notes. Think sixteenth notes the entire passage.
Excerpt 72.4
Parable IX
- /
'(' ' '( ' + ' '(' ! ' * ' ' (' ( ' +/' (/' ' ' "
" , &!
*
# $ % & (') & . "
!!
293
" +' ' ' ' ' ' ' ' ' ' ' /' ' ' ' ' ' ' /' ' ' ' '1 /' ' ' ' '1 /'(' '+'1
#" 0 %
# 2' ! '!
' ' 2' ) )
. +' (* +' & % $
! affettuoso

See Excerpt 46.4.Vincent Persichetti
Composer:
Measures: 289-279
Tempo: " = 69
For this passage, choose a lower note and practice the rhythms with a metronome. When you have mastered the
rhythms, play the excerpt using the correct notes down an octave. When this is satisfactory, play it where is is
written.
232
Excerpt 73.1
Symphony Number 6: Mvt. II
Half note = 72 Vincent Persichetti
!
Solo
&( &' (! $ % &% % % % (
# " $ &% &' ' % % (!
!" dolce espr.
# $ &% ' ! % &% ' ! &% &%

20
&% $ &% &' ' &(
%
tener. cant.
&% % &' (! % % ( )
% % '!
&' %
# ( %* $
dim. #
PracticePiece: Symphony for Band: Mvt. 2

Excerpt 73.1 by singing, conducting, and buzzing the pitches on the mouthpiece.
Measures: 14-28
Tempo: n/a
This is a very beautiful solo by Vincent Persichetti. Spend time memorizing what the pitches sound like so that you
Excerpt
can be73.2
free of the printed page. Play with a beautiful sound and in a vocal manner.
Symphony Number 6: Mvt. IV
st
$ $ $ $ $ *$
" ! %# # # # # %# & & '# # (# & #$ & # # #$ & '# # #$ (#$ '#$ & # &
)
! capriccioso
*
200
*$ *#$ ' $
# (# $
# # #$ %#$ #$ ,+
" '#$ & ) # & & & & # & & # & )
* (!)
#$ %# # ,+ * # #$ * $ *$
& # # & )
(sord.)
# #
210
" #%# %# (#%# (# #'# & ) )
$ * $ #$
"" *
See Excerpt 37.4. for Band:
Piece: Symphony Mvt. 4
Measures: 194-212
Tempo: n/a
Like the solo, spend time developing your ear with this excerpt. Practice buzzing and solfeging the notes. This will
improve intonation and accuracy.
233
Excerpt 73.3
Symphony Number 6: Mvt. IV
%#$
250
% # # # ' # # # # # & # #
" ! # # # # # ## & &!
% ! rigoroso
& # # # #$ #$ # # )# # # & )# # ' # # )# #

260
" & (
"!# "!# !!
" &!
& # # %$
# & & # # # #$ #$ * # # *
"!# "!# $ "!#
%$ %#$ #$ *
270
" # # * ' +
$ "!# "!# $ !
Piece: Symphony for Band: Mvt. 4

See Excerpt 73.1.
Measures: 250-271
Tempo: n/a
Play this passage in a more aggressive manner. This is part of the finale so think of a big, dark sound and play full.
Tunbridge Fair (74)
Excerpt 74.1
Tunbridge Fair
Quarter note = 98 Walter Piston
$#
Allegro Ritmico " = ca. 92
)$ $ $ $ $ ) *#)
!
"! % & ' ( & #% # # # # # # # # # # #*# # # # # # # # # # # # #*# # # # # #) #)
# ) ) $
!! ! $
$ # +#) ###### , # # $# # # #) #####) + #) #)*$# # ,$# $ # )

#
, #)
*# #*#
5
" *#)*# ## # % & ' *#*#*# #

) )
'
Piece: Tunbridge Fair

Learn Composer:
Excerpt 74.1 by removing all the ties. When the excerpt is comfortable, add all the ties back in.
Walter Piston
Measures: 1-8
Tempo: " = ca. 92
Practice this excerpt without any ties. Be sure to play all the correct dynamics and articulations. You may need to
spend some time on mm. 7 and 8 to learn the intervals. Use a piano to help learn and internalize each interval. When
this is accomplished, put the ties back in.
234
Excerpt 74.2
Tunbridge Fair
%$&$ $'$( $ $ '$ $ $( # ) + $ &$( $( $'$ $ $ $( +$

15
" ! # % $ &$ $ '$ $ * $'$ $

!" "
$$$( $( $$$$$('$$ $ $( +$ $ $$$'$$$$( $( '$$$( $( $('$( +$ $'$'$&$ &$( $$$$$$% $ $+$ $$'$$
" $
$( $ $ $ $ $( $ $ $( '$( $(
20
"
cresc. ""

See Excerpt 74.2.
Composer: Walter Piston
Measures: 12-20
Tempo: # = ca. 92
Excerpt 74.3
Tunbridge Fair
& & & & & & & (&

% & &) & & & & & & & & & &
35
" !! # $ % &' & ' ' '& ''% $

! dim. "!
&
40
& & *& *& *& *& *& * * *& +& + +-
& &
" & & & %
' & & ,& ,& ,&' % $ #
cresc. cresc.
+ !!
)
45
" . & &,& & & & & & & & &- & & (& % # / # .,&,&(& &,& &,&
+ + !
-
& &,&-,&,& & & & & &- &0& & (&- &- & & & & - & & & - , & & & & &-(& & &0& &- +& & ! % #
50
-
" (& & & &

See Excerpt 37.4.
Measures: 35-52
Tempo: # = ca. 92
Practice this excerpt much like the previous two. However, there are a few more challenges with this section. First,
notice the dimenuendo in bars 36 and 37. This is difficult in the upper register so you may want to start a bit louder.
Next, notice the crescendo in measures 42 and 43. This is a bit odd in a descending line so be sure not to play measure
41 too loud.
235
Excerpt 74.4
Tunbridge Fair
) ) & & '& & & & & & & & &+& &) '& + & & &) &) && && &) & & & &
" !! # $ % &( & & &*& && & & &
!"
' cresc. "
&)'& &+&&& & + & &&) &) & + & &) &) &)*&) '& & &*&,& + &) +&&&&&) & &'& &,&*&*& &) &&&&&)*&&&) &)+&)
60
"
dim.
See Excerpt 74.1.
Measures: 56-63
Tempo: # = ca. 92
See excerpts one and two.
Excerpt 74.5
Tunbridge Fair
80
& % & % % &% ( % & % &% (%
! " # $ &%' % ' ' ' &% ' ' $ # $ &% &%) &% %&% %&%&% %&%&%&%
! dim. "!
& % & % & *% & *% &*% &85*% * +%,

& % & % & % & % % $ % &% &*% *% &*% &+% (%
! ' (% ' $ # " -
cresc. ! cresc.
+ + !!
, +% + +% % % +% % % +% % % ,
% % %, .% ,
90
! '$ % % % % % % % %
% %, %, % .+% % % % % .% % %
!! !+
+ % (%, %%%%%% & % % +% % % %, %%%%%, ( %, %,.+% % &%, 95

+ % ,
% & %,
! .%,.% %%.% %.% % ' $ # .%.%.% %
, ,
#

See Excerpt
Part: 1st74.1.
Bb Trumpet
Measures: 78-95
Tempo: # = ca. 92
See excerpts one and two. Also apply the earlier crescendo advice to measures 84 through 86.
236
Excerpt 74.6
Tunbridge Fair
# $ # %# # &#' # # &100
# # #' " ( * # %#' #' #&# # # #' *#
! " $ # %# # &# ) #&# #
!" "
# # #' #' # # # # #' &# # # #' *# # # # #&# # # #' #' &# # #' # # #&# *# #&#&#%#
105
! #
%#' # # # # # #$ # # *# # #&# # #' # # # # #' # # #' &*# *# *# *# $ *# &*# %*# +

!
cresc. ""
# # # # # #' &*# # *# # $ *# # # %#
110
# # , # # $ # &# - . #$ # # ( " &# # # #

! * ## *
' ' ' *#'
#&#&#' # # # # #' # # # # #. - - #. " #. -
115
! &# # / . - " (

See Excerpt 73.1.
Measures: 99-116
Tempo: # = ca. 92
See all previous excerpts.

237
La Fiesta Mexicana (75)
Excerpt 75.1
La Fiesta Mexicana: Prelude and Aztec Dance
Tempo Moderato H. Owen Reed
! (% % %% %% &%% %% %% %) % ) $ %) % % % % %) % % % &%) %
off stage
#" $ $ &%
% & % % & %
% & &% &% &%% % &% % % &% % &% &% % % %
' ' (
) (% % % % ) ) ) ) % )
# & %% $ &%%' &% %&%% &% %%' &% %% %% &%% &%% &%% $ %% &%% %% %% &%% %% &%%&% %% &%% %% & %% $
(
) ) ) ) ) ) % )
tutti (on stage)
# $ $ %% %% %% %% %% %% %% *%% %% %% %% %% $ * %% *%% %% * %% *%% * %% *%% % %% %% * %%

!!
( (
) ) ) ) ) )
# %) $ %% %% %% %% %% %% %%*%% %% %% %% %%) $ % *%% %% % *%% % *%% %% %% %% % %) $ $
% ( *% ( *% *% *% %
In Excerpt
Piece: 75.1, practice
La Fiesta both
Mexicana: parts.and Aztec Dance
I. Prelude
Composer: H. Owen Reed
Part: 1st and 2nd Cornets
Measures: 176-217
Tempo: n/a
Depending on what part you are playing, you may not have to play the entire excerpt. Practice the entire excerpt just
in case. Also, practice both the upper and lower notes to familiarize yourself with the music. Be sure to emphasize
the down
Excerpt 75.2beat every four bars to help with pulse. If you are playing the lower notes, you will have to play shorter and
La Fiestato
louder Mexicana:
balance Mass
correctly.
Tempo Moderato H. Owen Reed
#
" !! $
'' ' ' ' ' ''' '
% & & (& & & & (& & & '& ) * & ! + ,'& '& ,'& '& ') '&
"" #
!! poco dim. "! !!
#' ' ' ' ' &' ,'& & ()

" & & & & ) ' ' &' &' & (&' &' * *
$ %
dim.
Piece: La Fiesta Mexicana: II. Mass

In Excerpt 75.2,H.beOwen
Composer: prepared
Reed to use a wide vibrato.
Part: 1st Cornet
Measures: 46-56
Tempo: n/a
Play this section with a nice full sound and good air. Be sure to hold all the long notes their entire duration. You may
want to practice some different styles of vibrato in case you are asked by the conductor to add vibrato. Finally,
measure 54 beat three is a flip. Lift the second valve and flip up to a B# and down to the F natural.
238
Excerpt 75.3
La Fiesta Mexicana: Carnival
Allegro Moderato H. Owen Reed
& & & & &
$ !" % '' "# ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( (
! & &% &% ! pizz.
$ ' ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( ( () % ! ( ! () ( ! %! ( ! ()( !
' ) ) )
( ( (
& & & & & & & & & &
$ ' () % !
' (
) (((((( (((((( (((((( ( % (
) (((((( (((((( ((((((
& "! (one 1st Cor.)
'' ( ( + &( ( %
&
( ( + ( ( % ( ( + ,
$ * ( ( * ( ( *
In Excerpt 75.3,
Piece: practice
La Fiesta the grace
Mexicana: notes both on, and off, the beat.
III. Carnival
Part: 1st and 2nd Cornets
Measures: 125-153
Tempo: n/a
Practice the excerpt with drive! Use volume and articulations to move the music forward. Practice the grace note
both on, and off, the beat.
Excerpt 75.4
Allegro Moderato H. Owen Reed
$ ' ( ' ' '

# $ "! % & &' * &' &
(One 1st Cor.)
& & & & * & & '
) ( ( ( & &' * &' & &
'
!" ( ( (
$ '( ' ' '
# $ ' * & & &) & * & & & &' * &' & &' &' * &' & &' ' * % %
(& ( ( ( ( ( (&
(
Piece: La Fiesta Mexicana: III. Carnival
Carefully observeH.the
Composer: articulations
Owen Reed in Excerpt 75.4.
Part: 1st Cornet
Measures: 188-196
Tempo: n/a
Carefully observe the articulations. This is a solo, keep it light and create a musical line.
239
Excerpt 75.5
Allegro H. Owen Reed
('& & '& &('& & '* ' + + ' ! + + ' + + ' ! + + '+ ('& &&+ + ('& ' + +
!
#" $ $ % ) %(&) && & & & &(& && & & & &(& % ) ,& ) % % &) && &
'& !&+ &+ '& &&+&+ '& !&+&+ '& ' + + '! + + ' + + '! + + ' + + '! + + ' + + '! + + ' + +
# $ $ %(&) &&& (& & & & &&& (& && & &&& (& && & &&& (& && & &&&
('* ! (* ! (* !
' + '
(& (& . &) & & &+ &) % $ $ $ $
# -
'& & &
Piece: La Fiesta Mexicana: III. Carnival
See Excerpt 74.1.
Part: 1st Cornet
Measures: 352-371
Tempo: n/a
Use comments from earlier excerpts to help learn this excerpt. In the beginning, take out all ties and play the rhythms.
When this is solid, add the ties back in.
Dionysiaques (76)
Excerpt 76.1
Dionysiaques
Quarter note = 100 Florent Schmitt
// Subitement animé " = 100 environ
! %&% % %'%#% $ ! %#% %#%'%#% ( ) * % &% % & %.

%"-
Au mouvt.
# ) ( +%%
" # !! $
9 &
, ( ) %/
#%
#$ & & #%
Piece: Dionysiaques
See Excerpt 38.1.
Composer: Florent Schmitt
Part: Cornet 1
Measures: 48-51
Tempo: Anime " = 100
This is a very unique piece that is quite old and often forgotten. Be careful to look at the key that the excerpt is in. This
excerpt is in B! but some are in E!. Pay attention!
240
Excerpt 76.2
Dionysiaques
)+ )+ )+
12
00
11 Animé ! = 100 environ
$ & *)+*) ) , - - . )$)/)/)$) ** "! ) ) % %
Animé sans exagération
# $ % % % '*) ) )*) ) ( '

$
+ + *)+* )
"# # + ##
$
Piece: Dionysiaques
In Excerpt 76.2,
Composer: practice
Florent Schmittall sixteenth notes doubled-tongued and single-tongued.
Part: Cornet 1
Measures: 59-62
Tempo: Anime ! = 100
Be rhythmically accurate at all times. Keep the notes short in measure 61 and be accurate with the sextuplets.
Excerpt 76.3
Dionysiaques
expressif
#$$!
en dehors
"" %( ' )
!" Solo 22 Un peu moins vite
"""" #$$! % #%$! % #% #%$! % % % )
! & '
Piece: Dionysiaques
In Excerpt 76.3,Florent
Composer: the top line of the divisi is the solo.
Schmitt
Part: Cornet 1
Measures: 150-154
Tempo: # = de 120 à 126
Play a floating solo over the band. Make sure the muscial line goes all the way to number 22.
Excerpt 76.4
Dionysiaques
" Solo
$ &
tutti
%$ )$ %$
!"# $ "$ $ %$ $ $ '
% %
$ ( $ "$ $
"# % $ %
Piece: Dionysiaques
Play Excerpt 76.4 at a forte dynamic.
Part: Cornet 1
Measures: 170-172
Tempo: ! = de 120 à 126
This solo is only one measure but it should still be celebrated.

241
Excerpt 76.5
Dionysiaques
! = 116
" Solo
'
! " # %$ "$ $ "$ $ $ $ $ # (
"
&
Piece: Dionysiaques
See Excerpt 76.4.
Part: Cornet 1
Measures: 208-209
Tempo: ! = 116
Excerpt 76.6
Dionysiaques
%'% % %"% (% Avec ! % '% % % % % % % "(% (% (% !

