dunn dissertation.pdf

TRUMPET AND PERCUSSION CHAMBER MUSIC

FOR TWO OR THREE PLAYERS:

AN ANNOTATED BIBLIOGRAPHY

by

Stephen J. Dunn

A Research Paper Presented in Partial Fulfillment

of the Requirements for the Degree Doctorate of Musical Arts in Solo Performance

ARIZONA STATE UNIVERSITY

August 2001

iv

TABLE OF CONTENTS

CHAPTER Page

I. INTRODUCTION……………………………………………………..1

Statement of Purpose.………………………………………….…3

Rationale for the Study…...………………………………………3

Delimitations….…………………………………………………...5

Organization ……………………………………………………....6

II. REVIEW OF RELATED LITERATURE…….……………………….7

Repertoire lists and catalogs….………………………………….7

Models for Annotations ………………………………………….9

Summary …………………………………………………………11

III. RESEARCH DESIGN AND PROCEDURES ……………………...12

Procedures …………………………………………………...12

Organization of the Annotations …………………………..13

IV. ANNOTATIONS FOR TWO PLAYERS …………………………..16

V. ANNOTATIONS FOR THREE PLAYERS ……………………....140

v

BIBLIOGRAPHY....……………………………………………………………...…..180

APPENDICES

A. TRUMPETERS AND PERCUSSIONISTS WHO RESPONDED TO THE REPERTOIRE SURVEY……………….….185

B. OTHER TRUMPET AND PERCUSSION CHAMBER WORKS.…187

C. DISCOGRAPHY……………………………………………………..190

D. ADDRESSES OF PUBLISHERS AND OTHER SOURCES……….193

CHAPTER I

INTRODUCTION

During the last four decades of the twentieth century, over one hundred works

were composed for trumpet and percussion in chamber music settings for two or three

players. This body of literature represents the beginning of a new genre of chamber

music that is gaining momentum at the turn of the twenty-first century. This paper offers

a comprehensive listing of trumpet and percussion repertoire along with eighty-five

annotations.

Although trumpet and percussion chamber music is a relatively recent genre, it is

important to note that the historical relationship between these two instruments is very

strong. Trumpet and drum are two of the most ancient instruments. Narratives of

antiquity and Mesopotamian art give concrete evidence that both instruments have been

in existence for over 5000 years.1 The joining of these two instruments for military use

came from ancient Arabic civilization and was introduced to Europeans through the

Crusades.2 From the beginning of the sixteenth century through the eighteenth,

Europeans used trumpets and kettledrums in battle, not only for communication, but also

for frightening the enemy through massive sounds.3 Johann Ernst Altenburg preserved

some examples of military signals, as well as some ceremonial music written for trumpets

1Philip Bate, The Trumpet and Trombone, 2d ed. (New York: Norton, 1978), 94; and

James Blades, Percussion Instruments and their History (Boston: Faber & Faber, 1984), 49.

2 Caldwell Titcomb, “The Kettledrums in Western Europe: Their History Outside the Orchestra” (Ph.D. diss., Harvard University, 1952), 3. 3 Johann Ernst Altenburg, Trumpeters' and Kettledrummers' Art, trans. Edward H. Tarr (Nashville, TN: The Brass Press, 1974), 25.

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and kettledrums in his 1795 treatise entitled Trumpeter's and Kettledrummer's Art.4

These two instruments were joined in a guild that was supported by royalty. When the

trumpet and kettledrum were introduced into the symphony, they were added together, as

a unit, and both instruments played approximately the same part.

Since the era of the classical symphony, the roles of percussionists and trumpeters

in Western art music have expanded significantly. European symphonic literature

demonstrates a gradual increase in the variety of percussion instruments utilized in

Western music until the beginning of the twentieth century, when percussion instruments

from all over the world attracted the attention of symphonic composers. Likewise, the

continual development of brass instruments has yielded trumpets pitched in a variety of

keys, bore shapes, and sizes, allowing for much greater technical dexterity and timbral

differences than were possible with older instruments.

After World War II, many composers searched for new instrumental

combinations. New technical demands increasingly challenged brass and percussion

performers. The percussion ensemble emerged as its own separate performing entity, and

works for multiple percussion soloists began to appear. Meanwhile, the brass quintet was

emerging as a genre, inspiring high-quality compositions, and the number of chamber and

solo compositions for trumpet increased dramatically.

Modern compositions for trumpet and percussion alone began to appear by 1963,

when William A. Billingsley, a trumpet-playing composer seeking to expand trumpet

recital repertoire, composed and performed Brief Encounters. In 1976, Gordon Stout

4Altenburg, 105-06, 133-39.

3

(percussion) and Robert Levy (trumpet) founded the Wilder Duo, for whom over thirty-

two pieces of music were composed. A duo founded in 1990, the Baker Street Duo with

Anthony Kirkland (trumpet) and Mark Carson (percussion), has also inspired many new

works. Today there are at least six trumpet and percussion duos that each commission

compositions for that combination of instruments.5

Statement of Purpose

The purpose of this paper is to offer an annotated bibliography of chamber music

compositions for trumpet and percussion written for two or three performers. It will serve

as a resource for teachers, performers, and composers who wish to find pertinent

information about this genre of composition.

Rationale for the Study

The majority of the works annotated in this document are appropriate literature

choices for degree and professional recitals. Finding new, high quality literature is

always a difficult task for wind and percussion recitalists. The number of standard recital

works for these instruments is not as large as the body of recital works available to

performers of instruments such as the violin or the piano, for which composers have been

writing recital pieces for hundreds of years. Therefore, trumpeters and percussionists

would benefit from exploring all possible avenues for expanding their body of recital

literature. The need for such exploration is evidenced by The International Trumpet

5In addition to the two duos mentioned in this paragraph, there is Cammeradschaft, whose

members are professors David Jarvis and David Turnbull at Washington State University; Edward Sandor and Thomas McCutchen, professors at the University of Georgia; Endy Emby Duo, with Brian J. McWhorter and Aaron Trant in New York; and the Stephen Dunn and John Pennington Duo at the University of Oregon and Fort Lewis College in Colorado, respectively.

4

Guild’s publication of Trumpet and Brass Programs, showing that in the last six years,

only two trumpet and percussion pieces, William Kraft’s Encounters III and David

Jarvis’s Macbeth and Macdonwald, received a significant number of performances for a

single year each. None of the remaining eighty-three works represented in this

bibliography have received a significant number of performances in the last six years.6

Perhaps the main reason for the lack of performances of trumpet and percussion

pieces is the near absence of resources available to performers. Alvin Lowrey's

comprehensive International Trumpet Discography includes only four recordings of

trumpet and percussion pieces.7 Furthermore, no existing document addresses trumpet

and percussion chamber music in greater detail than listing the title, composer, with an

occasional short biography instrumentation, publisher, and duration.8

Another possibility for the lack of performances of trumpet and percussion

chamber pieces is that the music often places extreme technical demands on the

performers. Typically, the rhythmic interplay between the instruments is extremely

complex. Many of the trumpet parts utilize the upper range for extended periods of time,

requiring a high level of endurance.

6Kevin Eisensmith, ed., Trumpet and Brass Programs 1994-2000 (Clearwater, FL: International Trumpet Guild, 1995-2000). This publication only includes recital repertoire that was submitted to the International Trumpet Guild. According to the editor, a significant number of performances is two or more. The 1995-95 concert season produced at least three performances of Encounters III, and the 1998-1999 season produced at least two performances of Macbeth and Macdonwald. 7Alvin Lowrey, Lowrey's International Trumpet Discography (Columbia, SC: Camden House, 1990). 8Thomas Siwe, ed., Percussion Solo Literature and Percussion Ensemble Literature (Champaign, IL: Media Press Inc., 1995 and 1998). This is clearly the most comprehensive existing list of trumpet and percussion music prior to the current study. Percussion Solo Literature lists forty-five of the one-hundred- and-two pieces identified by the researcher, and Percussion Ensemble Literature lists another four pieces, although the information on each piece is not as detailed as the annotations within this document. See Chapter II for a review of related literature.

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On the positive side, the neglect of trumpet and percussion chamber music in

performances has left a wide-open opportunity for accomplished musicians to compose

and perform such works. Internationally recognized composers such as André Jolivet,

Donald Erb, and William Kraft have contributed works to this genre. Their works are

relatively well known in the circles of trumpet recitalists and percussion recitalists, but

are worthy of more frequent performances than they currently receive. Works from

lesser-known composers provide opportunities for performers because they are virtually

unknown, leaving them open to premiere recording projects for musicians who are able to

master the technical demands. A final potential benefit that may result from performing

or composing pieces of this genre is the opportunity to be creative. The variety of sounds

and timbre possible in this combination of instruments provides unlimited creative

challenges for composers and performers.

This document provides a comprehensive annotated listing of all obtainable9

compositions for trumpet and percussion chamber music. It should facilitate and inspire

more performances of existing works as well as new compositions of this genre.

Delimitations

This study includes annotations for all available10 chamber music repertoire

written for the combination of one trumpeter and one percussionist, plus chamber music

written for the combination of one trumpet, one percussion part,11 and one additional

player of any instrument (possibly a second trumpet or percussion part). Excluded are

9See Chapter III for research methods.

10“Available” signifies that the composition is obtainable through the research methods outlined in Chapter III.

11A single percussion part may be written for a variety of percussion instruments, but is playable

by a single percussionist.

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fanfares from the Baroque era.12 Also excluded from the annotations are piano

reductions of trumpet concertos that include a single percussion part, e.g., Zbinden’s

Concertino for Trumpet13 or Tull’s Concerto for Trumpet No. 2.14 The final exclusion

consists of the works composed since December 31, 1999.15 The contents of the

annotations are designed to provide helpful background information about each piec

complete theoretical analysis of the works is beyond the scope of this

e. A

project.

Organization

Chapter II consists of a review of the literature related to the study. Chapter III

consists of a discussion of the research design and procedures employed. Chapter IV

consists of the annotations listed alphabetically by the last name of the composer of works

for two players, whereas Chapter V alphabetically lists annotations of compositions for

three players. A series of appendices provide a supplement to the text.

12Baroque fanfares are much different in nature than trumpet and percussion chamber music.

Furthermore, it is unusual for Baroque fanfares to include only two or three players, and the type of research required to come up with a comprehensive list of Baroque pieces of that instrumentation is beyond the scope of this project.

13Julien François Zbinden, Concertino for Trumpet, String Orchestra, and Drum Op. 6 (Mainz,

London: Schott’s Söhne, 1959). 14Fisher Tull, Concerto No. 2 for Trumpet and Orchestra (or Band) (New York: Boosey &

Hawkes, 1978). 15See Appendix B for a list of pieces not annotated. Although works since this date are

significant, a complete listing has not been gathered. These works will be included in subsequent editions of this paper.

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CHAPTER II

REVIEW OF RELATED LITERATURE

This chapter consists of a literature review divided into two sections. The first

section includes repertoire lists and catalogs used to find basic information about the

trumpet and percussion chamber music repertoire. The second section consists of a

description of selected studies that helped determine a model for the annotations in this

study. The chapter ends with a brief summary of the related literature.

Repertoire Lists and Catalogs

Repertoire lists and catalogs have proven helpful in compiling a list of trumpet

and percussion chamber music. However, these lists are neither complete nor always

accurate. In addition, they contain only minimal information on the works cited.

The Brass Music Guide: Ensemble Music in Print, 1987 edition,16 published by

the Instrumentalist Company, is part of a larger project intended to provide a

comprehensive repertoire list for all instrumentalists. This extensive repertoire list is

comprised of information gathered from 397 publishers and music suppliers. Complete

addresses of these companies are supplied in the final section of the book: “Key to

Publishers.” The repertoire is categorized by the number of performers and is cross-

referenced through a composer index. The Brass Music Guide serves as an excellent

resource with a seemingly comprehensive method. However, it includes only sixteen

trumpet and percussion chamber music compositions. Each citation includes only the

composer's last name and first initial, and the work's title, instrumentation, and publisher.

16Paul Anderson and Lisa Ormston Botrager, Brass Music Guide: Ensemble Music in Print, 1987 Edition (Northfield, IL: Instrumentalist Company, 1987).

8

.

e’s

sion

onally

The 1998 Brass Player’s Guide17 contains only music that Robert King Music

Sales, Inc. makes available for sale, without any indication as to the completeness of the

catalog. It lists thirty-one chamber pieces for trumpet and percussion involving two or

three players. Again, the only information supplied is the composer's last name and first

initial, and the work's title, instrumentation, and publisher for each work. Several errors

exist in this catalog, including incorrect spellings of titles and composers. There are

several other catalogs of this type,18 but they do not include as many relevant works as

the Brass Player’s Guide

The most complete listing of trumpet and percussion chamber works to date is

contained within two works edited by Thomas Siwe: Percussion Solo Literature19 and

Percussion Ensemble Literature.20 Although there is no introduction to this list

explaining the method, it appears to be a revision of the earlier Solo and Ensemble

Literature for Percussion,21 sponsored by The Percussive Arts Society (P. A. S.), which

lists Siwe as a member of the Percussion Literature Listing Committee. Both of Siw

works are organized by an alphabetical listing of the composers. They are cross-

referenced by the number of percussion performers and by the solo or multiple percus

instruments involved. In addition to the information in other lists, the date of the

composition and length of the piece in minutes is indicated when known. Occasi

17Robert Corley, ed., Brass Player's Guide to the Literature (North Easton, MA: Robert King, 1994).

18Additional works include individual publisher catalogs (such as Southern Music, Seesaw Music, and Shawnee Press), and other sheet music sales companies (such as Sheet Music Service, Sheetmusic.com, and Sheet Music online).

19Siwe (Champaign, IL: Media Press, 1995). 20Siwe (Champaign, IL: Media Press, 1998).

21Michael Combs, chair, Solo and Ensemble Literature for Percussion (Knoxville, TN: Percussive Arts Society, 1978).

9

ore

ion chamber music.

there is a biographical sketch on the composers and information on the premier

performance in the 1995 publication, which includes the majority of the trumpet and

percussion pieces, classified as solo percussion works according to Siwie’s categories.

However, the 1998 publication of ensemble music (three or more players) is much m

thorough and includes composer information for the majority of the entries. The most

distinguishing aspect of this publication is its inclusion of unpublished works by

composers who are willing to circulate copies of the manuscripts. Siwe’s listing includes

forty-nine examples of trumpet and percuss

Models for Annotations

Annotated bibliographies have become invaluable resource materials for music

teachers, performers, and composers. Generally, they are the products of thorough

research and, therefore, include more music and detailed information than repertoire lists

and catalogs. Although there are no available bibliographies that annotate trumpet and

percussion chamber music, there are several examples of annotated bibliographies of

works for a specific instrument or combination of instruments. Because annotations tend

to include categories that are specific to the instruments involved, this section of the

literature review focuses only on bibliographies related to trumpet and percussion

literature.

Twentieth-Century Music for Trumpet and Organ contains eighty-seven

annotations of published trumpet and organ music.22 The annotations include technical

information and notes on texture and style. There is biographical information on the

composers also, with reference to more complete biographical sources. Technical

information includes range, tessitura, and grade level. Cansler devised detailed criteria

22Philip T. Cansler, Twentieth-Century Music for Trumpet and Organ (Nashville: The Brass Press, 1994).

10

s

ue

istics.

for grading the difficulty of solos. He includes the addresses of relevant publishers and

cross-references his annotations by difficulty level.

Twentieth-Century Music for Trumpet and Orchestra23 is in a similar format to

the work discussed above. Both are part of the Brass Research Series published by the

Brass Press. The most recent edition of this work contains 329 entries.24 The annotation

are briefer than those in the previous work and, for the most part, do not include

biographical information on the composer. Also, descriptions of technical demands are

not stressed, leaving the bulk of the annotation to address elements of style and uniq

musical character

“An Annotated Bibliography of Trumpet Ensemble Music (for Five or More

Trumpets)” is the doctoral dissertation of Jon Burgess.25 The annotations are presented in

two sections. The first section includes the composer, title, editor or arranger, publisher,

number of performers required, grade level of difficulty, titles of movements,

performance time, scoring, and range of individual parts. The second part of each

annotation contains analytical information. Comments are made on the style, outstanding

compositional techniques, compositional idioms, and specific performance techniques

encountered. This work is organized by composer and includes appendices that list

unpublished material and provide addresses of sources and an index of the compositions

categorized by the number of trumpeters involved.

23Norbert A. Carnovale and Paul F. Doerksen, Twentieth-Century Music for Trumpet and Orchestra (Nashville: The Brass Press, 1994). 24Carnovale and Doerksen, 1994. 25Jon Wesley Burgess, “An Annotated Bibliography of Trumpet Ensemble Music (for Five or More Trumpets)” (D.M.A. diss., Arizona State University, 1988).

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Summary

Extant repertoire lists and catalogs have been helpful in compiling a repertoire list

for trumpet and percussion chamber music. In this case, each list consulted yielded

several compositions that were not listed in the other sources. Annotated bibliographies

were shown to contain valuable information about each composition, with each

annotation model having unique strengths. The researcher has combined the strengths of

the annotations listed above for the annotations in this document.

12

es. In

CHAPTER III

RESEARCH DESIGN AND PROCEDURES

Procedures

The first task of this project was to identify as many pieces as possible that lie

within the parameters of the topic. By consulting the lists discussed in Chapter II, the

researcher identified seventy-six pieces that fell within the scope of this project. In an

effort to find more material, letters were sent to fifteen experts in the field of trumpet

performance and pedagogy and to ten experts in the field of percussion performance and

pedagogy.26 These experts were sent the list of seventy-six trumpet and percussion

pieces and were asked to return a list of any additional pieces of which they were aware.

Of the twenty-five experts surveyed, fifteen responded, yielding fourteen new piec

addition, the researcher was put in contact with Anthony Kirkland of the Baker Street

Duo, which led to the discovery of five new pieces, and Brian McWhorter of the Endy

Emby duo, who submitted three new pieces. Eventually it was discovered that five of the

pieces on the early list of seventy-six pieces were invalid because they required more than

three performers. Seven additional pieces were discovered through the “First Search”

search engine.27 Finally, two twenty-first century pieces were submitted by performers of

existing trumpet and percussion duos.

Eighty-five scores were obtained from publishers, libraries, composers, and sheet

music stores. Each of those scores is annotated in this paper. Twelve scores not

annotated in this paper that fit within the instrumentation guidelines of this project are

housed in out-of–state libraries that are not willing circulate the needed trumpet and

26See Appendix A for a list of experts who responded. The experts were selected by consulting a panel of faculty members and graduate students at Arizona State University.

27On Line Computer Library Center, Inc. 2000. First Search. <http://firstsearch.oclc.org/> (1 Apr.

2000).

13

percussion scores through inter-library loan. These twelve scores, an additional three that

could not be located, and two scores written since December of 1999 contribute to

seventeen pieces not annotated in this project.28

Biographical information was received from personal correspondence, web sites,

biographical dictionaries, and biographical material included in scores. Again, the search

engine, First Search, was very helpful in locating biographical material.29

Organization of the Annotations

The design of each annotation is presented in two main sections. The first section

consists of descriptive information. The second presents brief biographical information

on the composer and analytical comments. The analysis provides performers with

technical information on the texture and style of each composition, as well as required

performance techniques.

The annotation format used in this project was adapted from the model found in

Jon Burgess's doctoral dissertation, with an added brief biographical section similar to the

one found in Cansler's book.30 A detailed description of the annotation outline used for

each composition within the bibliography is as follows:

A. Descriptive Information

1. Name of composer.

28See Appendix B for a list of pieces that were composed after December 31, 1999, and pieces that

were not obtained through the research method. The researcher was unable to obtain these scores through inter-library loan, by attempting to contact the composer, by contacting performers of trumpet and percussion music, by searching through music catalogs, and by searching through the internet.

29On Line Computer Library Center, Inc. 2000. First Search. <http://firstsearch.oclc.org/> (1 Apr.

2000). 30Burgess, 2-5; Cansler, 9-38.

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2. Title of the composition as it appears on the title page of the score, and the

date of the composition (if known).

3. Name of the editor or arranger of the work (if any).

4. Publisher or manuscript indication, date of publication, and availability if

out of print.

5. Instrumentation.

6. Grade level of difficulty: A separate grade level is assigned for each

percussion and each trumpet part using an adaptation of Cansler's criteria.

Grades I and II represent beginning and elementary level repertoire, none

of which exist in this annotated bibliography. Grade III represents

intermediate repertoire that could be performed successfully by the

majority of high school seniors and college-level freshman. Grade IV

represents advanced repertoire is approachable by the majority of college-

level undergraduates, while Grade V represents very advanced repertoire,

approachable by advanced graduate students and professionals. Grade VI

represents extremely difficult repertoire, approachable only by the most

advanced performers. The difficulty levels of the percussion parts were

graded by a panel consisting of the researcher and percussion experts

located at the University of Denver, and the University of Oregon.31

7. The titles of movements and tempo descriptions are listed in sequence as

they appear in the work.

8. Performance time of the completed work.

31The percussion panel consists of two graduate percussion students from the University of

Denver: Robert Desmond and Jason Spaluto; and two graduate percussion students from the University of Oregon: Tracy Freeze and Sean Wagoner.

15

9. Tessitura and range of the trumpet part and scoring of the percussion part

on relevant instruments.32 Pitches are expressed in concert pitch,

regardless of the pitch of the instrument for which the piece was written.

The following system is used to signify pitches in various octaves:

C c c’ c’’ c’’’

10. Required mutes, sticks, and mallets (if any).

11. A description of unusual notation. When helpful, a key is used in lieu of a

description.

B. Analytical Information

1. A brief biographical section on the composer, where possible.

2. Information on to whom the work is dedicated and by whom it was

commissioned, as well as information on the premier performance (if

applicable).

3. Annotation on the musical style, along with any outstanding

compositional techniques and features of the composition. An attempt

will be made to identify the compositional idiom particular to each work.

4. Comments on specific performance techniques encountered in each work

of a difficult or unusual nature.

32Marimba is deemed a relevant instrument for which to include the range, because some marimbas have larger ranges than others. Xylophone and orchestra bells have a more standard range, thus it is not important to state the range of those parts, unless it is found to require an extended instrument. Occasionally, a tuned gong will require stated ranges.

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CHAPTER IV

ANNOTATIONS FOR TWO PLAYERS

Baczewski, Philip

Variations on a Theme by Bach

Unpublished, available from the University of North Texas through inter-

library loan.

Duration: 2’ 40’’

Trumpet grade: III+ Percussion grade: III

Scoring and Range:

B-flat trumpet: g to a’’

3 cymbals, 6 roto toms (6’’, 8’’, 10’’, 12’’, 14’’, 18’’)

Mute: straight

Unusual Notation: none

The seven-measure theme is stated, then transposed and transformed rhythmically

and melodically with growing dissonance and chromaticism. Near the end, a retrograde

statement of the theme in half notes and quarter notes brings back a sense of order and

less dissonance.

Rhythmically this piece is not difficult. The two biggest challenges for the

trumpeter will be to accurately play the disjunct intervals in this somewhat atonal line,

and to articulate the repeated sixteenth notes in the high register at quarter note = 110.

