Brass Ensemble - Level 4 - Digital Download SKU: A0.775299 By Chicago. By Robert Lamm. Arranged by Alex Wilson. Pop,Rock. Score and parts. 28 pages. Alexander Wilson #5299121. Published by Alexander Wilson (A0.775299). Written by Robert Lamm and recorded in 1969, 25 or 6 to 4 is one of the band Chicago's most well known hits.  There was speculation about the meaning of the title, including one hypothesis that led the song to be banned in Singapore for over 20 years for alleged allusions to drugs, but according to the composer the song is about writing music in the early morning, and the title is nothing more salacious than 3:35am (25 to 4) or 3:34am (26 to 4).In any case, this song remains a classic of the rock genre 40 years after its publication, and is arranged here for 10 Bb trumpets.  Most of the higher and more difficult licks are concentrated in the top 4 parts, and the 1st part requires particular skill (leading me to mark this arrangement's difficulty as advanced intermediate), but each trumpeter involved will have have at least one moment of guitar-solo glory.  Perfect for a large trumpet ensemble with diverse skill levels.

Brass Ensemble - Digital Download SKU: A0.961431 By Bruno Mars. By Bruno Mars, Charles Wilson, Devon Gallaspy, Jeff Bhasker, Lonnie Simmons, Mark Ronson, Nicholaus Williams, Philip Lawrence, Robert Wilson, Ronnie Wilson, and Rudolph Taylor. Arranged by Peter Younghusband. Pop. Score and parts. 15 pages. Peter Younghusband #4409777. Published by Peter Younghusband (A0.961431). Brass Quintet Part 1 - Bb trumpet cornet Part 2 - Bb trumpet / cornet Part 3 - Eb and F Part 4 - bass clef and Bb Part 5 - bass clef and Eb

Brass Ensemble - Level 4 - Digital Download SKU: A0.775219 By Peter Cetera Featuring AZ Yet. By David Babyface Foster and Peter Cetera. Arranged by Alex Wilson. Contemporary. Score and parts. 25 pages. Alexander Wilson #3925711. Published by Alexander Wilson (A0.775219). Composed by Peter Cetera and David Foster, You're the Inspiration hit #3 on Billboard's Hot 100, and remains one of the most memorable, uplifting songs from the 80s.  This arrangement is about 3'15, and is written for 4 Bb trumpets, 2 euphoniums (BC), and 2 tubas.

Brass Ensemble - Digital Download SKU: A0.999423 Composed by Carlo Gesualso. Arranged by Eric Wilson. Concert,Renaissance. Score and parts. 14 pages. Woodrow Edition #5798361. Published by Woodrow Edition (A0.999423). Carlo Gesualdo, Prince of Venosa, Musician and Murderer! That’s not a news headline (though it would be quite a good one) but the title of a book by composer Peter Warlock which I read avidly after first encountering the Italian composer in a lecture at the University of Liverpool in the 1980s. We were studying the Italian madrigal, which was not really my thing until our lecturer threw Moro Lasso into the mix. Its opening chords seemed so incongruous – unlike anything we had heard – and are as striking today as they must have been in 1611 when first published in Gesualdo’s 6th Book of Madrigals.More or less immediately after that lecture I arranged the piece for the Seras Brass Quintet which I had helped form. In those days the brass quintet repertoire was limited, and certainly didn’t include anything by Gesualdo!The arrangement really benefits from a church-like acoustic where you can make the most of the dramatic built-in silences. The tuba part lies quite high and is very playable on a trombone if need be. Even to modern ears there are some strange sounds and I trust that all the ‘wrong’ notes are Gesualdo’s rather than mine – do let me know if you think otherwise!

Brass Ensemble - Digital Download SKU: A0.999424 Composed by Peter Ilyich Tchaikovsky. Arranged by Eric Wilson. Concert,Graduation,Romantic Period,Wedding. Score and parts. 13 pages. Woodrow Edition #5798363. Published by Woodrow Edition (A0.999424). It scares me to think that I arranged this piece as long ago as 1983! It was one of many I made for the Seras Brass Quintet which I helped form while studying at the University of Liverpool. In those days the brass quintet repertoire was limited and, to an impecunious student, expensive. Consequently we made many of our own arrangements and this one became a popular concert item – often used as an encore.We didn’t have Derby mutes (I still don’t!) but we managed to change the straight mute successfully enough. If it’s a problem just cover the bell with the left hand – the main thing is to create a different timbre, after all.