(% (%eclat
" 33
" $ " % % &
! " # % % $& %% %'% % % &%% ) % "%
)
! cresc. !!
& *
! "% % % % "% "% % % '%%) + # #
Piece: Dionysiaques
See Excerpt 37.4.
Part: Cornet 1
Measures: 237-242
Tempo: # = 116
Obviously, the hardest part of this solo is measure 237. Apart from making sure you nail the part, be sure to really
emphasize the triplet which is an interesting juxtaposition of three against four.
242
Excerpt 76.7
Dionysiaques
$
" %#$ "# # #$ # #% # # # #$ ' ' %# #"#$ # # #$ %# #"#$ # # #$ % # # #$ ## ## #) ## ##
37 Un peu élargi
! & & ## %#
( ( (
!!
" ## # # ##) ## ' "##) ) ##) #) ## ## "## # # ##) ## ' ,# -,## ## ##%,## ,# *
pesant Elargissez davantage Au mouvt. 38
! ## %# # ## "## # "## ( # # ## ( #
&
# +
( ( ( ( ( ( !!
" , ,# -# # ,# , ,# %,# , , $ /
! *+ "## # # # # +. "## # % # -## ## %## %## "## ## %%## ## ## "%## ## %## ## ' 0 0
, , $ $
Piece: Dionysiaques
See Composer:
Excerpt Florent Schmitt
37.4.
Part: Cornet 1
Measures: 264-275
Tempo: " = 116
Use all the previous advice to help in learning this excerpt. In my opinion, hearing the intervals are key. I would also
practice fluttertonguing to make sure that the air is constant with all the leaps.
Excerpt 76.8
Dionysiaques
1st trumpet in Eb, measures 61 - 62
$$$ ! % (&' &' (&' * + ,

12
" .& .& ,
$%
# ! )&' - & $& & $ & & & $& ) ! ,

$& & &$&
# ##
Piece: Dionysiaques
Excerpt Composer:
76.8 is a Florent Schmitt
separate trumpet part written for “Eb” trumpet. Use an “Eb” trumpet for this excerpt.
Part: Eb Cornet
Measures: 61-62
Tempo: " = 100
Notice that this excerpt is in E!! Use the previous advice to help learn the excerpt. Instead of trying to transpose the
excerpt, I play this on E! trumpet.
243
Excerpt 76.9
Dionysiaques
#! $# ! $$$$ &% &% &% ! % (% % % % % % % %

tutti 19
#! #!
!" $ '
!! ""
$$$$ (&% &% &% !

cresc.
% (% % % % (% (% % % "%) * + +
! $ ' '
See Excerpt
Piece: 76.8.
Dionysiaques
Part: Eb Cornet
Measures: 128-136
Tempo: # = de 120 à 126
See the
Excerpt previous excerpts for advice.
76.10
Dionysiaques
Elargissez imperceptiblement
%
"" # % &$ $'$% $% $( $() $() +$ +$ * $() $() $() $) $) +$ +$ $) $) $)
34 tres marqué et très bre
! $ * * * * * ( * ( * * ( * ( * (
""
Piece: Dionysiaques
See Excerpt 76.8.Florent Schmitt
Composer:
Part: Eb Cornet
Measures: 247-251
Tempo: ! = 116
See the previous excerpts.

Excerpt 76.11
Dionysiaques
Accélérez un peu
" "
! " # $ %$ $ $ $ $ # $ %$ $ # "$ $ $"$ $ "$ $ $ $ $ $
" " " " "
$
(!!)
& $$$& "$ $ $
"" %$' * &$ & * $ $ $ $%$ $ $ $ $ $ %$+

# ( %$( # )
39
! "$ $ $ ( # ) # ( #) )
See Excerpt 76.8.

Piece: Dionysiaques
Part: Eb Cornet
Measures: 275-282
Tempo: # = 116
Spend time in measures 277, 278 and 279. This pattern is tricky so make sure it is solid.
244
Theme and Variations (77)
Excerpt 77.1
Theme and Variations
Poco Allegro Arnold Schoenberg
$# !
" ! # ! $# # # # #
! # $# % !
!! "
Piece: Theme and Variations for Wind Band, Op.43a

PracticeComposer:
singing and buzzing
Arnold excerpt 77.1 on the mouthpiece.
Schoenberg
Part: 1st Cornet
Measures: 12-13
Tempo: Poco Allegro
Work with this passage until you can comfortably sing it. This will insure strong pitch center and accuracy.
Excerpt 77.2
Poco Allegro Arnold Schoenberg
# #$# # # %# # # #$# # #&# %# # $'

Rit.
#
! " " #&# #

!" # # # #

Composer: Arnold Schoenberg
See Excerpt 77.1.
Part: 1st Cornet
Measures: 40-42
Tempo: Poco Allegro

245
Excerpt 77.3
Allegro Molto Arnold Schoenberg
%( ) & $% , $, $, $, $, &( (
$ %( ) $%
& $ % & ( * & $ % & (
muted
! " # ' $ " " # $' " + " " # ' $ " " #$
'
*"
!
% ! " " !
% !
!
-$,- $, $, $, . $, -( .$ $ & $ $ $, $, . $, & $, $, & $, . $, & $, $ !! -$ $, $, $,

! + " * " / " #' '
" " ! " " " #! "
!
-$% % $ -$, .$, -$, .$, .$, $ -( $ $

* " " &$, $, $ $ -$, $,
! # -$ $
" " #! " "
&( 0 , , 0 ," , 0 0
! / &$ $% " " $ $ ( &$ $ $ .$ &$ .$ $ " / +
* 0 *
#! "
cresc.

In Excerpt
Part: 77.3, use a very loud metal mute. Play
1st Cornet each marcato very short and with a strong attack.
Measures: 43-59
Tempo: Allegro Molto
As with the previous two excerpts, this excerpt must have near perfect pitch. Since Schoenberg was a serialist, his
music is built upon 12-tone rows. Failure to accurately play your pitch at the right time will damage the overall
aesthetic. Also, observe the very aggressive articulation markings. Expressionists, such as Schoenberg, often wanted
to move or offend their audience. Such markings are to be taken literally and played in a viceral manner.
Excerpt 77.4
Poco rall. &&& '% % % % % %'% %' %

! " # $%%% % % %(% % % % * %* # " +
) "
)
! dolce " "
"
% % '% % % (% ,% (% %
% % (% % % '%) * (%
! % ) * # "
" "
! dolce " "

ExcerptComposer: Arnold Schoenberg
77.4 is still muted.
Part: 1st Flugelhorn
Measures: 60-67

246
Excerpt 77.5
%$%$ $ $' $' ($' $' $' %$ ! $ ($ %$ $! %$ %$ ! %$ ($ ($ $ ! %$ + " , -

! " #& ) ) %$*
# #
!" "

See Excerpt 77.3.
Part: 1st Trumpet
Measures: 73-76
Excerpt 77.6
Poco Adagio Arnold Schoenberg
#( # #%# # ! # %#)! *$# !

# #! # # # ! %# #
$#
! " # %# & $# '# # #
!
) #! $ # # # # $# # $ # # # #
! $# + # #! $# #$# ! ,

See Excerpt 25.4.
Part: 1st Cornet
Measures: 88-93
Tempo: Poco Adagio
Excerpt 77.7
Allegro Arnold Schoenberg
$ $ $ $ $ % &$ $ & +#, ,

!
"! # # # # # # ! # # ' ! # # ! # #$ $ )(#
# (# (# !(# # # # *# + # ' # ! +# .
# -
! !"

See Excerpt 77.3. Arnold Schoenberg
Composer:
Part: 1st Trumpet
Measures: 172-177
Tempo: Allegro

247
And the Mountains Rising Nowhere (78)
Excerpt 78.1
And the Mountains Rising Nowhere
Eighth note = 60 Joseph Schwantner
!! !! """""""""""""""""""""
[! = 60] ETHEREAL, DISTANT (unis. a4) 10 IONTANO - TENUTO SEMPRE E DELICATO
! (see instructions for singing) (free rhythm)
$ # (each singer - sing independently)

" #
"""
""
SING: N (gradually open mouth to "AH")
! """""" !! !! """""""""""""""""" !! # !! """"""""""""""""

AH
(sounds
$#
1 8va or 15va)
cresc.
# $# #
2
#
SING:
3
"" (molto legato - delicato) cresc.
4 stop
AH singing WHISTLE a4
! !! # !! """""""""""""" $ ##
# # # $# $ # $# # # # # # # # # #
(watch intonation!) (8va or 15va)
# $#
20
div. a2
1.
2.
" cresc. poco a poco #$
! !! # !! """""""""""""" $# $# $# $# # # # # # # # # # # $#$#$# $#
WHISTLE:
#
(8va or 15va )
3. # $#
4.
" cresc. poco a poco #$
$# $#$# $# # # # # # #$# $# $# $# # # # # # # ""

tenuto sempre
1.
2.
!
cresc. poco a poco $$
stop
# # # #
25
# # # # # # $#$#$#$# # # # # $""
WHISTLE: whistling
3.
4. !
cresc. poco a poco $$
Piece: And the mountains rising nowhere

Composer: Joseph Schwantner
In Excerpt 78.1, learn
Part: Bb the 1,following
Trumpets 2, 3, 4 terms:
Measures: 8-29
Tempo: ! = 60
N = niente (no sound)
A4 = with four players
8va = up Where
one octave
to begin? Know your terms:
15va = upn =anniente
octave
or noand a seventh
sound
a4 = add 4 players or with 4 players
8va = up an octave
15va = up an octave and a seventh
Learn the pitches with a piano. Be sure to sing them, they are part of the piece. There are multiple "open" or vamp
type areas. Watch the conductor. This music requires a close attention and enthusiasm. Have fun!
248
Excerpt 78.2
)) ( ))+ "
%
. accel. sub.
( ) ( )! * ) )) ** ))[!=84]
accel. sub.
! ' ) ) " )! #& * )

2"
[!=60]
,, # ,
[!=72]
) $
))) ) / ,' 0
vib.
1. % & -! &!
2. ! () &! ! #""$ %
"" ""
"
"
.
40 accel. sub. [!=84]
! ' )! " )!
3
%
$ )*( )gliss.)! )
2"
[!=60] accel. sub.
#& * , [!=72]
)) ()) , #-! 2 ) ) ) ))
&! ) ! ),' 0
vib.
4. % &! () !* &!
3.
1 +
#""$
() ) 1
""
5%
""
)) !!
"
4)) # 5))+ unis.

1 &! 7/ , ! ' , ) )
))4) ) )) )) 6)$#)13 4)) )) )) ))6)$#)13 4)) )) 6))#3
2. %
1. ' , )) 1 1
$1
5 % % 4)
% &' " "" "
"" &' " "" " "" cresc.
5+
"
5% 8. unis.
45
) ) ())#3 ) )3 ) ) ())#3 ) )3 )! ())#3 ) # ) , ! ' ,

3
% %
4. %
3. ' ,()) ()) )) ) ) $1 ) ) ) ) $1 ) ) ) ! $1 ) &! ) )4 )
)
5% &' " ""
&'
" ""
" "" "
cresc.
)() 5) 5) ! )
" ""
)!5)+ )()))( ) ) ) ) $
(
) ) ) ) 5)+ 9
!
5+ ) ( )
1.
% ) ) ( ))( )( ) )) 1 ', 8
&! . 7 . ( ) / , 8 ( ) 1 2 (
-! () ())
2.
) ) )
"
"" "sub. "" ""
( ) ) ) ) 5)+ 9 )() 5) 5) ! )
() ) ) )
50
5)+
(
5)+
) ( ) ) ( ))) 1 ', ! 8
&! . 7 . ( )
)!
/ , 8 ( )
)( ))) 1 $ 2 ( )
4. % )( )( ) -! () ()
3.
) ) )
"
"" "sub. "" ""
5)+ ,
/7 , !In:addition, use a metronome
[!=60]
1.
2.% #& 46.4.
See Excerpt
! Piece: with the
And the thirty-second
mountains note as the pulse.
rising nowhere
5)+ ,
Part: Bb Trumpets 1, 2, 3, 4
% &! /7 , ! :
[!=60] Measures: 38-52
3. # Tempo: ! = 60
4.
All parts are included in every trumpet part. Be aware of when you are unison.
Don't just guess at rhythms, they need to be accurate and solid. Pick one pitch
and practice rhythms with a metronome. After this, double note durations and
practice pitches slowly. Good luck!
249
Excerpt 78.3
*
& & &
%& & & & &'%& & &( )
" !#! $ &!
marcato
1.
& % & &%&&%& & & & %&! )
2.
%&
" ""
!"
& &%& ! && &&)

& & *
" !#! $ & & %&!
marcato
&
% & %&!
& ! ' ()
3.
4.
% &&! % &
" ""
!"
See ExcerptComposer:
78.2. Joseph Schwantner
Measures: 83-84
Tempo: #$ = 72
Don't guess at the rhythms. See the previous excerpt for ideas.
Excerpt 78.4
Dotted Eighth note = 60 Joseph Schwantner
% % %&' ! %!
" # # # $ !! % !
## ! &
(a2) unis.
&% % % % % % % % % &% % % %
! !! # "
"
! % % % &% % % &% % % ! * !%! %!

[$=108]
% %
# # (+ ) (+ , -
"# # # ' $! ! +! !
See Excerpt 78.2.
Measures: 88-94
Tempo: $% = 60
4 4 5 6 5
This is not as hard as it looks. The measures are in and 16.
81/2 8 16 16
This excerpt is no different than Lincolnshire Posy. Put a metronome on the eighth or sixteenth note and slowly speed
up.
250
Excerpt 78.5
,
! " - ( ( ( -(* ,( # (
unis. a4
1.
$ %! & ' )( (
* ) (* % !+( ( %! ( ( ( ' ( ) (
2.
!!
,
,
-( ( ( -(* ,( # (
3.
$ !%! & ' )( ( "
* ) (* %!+ ( ( %! ( ( ( ' ( ) (
4.
,
,(*
,( ( ( - ,( (0 (!
1.
$ ( -( ( ( .( (* / 0 /1 '
2.
* ,
sub.
, ,*
34
((2 !!
,( ( ( (( ((2 (( '
3.
$ ( -( ( ( .( (* / 0 0 /1
4.
* , , ,*
sub.
See ExcerptsMeasures:
25.4, 37.4 and 46.4.
114-119
Tempo: " = 108
The majority of this passage is unison. Lead the section! This means that your time, articulation, and dynamics
have to be spot on. Use ideas from the previous excerpts to help learn this passage.
251
Excerpt 78.6
1st trumpet in Bb, measures 120D – 120F Joseph Schwantner
D
1" 5" 10"
" ethereal
#" " #%
! " $" "
!!
E stacc. delicato
15" 20" 25" 1"
! "" ( ) ) '( ' ) ( '( ( ) ""# &&&&&&&&&

#" " #" % " ' ' '
" $"
slow gliss. *
! gliss.
1.
2. '( ( '(
!!
whistlers begin together
1" stacc. delicato 5"
then proceed independently
*"
! " ( ) ) '( ' ) ( '( ( ) ""#&&&
' ' '
( * = whistle short "stacc." pitches. specific pitches not
indicated, only general register given. ) 4. !
3.
'( ( '(
!!
F
agitato
1.
2. ! &&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&
cresc. poco a poco ""
" STOP
10" 15" 20" 25" whistling
agitato
3.
4. ! &&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&
cresc. poco a poco ""
"

In Excerpt 78.6, follow all directions closely.
Measures: 120 D-F
Tempo: Per Second
Play the selected pitches at "D" in that order. Each pitch is a little more than a second each. Use good judgement.
At "E", you must whistle. Be enthusiastic and positive, contribute to the ensemble by whistling the same as you
would by playing. Use a piano to determine the pitches you need to whistle.
252
Excerpt 78.7
(* ( ( ( ( ( ( (
&! + ' ' ( ( )' '!
'!
'
# !$! %
)' ' ' '
,
"$ &
! ' )' ' '!
' )'
1.
(
2.
( ( (
( ( ( (
!! !!!
(* ( ( ( (
( (
& ! )'+ '-
( ( )' '!
! ' ' - " ' )''
' '!
' )' ! .' '' ' $! & )'
4. # $! &
)' '
',
3.
,
( ( ( ( !!! ( (
!!

