Shadows of the Pyramids, Movement II: 20 Trumpets & Percussion Score & Parts

Movement II stands out for its unapologetic embrace of trumpet ensemble color. The scoring demands extensive mute work and uses five flugelhorns within the larger 20-trumpet lineup, creating timbral variety that keeps the texture fresh across a substantial work. For directors building contest or festival repertoire, this piece delivers the musical weight and technical substance that adjudicators recognize as serious ensemble writing.

Movement II evokes the grandeur and mystery of ancient Egypt through shifting trumpet colors and textures. The interplay of muted sonorities and open horn brilliance creates an atmosphere that feels both ceremonial and exploratory, pulling the listener through the solar mythology that inspired the work.

This work belongs in the hands of university-level trumpet studios or advanced high school trumpet ensembles capable of handling large-scale ensemble coordination and mute technique. Directors preparing for regional or national brass competitions will find the length, technical demands, and timbral sophistication exactly what this repertoire category requires.

• Coordinate mute changes across all sections before rehearsal begins. Map out exact switching points and designate clear cues so players execute changes simultaneously without breaking ensemble cohesion.
• Balance the flugelhorn voices carefully during passages where they carry thematic material. Their warmer tone can easily wash out trumpet articulation if not monitored.
• Use the percussion section to anchor rhythmic precision, particularly in passages that feature complex interplay between the trumpet choirs and unpitched sounds.
• Mark breathing points collectively and rehearse them as ensemble decisions rather than individual choices to maintain phrase coherence across 20 players.

Program this movement as the centerpiece of a brass-focused concert or competition set where the sheer instrumental forces command attention. Its 13-minute duration across the full work makes it a substantial anchor that benefits from context provided by shorter supporting selections.

• Mute technique and rapid mute changes across multiple mute types
• Ensemble balance within large homogeneous trumpet sections
• Timbral discrimination between trumpet and flugelhorn voices
• Sustained ensemble articulation and phrase shaping across extended passages
• Synchronized entrances and cutoffs in complex multi-choir textures