Thrice Happy the Monarch for Baritone BC and Piano Cover Image

Thrice Happy the Monarch for Baritone BC and Piano: Trombone / Euphonium Book

$7.99 USD
$7.99 USD
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Thrice Happy the Monarch for Baritone BC and Piano Cover Image
Thrice Happy the Monarch for Baritone BC and Piano: Trombone / Euphonium Book

Thrice Happy the Monarch for Baritone BC and Piano: Trombone / Euphonium Book

By George Frideric Handel / arr. R. Winston Morris

Grade: 3

Item: 36-10540265
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Description
This aria, sung by the character Ptolemee, from Handel's oratorio "Alexander Balus" (HWV 65. No. 6) has been arranged for solo brass instrument with piano accompaniment by Winston Morris.  In 3/8, while at a reasonably fast tempo, the work offers intermediate players a perfect amount of technical challenge while also offering the opportunity to perform a song from the Baroque era with appropriate phrasing and musicianship.  Version for trumpet, trombone, baritone B.C., and tuba are available from the publisher.

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Additional Details
Series: LudwigMasters Brass Series
Publisher: Keiser Productions, Inc.
ISBN10: 1-62-156504-1
ISBN13: 978-1-62-156504-8
UPC: 735816058173
SKU: 36-10540265
Instrumentation: Trombone/ Euphonium, Solo with Piano

More about this title

About the Composer: George Frideric Handel

George Frideric Handel (1685-1759) composed more than 40 operas and 32 oratorios during his lifetime, establishing himself as one of the most prolific and celebrated composers of the Baroque era. His works span nearly every genre of his time, from instrumental concertos to sacred vocal music, and his facility with melody and dramatic pacing made his compositions central to the concert life of London and continental Europe.

Handel's oratorios, including "Alexander Balus," represent a distinctly English adaptation of Italian operatic storytelling. These large-scale works allowed singers and instrumentalists to perform dramatic narratives without staging, making them accessible to wider audiences and affordable for impresarios to mount. His gift for memorable, singable lines and clear harmonic structures has kept his music in active performance for over 250 years.

Why we love this

Handel's melodies are deceptively elegant. This aria sits perfectly for intermediate brass players: the 3/8 meter feels natural and propulsive without excessive technical filler, and the phrasing demands musicianship rather than virtuosity. Arranging Baroque vocal music for solo brass opens students to a repertoire beyond the 20th century and shows them how oratorio writing valued singers who could shape a line with intelligence and grace.

What to expect

Regal yet intimate. Handel's setting captures a moment of courtly reflection, and the 3/8 pulse carries a buoyant quality even when the character is contemplative. The melody unfolds with the confidence of a skilled orator, each phrase leading naturally to the next without strain.

Who it's for

Intermediate brass soloists (Grade 3) who are ready to explore Baroque idioms and want exposure to oratorio repertoire. This arrangement works equally well for trombonists and baritone players seeking material that combines technical interest with musical substance.

How to get the most out of it

  • Shape the phrase in long arcs, treating the 3/8 meter as a single flowing unit rather than three separate beats. The Baroque aesthetic favors continuity over rhythmic emphasis.
  • Balance vibrato carefully. The character of Handel's melody supports moderate, well-timed vibrato at phrase peaks, but it should not obscure the clarity of the line itself.
  • Work with your pianist to maintain proportional tempo throughout. The arrangement sits well at a brisk but sustainable pace; rushing flattens the phrasing.
  • Articulate sixteenth-note figures with a light tongue to create textural distinction without disrupting the legato framework of the aria.

How to use it

Feature this as a solo recital piece for a trombonist or baritone player, or include it in a concert exploring Baroque music across multiple ensembles. It pairs well alongside keyboard works from the same era and complements other oratorio excerpts arranged for brass instruments, creating a mini-survey of Handel's vocal writing.

Skills your students will build

  • Phrasing and line shaping in 3/8 meter
  • Baroque ornamentation and articulation conventions
  • Breath placement and management across longer melodic phrases
  • Collaborative balance with piano accompaniment
  • Interpretation of early music style and historical context

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