The percussionist uses all nine instruments equally, occasionally involving some tricky,

17

fast exchanges between the roto toms and the cymbals. Specified mallets include double-

ended felt/snare sticks, rattan, yarn, and hard yarn.

18

Balissat, Jean

Kaleidoscope: pour Trompette et Percussion (1996)

Editions BIM (1996)

Duration: 7’

Trumpet grade: IV+ Percussion grade: IV+

Scoring and Range:

Trumpet in C or B-flat: f-sharp to c-sharp’’’ (C trumpet), e to b’’ (B-flat

trumpet)

Vibraphone: f to e-flat’’’ or g to f’’’, 4 tom-toms, tam-tam, 4 bongos,

woodblock, temple blocks

Mute: Harmon (with and without stem)

Unusual Notation: The entire piece contains only a few barlines, although

several instances of dotted lines exist to signify certain passages that need

special attention to vertical alignment.

Jean Balissat (b. 1936, Switzerland) studied composition, conducting, percussion,

and horn at the Geneva Conservatory. He has directed bands and orchestras in

Switzerland and served as president of the Swiss Musicians’ Association from 1986 to

1990. Balissat currently teaches composition and orchestration at the conservatories of

Geneva and Lausanne.33

Kaleidoscope was composed for the trumpet competition of the 52nd International

Competition for Musical Performances, Geneva, 1996. The piece begins and ends with

33Biographical information is included with the score.

19

cadenza-like passages for the trumpet that are answered by short tom-tom, tam-tam, and

vibraphone responses. The melodic material of the trumpet carries some modal

characteristics. Middle portions of the piece are more rhythmically interactive.

Written as a virtuoso showpiece for trumpet, Kaleidoscope has a percussion part

that is nearly as difficult as the trumpet part. The first section in which the tempo appears

to be steady has quintuplet subdivisions for an entire page. Although no specific passages

are tremendously difficult for the trumpeter, some endurance considerations exist, and the

entire piece seems to have been written to show off the virtuoso bravura of each of the

contestants. The trumpeter needs to be able to meet all the technical demands, including

flutter-tonguing long passages with apparent ease and sustaining a full, vibrant sound.

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Barber, Clarence E.

Rondo: A Duet for Trumpet and Percussion (1990)

Pioneer Percussion

Trumpet grade: IV- Percussion grade: II+


Scoring and Range:

Trumpet in B-flat: g to b-flat’’

Xylophone, 2 bongos

Mute: straight


Clarence Barber (b. 1951, Ohio) is currently Assistant Director of Bands with the

Midview Local Schools in Grafton, Ohio and teaches percussion at Lorain County

Community College. His compositions are performed at musical conventions throughout

the world, including the Percussive Arts Society International Convention and the Fiesta-

Val International in Toronto.34

Rondo was composed for the Baker Street Duo—Mark Carson, percussion, and

Anthony Kirkland, trumpet. The first performance was on October 10, 1990, in a United

States Air Force Chamber Players concert at the Anderson House in Washington, D.C.

Rondo is a very accessible piece for any audience. This tonal composition

employs jazz-influenced chromaticism and is rhythmically lively. Marked at the tempo

of quarter note = 120-132, a steady eighth-note pulse is kept throughout the piece, which

34The composer sent a biographical sketch to the writer.

21

includes some mixed meter. Two textures prevail in Rondo: a sixteenth-note dialogue

between the xylophone and the trumpet, and a longer-valued quartal melody in the

trumpet, accompanied by bongos. The trumpeter must be able to articulate repeated

sixteenth notes in all registers for several measures at a time.

22

Barber, Clarence E.

For Its Own Sake (1995)

Pioneer Percussion

Trumpet grade: IV Percussion grade: IV


Scoring and Range:

Trumpet in B-flat: g-flat to b-flat’’

Tambourine, 4 cowbells, 5 temple blocks, vibraslap, small tam-tam

Mute: none


The title of this work—For Its Own Sake—is a phrase often spoken by Sir Arthur

Conan Doyle’s famous fictional character Sherlock Holmes. Both the composer and the

performers for whom the composition was written, profess to having been inspired by

Sherlock Holmes stories.35 The trumpet is in dialogue with what is usually a fast

alternation between woodblock and cowbell passages. Barber’s composition was written

for the Baker Street Duo.

Both parts contain some tricky passagework. The trumpet part includes many

angular sixteenth-note lines, and the percussionist must play thirty-second-note passages

while changing between woodblocks and cowbells at the tempo of quarter note = 120.

The most technically difficult ensemble passage is at the end, where both players perform

A continuous line of sixteenth notes for seven measures, marked cresc. e accel. Al fine.

35The composer states the link between Doyle’s stories and his musical work in the printed

introduction. The name of the performers’ duo pays homage to Doyle’s stories: Baker Street is the name of the street where Sherlock Holmes lived.

23

Barber, Clarence E.

Largo (1996)

Pioneer Percussion

Trumpet grade: III Percussion grade: III+


Scoring and Range:

Trumpet in B-flat: g to g-flat’’

Hand drum

Mute: cup with cloth over the bell


Largo consists of a very sustained chromatic trumpet melody and intricate hand-

drum accompaniment. Largo was composed for the Baker Street Duo.

Two special techniques required of the trumpeter in this piece are a half-valve

quarter-step trill and the ability to start flutter tonguing at the end of a melodic phrase

without re-articulation. The only other difficulty for the trumpeter is the ability to play

sustained lines melodically, without much rest, for the duration of the piece. The

composer includes performance notes explaining the different types of rolls expected of

the hand drummer. At one point, the drummer is asked to create a harmonic by sliding a

rubber ball across the head of the drum.

24

Bazelon, Irwin Allen

Double Crossings (1978)

Boosey & Hawkes

Trumpet grade: V Percussion grade: V

Duration: 10’

Scoring and Range:

Trumpet in C: g to d’’’

3 bongos, 2 timbales, snare drum, 2 tom-toms, tenor drum, bass drum,

woodblock, 5 temple blocks, scratcher, triangle, suspended cymbal,

silver bell, cowbell, finger cymbals, claves, bell tree, Japanese cup

gong, Japanese bowl gong, tam-tam

Unusual Notation: = quarter-tone bend Mutes: cup, straight, Harmon Erwin Bazelon (b. 1922) studied composition with Leon Stein at De Paul

University, Paul Hindemith at Yale University, Darius Milhaud at Mills College,

Oakland, California, and Ernest Bloch at the University of California, Berkeley. He has

written eight symphonies, Spires for trumpet and small orchestra, and other orchestral

music. His body of chamber music includes Cross Currents for brass quintet and

percussion. Bazelon is the author of Knowing the Score: Notes on Film Music (New

25

York: Publ. 1975).36

As one might expect from the long list of percussion instruments, Double

Crossings requires the percussionist to make frequent changes in instruments. Although

this piece is difficult in terms of technique, rhythm, and dynamic demands, it seems less

abstract than some of its contemporaries—primarily because of traditional phrasing

patterns. The piece offers a variety of cadenza-like passages for both instruments, a

melody line with an ostinato rhythm, and complex rhythmic passages in both parts.

Double Crossings was premiered simultaneously in Boston and New York on

December 5, 1976. It has one of the largest percussion set-ups of any of the trumpet and

percussion works, with a variety of membrane, wood, and metal sounds.

36H. Wiley Hitchcock and Stanley Sadie, eds. The New Grove Dictionary of American Music, vol.

1 (New York: Macmillan, 1986), 163-164.

26

Beney, Alain

Flashes: pour Trompette en Ut ou Si-flat et Percussion (1974)

Alphonse Leduc. Out of print, available from Arizona State University

through inter-library loan.

Trumpet grade: III Percussion grade: IV

Duration: 4’

Scoring and Range:

Trumpet in C or B-flat: b to b’’ (C trumpet), a to a’’ (B-flat trumpet)

Hi-hat, 3 suspended cymbals, 2 Chinese blocks, bongos, 2 tom-toms, snare

drum, and bass drum with pedal

Mute: none

Unusual Notation: The percussion part is notated on a twelve-line staff.

Alain Beney was born in France in 1945.

Flashes appears to be a programmatic title for this work, because what is generally

a soft, reflective piece is filled with short forte outbursts from both instrumentalists. The

exotic, whole-tone-influenced trumpet melody is simply stated at the beginning and

ending, with development of its motives in between. Edward Sandor and Thomas

McCutchen have recorded Flashes on their CD The Art of Trumpet and Percussion.

There is one difficult passage for the trumpeter—a long cadenza that requires a

good deal of flexibility with fast articulations. However, a simplified cadenza is also

included, and when it is used, written f-sharp’’ becomes the highest pitch in the trumpet

part. The percussion rhythms are simple; however, there is difficulty in becoming

familiar with the twelve-line percussion staff.

27

Benterfa, Maurice

Tonalités: a Concerto pour Trompette Ut ou Si-flat (1992)

Editions BIM

Trumpet grade: IV Percussion grade: IV-


I. Heraldiques: 2’ 30’’

II. Spasmodiques: 2’ 45’’

III. Danceries: 3’ 15’’

Scoring and Range:

Trumpet in C or B-flat: f-sharp to d’’’ (C trumpet), e to c’’’ (B-flat

trumpet)

Timpani: E to g (at least 3 timpani are needed)

Mutes: straight, Harmon

Unusual Notation: In one section, Benterfa writes quarter notes, but asks the

performer to improvise the rhythm. Time signatures are abandoned in this

piece.

= continue in a specified pattern = accelerando, ritardando Maurice Benterfa (b. 1937, France) performed as principal trumpet in the Rhône-

Alpes Philarmonique Orchestra and taught at the Lyon Regional Conservatory. He was

28

awarded First Prize at the Paris Conservatory in the class of Ludovic Vaillant. Benterfa is

a jury member of the Maurice André International Competition in Paris, France.37

Tonalites is a modern virtuosic showcase for trumpet and timpani that calls for a

large variety of tonal colors from both instruments. The second movement in particular

seems to be primarily a tone-color exploration utilizing such sounds as glissandi from

both instruments and random pitches on the timpani played with fingernails. The second

movement also requires removal of the trumpeter's first slide, a Harmon mute with stem

halfway out, and use of the low pedal register.

The composition presents several technical challenges for the trumpeter. Several

lengthy sixteenth-note passages must be double-tongued at quarter note = 152. Slide

glissandi are used frequently to reach the pitch a half step below the originating pitch.

Perhaps the greatest technical challenges lie within the flutter-tongued finger glissandi

that span throughout a two-octave register. Other unusual performing techniques include

pedal-register playing and improvisation.

37Stomvi-Honiba. Maurice Benterfa. <http://members.aol.com/benterfa/cveng.htm> (1 Apr.2000).

29

Billingsley, William A.

Brief Encounters (1963)

Unpublished, available from the composer

Trumpet grade: IV Percussion grade: III


I. For Trumpet and Woodblock 1’ 30’’

II. For Trumpet and Bongos 2’ 30’’

III. For Trumpet and Timpani 2’ 15’’

Scoring and Range:

Trumpet in B-flat: e to d-flat’’’

Woodblock, bongos, two timpani A-flat to F

Mute: none


William A. Billingsley (b. 1922, Montana) was trained at the Navy School of

Music and the University of Iowa, where he received a M.M. in Composition. A veteran

of World War II, Billingsley performed trumpet, composed, and arranged for various

Navy bands. Billingsley served on the faculty of University of Idaho from 1953-1984 as

a professor of Composition and Music Theory.38

Brief Encounters is the first piece written solely for the combination of a single

percussionist and a single trumpeter. Rather than using a multiple percussion set for each

movement, the composer uses only one percussion tambour per movement. The

38William A Billingsley, Interview by writer, 19 March 2001.

30

percussion part takes on primarily accompanimental roles throughout the work. The

melodic line is tonal and the rhythms consist mostly of simple subdivisions of the pulse,

keeping the necessary rehearsal time for this piece to a minimum. Brief Encounters was

premiered by William A. Billingsley, trumpet and William Kennedy, percussion.

The trumpet part contains several rapid diatonic passages requiring both single

and double tonguing. The majority of the trumpet part lies in the comfortable range

between c’ and f’’ and is characteristically well written for the instrument. The

percussion part is easy enough to sight-read by most advanced college-level

percussionists. The third movement contains an improvised bongo cadenza.

31

Blank, Allan

Ceremonies for Trumpet and Percussion (one or two percussionists) (1977)

Music for Percussion, Inc. (1982)

Trumpet grade: III + Percussion grade: III+


I. Majestic, half note = 52 1’ 35’’

II. half note = 66 2’ 20’’

III. quarter note = 60, 3’

IV. Molto Lento, half note = 40 2’ 40’’

V. Spirited, half note = 56 1’

VI. Majestic, half note = 52 1’ 15’’

Scoring and Range:

Trumpet in B-flat: f to c’’’

8 gongs (A-flat, e-flat, f, g, a-flat, b-flat, c’, e-flat’), marimba, xylophone,

glockenspiel, vibraphone.

Mutes: straight, hat, solo tone, cup

Unusual Notation: Note heads without stems are used to indicate unspecified

duration.

Previously a violinist with the Pittsburgh Symphony, Allan Blank (b. 1925, New

York) is currently Professor of Composition at Virginia Commonwealth University in

Richmond, Virginia. He has over 60 published works distributed among internationally

recognized publishers. Blank has been awarded many grants and prizes for his

compositions, including: winner of the Lind Solo Song Competition sponsored by Cornell

32

University; First Prize in the George Eastman Competition (1985); and the Eric Satie

Mostly Tonal Award.39

Ceremonies is dedicated to Robert Levy and Gordon Stout, members of the

Wilder Duo. The outer two movements are scored for tuned gongs and trumpet, while the

inner movements call for traditional keyboard percussion instruments. Blank mentions

that suspended cymbals, tam-tams, or other metals may be substituted for gongs, as long

as the scalar relations are maintained.

Ceremonies is easily played by only one percussionist. Blank suggested the

possibility of two percussion performers because of the extremely fast changes between

percussion instruments. Therefore, a careful set-up is essential. The vast majority of

Ceremonies is in a fairly easy range for trumpet (b-flat to f’’). Only one c’’’ is included

in the trumpet part, but it is marked fortissimo and is held at the end of the most

technically challenging movement (V). The third movement presents some challenging

tempo and meter changes, each keeping obscure relationships to the preceding

tempo/meter. This piece presents a good balance of lyrical and technical passages, as

well as an interesting combination of timbres.

39H. Wiley Hitchcock and Stanley Sadie, eds., 223.

33

Broege, Timothy

Six Early Songs (1981)

Dorn Publications. Out of print, available from the University of

Illinois through inter-library loan.



I. dotted half note = 76 1’ 10’’

II. quarter note = 76 1’ 30’’

III. dotted half note = 100 35’’

IV. dotted half note = 72 55’’

V. non misurato 1’ 05’’

VI. each unit of beat = 104 3’ 10’’

Scoring and Range:

Trumpet in C: g to d’’’

2 tom-toms, marimba: C to g’’’, bass drum, orchestra bells, finger

cymbals, tambourine

Mutes: cup, straight, Harmon


Timothy Broege (b. 1947, New Jersey) studied composition with Anthony Donato

at Northwestern University. For many years he held the position of music director at First

Presbyterian Church, Manasquan, New Jersey. Song Without Words for marimba and ten

34

players and Brass Quintet are among Broege’s compositions.40

Six Early Songs is dedicated to Robert Levy and Gordon Stout. Both the

percussion and the trumpet parts are typical of Renaissance style and straightforward.

The only difficulty for the trumpet is the frequent occurrence of d’’’ in the sixth song,

which could be made easier by using an A piccolo trumpet.

Though Broege is listed as the composer, he might be more accurately labeled the

arranger of these songs. The title of each song lists the original Renaissance composer:

Raimbault de Vaqueiras, Richard the Lion Heart, and Neithart von Reuenthal, and a few

anonymous musicians. These compositions are abundant in repetitive rhythms,

characteristic of rhythmic modes. The last song has sections in which the two performers

play in different meters from each other.

40Ruth E. Anderson, ed., Contemporary American Composers: A Biographical Dictionary

(Boston: G. K. Hall, 1982), 65.

35

Broege, Timothy

Songs, Dances, and a Chorale (1981)

Dorn Publications. Out of print, available from the University of

Illinois through inter-library loan.

Trumpet grade: V Percussion grade: III-


I. Song: quarter note = 72 1’ 40’’

II. Dance: quarter note = 120 50’’

III. Song: quarter note = 60 1’ 30’’

IV. Dance: quarter note = 80 45’’

V. Song: quarter note = 56 1’ 35’’

VI. Song: quarter note = 60 1’ 15’’

VII. Dance: quarter note = 116 1’

VIII. Chorale: quarter note = 76 2’ 10’’

Scoring and Range:

Trumpet in C: f to g’’’ (plus marking for as high as possible)

Marimba: A to f’’’, vibraphone

Mutes: cup, straight, Harmon

Unusual Notation: ↑ = trumpeter plays as high as possible

The majority of the scoring of Songs, Dances, and a Chorale is very traditional,

however, the last dance constantly changes meter without notating the meter changes.

36

Therefore, the performers must recognize the meter of each measure by the number of

eighth notes contained within that measure. Compositionally, this suite is a mixture of

the traditional techniques found in simple songs and dances combined with some type of

twentieth-century departure from tradition in each movement. For instance, the first

movement is a simple ABA diatonic song, but it is harmonized with 7th, 9th, 11th, and

13th chord harmonies, and the second dance replaces the unison passages found in the

first dance with a doubling of the melody in parallel 7ths.

Each of the songs and dances of this piece appears to be a simple melody with

simple accompaniment. This piece could be performed easily on an instrument that plays

in the register up to g’’’ without imposing severe endurance limitations for the performer.

However, considering endurance and range restrictions of most trumpeters, this piece is

quite challenging. Omitting the third song (the only movement marked tacet for

percussion and the only movement with extreme high register in the trumpet part) would

greatly reduce the difficulty level.

37

Brown, Newel Kay

Anagrams: For Trumpet in B-flat, Marimba, and Percussion (1977)

Seesaw Music Corporation (1978)



I. Invention 2’ 05’’

II. Etching 4’ 20’’

III. March 5’ 50’’

IV. Fallout 6’ 55’’

V. Musing 4’

VI. Circles 3’ 45’’

Scoring and Range:

Trumpet in B-flat, flugelhorn in B-flat: g to b-flat’’

Marimba: C to g-flat’’’, large tam-tam, large suspended cymbal,

glockenspiel, glass chimes, 2 woodblocks, tambourine, large

suspended cymbal, 3 tom-toms, snare drum, wood chimes

Mutes: cup, straight

Unusual Notation: Brown includes a long list of unusual notations for each of

the trumpet techniques listed below plus stems without noteheads,

implying an approximate pitch selection. Also, the movement “Circles” is

a dramatic departure from conventional notation. Sixteen suggestions for

improvisation by the trumpeter (21 in the percussion part) are arranged in a

circle on the page. The order and fashion of these improvisations are not

38

clearly stated, although, the composer makes several, sometimes contra-

dictory, suggestions on how these improvisations might be carried out.

= 2 seconds duration

= short note

= trill is more intense at beginning; percussionist inserts mute in trumpet

= increase tempo

= triple tonguing

= play as fast as possible

= burst of air blown through instrument

= repeat pattern as fast as possible

= diminuendo

= repeat pattern at varying time intervals

= hum into instrument on given pitch

= sing away from instrument

= rapid, accented breathy attacks, concluding as low as possible

= play and hum

39

Newel Kay Brown (b. 1932, Salt Lake) studied composition with Leroy Robertson

at the University of Utah and with Howard Hanson, Wayne Barlow, and Bernard Rogers

at the Eastman School of Music. Brown became professor of composition at North Texas

State University in 1970, where he spent most of his career. He composed at least eight

chamber works that include brass instruments. His Suite for Two Trumpets was

composed in 1968.41

Anagrams was commissioned by Robert Levy and the Society for Commissioning

New Music. It is clearly one the most experimental works included in this bibliography

in terms of exploring new sounds. In addition to the traditional techniques of playing the

trumpet, the trumpeter is asked to make the following sounds: a burst of air blown

through instrument; humming into the instrument on a given pitch; calling out consonant

and vowel sounds on given pitches; playing rapidly; accenting; breathy attacks; playing

and humming at the same time (often on separate pitches); removing mutes while

playing; tonguing without producing pitch; playing only on the mouthpiece; blowing

through the instrument to produce a rising and falling stream of air; taping palm of hand

on the mouthpiece; and sustaining a note while the other player (the percussionist) places

a mute in the instrument.

It is very difficult to predict the outcome of this piece because it is so

improvisatory in nature. Anagrams is certain to sound radically different with each new

performance.

41Nicolas Slonimsky, ed. Baker's Biographical Dictionary of Twentieth-Century Classical

Musicians (New York: Schirmer Books, 1997), 175.

40

Buss, Howard J.

Incantation: For B-flat Trumpet and One Percussionist

Brixton Publications (1994)

Trumpet grade: IV Percussion grade: IV+


Scoring and Range:

Trumpet in B-flat: f-sharp to b’’

Vibraphone, 4 temple blocks, 2 suspended cymbals (large and medium),

tam-tam (medium), wind chimes, hi-hat, tambourine, bell tree

Mutes: Harmon, straight, plunger

Mallets: hard-core vibraphone mallets, wire brush, brass mallet

Unusual Notation: Three different indications for position of plunger: O, +,

and ⊕. There is no explanation, but it is assumed that the composer uses

⊕ to indicate a half-opened plunger.

Howard J. Buss (b. 1951, Pennsylvania) is the composer of many other brass

pieces published by Brixton Publications, of which he is founder and editor. Buss holds a

M.M. in Trombone Performance from Michigan State University and a D.M.A. in

Composition from the University of Illinois. Recent composition honors include

selection as Composer of the Year by the Florida State Music Teachers Association and

the 1991 Erik Satie Award for his composition Concord for brass quintet.42

42University of Akron Bierce Library 1998. Composers.

<http://www.uakron.edu/ssma/composers/Buss.shtml> (6 Apr. 2001).

41

The music to Incantation is preceded by a poem of the same name, written by

Buss, which touches on topics such as the sorcerer’s ritual and mystical phrases. The

musical composition imitates the mood of the poem by starting out mysteriously and

ending with driving, steady rhythms associated with primitivism. The melodies

throughout are characteristic of diatonic and exotic modes with several half-step approach

tones and grace notes. Several fast technical passages are written for both instruments,

and the trumpeter is called on to play tambourine and a bell tree.

42

Chandler, Erwin Paul

Four Pieces for Trumpet and Marimba (1980)

Nichols Music (1987)

Trumpet grade: III Percussion grade: III


I. Allegro Moderato 3’ 50’’

II. Ballad 4’

III. Freedom Etude 2’ 25’’

IV. Finale 3’ 25’’

Scoring and Range:

Trumpet in B-flat: g-sharp to c’’’

Marimba: A to e’’’

Mutes: Harmon, straight, cup

Unusual Notation: = unclear in the trumpet part. The tempo is too quick

for playing thirty-second notes. Perhaps this notation signifies flutter-tongue, or more likely, just sustaining the sound as the marimba does with a roll.

