Category: SOLOS - ANY B♭. Inst. Composer / arranger: William Rimmer
More difficult Air Vari Solo for Bb. cornet or Euphonium,than the version by H. Round.
Please note that there is no full score published for this work. Historically conductors have worked with a cued Solo Cornet part. Click on "MORE DETAILS" to the right to view the Solo Cornet Part.
Category: SOLOS - ANY B♭. Inst. Composer / arrangers: Irish Air, S. Roberts
(Baritone/Euph. or Trombone Solo) - duration 3.44 Piano version also available for F or Eb Horn. Please state which version you require when ordering : Either Eb. OR F.
You can listen to a audio extract and view the Solo Cornet part as a PDF image of this work on your computer, by clicking on the "MORE DETAILS" button on the right - this will the PDF image and the audio extract for you to sample.
Perform with recorded accompaniments by top professional musicians! The Solo Trax® book and download accompaniment will provice hours of entertaining and useful practice. Each song has a brief intro to establish the tempo and style.
1. Tuning Note-Concert B 2. Mickey Mouse March 3. Supercalifragilisticexpialidocious 4. Chim Chim Cher-ee 5. A Dream Is A Wish Your Heart Makes 6. A Spoonful Of Sugar 7. Winnie The Pooh 8. Zip-A-Dee-Doo--Dah 9. The Work Song 10. Candle On The Water 11. Bibbidi-Bobbidi-Boo 12. Let’s Go Fly A Kite 13. Toyland March 14. It’s A Small World
Category: SOLOS - ANY B♭. Inst. Composer / arranger: Peter Lawrance
This book is suitable for any brass instrument in treble clef. A versatile and very popular collection of well known pieces from a wide variety of styles for players to dip into and enjoy.
Easy Winners for Treble Brass has something for everyone. From Christmas tunes to classics, from television themes to folk tunes, the seventy five unaccompanied tunes have been carefully selected and arranged. The choice of range, technique and style of music have been carefully geared to the instrument and ability range.
The titles to Easy Winners for Treble Brass have been arranged as unaccompanied solos, but combined with optional CD or easy piano accompaniments, a whole new world of playing opportunity opens up. Teachers talk of pupils finding the book addictive, unable to leave it alone after playing along with the CD which cleverly incorporates just enough of the solo line to support the player without providing simply a play along.
Easy Winners for Treble Brass is an essential companion to a tutor book and an ideal partner to Winners Galore for Treble Brass.
Includes : 1. A Musical Joke 2. All Night, All Day 3. Annie's Song 4. Anvil Chorus 5. As Long As He Needs Me 6. Auld Lang Syne 7. