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14
Prelude to Te Deum This regal fanfare is very popular with brides and can be used as either the processional or recessional. There are several “escapes” that could be used to shorten the piece if required. The melody is found in both trumpet parts and in the horn. Ave Maria There are several popular and famous Ave Marias. This particular piece was originally named Meditation by the composer Charles Gounod (1818-1893). He wrote this famous melody to the accompaniment of the first prelude of the Well-Tempered Clavier by Johann Sebastian Bach (1685-1750). Hornpipe and Air from Water Music George Frederick Handel (1685-1759) wrote three Water Music suites for performance by 50 instrumentalists on a barge during a royal procession on the Thames River in 1717. There are twenty-one movements in all ranging from slow airs to colorful allegros featuring two horns or two trumpets. The variety in tempos and the tuneful melodies have made Water Music a favorite of audiences since the first performance. Wachet Auf Wachet Auf is a section from J.S. Bach’s (1685-1750) Cantata No. 140. Heralded as one of his finest cantatas, it was written for the 27th Sunday after Trinity. What is interesting about this time is that this Sunday does not exist unless Easter is very early. Therefore this happened only twice during Bach’s years in Leipzig. Bach wrote many cantatas but none have maintained the popularity as this excerpt from No. 140. This is most likely due to the elegant, flowing nature of the writing that is so distinctly Bach. Ode to Joy This the famous theme from Beethoven’s grand Symphony #9. It is an often requested piece at weddings and this version is very straight ahead with a descant on the final repeat. Trumpet Voluntary The Trumpet Voluntary by Jeremiah Clarke (1673-1707) was falsely attributed to Henry Purcell until 1953. In the 17th century a trumpet voluntary was a piece that was not actually written for trumpet. It was written for solo organ and meant to be played on the trumpet stop. All dynamics, articulations and some ornaments (trills) have been added by the editor and may be ignored or altered to best suit the performers. THE WEDDING GIG BOOK Volume 1 Arranged by David Marlatt www.enpmusic.com PREVIEW ONLY

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Prelude to Te Deum

This regal fanfare is very popular with brides and can be used as either the processional or

recessional. There are several “escapes” that could be used to shorten the piece if required. The

melody is found in both trumpet parts and in the horn.

Ave Maria

There are several popular and famous Ave Marias. This particular piece was originally named

Meditation by the composer Charles Gounod (1818-1893). He wrote this famous melody to the

accompaniment of the first prelude of the Well-Tempered Clavier by Johann Sebastian Bach

(1685-1750).

Hornpipe and Air from Water Music

George Frederick Handel (1685-1759) wrote three Water Music suites for performance by 50

instrumentalists on a barge during a royal procession on the Thames River in 1717. There are

twenty-one movements in all ranging from slow airs to colorful allegros featuring two horns or

two trumpets. The variety in tempos and the tuneful melodies have made Water Music a favorite

of audiences since the first performance.

Wachet Auf

Wachet Auf is a section from J.S. Bach’s (1685-1750) Cantata No. 140. Heralded as one of his

finest cantatas, it was written for the 27th Sunday after Trinity. What is interesting about this time

is that this Sunday does not exist unless Easter is very early. Therefore this happened only twice

during Bach’s years in Leipzig. Bach wrote many cantatas but none have maintained the

popularity as this excerpt from No. 140. This is most likely due to the elegant, flowing nature of

the writing that is so distinctly Bach.

Ode to Joy

This the famous theme from Beethoven’s grand Symphony #9. It is an often requested piece at

weddings and this version is very straight ahead with a descant on the final repeat.

Trumpet Voluntary

The Trumpet Voluntary by Jeremiah Clarke (1673-1707) was falsely attributed to Henry Purcell

until 1953. In the 17th century a trumpet voluntary was a piece that was not actually written for

trumpet. It was written for solo organ and meant to be played on the trumpet stop.

All dynamics, articulations and some ornaments (trills) have been added by the editor and may

be ignored or altered to best suit the performers.

