Categories: Christmas Music, SOLOS - B♭. Cornet & Band Composers: Ralph Blane, Hugh Martin Arranger: Philip Littlemore
The successful songwriting team of Hugh Martin and Ralph Blane wrote Have Yourself A Merry Little Christmas for the 1944 MGM musical Meet Me in St. Louis, where it was introduced by Judy Garland. The original lyrics were too melancholic and Garland asked for something a little bit more upbeat. Blane substituted them for the now-familiar lyrics of those Garland sang in the movie, although Frank Sinatra asked for one further change so that the song could be included on his album The Joy of Christmas. It is one of the most popular Christmas songs of all time and has been recorded by over 500 artists. This arrangement for cornet solo with band accompaniment, captures the reflective style of the original song, although allows a little bit of magic to close.
Categories: FILM MUSIC & MUSICALS, SOLOS - Euphonium Material: Rodgers & Hammerstein Arranger: Philip Harper
Climb Every Mountain (from Sound of Music)
Standard: 3rd Section
Duration 4:00
Hit from The Sound of Music, features for Solo horn, euphonium (or vocal line-words included) and optionally soprano cornet with 'McArthur Park' style end.
Starts quietly with a single voice (horn) and grows in power throughout.
Category: SOLOS for Horn in F Composer: Martin Ellerby
F Horn Solo with Piano accompaniment. Six Vignettes for Solo Horn and Concert Band.
This ‘song-cycle’, featuring a solo horn, is based on the same set of poems that inspired Berlioz’s Les Nuits d’Eté. The original song cycle is essentially dark, encapsulated by movements of a more lively and positive natue and the essence of this approach has been maintained in this contemporary work:
Category: Solos Composer: Arthur Sullivan Arranger: Phillip Anderson
Originally composed for Cello and Piano in 1865, this simple yet effective tune has been arranged for Solo Euphonium and brass band. With easy accompaniments and a wide register for the soloist to tackle, Idyll can feature successfully in any concert program
After the success of his very popular Baritone Solo "Appassionata", Richard Rock has done it again, but this time, for the Euphonium. This melodic solo give the soloist a chance to shine whilst keeping the rest of the band entertained throughout. The piece ranges from a lovely atmospheric opening, to a toe tapping journey with hints of a South American/Latin feel. Playable by most levels of bands and soloists.
Categories: Books, SOLOS - ANY B♭. Inst. Composers: Richard Marshall, Philip Wilby
Twelve advanced studies for Brass Soloists - plus Warm Up Exercises.
Includes a demonstration CD recording performed by Richard Marshall.
ESSENTIALS – Brass Studies for the 21st. Century This collection contains a number of advanced studies, designed to be technically challenging for advanced performers. Arranged in two suites of increasing difficulty, some of the etudes will be helpful for private development, but may also be useful for public performance. They may be performed on any valved brass instrument. The accompanying CD recording is performed on the cornet by Richard Marshall. Throughout the collection, we have used a variety of contemporary musical techniques, and we hope to add our own contribution to the established canon of brass literature. Richard Marshall, PhilipWilby. September2013
Suite One This suite of four linked pieces requires the development of some technical prowess and may be useful for private study or for public performance. With its occasional jazz refrences, it is offered to David Horsfield as a 70th. birthday tribute, Without his enthusiastic support, our project would not have come to l/è.
Soliloquy A pair of contrasting moods The contrasting moods mentioned in the subtext need to be clearly defined, and not compromised by instrumental personalities. A fanfaric opening is followed by a lyrical movement, and both will benefit from extremes of sty]istic delivery. The fanfare is punctuated with helpful silences, and good use of breath control will benefit the performer. The final notes of the fanfare use low notes which require some alteration of jaw and tongue position. Take care not to exaggerate this. By contrast there is a very high passage in the Andante. The wise player will not choose too slow a tempo, but will aim at a sense of lilting freedom.
A Little Overture This short introduction consists of a little sonata form, with two subjects, a development section, and a recapitulation. It is a test of poise and fluency, and seeks to generate a sense of excitement.
Dynamic contrasts are of the essence. Equally, the consistency and clarity of the passage-work will be more impressive than an over-rapid tempo. Evenness of articulation is important in such bars as 16-18, between single and double tonguing, and the extra length needed for the final accents. The second subject (at bar 19) should be played with space and chasm. Support the upward slurs well during this melody, and take care not to starve the staccato quavers of sound. Practice slowly, aiming at a final tempo of 152 crotchets per minute. The title suggests the opening of a theatrical drama, and it is important that the piece has an attractive and beguiling sensibility. Your final ambition should be to avoid setting a tempo that will prove too fast for clarity of detail.
Cadenza and Groove: There are some jazz influences here, requiring both valve glissandi and a strong rhythmic drive
Cadenza. The composer has written a range of glissandi in this passage, exploiting various dynamics and registers. Remember to fill the instrument with air when half-valving, which is essential for smooth transitions, A carefully thought-out approach to tonguing in sextuplet and quintuplet passages, mixing single double and triple tonguing is essential.
