Download exercise sheet here- Hymn for trumpet ensemble arranging assignment #1
Play musical example here-Quartet Hymn arrangement
Before we start, I will assume that you do play trumpet and understand the ranges, both high and low of the instrument. Because of the limited range of the trumpet, this will be the first issue I will address when explaining a simple approach to arranging for a trumpet quartet.
What would be a comfortable range of notes to use when writing for a Jr. High trumpet ensemble?
Even though the trumpet is capable of playing notes below the low F# and is also capable of playing notes above second line C above the staff, for our purpose, we will confine our written notes to low G and G just above the staff. It doesn’t matter how high you write your arrangement, what does matter is how your player will perform your notes that count. If you know that your first part player is capable of playing an F above high C, then you may want to extend his/her part up to a high C or possible a D. Just because they can scream high notes in the band room, it doesn’t mean that they can do it at the end of a concert in front of an audience. Never write to the highest, fastest, longest, loudest level for you need a little in reserve for good performances.
Where can I find music to arrange?
I would suggest if this is your first attempt at arranging music for your new trumpet ensemble, there is no better place to start than in a Hymnal from a church. Most everyone has access to one and the chances are good that you will need to do some arranging for your next church gig. How many times have we been asked to play along on the hymns as the congregation sings but have no music to play? The organist usually suggests that we play the melody. Now THAT’S CREATIVE! After studying this post, you will never go back to just playing the melody again, unless your lazy and if that is the case, you shouldn’t form a trumpet ensemble in the first place.
Your first arrangement for your new trumpet ensemble.
I have used a well known hymn for our example but any hymn could have been used. In your recorded example, it starts with the piano playing the first time through the hymn. After the piano has completed the first time through, the first and second trumpets come in playing the first eight measures of the hymn. The melody is in the first part and the second trumpet is playing a combination (first measure from the alto part- second measure the first note from the bass and the second note from the tenor- third and fourth measures from the alto- fifth, sixth measures from the bass- measure seven uses a sustained Eb from the alto and ends on the alto note in the eighth measure). The third trumpet plays the melody to the end of the verse and the fourth trumpet plays a combination of the bass and the tenor notes to the end. Variation #2 begins with the melody in the second trumpet and the first trumpet plays the alto part up an octave to give the impression of an obbligato part. By putting a couple of trills in, the verse takes on a completely new feel. Your audience will be very impressed with you arranging ability by now. Be sure to ask for your credits to be included in the church service program. Variation #3 has an antiphonal effect as the first and second trumpets play call and response with the third and fourth parts. Variation #4 would work as a closer for it starts with a single trumpet and every four measures another player is added. The last four measures bring in the fourth part which is doubling the first part an octave lower.
In less time than it would take you to drive to the church for the rehearsal, you could have had this arrangement completed and ready to perform. If this seems complicated, relax and go through it again. One thing you must realize is that every note that we used, was already in the hymnal. Every note was taken from material already on the page. I changed very few notes to make this work. Notice the affect brought about by sustaining repeated pitches. When instruments play hymns, they shouldn’t repeat notes. Repeating the same note makes the arrangement sound choppy. Sustaining repeated notes smooth’s out the melodic line of each instrument. The only exception would be the melody line and even in this hymn, there would be no need to repeat the third beat of the fourth and the twelfth measures.
I encourage you to do several hymns in this way and experiment with your own ideas so that when the organist calls and wants you to play along with the congregation, you can rock her/him off her/his organ bench with your own brass parts.