+ = put hand over the bell of the trumpet Erwin Chandler (b. 1944, New York) studied with Warren Benson at Ithaca

College and with Bernhard Heiden at Indiana University. He has taught in public schools

43

and at Murray State University. Chandler played horn with the Reading Symphony and

various ensembles.43

Four Pieces for Trumpet and Marimba is dedicated to Robert Levy and Gordon

Stout, members of the Wilder Duo. Several unison lines exist between the two

instruments. All of the movements are tonal and rhythmically based except for the ballad

movement. Chandler uses ostinato patterns as backgrounds to short improvisations.

Both parts contain short improvisation sections using a specified pitch set. The

marimba part predominantly entails single-mallet technique and is written on one staff.

43Ruth E. Anderson, ed., 89.

44

Cirone, Anthony J.

Sonata #2 for Percussion and Trumpet (1973)

Cirone Publications. Out of print, available from Arizona State University


Trumpet grade: III+ Percussion grade: III


Scoring and Range:

Trumpet in B-flat: f to c’’’

4 tom-toms, vibraphone

Mute: “mute” (presumably straight)

Unusual Notation: Note heads without stems indicate unspecified pitch

duration.

Anthony Cirone (b. 1941, New Jersey) received both a B.S. and M.S. from the

Juilliard School of Music. In 1965, he joined the faculty at San Jose State University and

began his tenure as percussionist with the San Francisco Symphony Orchestra. The

majority of Cirone's compositions include percussion. His other three sonatas are for

piano and percussion, clarinet and percussion, and violin and percussion. Cirone also

composed Double Concerto for two percussionists and orchestra.44

Dedicated to Chris Bogios, a trumpeter and a long time colleague of Cirone in the

San Francisco Symphony, Sonata #2 makes use of a variety of tempos. Careful tempo

selection is required in the 5/4 Allegro Vivo. The repetitive pitches found in both parts


45

become rapidly articulated, moving sixteenth notes, which is the most technically

challenging spot for the trumpeter. The piece contains two short cadenzas for the trumpet

and one for the vibraphone. A sense of humor is maintained throughout the piece that is

best demonstrated by lip smacks (kissing into the mouthpiece) written into the trumpet

part. Sonata #2 for Percussion and Trumpet is recorded on Edward Sandor and Thomas

McCutchen’s CD The Art of Trumpet and Percussion.

46

De Ceuninck, Emile

Lignes rouges en oblique: pour Trompette et Percussion (1990)

Editions BIM

Trumpet Grade: III Percussion Grade: II+


Scoring and Range:

Trumpet in C or B-flat: g to a’’ (C trumpet), f to g’’ (B-flat trumpet)

4 tom-toms, 2 conga drums, 2 bongo drums, 2 cymbals (low and high) Mute: straight Unusual Notation: The percussion part is notated with a staff of two lines,

spaced at approximately one inch apart. The six pitched drums are notated

in between the two lines, relative to the order in which they would appear

on a six-line staff, but without the certainty of knowing exactly which

drum is desired. The cymbals are notated either on or above the top line,

which is standard.

= cymbal roll

Emile De Ceuninck (b. 1935, Brussels) studied piano, composition, orchestration,

and Gregorian chant at the Geneva Conservatory. He has taught at the Conservatory of

Chaux-de-Fonds, Switzerland, and the Teacher’s College in Biel.45

Lignes Rouges en Obliques was premiered in 1990 by Patrick Lehmann, trumpet,

and Laurent De Ceuninck, percussion in Chaux-de-Fonds, Switzerland. The composer

includes the following description with the score:

45A biographical sketch is included with the score.

47

This is a two-movement piece: a short prelude in 4/4, followed by a scherzo in 12/8. The main concept of the work places two instrumental groups in musical combat that is sometimes dramatic and violent (the title translates to “Red Diagonal Lines”).

Lignes rouges en oblique seems to be carefully written to avoid technical

challenges, leaving it approachable by serious high school students. The trumpet part is

not overly demanding in terms of endurance and does not utilize much of the high

register, yet there are stylistic challenges that make this a very worthwhile teaching piece.

The percussion part, while not difficult, is musically interesting and provides a great

opportunity to work on sensitive ensemble playing.

48

Erb, Donald James

Diversion for Two for Trumpet in B-flat and Percussion (1966)

Merion Music, Inc. (1972)



I. Allegro Moderato 1’ 45’’

II. Adagio 2’ 45’’

III. Moderato 1’ 45’’

Scoring and Range:

Trumpet in B-flat: a-flat to f’’’

Glockenspiel, snare drum, vibraphone, temple blocks, timbales, large

suspended cymbal, 3 cymbals (large, medium, small)

Mutes: Harmon (stem removed, played into derby and open), hand mute

(plunger)

Unusual Notation: “Free” rhythmic passages have note heads without stems,

yet are placed close or far from the previous pitch to indicate relative

duration.

X = approximate pitch ↓ = quarter-tone bends Donald Erb (b. 1927, Ohio) was educated at Kent State University, Cleveland

Institute of Music, and Indiana University, and studied with Nadia Boulanger in Paris.

49

He has taught composition at prestigious music schools, such as, Indiana University,

California State University, Los Angeles, Peabody Conservatory, the University of

Melbourne, and the Cleveland Institute of Music. Erb is a recipient of a Guggenheim

Fellowship, a National Endowment for the Arts Award, and a Naumburg Recording

Award. Formerly a jazz trumpeter, Erb has composed several pieces for brass ensemble

and brass quintet as well as a sonata for clarinet and percussion.46

These three short movements demonstrate a cohesive dialogue between the two

performers in a concise and humorous fashion. The majority of the work is rhythmically

driven and both players perform several short cadenzas. This atonal composition

demonstrates elements of serialism in its pitch content, but the composer never uses a

complete twelve-tone row. Diversion for Two is one of the better-known works for

trumpet and percussion, and was first recorded in 1966 by Roger Murtha (trumpet) and

Tele Lesbines (percussion); the recording is currently out of print. Diversion for Two is

also on Edward Sandor and Thomas McCutchen’s CD The Art of Trumpet and

Percussion.

There are a variety of unusual playing techniques called for in the trumpet part,

including reversing the mouthpiece (putting the cup against the trumpet leadpipe to create

an airy, unpitched sound), use of half-valved notes, making “smacking” sounds into the

trumpet, shaked notes, notes lipped down a quarter-step, half-valve glissandi, and

creating a “pop” by quickly pulling out the second valve slide. The percussionist is asked

to strike the head of the timpani and then push the pedal up and down to create a waver in

46H. Wiley Hitchcock and Stanley Sadie, eds. Vol. 2, 55-56.

50

pitch. In addition to the unusual techniques, there are challenges for both players in

achieving vertical alignment.

51

Ewazen, Eric

Introit for Trumpet and Marimba



Duration: 4’

Scoring and Range:

Trumpet in B-flat: a-sharp to c-sharp’’’

Marimba: A to e’’’

Mute: none


Eric Ewazen (b. 1954, Cleveland) received a B.M. from the Juilliard School and a

M.M. and D.M.A. from Eastman School of Music. He is the recipient of many awards

including the Howard Hanson Prize (1976) and the Marion Freschl Award (1980).47

Ewazen is one of the most influential composers of brass music. His brass compositions

include a solo sonata for each member of the brass family and two well-known brass

quintets: Frost Fire and Colchester Fantasy.

Uncharacteristic of his current style of composition, Introit reflects Ewazen’s

earlier atonal, serialistic approach to composition. The rhythmic values are

comparatively abstract, frequently changing between subdivisions of 2, 3, 4, 5, and 6

notes per pulse. Introit is dedicated to Gordon Stout and Robert Levy, members of the

Wilder Duo.

47Kathy Canfield 1999. The Juilliard School. <http://www.juilliard.edu> (1 Apr. 2000).

52

Many rhythmic challenges exist in Introit. Only one measure contains a rhythmic

unison between the trumpet and marimba parts, yet many times the two parts combined

yield a composite rhythm that is easily identifiable. The trumpet part is filled with large

leaps and four short passages require a great deal of flexibility. The marimba part is

written for four mallets throughout the piece.

53

Hambraeus, Bengt.

A Small Concert Piece

Universal Edition (1989), available from European American Music

Distributors

Trumpet grade: II Percussion grade: II-


Scoring and Range:

Trumpet in C or B-flat: c’ to g’’ (C trumpet), b-flat to f’’ (B-flat trumpet)

Drum without snare (or tom tom)

Mute: straight optional


A Small Concert Piece is one piece in a collection of twenty-three short pieces

dedicated to Martin Nordwall in a compilation entitled, Fanfares: New Trumpet Pieces

for Young Players. This collection, edited by Edward Tarr, features works from world-

renowned composers such as Luciano Berio, György Ligeti, and Witold Lutosławski. A

Small Concert Piece, despite its brevity, has two contrasting sections: an Allegro con brio

in 6/8 meter with several accented and staccato notes; and an Adagio in 4/4 meter with

slurred melodic lines and larger interval skips. The melodies are tuneful, but not entirely

diatonic. The drum part contains repetitive dance rhythms throughout the Allegro con

brio and rests during the Adagio.

The challenges of this piece for an intermediate-level trumpeter include the

development of articulation and style over the two contrasting sections. Several large

interval slurs as well as slurs up to e-flat’’ are the greatest technical challenge. The drum

54

part contains some variation to its patterns, making it necessary to pay close attention to

the written music. A two-against-three rhythm at the final cadence provides the greatest

ensemble challenge.

55

Harris, Marilyn and Mark Wolfram

Interludes: for Percussion & Trumpet (1985)

Sound Studio Publications

Trumpet grade: IV- Percussion grade: IV+


I. March 2’ 30’’

II. Elegy 2’

III. Prayer 2’

IV. Finale 3’

Scoring and Range:

Trumpet in B-flat, flugelhorn: g to b-flat’’

Vibraphone, orchestra bells, snare drum, 4 graduated concert toms, glass

wind chimes, suspended cymbal


Mutes: Harmon with stem, straight, cup

Marilyn Harris (b. 1952, New York) and Mark Wolfram (b. 1955, Minnesota) are

married to each other and reside in Valley Glen, California. Harris is a widely recognized

singer, songwriter, arranger and producer. She has composed music for jingles and

television shows as well as at least eight concert works, including a piece for trumpet and

string quartet.48 Wolfram has been a professional composer, arranger, orchestrator, and

musician since 1973. He studied trombone at Northwestern University and continued his

48Marilyn Harris 2000. Marilyn Harris: Singer, Songwriter, Composer.

<http://marilynharris.com/index.html> (1 Apr. 2000).

56

studies at UCLA and USC with courses in composition, orchestration, electronic

synthesis, and film scoring. Wolfram has arranged for popular artists such as Doc

Severinson and Kenny Rogers as well as composing for numerous television shows. His

Brass Trio (1988) was awarded Grand Prize in the 1989 International Horn Society

Competition.49

Interludes was premiered at the Percussive Arts Society International Convention

on November 14, 1985, in Los Angeles, California. It is tonal throughout and very

accessible for audience members. The outer two movements are interesting portrayals of

standard march rhythmic figures combined with irregular phrase lengths and quartile

melodies. These two movements start with snare drum in the percussion part, which

dictates the style and articulation for both of these movements. The inner two movements

provide stark contrast by utilizing primarily sustained sounds in the vibraphone with very

lyrical diatonic and pentatonic melodies for trumpet and flugelhorn.

The score includes a diagrammed set-up for percussion instruments along with

seven sets of suggested mallets and sticks. Of these, only one is unusual—slap mallets, to

be used on the vibraphone. Instructions for their construction are in the score. The main

difficulty for the percussionist is making very fast changes between vibraphone and tom

toms. The most difficult trumpet passages are in the outer movements; these include

sixteenth-note passages filled with intervals of a fourth that the performer must articulate

through different registers. An unusual technique in the trumpet part is to have the

trumpeter blowing air through a flugelhorn while moving the valves slowly.

49Mark Wolfram 1999. Mark Wolfram, Composer. <http://www.markwolfram.com> (1 Apr.

2000).

57

Houllif, Murray

Interplay for Trumpet and Percussion (1983)

Music for Percussion

Trumpet grade: V Percussion grade: IV


Scoring and Range:

Trumpet in B-flat: e to e-flat’’’

4 tom-toms, small suspended cymbal (16”), bass drum, vibraphone

Mute: straight

Unusual Notation: = molto vibrato Murray Houllif has published over 100 works for percussion, concert bands, and

stage bands. His Verses for Timpani and Three Movements for Multi-percussionist and

Quartet both won composition contests hosted by the Percussive Arts Society. He also

composed Dialogue for Marimba and Trumpet, which was never published and,

unfortunately, is lost. In addition to composing, Houllif performs extensively as a

percussionist, has taught percussion at North Texas State University, and is currently

teaching music in Smithtown Central School District in New York.50

As the title suggests, Interplay for Trumpet and Percussion is very interactive,

with rhythmic ideas bouncing back and forth between the two players. The trumpet part

50The composer supplied a biographical sketch.

58

and the percussion part are fairly equal in that they both have complicated rhythms and a

high density of notes. However, the wide-interval slurs and the extended high register for

the trumpet make it slightly more technically challenging for that player. There are some

interesting coloristic effects, such as a molto vibrato on some of the trumpeter’s held

tones, as well as a flutter-tongue with a “harsh, raspy tone.” Although complex in

rhythmic subdivisions, there are few meter changes in this piece. Interplay for Trumpet

and Percussion is dedicated to Pat Dougherty.

59

Immerso, John

Serenity for Marimba and Trumpet (1987)

Pioneer Percussion (1991)

Trumpet grade: II+ Percussion grade: III


Scoring and Range:

Trumpet in B-flat: a to g’’

Marimba: A to a’’

Mute: none


John Immerso (b. 1963, New York) studied at SUNY Crane School of Music,

where he received his B.M. and M.M. His composition teachers include Elliot Del Borgo

and James Petercsak. Immerso wrote a piece for the interesting instrumental combination

of band and two brass choirs in his Fanfare, Allegro, and Chorale.

Serenity contains only pitches that are diatonic in the key of C major. The tempos

vary between slow, free rhythms and a section marked “Lively.” Short cadenzas that

create a dialogue between the two instruments are found at the beginning and the end.

There is no score for Serenity, only the two parts. The marimba uses primarily

four-mallet technique and the part is written on a single staff. This piece could be

performed well by advanced high school students.

60

Jarvis, David

Macbeth and Macdonwald (1995)

Southern Music Company (1997)



Scoring and Range:

Trumpet in B-flat: b-flat to c’’’

Bass drum, 2 tenor drums, snare drum, 2 bongos

Mute: straight


David Jarvis (b. 1954, Michigan) is Associate Professor of Percussion Studies and

Jazz Studies at Washington State University. He holds music degrees from the University

of Nebraska and Washington State University. With trumpeter David Turnbull, Jarvis is

a member of Cameradeschaft, a trumpet and percussion duo.51

Macbeth and Macdonwald is a musical depiction of the battle between the two

title characters referenced in Act I, scene ii, of Shakespeare’s Macbeth. The pitch content

in the trumpet part is derived through the application of the “Fibonacci series” (1, 2, 3, 5,

8, and 13 are represented respectively by the intervals: minor second, major second,

minor third, perfect fifth, minor sixth, and minor ninth). The 24-measure introduction is

marked “Slow/Majestic,” but the rest of the piece is marked at a brisk quarter note = 152,

involving driving rhythms and dramatic dialogue between the two instruments.


61

Although this is a short piece, there are several loud, intense passages in the

trumpet part that are taxing beyond the average piece of its length. The ending section

contains three fortissimo rips from b’ to c’’’, but the composer places rests before this

passage, allowing the trumpeter to fully prepare for the section. The percussion part is

comprised primarily of sixteenth notes and sixteenth-note triplets. The rhythmic patterns

are constantly in flux and demand a great deal of concentration.

62

Jolas, Betsy

EA: Petite Suite Variée pour Trompette en Ut et Vibraphone (1990)

Alphonse Leduc (1994)

Trumpet grade: IV+ Percussion grade: V


Scoring and Range:

Trumpet in C: f to c’’’

Vibraphone f to f’’’

Mutes: Harmon, cup, seche

Unusual Notation: = accelerando, ritardando

Betsy Jolas (b. 1926, France) moved to the U.S. in 1940 to study composition at

Bennington College. Afterwards, she studied with Darius Milhaud and Olivier Messiaen

at the Paris Conservatory, where she is currently teaches composition. Her many credits

as a composer include awards by the American Academy of Arts and the Koussevitsky

Foundation. Jolas has composed at least five large chamber works that include trumpet.52

Although EA has precisely notated intricate rhythms, the overall time scheme

seems to be very flexible due to numerous indications for tempo changes. The

designations accelerando and ritardando, as well as other indications such as “flexible,”

libre, and cedez, are commonplace. Special attention is paid to the color of the two

52H. Wiley Hitchcock and Stanley Sadie, eds., vol. 2, 588.

63

instruments through use of mutes (for the trumpet) and through an abundance of detailed

dynamic and articulation markings. EA has been recorded by Eric Aubier and Didier

Verité.

An accurate performance of this piece requires significant rehearsal time. Cross

rhythms such as 3 against 5 exist, as well as note ratios such as 21:20 sixteenth notes.

After the intricate rhythms are worked out correctly, then the tempo fluctuations must be

worked in convincingly. One of the greatest technical challenges is playing fast passages

between g’’ and c’’’ at pianissimo.

64

Jolivet, André

Heptade: pour Trompete et Percussion (1972)

Billaudot

Trumpet grade: VI Percussion grade: VI


I. Allegro 2’ 30’’

II. Vivo 1’ 50’’

III. Cantante 3’ 5’’

IV. Veemente 2’

V. Maestoso 2’ 20’’

VI. Sempre stringendo 2’ 5’’

VII. Vivo e ritmico 2’ 15’’

Scoring and Range:

Trumpet in C: g-sharp to f’’’ (optional f-sharp’’’)

4 sifflet a roulette, 4 glass chimes, sleigh bells, 3 cloches de vache, wood

chimes, 3 Chinese blocks, 2 woodblocks, hi-hat, 2 suspended cymbals

(medium and large), tam-tam, tambourine, bongos, 2 tumbas (medium

and large), snare drum, military drum

Mutes: straight, Robinson,53 wa-wa, Harmon

Unusual notation: A “W” placed above notes in the trumpet part designates a

53A Robinson mute is a type of cup mute that was used frequently in French trumpet repertoire of

the early twentieth century. The cup of this mute is positioned close to the bell of the trumpet creating a tighter fit to the bell than most modern cup mutes.

65

André Jolivet (1905-1974) began his career teaching music in various Paris

schools while continuing his musical training with Le Flem and later with Varèse. Jolivet

became an important French composer of the twentieth century, writing extensively in all

genres. He remains one of the most important composers of trumpet works with his

Concertino, Concerto No. 2 for Trumpet (a work with fourteen percussion instruments),

Air de Bravure, Arioso Barocco, and Heptade (one of his last compositions).54

Perhaps the best-known piece written for trumpet and percussion duo, Heptade

remains one of the most difficult. Preparing this piece is an enormous undertaking for

both players. The trumpet part is very difficult in terms of endurance, rhythm and pitch

accuracy, and control in the high register. The trumpeter is asked to perform different

techniques at the same time, such as playing long sixteenth-note runs flutter-tongued or

flutter-tonguing while playing a glissando throughout a two-octave range. The glissandi

up to f’’’ are unusually high, and quarter-tone bends are performed both above and below

the given pitch. The percussion part is difficult but straightforward. Aside from

managing the enormous setup, the percussionist must read several full staves at once. At

one point, the number of staves reaches seven within a three-bar passage. Maurice André

made the first recording of Heptade in 1974, a recording that is currently out of print. A

more recent recording by Eric Aubier and Didier Verité entitled Musique Française pour

Trompette et Percussion is still available.

54Stanley Sadie, ed., The New Grove Dictionary of Music and Musicians, 1980 ed., s.v. "Jolivet,

André” by Arthur Hoérée.

66

Klein, Lothar

Psalm for Trumpet and Percussion Solo

Canadian Music Centre (1994)


Duration: 8’

Scoring and Range:

Trumpet in C or B-flat: c’ to b-flat’’ (C trumpet), b-flat to a-flat’’ (B-flat

Trumpet)

2 bongos, 2 timbales, tumba, tambourine, castanets, crotale, and large

triangle

Mutes: Harmon, straight

Unusual Notation: Meter changes are designated by a single number in

instances where there is no change from simple to compound or vice

versa.

Lothar Klein (b. 1932, Germany) is a professor of theory and composition at the

University of Toronto. He has written many large-scale works, and his orchestral works

have been performed by ensembles such as the St. Louis Symphony, Cleveland

Orchestra, and Bavarian Radio Orchestra. Klein’s Slices of Time was the second-place

winner of the 1997 International Trumpet Guild Composition Contest for Trumpet and

String Quartet.55

55Del Lyren, “The 1997 ITG Composition Contest for Trumpet and String Quartet,” in

International Trumpet Guild Journal (vol. 22, No. 1), 50.

67

Psalm has three parts: A slow (quarter note = 60) and predominately soft

introduction; a faster (quarter note = 132) piano and pianissimo section with accented

sixteenth notes in the percussion part and long, muted sustained passages in the trumpet

part; and a fast, multimetered, rhythmically interactive section that starts piano and builds

in intensity until the very end. The pitch selection for the trumpet part seems

intervallically conceived, emphasizing seconds, fourths, and sevenths.

Both players must perform difficult rhythms, involving subdividing the pulse into

four, five, and six equal parts, although the rhythmic complexities occur more frequently

in the percussion part than in the trumpet part. The trumpet part calls for extensive soft

playing, sometimes in conjunction with fast passages requiring a good deal of flexibility.

68

Koneitzny, Heinrich

Zwei Miniatruen (1973)

Bosse Edition Regensburg (1975). Out of print, available from Kent State

University through inter-library loan.



I. Tango tempo 2’ 25’’

II. Allegro giusto 2’ 05’’

Scoring and Range:

Trumpet in B-flat: a to a’’

Cymbals, snare drum, xylophone (or bongos ad lib), triangle, gong (or

cymbal)

Mute: none


Heinrich Koneitzny (1910-1983, Germany).

These two dances would make a nice addition to many trumpet or percussion

recitals. They are both in bar form (aab) and the second movement has a brief coda. In

these pieces, the percussion plays primarily an accompaniment role, though not a

monotonous one. The first movement is marked “in the tempo of a Tango,” whereas the

second movement is in 2/4 time and marked Allegro giusto.

The trumpet is asked to flutter-tongue eighth-note passages in the middle register

and to double-tongue short passages. Nearly every trumpet note is clearly marked with

69

some type of articulation. The rhythms are simple to read and should not require

significant rehearsal time.

