Now Thank We All Our God (from Cantata 79): 2 Trumpets & Keyboard Part(s)

David Marlatt's arrangement transforms this chorale melody into an elegant brass duet without sacrificing Bach's harmonic integrity. The redistribution of material from the original horn parts to trumpets, combined with strategic rests, makes this achievable for advancing players while preserving the ceremonial dignity that makes Bach's sacred music so compelling in worship settings.

The chorale melody emerges with reverent solemnity, supported by the keyboard's harmonic foundation. Moments of dialogue between the two trumpet voices create conversation rather than competition, giving the piece a reflective, processional quality that feels both ceremonial and intimate.

This duet serves advancing high school and college trumpet players, adult amateur musicians, and church musicians seeking substantial yet manageable sacred repertoire. It is equally suited to community bands, brass choirs, and wedding musicians who want Bach without the full orchestra.

• Balance the melody between the two trumpet parts by listening carefully to which voice carries the chorale tune in each section; resist the urge to overpower the keyboard accompaniment.
• Shape the phrasing through subtle dynamic inflection rather than sudden changes; Bach's harmonic progressions reward a singing approach even on brass instruments.
• Coordinate attacks and releases with the keyboard player by establishing clear prep breaths and cutoffs during rehearsal; the rests Marlatt has added should feel intentional, not accidental.
• Work the rhythmic alignment between trumpet parts in passages where both voices move simultaneously; independence comes from secure intonation and rhythmic placement, not separation.

This works beautifully as a prelude or recessional in a church service, or as a featured instrumental selection at a wedding ceremony. It also serves well as a concert opener or closer in a brass ensemble program, offering audiences a moment of musical substance and spiritual calm.

• Baroque articulation and phrasing conventions
• Melodic independence within a two-part texture
• Harmonic listening and balance within a duet
• Coordination with keyboard accompaniment
• Sustained legit tone production on brass instruments