See ExcerptComposer:
78.5. Joseph Schwantner
Measures: 132-133
Tempo: " = 72
This excerpt is in 4 and 5

8 8.
Put the metronome on sixteenth notes and learn it carfully. You may need to write beats above each measure.
From a Dark Millennium (79)
Use other ideas from this piece.
Excerpt 79.1
From a Dark Millennium
Andante Joseph Schwantner
#( # # #( ' ( # #! #! #( ( (
# #( $ #* #*( $ #* #* - #* $ # #
! " $#% #&
'
# (
# & & ' ( ) * +# # !
# # $# # * ) ) *, " * * " " "
! !! !!!
( (
# #( $ #* #*( $ #* #* #* #* '# !+'# ! ' ! #
0 #!
#! )
* * " " " , . / " / " #' /
!
! !! "
Piece: From a Dark Millenium

See Excerpt 78.2.
Part: 1st Trumpet
Measures: 49-55
Tempo: n/a
From a Dark Millenuim is a very much like Joseph Schwantner's two other works for band. Rhythm is very
tricky here. It appears to be in 2 based on measure 54 and 55 yet the other measures have two and a half
eighth notes in them. Learn this4 excerpt very slowly with a metronome on the sixteenth note. Be accurate
and confident in your rhythm amidst other contrasting rhythm in the ensemble.
253
Excerpt 79.2
From a Dark Millennium
Allegro Molto Joseph Schwantner
! $#"
#
& ' "( #" " # #" # & ' #" #" " # #"
! % "& '"# % ( ( $" & '" ( % ( (
# % "# #
' #" "# ' #" #" " #
! $"( #
#" # $#" #
!!" sim. !!"
# % #" #" % # #" #
% ( # "
" % ( " % ( #" "
% % %
' "# ' "#
sim.
!!" !!"
#" # ( #" & # # # ( #" & #"
"! (
$ % "# & " ( & " $" % " & &
( # ' " "# (
sim. ' "# # #
!!" !!"
! $#" & & ' "(

# #" " # #"
! % " '"# % ( ( $) * +
#
% #" #"% "( #
' #"
#
!!"
$ #
" #" # $)
! ( #" " * +
% %
' #"
!!"
#
# #" &
"! (
$ " ( % " & "& #"( $) * +
# '" #
!!" #
Piece: From a Dark Millenium
See Excerpts 25.4, 37.4 and 46.4.
Part: 1st Trumpet
Measures: 92-95
Tempo: n/a
Use advice from the previous excerpt when learning this excerpt. Learn all three parts to help understand how
they compliment and contratict each other.
254
In Evening’s Stillness (80)
Excerpt 80.1
In Evening’s Stillness
1st trumpet in C, measures 28 - 32
Half note = 66 Joseph Schwantner
( )&
30 [" = 132]
*! &
! ('& ('&
"# !! + , , (& & (-
#
$" % % (& (&

!
( &' (&' ' ' !! !!! !! cresc.
. , , (& (& (& #& &

& &. , / %
$ + + +
!!! !!!
!! #
Piece: In evening's stillness

Excerpt 80.1 is written
Composer: for “C” trumpet.
Joseph Schwantner
Part: Trumpet 1 (in C)
Measures: 28-32
Tempo: % = 66
Excerpt 80.2
InTo begin with,
Evening’s make sure you are aware that this piece is written in concert pitch for "C" trumpet. Due to the high
Stillness
1stregister,
trumpet Iinsuggest
C, measures 69 - 80 this excerpt on a B$ trumpet to secure the pitches. When bringing the excerpt up to the
practicing
Quarter
rather note
quick= 132
tempo, quarter-note equals 132, practice multiple tonguing at all tempos. Joseph Schwantner
70
! #
$ " ' % % '% %'% %'% %' % %' % % ' % % ' % %' % %' % %' % %' % % " ( "! %) * +
&& && && && "
!"
75
$ '% %'% %'% %'% %'% %'% % '% %'% %'% %'% %'% %'% % #" (
"" % * , + "!
&& && )
&& && "
80
& & '% % &% &% % % % % & &'% %'% % &% &% % % % % # ( -. %) * * ,
$ "! '% %'% % '% % "
!" cresc. " ""

Practice Composer:
Excerpt 80.2 single-tongued and double-tongued.
Joseph Schwantner
Measures: 69-80
Tempo: # = 132
Practice this excerpt by playing each group of four sixteenth notes as a group of two eighth notes. If you are doing this
correctly, then the notes change with the pitches. Be sure to ephasize the accents that occur every third group of
sixteenths. This will bring out the hemiola which is the desired effect.
255
Excerpt 80.3
1st trumpet in C, measures 84 - 111
Dotted Quarter note = 88 Joseph Schwantner
" !! &
* 85
% !" ' ' " '! '!

( # !" $ ( ! ( # !"
(Straight Mute)
1st
Time
' ' " '! '! '! ' " '! ' ' ) " &
!! Cresc. ! dim. !! ! Cresc.
! *' ' # ' * +*' ! ' ( ( +' *-' ! ' *' !

!
#% "
! $ # (
(Open)
) " ' + ' + ' ,", + ' ' " '! ' ' + ' " , ' ' " '! ' "
*- * , !!
2nd
Time
!! ! *
* "! !
* "! !
" !
% " '! ' "$ ' ! '
90
( ( (
95
' ) !" & +' ' #" '! '!
!" '! ' "$ '! ' ' ) !"
"! dim. ! ! Cresc. "# dim. !
+ *' ' *
!" ',+*' ' "$ ' ! ' !" ', ' ' # '! ' *' ! ' $ '' !"
# !
% " , ", "
*' ' '# ' *
2nd
Time
"# "! ! "# "!
" ! & +' ' # ' ! ' ! ! ' ! ' $ ' ! ' ' ) ! & ' ' # '!
"#
100
%" '! !" '! ' "$
, " " " , " , "
"! Cresc. # dim. "! "! Cresc. # dim.
*' ' # ' *+'+*-' + *-' ! ' +*' ' $

, +' ' " ' ! ' ! " ' ! ' " ', & & & " )
! ' * # ! $ !
Time # % " " '
2nd ,", "
"! # dim. "! "! # "#
" $ '!
Cresc.
#" ' ! '! !" ' !

105
%" ' ' ) !" & +' '
,
' "$
,
"! Cresc. ## dim.
$ '!
*-'
' *-' ' *
, !" , +' #" ' ! *
' ' !" ', +*' '
"$
#% " , '
,
2nd
Time
## # "# # "#
" $ '! ' ' ) !!

110
' ' ) !" & +' ' # '! '! !" '! ' $ '!
%" , , " " ,
"! "# ## "#
+ *' '
$ '!
Cresc. dim.
'
' !" , +*' ' # '! '! !" '! ' $' & !!
#% " " ", & &
2nd
Time
# "# Cresc. Poco a Poco ##
Composer: Joseph Schwantner This excerpt demonstrates how attentive the player must be at all times.
Part: Trumpet 1 (in C) I use dashes and triangles above each measure to denote groupings of
In Excerpt 80.3, play84-111
Measures: the top line through thetwo
firstand
repeat
three.and
Thisthe bottom
will line
help you to through the second
"group" beats together,repeat.
which will
Tempo: $% = 88 help you count rests and play the part more accurately.
* = Repeat actually begins at m.80
256
Excerpt 80.4
Half note = 66 Joseph Schwantner
,! '/ ' '* ' #' '

[" = 132]
(' ( * + '
!! - & & ' '* .
125
! (
& ) ' ' *(' * ' #
#
- & & -
$" % %
'( (*'( "
! !! !!! !! cresc. !!! # Cresc.
!!
'/
$ - & 0 & '! '/ & 0 & ' ! '/ & 0 & ' ! '/ & 0 & ' ! !" .
130
) ) )
[$ = 66]
% 1
!!!
, , , &'
,
'/''' ' ''
!!/&' ! &!/' &! &'/''

See Excerpts 25.4 and
Composer: 37.4.
Joseph Schwantner
Measures: 125-133
Tempo: $%= 66
See the first excerpt from this piece for preparation advice.
Chester Overture (81)
Excerpt 81.1
Chester Overture
Quarter note = 160 William Schumann
70
! $ %& (% % % % (% (% % )
#" '
""
Piece: Chester
Composer: William Schumann
In Excerpt 81.1,
Part: practice
1st Bb flutter-tonguing
Cornet (Trumpet) to ensure that the air keeps moving.
Measures: 69-70
Tempo: Allegro vivo (! = circa 160)
This is a very simple excerpt from a medium difficulty-level piece. Spend time and make sure you can nail this
excerpt!
257
Excerpt 81.2
Chester Overture
$ % $ #$ 80$ $ % '# #
# $ (#$( #$ % #&$ $+ $ 85$ $ $
% # #% # # # " (# #$ # ,#,#$ #$ # ,#,#$ #$ )
! "& "& ") *
"" " " ""
Piece: Chester
Excerpt 81.2 is marked at quarter note equals 160. Be prepared to play this tempo.
Measures: 79-86
Tempo: Allegro vivo (! = circa 160)
Beware the tempo marking. This excerpt is to be played at quarter note equals 160. Make sure you can hear the pitches
and sing them at a slow tempo before you attempt this excerpt on trumpet. Use a piano as an aural aid.
Excerpt 81.3
Chester Overture
(' ! ' ) ) ) )
%' ' ' ' ')%')%') ') %' ! ' ' %'
con fuoco
&
225
%&
" !! # %$ $ $
*
! " "" """ """
230
" '%'%' ' ' %' %'+ , - #
Piece: Chester
CreateComposer:
an even and consistent sound in Excerpt 81.3. Also, crescendo to the downbeat of measure 231.
William Schumann
Measures: 224-231
Tempo: Allegro vivo (# = circa 160)
Create direction in this excerpt. Use articulations and dynamics to provide energy. Also, for scale-line balance, make
sure you crescendo all the way to the down beat of measure 231.
258
Excerpt 81.4
Chester Overture
% $# & % $#
$ $ $) $ %$&%& ! & $& & ! &
235
$
! " %# & ( %)& )& & %* & ( %&+ ' ( %&+
' '
(!!!)
% &+ $ $
240
& %* & $ %$&%& ! & & ( &+ % * *
' +
! ( %&
+
& ' ( %& & & %*
'
See Excerpt 25.4.

Piece: Chester
Measures: 232-244
Tempo: Allegro vivo (# = circa 160)
When Jesus Wept (82)

Once again, scale-line balance is very important. Higher notes are usually more audible so make sure you play the lower
notes a bit louder so the musical line sounds even. This is especially important when playing the octave B"'s.
Excerpt 82.1
When Jesus Wept
Half note = 60 William Schumann
10
, % %
# "! $ % %
Soli
% & % '% % % & &

%
! legato, cantabile
( ! ( '%
15
% % & % & , '% %

# '% '% ) % '%
"# !
# '( ! ( % &!
* 20
, '&
% '& ( ( & % %
"# !
( , ( '( ! *
25
( ( ( &! &! "" "! ( + ,

Più mosso ($ = ca.72)
# ,
&
Piece: When Jesus Wept

In Excerpt 82.1,William
Composer: practice using the drone on a tuner. Place the drone on a concert “F”, or a concert “C”, and
Schumann
play the excerpt.
Part: Solo Bb Focus on tuning the excerpt with the drone.
Cornet (Trumpet)
Measures: 8-28
Tempo: ($ = ca.60)
Do not underestimate this excerpt because it consists primarily of half notes. Spend time buzzing the mouthpiece
and playing the pitches on a piano. This will help with pitch and phrasing. Also, make sure you watch the
conductor for time. There will likely be a great deal of rubato. Finally, pay close attention to the dynamics.
Always strive to blend with the ensemble and never over balance.
259
Excerpt 82.2
When Jesus Wept
Half note = 72 William Schumann
# " " $" $"! " &

80
$& &
Soli
! " " " $" % % & ' $& & ' &
!" espressivo (legato)
85
,&
Tempo I
& & $& & & '( (& '( "! "$&
' $& $& % &
!
$& $ & & $" ! " & $& '! , $' " " ' $& & $ ' ", " $" !
90 95
! " " $" '! '!

% %
'! '!
#
100
! & ) " & & "*) +

""
Piece: When Jesus Wept

See Excerpt 82.2.
Part: Solo Bb Cornet (Trumpet)
Measures: 79-102
Tempo: Meno mosso (# = ca.72)
Like the excerpt before, this passage requires great ensemble sensitivity. Use all of the advice on the previous
excerpt and apply it to this excerpt. Take care to keep a beautiful, dark, round sound throughout.
260
Dance Movements (83)
Excerpt 83.1
Dance Movements
Quarter note = 134 Philip Sparke
Solo
"! % % % % % % "" % & !

%
3
! % "" ' "! &
muted
#" $ % & %%% %%
!"
%
# "" % &! % %) *
(
In Excerpt 83.1,Movements
Piece: Dance use a high-quality fiber mute.
Composer: Philip Sparke
Measures: 27-33
Tempo: I Ritmico (# = 134)
This is a pretty simple solo, however, be aware of the texture of the band beneath you. Also, shape the phrase whenever
possible.
Excerpt 83.2
Dance Movements
& ( $ $ $ $! $ ( $ $ $ $! $ &
$$ $$ ) * ) * +$
! & % +$ "!
open
#! $ % $$& ' '

! ! !!
$
#
# "! +$ $ +$ +$ $ +$ +$ !! +$) ,) $ $+$ $- "!

!
Piece: Dance Movements

See Excerpt 38.1.
Measures: 41-46
Tempo: I Ritmico (" = 134)
The hardest part of this passage is measure 45. Spend time with the fingering until it is automatic. It will also help
if you can hear the intervals before you play them.
261
Excerpt 83.3
Dance Movements
'(' " ' ! ' & ' '(' ' ! ' & ' ' ' (+
) * ) * * 6 ( '. *
' '. *' *'
! % & ' ('
!" , - % "" - , , , "#
$" "
!" " "# ""
( '. *' '. *' *' (*' (+* + +

#
$" - , , , "
" % (/ ' ('
""# cresc. ""
(' (' (' ! / 7

$ (' (' (' (' ' , '- % 0
,

In Excerpt 83.3, disregard the
fortissimo dynamic. Never play louder than forte.
Measures: 54-66
Tempo: I Ritmico ($ = 134)
The concept of hearing the intervals, mentioned in the last passage, applies here. I find that playing this piece on a C
trumpet really helps with some of the awkward finger patterns. Pay close attention to the note lengths at number 6.
Excerpt 83.4
Dance Movements
(
( ! )(* )(' "9)+
$ % & )' " " #" ' )')')' ' )' ' "" )+ ' ')')' )')'
)(')(' ) * !
!!
( ' (
, - & & . ', - % ( (')(' (' /(' ! .' ' (' (' # )('
$ ' , , , " , - & % & ""
"!# !!
10 (
(' (' ('
" ' # ! # (' (' (' )(' (' " (',
$" - & - & 0 - & , " %
, , , ' ' 0 ) " - & %
( (
See Excerpt 83.3.Philip Sparke
Composer:
Measures: 94-109
Tempo: I Ritmico ($ = 134)
Spend time playing in B major to get the sound and the fingerings in your head. I like to use the scale section out of the
Arbans book to warm-up. Playing in B major will help you hear and understand this passage.
262
Excerpt 83.5
Dance Movements
III Lento (! = 60) (for the brass)
# ### # # # #% # $ !
Harmon mute
#####$ ! ## ##$!
#
" !! #####$!
# #
# #$! #####$!
""" # #
#
& &
" % # #%# # # $ !
# # # # $!
# 37 #
# # $! # # # # # $! #
""" #
# # # # # $! &
" # # # # # $! %# #%# # # $ !
# 38 # #
# # # # # $!
""" # """
39 # #
' ( ## #$ #*
" #### #### )
"""
In Excerpt 83.5,
Composer: spend
Philip time working with the Harmon mute and a tuner.
Sparke
Measures: 406-428
Tempo: III Lento (! = 60)
This is actually a very easy passage. The harmon mute will create the extremely soft """ dynamic. Since the last note
of the quintuplets is tied, all you have to basically play is a set of four 16ths crunched together.
Excerpt 83.6
Dance Movements
%% %%
% %$ %$& $ $ ( $
' %$ & $ $ ( $ &$ $ $
$#
! " # &$' ' '

To increase accuracy,
Composer: practice buzzing Excerpt 83.6 on the mouthpiece.
Philip Sparke
Measures: 485-487
Tempo: IV Molto ritmico (! = 144)
If you do not hear the notes prior to playing them, this passage will likely be a frack-fest. Practice buzzing this on the
mouthpiece.
263
Excerpt 83.7
Dance Movements
% $# % $# % $# $# % $# $#% $# $# % $# $# % $# $#% $# $# % $# $# $# $# % $# $#% $# $# $# $# $# $# $

open 47
& & & %# ' " (

! " & &
" ""

Do notPart:
overplay the dynamics in Excerpt
1st Bb Trumpet
83.7.
Measures: 511-515
Tempo: IV Molto ritmico (! = 144)
See the commentary from the previous excerpts.
Excerpt 83.8
Dance Movements
! "$" %" !$" " " " "! " " %

"
! "! # " " " " !$" " " " $"# $" $"$"$" "$" " "
!!
%
! &" ! " " " " &" "

See Excerpt 37.4.
Measures: 527-531
Tempo: IV Molto ritmico (" = 144)
See the previous two excerpts.