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Canon

The incredible fame and popularity of this work is staggering. What is not commonly known is

“the” version of Canon, which many understand to be the original, is scored for 3 violins and

continuo. This is not the original version. Pachelbel’s first scoring was a Canon and Gigue for

solo organ. There have been many arrangements of this work for every combination of

instruments including solo piano, steel drums, recorder ensemble, trumpet octet, several for brass

quintet and double brass quintet.

Largo from Winter - The Four Seasons

Antonio Vivaldi (1678-1741) is best known as a composer of concertos. He wrote over 200

concerti for various instruments. For many years he was the music director at a private school

and it was here he wrote a large number of concerti for his students. This concerto, originally for

strings, is a typical work of Vivaldi’s, demonstrating his gift for “tune”. It is his melodic material

that burns such pieces as the Four Seasons into the memory of musicians and non-musicians

alike.

This is a solo for the tuba. The use of cup mutes in the trumpets and trombone provides a unique

color under the soloist. The horn doubles the melody at times and should be sure to balance with

the soloist.

Wedding March

This piece requires no introduction. This easily the most famous and often used bridal procession

of all times.

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& b b 44PRELUDE to TE DEUM - C. CharpentierAllegro Maestoso q»•ºŒ œ

f˙ œ

222

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& b b 131313 œ .œ œ œ œ 141414 ˙ .œŸ Jœ151515 .œ œ .œ œ .œŸ Jœ

161616 .˙ Œ 171717 7

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& b b 525252

.œ œ .œ œ œ Œ 535353 œ ˙ œ 545454 œ œ ˙ molto rit.555555 œ œ ˙ wU

WEDDING GIG BOOKVolume 1 Arranged by David Marlatt

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& 44AVE MARIA - J.S. Bach/C. GounodModerato q»¶™‰ jœ

pœ ‰ jœ œ

2 ‰ jœ œ ‰ jœ œ3 ‰ jœ œ ‰ jœ œ

4 ‰ jœ œ ‰ jœ œ

&5 ‰ jœ œ ‰ jœ œ

6 ‰ jœ œ ‰ jœ œ7 ‰ jœ œ ‰ jœ œ

8 ‰ jœ œ ‰ jœ œ

&9 ‰ jœ œ ‰ jœ œ

10 ‰ jœ# œ ‰ jœ œ11 ‰ jœ œ ‰ jœ œ

12 ‰ jœ œ ‰ jœ œ

&13 ‰ œ

Pœ œ œ œ œ ‰ œ œ œ œ œ œ

14 ‰ œ œ# œ œ œ œ ‰ œ œ œ œ œ œ15 ‰ œ œ œ œ œ œ ‰ œ

pœ œ œ œ œ

&16 ‰ œ œ œ# œ œ œ ‰ œ œ œ œ œ œ

17 ‰ œ œ œ œ œ œ ‰ œ œ œ œ œ œ18 ‰ œ œ œ œ œ œ ‰ œ œ œ œ œ œ

&19 ‰ œ œ œ œ œ œ ‰ œ œ œ œ œ œ

20 ‰ jœ œ ‰ jœ œ21 ‰ jœ œ ‰ jœ œ

&22 ‰ jœ œ ‰ jœ œ

23 ‰ jœ œ ‰ jœ œ24 ‰ jœb

Pœ ‰ jœ œ

&25 ‰ jœ œ ‰ jœ œ

26 ‰ jœ œ ‰ jœ œ27 ‰ Jœ œ ‰ Jœ œ

&28 ‰ Jœ œ ‰ Jœ œ

29 ‰ jœpœ ‰ jœ œ

30 ‰ jœ œ ‰ jœ œ31 ‰ jœ œ ‰ jœ œ

&32 ‰ jœ œ ‰ jœ œ

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fœ ‰ jœ œ

35 ‰ jœ œ ‰ jœ œ

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molto rit.39

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& 43HORNPIPE from WATER MUSIC - G.F. HandelAllegro Moderato q»¡º•œ>f

œ> œ> 2 jœ. œ> jœ. œ. œ.3 jœ. œ> Jœ

. œ- œ œ 4

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Jœ. œ-

jœ.Fœ. œ.

