Can-Can (from Orpheus in the Underworld): Brass Quintet Score & Parts

This arrangement captures what makes the Can-Can irresistible while keeping technical demands realistic for young brass players. David Marlatt's voicing maintains the piece's infectious energy without requiring players to stretch beyond first-year range or articulation skills, making it ideal for building confidence in beginning quintets. It's a crowd-pleaser that proves accessible repertoire doesn't mean compromising musical integrity.

Brassy, high-energy, and unapologetically fun. The Can-Can pulses with the kind of irresistible momentum that makes audiences smile before the first phrase ends. There's a lightness and humor woven through the musical fabric that lets young players feel the joy of playing together without burden.

Beginning brass quintets in their first or second year, particularly groups with players still developing foundational technique and range. This is also an excellent piece for school assemblies, pep rallies, and informal performance contexts where recognizable melody matters more than technical virtuosity.

• Keep the rhythmic drive consistent throughout. Young players often rush the iconic "can-can" rhythm, so establish a steady tempo in rehearsal and anchor it with the lower voices.
• Balance the melody clearly without letting it overwhelm the ensemble. First-chair players should voice the tune confidently, but the other voices are doing real work to support the character.
• Shape phrases rather than playing in a flat, mechanical way. Even with limited range, players can make simple lines sing by thinking about breath placement and subtle dynamic shape.
• Record a rehearsal and listen back as a group. Hearing themselves play exposes rhythmic unevenness and tuning issues that can hide in the moment.

Slot this into a spring concert as an opener or encore to reset the room's energy between serious works. It works equally well in a contest or festival context where judges appreciate seeing young ensembles play with confidence and character. The piece is short enough to program alongside a more substantial work without eating rehearsal time.

• Articulation clarity and consistency across the quintet
• Rhythmic precision in syncopated figures
• Part independence while maintaining ensemble blend
• Dynamic control and phrasing on simple melodic lines
• Listening and responding to other players in real time