1) Score is in C
2) Accidentals apply to the measure (to the beam in free passages).
3) Parts may be doubled, unless marked "solo."
4) The Percussion array:
Perc. 1: vibraphone (motor off except where indicated), snare drum (snares
on), bass drum, tam tam, tambourine, bongos.
Perc. 2: marimba, triangle, timbales, glockenspiel, maracas, bell tree.
Perc. 3: claves, crash cymbals, suspended cymbal, high and low gongs, tubular bells, xylophone, timpani (2) tuning: G (F), D (C).
The Concerto for Three Trumpets and Wind Ensemble employs the hymn tune , "Watchman, Tell Us of the Night" as the basis of all the compositional material. It appears initially in fragments in Movement I, such as the Ricercar subject of the double fugue exposition, a sound-mass chord, a sleazy tango theme in II, and as a countersubject of the last Ritornello in III, a passage borrowed from the end of Terza Prattica, a piece written twenty years ago for the UCLA Collegium Musicum. With the exception of this self quotation, all of the music is original. Some of the passages are like exact replicas in a specific style, some are stylistic elisions or juxtapositions, and some of the passages are deliberately "corrupt parodies."
With such a plethora of stylistic gestures, one could argue that this piece represents the destruction of musical "unity" as it is understood. I would rather characterize the piece as having a transcendent unity, created by the systematic use of a stylistic mosaic as a structural device. I have tried to stretch the notion of "counterpoint" to include simultaneous passages which fit, even though the meter, phrase structure, and tonality are diverse. I feel that this is a piece that is intentionally impure, as a reflection of our times.