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20 œ- ‰ jœ.lead

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molto rit.37 .œ jœ> œ

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WEDDING GIG BOOK Volume 1 pg. 3 F Horn

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& b b 44WACHET AUF - J.S. Bach q»§§‰ 11 12 Ó Œ ‰ jœ

P.œ œn .œŸ

œ œ œ13 œ œ œ œ œ œ œ œ œ

& b b14 œ œ œ œ œ œ œ ‰ jœ15 œ œ œ œ œ œ œ œ œ

16 œ œ œ œ œ œ œ ‰ Jœ-

& b b17

Jœ œn Jœ œ œ œ ‰ Jœ- 18

Jœn œ Jœ œ œ œ Œ 19 Œ ‰ Jœ œ œb œ œ œ

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& b b23 œ œ œ œ œ œ œ œ œ œ ‰ jœ-24

Jœ œn Jœ œ œ œ ‰ Jœ- 25

Jœn œ Jœ œ œ œ ‰ œ œjœ

& b b26

œ œ œ œ œn œ jœ ‰ Œ 27

œ œ œ j̊œ œ œ œ jœ ‰ Œ 28 œ œ œŸ œ œ œ œ œ œ œ œ

& b b 29

.œ œn .œŸ

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& b b35

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Ó 44 Ó Œ œ œ 45 œ œ ˙ 46

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w50

œ œ œ œmolto rit.51

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WEDDING GIG BOOK Volume 1 pg. 4 F Horn

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& bb 44ODE TO JOY - L. van BeethovenMaestoso q»¡ººœf

œ œ œ 2

œ œ œ œ3

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.œ jœ ˙

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& bb ..29 œ œ œ œ 30 œ œ œ œ

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& b 44TRUMPET VOLUNTARY - J. ClarkeMaestoso q»¡¡™˙

f˙ 2 .˙ œ 3 œ œ œ œ 4 ˙ œ œ 5

˙ œ œ

& b6 .œ Jœ œ œ œ7

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˙ ˙ 10 ˙ œ œ

& b11

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˙ œ œ13

˙ œ œ 14 .œ Jœ œ œœ 15 œ œ œ œ œ œ

& b 16 .˙ Œ 17 ˙ ˙ 18 .˙ œ 19 .˙ œ 20 œ> œ> œ> œ>21 ˙ ˙ 22 .˙ œ

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.˙ Œ 25 ˙ ˙ 26œ ˙ œ œ œ27 .˙ œ

& b 28 œ> œ> œ> œ>29 ˙ œ œn 30 .˙ œ 31 œ Œ œ œ

32

œ ‰ Jœ> >̇ 33 ˙ ˙

& b34 .˙ œ 35 œ œ œ œ 36 ˙ œ œ 37

˙ œ œ 38 .œ Jœ œ œœ

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lead œ. œ. œœ 50 œ œ. œ. œ

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& bb 44 ..AIR from WATER MUSIC - G.F. HandelAir q»§º˙p

.œ œ .œ œ2 ˙ .œ œ .œ œ

3 .œ jœ- œ œ 4 œ œ ˙

& bb ..5 ˙P

œ œ6 œ .œ œœ œ 7 œ ‰ jœ ˙

8 .œ Jœ ˙

& bb ..9 œF

˙ œ 10 œP

œn œ ‰ Jœ-11 œ œb .œ œb œ

12 œ œ ˙

& bb ..13 œ .œ œ .œ œ .œ œ

14 ˙p

.œ œ .œ œ15 .œ jœ œ œ 16 œ œ ˙

& bb17 4 21 œp

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lead

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& bb33 .œ jœ- œ œ 34 œ œ œ œ rall. e dim.35 œ œ .œ œ .œ œ œ œ U̇

WEDDING GIG BOOK Volume 1 pg. 7 F Horn

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& b 44CANON - J. Pachelbelq»!¢ 2 3 2 5

œp

œ œ œ6

œ œ œ œ

& b7 œ œ œ œ8

œ œ œ œ9

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& b11 jœ ‰ Œ Ó 12

"13 ‰ . j̊œ

Pœœ œ œ œ œ œ œ-

& b14 œ œ œ œ œ œ œ œ œ œ œ œ15

œ.pmelody in tuba

œ. ‰ Jœ. ‰ Jœ. ‰ jœ.

