Flower Duet (from Lakme): 6 Trumpets Score & Parts

David Marlatt's arrangement transforms a vocal masterpiece into a showcase for trumpet ensemble color without sacrificing the original's grace. By layering the duet across three instrumental pairs—open trumpets, cup-muted trumpets, and flugel horns—the scoring creates a natural progression of timbral variety that keeps ensemble interest high while remaining technically approachable at the medium level.

Graceful and ornamental, the piece unfolds with the elegance of an operatic garden scene. The interplay of open and muted trumpet colors creates an almost orchestral palette, while the flowing lines suggest both refinement and genuine musical storytelling rather than mere technical display.

This arrangement serves mid-level brass quintets or sextets who want to add a recognized lyric masterpiece to their contest and festival repertoire without stepping into advanced technical territory. It rewards ensembles with solid intonation control and players who can produce warm tones on both open and muted instruments.

• Balance the three duet pairings carefully during sectional rehearsals. Have each pair isolate their lines first, then layer them gradually to hear how the muted and flugel horn voices support rather than overpower the open trumpet melody.
• Shape the flowing phrases with long, connected articulation. The original duet character depends on smooth line continuation; avoid over-tonguing, which breaks the elegant phrasing that defines this work.
• Experiment with the cup mute placement and embouchure adjustment in early rehearsals. Cup mutes sit closer to the bell than straight mutes, and some players find the response different; giving players time to adjust prevents last-minute surprises.
• Use dynamic contrast between the three instrumental groups to clarify the harmonic movement. The open trumpets should typically lead; muted and flugel horn voices can sit back slightly, supporting the outer melody without muddying texture.

Program this alongside lighter concert fare or as a contrasting vehicle between heavier contemporary brass works. It also serves as an excellent festival or contest selection, where its combination of accessibility, distinctive orchestration, and immediate musical appeal resonates with adjudicators and audiences alike.

• Balancing mixed mute colors (open, cup-muted, flugel horn) in ensemble blend
• Shaping lyric phrases with connected articulation and long-line phrasing
• Adjusting embouchure response and tone quality when switching between muted and open playing
• Reading multiple simultaneous melodic lines and supporting harmonic voices
• Controlling intonation across three distinct timbral groups performing in unison and harmony