Concerto for 3 Trumpets and Keyboard: 3 Trumpets & Keyboard Score & Parts

This arrangement opens an important Baroque concerto to trumpet ensembles without relegating anyone to the keyboard bench. The keyboard score in B-flat is a smart practical choice that lets the entire trio play on the same instruments, and the distribution of the original oboe lines between the second and third trumpets preserves the dialogue and independence that makes the work compelling. The solo part retains its recognition value while becoming genuinely collaborative.

Elegant and formal in the best sense of the word. The Baroque idiom flows naturally through the trumpet trio, with moments of ceremonial brightness balanced by passages that require genuine lyricism. The work has both architectural clarity and opportunity for expressive musicmaking.

Intermediate to advanced trumpet ensembles looking for substantial Baroque repertoire. This works well for trios preparing for contests or festivals, as well as for chamber programs where trumpets want meaningful collaborative literature beyond melody-with-accompaniment arrangements.

• Balance the trumpet parts carefully in rehearsal. Fasch's original oboe lines carry important harmonic and melodic material, so the second and third trumpet parts deserve as much attention as the solo line.
• Work with your keyboard player on the realization and articulation of the continuo. Clarity in the accompaniment allows the three trumpet lines to emerge with confidence.
• Shape phrases across the full ensemble rather than isolating the solo part. This piece benefits from collective phrasing and breath awareness, especially in longer melodic passages.

Feature this as part of a Baroque instrumental concert, or pair it with other trumpet ensemble literature to showcase the flexibility and range of the instrument. It also makes a strong opening or closing piece for a brass quintet or ensemble concert, demonstrating serious chamber musicianship without demanding a full orchestra.

• Baroque phrasing conventions and period-appropriate articulation
• Independent part-playing while maintaining ensemble blend and balance
• Reading and adapting keyboard scores to transposing instruments
• Dialogue and musical conversation between three equally important voices