Trinity Episcopal Church, 1200 S. Union Avenue, Alliance Ohio, 44601

Choral Preludes: Trumpet and Church Organ Sheet Music, Descants

Music Link Prayer of St. Chrysostom: Composed as a Requiem: RIP for Kyra Nicole Barkowski - My Great Grandaughter.

Trumpet and Church organ, some with unison choir, sheet music

Chorale Preludes, Hymn Descants, Masses, Solo Organ Sheet Music

You are reminded that you can hear all of Hunt's Choral Preludes within this page......the harmonic content are unique to Hunt...
not simply playing to the harmonizations in the Hymnal - simply click on view/listen

• ALLELUIA view/listen
  a one movement piece for B-Flat trumpet and organ. Probably best performed on the piccolo trumpet. Range: D1 to G3. Grade V
• A PRAYER of SAINT CHRYSOSTOM view/listen
  a one movement piece for B-Flat or C trumpet and organ. Range: low Bb to A2. Grade V
• A PRAYER of SAINT CHRYSOSTOM with STRINGS view/listen
  a one movement piece for B-Flat or C trumpet and String Orchestra. Range: low Bb to A2. Grade V
• BISHOP'S CHAPEL at ROSLYN view
  a one movement piece for B-Flat or C trumpet and Pipe Organ. Range: Grade V
• CHORALE PRELUDE on ADESTE FIDELIS (Oh Come All Ye Faithful) (for trumpet and organ) view/listen
• CHORALE PRELUDE on ANTIOCH (Joy To The World) (for trumpet and organ) view/listen
• CHORALE PRELUDE on DIVINUM MYSTERIUM "Of the Father's love begotten" view/listen
  a one movement piece for unison choir, trumpet and organ, based on an 11th century "Sanctus" trope. Use as a prelude or a stand alone composition - Grade IV
• CHORALE PRELUDE on EASTER HYMN (Christ the Lord is risen today) (for trumpet and organ) view/listen
• CHORALE PRELUDE on EIN FESTE BURG (A mighty fortress isour God)(for trumpet and organ) view/listen
• CHORALE PRELUDE on FORTUNATUS (Welcome happy morning age to age shall say) (for trumpet and organ) view/listen
• CHORALE PRELUDE on HARK! THE HERALD ANGELS SING(for trumpet and organ) view/listen
• CHORALE PRELUDE on LASST UNS ERFREUEN (Ye Watchers and Ye Holy Ones) (for trumpet and organ) view/listen
• CHORALE PRELUDE on OLD 100TH (Praise God from whom all blessings flow) (for trumpet and organ) view/listen
• CHORALE PRELUDE on SINE NOMINE (For all the saints, who from their labors rest)(for trumpet and organ) view/listen
• CHORALE PRELUDE on ST. ANNE'S (O God,our help in ages past) (for trumpet and Organ) view/listen
• CHORALE PRELUDE on VENI VENI EMMANUEL(for trumpet, unison choir and organ) view/listen
• CHORALE PRELUDE on VOM HIMMEL HOCH (for trumpet and Organ) view/listen
• CHORALE PRELUDE on WACHET AUF (Sleepers Wake!) (for trumpet and organ) view/listen
• LORD'S PRAYER,The view/listen Hunt's setting of the LORD'S PRAYER for Trumpet (or Trombone) and organ is extracted from his St. Mary's Anglican Mass - for SATB Chorus and Organ (specify Bb or C trumpet or Bass Clef) Grade IV - range to C3.
• Venite Exaltemus - 95th Psalm (for flute, Piano, S and A female choir, handbells, finger cymbals and organ) View

DESCANTS for TRUMPET and ORGAN

• Descants PRAISE HIM WITH THE SOUND OF THE TRUMPET Vol. I view/listen Descants for Forty Famous Hymns - the descants are designed to be played with the Organist's hymnal (not included). Features a Book, Performance CD, and Organ Accompaniment CD.
• Descants PRAISE HIM WITH THE SOUND OF THE TRUMPET Vol. II view/listenDescants for Forty One Best loved Hymns Hymns - the descants are designed to be played with the Organists hymnal (not included).Features a Book, Performance CD, and Organ Accompaniment CD.
• Descants PRAISE HIM WITH THE FLUTE viewDescants for Forty One Best loved Hymns Hymns - the descants are designed to be played with the Organists hymnal (not included).Features a Book and Organ Accompaniment CD.
• DESCANTS for ADVENT and CHRISTMAS view/listen the descants are designed to be played with the Organist's hymnal (not included).
• DESCANTS for LENT and EASTER view/listenthe descants are designed to be played with the Organist's hymnal (not included).