264
Excerpt 83.9
Dance Movements
& &% %%'&% ( & &% %% & &% %%%% % '&% &% %%% % % % % % % + %
$ '% %% % %% '% ( ) %* "! ) ) ) #"
!" !# cresc.
% % % 53
$ #" % "
) +% " % % * -
%
,
#
In Excerpt
Part:83.9,
1st Bbpay close attention
Trumpet to the placement of each accent.
Measures: 565-570
Tempo: IV Molto ritmico ($ = 144)
This is a tough excerpt to play correctly. The piece is titled Dance Movements and each movement is very dance like.
To play this excerpt correctly you must place every accent in its correct place.
Excerpt 83.10
Dance Movements
%$ %$& %$ $ %$ %$ $ %$ %$&%$ %$ %$& %$ $ %$ %$ $&%$ % % % %&%$ $ %$ ( )

!
"! # ' ' # ' ' $& $ $ $ ' '
! !"
% %$ %$ $ %$ (
57
) $* # +
" $ ' '
& '
!

See Excerpt 83.7.
Measures: 605-612
Tempo: IV Molto ritmico (# = 144)
See the earlier excerpts for advice.

265
Excerpt 83.11
Dance Movements
# #! # $ # # $ # # # # # #! # % %# $ # ! # # # # %%$%# % % % % $%# ##%

%
! #
59
#
" !! # # # # # $# # # ##
&
#'
(!!)
%# ##$%# ## %# ' %#
60
" &() *
See Excerpt 62.1.Movements

Piece: Dance
Measures: 630-636
Tempo: IV Molto ritmico (" = 144)
Use all the tools already mentioned to help learn this excerpt. Like the earlier excerpts, use the accents to make it dance.
Excerpt 83.12
Dance Movements
$#" ! #" #" #" #% $#" ! #" #" #" #%

#
" $#" $#" $#" $ & & " $#" $#" $#"
!
"" $ $

See Excerpt 83.3.
Measures: 673-678
Tempo: IV Molto ritmico (# = 144)
Practice this with a nice, full, big sound. Aim for the C! in measure 675 and do not let up.
266
Excerpt 83.13
Dance Movements
$# # $# $ &% $&% &% $# #! $% " $ # % $ # $ % $ &% $&% &% $#

64
! "
!" vibrato # !" #
&
% + + # ! $ % 65
$ % $&% !$&% &# % $&% !$&% &#
più accelerando
$% $%' ) * &% &%

Molto vivace ($ = 104)
#! () ()
! (
" "" ""
'
% ) $%$% %$ % &% + % & &
%
&# + #! $%
( ) * " $%
! (
#
$ % & ! $&% &# % $&% ! $&% &#

'
% $%$% %$ % &% + %
! ( ) $% ( ) ( ) ( ) * "
"" #

In Excerpt 83.13,Philip
Composer: create energy and drive by using hard accents and vibrato. Do not use volume.
Sparke
Measures: 686-710
Tempo: IV Molto ritmico (% = 144)
This excerpt is a blow! Make sure to pace yourself so that you can make it to the end. Use hard accents and vibrato
to create energy instead of using volume. This will help you make it to the end. Also, use common sense. There are
several unisons in the upper woodwind and trumpet parts. Let them do some of the work.
267
A Solemn Music (84)
Excerpt 84.1
A Solemn Music
Half note = 48 Virgil Thompson
#!
# $ $ %$ $ # (
, '
marcato
"! # # # $ $ # $
% #&
! !! dim.
cresc.
, , , ,
" )$ #
ten. ten. ten. ten.
$ # #& ' % # %#& # %# # %# '
" & % #& % #&
#!
, ,
#
ten. ten.
" # $& $& %# $ )# )# *# #
& #!
ten. , +, - .
" #
rit. a tempo
%# # # %' ' *$
"
Piece: A Solemn Music

In Excerpt 84.1,Virgil
Composer: create “scale-line” balance by playing the lower notes louder. In addition, observe and
Thomson
obey allPart:
breath marks.
Trumpet I in Bb
Measures: 33-57
Tempo: Largo nobile ($ = 48-54)
Play this excerpt with a very dark, rich sound. Strive for a smooth, connected style. Use the syllable
'da' to help avoid abrupt articulation. Think 'ho' to keep a nice open throat and big sound. Also, be
Excerpt
aware84.2
of low register volume and pitch. Balance low register by playing louder and use a tuner throughout.
A Solemn Music
# $! # #
) ) ("
& ' ! (" $! % '!
" % "
straight mute
#
$! %' %
marcato
! &
! cresc.
# #
$! %! % %
! & *' + ,
##

Composer: Virgil Thomson
Use a metal mute in
Part: Trumpet I inExcerpt
Bb 84.2.
Measures: 89-97
Tempo: Largo nobile (" = 48-54)
Use a good quality mute to help pitch and create the appropriate sound. I suggest a metal mute to acheive the
crescendo in bars 93 through 97. Use a tuner throughout.
268
Excerpt 84.3
A Solemn Music
' #! & (& #

! " &$ ) "
open
% #$ & & # &

"" cresc. poco """ dim. #"

Composer: Virgil Thomson
In Excerpt
Part: 84.3,
Trumpetpractice
I in Bb the diminuendo while using a tuner.
Measures: 100-105
Tempo: Largo nobile (! = 48-54)
Once again, use a tuner to help pitch. Do not let pitch suffer as you decrescendo. Finally, do not crescendo
too loud. A spread, ugly sound is not effective.
Blue Shades (85)
Excerpt 85.1
Blue Shades
Quarter note = 160 Frank Ticheli
!,"
(&+& (
! % ' & & ) % ' &' & & ) +& & & % '
59
#" $ & % ' & & & +&

& ( & ( * && &&( &
!
# & & !,"&* +&

' +& " & & +& & % &' !,"(& +&
"
( !!
Piece: Blue Shades

Composer: Frank Ticheli
In Excerpt
Part: 85.1, anticipate
Bb Trumpet 1 a faster tempo than is written.
Measures: 59-66
Tempo: With energy (" = 160-168)
Take note of the composer's direction "With Energy". Do not drag and do not lose time. Practice the excerpt faster
than you think you may go just to be safe. Also, pay close attention to the articulations. This will help create the
appropriate style.
269
Excerpt 85.2
Blue Shades
!
140
'& &( % $ + & &,( &(
#" $ % & &! & % % &&& $
open
& & )
*
&&& "!#
) & & &
* '.& -&( &+&( &+&( & (

!
-&,( & & & +&,( & & & &,( % % / & +& & +&(
# ) & &
Piece: Blue Shades

To ensure that the low “A’s” are heard, play them at a fortissimo volume.
Part: Bb Trumpet 1
Measures: 140-147
Tempo: With energy ($ = 160-168)
Again, this excerpt is fast. Be sure to start with a nice full volume on the low A's so they are not lost. The hardest
measure is bar 167. This is a hemiola. Although it looks tricky, it is the same rhythm four time in a row. Practice this
and lead the section.
Excerpt 85.3
Blue Shades
# # # &
214
"
! " " $ " " $ " " $ " " $ % " " " " " " $ " " "' "(" " " "
#
)#" " " " " (+ !
(!)
% " " $ "* "* $ " " $ "* "* $ % %

221
! * *
#! marcato
Piece: Blue Shades

Use a metronome to learn Excerpt
Part: Bb Trumpet 1
85.3.
Measures: 214-223
Tempo: With energy (" = 160-168)
Measure 214 is another hemiola. Stress the rhythm so that the hemiola is effective. In measure 221 the articulations
become marcato. Make the change!
270
Excerpt 85.4
Blue Shades
$ # (# )#
$ # * # & # & #( & ( #( & # # " & (
bring out
"
! #$ # %
# & # #$ # # & # #
' $ $ ' ## ) #
! "!#
-
!,"
( )# +# ) #
+# ' & ( #( # # "
257
! # # #' " # # # & (

# )# # # # +#
' #
) ) '
)# # # )# # # # # # # # #+# # # # # # #+# # # # # # # )# # ###

"# "#
265
! &' ' ' '

! !! !!!
Piece: Blue Shades

See Excerpt 85.3. Frank Ticheli
Composer:
Part: Bb Trumpet 1
Measures: 250-270
Tempo: With energy ($ = 160-168)
Practice this excerpt like the previous two excerpts. Move it forward and don't drag.
Excerpt 85.5
Blue Shades
% %+($ $ % %
304 Dirty
" !! # $% &$ $ $ &$ $ '$ $ $% )

% %
% % %
$ *$ $ $ $ , $ )
( ( ( #
%
"# $$
Piece: Blue Shades

To createComposer:
the styleFrank
of Excerpt
Ticheli 85.5, play on the back of the beat.
Part: Bb Trumpet 1
Measures: 303-306
Tempo: Dark (! = ca. 60)
This excerpt is in a very burlesque style. Stay on the backside of the beat at all times. Unlike the other excerpts, don't
rush! Play with a very heavy articulation and a dark sound.
271
Excerpt 85.6
Blue Shades
%! &% ! % ! &% ! $! $! $! % % &%

# "!
$ % % &$ ' ( %&%&% %&% %
!" "# cresc.
%
)!
400
' &%"+ %! &%"+ %! %"+%! % %"+% %"+% $!

&%"+ % (&%"+%! &%"+ %! %"+%!
# () ) *
Wail!
""
% % % $!
&%"+ %"+ %"+ %!
&%"+ &%"+ %! %"+%! %! %"+%!
&%"+ % % %
&%"+ %"+ %"+ % % % $!
&%"+ %"+ %"+
411
% ( $!
#
%! % % % % % % % % $!
""#
% % % % % &% ! ,
417 423
%!
# ' '
$! $! $!
""
% , % %
) ( %' &% %&% ' ( ) )
430
# ' ( ) )
!# ""
Piece: Blue Shades

In Excerpt 85.6, Frank
Composer: it is important
Ticheli to emphasize the hemiola created by the dotted quarter note.
Part: Bb Trumpet 1
Measures: 392-431
Tempo: ($ = 160-168)
The first four bars of this excerpt is another hemiola. First, a half not hemiola over two bars then a dotted quarter note
hemiola over the next two bars. Make sure the audience can hear both hemiolas. At 402, play with a very large and
full sound. Practice placing the grace note both on the beat and off the beat. At 417, bring out the 6 hemiola.
8
272
Postcard (86)
Excerpt 86.1
Postcard
( ()( ( # *( ( ()*( ! ( ( % ( ( ( )( ( & )*( ( ( ! ( ( ( )( ()( ( ()(

84
!
'" $ " $ +( "
* (* ( *
!!
*( ( )( & ( !,( ( -*( ! )( ( ( %

91
*
' ( $ ( "( ". ()( ( ()( ( / )( ( ( ( (+ 0 0 ()( 1
*( ,(
98
*( ,( , ( ( *( ,( ,( ( -( *( ,( ,( , ( ( *( ,( ,( (
(Soloist: Tacet and take mute)
, ( ( -( ,( + 0 + 0 !"
' /
*
-( ( ,( ( % ,*(+ 0 / /
104 Solo Straight mute
!
'" " .
$ $
(2 (2 (2 (2 (2 (2 / /
$ $
/ (((((( ((0 / /
$
2 2 2 2 2 2 2 2
crisp "# ! "# !
Piece: Postcard
Learn Excerpt 86.1
Composer: using
Frack a metronome on the eighth note pulse.
Ticheli
Part: Bb Trumpet 1
Measures: 84-108
Tempo: n/a
Excerpt 86.2
Postcard
Practice this excerpt very slowly using the eighth note as the beat. At slow tempos learn the awkward fingerings,
1stemphasize
trumpet in Bb,
the measures
accents, 132
and -make
148 sure you "hear" the excerpt. As you speed up, think of the musical line in terms of
Quarter note = 132
the metrical groupings. Is it a group of two or three? Frank Ticheli
% &%$$$$&%$$$$
open
%$$$$%$$$$%
132 138
! & $ $$$ & $ $$$ &
tutti
# " &$ $ ( ) ) $
&$ ' ( ) ( * $$$$ $$$$
% ' % '
! "! "! "! !
%$ &$&$ $, $ ) ( + $&$ $ $ ) $&$ $

144
& +
# '(($$ $ '() * * &$ $ & $ &$ &$
#!
$ $ $ -$ " %$
148 Expressive
# ) "' ( ) .
!!
Piece: Postcard
See Excerpt 37.4.
Composer: Frack Ticheli
Part: Bb Trumpet 1
Measures: 132-148
Tempo: n/a
The opening, at measure 132, is a tutti section so there is no need to play very loud. A lot of this piece is about energy
or effect. From bars 132 through 137 work on creating the three note crescendos. At bar 138 work on accenting
each beat. At measure 144, let the line build each time.
273
Excerpt 86.3
Postcard
166
! & ' $ ' %$ $ $ % $ %$ $ ' $ $ ' )$& ' $ ' $ )$ ' $ ' )$ $
#
" ! %$ ( ' )
( ( $ ' ( ' ( ' ( ( ( ( (
! marcato
171 +
%$ $ $)$ )$*$ $( % $ +$%$ +$ $ & $ ' %$ ' $(%$ ' # %$*$
" ' ( ( ' ' ( ' ' ( ( $' ' , , % $ ( (
+
176 +
!
$ $ )$ . .!
180
%$ %$ ' %$ *$ $ - ' ( .! ' $( . ' $( . .!
" ( !
poco! "! poco! "!
" ' %$( . .! $ '! # #

/
Piece: Postcard
In Excerpt 86.3, the isolated eighth notes should not be short.
Part: Bb Trumpet 1
Measures: 166-184
Tempo: n/a
Practice the isolated 8th notes as quarter notes. Put the excerpt together as a choral so that there is tone with each
note. When you shorten the 8ths, make sure there is still tone there.
Excerpt 86.4
Postcard
( ( ( # ( ( ( )( ! ( ( % ( ( ( )( ( & )*( ( ( " ( ( ( )( ( (

195
* *
!
'" )( $ " $ + (* " ( (
!!
,
201
( ( $ (
to straight mute
' ( ( )( ( )( $ + - . /
Piece: Postcard
See Excerpt 86.1.Frack Ticheli
Composer:
Part: Bb Trumpet 1
Measures: 195-201
Tempo: n/a
Do not be confused by the mixed meter. The eighth note stays the same. Put a metronome on the 8th note and
practice the articulations exactly as they are written. By doing this, the macro rhythms will take care of themselves.
274
Excerpt 86.5
Postcard
( ()( ( # *( ( ()( ! ( ( % ( ( ( )( ( & )*( ( ( ! ( ( ( )( ( ( ( ()(

241
!
'" $ " $ +( "
* ( ( *
!!
*( ( )( & ( !,( ( -*( ! )( ( ( % * 0

248
( (
' ( $ ( "( " . . ()( ( )( ( . )( ( ( (+ / / ()(
*( ,( * * * * *
,( ( -( (,(,(, ( (+ / (,(,( ( -( (,(,(, ( (+ / (,(,( ( ( (,(,(, (
255
' .
!!
Piece: Postcard
See Excerpt 86.1.
Part: Bb Trumpet 1
Measures: 241-260
Tempo: n/a

Excerpt 87.1
Symphony Number 2: Shooting Stars
With ecstatic energy (! = c. 126-132)
$ ' )& &)** +

+ ** ** && ' & )& &&)&& +
+
# $ !! % (&& &&)&&( & & !"
Straight mute, div.
, - % (&& &&)&( &

"# $"% "#
" & " &
./ && !! && !!
*Timbral trill: alternate between different fingerings of the same pitch.
1*222222 3 1 22222222 3
(0,12) 10
$" !! )* && &&, - && && &&, - % % &&&)&&()&&&& !" % '&&&)&&()&&&&)&& !! +

+
*
#$ ! 0 (& (&
"" "#
& " &
5 5 &5 &5$ &65

$"
5
$ && )&&3 - % 4 5& &5 &5 &5 &5 & 4 ' 5
- & & , - % % - &, & & - &,5 /" &5 &
5 &
# $ !!
'
,-% 4
unis.
, ,
$"% " ' ' '
Piece: Symphony No.2 for Symphonic Band: I. Shooting Stars

See Excerpt
Part: 38.1.
1st Bb Trumpet
Measures: 1-17
Tempo: With ecstatic energy (! = c. 126-132)
Practice this excerpt by singing it first. Use any five-syllable work when singing the quintuplets. Also, triplet
articulations should be consistent from note to note.
275
Excerpt 87.2
& $& &

74 open
$ unis. & & & & & & & & &
# $ !" % & % % & &
# # # # #
#
!" " !$
$ & $& & & & $& &' "" *

83
& &+'
#$ % & ( ) ( )
# # "$ &"'
" !" "

In Excerpt 87.2,Frank
Composer: subdivide
Ticheli the quarter note triplets using eighth note triplets.
Measures: 74-83
Tempo: With ecstatic energy (% = c. 126-132)
Subdivision is key in this excerpt. Subdivide by thinking of eighth note triplets. Also, make sure the eight notes in
measure 82 are not triplets.
Excerpt 87.3
!
!! ) )+ )+ ) $# ) ! ) ).+ / ) ). !% ) ! ) ).+ / ) &$ ) ! )! ) !!
+ + , ,+ , , ,+ *
(( ! *) ) ) ,)+ )+ " -
*
' ! !
(!!) "!
+ + +
( ! ) )+ )+ )+ )+ )+ )+ )+ " )+ )+ )+ )+ ! )+ ) ) )+ )+ )+ )+ )+ ).+ / 0 1 + + )2+
)
(
' ! ! ! /
) )+ )+ )
! )+ +
"! !!!

