The Call of the Summit: Concert Band Score & Parts

Marlatt understands the exact moment when a band transitions from method book studies to full ensemble repertoire, and he's written a piece that respects both sides of that passage. The call-and-response structure between solo trumpet and ensemble creates musical conversation rather than mere accompaniment, which keeps the whole group engaged even while learning to balance transparent textures.

A solo voice calling out across open terrain, answered by a gathering of voices. The piece carries quiet dignity and forward momentum, building presence through repetition and the gradual involvement of different sections rather than through sheer volume.

Conductors seeking repertoire for bands ready to move beyond method books and into concert literature. This work is ideal for ensembles with at least one capable trumpet soloist and sufficient balance across all sections to support transparent scoring.

• Balance the solo trumpet voice so it projects clearly over the ensemble response without requiring excessive volume; the melody's simplicity makes it easy to hear even at moderate dynamic levels.
• Shape the call-and-response phrasing as if the trumpet soloist and ensemble are actually speaking back to each other, using slight breath pauses and attention to line shape to create genuine dialogue.
• When the melody passes to the low voices, ensure they have rhythmic confidence and support from the ensemble; this is often a new experience for younger players and benefits from clear leadership in rehearsal.
• Use the stately tempo to establish a sense of arrival and ceremony; resisting the urge to rush makes the heroic character land more effectively.

Program this early in a concert to establish ensemble cohesion and showcase the growth your band has made since settling into full instrumentation. It works particularly well alongside other works that emphasize call-and-response or feature contrasting solo and ensemble textures.

• Solo communication and projection without overblowing
• Listening to and responding musically to another voice
• Maintaining transparent ensemble texture while supporting a melody
• Reading and performing simple rhythmic figures in ensemble context
• Balance and blend when passing melody through different sections