70

Kraft, Leo Abraham

Interplay: Trumpet in C or B-flat and Percussion (1984)

Dorn Publications (1985)


Duration: 5’15’’

Scoring and Range:

Trumpet in C or B-flat: a to c’’’(C trumpet), g to b-flat’’ (B-flat trumpet)

5 temple blocks, 3 snare drums, 2 suspended cymbals, 2 triangles,

tambourine, woodblock

Mutes: Harmon, plunger

Unusual Notation: in a portion where snare drums and temple blocks are used,

the direction of the stems indicates which instrument is being played. = duration of the note or the rest is determined by the other part or is given in seconds = spatial notation

Leo Kraft (b. 1922, New York) studied composition with Karol Rathaus at Queens

College, Randall Thompson at Princeton University, and with Nadia Boulanger in Paris

on a Fulbright Scholarship. He began teaching at Queens College in 1947 and became

the chairman of the music department in 1959. Kraft has written several music theory

and ear training textbooks. Kraft's multiple chamber pieces include Dualities for two

71

trumpets (1970) and Suite for brass (1947).56

Dedicated to Ed Lewis, this one-movement work contains these four contrasting

tempos/moods: “Lively,” quarter note = 152; “Slow (sweetly),” quarter note = 54;

“Lilting,” quarter note = 80; and an unmeasured “Very Fast” section. This piece holds

true to its title—starting with the trumpet playing only during the rests in the percussion

music—and maintains a pattern of rhythmic interdependency throughout.

The most difficult part for the trumpeter is the slow, Harmon-muted section

marked “sweet” where the trumpeter must slur wide intervals in the upper range at a

piano dynamic marking. There are no particularly difficult rhythms in either part.


72

Kraft, William

Encounters III: Duel for Trumpet and Percussion (1971)

New Music West (1973)



I. Strategy 5’ 40’’

II. Truce of God 3’ 50’’

III. Tactics 6’ 05’’

Scoring and Range:

Trumpet in C (B-flat recommended on second movement): e to c’’’ (plus

markings for as high and as low as possible)

Vibraphone, song bells (Deagan, optional but desirable), glockenspiel,

tam-tam, 3 tuned gongs (F, G, B), 5 temple blocks, 5 cowbells (lowest

is D), 3 triangles, 5 suspended cymbals, 8 crotales (f, g-flat, c’, d’,

e’, f’, f-sharp’, a-sharp’), bongos, snare drum, field drum, tenor

drum, bass drum.

Mutes: Harmon, straight, cup

Unusual Notation: There are two full pages of specific instructions to the

percussionist explaining instrument and mallet abbreviations and symbols.

There are many free-meter sections, pitches without stems, stems without

pitches, and wavy lines in the percussion part to represent striking all

instruments except the vibraphone.

73

? = improvisational sections. ▲ = highest possible pitch ▼ = lowest possible pitch William Kraft (b. 1923, Chicago) studied composition with Henry Cowell at

Columbia University. He served as percussionist with the Los Angeles Philharmonic

Orchestra from 1955 to 1981. His many awards include two Guggenheim fellowships

and three National Endowment for the Arts grants. His ten different Encounters are for a

solo percussionist with one other instrument and were composed between 1966 and

1992.57

Dedicated to the performers on the first recording, Thomas Stevens (trumpet) and

Mitchell Peters (percussion), Encounters III was commissioned by Thomas Stevens, but

the piece was actually premiered in 1972 by Malcolm McNab (trumpet) and Karen Ervin

(percussion). Encounters III follows a detailed program depicting a medieval battle

where the trumpet represents the attacking force and the percussion the defending.

Through a series of musical attacks and battles, the percussion defeats the attacking force

and the trumpeter walks off stage. The recordings of Encounters III currently available

are those by Thomas Stevens and Mitchell Peters on the CD Thomas Stevens and by

Edward Sandor and Thomas McCutchen on the CD The Art of Trumpet and Percussion.

This work contains primarily fixed and free meters, with small amounts of mixed

meter. The first movement is a series of twenty-four short cadenzas alternating between

57Nicolas Slonimsky, ed., 1997, 723-724.

74

the trumpet and percussion, with the percussion part answering the “attack” of the

trumpet part. The second movement is slow and soft, featuring exclusively metalophones

in the percussion part. The final movement is influenced by jazz, which is apparent in the

opening where a wire brush is used to play membranophones in a prestissimo 12/8 section

and a trumpet and vibraphone unison section that is marked “Quasi Gillespie.” The final

movement also includes two longer solo cadenzas for each performer. Unusual trumpet

techniques include removing the tuning slide and blowing through the mouthpiece and

lead pipe while articulating at random. This is one of the few trumpet and percussion

works that is often performed. In spite of having several atonal sections and

improvisatory sections, it remains a piece with high audience appeal.

75

Kupferman, Meyer

Sitting Bull (1986)

Circle Blue Print Co. (1986)



I. Quasi Andante (rubato): 5’ 20’’

II. Spasmodiques: 5’ 45’’

III. Danceries: 5’ 25’’

Scoring and Range:

Trumpet in C: f-sharp to e-flat’’’

Vibraphone

Mutes: hat, Harmon, straight, cup

Unusual Notation: There are several non-pitched stems and a wavy line

dictates the speed of a quarter-tone trill.

Meyer Kupferman (b. 1926, New York) has been Professor of Chamber Music

and Composition at Sarah Lawrence College since 1951, where he also served as

chairman of the music department for five terms. He has been awarded grants and

fellowships from the Guggenheim Foundation, the Ford Foundation, the Rockefeller

Foundation, and the National Endowment for the Arts. Kupferman is a virtuoso

clarinetist who has premiered over sixty solo and chamber works composed specifically

for him. Aside from being a very prolific composer, Kupferman has published a two-

76

volume study of chromatic techniques in contemporary jazz.58

Sitting Bull is an atonal composition with many rapidly moving melodic passages.

Several timbral qualities are explored in the trumpet part through using several different

mutes, removing mutes while playing, and specifying the trumpet bell direction.

Kupferman provides instructions for the lighting and the staging of this work, which

change slowly throughout the piece. Sitting Bull is dedicated to Thomas Stevens.

There are numerous technically difficult passages for the trumpeter, requiring the

flexibility to rapidly shift between extremely high register playing and medium to low

register playing. The trumpet part is only playable by trumpeters with exceptional

endurance and stamina. The percussion part is similar to the trumpet part in that they

both contain numerous difficult passages, requiring an enormous amount of preparation.

58Sigma Alpha Iota, International Music Fraternity 2001. Meyer Kupferman.

<http://sai-national.org/pubs/win00/mkupferm.html> (20 Mar. 2001).

77

Larrick, Geary

Twojazz: Duet for Trumpet and Vibraharp

G and L Publishing (1988)

Trumpet grade: III Percussion grade: II+


Scoring and Range:

Trumpet in B-flat: c-sharp’ to g’’

Vibraharp: g to b’’

Mute: none


The style of Twojazz is more accurately described by terms such as “funk” or

“fusion” than the broad category of “jazz,” as the title suggests. Each of the four 16-bar

sections are repeated with second endings, comprising a very repetitious, unsophisticated

piece, presumably composed for student use.

The trumpet part contains some tricky sixteenth-note passagework. The trumpet

part is written virtually without rest, which makes it too difficult to perform by most high

school trumpeters as it is written. The vibraharp part is written on one staff, primarily in

a single line; however, there are short passages that require four mallets.

78

Larrick, Geary

Vivo Duo: Duet for Trumpet and Vibraharp

G and L Publishing (1988)

Trumpet grade: III Percussion grade: II+


Scoring and Range:

Trumpet in B-flat: a to c’’’

Vibraharp: f to e-flat’’’

Mute: none


Vivo Duo is written in 3/8 time, marked Sempre vivo. Several instances of

hemiola and unusual rhythmic groupings provide rhythmic interest throughout this short

piece. Pitch content for this tonal composition is derived from diatonic modes and

quartile harmonies.

The trumpet part requires multiple tonguing and advanced flexibility in short

segments. The amount of rest in the Vivo Duo trumpet part is reasonable in comparison

to the trumpet part in Larrick’s Twojazz. In addition, handwritten in the printed score are

the instructions “rest as necessary” and “breath pauses as necessary.” The vibraharp part

consists primarily of single-line eighth notes and sixteenth notes, with brief sections

requiring four mallets.

79

Leonard, Stanley S.

Fanfare and Allegro (1974)

West Central Printing Co. Ltd. Out of print, available from Arizona State

University through inter-library loan.

Trumpet grade: III+ Percussion grade: V-


Scoring and Range:

Trumpet in C: b-flat to b-flat’’

4 timpani: E-flat to g (wood and felt mallets)

Mute: none


Stanley Leonard (b. 1931, New York) was educated at Northwestern University

and Eastman School of Music. He became principal timpanist with the Pittsburgh

Symphony Orchestra in 1956. The majority of his compositions are for percussion

ensemble or solo percussion. Leonard was Senior Lecturer of Percussion Instruments and

Percussion Ensemble at Carnegie-Mellon University between 1958 and 1978.59

Although written in the twentieth century, Fanfare and Allegro stems from the

tradition of trumpet and percussion fanfares written centuries ago. The fanfare portion is

written without barlines and is in declamatory style. The opening statement, b-flat’ to f’’,

is treated thematically, with chromatic divergences between statements of the theme. The

Allegro portion of this piece highlights the timpani as the main melodic instrument,

59ASCAP Biographical Dictionary, 4th ed. (New York: R. R. Bowker, 1980), 296.

80

with the trumpet playing primarily rhythmic accompaniment and sustained pitches.

Fanfare and Allegro is recorded by Edward Sandor and Thomas McCutchen on their CD

The Art of Trumpet and Percussion.

The trumpet part contains long passages of loud and accented playing. A fast

double tongue is necessary for a few short passages of thirty-second notes. The timpanist

is asked to do extensive pedal work, such as playing five-note diatonic melodies on one

drum in sixteenth-note passages. Rhythmically this piece consists of primarily eighth and

sixteenth notes and is not very difficult.

81

Lessard, John Ayres

Movements for Trumpet and Various Instruments I: Trumpet and Vibraphone

(1976)

The Boston Music Company (originally Joshua Corporation) (1981). Out of

print, yet is currently still available through Robert King Music Sales.



Scoring and Range:

Trumpet in C: f -sharp to d-flat’’’

Vibraphone: f to e’’’

Mute: cup

Unusual Notation: Two exceptionally long measures have no designated time

signature. Both instances represent a measure with twenty-one pulses,

where each pulse contains the equivalent of either two or three 16th notes.

The score order is somewhat unusual, in that the trumpet part is below the

percussion part.

= dead stroke for the vibraphonist John Lessard (b. 1920, San Francisco) began studies on the piano at age five and

on the trumpet at age six. Compositional studies were with Nadia Boulanger (among

others) at Ecole Normale de Musique, Paris, and the Longy School of Music, Cambridge,

Massachusetts. He began his eight Movements for Trumpet and Various Instruments in

Paris as part of a Guggenheim fellowship. Another example of Lessard’s brass music is

82

Quodlibets I-III, which calls for two trumpets and one trombone. Lessard composed over

thirty-five song settings for voice and piano.60

Movements for Trumpet and Various Instruments is Dedicated to Ronald

Anderson, who premiered the entire collection of “Movements” on May 17, 1979, in a

Carnegie recital hall with Joseph Passaro playing the percussion parts on movements I,

IV, and VIII. Movements for Trumpet and Various Instruments I appears somewhat

disjunct due to several staccato notes in the trumpet part separated by short rests as well

as large melodic intervals (characteristic of Lessard’s other two movements with

percussion). Unclear statements of the meter, accomplished by rhythmically avoiding the

downbeat in the majority of measures and utilizing sophisticated syncopated figures,

contribute to the disjunct feeling of the piece.

The greatest challenge for the players is rhythmic, pitch, articulation, and dynamic

accuracy. The jagged contours and peculiar rhythms require extensive preparation.


83

Lessard, John

Movements for Trumpet and Various Instruments IV: Trumpet and Percussion

(1976)

The Boston Music Company (originally Joshua Corporation) (1981)



Scoring and Range:

Trumpet in C: f -sharp to e’’’

Xylophone, 4 tom-toms, timpani with pedal: d to F-sharp, glockenspiel



The main difficulty in performing this piece lies in rhythm. Aside from a few “as

fast as possible” sections, strict adherence to complex rhythms appears to be of central

importance. Rhythmic precision is the most difficult when ratios (e.g., 5: half note) are

placed over bar lines. For the trumpeter, another difficulty is maintaining consistency

through the wide-interval leaps (some larger than two octaves).

84

Lessard, John

Movements for Trumpet and Various Instruments VIII: Trumpet, Marimba, and

Vibraphone (1984)

American Composers Alliance

Trumpet grade: V Percussion grade: V+


Scoring and Range:

Trumpet in B-flat: e -sharp to d’’’

Marimba: c to c’’’’

Vibraphone: d-sharp to f-sharp’’’

Mutes: cup, straight, whispa

Unusual Notation: The marimba stems break off into two stems in order to

notate cluster chords. O-------X = straight mute section going into an open section D.S. = double sticking = as fast as possible = “jazz shake” = dead stroke

Unlike the other two Movements with percussion, a large portion of this

movement stays in simple duple or simple triple meter utilizing primarily sixteenth-note

85

subdivisions. A much stronger sense of pulse is conveyed in this Movement than the

other two percussion and trumpet Movements. The tempo progresses from Largo to

Allegro to Meno mosso. The chords are thickly voiced in the marimba and vibraphone

part, including several cluster chords.

The trumpeter is asked to play jazz shakes, tremolos, and many passages with

wide intervals. The percussionist must make very fast changes between vibraphone and

marimba. Both parts are filled with many technically challenging passages.

86

Level, Pierre-Yves

Les Gémeaux (1985)

Billaudot



I. Castor, le Tyndaride 6’ 25’’

II. Pollux, le Dioscure 4’ 50’’

Scoring and Range:

Trumpet in B-flat: g to d’’’

Marimba: a to a’’, 4 bongos, 3 suspended cymbals (high, medium, and

low), hi-hat, snare drum, 4 tom-toms, vibraphone

Mutes: cup, plunger or Harmon, Robinson61

Unusual Notation: The piece contains many passages without barlines,

including several intricate sixteenth-note passages. A wavy line on page

eight of the score indicates that the trumpet and the 4 tom-toms exchange

turns in completing an eighth-note line evenly. On page nine, the word

“Sourd” is used in place of + for a closed plunger. Rhythms without note

heads are found in the trumpet part on page ten.

= spatial notation, hold for as long as the line lasts.

61A Robinson mute is a type of cup mute that was used frequently in French trumpet repertoire of the early twentieth century. The cup of this mute is positioned close to the bell of the trumpet creating a tighter fit to the bell than most modern cup mutes.

87

= accelerando, ritardando

Pierre-Yves Level (b. 1937, Paris) studied at the Paris Conservatory, where he

was awarded prizes in harmony, fugue and counterpoint, and composition. He studied

composition with André Jolivet. Later, he was appointed Director of the Paris

Conservatory. His compositions are quite diverse, the majority of which are based on

numerical sequences and largely inspired by poetry.62

Dedicated to Pierre Thibaud and Marcel Lagorce, professors at the Paris

Conservatory, Les Gémeaux was commissioned as the final examination in trumpet for

that institution. Les Gémeaux has been recorded by Eric Aubier and Didier Verité.

One of the greatest challenges of putting this piece together is rhythmic accuracy.

There are tricky multimetered sections, groups of five and seven notes to the pulse, and

unusual time signatures such as a 9/16 designation that groups notes into 4 plus 5

sixteenths per measure. The trumpet player must have excellent dexterity in all registers.

In addition to using quarter-tone vibrato, the trumpeter is asked to flutter-tongue, triple-

tongue, and to tongue as fast as possible while playing pianissimo on the pitch b’’.


88

Lifchitz, Max

Rhythmic Soundscape No. 2 (1979)

North/South. Out of print, available from the composer.



Scoring and Range:

Trumpet in C: g to e ’’’

2 tom-toms, marimba: f-sharp to e’’’, bass drum, bells, finger cymbals,

tambourine.

Mutes: cup, Harmon

Unusual Notation: The duration of very fast trills and tremolos is indicated

by the length of the arrow that accompanies the marking. A wavy line

with an arrow indicates a glissando up and down between the pitches on

which the arrow begins and ends.

Max Lifchitz (b. 1948, Mexico City) studied at the Juilliard School and Harvard

University. His composition teachers included Luciano Berio and Darius Milhaud. He is

currently the Chair of the Music Department at the University at Albany and is a well-

known pianist, composer, and conductor. He has recorded extensively under each one of

those three roles for at least eight record companies, including RCA Victor and Philips.

Lifchitz has written several other pieces for percussion solo and ensemble. Funds to

complete the Rhythmic Soundscape No. 2 were provided by New York State’s CAPS

89

program and by the ASCAP Foundation.63

This piece opens with an effect created by the trumpeter rhythmically opening and

closing the stem of the Harmon mute while sustaining first g’’ and then b-flat’’ for

approximately 20 and 16 seconds respectively. From this point onward, the piece

includes an extremely technically challenging series of fast, rhythmic passages containing

awkward intervals. The composer has the trumpeter multiple-tonguing on d’’’ in the

middle of a very difficult passage, as well as playing a sforzando-pianissimo on e’’’.

Other difficulties lie in both performers independently playing divisions of the beat into 3,

4, 5, 6, 8, and 10 parts, as they are playing two independent time signatures and tempos.

63The composer supplied a biographical sketch.

90

Loeb, David.

Čertovka (1998)



Duration: 12’

I. Lento 2’

II. Allegro giocoso 2’ 30’’

III. Allegro risoluto 1’ 45’’

IV. Comodo 2’ 30’’

V. Lento assai e sostenuto 3’ 15’’

Scoring and Range:

Trumpet in B-flat, flugelhorn, trumpet in C: E to d-flat’’’

Vibraphone (bow needed), 5 cowbells, 4 suspended cymbals, 3 gongs,

snare drum, 5 tom toms, 4 triangles (mounted so that all can sound on a

single stroke), 5 wood blocks

Mutes: Harmon, flugelhorn mute, straight


David Loeb (b. 1939, New York) studied with Peter Pindar Starns at the Mannes

College in New York, and after brief studies with other composers, he returned to

Mannes, where he is currently teaching, in 1964. In addition to many works for

conventional media, he has also composed extensively for Japanese instruments and also

91

for early instruments, particularly the viola da gamba.64

Čertovka is the name of a stream in Prague, whose name translates to “Devil’s

Creek.” The pitch selection for this piece appears to be influenced by Eastern European

folk music. Čertovka was commissioned by Endy Emby (Brian McWhorter, trumpet; and

Aaron Trant, percussion). A large variety of trumpets and percussion instruments create

several notable tone colors, which are enhanced through the use of a flugelhorn mute,

pedal tones written for flugelhorn, and false fingerings written for trumpet.

The trumpet part, although difficult, is written in a fashion that a provides

adequate rest and makes use of a variety of registers, making it less physically taxing than

the majority of the lengthy pieces in this bibliography. Excellent command of the

flugelhorn pedal register is required for the first movement, and playing up to d-flat’’’ on

trumpet in a sixteenth-note passage is required in the fourth movement. The greatest

challenge for the percussionist is maintaining control over the huge battery of percussion

instruments. The percussion part is written on two staves, yet two percussion instruments

rarely sound simultaneously.

64A biographical sketch was supplied by Brian McWhorter of the Endy Emby duo.

92

McCarthy, Daniel

Infinity (1997)

MMB Music (1997)



I. Entangled 2’

II. Fall Turnover 2’ 30’’

III. Trick of the Tail 1’ 50’’

IV. Captain’s Heart 2’ 20’’

V. Good Harbor 2’ 30’’

Scoring and Range:

B-flat trumpet: f to c’’’, flugelhorn in B-flat: f to g’’

Marimba: A to g’’’, vibraphone



Daniel McCarthy (b. 1955, Michigan) received a Ph.D. in Composition and

Theory from Kent State University in 1988. He is chair of the Composition and Theory

Section at the University of Akron School of Music and a resident composer and teacher

of composition at the Interlochen Center for the Arts. He has been awarded grants from

the Indiana Arts Commission and Indiana State University and has received commissions

from Indiana State University, Michigan State University, and the University of North

93

Carolina at Greensboro.65

The five short movements in this piece are each tonal and accessible to most

audiences, but the harmonic structure is not based in functional harmony. Infinity

provides rhythmic interest through its driving rhythms and use of mixed meter. The work

is programmatic in that the title of each movement is somehow reflected in the music.

For example, “Entangled” starts with a somewhat chromatic eighth-note line in the

trumpet, which is reflected in the marimba part. Yet the marimba part continually crosses

paths with the trumpet, by playing higher and lower than the trumpet, creating a truly

“entangled” sound. Infinity is recorded on Edward Bach’s CD, New Music for Trumpet,

featuring Edward Bach, trumpet and Cort McClaren, percussion

The trumpet part provides some extremely challenging fast passages, requiring

excellent finger dexterity and flexibility. The main difficulty for the majority trumpeters

is to play such passages for the duration of the piece with only minimal resting time.

Vibraphone is the predominant instrument in the percussion part, which is usually written

in a single line, although four-note chords are also found in the part.

65Center for the Promotion of Contemporary Composers 2001. Daniel W. McCarthy, Composer

(BMI). <Site address: http://www.under.org/cpcc/dmccarthy.htm> (6 Apr. 2001).

94

McLean, Greg

Suite for Trumpet and Percussion (1996)



Duration: 3.

I. To Boldly Go 2’ 50’’

II. Lyrical Mystery 3’ 10’’

III. Elf Dance 2’

Scoring and Range:

Trumpet in C: a to c’’’, flugelhorn in B-flat: f to g’’

Vibraphone, snare drum, 5 temple blocks

Mute: straight


Greg McLean (b. 1956, Louisiana) received a B.M. from Georgia State University

in 1979, and a M.M. in composition from Florida State University in 1982. In addition to

serving on the faculty of Georgia Perimeter College, McLean maintains an active career

as a freelance trumpet player, composer, and arranger in Atlanta, Georgia. His other

brass compositions include Namesakes for trumpet trio, and the brass quintet, Something

Old, Something New, Something Borrowed, Something Blue.66

Suite for Trumpet and Percussion is dedicated to Tony Kirkland and Mark Carson,

members of Baker Street Duo. The opening fanfare is marked “Majestic,” which is


95

contrasted in the second section in 5/8 meter by driving rhythms reminiscent of Gustave

Holst’s “Mars” from The Planets. The second movement embodies the title, “Lyrical

Mystery,” through use of a lyrical flugelhorn line that begins with a certain amount of

predictability, but then takes interesting twists towards surprise endings. The final

movement, which begins with a fast 6/8 dance, switches frequently from triple to duple

subdivisions of the pulse but keeps the same pulse for the duration of the movement.

The most technically challenging aspect of the trumpet part lies in the vast number

of quickly articulated notes. This includes a great deal of multiple tonguing on both

stationary pitches and diatonic scale fragments. Some of the passages go on long enough

to make it difficult to maintain the given tempos. The greatest technical challenge of the

vibraphone part is the single-line running sixteenth-note patterns in the third movement at

quarter note = 144.

96

McWhorter, Brian.

