Canadian composer and trumpeter Alan Matheson's Evening Fanfare for Four Trumpets is bold and reflective. It is appropriate for moderately advanced performers, not having any difficult range, endurance or technical challenges.

Here is what composer Alan Matheson says about his work:

?Evening Fanfare? was composed in 2006 for a performance I did with trumpeter/pianist Walter Martella at the Texada Island Jazz Festival. The organizers of the festival asked me and Walter to perform an opening fanfare for the evening performances up above the former quarry where the jazz festival concerts were to take place. The quarry had a remarkable echo and the piece was designed to take advantage of this feature.

I revised the fanfare in 2010 for four trumpets on the occasion of the dedication and reopening of the newly refurbished Ray Barnett Recital Hall at the University of British Columbia?s School of Music. In the four trumpet version the echo effect of the Texada Island quarry is simulated by the added trumpet parts as well as providing a richer harmonic texture. This fanfare is meant to make use of the bold colour of the trumpets in a reflective melodic setting.

Item Number: S9.Q577584

These works of medium difficulty come from the estate of the trumpeter Edward Tarr, probably planned for an edition, and are now published again for the first time since the end of the 19th century, thus filling in the gap of romantic chamber music for trumpet. With works by Oskar Boehme, Anton Rubinstein, Anton Doerfeldt and others. The editor Kristin Thielemann has recorded all the pieces together with trumpeter Reinhold Friedrich and pianist Eriko Takezawa-Friedrich as demo versions. Suitable for lessons, auditions and concerts.

This unabridged arrangement of the familiar Pachelbel Canon is a showpiece for ambitious trumpet ensembles challenging performers and impressing audiences with its demands for precise rhythmic execution and careful attention to balance. Three pairs of trumpeters perform the original three violin parts and a fourth pair repeats the basso continuo. An alternate set of C trumpet parts is included for parts one to six as an option to the B-flat parts. The sound file is an actual trumpet ensemble performance and not a computer playback of the score.

A progressive course of study for the advancing jazz trumpet player. For trumpet and treble clef brasses.

Description
This purpose of The Modern Jazz Trumpet Method is to offer a well-rounded, systematic approach to practice for the aspiring jazz trumpeter. This comprehensive method is intended to supplement and enhance the great methods that solidify our fundamentals while opening our minds to the concepts of jazz trumpet playing.

The Modern Jazz Trumpet Method is a book for the woodshed, so grab your horn and head on out there!

The exercises presented in this book are intended as a stepping stone for the jazz trumpeter so that you may be able to create your own practice ideas. Many of the exercises in this book are derived from the improvised solos of Clifford Brown, Freddie Hubbard, Miles Davis, Blue Mitchell and other jazz legends. I recommend that you spend one or two weeks on each set of exercises. It is also recommended that you memorize the exercises as soon as you feel comfortable with them.

Here is a description of the TRITONE Sonata for Trumpet and Piano by the composer, John Frith:

"One of my most enjoyable roles in music was conducting the Herefordshire Young People?s Orchestras (UK) in the late 1980s. Stuart Essenhigh was a very talented young trumpeter who toured Belgium with the orchestra as a soloist in 1989.

Encouraged by this experience Stuart went on to study in London graduating as a fine professional trumpeter working firstly in Hong Kong and then as a freelancer with major U.K. orchestras.

My TRITONE Sonata for Trumpet and Piano of 2016 was written specifically for Stuart. Each of its three movements uses the interval of a tritone in different ways. We hear it initially as a ?benign? element of the first movement; ?ironic? in the second and even ?playful? in the last.

I - Moderato

The use of a ?straight? mute to open and close this movement greatly enlarged my palate of sound colours and, together with some unconventional ?flutter- tonguing? techniques, it allowed me to emphasize the declamatory and strident possibilities of this powerful instrument?... I call for ?ffff? (fortissississimo) at one point! The muted coda creates an otherworldly? atmosphere - distant and questioning at the close.