A WEDDING COLLECTION for TRUMPET and CHURCH ORGAN

• A Wedding Trilogy view/listenIncludes two Processionals, Wedding Prayer, Voluntary Recessional

MUSIC for SOLO ORGAN

• PRELUDE and FUGUE on DUNDEE (for solo organ) Both the Prelude and Fugue are thematically derived from the hymn, DUNDEE view/listen

MUSIC FOR CHORUS WITH ORGAN ACCOMPANIMENT

• ST. MARY'S ANGLICAN MASS - for SATB Choir and Organ view/listen
• ST. MARGARET'S SCHOOL ANGLICAN MASS- Two Treble Voices and Handbells (optional keyboard). view/listen

Trinity Episcopal Church
1200 S. Union Avenue
Alliance, OH 44601

THE FIVE MYTHS OF TRUMPET PLAYING
extracted from SAIL THE SEVEN C's

MYTH #1 Only special freaks can play in the high register. Don't waste precious time trying to duplicate their efforts. There are plenty of notes below high C upon which to devote your time and effort.

FACT: Nearly any player can dramatically improve his or her high register. What is needed is the desire to do so, and a dedicated, systematic approach. The high register will not succumb to the casual player.

MYTH #2 If I could find just the right mouthpiece, I too could be a high note artist.

FACT: There are mouthpieces which facilitate brilliance and intensity of sound. These mouthpieces, sometimes labeled high velocity, are more "V" shaped as opposed to bowl shaped. Sometimes, usually at the music store when we are trying mouthpieces, almost any mouthpiece appears to be superior to the one we are now playing - hence the answer to all our prayers. But pitch is determined by frequency of vibration of your lip. If you can play a C4 on a Schilke 5a4a, you can also do so on a Bach #1. Don't get into the drawer full of mouthpieces syndrome. Choose a rim that is comfortable and learn to play it. I am convinced that a larger cup diameter and a more open throat, which permits a larger airstream, actually facilitates the development of the high register.

MYTH #3 I need a special trumpet.

FACT: Mouthpiece tapers, varying bores, different bell sizes, and various alloys will alter the timbre and playing characteristics of an instrument. But the instrument, in fact, has even less to do with lip vibration, which determines pitch, than does the mouthpiece.

MYTH #4 Playing and practicing in the high (G2 to C5) register will ruin the middle and low registers, and make my tone brittle and laser-like.

FACT: Not practicing all registers equally will allow one-sidedness to take place. Practicing the pedal register, especially, will serve to counteract the extreme compression required to perform the high register. More than likely, a piercing, laser-like sound and a too blatty low register is really the fault of a too small, too shallow mouthpiece. This combination leads to jambing the mouthpiece for the high tones, which is sure to elicit the above mentioned complaints.

MYTH #5 You must play in all registers without changing your embouchure, or play in all registers without re-setting your lips.

FACT: I don't disagree in principle with the above statement. But I believe it has been widely misinterpreted because of semantics and/or insufficient explanation. The opening quote, taken literally, is nonsense! No two tones are played with precisely the same lip setting, let alone an entire register. What is required is a constantly adjusting embouchure, capable of moving from the bottom register through to the top register without the necessity of stopping along the way to regroup your chops. Re-read the last sentence and memorize it! It is of the utmost urgency that you understand what is meant. The understanding which you believe that you have right now will probably be altered as you progress toward the Constant Adjustment Embouchure.*s Clyde Hunt Extracted from SAIL THE SEVEN C'S (C) Copyright B Flat Music Production

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