Belwin Young Band, Book One (featuring the works of Robert W. Smith): 2nd B-flat Trumpet Book

Smith's nine pieces here represent his gift for writing music that engages young musicians without talking down to them. The inclusion of the composer's own recorded comments to directors and students transforms this from a collection into a masterclass, offering insights into his compositional choices and intentions that deepen interpretation and ensemble pride.

These nine pieces sweep across moods and landscapes. You encounter ceremonial grandeur in the fanfare and Kennedy Overture, reverent contemplation in Ash Lawn Echoes, spirited celebration in Danse Jubilante, and seasonal warmth in Jingle Bells Forever. Smith's second trumpet writing respects your voice without burying it, offering moments of lyrical prominence alongside supportive harmonic work.

Second trumpet players in concert bands ranging from intermediate to early advanced levels will find substantial and rewarding material here. This collection works particularly well for ensembles seeking to program a single composer's varied works across one season or concert.

• Listen carefully to Smith's recorded commentary on the Conductor Book CD before rehearsing; his specific guidance on phrasing and articulation will accelerate your section's musical understanding and reduce time spent on interpretive questions.
• Balance the second trumpet line against the first, particularly in the fanfare and processional movements where layered harmonic color matters more than doubling strength.
• Shape phrases from the inside out rather than forcing dynamic contrasts; Smith's writing often relies on harmonic momentum and voice leading to create direction.
• Mark breathing points in advance with your section; several of these titles span long lyrical passages where coordinated breath placement prevents rhythmic disruption.

Program these pieces strategically across multiple concerts rather than performing all nine at once; the variety of Smith's styles allows you to pair individual selections with contrasting repertoire by other composers, or build an entire concert around his work if your ensemble has strong audience appeal. The shorter processional and fanfare pieces work especially well as concert openers or transitions between larger works.

• Reading and executing lyrical phrasing in sustained passages
• Playing as part of a layered harmonic texture rather than in unison
• Responding to stylistic markers spanning processional, ceremonial, and dancelike idioms
• Interpreting rubato and expressive timing based on harmonic rhythm rather than strict metric pulse
• Balancing tone color and volume to support ensemble blend across shifting voicings