Whet Soap (1999)




Scoring and Range:

Trumpet in B-flat: g to g’’, electronic valve instrument

3 cymbals, 4 tom toms, snare drum, vibraphone

Tape

Mute: none


Brian McWhorter (b. 1975, Oregon) earned a B.M. at the University of Oregon

and a M.M. at the Juilliard School. He is a trumpet player who is actively involved with

contemporary music performance, performance art, composition, and improvisation. He

performs regularly with Continuum, Endy Emby, After Quartet, and the Extension

Ensemble. As a composer, his work includes collaborations with such artists as

filmmakers Eleanor Antin and Bruce McClure and choreographers Kindra Windish and

Tobin Delcuore.67

Whet Soap was written for Endy Emby (Brian McWhorter, trumpet; and Aaron

Trant, percussion) and an electronic tape that was made from samples played by that duo.

The piece is entirely written in 4/4 time and alternates between long-valued, transparent

67After Quartet (2001). After Quartet. <http://www.afterquartet.com/about.html> (Apr. 16, 2001).

97

sounds and rhythmically dense, groove-oriented sections. The second half of the piece

replaces the trumpet with EVI (electronic valve instrument) and utilizes a wide range in

the bass clef. A nine-measure section of silence for both the tape and the live duo gives

the performers a chance to adorn war paint and a mask, tying into the theatrical nature

that accompanies the Endy Emby duo’s performances.

The trumpet part contains several sixteenth-note passages at quarter = 140, which

requires double tonguing for the majority of trumpeters. A few special techniques

involved in Whet Soap are waving on a pitch, the use of half valves, and the use of an

EVI. The percussion part includes some four-note chords on vibraphone and the

technique of letting the drumstick fall on the snare drum.

98

Molineux, Allen.

Exchanges (1983-1984)




Scoring and Range:

Trumpet in C: g to b’’

Marimba: B-flat to g’’’

Mutes: Harmon, straight, cup, whispa

Unusual Notation: brief sections using spatial notation

Allen Molineux (b. 1950, Pennsylvania) earned a B.M. from the DePauw

University, a M.M. from the Eastman School of Music, and a D.M.A. from Florida State

University. Currently, Molineux is the Director of Instrumental Music at Chipola Junior

College, where he teaches instrumental music and music theory, and directs the Chipola

Rock and Jazz Ensemble. Molineux has received several commissions including one

from the Florida Music Teachers Association.68

Exchanges is a one movement work that consists of a lengthy Allegro section that

is placed in the middle of a slower introduction and ending. The piece begins with a

trumpet cadenza based on a three-note motive. The motive is developed through an

additive technique, where new material is added to each subsequent occurrence of the

motive, expanding each phrase. This technique is employed several times throughout the

68Allen Molineux 2000. Chipola Junior College Fine and Performing Arts.

<http://www.chipola.cc.fl.us/fine&performingarts/MolineuxA.html> (14 April 2001).

99

piece. Much of the melodic material in Exchanges is derived from the Octatonic scale.

Rhythmically, the piece consists primarily of eighth notes and sixteenth notes, providing

driving rhythms in the Allegro section. Exchanges was written for the Wilder Duo,

whose members are Robert Levy and Gordon Stout.

A considerable amount of endurance is required of the trumpeter for several

passages in Exchanges, as well as the ability to articulate rapidly in the register between

e’’ and a-flat’’. The score indicates that the trumpeter must remove a Harmon mute in the

middle of a tricky sixteenth-note passage. The marimba part employs primarily single-

line writing, yet there are substantial sections requiring four-mallet technique, including a

cadenza located in the middle of the slow introduction.

100

Onofrio, Marshall

Diptych for Trumpet, Percussion, and Prepared Tape


Trumpet grade: III Percussion grade: III+


I. quarter = 120 2’

II. quarter = 112 2’ 30’’

Scoring and Range:

Trumpet in C: b to b’’

Marimba: a to d-flat’’’, medium suspended cymbal, large tom-tom, small

brake drum, bongos

Mute: none

Unusual Notation: The rhythms and pitches of the prepared tape are notated in

the score.

The first movement of Diptych for Trumpet, Percussion, and Prepared Tape

progresses through four different time signatures: 5/8, 6/8, 7/8, and 4/4. The eighth note

remains constant throughout the movement, and the instrumentation calls for trumpet and

marimba, but not tape. The tape runs throughout the second movement, and the

percussionist switches to the non-pitched instruments. The entire second movement is in

common time.

The marimba uses primarily single-mallet technique throughout the first

movement. The mixed-meter section at the very beginning provides the most challenging

101

technical passages for both players. In all three parts (including tape) there is nothing

more rhythmically complicated than sixteenth notes.

102

Papador, Nicholas George.

Priapism (1999)




Scoring and Range:

Trumpet in B-flat: a-flat to c’’’

Vibraphone, bass drum, snare drum, 2 bongos, brake drum, crash cymbal,

china cymbal (with sizzle)

Mute: straight, cup


Nicholas Papador (b. 1972, Texas) was serving as a doctoral student at

Northwestern University in the area of percussion performance during the time of this

study. He holds a M.M. from Indiana University and a B.M. from the University of

Oregon. Papador studied composition at Indiana University under Marilyn Shrude and

Steve Rouse. Studio 4 Music and Matrix Publishing have published several of his

compositions.69

Priapism is built on a six-note pitch set in which notes have been alphabetically

assigned to the six different letters found in the word, “priapism” (C, D, F, A, Eb, and A-

flat). A complementary set of the other six absolute pitches is also used (A-sharp, B, C-

sharp, E, F-sharp, and G). The tempo indication at the beginning is marked, “Hard!!!

69The composer supplied a biographical sketch

103

quarter = 88-104.” Rhythmic energy is clearly one of the main focal points of the piece,

as running and repetitive sixteenth-note passages prevail throughout with several accented

and marcato articulations. These articulations place the sixteenth notes into groups of

five, four, three, and two. Priapism was dedicated to Endy Emby, trumpeter Brian

McWhorter and percussionist Aaron L. Trant, who premiered it on the duo's New York

City debut recital in 1999.

The most difficult aspect of Priapism for the trumpeter is to maintain accented

articulations throughout numerous angular sixteenth-note passages. Because of mixed

meter and unusual groupings of sixteenth notes in same-meter measures, the

concentration level required of both performers remains extremely high throughout the

piece.

104

Runnels, Joseph

P.F.O.R.P.T. (Piece For Percussion and Trumpet)


Trumpet Grade: IV Percussion Grade: IV


Scoring and Range:

B-flat trumpet: g to d’’’

Small gong, 4 roto-toms, suspended cymbal, 4 temple blocks

Mutes: straight, cup

Unusual Notation: Approximately 15% of the score uses spatial notation.

At one point in the trumpet part, a series of pitches is given to be played

with any rhythm, lasting for one minute.

P.F.O.R.P.T is filled with instances where the reoccurring rhythmic patterns of

one instrument are superimposed against the reoccurring patterns of the other instrument,

creating complex composite rhythms. These rhythmic phenomena are often the focus of

the composition, as the melodic content in those places is purposefully uninteresting. A

distinct timbral effect is found in one of the non-measured sections, where vibraphone

pitches are sustained by two-finger rolls while the trumpet sustains long tones.

The majority of the trumpet part is easily played, but certain passages require

excellent flexibility, e.g., one 4/4 measure skips from a’ to a’’ ten times. The percussion

part requires playing multiple instruments simultaneously, sometimes in four against

three patterns.

105

Samama, Leo

Spleen et Ideal III, Opus 27, for trumpet and marimba (1986)

Donemus Amsterdam (1988)



Scoring and Range:

Trumpet in C: a to c-sharp’’’

Marimba: F to f’’’

Mute: Robinson70

Unusual Notation: Time signatures are marked by a number in the numerator

and either a quarter note or an eighth note in the denominator, depending

on the subdivision.

Leo Samama (b. 1951, Netherlands) studied at the University of Utrecht and the

University of California, Los Angeles.71

Spleen et Ideal III was completed in 1986 and is dedicated to Anita van Soest. It

is essentially comprised of two sections: a Tres Lent opening makes use of soft tremolo

chords in the marimba and pianisissimo phrases in the trumpet with the help of a

Robinson cup mute; and a Tres Vite section changes meter often, but maintains a quick,

steady eighth-note pulse. The piece ends with a six-measure recapitulation of material in

the Tres Lent section. The entire piece is well written for the combination of instruments.



71Siwe, 1998, 359.

106

Technical challenges include flutter-tonguing on b-flat’’ in the trumpet and steadily

increasing intensity throughout the dance section of the piece.

107

Satterwhite, Marc

Músico en la nada: Meditations on a Photograph by Flor Garduño (1992)

Marc Satterwhite

Trumpet grade: V Percussion grade: III+

Duration: 5'

Scoring and Range:

Trumpet in C or B-flat: g-flat to b’’ (C trumpet), e to a’’ (B-flat trumpet)

Bass drum

Mutes: straight, cup, Harmon with stem in, whispa

Unusual Notation: Only nine measures have a regular meter; all other

measures are of specified duration.

↑ = play as high as possible (trumpet) = accelerando, ritardando

Marc Satterwhite (b. 1954, Texas) is Associate Professor of Music for

Composition and Music Theory at the University of Louisville. In addition to composing,

he is a bassist and served as the assistant principal bass in the Mexico City Philharmonic

Orchestra. Satterwhite has been active in presenting modern music to the public through

such activities as performing in Tales and Scales (a professional new music ensemble that

introduces children’s audiences to contemporary music) and through producing and

hosting a weekly radio show devoted to contemporary music. Satterwhite has been

108

awarded a Kentucky Arts Council fellowship as well as residencies at the MacDowell

Colony and the Atlantic Center for the Arts.72

Dedicated to Raul Ornelas, Músico en la nada was inspired by a photograph of a

Bolivian man standing on a muddy roadside with many of his belongings, including a

bass drum and a trumpet. Satterwhite describes the photograph as “absolutely haunting.”

His instructions state that the performance should be restrained, tentative, and mysterious.

Músico en la nada is recorded on Michael Tunnel's CD Mixed Doubles.

The trumpet part requires a great deal of flexibility. Practically every trumpet

note is part of a tremolo, lip trill, or some other type of overtone lip slur—often ending

with the notational symbol for “as high as possible.” The composer states that the

alternate fingerings given are not to be adjusted for pitch. Rather, they should sound

slightly out of tune. The bass drum part has special instructions for where to strike the

drum and what mallets to use. The part is generally in the softer dynamic range and is not

very difficult.


109

Schultz, Patricia

Duo for Trumpet and Marimba (1989)

Nichols Music Company

Trumpet grade: IV Marimba grade: IV+


I. eighth note = 172 3’ 15’’

II. quarter note = 130 7’

Scoring and Range:

B-flat trumpet: a to a’’

Marimba: F-sharp to b-flat’’’

Mute: straight

Unusual Notation: Schultz exhibits a unique a manner of unmeasured writing

in several ways. The entire Part I is without time signature, yet there

are many highly rhythmic examples of mixed meter, such as 2+3+2+3

sixteenth notes to a measure followed by 2+3+3 sixteenth notes to a

measure. Here, the time signature is really not missed because notes and

rests are barred in a way that shows the pulse. More confusing, however,

are passages where the trumpet and marimba parts are assigned different

numbers of eighth notes to measures (e.g., page 6 of the score). One might

think that approximate vertical alignment is the composer's intention, but

there is no indication of such, or even a cue, in the trumpet part. For this

reason, reading from the score rather than individual parts might prove to

be a more efficient use of rehearsal time.

110

Part I is full of fast outbursts of cadenza-like passages that are followed by periods

of silence, whereas Part II is a multimetered dance, interrupted in the middle by a lyrical,

out-of-tempo improvisatory section. The dance is primarily in 6/8 meter and is filled with

syncopated accents.

It may take performers a significant amount of rehearsal time to prepare the first

movement because it is not very clear how the pacing of this piece is to be approached,

and several attempts may be required before a convincing tempo is found. The trumpet

part has some fast, articulated lines, but the playing range is easier than the majority of

the pieces in this bibliography, seldom venturing above the staff. Both parts call for

improvisation on limited cell material. The marimba part utilizes four-mallet technique

on slower note values, but usually faster passages are in a single line.

111

Seligman, Robert B.

Spacings for Trumpet and Percussion (1977)

Lang Percussion Company



I. quarter note = ca. 72-76 2’ 20’’

II. quarter note = ca. 64-68 2’

III. quarter note = ca. 86-90 2’ 10’’

Scoring and Range:

B-flat trumpet: a to b’’

4 antique cymbals, 2 tom-toms, 2 timbales, 5 roto toms, 5 temple blocks,

3 suspended cymbals, sleigh bells, cowbells, Tibetan prayer stones.

Mute: straight

Unusual Notation: The score itself is similar in appearance to that of George

Crumb’s Ancient Voices of Children. The entire piece is without time

signatures or measures, and although the instruments are presented in

score order, when an instrument is resting Seligman simply erases any sort

of staff. Therefore, instead of counting any rests, the performer simply

looks at the other performer’s line of music. Also, two special notational

symbols are given: a long fermata, and a pause of approximately 2-3

seconds.

In the score, Seligman writes that Spacings is a depiction of his life during several

months of the year 1976, which progressed from disruption to joy and satisfaction. It is

112

an atonal composition that highlights frequent trading between solo trumpet and solo

percussion lines. At many instances in this piece, the momentum builds to a high point,

then antique cymbals are sounded followed by a long fermata.

The performance of this piece requires significant rehearsal time because of the

lack of barlines. It appears that the beat value is usually the quarter note, but it must be

changed occasionally to the dotted quarter or the eighth note. Discovering exactly where

these changes take place will take some time and thought from the performers.

Additionally, there are some rhythmic challenges, such as groupings of five, six, and

seven notes per beat. Seligman is very specific about the tuning of each drum, but he

does not provide a set-up chart for this large battery.

113

Snow, David Jason

Muted Suggestions: for Trumpet and Marimba (1982)

Nichols Music Co. (1986)



Scoring and Range:

Trumpet in C: a to b’’

Marimba: c to f’’’

Mutes: Harmon (stem removed), whisper

Unusual Notation: = accelerando (sometimes used in complicated rhythms that extend over barlines)

= upward scoop, commonly referred to as a “doit”

David Snow (b. 1954, Rhode Island) studied with Joseph Schwantner, Warren

Benson, and Samuel Adler at Eastman School of Music; with Jacob Druckman at Yale

University; and with Martin Boykan and Arthur Berger at Brandeis University. Snow has

composed for percussion ensemble with odd combinations such as tuba duet, and violin

and oboe.73

Completed in 1982, this piece was written for Robert Levy and Gordon Stout,

members of the Wilder Duo. This piece begins with a 45-second trumpet cadenza played

73Ruth E. Anderson, ed., 482-483.

114

with a Harmon mute marked Espressivo at quarter = 72. Although there are some thirty-

second notes in the cadenza, the range stays fairly moderate and there are many

rewarding musical moments. When the marimba enters, it plays short, disjunct, accented

phrases while the trumpet plays a long lyrical phrase. Soon, the trumpet joins in the

sparse playing, which builds in intensity.

This piece features both the trumpet and the marimba in long solo cadenzas. It

calls for the use of tremolo and flutter tongue in the trumpet. The trumpet is nearly

always muted, changing from Harmon to whisper mute. The open trumpet plays for the

last 20 seconds.

115

Squire, James Cyril

Aubade (1985)

Editions BIM (1991)



Scoring and Range:

Trumpet in C: g to f-sharp’’

Carillon or marimba: b to f’’

Mute: none


James Cyril Squire (b. 1931, France) is currently the Director at the La Chaux-de-

Fonds Conservatory in Switzerland. His compositions are for diverse instrumentations,

including the trumpet quartet, Intrada.74

Premiered by Roger Delmotte, trumpet, and James Cyril Squire, carillon, at the

1985 Arts Weeks of Jura, Aubade is very suitable for use as a formal fanfare. Harmonic

interest is created by sudden shifts of tonalities one half-step away from the previous

tonality.

Although not difficult in terms of range and technique, a successful performance

of Aubade requires a skilled trumpet for the sake of achieving a full sound, accuracy, and

clarity of pitch. The carillon/marimba part consists almost entirely of single-line

sixteenth notes at Moderato.

74A short biography is included with the score.

116

Steinke, Greg A.

Tableaux: In Memory of Chief Joseph (1993)

Tierra del Mar Music

Trumpet grade: IV Timpani grade: IV+

Duration: 20’

I. Prologue: Wallowa Echoes 4’

II. Memories: On the Clearwater 2’

III. Big Hole Battle 2’ 50’’

IV. Camas Meadows- Henry's Lake 3’ 20’’

V. Surrender at Bear Paw 2’ 50’’

VI. Wallowa-Never to Return 3’ 30’’

VII. Epilogue: Colville 1’ 30’’

Scoring and Range:

One trumpeter, using the following instruments:

B-flat trumpet: f to b-flat’’ (plus highest note possible)

Piccolo in A or B-flat: written c-sharp’ to e’’’

Trumpet in C: g-flat to d’’’

Flugelhorn in B-flat: b-flat to f’’

Timpani: F to c’ (with optional C), 3 suspended cymbals, Native

American rattle, quica (or lion’s roar)

Mutes: cup, piccolo straight, piccolo cup

Unusual Notation: A large portion of this work is without meter. Lines are

drawn above some notes to indicate approximate duration.

117


= as fast as possible

= react to previous performer

Greg Steinke (b. 1942, Michigan) studied at Oberlin Conservatory, Michigan

State University, and the University of Iowa. His numerous faculty appointments have

led him to Marylhurst University, Oregon, where he is chair of the Division of Fine Arts.

In addition to composing and publishing, Steinke works as an oboe soloist. Steinke has

composed and published over ten works for various brass and percussion combinations.75

Tableaux: In Memory of Chief Joseph is one of a series of chamber pieces

representing musical excursions into Northwestern American history. Chief Joseph

(1840-1904) was known for resisting the U.S. Government's attempts to force the Nez

Percé tribe onto reservations. Each movement is named after a geographical spot of

significance to Chief Joseph's life. Both the “Prologue” and “Epilogue” are written

without meter and feature non-metered patterns of a single-note on timpani as well as

chant-like effects from the trumpet. The inner movements under the heading of

“Memories,” are primarily in strict simple duple or simple triple meter, with many

sixteenth-note passages. Two movements were composed utilizing each of the following

trumpets: piccolo trumpet, C trumpet, and flugelhorn. Only one movement utilizes a B-

flat trumpet.

The trumpeter is never asked to change instruments in the middle of a movement.


118

The most unusual playing technique is to play as if chanting, “I will fight no more

forever.” Improvisation over specified rhythms occurs in several spots.

119

Stout, Gordon Bryan

Duo Dance Song (1977)

Studio 4 Productions (1980) (now Studio 4 Music) distributed by Alfred

Music


Duration: 8’

Scoring and Range:

Trumpet in C: g-flat to b’’

Marimba: C to f’’’

Mute: none

Unusual Notation: An “X’ replaces the time signature where an absence of

meter occurs.

Gordon Stout (b. 1952, Kansas) received both his B.M. and his M.M. from

Eastman School of Music, where he studied composition with Samuel Adler and Warren

Benson. After a series of short teaching engagements, he accepted an appointment at

Ithaca College in 1980, where he is currently teaching.76 In addition to composing Duo

Dance Song, both Stout and Robert Levy edited and arranged several works for their

performing group, the Wilder Duo. Stout has composed works for solo marimba and has

arranged Alec Wilder's Suite for Guitar Solo for marimba solo.

Duo Dance Song was commissioned by the Society for New Music, Denton,

Texas, and dedicated to Robert Levy. The Wilder Duo premiered it at the 1977

76Arlin, Mary I. 2001. Ithaca College, School of Music.

<http://www.ithaca.edu/music/index.html> (6 Apr. 2001).

120

Tidewater Music Festival, St. Mary's College of Maryland. The tempo often picks up and

slows down abruptly, which is one of the most recognizable attributes of the composition

as well as one that requires a good deal of attention in rehearsals. A trumpet solo section

in the middle calls for the trumpeter to play “freely and intense with a jazz inflection.”

The long marimba solo at the beginning of the piece is the most technically demanding

section for the marimbist.

121

Stout, Richard E.

Duo for Trumpet and Marimba (1981)




Scoring and Range:

Trumpet in C: b to g-flat’’’

Marimba: f-sharp to g’’’

Mute: none

Unusual Notation: A twenty-five-measure segment that changes meter each

measure is written without time signatures. Measures in this section are

separated by dotted lines as opposed to solid barlines. One section

contains two different time signatures at the same time: 3/4 and 4/4.

= flatten the pitches 1/4 tone by wrapping the correct

amount of silly putty around the sound bars of the marimba Richard Stout (b. 1954, Missouri) has been a member of the Utah Symphony first-

violin section since 1985. He is a graduate of Eastman School of Music and is the brother

of Gordon Stout (a member of the Wilder Duo).77

Duo is broken into three parts. The first and longest section, marked “Swing,”

begins with a clever running eighth-note ostinato line in the marimba part that utilizes


122

quarter-tone bends (created by adding silly putty to the sound bar). Meanwhile, the

trumpet part is written to contrast with the meter, creating 4-against-3 and 3-against-4

patterns. The second section, “Dance,” is marked at quarter note = 132+ and involves

rapidly changing mixed meters. The final Largo is quite short in length and resembles a

chorale.

The most challenging aspect of Duo for the trumpeter is the extreme high-register

writing found in the first phrase of the Largo section—up to g-flat’’’. Taking this phrase

down an octave would reduce the difficulty level to III. The entire marimba part is

written in a single line until the final Largo, where the marimbist must play two lines at

the same time. Duo is dedicated to Robert Levy and Gordon Stout, members of the

Wilder Duo.

123

Sydeman, William Jay

Duo: Trumpet and Percussion (1965)

Seesaw Music Corp. (formerly by Okra Music Corp.) (1967)



I. Moderato 1’ 50’’

II. Allegro 3’

III. Allegro 1’ 30’’

IV. Adagio 1’ 55’’

Scoring and Range:

Trumpet: g to c’’’

Snare drum, tenor drum, suspended cymbal, xylophone, bass drum, gong,

sizzle cymbal, 3 timpani, ratchet, orchestra bells



William Sydeman (b. 1928, New York) studied at Mannes College, Hartt School

of Music, and privately with Roger Sessions. Sydeman spent eleven years as a faculty

member of Mannes College before embarking on a twelve-year period of travel and study

of philosophy and religion. He has received many commissions from such prestigious

groups as the Boston Symphony Orchestra and the Chamber Music Society of Lincoln

Center. Sydeman has composed over thirty duos for various instrumental

124

groupings as well as Homage to L'histoire du Soldat, which copies Stravinsky's

instrumentation.78

Duo is the earliest composition obtained for this compilation. Though it is not the

first twentieth-century piece composed for trumpet and percussion, it is the first piece of

its kind to be published that is still available on the market. With that in mind, one might

speculate that this piece would be conservative in its use of twentieth-century techniques.

On the contrary, this atonal composition is as avant-garde as any in this genre.

