The Trenton Brass Quintet was co

(BRASS QUINTET + PERCUSSION)=UNIQUE ENSEMBLE

By Karl I. Megules

From Woodwind, Brass & Percussion, April 1983, Volume 22 Number 4

History and Development

When I first formed the Trenton Brass Quintet back in January 1973 there was a question that stood out foremost in my mind. Could one find work for a quintet and would it be profitable? Of course, I had listened to many fine brass quintet recordings and had attended many live performances over the years. The music that I heard on these albums and live concerts, for the most part, was what we call "long haired" music.

I wanted to make my brass quintet available to general audiences through live performances. Making it a commercially profitable venture was also in my future plans.

The most important plan of establishing a quintet was to find the best musicians I could. So I got on the telephone and asked several persons if they would be interested in playing in a quintet. Most answered yes and I was on my way.

I eventually arrived at what I call a standard instrumentation: two trumpets, French horn, trombone, and myself on tuba. I know that some quintets use bass trombone for the low part, but being a tuba player and somewhat prejudiced, wound up with the tuba on the bottom. At this point there was no percussionist in the group.

Finding work became very formidable obstacles in the next few months.

My first attempt at procuring work was to contact my local musicians union and inquire about the availability of M.P.T.F. (Musicians Performance Trust Fund) monies. At first I received mixed emotions concerning the use of M.P.T.F funds for a "Brass Quintet"? Funding was eventually forthcoming and we started playing at area schools, state institutions and various local recreation departments. My local union (Local 62 A.F.M., Trenton, New Jersey) is now one of the groups strongest supporters. The Trenton Brass Quintet is now personally recommended by Mr. Frank Herrera, our union secretary.

My Hunt for Music

In looking for music I turned to the old faithful, the Robert King catalog. There was an abundance of Baroque, Renaissance, Classical, and some Romantic pieces. Many were arrangements prepared by Bob King himself. There was very little, at that time, of usable commercial arrangements for general audiences.

Some of the early pioneers in the lighter vein were David Uber, Arthur Frackenpohl, Jack End, and Leonard Lebow.

Much of the music that we play are special arrangements done by the members of the quintet and myself. As of the writing of this article my brass quintet repertoire which consists of nearly two hundered pieces, is composed of approximately 50% arrangements done especially for the group. Many outside composers have written compositions and arrangements. They are Ricky Lombardo, Joseph Scannella, Jim Tuozzolo, and Guy Valachovic.

Any ensemble is in deep gratitude to these wonderful people who will write music that will benefit brass quintets and their repertoire.

Why Percussion?

In the early playing years of the Trenton Brass there was a feeling of a missing part, especially when we would perform some of the ragtime and march pieces.

During my years as Director of Music at Bordentown Regional High School my curriculum included the Music Minus One record series. One day I came across an album (MMO-6034) with a beautiful picture of one of my best loved people, Mr. Bill Bell, on the cover. The record entitled, "He's Not Heavy, He's My Tuba." The record features the famous New York Brass Quintet under the direction of Bob Nagle.

The piece that impressed me the most was Leonard Lebow's "Popular Suite" which had a trap set percussion part. I ordered the piece and a printed percussion part was included. This was when I decided that a drummer would be a permanent member of the quintet. After much deliberation, I renamed the group the Trenton Brass Quintet Plus One.

Finding a percussionist who was interested in performing with a brass quintet was more difficult than I thought. Many were not interested and many were actually apprehensive about joining the group.

Most of the lighter compositions and arrangements for a brass quintet do not include a percussion part. Many times a first trumpet part will suffice for the drummer. Many times I will write a separate percussion part that is compatible with each particular piece.

The drummer has to be very knowledgeable of all styles of music. He has to be very creative and innovative in his approach to drumming. One example if the "Rondeau" of Jean Joseph Mouret which is more commonly known as the theme from the P.B.S. series Masterpiece Theatre. There is no drum part in the arrangement but the piece adapts itself very well to an improvised drum part.

The success of the Trenton Brass Quintet has been greatly enhanced by the addition of a percussionist. Our drummer uses a standard club date-jazz trap setup.

Repertoire

Here is a sample of our repertoire that includes compositions and arrangements that have percussion parts:

Popular Suite, Leonard Lebow; Latino Contemp (Drum Solo with brass quintet), Ricky Lombardo; Beatles Medley, Lennon-McCartney, arr. R. Lombardo; Twightlight Creams (Cornet solo with brass quintet), H. Clarke arr. J. Tuozzolo; Concerto to St. Mark (Piccolo trumpet solo with brass quintet), Albinoni, arr. J. Tuozzolo; Anchor and Star, J.P. Sousa, arr. G. Valachovic; Fairest of the Fair, J.P. Sousa, arr G. Valachovic; Candy Apple Rag, Guy Valachovic; Ciribiribin (Trumpet solo with brass quintet), Pestalozza, arr. J. Scannella; Italian Medley, Joseph Scannella; Sugar Blue (Cornet solo with brass quintet), Williams, arr. J. Scannella; Polka Time, Joseph Scannella; Hansel & Gretel Medley, Hunperdinck, arr. K. Megules; Fiddler on the Rood, Harnick-Bock, arr. K. Megules; Stars in a Velvety Sky (Cornet solo with brass quintet), H. Clarke, arr. K. Megules; That Old Black Magic, Mercer, arr. K. Megules; Popeye, Lerner, arr. K. Megules.

Seating Arrangement

Here is a diagram of the seating plan that we use:

Plea to Composers

To this date one can purchase many light and popular brass quintet compositions and arrangements and not find a percussion part. Many of the ragtime arrangements and marches should have a percussion part.

I am making a personal plea to such fine composers and arrangers as David Uber, Arthur Frackenpohl, David Fetter, Carroll Butts, and Bill Holcombe, just to mention a few, to include a percussion part in their future pieces. Keep those wonderful compositions and arrangements coming.

Conclusion

In conclusion I hope that this article will encourage many established and young composers to include a percussion part in their brass quintet compositions and arrangements.

There is no doubt that the Trenton Brass Quintet Plus One owes much of its success to the inclusion of a percussionist.

Also many thanks to Bill Musser for his encouragement and enthusiasm.