II ? Andante espressivo ? piu mosso ? Tempo primo

The opening austere and angular melody (which demands great lip flexibility and control) leads to a relaxed and flowing ?piu mosso? with quasi baroque idioms. This builds towards florid, technical passages for the soloist which are matched by more assertive piano lines heralding the return of the opening material and a soulful resolution.

III ? Maestoso ? rondo

A traditional martial ?fanfare? opens the final movement by answering phrases from both instruments. There is something of a power struggle in progress here which is momentarily resolved at the ?rondo? where the piano accepts a supportive ?um-pa-pa? accompanimental role. The trumpet melody is dominant and confident but the piano gradually asserts itself propelling the music with a powerful ?boogie-woogie? style bass line. This encourages both instruments to climb ever higher in, what I trust will be, a thrilling race for the final bar." John Frith 2020

This work is about 12 minutes in length and is appropriate for advanced to virtuoso performers.

Zatten was commissioned in 2005 by Trumpeter Paul Neebe during the composer's vacation to do ancestral research in the town of Zatten, currently part of Poland.

Roger Petrich writes the following about his Zatten Concerto for Trumpet:

"The 'DNA' of this compostion tracks back to my great-grandfather and the tiny Plattdeutsch village where he was born. Zatten, [then] located in the eastern part of Berlin/Brandenburg is in an area of forest and small farms dating back to the 1600's. My grandfather R. T. Petrich, whose initials I bear, was six years old when he, along with his parents, sister, and older brother left Prussia to start a new life in the USA.

My own childhood memories include many visits to the family homestead in Dakota Territory, where I used to play in the barn which hosted many summer dances. The Dakota sky was vast by day, and nights could become magical with the addition of the Northern Lights. Though not a professional musician, my father kept up his trumpet playing all his life. In a special way it was his "voice" - a sound that deeply imprinted all my growing up years. All of this is mixed together in my Zatten Concerto"

The Zatten Concerto is in three movements, the two outer movements faster and the middle is a Largo. This work is written for Trumpet in C and is appropriate for advanced performers.

The title Zatten (the name of the small village in Germany where his family was located before immigrating to the USA) is spelled out in Morse Code in the very opening eight bars of the work. The Concerto is originally written for Trumpet and String Orchestra, this version using a reduction for Piano.

First Technical Studies for Trumpet presents 127 short exercises organized into seven study patterns that train young trumpeters to develop consistency and confidence in coordinating valve movements while maintaining tone control. The studies establish a foundation of control enabling students to master more advanced technical study materials such as Clarke's Technical Studies for Trumpet with much greater success. Only major keys up to four sharps and flats are presented and the range peaks at the sixth harmonic.

The Concone vocalise studies have been used by brass performers for many years now as a way to perfect a beautiful legato, lyrical technique and sound. The 15 Lyrical Duets for Trumpet, beautifully arranged by Matthew Mitchell are easy to easy/intermediate level and are also valuable to more experienced performers to build a singing lyrical sound.

Here is what Mr. Mitchell writes about his arrangement:

The source material for this collection are Concone?s original studies for high voice. The melodies are presented in the first trumpet part for each duet. The harmonic integrity for these duets has been preserved by using Concone?s original accompaniments as a basis for the second trumpet parts. The second trumpet parts have many similarities to Concone?s original accompaniments in regards to rhythm, melodic ideas and style.

The keys, articulations, markings and dynamics for this series of duets mirror those unutilized by J.F. Sawyer in the Brass Press Edition of Concone?s Lyrical Studies for Trumpet. The user is encouraged to experiment with their own articulations, markings and dynamics. The player may also want to take liberties with note lengths at the ends of phrases, often playing notes longer than their printed values, creating a more satisfying musical experience.

The 15 Lyrical Duets for Trumpets are great tools for teachers to use in the studio as well.

An exhilarating trio for two Bb trumpets and piano, this epic, Oscar-winning music by Vangelis (from the feature film CHARIOTS OF FIRE) is recommended for concerts, recitals and other multiple venues. 14 pages of music (that includes separate two-page pullout parts for each trumpet). Concert Key (Piano): C major. Trumpet Key: D major.