In Excerpt 87.3, highlight the note-length difference between the tenuto staccato notes and the staccato
Measures: 140-150
notes. Tempo: Tempo I (# = c. 126-132)
For this excerpt, practice different articulations. Practice accents, staccatos, dashes, etc. to create as many different
articulations as the composer requires. In addition, make sure to have consistent length and front to all of the
repeated staccatos.
276
Excerpt 87.4
'
$ % ('& & * +& , , & &.- &.- &.- &.- &.- &.- &.-
& & '#& !
# $ % & &+& & " / ""
) '
! " !!
.- &.- &.- &.-
$ & , & & & & & &) + & & (& & &
168
# $ "" 0 * * ) % ) * * & ) * %
&
&+& ) *
! !! %! !!!

In Excerpt 87.4, do not play fff. Play this excerpt at a forte dynamic.
Measures: 163-171
Tempo: $ = 144-152
Pay close attention to dynamics in this excerpt. Make sure you creat every crescendo and diminuendo. Attention
to detail is crucial.
Excerpt 87.5
Symphony Number 2: Dreams Under a New Moon
)
19 ! = 56
& ' ( ( ( )( ( ( ( ( *( ( ( ( ( ( *( "# *( ( ( ( ( (

straight mute
$ !" % ( ' ( ( ( !"

Solo
% % % % %
"# "$
! ( ( ( *( ( ( )( ( ( ( ( ( ( ' ( ( ( # )(*( ( ( (*( ( ( ( ( ( ( ( ( ( ( ( ( + %

$" "
% % % % % %
"$ $ "$ #
Piece: Symphony No.2 for Symphonic Band: II. Dreams Under a New Moon
In Excerpt
Part:87.5,
1st Bbsubdivide
Trumpet the beat using the eighth note triplet.
Measures: 19-25
Tempo: ! = 56
Practice slowly! Pay attention to the dynamic structure and be sure to create the effect. Also, always keep the
sixteenth note triplets in your mind while playing this excerpt.
277
Excerpt 87.6
82 ! = c. 52
'
" !! # $ % & & & '& & & & & (& & & & & & (& (& & & & & & & $ #
st. mute Solo mute out
)
% % % %
"# "$
See Excerpt 87.5.
Measures: 82-83
Tempo: ! = c. 52
Practice this solo using the same criteria as the last solo.
Excerpt 87.7
'
(accel. poco a poco to m. 145) 141
!
#" $ % & & & & & & & &
& ( & & " & )& & & (
" )& )& & & (
!" "
& & -
147 Majestic (# = c. 56)
& & &)& & +&+ & & & + & & , &&&&)& & && && && && & &)& & && (
rit.
# = c. 80
# *& $
!" "" $ $ $ $
In Excerpt 87.7, use
Composer: theTicheli
Frank eighth note triplet to subdivide measures 147 and 148.
Measures: 140-148
Tempo: Flowing (# = 66-69)
On the first half of the excerpt, keep the eighth notes very broad. However, do not let this slow you down. Be sure
to observe the accel. and move forward until measure 146. At 147, use the previous advice to tackle the triplet
sixteenths.
278
Excerpt 87.8
Symphony Number 2: Apollo Unleashed
% !
47
!
# " $ $ $ $& $ $ $ $& $ $ $ $& $ $ $ $& $& $ $ $& $ $ $& $ $ $& $ $ $& $ $ $ ' $
()$ $
open con bravura
% % % % #!
&$ $ $ $& $ $ $& $ $ $ ! $! $ ! ' !

marcato
! "
% $!
# *" ' "! $ $ $ '! '!
" #! !
"" marcato $ $ $ $ $ $& $ $ "! ' ! '!

%
$ ) $ ,$
60
# + $& $ $ & $ & (

#" "
%$
( . ( ) $ ! $ $ "! ' ! '! '!
$ -$ %
# $ )
!
Piece: Symphony No.2 for Symphonic Band: III. Apollo Unleashed

In Excerpt 87.8, practice placing the accents in measures 45 and 46.
Measures: 45-68
Tempo: $ = c. 160
In measures 45 through 48, simplify the rhythm by playing only quarter notes. When you have established the "feel"
and the "line", continue learning the excerpt.
Excerpt 87.9
Symphony Number 2: Apollo Unleashed
( ( ( # )( ! *( ! ( *( ( *( ! )( ! %$ )( ! *)( ! &$ )( *( )( !
85
!
'" $ " #$
)!
!!
*( )( ! +" *( , "! -( ( ( #$ ( (-( ( ( "! -( ! (/ (. ( ( (. -( ( (

. . . .
93
' #$ .
( ( ( )( ! ( ( ) ! ( ) )
%$ -( ( !( (. (. ( ( " -)(0 1 , 2
to st. mute
' " "
Piece: Symphony No.2 for Symphonic Band: III. Apollo Unleashed

Practice Composer:
singing and conducting Excerpt 87.9.
Frank Ticheli
Measures: 85-100
Tempo: " = c. 160
Learn this excerpt by singing and conducting it first. When you think you have accomplished this, take your horn
and play the entire excerpt on a "G" in the staff. Focus on time, rhythm, and articulation.
279
Wild Nights (88)
Excerpt 88.1
Wild Nights
# ! st.$ mute& %& ' %& %& ' & %& ' %& %& ' $ ( ! %& %& %& %& %& %&
" ! % % %& %& ' %& %& ) $ $
# "
"
Piece: Wild Nights!

Practice Excerpt 88.1 single-tongued and double-tongued.
Part: Bb Trumpet 1
Measures: 15-17
Tempo: ! = c. 144
This is a tricky passage written only for the 1st trumpet. I, personally, choose to double tongue this passage. Practice
this both ways to be prepared. Make sure the composite rhythm in measures 15 and 16 are equal.
Excerpt 88.2
Wild Nights
% % % % % % % $% $% $% $% $% & $% $)% !
" # "$% $% & $% $% & $% $% & $ $ & $% $% & $ $ & $% $% & $ $ & # "$
! ' ( & & (
!
$
39
+$ $
" $ $ $ $ $ $ $
' # "$ "$ $ $ "$ "$ ( $ "$ $ $ $"$ $ $ # ,
#
! *
# # # #
#
!!
Piece: Wild Nights!
Composer:88.1.
See Excerpt FrankIn
Ticheli
addition, practice triple-tonguing the triplets in measure 38.
Part: Bb Trumpet 1
Measures: 31-39
Tempo: " = c. 144
In bars 31 through 34, use the advice from the previous excerpt. In measures 36 through 39, be sure to create a solid
Excerpt 88.3
crescendo. This passage is only in the 1st trumpet part and it is in unison with the 1st alto saxophone. I use a triple
Wild Nights
1sttongue
trumpetwith a "k"
in Bb, in the76middle
measures - 80 in bar 38 but you will want to practice several different ways.
$ $ $ $ $ &#$& #$ $ $ $
77
" st.$ mute & # #
! # %#
$
# # $ $
# # % $
# # % ' (#$ #$ % ' ) #$ #$ % ' ' #$ #$ # &# # % ' *
#
# # # #
" # # # #
In Excerpt
Piece: 88.3, practice the triplet subdivision by adding a third note to the two-note triplet groupings.
Wild Nights!
Part: Bb Trumpet 1
Measures: 76-80
Tempo: ! = c. 144
Practice this passage by repeating the last note of each triplet in the rest. This will help establish the triplet feel. When
you drop the added note be very careful not to play 8th notes, especially when the triplets are in groups of two.
280
Excerpt 88.4
Wild Nights
%! $ "$ $ "$ ! $! "$ ! $!

85
" &
open Solo
$ $! $ $ $ $
! # $
$ "$
"$ $
'
! !! !
majestic
" ! $! $ "% $ $! "$ ! "$ (% ($ ! $ $ ($ %

! "$ $ '
*)
Piece: Wild Nights!

In Excerpt 88.4, the tendency is to drag and lose time. Practice with a metronome to ensure accurate time.
Part: Bb Trumpet 1
Measures: 85-95
Tempo: " = c. 144
Play this solo with a nice full sound. Keep the notes very legato and be careful not to over emphasize the syncopation.
Excerpt 88.5
Wild Nights
# ! (st. ! )
' % % ( % %* % % % % & !
" ! $ %%% %%% % %% % %%&
mute)
+ *
!
!
# + +
$ %%% %%% % %% %(%%&
% $ ' mute out
" , * -
+ +
!
Piece: Wild Nights!
See Part: Bb Trumpet
Excerpt 88.4. 1
Measures: 169-176
Tempo: " = c. 144
Be careful to play the correct rhythms. Also, make sure to emphasize the accents. This will help displace the beat
and create a great effect.
281
Excerpt 88.6
Wild Nights
218
$! & % & &+ &+ &%+ -&%+
( %%%%(
open
% '
# " % % % %$% % %' ( %)% % ( * % ' $% ' , ' , ' ( (
, ,
& &
"
Piece: Wild Nights!

See Excerpt 88.4.
Part: Bb Trumpet 1
Measures: 218-223
Tempo: ! = c. 144
Excerpt 88.7
Wild Nights
$ % &$ $ $ &% ! $ % $ $
# $ % $ $ $ $ $
" !!
(!!) " "
# $ #% $ '$ % (
molto rit.
'$ $ % $ $ '% $ $ '$ )%
"
Piece: Wild Nights!

To create an even sound in all registers, crescendo down to the final note.
Part: Bb Trumpet 1
Measures: 230-239
Tempo: Majestic (# = c. 108)
This needs to be a loud and heroic chorale. Pace yourself and be sure to not run out of gas. Also, play the final bars
louder as the line descends. This will make the line sound more even.
282
Spiel für Blasorchester (89)
Excerpt 89.1
Spiel für Blasorchester: Overtüre
Quarter note = 132 Ernst Toch
&' )& &' & & &' *&' '

& *& & & & &' # & *& &' &' *&' +&
!
$" % ( "
!
)
' *& & & & & &' *&' '
! & & *& & & & *&' # & *& &' &' *&' +&
$" % ( "
Piece: Spiel: I. Ouvertüre

Excerpt Composer:
89.1 is inErnst
unison
Toch with certain woodwinds. Be prepared to blend volume and sound with the
clarinetsPart:
and1stflutes.
Bb Trumpet
Measures: 96-103
Tempo: " = 132
This excerpt is very delicate and is double in the woodwinds. A light, bouyant character must be achieved. Be sure
to adhere to the articulation/style markings.
Excerpt 89.2
Spiel für Blasorchester: Buffo
&% % % ! &%) &%* % % (%

!
(weich) ' % &% (% % %
# " $ &% % % &% %
(!) sehr
% % &% !
' % + % % &% (%
kurz
%
# % % + % +' % (% % &% )
,% ! %* * * * - * *
% % % &% &% % &% (% % +%* %* %* + % + % (%* -%
# &% &% (% &%
See Excerpt 37.4.III. Buffo

Piece: Spiel:
Composer: Ernst Toch
Measures: 41-60
Tempo: " = 132-138
Flowing, strong and connected. Use a tuner when practicing, specifically for the larger leaps. 4 before the end should
change character and be more jovial and comical.
283
Excerpt 89.3
Spiel für Blasorchester: Buffo
" ! " "# & " ! " "#

$ % $ % & " ! " # "# #
" '"
"(
$ % " ! '" "# "# '"# )"# "
! $ %
!!
'" " " "
# # # "# "# &"# " % &*" " &" "# "# "
! " " " $ "! '" "# " )" "
# # #
%
Piece: Spiel: III. Buffo

See Excerpt 89.1.
Composer: Ernst Toch
Measures: 145-156
Tempo: " = 132-138
Follow the slur markings exactly. This piece has a great deal of style markings. Make sure you are being true to each
of them.
Sketches on a Tudor Psalm (90)
Excerpt 90.1
Sketches on a Tudor Psalm
Andante Fisher Tull
&%
$ ! $ $ $ $ $ &%$ ! '$ & '$ ( %$ %'$ &$$$$ $ ( * $ remove mute
(muted)
" !! # %
# )#
%
)#+ ,
!"# !"$ $
Piece: Sketches on a Tudor Psalm

In Excerpt 90.1, use
Composer: a loud,
Fisher Tull metal straight mute.
Part: 1st Bb Cornet
Measures: 34-39
Tempo: Andante
Intonation is a issue on this excerpt. Choose a quality, and loud, metal st. mute. Follow the dynamic markings carefully
and do a nice decrescendo without letting the pitch change.
284
Excerpt 90.2
Allegro Fisher Tull
%#$ '# #$ %# # # # # # # #%# # # # # # # # # # %( !

273
! " # )
#
& & &

!" # # # #

Composer: Fisher Tull
In Excerpt
Part: 90.2,
1st Bb use a “da” syllable
Cornet to tongue inside of the large slur.
Measures: 273-276
Tempo: Allegro
Play this as a very lyrical line. Use a "da" tongue when playing withing the large slur and no articulation when playing
the smaller slurs. This is an exposed and beautiful line so pay special attention to it.
Excerpt 90.3
Allegro Fisher Tull
287 $# ! $# # &# # # ## # & # # &# # # # # # & # #

! " %
!" # #
# &# # &# & # # # & # &# &# ' #

! % ( ) "
# #

Composer: Fisher Tull
See Excerpt 90.2.
Part: 1st Bb Cornet
Measures: 287-292
Tempo: Allegro
See the previous excerpts for practical ideas on this passage.
Excerpt 90.4
Allegro Fisher Tull
)% * %& &
(muted)
&% '%& " ( '%& '%& +% +%& +,

# "! $
solo remove mute
" % . (
-
!

See Excerpt 37.4. Fisher Tull
Composer:
Measures: 145-147
Tempo: Allegro
This is included because it is an important solo. Spend time learning the pitches and intervals. This is a harder
passage so work dilligently on pitch.
285
Circular Marches (91)
Excerpt 91.1
Circular Marches
Dotted Quarter note = 120 Dan Welcher
+ (' !
59
' #" !" ' ' '* '* '* '* ' ' '* ' !
%% ! ! ! Solo (st. mute)
( ' ' '* '* '* '* +' ! +' ! , ' '
$ " & & '
( ) )
!
' ! ' ', ' #" ', . . & !

' ' ' ' ' (' ! (- !
%
67
$% ' ''''' ' ' ' /
' ' ' ' ' (' ! (' ! -!

75
-!
!& (' ') ' ' %' ' ' ' ' ' ') '
% * ' '
$% /
!
%% -! '! ' ' ' ' ' ' '" ' ' ' ' ' ' ' ' ''
$ . . " " " " " " " " " ' '
" )
)
(ossia lower octave)
!
%% (' ! (' !
83
00 1 -
"# = " (" = 120) Faster than at first
$ 2
$
Piece: Symphony No. 3, "Shaker Life": Mvt. 2 - Circular Marches

Composer: Dan Welcher
In Excerpt
Part: 91.1, the ossia
Bb Trumpet 1 part should be played if the written part is too difficult.
Measures: 58-84
Tempo: Lively ("# = 120)
Be aware of the meter at bar 59. Play the solo at 59 with a nice, full sound. I recommend using a metal st. mute,
preferably a trumcor. At measure 70, spend time learning the pitches. I recommend solfeg or mouthpiece buzzing.
Finally, at bar 79, don't be afraid to play the ossia part. Remember, sound and musicality are always the first priority.
286
Excerpt 91.2
Circular Marches
Quarter note = 120 Dan Welcher
'&#& ! &
*
# '&#&* & +'& & +'& &+&, * * -'&
" # !! $
a2 Soli, open
% & () & ( ( & +&
&! & '& &! & ' &! & ( &! & ' &! &
! bright & snappy
* , ' * '& & '& &* '&
## & +'& #&* &( +'& & +& #&* +&* -&* - & , '& #& +&* -&* - & & & & &
148
( & ) % $
" ( ( (

See Excerpts
Part: Bb25.4, 37.4,
Trumpet 1, 2 and 38.1.
Measures: 141-149
Tempo: " = 120
The internal leaps are the hardest part of this excerpt. There are several leaps of a 9th and a tri-tone. Focus on
hearing the intervals before you play them. This will help with intonation and accuracy. Once again, try mouthpiece
buzzing or solfeg.
Excerpt 91.3
Circular Marches
*) !
) ) &)+ ) !
* , *)
) # $ &) ) )+ )+ )+ )+ &) )+ )+ )+ )+
180 Fast ("# = 138)
% & "! ' !

