Three Susato Dances from The Danserye: 8 Trumpets Score & Parts

David Marlatt's orchestration captures the spirit of Susato's Renaissance counterpoint while building something entirely fresh for a modern brass section. The split choir writing creates genuine antiphonal drama that feels natural on trumpet rather than retrofitted; you get theatrical dynamic contrasts, crisp articulation opportunities, and the visceral satisfaction of eight players locking into imitative passages that actually sit well on the instrument.

Renaissance elegance translated into brass brilliance. The piece moves with the measured grace of a courtly dance while the trumpet timbre adds brightness and clarity that makes every voice sing. Dynamic shifts between the two choirs create theatrical contrast, transforming intimate Renaissance counterpoint into something grand and processional.

This arrangement serves trumpet ensembles looking for substantial, musically rewarding literature that doesn't require advanced technical facility. The part writing is clean and idiomatic, making it accessible to strong intermediate players while offering enough musical depth to engage experienced ensembles at festivals and recitals.

• Shape the imitative passages so each voice maintains its own line; avoid letting the ensemble collapse into a thick block of sound. The magic is in hearing the individual melodic threads weave together.
• Treat the echo writing as actual spatial separation between the two choirs when possible. Even small seating adjustments or subtle terracing in volume can heighten the dramatic effect.
• Balance high trumpets against lower voices carefully during harmony sections. Renaissance proportions often work better when the bass line sits slightly forward, anchoring the texture.
• Practice the piece at tempo first, then drill sections at half speed to lock unison passages and clarify rhythmic overlaps in the imitative writing.

Program these dances as a centerpiece for a brass ensemble concert or festival performance; they bridge classical repertoire and popular appeal in a way that audiences genuinely enjoy. You could also pair them with another Renaissance work or use them as a closing number that leaves the hall with energy and clarity.

• Playing in two independent choirs (spatial awareness and ensemble independence)
• Balancing voice leading in imitative passages
• Executing crisp dynamic contrasts and echo effects on trumpet
• Sustaining Renaissance-era phrasing and articulation on a modern instrument
• Maintaining rhythmic precision during overlapping entries across the ensemble