Sydeman makes extreme dynamic demands on both players, using markings of

pianississimo and fortississimo. Challenging rhythmic figures for ensemble include

polyrhythms of three against five. The trumpeter is required to double-tongue as fast as

possible as an effect, as well as put in and take out a mute during sustained passages.

Large intervals are common in the trumpet part, particularly minor ninths.

78 Ruth E. Anderson, ed., vol. 4, 339-340.

125

Tautenhahn, Gunther

The Vertical Man (1982)

Seesaw Music Corp. (1991)

Trumpet grade: V Percussion grade: V+

Duration: 9’

Scoring and Range:

Trumpet in C: a-flat to d’’’

Marimba: c to g-sharp’’’, xylophone, triangle, suspended cymbal, 2 cow

bells, 4 timpani, snare drum, tom-toms (high and low), timbales (high

and low), 4 temple blocks, and 2 woodblocks

Mute: straight

Unusual Notation: 3/Ε = 3/8 meter Gunther Tautenhahn (b. 1938, Lithuania) became a U.S. citizen in 1956. He

attended Caldwell Seminary in New Jersey and is a self-taught composer. Tautenhahn’s

other brass compositions include a trumpet concerto (1970).79

The Vertical Man was commissioned by Steven Trinkle and Eugenie Burkett and

is based on W. H. Auden’s poem “The Vertical Man.” Tautenhahn states that the piece

consists of a theme and fifteen variations describing man and some of his aspects. The

original theme is simple and diatonic (with the exception of two half-step approach tones)


126

in the key of A major. The variations become increasingly complex in rhythm and in

dissonance.

Both parts include very difficult technical passages. Rhythmic intricacies include

ratios such as 7:2 and groups of ten notes per beat. The trumpet part specifies vibrato

(presumably wide) on isolated pitches. The timpani part includes some difficult pitch

changes.

127

Tautenhahn, Gunther

Two October Songs (1976)


Trumpet grade: IV Percussion grade: V

Duration: 7’

I. Cantabile con espressivo 4’

II. Ad Lib Andante 3’

Scoring and Range:

Trumpet in C: g to c-sharp’’’

Marimba: C to a-flat’’’’

Mute: none

Unusual Notation: The majority of the second song is without barlines or a

sense of meter.


Two October Songs was composed for and dedicated to Robert Levy and Gordon

Stout, members of the Wilder Duo. While the first movement uses very intricate rhythms

to create a dialogue between the two players, the majority of the second movement is

composed without a meter or strict sense of time. Characteristic of the second movement

are long chromatic—or nearly chromatic—lines that span over two octaves.

The trumpeter has the challenge of playing long sections that cover the entire

range of the piece without much recovery time throughout the first movement. Also,

there is a fortississimo c-sharp that must be flutter-tongued at the end of the second

128

movement. The marimba part includes a passage that calls for six different pitches at the

same time. It is unclear whether the marimbist is to manage this with four mallets,

creating two additional pitches by striking in between the bars of the instrument, or by

employing six mallets (an unusual technique). Intricate rhythms of the first movement

make rhythmic accuracy difficult. The second movement contains a very tricky ensemble

passage, where lengthy, rapid chromatic passages in rhythmic unison must stay together

through a long ritardando.

129

Tavernier, Jean-Claude

Rivoiras

Billaudot (1985)



Scoring and Range:

Trumpet in C: g to a’’

Timpani: A, d, f (no pitch changing is required; f is optional)

Mute: none


Jean-Claude Tavernier was born in Vichy, France, in 1933.

Rivoiras is dedicated to Didier and Gilles Rivoira. A ten-measure Andante

introduction is followed by a faster, rhythmically driving common-time section with

primitive-type rhythms in the timpani, and a rhythmic and lyric modal chant-like melody

in the trumpet part.

This is one of the few pieces in this compilation that is playable by high school

players. It is made even easier by transposing the parts down a step—reading as is on a

B-flat trumpet and tuning the three drums one step lower than indicated. Also, within the

3-timpani part is an optional 2-timpani part that only requires playing one drum at a time.

130

Turok, Paul Harris

Concert Variations Opus 51, No. 3

Nichols Music Co. (1987)

Trumpet grade: IV Percussion grade: V+


Scoring and Range:

Trumpet in C: b-flat to b’’

Marimba: F to f-sharp’’’

Mute: straight

Unusual Notation: Time signatures are not present, although there are

barlines. Instead of marking the meter, the manuscript is barred in such a

way that the performer can figure out if there are 2, 3, 4, or 5 subdivisions

to each beat. The third movement is designed to start with both players at

the same time, but to be played in different tempos, as the parts need not

coincide rhythmically.

Paul Turok (b. 1929, New York) studied composition at Queens College, the

University of California, Berkeley, and the Juilliard School of Music. As a music critic,

Turok has written articles for New York Herald-Tribune, Music Journal, Ovation, and

Fanfare. His brass compositions include Canzona Concertante No. 2 for trombone and

orchestra (1982) and Brass Quintet (1971).80

80Nicolas Slonimsky, ed., 1997, 1412.

131

Out of the eight movements, the trumpet only plays five. The majority of the

trumpet lines are diatonic, and the main challenge is to blend with the marimba and match

articulations on fast passages. The marimba part is full of technical challenges, such as

playing strings of thirty-second notes at quarter note = 100 and quarter note = 152. This

piece was written for Robert Levy and Gordon Stout, members of the Wilder Duo.

132

Udow, Michael

Old News (1977)

Pioneer Percussion



Scoring and Range:

Trumpet in B-flat: g to b-flat’’

3 snare drums (h, m, l), chromatic chimes

Mute: straight


Michael Udow (b. 1949, Michigan) has been the principal percussionist with the

Santa Fe Opera since 1968, performs regularly with Summit Brass, and tours with the

dance/percussion duo Equilibrium. He has directed the percussion program at the

University of Michigan since 1982. Mr. Udow can be heard as a performer and composer

on the Columbia, Columbia/Denon, Forte Music, Advance, Opus One, CRI, Orion, New

World, EQ and Einstein labels. Udow is currently working as project director on a sound

score for a 3-D animated video by Muriel Magenta.81

Old News was commissioned by and dedicated to Chandler Goetting, solo trumpet

of the Bavarian Radio Symphony Orchestra. It is atonal, contains mixed meter, and never

ventures to anything faster than sixteenth notes. Presumably the trumpet part was

composed first, because the percussion part is optional.

81University of Michigan 2000. The University of Michigan, School of Music.

<http://www.music.umich.edu/> (1 Apr. 2000).

133

Endurance is the primary difficulty for the trumpeter in this piece. There are no

significant rests at all for the trumpeter. Even though the range is easily handled on a

B-flat trumpet, Udow provides an optional piccolo trumpet part, which has evidently

helped some player with the endurance problem in this piece.

134

Vogel, Roger C.

Temporal Landscape Number Six for Trumpet in C and Percussion (1983)

American Composers Alliance

Trumpet grade: IV+ Percussion grade: IV

Duration: 6’

Scoring and Range:

Trumpet in C: a to c’’’

Marimba: B-flat to c’’’, snare drum, suspended cymbal, and 4 timpani

Mute: straight


Roger Vogel (b. 1947, Cleveland) received three degrees at Ohio State University

(B.M., M.A., and Ph.D.). Since 1976, he has taught at the University of Georgia, where

he is Professor of Music.82

Temporal Landscape Number Six is dedicated to Edward P. Sandor and Thomas

W. McCutchen, who premiered the work in 1983 at the University of Georgia. It consists

of primarily sustained linear passages and is usually in simple duple or simple triple

meter. The single-movement work begins and ends at an Adagio tempo marking with

Allegro non Troppo and Piu mosso markings in between. The trumpet part is primarily

diatonic and the supporting chords of the marimba are consonant. Temporal Landscape

Number Six is recorded on Edward Sandor and Thomas McCutchen’s CD The Art of

Trumpet and Percussion.

82A short biographical sketch is included with the score.

135

Endurance is a major factor in performing the trumpet part. While no single

isolated passage is overly difficult, the continuity of such passages becomes challenging.

The four timpani pitches do not need to be changed in the entire duration of the piece.

136

Vogel, Roger C.

Voyages for Trumpet and One Percussion (1996)

Howard J. Buss Publications (1997)



I. Allegro non troppo 5’ 45’’

II. Larghetto expressivo 5’ 45’’

III. Allegro con Brio 5’ 20’’

Scoring and Range:

One trumpeter, using the following instruments:

Trumpet in C: g to c’’’

Flugelhorn in B-flat: g to b-flat’’

Piccolo Trumpet in B-flat: a-flat to f-sharp’’’

Vibraphone, snare drum, suspended cymbal, steel drum

Mute: straight


Voyages was commissioned by Edward P. Sandor, for its inclusion in recording

project with Thomas McCutchen entitled, The Art of Trumpet and Percussion.

The first and third movements are energetic dialogues between trumpet and vibraphone.

The snare and suspended cymbal are used sparsely for punctuation. A rhythmic pickup

motif of three sixteenth-note triplets is very prominent in both of these movements. The

second movement achieves fascinating timbral effects through combining flugelhorn and

steel drum. Voyages is an atonal composition, but not an overly dissonant one.

137

The trumpet part is a true test of endurance. There are many long phrases without

much rest that include many difficult skips. There is, however, a healthy mix between

high-register and low-register writing. The piccolo trumpet sections are also filled with

large intervals and require a great deal of flexibility up to f’’’. The percussion part has

many sixteenth-note runs and some very fast changes between instruments.

138

Wilder, Alec

Suite for Trumpet and Marimba (1978), ed. by Robert Levy and Gordon Stout

Margun Music, Inc.



I. fairly fast, quarter note = 104 1’ 45’’

II. languorously, quarter note = 56 2’ 50’’

III. dotted-quarter note = 56-60 1’ 30’’

IV. quarter note = 80-86 1’ 20’’

V. half note = 46 1’ 50’’

VI. with vigor, quarter note = 88 1’ 30’’

Scoring and Range:

Trumpet in B-flat: f to c-sharp’’’

Marimba: A to c’’’

Mutes: Robinson,83 metal straight, solo tone, cup, bucket


Alec Wilder (1907-1980), an American composer and arranger, composed in a

variety of diverse styles, including pieces for jazz band with a singer, short operas scored

for small ensemble, vocal and instrumental solos with orchestral accompaniment, and a

large number of chamber pieces. Although this is Wilder's only composition for trumpet



139

and solo percussion, he composed two concertos for trumpet and wind ensemble, four

brass quintets, and a trumpet sonata.84

Suite for Trumpet and Marimba was composed expressly for the Wilder Duo. The

use of different mutes, mallets, and compositional styles endows the six short movements

with an interesting contrast of tone colors.

The first five movements do not present many technical difficulties for the

trumpeter other than endurance. Throughout the composition, there is little rest in the

trumpet part, which moves frequently between high and low registers. Large intervals,

such as sevenths and octaves, are found throughout the piece. The intervals become more

technically difficult in the final movement, where the trumpeter must slur and tongue

them in sixteenth-note passages. Sensitive phrasing and blend is required of both

performers for a successful performance of movements II and V. The most difficult

technical passage in the marimba part occurs in the fourth movement, where a thirty-

second note figure must accelerando.


140

CHAPTER V

ANNOTATIONS FOR THREE PLAYERS

Blank, Allan

Ceremonies for Trumpet and Percussion (one or two percussionists) (1982)

A complete annotation may be found on page 29.

141

Bresnick, Martin

Trio for Two Trumpets and Percussion (1966)

Bote & Boch (1971)

Trumpet 1 grade: IV Trumpet 2 grade: IV- Percussion grade: III


I. Allegretto 2’ 45’’

II. Largo espressivo 1’ 25’’

Scoring and Range:

Trumpet 1 in C: g to d’’’

Trumpet 2 in C: a to b-flat’’

Military drum, bongos, 3 suspended cymbals

Mute: none


Martin Bresnick (b. 1946, New York) was educated at Hartt School of Music,

Stanford University (where he studied composition with Gyorgy Ligeti), and at Akademie

für Musik, Vienna. He has been awarded numerous awards and grants, including a First

Prize at the Composers Inc. Competition in 1985 for Trio. Bresnick has held many

faculty positions. Currently, he is professor of composition and coordinator of the

composition department at Yale School of Music.85

Bresnick's trio is one of the earliest trios for trumpet and percussion. Use of

percussion is sparse compared to other pieces in this compilation. Usually each of the

85Contemporary Composers (Chicago: St. James Press, 1992), 119-21.

142

three parts has independent, irregular rhythms that fit together to form very regular

composite rhythms.

From soft staccato notes at pianissimo in syncopated rhythms to loud sixteenth-

note passages, a great deal of control is needed for a successful trumpet performance of

this work. The range generally stays fairly low until the second movement, where the

first trumpeter sustains b-flat’’, d-flat’’’, then d’’’ at fortissimo to end the piece. The role

of the percussion part is basically accompanimental.

143

Brün, Herbert

Trio for Trumpet, Trombone, and Percussion (1966)

Smith Publications (1977)

Trumpet grade: IV- Trombone Grade: IV- Percussion grade: III-

Duration: 8’

Scoring and Range:

Trumpet: f-sharp to c-sharp’’’

Trombone: D to c-sharp’’

3 snare drums, bass drum, 3 suspended cymbals, button gong, tubular

chimes, 2 triangles, a grand piano to act as a resonator

Trumpet Mute: straight

Trombone Mute: straight

Unusual Notation: Boxed letters in the score seem to indicate a certain pitch

set, such as serial composers use to indicate the procedure of pitch

selection that is in operation at a given time.

Herbert Brün (b. 1918, Germany; d. 2000, Illinois) left Germany to escape the

Nazi regime in 1936 and to study at the Jerusalem Conservatory. Later he attended

Columbia University. In 1963, he became a composition professor at the University of

Illinois, where he has worked extensively with computers in sound generation and as

compositional aids.86

Trio for Trumpet, Trombone, and Percussion was inspired by a movement that

86Nicolas Slonimsky, ed., 1997, 178.

144

Brün largely attributed to Frederick Fennell: to develop a body of literature for

allwoodwind, brass, and percussion instruments that is more equal to the repertoires of

string instruments and piano. The trio is pointallistic in that each note has a distinct

quality of volume and dynamic direction. Often the dynamics of one instrument seem to

be completely independent of the dynamics in other parts. The dynamic and pitch

selections appear to be procedural, but the exact system is not obvious. The piece is

atonal with occasional reference to whole-tone scales. For that reason, it is difficult to

determine if the trumpet part is in C or B-flat.

Although the tempo marking fluctuates between quarter note = 80 and 152, the

entire piece is in common time except the last eight measures. There are no rhythms

more complicated than sixteenth notes. The main difficulty for each instrument is to

remain consistent with all of the articulation and dynamic details that may or may not be

reflected in the other instruments.

145

Butler, Allen P.

Excursions Into Time (1977, revised 1981)


Trumpet grade: V Percussion 1 grade: III Percussion 2 grade: II+

Duration: 9’

Scoring and Range:

Trumpet in C: c to c’’’ (optional f’’’) (or other treble instrument)

Percussion 1: vibraphone, xylophone

Percussion 2: suspended cymbal, temple blocks, wood block, trap set

Electronic Tape

Mute: none

Unusual Notation: There are several “Free Meter” sections where spatial

notation is employed. An electronic score is provided as a visual

representation of the tape in order to allow the performers to follow the

electronic sounds.

= continued repetition of the boxed event for the duration of the broken line

= very short pause


= connects simultaneous events

146

= notes to be played as fast as possible, but well articulated

Excursions Into Time utilizes sounds produced on a Synthi ADS music

synthesizer as a structural framework for the composition. During the three times that the

tape is played, the instrumentalists are usually silent and begin to play only at the end or

near the end of the taped segments. Primarily written in “Free Meter,” Excursions Into

Time employs both traditional and spatial notation. Two improvisation sections of at

least one minute each are placed in succession. The first of these sections is a free-form

solo, where the vibraphonist and the trumpeter improvise over a medium “Jazz Shuffle”

played by the trap set player. For this section, Butler indicates that the trap set player

could emulate such jazz drummers as Chico Hamilton or Art Blakey. The second

improvisation section is a free-form trap set solo.

Excursions Into Time is not very demanding of endurance of the trumpet player.

The writing is sparse, but some of the passages are technically demanding. Although this

piece lies well within the capabilities of an advanced trumpeter, Butler indicates that

flute, oboe, violin, or any other treble instrument can substitute for the trumpet. Passages

in the extreme high registers (up to f’’’) are marked with an option of playing one octave

lower. Although the difficult passages in the percussion parts are not lengthy, percussion

1 does play some challenging four-note chords on vibraphone and percussion 2 plays a

rapid temple block passage.

147

Darasse, Xavier

Per Sonare for trumpet, trombone, and percussion (1979)

Editions Salabert

Trumpet grade: III+ Trombone grade: III+ Percussion grade: IV


Scoring and Range:

Trumpet in C: e to b’’

Trombone: C-b’

Vibraphone (2 cello bows), hi-hat, 5 suspended cymbals, tam-tam, 5 tom-

toms, 2 bongos, 2 snares, bass drum, bass drum with pedal, 6 wood

blocks

Trumpet Mutes: straight, Harmon

Trombone Mutes: straight, plunger

Unusual Notation: Two ambiguous markings are an occasional arrow above a

melodic line (presumably indicating that the melody continues in a

different instrument) and the words “Flat” and “Flatt” written above brass

lines.

Xavier Darasse (b. 1934, France) studied with Duruflé and Messiaen at the Paris

Conservatory. In 1965, Darasse was appointed Professor of Organ and Composition at

Toulouse Conservatory. He has composed several compositions for organ and brass, a

few of which also include percussion.87

87Stanley Sadie, ed., The New Grove Dictionary of Music and Musicians, 1980 ed., s.v. “Darasse,

Xavier,” 240.

148

Darasse pays close attention to timbral changes in Per Sonare. The opening

begins with a half step between the trumpet and the trombone, after which the trombonist

must glissando upwards to create a unison. Both brass players are required to bend notes

to achieve quarter-tones, and semi-measured vibrato is also required. The curious

marking “flat” could mean to play flat on the pitch or to play flutter-tongued.

This one-movement work is divided into five sections with different tempo

markings and character. A great deal of attention is paid to the level of dynamics, and

indeed, dynamics are used frequently to create different timbres with the combination of

trumpet and trombone. Rhythmic challenges exist for all players in each of their three

rhythmically independent parts.

149

Diemente, Edward Philips

Trio for Flute, Trumpet in C, and Percussion (1969)


Trumpet grade: IV- Flute grade: IV- Percussion grade: IV-


Scoring and Range:

Flute: e to b-flat’’’

Trumpet in C: g to c’’’

Marimba: C to c’’’’, glockenspiel, two antique cymbals suspended,

suspended cymbal, cowbell, woodblock, bongos, timbales

Mutes: straight, cup, Harmon

Unusual Notation: Non-metered sections are indicated by the omission of

barlines. In addition, all thirty-second notes are to be played as fast as possible.

= highest possible note

= wide to narrow vibrato

= depress numbered valve half way, keep sound continuous

= any marimba pitch, according to the placement in relationship to staff = rests of indefinite value

150

= very long note

= attack together

Edward Diemente (b. 1923, Rhode Island) attended Boston University, Hartt

School of Music, and Eastman School of Music. He has taught at Hartt School of Music

and University of Hartford. His other brass compositions include Orbits for trombone

and horn and Harmonies for three trombones and tape.88

Trio for Flute, Trumpet in C, and Percussion is dedicated to Doriot Anthony

Dwyer, Everett Firth, and Armando Ghitalla. Much of Trio is written without meter or

barlines. Diemente gives the instructions not to attempt to play exactly together during

these portions until there is an indication to play together. This is fortunate because it is

in the free-metered sections that vertical alignment seems difficult. The metered sections

are much more easily played in time. Each of the three instrumentalists has a long solo

cadenza of moderate difficulty. Three scores are needed for performance.

88David M. Cummings, ed., International Who's Who in Music and Musicians' Directory, 12th ed.

(Cambridge, England: Melrose Press, 1991), 203.

151

Fornuto, Donato D.

Trio for Trumpet, Percussion, and Electric Bass

Accentuate Music. Out of print, available from the University of Connecticut


Trumpet grade: IV- Bass grade: IV- Percussion grade: IV

Duration: 6’

Scoring and Range:

Trumpet in B-flat: e to c-sharp’’’

Electric bass

Vibraphone, snare drum, 3 tom-toms, 3 cymbals

Mute: none


The majority of Trio for Trumpet, Percussion, and Electric Bass is in a fast tempo

(half note = 96) with a “jazz feel.” The two exceptions are during a long bass cadenza

and a long trumpet cadenza, after which the fast tempo resumes for the duration of the

piece. Vibraphone is used throughout, except for the brief use of other percussion

instruments during a small portion of the bass cadenza. Each of the three instruments is

used melodically in fast bebop-flavored jazz lines.

All three players are presented with technical difficulties in their respective jazz

lines, although when the individual parts are prepared with rhythmic accuracy, the piece

should fall together quite easily. The bass cadenza has a series of chords voiced in

fourths in the style of Stanley Clarke.

152

Halligan, Richard

Dialogues: for Trumpet, Piano, and Percussion (1996)

Balquhidder Music (1997)

Trumpet grade: III Piano grade: III Percussion grade: IV

Duration: 8’

Scoring and Range:

Trumpet in B-flat: e to c’’’

Piano

Crotales, glockenspiel, xylophone: B-flat to e’’’, bass drum, vibraphone,

marimba: B-flat to g’, snare drum, tom-toms, timpani: B-flat to c

Mutes: cup, straight, bucket


Richard Halligan (b. 1943, New York) studied theory and composition at the

Manhattan School of Music, earning a M.M. From 1967 to 1971 he toured with the band,

Blood, Sweat, and Tears as an arranger, composer, and performer (piano and trombone).

Since 1971, Halligan has resided in southern California, composing music for the film

industry.89

Dialogues is dedicated to Roy Poper, who commissioned the work. The jazz and

pop background of the composer is clearly apparent, although rhythmic variations and

melodic development keep the music from becoming predictable. Rather than

incorporate many percussion sounds within a given section of the music, the percussion


153

part displays gradual changes in instrumentation and calls for only one percussion

instrument at a time. The third movement includes some interesting overlapping rhythms

where, although notated in 12/8, three different meter patterns occur at the same time.

Except for a few short high-register passages, the trumpet part contains few

technical difficulties. The bulk of the percussion part consists of single line melodies on

crotales, marimba, and vibraphone. Although the percussion setup is quite large, moving

between instruments is never hurried. The piano part closely resembles pop music and it

may expedite rehearsals if the pianist has background experience in that style.

154

Heinick, David

Ritual: for B-flat Trumpet, B-flat Clarinet and Percussion (1977)

Seesaw Music Corp.

