Brass

I created this arrangement for a local multi-congregational Christmas celebration.

What I ask if you download and use this music (choose one or more) :

1. Let your brass friends know about this site.
2. Make a donation.
3. Find an ad your interested in on this site and visit the sponsor.
4. Or, you could always commission a new work for yourself. Just use the contact form to get in touch.

O Come Let Us Adore Him!
for Brass Choir, Organ and Congregation

Arr. M Ryan Taylor

Instrumentation:

• 3 Horns in F
• 2 Trumpets
• 2 Trombones
• Tuba
• Organ

Files:

• Score and Parts: OComeLetUsAdoreHim-ScoreandParts.pdf
• Computer Realization: OComeLetUsAdoreHim.mp3
• Live Performance: OComeLetUsAdoreHim-Audience,Organ&Brass.mp3

This is a medley of three familiar carols intended for use with a congregation: "Oh, Come, All Ye Faithful" "Angels We Have Heard on High" & "Silent Night" (the verses are sung ABCCA. The brass parts mostly stick to the traditional harmonizations and are not overly difficult. The organ adds punch to the arrangement. Listen to the MP3 (which is almost good enough to use on it’s own) to get the full impact. Perfect for large gatherings and Christmas concerts where you’d like to offer the congregation an opportunity to join in the music making.

Carnival Processional

for small brass choir

• 2 Trumpets
• 4 Horns
• 2 Trombones
• 1 Tuba

This piece was originally written for brass quintet (I’ve lost that version somehow, pretty easy to do actually). This expanded version was written/created for a call for scores from The Chicago Brass Choir. They performed it during their 1999 season and sent me a pretty great live recording :

• Carnival Processional performed by The Chicago Brass Choir :
  CarnivalProcessional-ChicagoBrass.mp3

The piece, as you can hear, is a fun, short romp. When I composed it I imagined a carnival band coming from the distance (think renaissance carnival), getting closer and closer until it abruptly stops in the town square. I think you can hear that in the piece. After almost 10 years I still think it is a ton of fun and is not so difficult that most brass choirs will have any difficulty with it. Here are the score and parts in one handy file:

• CarnivalProcessional-ScoreandParts.pdf

Fanfare for the Eagle

for Brass Trio (Trumpet, Horn & Trombone/Euphonium)
by M Ryan Taylor

• FanfarefortheEagle.pdf

I’m posting this mostly ‘just for fun.’ This was my first brass piece, written in High School for my Boy Scout Eagle Court of Honor (if you know what that is, congratulations). The interesting trio combination was chosen because 3 of my brothers were the players at the event. For you theory buffs, you will note there are some spacing errors, but this was before I’d had any theory classes at all. All in all, I think it works, even if it is a little bit rough around the corners.

I created these transcriptions in 2000 and sold them for quite a while with good success on ebay. So, why am I offering them for free now? I just don’t have time for ebay selling on a regular basis.

What I ask if you download and use this music (choose one or more) :

1. Let your brass friends know about this site.
2. Make a donation.
3. Find an ad your interested in on this site and visit the sponsor.
4. Or, you could always commission a new work for yourself. Just use the contact form to get in touch.

Bass Solos from Handel’s Messiah

Transcribed for Tuba or Trombone/Baritone/Euphonium
M Ryan Taylor, Editor

• Tuba: HandelTuba.pdf
• Trombone/Baritone/Euphonium: HandelTrombone.pdf

Contents

1. But who may abide the day of his coming
2. The people that walked in darkness
3. Why do the nations so furiously rage together
4. The trumpet shall sound

Notes from the Editor:
I have transcribed these solos with the original baroque tempo and phrasing marks; they are very minimal and leave the performers a wide berth for interpretation. Baroque style allows for certain amount of improvisation from the soloist and I suggest you experiment with appoggiaturas, trills, suspensions, etc. Several places have been marked as suggested cadenzas. The third selection in this edition uses a version from one of Handel’s performance scores. The fourth selection omits the minor b-section of the solo and replaces it with a closing cadenza instead of repeating the a-section.