& )
1. Solo
$
' ( ""
!!
&& &*) ! *) ! ) ) &) ) )+ ) ) ) ) )+ ,) ! *) !

brilliant!
&*)
) )+ )+ )+ ) ) ! ) ! ' !
+ * *
% - + &)+ +

See Excerpts 25.4, 37.4, and 38.1.
Part: Bb Trumpet 1
Measures: 179-188
Tempo: "# = 138
Like the other excerpts, this excerpt has a lot of interval leaps. Learn the pitches as well and work on playing very
short and clean. The excerpt is very fast so short clean playing is a must.
287
Laboring Songs (92)
Excerpt 92.1
Laboring Songs
Flowing, simply (" = 58)
Half note = 58 Dan Welcher
$! % (% % % (% "" '
,!
# $ " % %&% ('
1. Solo
% % % (% '
#
&% % % % &' "

! singing
$! , 8
# $ " % %&% (' % % % (%&% ' % %&% (' % %

#
% % % % &% % % % ( '
(sempre !)
$ ,!
# $ % (% &% ' % (% % (% "" '
#
% % % &' % "
$! ,
# $ " % % &% (' % %
#
% (% &% ' % % % % &% % % % ( '
Piece: Symphony No. 3, "Shaker Life": Mvt. 1 - Laboring Songs

In Excerpt
Part: 92.1, observe
Bb Trumpet 1 the indicated breaths. Do not breath over any bar lines.
Measures: 1-14
Tempo: Flowing, simply (" = 58)
This is a very lyrical solo from Dan Welcher's Laboring Songs. Practice connecting between notes and phrasing in this
excerpt. Practice flutter-tonguing to make sure your air is even and consistent throughout. Practice singing the excerpt
to help your phrasing and practice as softly as possible to help your control.
288
Excerpt 92.2
Laboring Songs
1st trumpet in Bb, measures 167 - 180 Dan Welcher
167 Very rich and full

$$ ! 1,&%2 %' %' %'$% ( (% () ! &'''(
% %%% % % % !
&% %' %' %' ( ( () !
%%%
&'''(
% %%% % % % !
# " % ( ( )( ( ( )(
!
"=" &% %' %' %. %'&% &%$&% &% %' %' %. %' &% & # =#
(" = 168) Dancing; very spirited
$ ( " ( ( *
# $ %( % % %( % %% %( ) % %
% " %% %%% % % +
((( / / % % ,- ,!
più !
( &
175 . &' & '
Vigorous
' & &
$ % %% %% $%%
# $ ,- 0 0 % / % % % %
("$ = 112)
,!
1 ' &
& ' ' & &
!!
$$ &% %' %' %. / %' & '
# % % %' %' %' % % % % % % % % %' %' %' %' % % %
& &% &% & ' ' & & & & &
Piece: Symphony No. 3, "Shaker Life": Mvt. 1 - Laboring Songs

In Excerpt 92.2, Dan
Composer: practice with a metronome on the eighth note pulse.
Welcher
Part: Bb Trumpet 1, 2
Measures: 167-180
Tempo: beginning n/a
This excerpt is tricky due to the meter changes. In bars 173 and 174, be sure and ask the conductor how he is going to
"group" the beats. More than likely the grouping will be 3+2+2 but always double-check with the conductor. At 175,
notice that the beat becomes the dotted eighth note. Proceed learning this portion in 4 with the last two beats being a
Excerpt 92.3
hemiola triplet.
Laboring Songs
197 Tempo I (! = 58)
$$1.! Solo % &% '

singing, very noble
% % % % &% '
, % % % %% '
% % % &' % ( % % &%
$
# "%
poco " #"
$ !
#$' &% % % % % % &% % % % '
$
% % &% '
)
See Excerpt 92.1. No. 3, "Shaker Life":

Piece: Symphony Mvt. 1 - Laboring Songs
Part: Bb Trumpet 1
Measures: 197-204
Tempo: ! = 58
See the advice from the first excerpt in Laboring Songs.

289
Minstrels of the Kells (93)
Excerpt 93.1
Minstrels of the Kells: Movement I
Allegro Dan Welcher
$$ ! '& !! &( ') && ) && ) & *) & & & & & & *&
30
1.
, & & (bend)
# "% % & & )!
& & & & !!

"
! stern and proud #
'& !!&' ')

dim.
' '& ' . *.)
&&& ) "" & & & ) & &&$&&
40
$ - & & &bend
1, 2
# $ &! + % ,
" " "
più !
!!
$ ) & & & & & & & & ! & && ) & ! '& ') ! & .& .& !! , '& " *'&& '&& '&& '& *&
poco rit. deliberately
#$ "! & & && & -" & & &&

. .
!! # " " cresc. !! "
)! & & & " '& !! '& )

$$ A Tempo
50
&!! &( '& !! &( " '& !! &( ')

# && % ,
a2 "
/ ! "" %
' 0 )!
! %& &
dim.
In Excerpt 93.1,
Piece: practice
Minstrels of the playing
Kells: Mvt.the
1 rhythm of the entire excerpt on one pitch. When the rhythm is
dependable, add Dan
Composer: the Welcher
written notes.
Measures: 29-54
Tempo: n/a
Excerpt
This is93.2
an interesting passage. Notice it begins with 1 B$ trumpet. In bar 34, two trumpets play unison. In bar 50,
Minstrels
everyoneof is
theadded.
Kells: Movement
The most Icommon mistake on this passage is the quintuplets. Practice these until they are perfect.
1stFor
trumpet in Bb,simply
the bend, measures 80valve
half – 94 an "E" up to the "F". I like to play the "E" 1, 2 because I like the bend better.
Allegro Dan Welcher
( &! )& ! '& &)& & ! )& ! '& ! & & & )*& '*& & & &)& &! & ,
$$ ! % ! % ! 1. Solo--singing
80
(
gently +2 st. mute (1. is open)
# " '& & + + & '& &

!" !# !"
)& ! )& ! '& ! & & & )*& '*& &! &! '&& !! & & &
dim.
&)& & !! )&!

# $ &! )& ! '& & & '& & &! )& ! '&
$ (
+
) *& ! & ! ) *- ! ) *- ! &!

!# !# cresc.
& , , %! %!
$$ ))*&& '*& & a2 &
90
# + & & &+ & & & )- ! ")#& ! & ! )- ! )- ! &!

+
*
più # "
poco #
In Excerpt 93.2, practice memorizing the solo. This will help the soloist play beautifully without seeing
awkwardPiece: Minstrels of the Kells: Mvt. 1
intervals and accidentals.
Measures: 80-94
Tempo: n/a
This passage just looks bad on paper. Try memorizing the solo and you will find how beautiful and lyrical it can be
when you are not looking at awkward rhythms and accidentals.
290
Excerpt 93.3
Minstrels of the Kells: Movement II
Andante Dan Welcher
&
66
& & & & & &
### ! % & % & % % % % % %
1. Solo (st. mute)
%% ' %%%% % % % % )% *% %
" ! %$ % $ $ $ ( ( (
! (
!
& & 74 & & 2. Solo (st. mute)

### % % % %$ % % %$% % % * !% % %%%% % % %%%'
% % % % % % % ' %
" $ $
& & & & & &

# # % % % % % % % % % % % % % % %
"# % $ $ $
##% % % % % % % % % % % % %
"# $
% + $ + $
$
Piece: Minstrels of the Kells: Mvt. 2
In Excerpt 93.3, the first trumpet part
is notated with all stems up and second trumpet part is notated with
all stemsMeasures:
down. 66-82
Tempo: n/a
Practice this solo playing both 1st trumpet (stems up) and 2nd trumpet (stems down). This will give you an idea of
how the melody should seamlessly fit together.
Excerpt 93.4
Andante Dan Welcher
& &' & (& & (& & & & &' & (& & & (& & & & (&
& (open)
%% !" 1,&2 Soli
$ # ' ' ' ' ' ' ' ' & & (& !
! dancing
$ % & & & (& &' & & & !

)# %+ !
152
% *
,+ !
&& -

In Excerpt 93.4,Dan
Composer: lead the soli section. Like most soli sections, insist the section play a dynamic softer and
Welcher
blend into
Part: the leader’s
Bb Trumpet 1, 2sound.
Measures: 148-152
Tempo: n/a
Unison is the keyword here. Have one player lead and the other follow. This will help establish one intonation pattern,
one sound and one style.
291
Excerpt 93.5
1st piccolo trumpet in C, measures 250 - 267
Allegro Moderato Dan Welcher
'& '& ! & & & & & & & & & & & & & & % '& '& ! & & &
# " $! % % (
251
! & &
Piccolo Trpt. in C
&&&
'& '& !
! brilliant!
& & & &

259
& & & & & &! & &
# & )& & & & & % & & & & &
& & & & & & & & & & % '& '& ! & & &* & & & & & &! '& & + '& & &+ &!
più !
# & )&
to B" Tpt.
ExcerptComposer:
93.5 is Dan
written
Welcherfor “C” piccolo. Use piccolo in “A” for this excerpt.
Part: Piccolo Trumpet in C
Measures: 250-267
Tempo: n/a
Play this excerpt on "A" piccolo. Read the notes up a m3, or in bass clef, and add 3 flats. It is imperative to use air
and play with a nice full sound. This is piccolo solo literature.
Zion (94)
Excerpt 94.1
Zion
Tpt. 1
&$ $ $ %&$ $! $ $ $ %$ %$ $ %&$ $! $ $ $%$ '!

1. Solo
! $
,
"
#" $ $ % $ $ % $ $
! "
&
& $ % $ $ $ $ %$ %$ $ $ $ %$ ! %$ $ $
40
# $ $%$ $% $ $ $ $!
"
&& %$ '! $ ( (
"
Piece: Zion
PracticeComposer:
ExcerptDan
94.1 without the tied notes. When the rhythm is secure, add the ties.
Welcher
Part: Bb Trumpet 1
Measures: 31-41
Tempo: Strong and Sure (# = 72)
Play this solo as the composer has indicated , "Strong and sure". Fill up the horn and make sure you play across the
bar lines. Only take one breath at the end of measure 35. This will avoid the choppy sound that is undesirable.
292
Excerpt 94.2
Zion
&' " &' &' &' & , &')&') &' & , & &
' ' ')' !
&% &
' ' ' ' ! %!
80
# !! $ ! '! ( )'
!" ""
&& " ""
"" # ""
&' &') &' & , & &

, &' ' ' ' ' ! %! !! ' ( $
($ = 120)
# % * +
# " "" " %"&
Piece: Zion
To learn theBbintervals,
Part: Trumpet 1 practice Excerpt 94.2 down an octave.
Measures: 76-84
Tempo: $ = 100
Practice this excerpt on a single note. Every note is accented so articulation is easy, however, there is a lot of
dynamic contrast. When this is solid, play the notated pitches.
Excerpt 94.3
Zion
&% ( &% ( '&$ $(*&%$ $( &$ $ &$ $ &$ $ &$ $

Heavier, but in tempo
& &
110
! " +
st. mute
# ! + ! '$ $ ) $ $ ) ) $$) $ $ ) ) , -
!! with bite! sim.
&% ( &% ( '&$ $*&$ $ &$ $ &$ $ &$ $ &$ $ &$ $ &$ $ +&$ $ & &
$$$
# ' $ $ ) $ $ ) ) ) ) .
!! sim.
&%$ $( &% ( 120 &%$ $( &% ( ! &$ $( & ( ( ( ( " ! crisp & sharp & ( &$ $( $( $( $0
open
$
# /. $ $ "
! . / $ $/ . ! $ $ . +$ $ $ !+! ) $ $ $ $ +$ $ .
&( ( (
!"#
!! !
& ( ( &$ $( $( &$ $( $( $( $( &$ $( &$ $( $ $( $( &$ $( $( &$ $( &$ $(

&
# . +/$ $ $ )
+ &$ &$ 130 $0

(!)
($ & ( ( & & / !/ . ) ,

# $ $( +$ $ $ . +$ $/ $/ !
& #! cresc. !
Piece: Zion
In Excerpt 94.3, Dan
Composer: be aware
Welcherof the dual time signatures.
Part: Bb Trumpet 1
Measures: 108-130
Tempo: " = 144
First, notice the dual time signatures. Second, use a good quality metal mute to get the bite that Welcher wants. Finally,
make sure that note lengths are not all the same. Some are long and some are short.
293
Excerpt 94.4
Zion
1st trumpet in Bb, measures 129 - 149 Dan Welcher
Conductor beats time for brass (l.h.);

! others wait for cue in r.h.
' '& & & (& ' '&

& )& * !
! #" &+ , & &
st. mute
$ " % % &' &' (& & & &' &' (& ' '
!
"
ghostly
" #
! ' '& )& & (& & ' '&
& )& * ! *! & , 0
10"
+
"!
140
$ " (& )& &' &' (& -

!!
& &! & & & & & & &! & & & & * , & & & &! & & &
141
$ = 72 Soli &
accelerando (poco)
!
$" % % & ( & & &
%! warmer dim.
$ & (& & & & (& ! & & & & /. & ! *
149
! !!
Piece: Zion
In Excerpt
Part: 94.4, the conductor
Bb Trumpet 1 will conduct the brass section with his/her left hand. The conductor will cue
the band with his/her
Measures: 129-149right hand.
Tempo: n/a
In measures 129 through 140, Welcher wants a "ghostly" solo. Create this effect by using nothing to shape, warn or
energize the melody. Do not use dynamics, articulations or vibrato. In measure 141 use all of the devices to play the
musical line. This will create contrast.
294
Excerpt 94.5
Zion
&% %' &% %'

Tempo I (! = 144)
& ' ' ' & ' &
% '
% '
% '
% '
% & ' ' &
% '
% '
% (&
% ' %' %' %' &% %'
% (
!"
Tpt. 1 open
# "+" $ % % % % (% % ) * * (%) % % $
"" with great zeal (but always staccatissimo!)
%' (&% %' %'(&% %' &% %'190%' & & & ' ' ' & ' &% %'
# % %'(% %' %' (%' %' $ + , % % % %(% %
"
& ' '
%' (&% %' %' &% %' %'(&% %' %' %' %' &% %' (&% %' % % % (&% %' %'(&% %' &% %' %' & ' (&%
# ) **) $ %%
& ' ' ' ' &% %' (&% %' &% %' &% (&% (%' %' & ' & ' &% &%
' %' * %) % % % % (% % % %
# (% , + $
&% %' (&% %' &% %' &% (&% %' %' & ' & ' &
più "
%' %' (% % % % (% %' (&-% %' $ &-% %'
# $ $
"" "
&% %'(&% %' & & ' &% %' &% %' &% %' &% %' &% %' &% %' &% %' &% %' &% %'
210
$ (% '
% $ % % $ $
#
non dim.
Piece: Zion
See Excerpt 37.4
Part: Bb and138.1.
Trumpet
Measures: 184-212
Tempo: ! = 144

295
Excerpt 94.6
Zion
' ' ' ' ' ! ' &%

Exultant! (in 3; " = 72)
"! ' ' ' (' '! ' % ( ' ' ' ' ' ' '
! &%
singing; full-voiced ,
#! $
!
* * * *
' ' ' '* '* '* '* '* '* ' ' ' ' ' ' '* '* ' '
,'
# ' ' ' )
' ' ' '* '* '* '* % !

* * , &% ' ,&
' % +, ' ' '! '- ' ' ,, '- '! %
220
# % ,+
! #
' ' ' '! (

' ' ' , '. '! , &% ' ' ' ' %
accelerando
+
#, - , ' ' ' % '
# ( # # # #
più!
' ' % ' ' ' ' ' ' ' ,+ ' / / $
230
# ' $
# # # # #
Piece: Zion
The seven-four
Composer: in
DanExcerpt
Welcher 94.6 is conducted 3+2+2.
Part: Bb Trumpet 1
Measures: 213-230
Tempo: $ = 144
7
This excerpt is going to geel like 8 from measure 213 until measure 221. Do not be alarmed. The notes are already
grouped together by a dotted line. Every measure should be conducted in 3 with a 7 feel of 3+2+2.
8
296
Excerpt 94.7
Zion
#$ ) ) ) *) ) () ! ) ) ) *)+ ) () ! ,) ) ) ) ) ) ) ) ) ) ) ' !
Faster; swinging
! (' (" = #$) (#. = 89) , ,

%" & & + +
*) ! ) ) ) ,) ) ,) ) () ! # ) ) ,) ) ) ) -
!!
)
)! .! .! !. . !
Soli 240 ,
/ ) )
+ +$ + - + +$
% $
*! ! '! )! ,)!
!
- ) () ! ) ) ) )! '! )! , ) ! ,) ) ) ) '
250
, '!
% $ )+
!! % ! !! % !
* ) )0 *) ! # '! stringendo ( (! ! ( (!
% ) $ ,)( ! )( ! ) ! ,) ,) ! ) ) !,) !,)( ! )( ! )( ! ) ! ,) ,) !,) ! ,' ! )!
!! più! heavy, but cresc.
moving forward
Piece: Zion
The nine-eight
Composer: in Excerpt
Dan Welcher 94.7 is a notated form of swing.
Part: Bb Trumpet 1
Measures: 231-256
Tempo: #$ = 89
Measures 232 through 251 are basically dictated swing. Place the accent where it is written and there will not be
any problems. Pay close attention to the rhythmic change in bar 252 and be sure to get out of the swing feel. Also,
pay close attention to dynamics throughout.
Excerpt 94.8
Zion
& %& %& ' !

