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In four movements, this is a perfect piece for a High School or College Brass Ensemble.

2 Trumpets, Horn, Trombones, Euphonium and Tuba

Joelle Wallach’s 1997 Sextet is a work in four movements, each a unique and vivd psychological landscape. The first movement’s lyrical, wistful, almost weeping lament is followed by the busy weaving motion of the spider-like second movement. After the bassoon has begun its filament of musical phrase, the other instruments join in to create an intricate, bustling, transparent web of sound.

The plaintive melody of the English horn leads the third movement through a mysterious, distant and haunting path. The final, fourth movement begins with a nimbly triumphant, sometimes flippant, bell-like figure which gradually shifts, acquiring a surprisingly somber cast and strangely reminiscent of the second movement’s spider’s song.

The Sextet is scored for flute (doubling piccolo), oboe (doubling English horn), clarinet, french horn, bassoon and piano, each instrument contributing its characteristic cry as it joins it voice in support of the sonorities of the entire ensemble.

2 Flugelhorns, Piccolo Trumpet and 3 Trumpets Learn More

E-flat Clarinet, Solo B-flat Clarinet, 3 B-flat Clarinets, Alto Clarinet, Bass Clarinet, Contralto Clarinet and Contrabass Clarinet

Beethoven’s Sextet for Two Horns and String Quartet, Op. 81b is a bit of an oddity in the composer’s catalog. The sextet for the very old-fashioned instrumentation of two horns, two violins, viola and cello, is especially rare. The work seems to have been written around 1795, in the period when Beethoven was beginning to make his way in Viennese society as a composer and keyboard virtuoso after a period of study with Haydn. The work has the light-hearted, easy-going tone of the serenade/divertimento tradition, although the way that Beethoven writes for the horns makes the Sextet unusual. In this work, the horns are featured, with brilliant fanfares and technically challenging passages, while the four strings are relegated to a subsidiary role. In this arrangement, the Eb clarinet and a solo Bb clarinet play the role of the horns, while the rest of the choir assume the position of the string parts.

Elgar’s most hated piece – at least the piece that he came to hate – was the trio from this march, known by its more familiar title, “Land of Hope and Glory”. Of course, if Elgar had heard it performed by a brass quintet, he may well have started enjoying it again. Never mind, this piece is an audience favorite, and will really get the trumpets working together.

– Andrew Heading

Complete set of score and parts

After You've Gone

Bugle Call Rag

Original Dixieland One-Step

Royal Garden Blues

Tin Roof Blues

Michael Kibbe writes about his brass quintet, Metal Music:

This work is my second essay for brass quintet, composed in 1993 and revised in 2009. The four movements are named for differing types of metal from which, historically, the instruments have sometimes been made or veneered. But these movement titles, (Brass, Silver, Copper and Gold) are only points of inspiration. The music itself presents four movements of contrasting tempos and coloration.

Trumpet, Trombone and Guitar

From the composer:

The term “organic” usually refers to something grown from a living organism. In this piece, all harmonic and melodic material grows from a single note. The opening passage expands the note into an organic scale unique to the piece, which is then used to underpin the rest of the work. Rhythmically the work grows from beginning to end. The slow, single and duple pulse of the opening passage is expanded to triple time at bar 22, and further to quadruple time from bar 133 onwards. From bar 186 both brass players improvise freely on material present earlier in the piece, almost in the manner of a jazz jam session.

Organica was commissioned by Ensemble Three through the University of Melbourne in 2013, for premiere and recording by Don Immel, Joel Brennan and Ken Murray.

Inspired by the mundane ritual of practicing standard orchestral excerpt lists, these 15 etudes present a new twist for the auditioning tuba player. The etudes will promote orchestral audition success by allowing the performer to practice techniques (articulations, rhythm, breath support, etc.) needed for a successful audition without having to practice the actual excerpts. Of course to win that audition, one must practice the actual excerpts as well. Good luck!