Groove There are two musical sections in this study. The main body of the music should be played in a be-bop style, with equal quaver rhythmic units, but a strong emphasis on the length of notes. Note carefully the composer’s use of dots, lines, and accents in combination with a range of contrasting dynamics.
The second musical section involves a change of musical psychology. Within a few bars (69-85), the music requires both flutter tongue and tremulando techniques. Developing a good flutter tongue over the middle range of the instrument will be a valuable asset, and bars 77/78 will be facilitated by keeping the flutter tongue in motion between notes. Note that double-handed tremulandi are demanded between bars 80-83.
Ballad: For the development of beautiful sound and musical con trol This is a very atmospheric étude. The subdivision of the pulse ebbs and flows, and a successful performance will sound naturally fluid. The important words here are Time and Space.
Chasing Echoes: An exercise in graded 4ynamics This has become a personal favourite of many, and exploits extremes of playing style within limited technical demands. Beware of intonation problems when using a tin mute. Dynamically, the music needs to jump from the page. Exaggerate, and play what you see.
SuiteTwo For Richard Marshall ho has observed that on/y he would be rash enough to commit these to a recording!) This second suite carries the title ‘Concert Studies’ and thus bears greater expectations of personal interpretation than Suite One, Like the piano studies of Chopin, Liszt, or Ligeti, these pieces are designed to be pieces of public music, to suit players at the summit of their prowess.
Prelude and Vivace: Prelude. Compositionally, the heraldic style of the opening gives way to phrases which become higher and longer, and require increasing breadth of expression. One particular test i.s the diminuendo in the opening phrase, needing support and a gradual decay of sound. An essential ingredient is interpretation; this must be presented on your terms, and must create a unique and personal atmosphere. A tip to the performer . . allow space at the end of this movement to prepare for a change of mind set before the next study. Vivace. For fluent and rapid passagework. There are two principal problems. First comes persistent syncopation, sometimes written with dots, and sometimes with lines, depending on dynamic context. The second are some awkward passages of rapid lip slurs (see bars 35, 52, 64). A possible practice routine is to eliminate one note from each group in turn, until the ear and brain see clearly the patterns involved. Tonguing of these various passages is important. Allow the air to flow continuously. Ghosts: Dramatic gestures combined with intervallic flexibiliiy This study has a very contemporary flavour, and uses a lot of chromatic intervals, In common with much music of this type, there are few octaves, and slow interval practice will lead to success. As the title suggests, it should be approached with dramatic flair, and with clear dynamic separation between the text (loud) and sub- text (using various very soft dynamics). Be a brave soul!
Butterifies: A study to develop ease in double tonguing rapidity of this étude push it to the edge of impossibility. the music becomes more complex in its detail as it progresses, to let the tempo get out of hand. Aim at a gentle form of double‘Da Ga’ syllable. A half-open adjustable cup mute will be ideal, and catch the idea of a fluttering insect perfectly. Note that there is an uninterrupted soft dynamic and no metronome mark, so your final challenge must be to paint a vivid picture in the listener’s mind.
Night Dreams: A study using expressive valve tremulandi Interpretations may vary with this short piece. The expressive nature of the tremulandi, and the downward winding phrases suggest a lethargic dreamlike state. Various types of practice mute are available, but take care to produce good intonation. Tremulandi should not be too fast, but be used as a form of enhancement to good quality straight tone.
Fugato : Which counterpoints foreground and background material using vivid 4ynamic contrasts Compositionally, this has the traditional features of a fugue, where the subject (and subsequent entries in stretto) are played loudly, and are set against a running web of soft triplets. The metronome mark suggests a rapid triple tongue, and it is important to see this movement as a summit for the whole suite. Some of the linking passages (bars 18, 28, 48) are very rapid indeed, and demand slow practice and a light tongue to achieve real fluency. Remember that slow practice still needs strong contrasts of dynamic. There is no substitute for following the written text faithfully. Finally, this is vivid music, and needs as much raw courage as it needs self-control.
A new Euphonium solo, which is dedicated by the composer to the "forgotten soloists in the band". Composed in a slow melodic song-like style, every section has their moment to shine whilst accompanying the soloist. The piece is playable by most levels of bands and the solo Euphonium line can be replaced with any Bb instrument.
Category: SOLOS - B♭. Cornet & Band Composer: Von Weber Arranger: Andi Cook
Born in Oldenburg, Germany, Weber composed his first two opera's aged 16. Being one of the finest pianists around, his music is filled with vigour and spirit. Weber wrote three concertos for clarinet in 1811 (at the age of 25!) for the Munich clarinettist, Heinrich Börmann. The most famous movement from the first concerto has been skilfully arranged for solo cornet and brass band. A perfect showcase of a piece.
Category: SOLOS - E♭.Soprano Cornet Composer: Cesar Franck Arranger: Stephen Tighe
Soprano Solo
3rd section and above.
Arranged as a soprano solo, this is Possibly the most famous song that Cesar Franck every composed. This soothing piece has been recorded by everyone from Luciano Pavarotti to Charlotte Church. Composed in 1872, originally for Organ, Harp, Cello, Double Bass and Tenor Voice, the piece was later interpolated into a 3 voice mass. A popular piece for any concert occasion.
To view 