( (' !
& &
% % ( '! ( '! )(' * '!
bell tones
# "!+"" $ $ % % % $
! !! !! !" cresc.
(' ! (' ! (' ! % +

280
(' (' % %,
lunga
% ' *
pealing!
# $ $ $ $ -.$
!! !! !! !! !! !" !!
Piece: Zion
In Excerpt 94.8, keep the embouchure set for the “D” above the staff the entire time.
Part: Bb Trumpet 1
Measures: 271-187
Tempo: # = 144
Although the composer notates "pealing" do not go overboard. Play with a symphonic sound and a little bit of edge.
Also, I leave out bar 274 so I can keep my embouchure set for the "D" above the staff. 274 is double so it is not a
problem.
297
Ghost Train (95)
Excerpt 95.1
Ghost Train
Quarter note = 120 Eric Whitacre
$$ ! ! % % % % %! &% &% ' % ! % % % % % % (% " ' % % ' % % ! ' % ! % % % % % % (% "

molto pesante
sempre accented
# !% ! ! !
$$ " ' % % ' % % ! ' % ! % % % % ! % % % ' % ! % % % % ! % % %

!" ##
(% ' % fall
%
# ! ! ) * + *
subito "
Piece: Ghost Train

See Excerpt 46.4. Eric Whitacre
Composer:
Part: Bb Trumpet 1
Measures: 103-112
Tempo: $ = 120
In this excerpt, forward motion is essential. Use the dotted eighth note value hemiola to push the music forward. Be
sure to play the dynamics as well. With the fall, be prepared to play a short fall or a long fall.
Excerpt 95.2
Ghost Train
$$ ! &% &% &% &% &% &% &% &% &% &% &% &% &% &% &% &% &% &% " (&%'
# ! ") * + ,
! " #
& & & & & & & &&&&&&&&&&&

$
#$ - !! $ % % % % % % % $ % % % % % % % % % % % -
! " #
&% % &% % % &% % % &% % &% % % &% % % &% % . &%

# $ +! +!
fall
$ ) * + ,
%& cresc. al fine
Piece: Ghost Train

Composer: Eric Whitacre
ExcerptPart:
95.2BbisTrumpet
an agogic
1 acceleration. Do not accelerate the tempo as you begin subdividing the beat.
Measures: 149-159
Tempo: $ = c. 180
This excerpt is an example of an agogic acceleration. Do not speed up because the rhythms will accomplish that on
their own. Practice different types of multiple tonguing to execute the quintuplets and the sextuplets.
298
Excerpt 95.3
Ghost Train: At the Station
#!% % % # % % #% ! %
% % #% %
" # !! $ % %
! ! ! !
# % # % % # % % % # % #
% % % !
!
% %
% % % % % % % % % % % %# % % % % %
"# &!
% % % #
molto rit.
% %
!
$ ' #% % % % % %
%% !! # %% %% %% % ) %% !! # %%( %%( ##%% %% )

! "
)
A Tempo
# ( ( % & & (
" (
## dim. poco a poco
Piece: Ghost Train: II. At the Station

In measure 75, double-tongue beat four rapidly.
Part: Bb Trumpet 1
Measures: 68-79
Tempo: $ = 76
Again, time is very important. Subdivide 8th notes to accurately play quarter note triplets. In measure 75 beat four,
simply accelerate your multiple tonguing into bar 76. Do not go too fast, rather, create a nice even accelerando.
Excerpt 95.4
Ghost Train: The Motion Revolution
*!
Half note = 104 Eric Whitacre
+&
&' & ' & ' " ) &
bend
fall
$$ ! (& & ' & (&
# % '&(& &'&'& ' " % , -
!!
' &&&&&& & & & & & & & &
#
#' % & & & & &

" " " "
& & & & & & ' & & & &
&&&&& & " $
' & & & & & & & &' & &
$
#'
# " " "
&&&&&&&& & & & & & & & &
" & '* )
Piece: Ghost Train: III. The Motive Revolution
In Excerpt
Part: 95.4, depress
Bb Trumpet 1 all three valves halfway to create the bend between measures 66 and 67. Do not
bend the note with
Measures: 64-78the embouchure.
Tempo: & = 104
This excerpt is not as difficult as it seems. Measure 64 is simply an E% major scale. The bend between measures 66
and 67 can be created different ways. The note can be lipped down, however, if you are afraid of falling off the note
you can use a half-valve to bend the note down. Another option would be to play the C with the 2nd and 3rd valves and
to use the 3rd valve slide to bend the pitch.
299
Excerpt 95.5
* )* )* )* )* )* )* )* )* )* " )* )* )* $% ) # )# )# ) # ) # )# )# ) #
( ! * * ) $&
' ( ! !(") )* )*()* ) ) # # #
*
# #
,) )* ,) )* ,) - )* ,) )* ,) )* .
# )) # )) # /)) !! 00 /00 "+"+%
# /)) ## )) ## ))
( $& !! . "+"+% $&
'( # #
$ $ $ $ $
!"# !"# !"# !"# !"# !"#
# #
,) )* ), )* ,) - )* ), )* ), )* .
# )) # )) # /)) !! 00 /00 "+"+%
# /)) ## )) ## )) $%
( $& !! . "+"+%
'( # #
$ $ $ $ $ !"# !"# !"# !"#
!"# !"#
( -,) )* ,) )* ,) )* ,) )* -,) )* ,) )* ,) )* ,) )* ! -,) )* ,) )* ,) )* ,) )* ---- 1 2) 2)

' ( $%
# ! - 34435
$ $ $ $ $ $ $ $
In Excerpt 95.5,
Piece: useTrain:
Ghost a metronome onRevolution
III. The Motive the eighth note pulse. The mixed meter measures are conducted
3+3+2. Composer: Eric Whitacre
Part: Bb Trumpet 1
Measures: 88-106
Tempo: % = 104
In this excerpt, be sure to really emphasize the long-short articulations used. Put a metronome on a slow eighth note
beat and have fun!
Excerpt 95.6
"" # ! # # # # # ! # $ # # ! # # # $ # # # # % #& ! # ! # # # # # ! $ # # # # % #!
##
! &

PracticePart:
Excerpt 95.6 without the ties. When
Bb Trumpet 1
the rhythm is accurate, add the ties.
Measures: 163-166
Tempo: ! = 104
Put a metronome on the eighth note pulse and practice this excerpt without the ties. When this is accurate, put the ties
back in and begin speeding up the metronome.
300
Excerpt 95.7
(( ( !"!"# *) ) ) *) ) ) *) ) *) ) ) *) ) ) *) ) %& ) ) ) ) ) ) ) ) ) )
(
Presto
' $ $
!! " " " " "
(((( ) ) ) ) ) ) ) ) ) ) %# ) ) ) ) ) ) ) ) ) ) ) ) ) ) ) ) +
' $ +
" " " " " " " " " " " " "
*)
# = 60
(((( + ) ) ) ) ) ) ) ) ) ) ) ) ) ) ) )
, - . /
' +
(((( *), 0 ) bend 1 !

- ! 0) ) 2)
)
# = 120
' - . / , - .
2)
See Excerpts 95.4Eric
Composer: andWhitacre
95.5.
Part: Bb Trumpet 1
Measures: 213-224
Tempo: Presto
See the previous excerpts for advice on playing this excerpt.

301
Folk Song Suite (96)
Excerpt 96.1
Folk Song Suite: March “Seventeen Come Sunday”
1st cornet in Bb, measures 5 - 30
Quarter note = 108 Ralph Vaughn Williams
$ ! & ' & ' & ' ( & ' & ' & ' & ' % % ' %& ' % ' % ' % ' % %& ' ' &
senza Solo
$
# "% % % )% % )% % %
!
$ + & &
% % % % %& ' % %& % % %, % %, %
senza Solo Tutti
# $ % % % * % %, %, %, ' % ' % , ,
"# ! ##
$ % ,
% , % ! % %, %, -%
%
-% %
%)% % )% ! % %, %, %, ,
$ %
# % % % % % , %, %, %, %
$ %, )%, %, * %+ %
to Coda
& ,% %, % % % % % & $
# $ %, %, ' % % % % %& ' % '
Piece: Folk Song Suite for Military Band, No.1 March "Seventeen Come Sunday"
Play theComposer:
solo in Excerpt
R. Vaughan96.1 with lilt and vibrato.
Williams
Part: Solo & 1st Bb Cornet
Measures: 5-30
Tempo: Allegro
For Ralph Vaughan Williams' English Folk Song Suite, rhythm and style are crucial. Practice singing and conducting
the excerpt with a metronome. Pay special attention not to rush the staccato eighth notes in the tutti section. A
little emphasis on beat one, as well as leaning on the first of every sixteenth note grouping, will help plant the time.
Excerpt 96.2
Folk Song Suite: March “Seventeen Come Sunday”
$ $! $ &
" %$ %$ $ $ $$$ $$ $
!" # $ $ $ $$ $ $( $$
Solo
'
!
" $) %$ $ $ $ $ $ $ $ $ $ !
!" $ $ $ $ $ $ & $ ( #
'
Piece: Folk Song Suite for Military Band, No.1 March "Seventeen Come Sunday"
ExcerptComposer:
96.2 is inR.two.
Vaughan
DoWilliams
not breath over the bar lines.
Measures: 32 - downbeat of 48
Tempo: Allegro
In this particular excerpt, intonation is always tricky. Once again, practice singing and conducting with a
metronome. Practice with a tuner and isolate the concert E" and F. Make sure the pitch does not rise too
much. Put it all together with as much fluidity and singin quality as possible.
302
Excerpt 96.3
Folk Song Suite: Intermezzo “My Bonny Boy”
Andantino Ralph Vaughn Williams
( ( ( ( ! +( ( (
Andantino Solo cantabile
$!
!
#$ "
&
%% !!
' '
%% ((( ( ( ( ( ( ( ( ( ,( ,( ( (
Hns. %! % () *
( ( ( +( ( ! +( ( (
!!
$ ( ( +(
#$ ( ( ( ( ( % (( ( ( ( ( ( (( (
(+( ( ( ( +( ( +( ( ( (
%!
$( ( +( ( % -
#$ ( ( (( (* ' '
!! "
Piece: Folk Song Suite for Military Band, No.2 Intermezzo "My Bonny Boy"
Composer: R. Vaughan Williams
In Excerpt 96.3, blend the trumpet sound and timbre with the woodwinds.
Measures: 1-21
Tempo: Andantino
This is a tricky excerpt because it is in unison with the woodwinds. It is always difficult to hear the woodwinds
Excerpt
in this96.4
passage so you need to be secure with your pitch. To acheive this practice with a tuner. Many conductors
Folk Song Suite: March “Folk Songs from Somerset”
st will move the tempo back and forth so be sure to keep your eyes up.
1 cornet in Bb, measures 1 - 28
Allegro Ralph Vaughn Williams
Allegro
& &' &' &! &' &' ) ) &'
'
$ &! & ' ' & ' ' ' '( '(
& & (
# $ !" &
( Solo
& & & &! &
!"
&
&
%
& &
& & ) &
%
)
% * )& & ' ' + + + +
#
,& ' &' & !

Saxs.
$ '
& ' & & &
Tutti
& ' ' & &
Solo
&
# $ + ) ) &+ ' &' &' &' &! & & &
& &' && && ) +
' '
##
$ &! & &' &' & & ' &' ' ' ' ' Tutti
&
#$ &' & & & & & &
+ ' ' &' &! & &' &' &' &' &' )
+
$ && & && &&! ! &&+ &! & &' &' & & &'
, ' ' ,
""
(
&' &' &' &' &' & ) *
# $ & +
1st Tpt.
In Excerpt 96.4,
Piece: Folkplay the solo
Song Suite as if it
for Military were
Band, conducted
No.3 March "Folkin one.From Somerset"
Songs
Measures: 1-28
Tempo: Allegro
Pay close attention to time in this excerpt. Thinking of it in one will help it not to rush and will give it a nice lilt.
303
Sea Songs (97)
Excerpt 97.1
Sea Songs
' ! ' '( '(

(
' ' '( ' ' ( ' ' ' ' ' ' ( ' '! ' '( '(
B
$!
#$ " % & ' '
!!
( ! '( '( '( '( '( )'

C
$ (
' ( ( (
' ' ' '''' ( ' ' ( ) (
' ' ' ' ' '( ' ' & '
#$ ' *
!
Piece: Sea Songs

In Excerpt 97.1,
Part: practice
1st Bb Cornet intonation on the octave intervals.
Measures: 12-22
Tempo: Allegro
This is a very jaunty melody. Be playful with it and pay close attention to the octave jumps in mm. 14 and 18. Be sure
to have the octaves solid.
Excerpt 97.2
Sea Songs
&$ $% % &$ % &

! "" # $ ! $ $ !$ $ $ $ $ $ %
$ $ $ $% $ $ $ $ $% % $
$ $ $ $ $ $% $ $ $ $ $ $% $% &$ $% (
'
! "
""
Piece: Sea Songs
In ExcerptPart:
97.2, pay
1st Bb close attention
Cornet to the indicated note-lengths.
Measures: 24-32
Tempo: Allegro
Pay special attention to dynamics and line in this excerpt. Also, be sure to pay attention to note lengths and to be
musical!
304
Excerpt 97.4
Sea Songs
1st cornet in Bb, measures 33 – 47
'# # # #) #) #) #)
!
%# #! # # # # # # # #
! !
D "Admiral Benbow"
" # # $# # # # # &# % $# # (
#% #% # # '#
'
(!") !"
+ ( ( # !!
# %# %# # # # # # # # * # # # # # # # # #$# # ' $'# 1.'# *
!" #! # # #
Piece: Sea Songs

In Excerpt 97.4, hold the tenuto eighth notes their full value.
Measures: 33-47
Tempo: Allegro
Be playful and have fun with this excerpt. Fight the urge to play the melody short, rather, celebrate the length.
Excerpt 97.3
Sea Songs
1st cornet in Bb, measures 90 – 105
$ $ $ $ $ $ $
G
" $! $
Solo
!" " # $ % $ $ $ $ $ $ $ &

!" cantible
" $ $ $ & & & $! $ $ $ $ $ & $ ' #

!" " $ % %
#
Piece: Sea Songs

In ExcerptComposer:
97.3, useR.fast vibrato
Vaughan and a “V” shaped mouthpiece to create the cornet sound and style.
Williams
Part: 1st Bb Cornet
Measures: 90-105
Tempo: Allegro
This is a very lovely solo in the style of English Folk Songs or Holst's Military Suites. Be sure to play with a dark, very
cornet, type of sound. Play musically and in tune. Always be aware of what the band is playing underneath you.
305
Toccata Marziale (98)
Excerpt 98.1
Toccata Marziale
(Allegro maestoso)
( '& '& 7&! ( & & & & & & &! ( )& )& )& )& &!*& & &*& & &, &, &, & & &
! = 104
!
#" $ % & & & + +
'
"" marc.
( &, &, &, &, &, &, , ( &

8
( , ,
& &
# & , &, &, &, % $ % + & $ % & , , , &, $ % &, -& & -& & & & & & &
& &
"" ""
, *&, & ! &,*&, &, &, , &, &, &, &, &,*&,
&) & & & & & ! &(
)& )& 9, , , )
( & ,
# & &- & & & & &) & % $ % & &
,
"" #
, &, , &, & & & & & & & & & . & /
# & & & + % $ $ $ $ & &! &+ &
##
& & ! &+ & & &! & &

$" cantabile
10 &
% $ $ $ $ &! *&+ & & &! *&+ & & & ! &( & & ( % $
# + + &
$" cantabile " marc.
& & *& ! & & % $
11
# + + $
" marc.
Piece: Toccata Marziale

