Funk - Six Duets

William F. Funk

Six Duets for Trumpet

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I William F. Funk

         q = 100

Trumpet 1

Trumpet 2

  

mp

          





               5

             



   

14

    19

    23

mp

  



            

        

 

          

       

            

 

                   

       f        

  

 

                                   

10

 



        

        





   

f

                     p





   

    

            

          f      



    

      

    

         

Copyright 2011 William F. Funk

             

f

      slower



II William F. Funk

     q = 60



p

   



   

       



4

p











 

     

      

 

     

f





   



 

       



p

   7

 

  







10







mf

 

 f

    

p





f





     

      



mf

   

mf

   





f

    



       

 

   



p



mf

Copyright 2011 William F. Funk

      



p





 

III William F. Funk

                                       f                                  f q = 160

                   

         

5



              

p

p

10

15       











                   

             ff

f

     

f

        

Copyright 2011 William F. Funk

     



     p

         

                        

      p



f

ff

        20





                             f



     

  

 

    

         

               

      





IV

Lazy Swing

    

q = 90 (Resist the urge to play it faster)

William F. Funk

                  p 3     3                                p 

3

3                   mf                

5

3

     9

mf

  

p

    

     

   3  3          

                         p    14

        

  

f

3           

18

   

f

   

3

p

    

3

3



p

  

            3

 

p

      



          

Copyright 2011 William F. Funk



 

   3  3        

f

3

p

           

3                       

    

        

      



3

   

3

3                      

 

22

      

f

3

3

 3

 

 

         

   

3

 

3            

3

   

 

3



V

q = 130                                       mf f                               mf f   13     A                                            p                                                  p 25 B                                     mf                                     mf 38    C                                      f                                                          f 49 D                                                  f                                                          f 62 E                                     p

William F. Funk

sempre

                            sempre    p 72   F                             f                                   f Copyright 2011 William F. Funk

VI q. = 80 (or similar tempo where the sixteenth notes fall in between your comfort levels for single and double tonguing)

             

          mf sempre

  

mf sempre

    

                             

    

William F. Funk



     

                                                                12                                                                    6



                                



            ff flutter st. mute                 ff

a little slower st. mute

18

flutter

23             

mf sempre

        29









              

           

        2

      

    

 a Tempo    

open



open

                     mf sempre                     

           

             

                    

Copyright 2011 William F. Funk



Music for Trumpet William F. Funk www.williamfunk.com

Trumpet and Marimba Dialogue Made Easier A very difficult work for both performers that features a slow, expressive marimba solo sandwiched between fast conversational material at the beginning and end with a duration of about 6 minutes.

Trumpet Ensemble Remembering the Guthrie The work is a very short (45 seconds) fanfare for 5 trumpets that was written for the Dallas Wind Symphony Fanfare competition. There is quite a bit of dissonance and independent movement in the voices, but the piece is accessible for most college players.

Trumpet, Horn, Trombone (Piccolo Trumpet, Flugelhorn)

Trio A "plug and play" type of work written especially for use on programs that may have time limitations. here are five short movements of which any or all may be performed. Three of the movements are solos for piccolo trumpet, horn, and trombone, featuring each instrument in a soloistic fashion. (The trumpet part also requires Bb trumpet and flugelhorn.) In addition, the piece contains jazz elements and a couple of humorous quotes to further pique audience interest. The entire work is of college-level difficulty.

Mezzo-Soprano, Flugelhorn, Soprano Sax, Viola Concupiscence A lively and lusty (that's what concupiscence means) 3 movement work for mezzo, soprano sax, flugelhorn, and viola. Each of the 3 movements deals with a woman's feelings regarding failed relationships in the past and her anger (or wistfulness) in recalling them. The piece has a total duration of about 10 minutes and employs unusual harmonies along with angular lines for all instruments, including the mezzo. The mezzo range is G#, 4th space bass clef, to A on top of treble clef. The instrument writing is college level for each.

Brass Choir (3,3,3,1,1) Contrasts Expressive French Horn and Flugelhorn solos follow a fast-moving contrapuntal opening section. All voices contain angular melodies within complex harmonies. The work has a duration of about 7 minutes