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Interludes for Percussion and Trumpet

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Interludes for Percussion & Trumpet

Mark Wolfram

General Info

Year: 1985
Composers: Marilyn J. Harris & Mark E. Wolfram
Duration: c. 10:00
Difficulty: V (see Ratings for explanation)
Publisher: Sound Studio Publications
Cost: Score and Parts - $20.00 USD


1. March (2:30)
2. Elegy (2:30)
3. Prayer (2:30)
4. Finale (2:30)


Full Score
Solo Bb Trumpet (with cup, straight, and harmon mutes)
Bb Flugelhorn
Percussion, including:

  • Cymbal (suspended)
  • Glockenspiel
  • Snare Drum
  • Tom-Toms (4, graduated pitch)
  • Vibraphone
  • Wind Chimes (glass)

Recommended Mallets:

  • 4 Med. Hard Yarn (Mvts. I & IV)
  • 4 Med. Soft Yarn (Mvt. III)
  • 4 Soft Yarn (Mvt. II)
  • 4 Soft Rubber (Mvt. IV)
  • 1 pair Snare Drum sticks
  • 1 pair "SLAP" mallets
  • 1 Extra Soft Yarn mallet (opt.)


None discovered thus far.

Program Notes

Interludes for Percussion and Trumpet was commissioned by percussionist Michael Englander and trumpeter Burnette Dillon and premiered at the 1985 Percussive Arts Society national convention in Los Angeles. It features four contrasting movements:

The opening phrases of "March" have a fanfare-like quality while retaining an angular structure to the melody. The crisp snare drum passages and dramatic interval leaps in the trumpet set a tone of tension while retaining a sense of order. After a slower contrasting section featuring vibraphone and trumpet in mute, the movement reprises its dramatic opening and finishes with one last fanfare and a snare drum flourish.

"Elegy" has a wistful quality and uses chordal and orchestrational elements from the jazz lexicon. The vibraphone accompanies a plaintive flugelhorn on a melody which is both reflective and hopeful. The mixture of the elements paints an homage to a bygone era, and the movement ends with a wistful phrase, the sound of rushing air and a delicate wind chime blowing in the breeze of history.

"Prayer" combines the muted trumpet's lyricism with the vibraphone's consistent pulse and constantly evolving tonalities. It is both a hopeful statement of thanks for the present and a plea for a better future. The use of fourth and fifth structures colors both melody and chordal accompaniment. The broad tessitura of the trumpet adds an emotional sweep to the movement, which ends quietly in supplication.

Many tempo and timbre changes highlight "Finale" which is the most technically challenging portion of the work and draws motivic inspiration from the preceding three movements. The opening trumpet statement is the thematic genus that evolves throughout the movement. The trumpet goes quickly in and out of mute as the varied percussion instruments seamlessly change between one another. A rapid tempo increase lifts the work towards a stirring conclusion which features a slap-mallet ostinato, frantic tom-tom interjections and motivic recapitulation of both the movement and the entire work. Like the first movement, "Finale" ends with a fanfare and a flourish.

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