Canon in D (transposed in B-flat)
Music by Johann Pachebel (GER, 1653 - 1706)

3 Trumpets and piano arrangement by Frédéric Quinet (FRA, 1985)
Artist version. (6"00')
Ideal music for any church events or solo recital (in trio ;-) ).
Set of part with :
Full Score
Trumpet in B-flat 1
Trumpet in B-flat 2
Trumpet in B-flat 3
Watch and listen all the performance by Duo Expats on Youtube https://www.youtube.com/watch?v=UzwM_0eUYOc

Terminator Theme for 5 trumpets & percussions
Music by Brad Fiedel (USA, 1951)
Arrangement by Frédéric Quinet (FRA, 1985)

Full Score with :
Score,
Piccolo Trumpet in Bb, 1 & 2,
Trumpet 1, 2 & 3,
Trombone (opt.)
Percussions.

Fun and entertaining arrangement of this classic swing tune for trumpet trio. Perform it as trumpets only, or add some optional bass and drums (parts included) for a bit of extra kick. For more trumpet duets, trios, dixieland play alongs etc visit pigletmusic.com.

Rocky Theme - Gonna Fly Now for 4 trumpets
Music by Bill Conti (USA, 1942)
Arrangement by Frédéric Quinet (FRA, 1985)
World premiere on June 27, 2013 in Brussels, Belgium.

Full Score with :
Score,
Trumpet 1, 2, 3 & 4.

10 Latin Duets is an exciting collection of original compositions by David McKeown, arranged as duets for two Trumpets.

Each piece explores a different style and flavour of Latin music, from the Rumbas, Salsas and Mambos of Cuba, to the Sambas and Bossas of Brazil, and on to the Calypsos and Merengues of the Caribbean. Mexico is represented by the Huapango, Venezuela and Colombia by the Joropo, and Argentina and Uruguay by the Tango.

Most of these duets are ideal for players of an Intermediate standard, with two or three more suitable for Advanced Intermediate. The YouTube link above shows samples of each of these pieces played on clarinet. You can also find full performances of each of these duets elsewhere on my YouTube channel.

10 Latin Duets for Trumpet are

perfect for concert performances large and small; each piece lasts between two and a half and three minutes.fully articulated to help develop that Latin style.great for helping with complex rhythms.road tested with scores of students and performed all over the world.fun to play.an exciting introduction to the world of Latin American music.54 pages adding up to half an hour of quality music.
The ten titles are, Bossa de Bastião, Calypso d?Isaac, Huapango de Hannah, Joropo de Justina, Mambo de Maya, Merengue de Merlin, Rumba de Ruth, Salsa de Shibby, Samba de Simão and Tango d?Elinora.

Petros Shoujounian, an Armenian/Canadian composer has written Twelve Duos for Trumpets based on the folksong collection of the Armenian priest Komitas, known as the founder of the Armenian national school of music and one of the pioneers of ethnomusicology. Below are comments from the composer about his inspiration in writing these Twelve Duos for Trumpets.

My interest in the collected works of Komitas's ethnographical songs was aroused when I was introduced to Bela Bartok's similar works followed by Alan Hovhaness's huge creative world. Bartok completed his project having at his disposal a large collection of ethnographic music, while Hovhannes studied the wealth of Komitas's music with great interest. It is difficult to say to what extent the Armenian underpinning of Hovhannes's works is nurtured by Komitas's musical world, but his classical interpretation of the Armenian ethnographical music created a huge interest in the listener. Needless to say, there is also Aram Katchaturian's legacy, which at its core has the ardent presence of the Armenian spirit, nurtured by Komitas's very existence.

Komitas has left a collection of about 3,000 cleaned versions of the ethnographic song and dance pieces, of which 1,700 has reaches us, about 400 of which have been activated. I believe that in those beautiful musical fragments reside the power to be revived, once we enrich them with colorful musical instruments and unbounded polyphonic imagination.

This is the motivation behind my own work and these Twelve Duos for Trumpets: to make the essence of our ethnographic music accessible through Komitas.

These Twelve Duos are appropriate for advanced performers and are written for C Trumpets, B-flat Trumpets, Cornets, B-flat Piccolo Trumpets, and Flugelhorns.