Trios for All Occasions, Volume 2: 3 Horns Score & Parts

Marlatt's arrangements strike an uncommon balance between accessibility and genuine musicality. The collection spans styles and eras without sacrificing coherence, and the writing for three horns sits comfortably in the middle range where ensemble blend becomes natural rather than forced.

This collection moves easily between ceremonial and playful, between folk tradition and concert hall arrangement. Each piece is crafted to feel complete and purposeful, whether it's the stately opening of a fanfare or the dancing rhythms of a traditional tune.

Intermediate horn ensembles looking for versatile repertoire that works in multiple contexts, from school concert programming to community performances. The collection also serves hornists preparing for ensemble festivals or community band gigs who need reliable, well-written music that doesn't require extensive rehearsal time.

• Balance the three parts carefully in passages where all three voices carry melody. Horn tone naturally fills space, so light articulation will help maintain clarity without sacrificing warmth.
• Pay attention to the stylistic shifts between pieces. A Baroque excerpt like the Water Music overture demands different phrasing than the rhythmic vitality of Rag-time Dance; mark these transitions in rehearsal.
• Use the variety of the collection strategically. Programming pieces back-to-back allows you to establish different moods within a single set without resetting audience expectations.
• The ensemble's intonation matters most in sustained sections and harmonic passages. Spend rehearsal time on these moments rather than speed.

Use individual pieces as concert openers, transitions between larger ensemble works, or as standalone segments in a mixed program. The stylistic range lets you program pieces thematically (seasonal selections like Deck the Halls or O Come, O Come Emmanuel; American repertoire like Home on the Range and De Colores) or simply choose what fits your concert's flow and pacing.

• Intonation and blend in three-part harmony
• Stylistic awareness across Baroque, traditional, and contemporary idioms
• Balanced voice leading when all three parts share thematic material
• Clarity and separation of articulation in ensemble contexts
• Sight-reading fluency across varied musical textures