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.

This arrangement was modified in its edition and violin indications. A very clean piano part was written. Very good edition of the entire score.

The M�ditation is an instrumental entr'acte performed between the scenes of Act II in the opera Tha�s. In the first scene of Act II, Athana�l, a Cenobite monk, confronts Tha�s, a beautiful and hedonistic courtesan and devot�e of Venus, and attempts to persuade her to leave her life of luxury and pleasure and find salvation through God. It is during a time of reflection following the encounter that the M�ditation is played by the orchestra. In the second scene of Act II, following the M�ditation, Tha�s tells Athana�l that she will follow him to the desert.

The piece is in D major and is approximately five minutes long (although there are a number of interpretations that stretch the piece to over six minutes). Massenet may also have written the piece with religious intentions; the tempo marking is Andante religioso, signifying his intention that it should be played religiously (which could mean either strictly in the tempo or literally with religiously-founded emotion) and at walking tempo, or around 60 BPM. The piece opens with a short introduction, with the solo violin quickly entering with the motif. After the violin plays the melody twice, the piece goes into a section marked animato, gradually becoming more and more passionate (Massenet wrote poco a poco appassionato). The climax is reached at a place marked poco piu appassionato (a little more passion) and is then followed by a short cadenza-like passage from the soloist and returns to the main theme. After the theme is played twice, the soloist joins the piano while playing harmonics on the upper register as the piano quietly play below the solo line.

This arrangement was modified in its edition and violin indications. A very clean piano part was written. Very good edition of the entire score.

The M�ditation is an instrumental entr'acte performed between the scenes of Act II in the opera Tha�s. In the first scene of Act II, Athana�l, a Cenobite monk, confronts Tha�s, a beautiful and hedonistic courtesan and devot�e of Venus, and attempts to persuade her to leave her life of luxury and pleasure and find salvation through God. It is during a time of reflection following the encounter that the M�ditation is played by the orchestra. In the second scene of Act II, following the M�ditation, Tha�s tells Athana�l that she will follow him to the desert.

The piece is in D major and is approximately five minutes long (although there are a number of interpretations that stretch the piece to over six minutes). Massenet may also have written the piece with religious intentions; the tempo marking is Andante religioso, signifying his intention that it should be played religiously (which could mean either strictly in the tempo or literally with religiously-founded emotion) and at walking tempo, or around 60 BPM. The piece opens with a short introduction, with the solo violin quickly entering with the motif. After the violin plays the melody twice, the piece goes into a section marked animato, gradually becoming more and more passionate (Massenet wrote poco a poco appassionato). The climax is reached at a place marked poco piu appassionato (a little more passion) and is then followed by a short cadenza-like passage from the soloist and returns to the main theme. After the theme is played twice, the soloist joins the piano while playing harmonics on the upper register as the piano quietly play below the solo line.

Here is an instrumental trio (for two VIOLINS with PIANO accompaniment) of the encouraging hymn \"Day by Day\" by Oscar Ahnfelt. Both VIOLIN parts get to lead with the melody at times making this a fun and equally challenging piece for both instruments while adding variety for the listeners. The VIOLIN 1 plays the melody for the first verse and then the two VIOLIN parts alternate playing the melody for the second verse.

The range for each part is as follows: VIOLIN 1 ~ F#4 to B5; VIOLIN 2 ~ A3 to B5. All notes for both VIOLINS are playable in the first position making this arrangement an excellent choice for early-intermediate string players. The PIANO accompaniment is written for an intermediate player. Though notated for two VIOLINS, the ranges are also accessible for other combinations of C instruments such as FLUTE on part 1 and VIOLIN on part 2.

The purchase price includes these printing options:
1. a grand staff (5 pages) with all parts on each page
2. separate scores for each VIOLIN part (2 pages each) and PIANO (3 pages)
3. a combined VIOLIN 1 and VIOLIN 2 score (3 pages)

This classic love theme from the hit movie TITANIC has now been scored for F Instrument Duet (French Horn/Horn in F) with Piano. A rich, flowing, and accessible piano accompaniment supports the instrumental duet parts, with the piano inheriting the melody during the second verse and the duettists trading off between playing the melody and a melodic descant. The melody and harmony then return to the duettists, ending with a suspenseful key change at the end of the arrangement, true to the original recording. A captivating arrangement that is sure to capture the hearts of all performing musicians and listeners alike!