See Excerpts 25.4,
Composer: 37.4,
Ralph and Williams
Vaughan 38.1.
Part: Trumpet in Bb
Measures: n/a
Tempo: ! = 104
This is by far the most difficult section from Toccata Marziale. Before you play this excerpt, practice singing and
conducting it. A solid idea of pitch will really speed up the learning process. Always use a metronome to ensure
good time and technique. Finally, this is the melody. Every detail must be addressed. Observe dynamics,
articulations, slurs, and phrase markings.
306
Dance of the New World (99)
Excerpt 99.1
Dance of the New World
Dotted Quarter note = 108 Dana Wilson
&% ( !
% (! ) %% %**%%*%%++%% %%,%% %% %%,,%% ,,(( !! (( !! (( !!
&%
! ! $ ! $ %'
344
#" $ $ ' % '

!
(( !! % %! % % (!
) %% %,,%% ,%% +%% %% ,%% %%,,%%,,%% +% % ! % %,,%% ( !
%% ,% %% %% %% %%
# ,%
%
Piece: Dance of the New World

See Excerpt 38.1.
Composer: Dana Wilson
Measures: 344-357
Tempo: "# = 108
Excerpt 99.2
Dance of the New World
1st Practice
cornet in Bb,
thismeasures 366 - slowly.
excerpt very 403 Spend time playing with a metronome using the eighth note as the pulse. The
Dotted Quarterare
harmonics notevery
= 108
thick so be careful to create the effect the composer wants. If possible, record Dana Wilson
yourself playing
each line and go band and play the opposite line along with the recording. This 370
will help with understanding texture
% % $" ("$"$" " " "$" " " )" $)" "$")
$"!
* ""
a2
! $" $"& ' "$" $" $"& ' " *" "" " "$"$"("
"!
and harmony.
# #
&& *"
(!) +*
"!# !
" +" " "$" $* " *" * "" "" " "$"$"(" "& " " " $* "
+ $"
a2
*"
! & , *"
+*
"!# !
+ "$" $$ ** "" "" $$ "" "" "" "" ""

*" * ""
a2
*"
" $ " (" "
! , *" "" " $ " &" "
+*
$$ "" "" "" "" "" "" $+** "" "" a2# $" " $+** "" "" $"" "" "" " "" "
- $"& " " $"& ' ' "& ' '
391
"
! " $" &
!
$"" ' ' "" ' ' ' $"" ' ' $"" "" a2# $" "
" $" " " $" "# " *" *" *"
! & & &
See Excerpt 38.1.of the New World

Piece: Dance
Measures: 366-403
Tempo: $% = 108
Begin learning this excerpt by applying all of the advice from the previous excerpt. Practice singing and conducting
this excerpt to help save your chops. Also, use a piano to help reinforce pitch.
307
Piece of Mind (100)
Excerpt 100.1
Piece of Mind: Thinking
Quarter note = 112 Dana Wilson
"" Open:
## # $ # #% # ## $ # #% #! % ### # ! # # # #!
! & #! #% ' ' & # ' & & # (
!"
"" ' ##### # #% & #! #% ' ( ##### # #% & #! #% ( ' #### $ # # & #! )#%
!
Piece: Piece of Mind: I. Thinking

In Excerpt 100.1, Dana
Composer: remove all ties and practice the rhythms. When the rhythms are secure, add the ties.
Wilson
Measures: 82-91
Tempo: Precise yet bouyant (# = 112)
Excerpt 100.2
For this excerpt, be sure to follow the directions by Dana Wilson. Wilson askes for the excerpt to be "precise yet
Piece of Mind: Remembering
stbouyant". Keep the excerpt precise by constantly subdividing 16th notes. Also, after every set of dotted eighth
% %!
sixteenth notes,
note imagine a quarter note on the next beat. This will help you lead the rhythm as wellDana
as insuring
Wilson its
)
Dotted Relaxed
Quarter =(#$100
= 100)
&% '% % %) * !
*! % % %) * !
&% '% % %(
accuracy. Finally, keep
easythe excerpt bouyant by playing and articulating very lightly.
!" %
16 "Big Band" swing
$# ( ( ( * ( * ( ( * (
!"
%!
-%
% &%)
( * ,%) * ! * &%(
% &-% * !
( *! +# * ! *! * (
$ (
Piece: Piece of Mind: II. Remembering

Excerpt 100.2 isDana
Composer: written
Wilsonin compound time to notate swing. Practice excerpt 100.2 in a swing style.
Measures: 16-21
Tempo: Relaxed (#$ = 100)
Excerpt 100.3
Play this excerpt like swing. Listen to great examples of swing to learn the style. Don't play too loud!
Piece of Mind: Remembering
st
Half note = 80 Dana Wilson
" = 80 (Dixieland style)
& Solo%&(1. or Jazz%'player) - ' -
% ) %* ) %* +% %, % ( .%* % .% .% ) %* #" ) .%* ) %* %
8 # #
$! % (
'
!
Like Excerpt
Piece: 100.3, the triplet
Piece of Mind: figures are notated swing.
II. Remembering
Measures: 8-11
Tempo: " = 80 (Dixieland style)
Be sure to follow the directions very carefully. The triplet markings are only to help notate swing. Make sure you play
the marcatos very short and the eighth note groupings long then short.
308
Excerpt 100.4
Piece of Mind: Feeling
! % ! &% % ( %)%)( )% )% ! %' "" * "! % )% % (

21 Solo
#" $ ' $ % )%
!" !#
+% ! % %!
# )% ! )% (! +% % % "*
' ' "
cresc. "
Piece: Piece
See Excerpt 38.1.of Mind: III. Feeling
Measures: 21-28
Tempo: Quiet but persistent $ = 66
Excerpt 100.5
Play this excerpt with a very beautiful sound. Follow Wilson's markings and play "quiet but persistant".
Piece of Mind: Being
## ! & $ $ %$ ! &$ ! %$ $ $ $#$ $ ( ) $ %$ ! $ $#$ $ $#$ $

90
" ! $%$ #$ $ $ %$ $ # $
'
# ! $ ! ( $! $ $ $! $&$ %$ $&$ $&$ (

" # $'#$ $' * $ $ $
Piece: Piece of Mind: IV. Being

PracticeComposer:
Excerpt Dana
100.5 very lightly. Tongue Excerpt 100.5 using a “da” syllable.
Wilson
Measures: 89-96
Tempo: Floating, but in strict time (! = 100)
Excerpt 100.6
Be careful in measure 89. Every note length, other than the first and last, is an 8th note. Achieve the floating sound
Piece of Mind: Being
1st by playing
cornet in Bb,very light 97
measures and- 105
longuing with a "da" syllable.
#"! $ $ #$ $ $ '" ! $ ! $ $ '(

97
$ "
! % &
#"!
!
$ $ $ ( ( ( $
105
& % ) *
!
Piece: Piece of Mind: IV. Being

See Excerpt 100.5.
Measures: 97-105
Tempo: Floating, but in strict time (" = 100)
Like the last excerpt, this passage needs to float. Do not push the volume, it will be heard. Tongue very lightly with
a "da" syllable.
309
Machu Picchu (101)
Excerpt 101.1
Machu Picchu
Quarter note = 96 Satoshi Yagisawa
$# $# $# $% ! # $# $# $# $% ! $# $ $# # $# $# $# $# $# $#
Brillante ! = ca.96
# $# $# $# $#
!
"! #### #
# # #
" #
& $# # # # # $ $# $# # $# $# $# $# '
$ #
&# ( ) * +
"
"" %&
Piece: Machu Piccu

In Excerpt 101.1,
Composer: practice
Satoshi the triple-tonguing with the syllables “tkt” and “ttk”.
Yagisawa
Part: 1st Trumpet in B$
Measures: 1-6
Tempo: ! = 96
This piece is basically soundtrack music. Play the opening with that in mind and strive for a Hollywood type entrance.
Excerpt 101.2
Machu Picchu
$# $# !$#$#$( !
B Grandioso (a tempo)
&% &% $#
! $# % ' #
" # # # # $#$# #$# # # # # $#$# #$# # # # #
& '
!" "
%# ! % %
$# # # #$ # # # !$%# %# # $# # # $allargando
%# %
$#$ # # # ( # ( %# )%(
! *
%"&
See Excerpts 37.4

Piece: Machu and 38.1.
Piccu
Composer: Satoshi Yagisawa
Part: 1st Trumpet in B#
Measures: 22-30
Tempo: $ = 96
Simplify this excerpt. Play only the 8th notes in all the 16th note runs. As you play the simplified line find the phrasing.
When you add all the 16ths back in be sure and retain the phrasing.
310
Excerpt 101.3
Machu Picchu
"" $#Solo# # %# # # # $# # $# # # $# # # %# # # # $# # $# # #
F
! &
% % % % % % % %
#$ #$
ExcerptPiece:
101.3 is inPiccu
Machu unison with the first horn.
Composer: Satoshi Yagisawa
Part: 1st Trumpet in B!
Measures: 61-63
Tempo: " = 168
Really emphasize the accents. This will help add to the displaced feeling of pulse.
Excerpt 101.4
Machu Picchu
% %$# %$# %$' %$# %$# %$# %$'

"" $#
J
! & & & & & &

!""# !"$ !""# !"$
%
"" $# %# "%# %# %' # %# ( %# %# % % % % % %
# )# )# # )#
! # "# & *
!""# "" ' !""# ' '
'
%$
Piece: Machu Piccu

In Excerpt 101.4,Satoshi
Composer: practice single-tonguing and triple-tonguing measure 112.
Yagisawa
Part: 1st Trumpet in B%
Measures: 107-113
Tempo: & = 168
Work on measure 112. At a quarter note equals 168 it will be very tough. Triple tongue the lick at very slow tempos
so that it is comfortable when it is up to tempo.
311
Excerpt 101.5
Machu Picchu
$
(St. mute)
$# # $# $# $# $# $# $#
"" # % # %# % ( (
$# $# $#%$# $# $#&$#
) * + ) ( ,
Open
! %# # '
#& #
! % $ % "!# $!
% %
"!#
$
"" $# ( %$# &$# $# $ $ &$
# $# $# $ $ $
# $# % $# # # % $# # # & # # #
! ( # # ( ( # %# ) (
%
! poco a poco cresc.
$.
"" % - - &#
, *
!
!!
Piece: Machu Piccu

See Excerpt 37.4
Composer: and Yagisawa
Satoshi 38.1.
Part: 1st Trumpet in B&
Measures: 146-155
Tempo: ' = 168
See the previous excerpt for practical advice.

Excerpt 101.6
Machu Picchu
$
%" !
#
S Grandioso ! =ca.76)
" " '" " " " %" ! " " ( !

& unis. " " )" ( #"
%" " " " " " " " " %"
div.
! %" " "

""
) #" ! %#" #" " " " " ) #" ! %#" #" " " $#
* "
! " )" " " " " + & , '
$""%
Piece: Machu Piccu

In Excerpt 101.6,Satoshi
Composer: do not play louder than forte.
Yagisawa
Part: 1st Trumpet in B#
Measures: 203-211
Tempo: ! = 76
This is the big melody at the end. Don't overbalance the band, rather, float on top of it.
312
APPENDIX
A Child’s Garden of Dreams 180
A Solemn Music 268
Alchemy in Silent Spaces 37
Al Fresco 154
American Child 210
And the Mountains Rising Nowhere 248
Apocalyptic Dreams 104
Apotheosis of This Earth 158
Arctic Dreams 47
Awayday 122
Baron Cimetière’s Mambo 130
Bells for Stokowski 70
Blue Shades 269
Bum’s Rush 134
Cheetah 161
Chester Overture 257
Chorale and Alleluia 140
Circular Marches 286
Colonial Song 127
Concertino for Four Percussion and Wind Orchestra 109
Concerto for Percussion and Wind Ensemble 163
Concerto Logic for Piano and Wind Ensemble 213

313
Dance Movements 261
Dance of the New World 307
Déjà vu 51
Designs, Images and Textures 25
Dionysiaques 240
Divertimento 227
Do Not Go Gentle Into That Good Night 83
Emblems 58
Fiesta Del Pacifico 208
First Suite in Eb 145
Folk Song Suite 302
For Precious Friends Hid in Death’s Dateless Night 177
Four Factories 216
From a Dark Millennium 253
Galactic Empires 111
Gazebo Dances 64
Ghost Train 298
Hammersmith 149
Harrison’s Dream 124
Heroes Lost and Fallen 116
In Evening’s Stillness 255
In Wartime 87
314
J’ai été au Bal 136
Laboring Songs 288
La Fiesta Mexicana 238
Lincolnshire Posy 128
Machu Picchu 310
Masquerade 228
Minstrels of the Kells 290
Music for Prague 164
Niagara Falls (Bb & C parts) 74
Outdoor Overture 63
Parable IX 231
Passacaglia 202
Piece of Mind 308
Postcard 273
Radiant Joy 38
Raise the Roof 80
Rocky Point Holiday 204
Sea Songs 304
Second Suite in F 152
Sinfonietta 67
Sketches on a Tudor Psalm 284
Slalom 221
Soundings 194
315
Sounds, Shapes, and Symbols 27
Southern Harmony 139
Spiel für Blasorchester 283
Spin Cycle 173
Suite Française 198
Suite of Old American Dances 28
Summer in Valley City 93
Symphonic Suite 44
Symphony in Bb 141
Symphony no. 1 89
Symphony no. 2 (Maslanka) 182
Symphony no. 2 (Ticheli) 275
Symphony no. 3 23
Symphony no. 4 187
Symphony no. 6 233
The Leaves are Falling 34
The Passing Bell 35
Theme and Variations 245
Three Chorale Preludes 172
To Tame the Perilous Skies 143
Toccata Marziale 306
Tunbridge Fair 234

316
Urban Requiem 53
Variations on a Korean Folk Song 42
Variations on “America” 167
Vientos y Tangos 99
Waking Angels 119
Whatsoever Things 40
When Jesus Wept 259
Wild Nights 280
William Byrd Suite 168
Winds of Nagual 56
Wrangler 224
Zion 292
317
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TRUMPET EXCERPTS FROM THE WIND BAND LITERATURE

THE GRADUATE SCHOOL

IN PARTIAL FULFILLMENT OF THE REQUIREMENTS

FOR THE DEGREE OF

DISSERTATION ADVISOR: DR. THOMAS CANEVA

BALL STATE UNIVERSITY

reader an easy-to-understand approach to learning wind band repertoire. As a result, this

Grantham, Cindy McTee, Michael Daugherty and Robert Meunier.

Complete Orchestral Trumpet Parts 6

Non-Instructional Orchestral Excerpt Books 7

Instructional Orchestral Excerpt Books 8

Wind Band Literature 10

SIGNIFICANCE OF THE PROBLEM 13

Identification of Research Methodology and Organization 17

Identification of Presentation and Format 19

AVERETT TRUMPET EXCERPTS FROM WIND BAND LITERATURE LIST 21

EXCERPTS FROM THE WIND BAND LITERATURE 23

Symphony No. 3 (Work no. 1) 23

Designs, Images and Textures (2) 25

Sounds, Shapes, and Symbols (3) 27

Bennett, Robert Russell

Suite of Old American Dances (4) 28

The Leaves are Falling (5) 34

The Passing Bell (6) 35

Alchemy in Silent Spaces (7) 37

Radiant Joy (8) 38

Whatsoever Things (9) 40

Chance, John Barnes

Variations on a Korean Folk Song (10) 42

Symphonic Suite (11) 44

Arctic Dreams (12) 47

Urban Requiem (14) 53

Winds of Nagual (15) 56

Outdoor Overture (17) 63

Gazebo Dances (18) 64

Bells for Stokowski (20) 70

Niagara Falls (Bb & C parts) (21) 74

Raise the Roof (22) 80

Del Borgo, Elliot

Do Not Go Gentle Into That Good Night (23) 83

Del Tredici, David

Symphony No. 1 (25) 89

Finney, Ross Lee

Summer in Valley City (26) 93

Vientos y Tangos (27) 99

Apocalyptic Dreams (28) 103

Concertino for Four Percussion and Wind Orchestra (29) 108

Galactic Empires (30) 110

Heroes Lost and Fallen (31) 115

Waking Angels (32) 118

Awayday (33) 121

Harrison’s Dream (34) 123

Colonial Song (35) 126

Lincolnshire Posy (36) 127

Baron Cimetière’s Mambo (37) 129

Bum’s Rush (38) 133

J’ai été au Bal (39) 135

Southern Harmony (40) 138

Chorale and Alleluia (41) 139

Symphony in Bb (42) 140

To Tame the Perilous Skies (43) 142

First Suite in Eb (44) 144

Hammersmith (45) 148