Susato Dance Suite from Danserye: 6 Trumpets & Opt. Percussion Score & Parts

Marlatt's brass arrangement preserves the architectural clarity of Susato's original writing while giving trumpet players genuine work in style and ensemble control. Renaissance dances demand precision in matching articulations and dynamics across six voices, which builds accountability in a way that flashy technical passages cannot. The optional percussion part offers a tasteful way to enhance the sonority without overwhelming the intricate interplay of the trumpet lines.

These dances radiate courtly refinement. When played with attention to articulation and dynamic shape, they move with sprightly grace on the quick passages and settle into warm, singing phrases on the slower ones. The piece communicates clarity and purpose; there is nothing decorative about Susato's writing, yet nothing austere either.

This arrangement suits intermediate to advanced trumpet ensembles seeking substantive Renaissance repertoire that challenges musicianship without requiring extensive technical fireworks. It works equally well for contest and festival preparation, recital programming, or as a masterclass study piece on style and blend.

• Establish a shared understanding of articulation before rehearsing the full piece. Renaissance style calls for clean, decisive tonguing on the fortes and a sustained, connected approach on lyrical passages. Mark your part clearly.
• Balance the six voices by listening across the ensemble during sustained notes and chordal moments. Assign specific players to lead different sections so the texture remains transparent rather than blended into a single block of sound.
• If you include the optional percussion part, use it to anchor the pulse without driving the tempo. These dances should breathe naturally, not march in lockstep.
• Work the dynamic contrasts deliberately in rehearsal. The shift from brilliant to smooth requires a rehearsal room conversation, not assumption that the markings will translate on their own.

Program this suite as a stylistic counterweight to Baroque or contemporary works, or place it early in a recital to establish ensemble polish and historical awareness. At 8:30, it provides substantial substance without consuming a large section of concert time, making it ideal for competitions where repertoire variety is valued.

• Renaissance articulation and style conventions
• Matching articulations and dynamics across six independent voices
• Transparent ensemble balance and voice independence
• Sustained legato phrasing and contrasting brilliant articulation in the same piece
• Historical awareness of 16th-century instrumental practice