16 ‰ jœ. ‰ jœ. ‰ jœ. ‰ Jœ.

& b17

œPœ œ œ œ œ œ œ œ œ œ œ œ œ œ œ

18

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& b20 œ- œ- œ- œ- 21 œ. œ. œ- ‰ jœ. œ-22

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& b23 œ. œœ œ. œœ œ. œ œœœœœœœ. œœ œ. œœœœœœœœœœ

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jœ.‰ # œ. œ. œ.

31 jœ. ‰ #. œ. œ. œ. œ. ##œ. jœ.‰

WEDDING GIG BOOK Volume 1 pg. 8 F Horn

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& b32

! œ. œ. œ. jœ.‰ ! œ. œ. œ.

jœ. ‰ 33 jœ. ‰ !. œ. œ. œ.jœ. ‰ ! œ. œ. œ.

34 jœ. ‰ ! œ. œ. œ. jœ. ‰ ! œ. œ. œ.

& b35

œ.Fœ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ.

36

œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ.37 jœ. ‰ Œ Ó

& b38

"39 .œ- Jœ- .œ- Jœ-

40 œ- œ- œ- .œ œ41 jœ. ‰ ! œ

œ œ. œ. jœ. ‰ ! œ œ œ. œ.

& b42jœ. ‰ Œ ! œœœ. œ. œ. œœœ. œ.43 .œ Jœ .œ Jœ

44 œ œ œ .œ œ

& b45

œ œ- œ œ œ 46

.œ œ œ œ .œ œ47

.œ-espressivo

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& b48

œ œb œ œ .œ œ œ œ .œn œ49 jœ. œ- jœ- jœ.

œ- Jœb- 50 œ- œ œ œ- œ-

& b51 jœ.fœ- jœ- jœ.

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Jœ. œ- œn - œ- Jœ-

& b54

Jœ œ- œ- jœ. œ-55 œƒ

.œ œœ .œ œmolto rit.

56 œ œ œ .œŸ œ wU

WEDDING GIG BOOK Volume 1 pg. 9 F Horn

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& bbb 44LARGO from WINTER (FOUR SEASONS) - A. VivaldiLargo q»§§

2 3

œœ œ œ œ œ!

4

œœ

Œœ

!5

œ œ œ œ œœ!

6

œ œÓ Œ œ

F

& bbb7

œsustained-with Tuba

œ œ œ œ œ 8

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& bb b11

˙ jœ ‰ Œ12 3 15 Ó Œ œ 16 œ œn œ œ œ œ œ œ

& bb b17

.˙ œ-18

-̇Ó 19 4 23

œ œ œ œ œœ!

24

œ œÓ Œ œ

& bb b25

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& bb b29

!

30 Ó Œ œ œ31

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& bb b33

œ œ œ œ œ œ œœ œ œ34

w35

wmolto rit.

36

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WEDDING GIG BOOK Volume 1 pg. 10 F Horn

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& b 44WEDDING MARCH - R. WagnerSlow walking speed q»¶™

2 3

œf.œ œ˙

4

œ .œ œ˙

& b5 œ .œ œœ .œ œ 6

œ œ ˙7

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& b9 œ .œ œœ .œ œ10 œ .œ œ˙11 œ

lead

Fœ œ œ œ

12

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& b n # # n n b13 œ œ œ œ œ14

œ .œ œ# ˙15 4

& b19

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œ œb .œ jœ20 œ œn œb œ ˙

21

œ œ œn .œ Jœb22

œ œ œ# œ# - œ- ˙

& b opt. skip for early ending

œnf

.œ œ˙24

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& b 27

œnf

.œ œ˙28

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