Suite (from Water Music): Brass Quintet Score & Parts

Marlatt's arrangement opens Handel's most famous orchestral work to brass ensembles without compromising the music's grace or structural integrity. The writing sits comfortably within a high school quintet's capability while the piccolo trumpet part and varied range demands keep advanced players engaged throughout.

Water Music radiates elegance without pretension. These four movements capture the work's character of refined pageantry and pastoral charm, moving from the courtly grace of the Minuet through the serene lyricism of the Air, then accelerating into rhythmic exuberance with the Allegro and the spirited Hornpipe.

High school brass quintets looking for repertoire that bridges the gap between student arrangements and professional-level works. Directors seeking substantial repertoire for gigs, competitions, and concert programming who want familiar material with genuine musical substance.

• Treat the Air movement as your interpretive heart. This section showcases the lyrical capabilities of your ensemble and benefits from careful attention to phrase shape and consistent vibrato across the quintet.
• Balance the piccolo trumpet so it projects without overwhelming the harmonic foundation. In the faster movements especially, resist the urge to let it dominate the texture.
• Shape the Alla Hornpipe with rhythmic clarity and forward momentum. The baroque dotted rhythms should feel sprightly, not stiff.
• Coordinate dynamics across all parts in the Minuet to maintain the courtly character Handel intended. Uneven volume changes obscure the elegant phrasing.

This suite works beautifully as a standalone feature on a concert or as an opener that establishes a sophisticated tone for the rest of your program. Consider pairing it with other Baroque or classical works, or use it as a bridge between student repertoire and more contemporary brass writing on the same concert.

• Baroque articulation and style conventions
• Balancing a featured melody with supporting harmonic texture
• Extended range facility across all five parts
• Coordination of dotted rhythms and ornamental figures
• Dynamic control and phrase shaping in lyrical sections
• Reading and performing in multiple meters and tempo markings