Ave Maria: Brass Quintet Score & Parts

David Marlatt's brass quintet arrangement preserves the singing quality of Gounod's original melody while exploiting the warmth and blend that brass instruments offer. The medium difficulty level makes it accessible to solid high school or community ensembles without sacrificing the work's inherent dignity. Programmers value this arrangement as a refined intermission piece or closing number that signals musical maturity without requiring the resources of a larger ensemble.

Gounod's melody emerges with a sense of quiet devotion, unfolding over harmonies that feel both ancient (honoring Bach) and romantic (distinctly Gounod). The piece invites listeners into a reflective space; there is nothing showy or technical about it, only the beauty of a well-crafted tune supported by warm, resonant brass sonorities.

Brass quintets of intermediate skill seeking a significant concert piece that appeals to diverse audiences without compromising musical substance. High school and community ensembles preparing for contest or festival programming will find this arrangement both manageable and rewarding.

• Balance the melody line (typically in the first or second trumpet) with supporting voices; Gounod's harmony deserves to be heard, but the soaring tune must never recede into the texture.
• Shape the phrase with long, unhurried lines rather than chopping the melody into small segments; this is a meditation, not a march.
• Use dynamic nuance across the entire arc of the piece; resist holding one volume throughout, even if the written dynamics are minimal.
• Blend the quintet as a unified voice during tutti passages; intonation in the middle register is crucial since there's nowhere to hide in a five-person ensemble.

This arrangement works beautifully as a bridge between contemporary and classical programming, or as a concert closer that leaves the audience in a contemplative mood. It pairs well with other Romantic-era masterworks and provides a moment of repose in programs that feature more rhythmically driven or complex pieces.

• Balancing melody and harmony in ensemble texture
• Sustaining long, singing phrases on wind instruments
• Refining intonation in close-voiced harmonic writing
• Shaping dynamic contours with control and sensitivity