Trumpet grade: III Clarinet grade: III Percussion grade: III-

Duration: 8’

Scoring and Range:

Clarinet in B-flat: e to f ’’’

Trumpet in B-flat: e to b-flat’’

Nipple gong pitched on e, tenor drum, suspended cymbals, triangle,

tambourine, 5 temple blocks

Mutes: cup, straight, bucket

Unusual Notation: X = absence of meter As the title may suggest, Ritual is grounded in primitivism. The percussion part

keeps strong rhythms nearly throughout the entire piece. Usually, the trumpet and the

clarinet take turns playing with the percussion—first a fifteen-measure phrase built on a

three-note motive in the clarinet followed by a seven-bar segment built on a two-note

motive in the trumpet. Later, the phrases are shorter and begin to overlap while

developing the two motives. At the climax of the piece, the clarinet and trumpet finally

play unison rhythm in a harmonized multimetered melody with unexpected accents. As

the tension of the climax winds down, the trumpeter walks off-stage to end with a soft

passage similar to the opening statement built on a two-note motive. The composer

155

mentions the option of performing this piece with two dancers, but no further instruction

is given.

Technically, the most difficult parts of this piece are articulating sixteenth-note

passages (quarter note = 92; trumpet and clarinet), playing fortissimo up to f’’’ (clarinet),

and slurring from a’ to b-flat’’ during a crescendo from pianississimo to fortississimo

(trumpet).

156

Honma, Masao

Junction II for 3 Players

The Japan Federation of Composers Inc. (1996)

Trumpet grade: V Percussion grade: IV Piano grade: IV


Scoring and Range:

Trumpet in C: f-sharp to c’’’ (plus marking for as high as possible)

Piano

4 wood blocks, 8 tom-toms, bongo, 5 tai gongs, pigeon whistle, 2 wind

chimes, 5 cowbells, suspended cymbal

Mute: straight

Unusual Notation:

→ = accelerando ↑ = play as high as possible = event described at the bottom of the page

Masao Honma (b. 1930, Japan) was educated at Nihon University. His teachers

include Kiyohiko Kijma and Kanji Tonosaki.90

In this piece, the composer is extremely effective in creating a strong mood and

building intensity over a long period of time. The first three of trumpet entrances each

90Siwe, 1995, 187.

157

end with a long note, each time with a new manipulation: decrescendo, trill, then flutter-

tongue. These passages are reminiscent of a Japanese flute.

The majority of Junction II is easily playable in each of the three parts except in a

few key areas. For the trumpet, the difficult part requires twelve measures of fast

repetitions of sixteenth-note sextuplet passages between the range of g’’ to c’’’, followed

by several indications to play random notes as high and as fast as possible. Glissandi and

flutter-tongued passages are prominent throughout the piece. The pianist plays many

cluster chords and many repetitive patterns that are not technically difficult, but

occasional sixteenth-note lines require excellent technique. The percussionist is

responsible for stylistically bridging together many of the different aspects of this piece

and for providing a solid rhythmic foundation throughout the piece.

158

Hummel, Bertold

Trio: fur Trompete in C, Schlagzeug, und Klavier Opus 82a (1984)

Zimmermann Musikverlag (1992)

Trumpet grade: IV Percussion grade: IV Piano grade: IV


I. quarter note = 60 6’ 10’’

II. quarter note = 112 5’ 55’’

Scoring and Range:

Trumpet in C: f-sharp to c’’’

Piano

Vibraphone, snare drum, bongo, 2 tom-toms, 5 temple blocks, vibraslap,

4 cymbals, cup-chime (or small cymbal), rivet cymbal, gong, tam-tam,

4 tubular bells

Mutes: straight, wa-wa

Unusual Notation: There is long, somewhat improvised cadenza in the

percussion part that is based on five lines of partially notated music. These

five lines are interchangeable and create a solo that lasts up to two minutes

long (according to the composer’s instructions).

= accelerando, ritardando Bertold Hummel (b. 1925, Germany) attended the Musikhochschule in Freiburg,

Germany. Since 1963, he has been teaching at the Hochschule für Musik in Würzburg,

159

becoming President of the Hochscule in 1979. He is the composer of many lengthy

percussion solos and wrote an often-played sonatina for trumpet and piano.91

Trio: fur Trompete in C, Schlagzeug, und Klavier was composed for the 1984

opening ceremony of an international symposium in Rothenburg ob der Tauber, where it

was premiered. Hummel wrote the following in the preface of Trio:

The work consists of two movements. In the first movement, note sequences stand out against the sound texture produced by the piano, and are progressively compressed to reach their climax in 3 arioso passages. A short abgesang leads back to the mood prevailing at the beginning of the movement. The second movement is of a sharply contrasting nature in that it uses rhythmically pronounced figures forming interesting combinations of the different instruments but also sharp contrasts. The golden section of the movement is a cadenza played jointly in free notation, which combines all elements similar to a development section and demands a high degree of flexibility of the players. A solo improvisation by the percussion forms a transition to a concise reprise, which concludes the movement vigorously.

The trumpet part is written characteristically well for the trumpet. Quick

chromatic passages, flutter-tonguing, glissandi, and double-tongued passages up to c’’’

are commonplace. Both the percussion part and the piano part have a few technically

difficult passages. Mixed meter is prevalent throughout the piece. The combined

cadenza demands some thoughtful rehearsal time.


160

Ingólfsson, Atli

Musubi (1992)

Iceland Music Information Centre

Trumpet grade: V Percussion grade: V Piano grade: V

Duration: 7’50’’

Scoring and Range:

Trumpet in B-flat: f to b-flat’’

Piano

Marimba: A to c’’’’, vibraphone

Mutes: plunger, straight, Harmon, velvet

Unusual Notation: A series of stemmed notes with three slashes through each

stem presumably implies flutter-tonguing, although it is not explicitly

notated until the third occurrence.

Atli Ingólfsson (b. 1962, Iceland) studied classical guitar, theory, composition,

and philosophy in Iceland. Additional compositional studies took Ingólfsson to Paris and

Italy. He was the First Prize winner of the 1985 Icelandic Radio Composition

Competition for Young Composers, and in the same year, he published a book of

poetry.92

In spite of the very playable range of the trumpet part, this is a challenging piece

92Houtzager, The Gaudeamus Foundation 1999. Atli Ingolfsson-1962-Averso, Gaudeamus Music Week. <http://www.xs4all.nl/~gaud/biobak/> (1 Apr. 2000).

161

for each performer in terms of rhythm, awkward intervals, and ever-changing

articulations. Since many passages require marimba and vibraphone at the same time, the

percussionist must construct an extension for the vibraphone pedal in order to operate the

pedal while standing in front of the marimba. This piece will take substantial rehearsal

time due to the rhythmic complexities.

162

Kupferman, Meyer.

Moon Games (1987)

Soundspells Productions (1987)

Trumpet grade: V Flute grade: V Percussion grade: V

Duration: 11’

I. On the Slow Side: 4’

II. On the Fast Side: 3’

III. Jazzy: 4’

Scoring and Range:

Flute

Trumpet in B-flat (optional flugelhorn): f-sharp to c’’’

Vibraphone

Mutes: cup, Harmon, wa-wa

Unusual Notation: Each of the three parts appear to be written in traditional

notation, however, the manner in which these parts are performed is

unique because each movement has four “Look and Choose” phrases

whose starting point and tempo are different from the other two parts.

Meyer Kupferman (b. 1926 New York) has been Professor of Chamber Music and

Composition at Sarah Lawrence College since 1951, where he has also served as

chairman of the music department for five terms. He has been awarded grants and

fellowships from the Guggenheim Foundation, the Ford Foundation, the Rockefeller

Foundation, and the National Endowment for the Arts. Kupferman is a virtuoso

clarinetist who has premiered over sixty solo and chamber works composed specifically

163

for him. In addition to being a very prolific composer, Kupferman has published a two-

volume study of chromatic techniques in contemporary jazz.93

Moon Games is clearly a musical composition based on chance. Kupferman

explains in the instructions that each movement offers four “Look and Choose” phrases

that the players are to perform in any order, resting for ten to sixty seconds between each

phrase. What Kupferman refers to as “phrases” are actually short tunes consisting of

several phrases with some lasting over one minute in length. Each instrumental part has

twelve tunes of contrasting natures that not only contrast the style of the previous

movement, but also contrast the style and the tempo that the other instruments play

simultaneously. Only once, during the last tune of the third movement, do the three

players ever play the same tempo or the same style as the other players. At this point, all

three instrumentalists play a tune entitled, “Lonely Moon Blues” and an improvisation by

the trumpeter ensues.

The trumpet part contains easy and difficult tunes, the most difficult of which

require a great deal of flexibility and fast double tonguing. The “Lonely Moon Blues”

improvisation in the trumpet part is on top of a relatively complicated set of chord

changes, requiring an experienced improviser. The tunes in the flute part are filled with

fast-moving passages involving little rest. The vibraphone part primarily makes use of

single-note melodies, yet two of the slow tunes involve four-mallet chords. The

vibraphonist must provide a jazz accompaniment from the chord progression that is

supplied to “Lonely Moon Blues.”

93Sigma Alpha Iota, International Music Fraternity 2001. Meyer Kupferman.

<http://sai-national.org/pubs/win00/mkupferm.html> (20 Mar. 2001).

164

Lindenfeld Harris.

Combinations I: The Last Gold of Perished Stars (1974)

American Composers Alliance (1974)

Trumpet grade: V Percussion 1 grade: IV+ Percussion 2 grade: IV


Scoring and Range:

Trumpet in B-flat: f to d’’’

Percussion 1: Antique cymbals (brass mallets), flexatone, snare drum, tom

toms, tenor drum

Percussion 2: Claves, vibraphone, triangle, woodblock, brake drum,

ratchet, triangle, timpanum, tam tam (with bass bow)

Mute: none


Harris Lindenfeld (b. 1945) received a B.A. from the University of Virginia in

1969, a M.A. from the University of Virginia in 1971, a D.M.A. from Cornell University

Graduate School in 1975 and a Juris Doctor from Cornell Law School in 1986.94

Combinations I begins with a slow (quarter = 40) opening section that features

solo trumpet and trumpet with sparse percussion accompaniment. The second section

begins at quarter = 96 and contains driving rhythms. This section builds in intensity

through an increased density of notes in all three parts, increased dynamics, increased

tempo, and increased range in the trumpet part. The slow theme is recapitulated in the

94Martindale-Hubbell 2000. Lindenfeld Law Firm, P.C. <http://www.lindenfeldlaw.com/> (28

Apr. 2001).

165

final moments of the piece. Although there are a few meter changes, the piece is

predominantly in 4/4 meter with various subdivisions of the quarter note. Combinations I

appears on the LP recording, Maurice Stith plays Contemporary Literature for Trumpet,

featuring Maurice Stith on trumpet and Harris Lindenfeld and Christopher Rouse on

percussion instruments.

The trumpet part contains several difficult fast passages requiring flexibility in the

range between f’’ and c’’’. The most difficult section involving range and endurance is at

the end of the fast section of the piece where, after eleven measures of playing fast, high

passages without a single rest, the trumpet part ascends to a fortissimo d’’’ and holds it

for three measures. The percussion parts involve fewer notes and fewer rhythmically

complex sections than the trumpet part. Lindenfeld transitions from the fast portion back

to the slow portion through the use of a roll on an antique cymbal placed upside down on

the head of a timpanum while manipulating the pedal of the timpanum.

166

Michel, Paul-Baudouin

Colloque: Trio pour Trompette, Piano et Percussion (1967)

Ce Be De M. (1970)

Trumpet grade: V Percussion grade: V Piano grade: V

Duration: 16’

I. Adagio/Allegretto 6:30

II. Lento/Andante 4:20

III. Allegretto 5:10

Scoring and Range:

Trumpet in C: g-sharp to d’’’

Piano

Xylophone, guiro, vibra-slap, 2 temple blocks, 1 woodblock, 1 triangle,

2 cow-bells, hi-hat, 2 suspended cymbals, tam-tam, maracas, tenor

drum, snare drum, 2 tom-toms, 2 timbales

Mutes: metal straight, cardboard straight, cup


Paul-Baudouin Michel (b. 1930, Belgium) studied composition at Queen Elisabeth

Music Chapel in Brussels and attended summer courses in Darmstadt with Ligeti, Boulez,

Maderna, and Messiaen. He has written works including a large number of brass and

percussionists, such as Le Feu et le monde for narrator, vocal soli, chorus, organ, twelve

167

trumpets, and percussion (1970). His smaller-scale compositions for brass include

Gravures for two trumpets and horn (1972).95

Colloque is one of the major compositional efforts of its genre. Completed in

1967, it is the earliest composed trio in this compilation. All three performers are

challenged rhythmically and technically in this multi-metered, highly chromatic

composition.

The trumpet part demands a great deal of mental and physical stamina from the

performer. No single excerpt from the trumpet part is unplayable by the majority of

advanced performers, but stringing together so many technical passages over sixteen

minutes is challenging for all. The technically difficult sections require multiple tonguing

and flexibility in a manner similar to the French trumpet works of Tomasi and Jolivet.

95Nicolas Slonimsky, ed., 1997, 912-913.

168

Plagge, Wolfgang

Drafniania: A Tribute to Rasmus Sandvik (1990)

Norwegian Music Information Centre

Trumpet grade: III- Percussion 1 grade: II Percussion 2 grade: II


Scoring and Range:

Trumpet in B-flat: b-flat to g’’

2 military drums (one player for each), optional gong (for one note)

Mute: none


The composer indicated that the Norwegian municipality of Drammen

commissioned this short march. The melody is tuneful throughout and is based on the

Drammen song, which appears in its original form on its fourth and final occurrence—

first unaccompanied, then ending with a drum roll. The military drum parts consist

primarily of simple rudiments, but the parts are difficult to read due to unclear

penmanship. Plagge maintains a sense of humor with the use of extreme dynamic

contrasts in the melody and simple, repetitive rhythms in two drums.

169

Reynolds, Roger.

…the serpent-snapping eye (1978-1979)

C. F. Peters Corp. (1980). Out of print, available from University of Arizona

through inter-library loan

Trumpet grade: V Piano grade: V Percussion grade: V

Duration: 20’

Scoring and Range:

Trumpet in C: E to d’’’

Piano

2 triangles, glockenspiel, vibraphone, marimba, tubular chimes, 2 cow

bells (high / low), 2 tom toms (high / low), pedal timpani F-c

4-channel computer-synthesized sound

Mute: straight

Unusual Notation: The taped synthesized sounds occur for the duration of the

piece and a visual representation of the tape is included in the score along

with an incremental time line. Spatial notation is used throughout and

instructions pertaining to pitch selection, note length, and special effects

are commonly written in the score. In addition, a sophisticated key for

mallet indications clearly shows the use of up to four different types of

mallets on a single passage.

Roger Reynolds (b. 1934, Michigan) was educated in music and science at the

University of Michigan. His compositions incorporate elements of theater, electronic

170

signal processing, and video. Reynolds was awarded the Pulitzer Prize for his string

orchestra composition, Whispers

Out of Time, and has received orchestral commissions from the Philadelphia, Los

Angeles and BBC Orchestras.96

…the serpent-snapping eye was first performed on January 31, 1979 at the

Mandeville Center for the Arts (La Jolla, CA) by the Sonor Ensemble, featuring

Edwin Harkins, trumpet; Jean-Charles François, percussion, and Cecil Lytle, piano.

It is dedicated to Max Mathews and Reynolds acknowledges Edwin Harkins and Jean-

Charles François for their help in editing the trumpet and percussion parts. The

composition is based on images from Herman Melville’s Moby Dick. Reynolds provides

the following performance notes with the score:

The work explores the way performers can join with the rich fabric of taped sound. In the first of three sections, the primary aim is to match, to submit to and intensify the taped sound. The second introduces greater independence as the performers respond, reflecting on the models provided by the tape. In the final section, the players are to complement and elaborate on, to augment the synthesized sounds.

…the serpent-snapping eye is recorded on an LP entitled, The serpent-snapping

eye…,featuring Edwin Harkins on trumpet, Daryl Pratt on percussion instruments, and

Cecil Lytle on piano.

The trumpet part contains several specialized trumpet techniques that were

developed by Edwin Harkins at the University of California, La Jolla. Some of the

techniques in …the serpent-snapping eye that are uncommon in trumpet repertoire

96Karen Reynolds 2000. The Roger Reynolds Website. <http://www.rogerreynolds.com/> (15 Apr.

2001).

171

include the use of half-valve, extended use of pedal register, wide arpeggio glissandi,

multiphonics created by singing and playing at the same time, and microtonal

manipulations of the third-valve slide. More common extended trumpet techniques are

also found in this piece, such as the use of false-fingering tremolos, flutter tonguing, and

wide vibrato. Both the pianist and the trumpeter are called on to play the tubular chimes

at different junctures in the piece. The piano part also makes use of special techniques

such as dampening strings with fingers, forearm clusters, a rasp across strings, and a

rolled chromatic cluster with forearm. The piano part and the percussion part frequently

start events simultaneously, requiring a setup that will allow for eye contact between the

players. The percussion part is made difficult by rapidly changing percussion instruments

and the simultaneous use of vibraphone and marimba.

172

Riley, James

Dialogue for Trumpet and Percussion (1974)

Bryn Mawr (subsidiary of Theodore Presser)

Trumpet grade: IV Percussion 1 grade: IV Percussion 2 grade: IV


I. Ride: 1’ 40’’

II. Prisms: 3’ 30’’

III. March 1’ 40’’

Scoring and Range:

B-flat trumpet: e-b’’ (plus a squeal as high as possible)

Percussion 1: finger cymbal, 10’’ small suspended cymbal, large

suspended cymbal, high and medium maracas, small and large triangle,

snare drum, glockenspiel, snare drum

Percussion 2: small cowbell, 3 tom toms, timpani (23’’ G, 25’’ D, 28’’

A-flat), high and low woodblocks, bass drum with foot pedal,

vibraphone, 5 temple blocks



James Riley (b. 1938, Louisiana) received a M.M. from North Texas State

University and a D.M.A. from the University of Texas. His teachers included Samuel

Adler, Hunter Johnson, and Kent Kennan.97

97Siwe 1998, 346.

173

The two outer movements of Dialogue quickly change between 3, 4, and 5 eighth

notes per measure, while the middle movement does not specify how many eighth notes

are in each measure. The second movement features the trumpet in a very slow (quarter

note = 36) and highly chromatic melody.

Performance difficulties include vertical alignment in the mixed-meter sections

and careful attention to the detailed dynamic markings and marks of expression. Eighth

notes remain in constant pulse through all the mixed-meter sections.

174

Sanders, Greg.

Glass Dreams (1982)


Trumpet grade: IV Percussion grade: IV Piano grade: IV

Duration: 13’

Scoring and Range:

Trumpet in B-flat: b to a’’, 3 water-tuned glass crystals (a’, b’, c-sharp’’)

Piano (a small cluster-board, a metal plectrum, and a small hard rubber

eraser are needed.)

Vibraphone (string bass bow needed)

Mute: straight

Unusual Notation: An “x” is used to designate and absence of meter. In

addition, there are two special effects that require unusual notation.

First, the piano is to lightly move a rubber eraser over the strings within a

certain range that changes with time. Sanders simply notated the outer

limits of the range with the correct rhythmic values and shaded in the areas

between pitches. Secondly, the vibraphonist is instructed to slowly move

4 mallets over the keys. The coiled line that Sanders choose to represent

that motion could be interpreted as an overlapping circular motion on the

vibraphone keys.

Greg Sanders (b. 1957, Tennessee) has studied composition with Larry Austin,

Jared Spears, Phil Winsor, Claude T. Smith, Francis McBeth, and Aaron Copland. He is

currently Associate Professor of Music at Texas A&M University-Kingsville where he

175

serves as Coordinator of Theory and Composition Studies. He has received awards from

Broadcast Music Incorporated, Sigma Alpha Iota, ASCAP, College Band Directors

National Association, MENC, National Federation of Music Clubs, Music Teacher

National Association, the Lilly Foundation, and a Pulitzer Prize Nomination for his

orchestral work Prairie Dreams: The River's Echo. Some other compositions by Sanders

that include trumpet are: Stigmata for solo trumpet, Circus Music for brass quintet, and

Two Pieces for Brass Quintet.98

Glass Dreams explores some of the less-common sounds that one might expect to

hear from this combination of instruments. These sounds are created by a muted and

plucked piano, a bowed vibraphone, bending pitches in the trumpet part, and the glass

crystals played by the trumpeter. This piece is in a slow tempo throughout and the softer

dynamic range is predominant. The lyrical trumpet melodies are very tonal, whereas the

vibraphone and the piano parts often create atonal effects.

The trumpet part is not overly taxing, but a quiet and slow lyrical passage that

contains large leaps requires masterful control. The pitch bends from b’ to c’’ may be

accomplished by fingering the b’ with second and third valves, with the third valve slide

fully extended, using the third slide to ascend and descend the half-step. Bowed portions

of the vibraphone part are in unmeasured time, so the performer should have adequate

time for each note to sound. The piano part frequently requires the strings of the piano to

be sounded by plucking and strumming.

98Greg Sanders 2001. Greg Sanders: Composer, Conductor. <http://www.qaccess.net/~gsanders/>

(18 Apr. 2001).

176

Smith, Stuart Saunders

Blue: for Trumpet, Drum Set and Double Bass (1979)

Smith Publications


Trumpet grade: VI Percussion grade: VI Double Bass grade: VI

Scoring and Range:

Trumpet (assumed B-flat): e-flat to f’’’

Double Bass (amplified): G’’’’ to g’ (assuming sounding an octave lower)

Drum Set: high hat, bass drum, floor tom-tom, snare drum, high tom-tom,

and cymbal

Mute: none

Unusual Notation: The majority of this piece is divided into “events” that are

separated by double apostrophe marks (’ ’). In each “event,” the

performer chooses the tempo, articulation, and special effects. Within

each event an optional pause of up to two seconds is indicated by a single

apostrophe mark (’).

Stuart Saunders Smith (b. 1948, Maine) was educated at Berklee College of Music

and Hartt School of Music, where he received his D.M.A. in 1977. Composition teachers

included Edward Diemente and Herbert Brün, both of whom have citations in this

bibliography. Smith has taught at Hartt School of Music and the University of Maryland.

He has written several innovative percussion works and owns and operates his own

177

publishing company, Smith Publications.99

Although Blue is based, in part, on a Louis Armstrong recording of “I Don't Know

Why I'm So Black and Blue,” it is difficult to notice a resemblance. Blue is extremely

dissonant and rhythmically complex, which is suitable to the composer’s intention of

resembling a “New Thing group of the 1960s.” In the entire piece, the three parts align

vertically for only eight measures. The rest of the piece has clearly marked rhythms, yet

each performer is to start at a tempo of their own choosing, making vertical alignment

different every time. Unusual performance techniques include: improvised solos for the

drummer and the bass player, microtonal bends for the bass and trumpeter, extremely

wide range for trumpeter and bass player, and the bassist is asked to sing and play in

unison in the style of Slam Stewart. Instructions for the two improvised drum solos call

for “abstract and irrational patterns.”

The difficulty of this piece is tremendous for each of the three players. Although

each player is at his/her own tempo, the composer insists on precise rhythmic accuracy.

Ratios such as 5:quarter-note, 7:half-note, and 22:half-note are commonplace in all three

parts. The awkwardness of the intervals in the atonal lines of the bass and trumpet make

this piece unusually difficult.

99University of Akron Bierce Library 1998. Composers.

<http://www.uakron.edu/ssma/composers/Smith.shtml> (7 Apr. 2001).

