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

Marlatt has crafted arrangements that sit comfortably in the middle register, allowing three tubas to blend without overwhelming the ensemble or asking for technical fireworks. The collection pulls from folk traditions, classical landmarks, and original compositions, so you can build a recital that feels cohesive rather than cobbled together. Directors appreciate that these pieces work equally well as standalone performance pieces or as part of a larger mixed-instrument program.

These arrangements span from stately and ceremonial to playful and rhythmic, with enough variety to keep an ensemble engaged across a full program. Whether you're sounding out a grand processional or dancing through a rag-time tune, the writing sits naturally for tubas and lets the warmth of three voices working together become the main event.

Tuba ensembles at the high school or early college level who want accessible literature that doesn't require soloistic playing but still demands musicality and sectional balance. This collection works for community bands and church settings where tuba players need repertoire beyond standard low brass parts.

• Balance the three parts by having the lowest voice anchor the harmonic foundation while the middle voice carries definition; let the top voice breathe without pushing for volume.
• Establish a steady pulse in rehearsal before shaping phrase contours; tubas need rhythmic security before they can color individual lines.
• Stagger breathing across the three parts so the sound stays continuous through longer passages, especially in slower arrangements.
• Let the character of each piece guide your dynamic range; fanfares and dance pieces reward clear articulation, while hymn-like settings need sustained legato.

Program selections from this volume as a complete tuba trio recital, or intersperse individual pieces throughout a band or community concert to highlight your low brass section. The range of styles makes it easy to create thematic sets: open with a fanfare, transition into folk melodies, and close with something celebratory. Some schools use these arrangements as sight-reading material throughout the year, pulling a different trio each rehearsal.

• Balancing harmonic roles within a small ensemble
• Sustaining tone quality at various dynamic levels
• Coordinating entrances and releases across three independent parts
• Reading transpositions if using interchangeable parts from other volumes in the series
• Shaping legato phrases in lyrical arrangements and articulating rhythmically in dance pieces