178

Van Vactor, David

Economy Band: 5 Pieces for Trumpet, Trombone, and Percussion (1963)

Mentor Music (1971)


Trumpet grade: IV Trombone grade: IV- Percussion grade: III

Scoring and Range:

B-flat trumpet: b-flat to c’’’

Trombone: B-flat to g

Bass drum, piccolo snare drum, cymbals, military drum without snare,

tam-tam, suspended cymbal, triangle

Trumpet Mute: straight

Trombone Mute: straight


David Van Vactor (b. 1906, Indiana, d. 1994, Los Angeles) attended Northwestern

University and later studied composition with Paul Dukas in Paris. He was a well-known

composer, flutist, and conductor. Some of his numerous appointments were: flutist with

the Chicago Symphony Orchestra; theory professor at Northwestern University; assistant

conductor of the Kansas City Philharmonic Orchestra; founder of the Department of Fine

Arts at the University of Tennessee, Knoxville; and conductor of the Knoxville

Symphony Orchestra. Van Vactor wrote over one hundred compositions, including seven

symphonies and nine concertos. He wrote five etudes for trumpet as well as Economy

179

Band No. 2, which also calls for percussion.100

Four out of the five pieces in Economy Band represent a type of march. The

pieces are light in nature and have just about the right amount of divergence from

tradition to make the piece humorous to the listeners. Although originally conceived for

trio performances, the composer states the possibility of doubling parts to fit the

performance situation, e.g., using entire trumpet, trombone, and percussion sections if

performed by a concert band or a wind ensemble.

Unquestionably, the greatest difficulty for the trumpeter is endurance. There are

very few rests in Economy Band and sometimes the tessitura stays in the upper-middle

and upper registers for many measures. The trombonist is also challenged by the lack of

resting spots, however the tessitura is not as high, making it slightly easier than the

trumpet part. The percussion part is not difficult and plays an accompanimental role.


180

BIBLIOGRAPHY

Books Altenburg, Johann Ernst, trans. Edward H. Tarr. Trumpeters’ and Kettledrummers’ Art. Nashville, TN: The Brass Press, 1974. Anderson, Paul, and Lisa Ormston Botrager. Brass Music Guide: Ensemble Music in Print. Northfield, IL: Instrumentalist Company, 1987. Bate, Philip. The Trumpet and Trombone. New York: Norton, 1978. Blades, James. Percussion Instruments and their History. Boston: Faber & Faber, 1984. Cansler, Philip T. Twentieth-Century Music for Trumpet and Organ. Nashville, TN: The Brass Press, 1994. Carnovale, Norbert A., and Paul F. Doerksen. Twentieth-Century Music for Trumpet and Orchestra. Nashville, TN: The Brass Press, 1994. Combs, Michael. Solo and Ensemble Literature for Percussion. Knoxville, TN: Percussive Arts Society, 1978. Corley, Robert, ed. Brass Player's Guide to the Literature. North Easton, MA: Robert King, 1994. Eisensmith, Kevin, ed. Trumpet and Brass Programs 1994-1995, 1995-1996, 1996-1997, 1997-1998, 1998-1999,1999-2000. Columbia, SC: International Trumpet Guild, 1995-2000. Lowrey, Alvin. Lowrey’s International Trumpet Discography. Columbia, SC: Camden House, 1990. Morton, Brian, and Pamela Collins, eds. Contemporary Composers. Chicago: St. James Press, 1992. Siwe, Thomas, ed. Percussion Solo Literature. Champaign, IL: Media Press Inc., 1995. Siwe, Thomas, ed. Percussion Ensemble Literature. Champaign, IL: Media Press Inc., 1998.

181

Articles in Journals Lyren, Del. “The 1997 ITG Composition Contest for Trumpet and String Quartet,” International Trumpet Guild Journal. Vol. 22, No. 1 (1997), 50.

Articles in Encyclopedias, and Dictionaries ASCAP Biographical Dictionary, 4th ed. New York: Bowker, 1980. Anderson, Ruth E., ed. Contemporary American Composers: A Biographical Dictionary, 2nd ed. Boston: G. K. Hall & Co., 1982. Cummings, David M. ed. International Who’s Who in Music and Musicians' Directory, 12th ed. Cambridge, England: Melrose Press, 1990. Hitchcock, H. Wiley, and Stanley Sadie, eds. The New Grove Dictionary of American Music. Vols. 1-4. New York: Macmillan, 1986. Jaques Cattell Press, ed. Who’s Who in American Music: Classical. New York: R. R. Bowker, 1983. Morton, Brian, and Pamela Collins, ed. Contemporary Composers. Chicago: St. James Press, 1992. Sadie, Stanley, ed. The New Grove Dictionary of Music and Musicians. S.v. “Darasse, Xavier.” by Paul Griffiths. London: Macmillan, 1980. Sadie, Stanley, ed. The New Grove Dictionary of Music and Musicians. S.v. “Jolivet” by Arthur Hoérée. London: Macmillan, 1980. Sadie, Stanley, ed. The New Grove Dictionary of Music and Musicians. S.v. “Drum, 1: General,” by James Blades. London: Macmillan, 1980. Sadie, Stanley, ed. The New Grove Dictionary of Music and Musicians. S.v. “Trumpet, 1:

Terminology and Classification,” by Edward H. Tarr. London: Macmillan Publishers Limited, 1980.

Slonimsky, Nicolas, ed. Baker’s Biographical Dictionary, 8th ed. New York: Schirmer

Books, 1992. Slonimsky, Nicolas, ed. Baker's Biographical Dictionary of Twentieth-Century Classical Musicians. New York: Schirmer Books, 1997.

182

Doctoral Dissertations Burgess, Jon Wesley. “An Annotated Bibliography of Trumpet Ensemble Music (for Five or More Trumpets).” D.M.A. diss., Arizona State University, 1988. Cheadle, Richard Dean. “A Bibliography of Multimedia Solo Percussion Works with an Analysis of Performance Problems.” D.M.A. diss., University of Northern Colorado, 1983. Dissertation Abstracts International, 44-10A, AAI8328487. Poole, Don Walter. “An Annotated Listing of Selected Multiple Percussion Solos from

the University Interscholastic League Prescribed Music List.” D.M.A. diss., Lamar University. Dissertation Abstracts International, 29-01, AAI1341519.

Rutan, Harold Duane. “An Annotated Bibliography of Written Material Pertinent to

the Performance of Brass and Percussion Chamber Music.” Ed.D. diss., University of Illinois, 1960. Dissertation Abstracts International, 21-11, AAI6100196.

Titcomb, Caldwell. “The Kettledrums in Western Europe: Their History Outside the

Orchestra” Ph.D. diss., Harvard University, 1952. Ulrich, Paul Bradley. “An Annotated Bibliography of Unaccompanied Trumpet Solos

Published in America.” D. M. A. diss., University of Illinois, 1989. Dissertation Abstracts International, 50-07A, AAI8924962.

Musical Scores Tull, Fisher. Concerto No. 2 for Trumpet and Orchestra (or Band). New York: Boosey & Hawkes, 1978. Zbinden, Julien François. Concertino for Trumpet, String Orchestra, and Drum Op. 6.

Mainz, London: Schott’s Söhne, 1959.

Interview Billingsley, William A., telephone interview by writer, 19 March 2001.

183

Internet Web Sites After Quartet. “After Quartet.” (2001). <http://www.afterquartet.com/about.html> (Apr. 16, 2001). Arlin, Mary I. “Ithaca College, School of Music.” (2001):

<http://www.ithaca.edu/music/index.html> (6 Apr. 2001). Canfield, Kathy: “The Juilliard School.” (1999): <http://www.juilliard.edu> (1 Apr. 2000). Center for the Promotion of Contemporary Composers. “Daniel W. McCarthy, Composer

(BMI).” <http://www.under.org/cpcc/index.html> (17 Feb. 2001). Harris, Marilyn. “Marilyn Harris: Singer, Songwriter, Composer.” (2000):

< http://marilynharris.com/index.html> (1 Apr. 2000). Houtzager, M. R. “The Gaudeamus Foundation—Atli Ingolfsson-1962-Averso, Gaudeamus Music Week.” (1999): <http://www.xs4all.nl/~gaud/biobak/> (1 Apr. 2000). Martindale-Hubbell. “Lindenfeld Law Firm, P.C.” (2000):

<http://www.lindenfeldlaw.com/> (28 Apr. 2001). Molineux, Allen. “Chipola Junior College Fine and Performing Arts.” (2000): <http://www.chipola.cc.fl.us/fine&performingarts/MolineuxA.html> (14 Apr. 2001). On Line Computer Library Center, Inc. “First Search” (2000)

<http://firstsearch.oclc.org/> (1 Apr. 2000). Reynolds, Karen. “The Roger Reynolds Website.” (2000):

<http://www.rogerreynolds.com/> (15 Apr. 2001). Sanders, Greg. “Greg Sanders: Composer, Conductor.” (2001): <http://www.qaccess.net/~gsanders/> (18 Apr. 2001). Sigma Alpha Iota, International Music Fraternity. “Meyer Kupferman.” (2001): <http://sai-national.org/pubs/win00/mkupferm.html> (20 Mar. 2001). Stomvi-Honiba. “Maurice Benterfa.” <http://members.aol.com/benterfa/cveng.htm> (1Apr. 2000). University of Akron Bierce Library. “Smith Archives: Composers.” (2001):

<http://www.uakron.edu/ssma/composers/Buss.shtml> (6 Apr. 2001).

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University of Akron Bierce Library. “Smith Archives: Composers.” (2001): <http://www.uakron.edu/ssma/composers/Smith.shtml> (6 Apr. 2001).

University of Michigan. “The University of Michigan, School of Music.” (2000): < http://www.music.umich.edu/> (1 Apr. 2000). Wolfram, Mark. “Mark Wolfram, Composer.” (1999): <http://www.markwolfram.com> (1 Apr. 2000).

185

APPENDIX A

LIST OF TRUMPETERS AND PERCUSSIONISTS

WHO RESPONDED TO THE REPERTOIRE SURVEY

186

The original list of fifteen trumpeters and ten percussionists, who were sent a

survey, was gathered with the help of a panel of graduate students and faculty members at Arizona State University. A few names of important contacts surfaced along the way and those names are also included.

Trumpeters:

Leonard Candelaria, University of North Texas Allan Dean, Yale University Armando Ghitalla, Rice University David Hickman, Arizona State University Anthony Kirkland, member, Baker Street Duo Robert Levy, member, Wilder Duo Raymond Mase, Juilliard School Brian J. McWhorter, Endy Emby Duo, New York Robert Nagel, former member, New York Brass Quintet, publisher Anthony Plog, Freiburg Hochschule für Musik, Germany Raymond Sasaki, University of Illinois Edward Tarr, Schola Cantorium, Basel, Switzerland Percussionists: John Bergamo, California Institute of the Arts David Jarvis, Washington State University John Pennington, Fort Lewis College Mike Rosin, Oberlin Conservatory Thomas Siwe, University of Illinois Gordon Stout, Ithaca Collage, member, Wilder Duo Michael Udow, University of Michigan

187

APPENDIX B

OTHER TRUMPET AND PERCUSSION CHAMBER WORKS

188

This list includes pieces that have been composed since the cutoff date determined for this paper (Dec. 31, 1999) and pieces that were not obtained for citations because of their remote location. Several of the later type of pieces can be found in libraries that were not willing to lend these scores through inter-library-loan. These libraries are listed at the end of the citation. Andrix, George. Duo for Trumpet and Marimba (1979). Trumpet, marimba. University of

Illinois.

Boudreay, Michelle. Sans Titre (1981). Trumpet, piano, multiple percussion. University of Illinois. Collins, Jay. Aztec Fiesta (1983). Trumpet, multiple percussion. Manuscript. University of Illinois. Crumb, David. Mosaic (2000). Trumpet, multiple percussion. Manuscript. Available from composer. Dorsam, Paul. Haec Dies (1979). Trumpet, marimba. Manuscript. University of

Illinois. Elliott, Jonathan. Round for Trumpet, Mallet Percussion, and Piano (1989). Manuscript. Carnegie Library of Pittsburgh. Ellis, Merril. Einyah Festival. Trumpet, piano, percussion. Manuscript. Ericson, Robert. Oceans. Trumpet, percussion. Manuscript. Oberlin. Headwall, Paul. Canons and Dances for Trumpet in C, Trombone, and Percussion (1975). Manuscript. University of Alabama. Jankowski, Loretta. Four Haiku (1980). Trumpet, marimba. Manuscript. University of

Illinois. Johansen, Bertil Palmar. Weaving. Trumpet, percussion, tape. Trondheim, Norway. Kappay, P. Soldier’s Trumpet. Trumpet, xylophone. Korda, Viktor. Trio Suite. Trumpet, bassoon, xylophone. Ludwig Doblinger K. G.

Library of Congress. Lowergren, Bo. Rondo. Trumpet, marimba. Manuscript. Oberlin. Powell, Morgan. Fine Tuning (2000). Clarinet, trumpet, metal percussion. Media Press.

189

Rogers, E Amelia. Quension for C Trumpet and Percussion (1979). Manuscript. C Trumpet, piano, vibraphone. Manuscript. University of Kansas.

Wenzel, Hans J. Eroffnungsmusik; Trio (1988). Trumpet, piano, percussion. New York Public Library Reserve Library.

190

APPENDIX C

DISCOGRAPHY

191

Beney, Alain. Flashes. (The Art of Trumpet and Percussion, [Edward Sandor, trumpet; Thomas McCutchen, percussion] ACA Digital #20042, March 31, 1998). Cirone, Anthony. Sonata No. 2 for Percussion and Trumpet. (The Art of Trumpet and

Percussion, [Edward Sandor, trumpet; Thomas McCutchen, percussion] ACA Digital #20042, March 31, 1998).

Erb, Donald. Diversion for Two. (The Art of Trumpet and Percussion, [Edward Sandor, trumpet; Thomas McCutchen, percussion] ACA Digital #20042, March 31, 1998). Erb, Donald. Diversion for Two. ([Roger Murtha, trumpet; Tele Lesbines, percussion] Opus One, 1966). Leonard, Stanley. Fanfare and Allegro. (The Art of Trumpet and Percussion, [Edward

Sandor, trumpet; Thomas McCutchen, percussion] ACA Digital #20042, March 31, 1998).

Level, Pierre-Yves. Les Gemeaux. (Musique Française pour Trompette et Percussion,

[Eric Aubier, trumpet; Didier Vérité, percussion] ADDA, France, #581225, April 1990).

Lindenfeld, Harris. Combinations I: The Last Gold of Perished Stars. (Maurice Stith

plays Contemporary Literature for Trumpet, [Maurice Stith, trumpet; Harris Lindenfeld, percussion; Christopher Rouse, percussion], Golden Crest, RE 7068, 1976).

Kraft, William. Encounters III. (The Art of Trumpet and Percussion, [Edward Sandor, trumpet; Thomas McCutchen, percussion] ACA Digital #20042, March 31, 1998). Kraft, William. Encounters III. (Thomas Stevens [Thomas Stevens, trumpet; Mitchell Peters, percussion] Crystal #667). Jolas, Betsy. E A (Musique Française pour Trompette et Percussion, [Eric Aubier, trumpet; Didier Vérité, percussion] ADDA, France, #581225, April 1990). Jolivet, André. Heptade: pour Trompette et Percussion. ([Maurice Andre, trumpet; Sylvio Gualda, percussion] Erato, STU 70691, 1974). Jolivet, André. Heptade: pour Trompette et Percussion. ([Graham Ashton, trumpet; Gregory Knowles, percussion] Virgin Classics: VC 5 45003 2, 1992). Jolivet, André. Heptade. (Musique Française pour Trompette et Percussion, [Eric

Aubier, trumpet; Didier Vérité, percussion] ADDA, France, #581225, April 1990) Also on (Jolivet: L'Oeuvre pour Trompette Pierre Varany, France, #796092, Oct. 22, 1996).

192

McCarthy, Daniel. Infinity. (New Music for Trumpet, [Edward Bach, trumpet; Cort McClaren, percussion], Capstone Records, 1998). Also on (Keyboard Percussion Music: McCarthy, Capstone Records, 1998).

Reynolds, Roger. …the serpent-snapping eye. (The serpent-snapping eye…, [Edwin

Harkins, trumpet; Daryl Pratt, percussion; Cecil Lytle, piano], Composers Recordings, CRI SD 495, 1984).

Satterwhite, Marc. Músico en la Nada: Meditations on a Photograph by Flor Garduño. (Michael Tunnel Mixed Doubles, Coronet CD 401-2). Vogel, Roger. Temporal Landscape Number Six. (The Art of Trumpet and Percussion,

[Edward Sandor, trumpet; Thomas McCutchen, percussion] ACA Digital #20042, March 31, 1998).

Vogel, Roger. Voyages. (The Art of Trumpet and Percussion, [Edward Sandor, trumpet; Thomas McCutchen, percussion] ACA Digital #20042, March 31, 1998).

193

APPENDIX D

ADDRESSES OF PUBLISHERS AND OTHER SOURCES

194

Alfred Publishing Co., Inc. 16380 Roscoe Blvd. P.O. Box 10003 Van Nuys, CA 91410 http://www.alfredpub.com/ American Composers Alliance 170 W. 74th Street New York. NY 10023 http://www.composers.com/ Editions BIM CH-1630 Bulle Switzerland http://www.brass-bulletin.ch/cgi-local/web_store/web_store.cgi Balquhidder Music P.O. Box 856 Montrose, CA 91021 http://home.earthlink.net/~balqmusic/ Billaudot 14 Rue de l'Echiquier F-75010, Paris France http://www.presser.com/index.html Billingsley, William A. 108 N Monroe St Moscow, ID, 83843-3342 Boosey & Hawkes, Inc. 35 East 21st Street New York, NY 10010 http://www.booseyandhawkes.co.uk/ Bosse Editing Heinrich Schutz Allee 35 D 34131 Kassel Germany Boston Music Co. 172 Tremont Boston, MS 02111

Bote & Bock Hardenbergstrasse 9 a 10623 Berlin Germany Brixton Publications 4311 Braemar Ave. Lakeland, FL 33813 http://www.xs4all.nl/~marcz/hjbuss.html Howard J. Buss Publications 4311 Braemar Ave. Lakeland, FL 33813 http://www.xs4all.nl/~marcz/hjbuss.html Canadian Music Centre Chalmers House 20 St. Joseph St, Toronto Ontario M4Y 1J9 Canada http://www.musiccentre.ca/ Ce Be De M, Brussels Rue d, Arlon 75-77 B-1040, Bruxelles Belgium Circle Blue Print Co. 225 West 57th Street New York, NY 10019 David Crumb School of Music 1225 University of Oregon Eugene, OR 97403 Donemus Paulus Potterstraat 16 1071 CZ Amsterdam The Netherlands URL: http://www.donemus.nl/

195

Dorn Publications, Inc. P.O. Box 206 Medfield, MA 02052 http://www.dornpub.com/ European American Music Distributors 15800 N.W. 48th Avenue Miami, FL 33014 http://www.eamdc.com/unver.html Eric Ewazen 127 W. 96th St. #8A New York, NY 10025 G and L Publishing Stevens Point, WI 54481 Iceland Music Info. Center 34 Sidumúli 108 Reykjavík Iceland John Immerso 31 Arpad St. Hicksville, NY 11801 Japan Fed. Of Comp., Inc. #307 5th Sky Bldg., 3-3-8 Sendagaya, Shibuya-ku Tokyo, 151 Japan http://www.musicfromjapan.org/ mfjdata.html Lang Percussion Company c/o Music for Percussion 170 N.E. 33rd Street Ft. Lauderdale, FL 33334 Alphonse Leduc 175, Rue Saint-Honore 75040 Paris Cedex 01 France http://www.alphonseleduc.fr/english/index_main_neu.htm

Max Lifchitz—Music University at Albany State University of New York 1400 Washington Ave. Albany, NY 12222 MMB Music, Inc. Contemporary Arts Building 3526 Washington Avenue Saint Louis, Missouri 63103-1019 http://www.mmbmusic.com/ Margun Music 167 Dudley Rd. Newton Centre, MA 02159 http://members.aol.com/alecwilder/ aw.html Greg McLean 2291 Pernoshal Court Dunwoody, GA 30338 Brian McWhorter 616 W. 207th Apt. 3h New York, NY 10034 Media Press, Inc. P.O. Box 3937 Champaign, IL 61826-3937 Mentor Music 3301 Carlisle N.E. Albuquerque, NM 87110 http://www.mentormusic.com/ Merion Music c/o Theodore Presser Co. http://www.presser.com/index.html Allen Molineux Fine Arts Department Chipola Jr. College 3094 Indian Circle Marianna, FL 32446

196

Music for Percussion 170 N.E. 33rd Street Ft. Lauderdale, FL 33334 New Music West P.O. Box 7434 Van Nuys, CA 91409-7434 Nichols Music 49 Tomlin St. Waltham, MA 02154 http://members.aol.com/enspub/ North/South Editions P.O. Box 5081 Albany, NY 12205 Norwegian Music Info. Ctr. Tollbugata 28 N-0157 Oslo Norway http://www.notam.uio.no/nmi/ Marshall Onofrio—Music Plattsburgh State University of New York Plattsburgh, NY 12901-2697 Nicholas Papador 2280 NW 5th Street Gresham, OR 97030 Theodore Presser Co. Presser Place Bryn Mawr, PA 19010 http://www.presser.com/index.html Pioneer Percussion P.O. Box 10822 5925 Vernons Oak Ct. Burke, BA 22009 Joseph Runnells 1613 Primrose Lane Modesto, CA 95355

Salabert-Editions 575 Madison Avenue New York, NY 10022 Greg Sanders Department of Music CMS 174 Texas A&M University-Kingsville Kingsville, TX 78363 Marc Satterwhite School of Music University of Louisville Louisville, KY 40292 Seesaw Music Corp. 2067 Broadway Way New York, NY 10001-0000 Smith Publications 2617 Gwynndale Avenue Baltimore, MD 21207 http://www.uakron.edu/ssma/index2.html Sound Studio Publications c/o Harris/Wolfram Productions, Inc. 13562 Kittridge Street Van Nuys, CA 91401-1109 Soundspells Productions 86 Livingston Street Rhinebeck, NY 12572 http://www.jamesarts.com/ soundspells.htm Southern Music Co. P.O. Box 329 1248 Austin Highway, Suite 212 San Antonio, TX 78292 http://www.smcpublications.com/ publications.htm

197

Richard E. Stout 1055 S. 700 E. Salt Lake City, UT 84105 Robert King Music Sales 28 Main Street North Easton, MA 02356-1499 http://www.rkingmusic.com/ Studio 4 Music c/o Alfred Publishing Co., Inc. 16380 Roscoe Blvd. P.O. Box 10003 Van Nuys, CA 91410 http://www.studio4music.com/map.html

Tierra del Mar Music Music Dept. Ball State University Muncie, IN 47306 http://www.under.org/cpcccatalog/ Publisher_Tiera.htm Zimmermann Musikverlag Gaugrafenstrass 19-23D-60489 Frankfurt Main 90 Germany

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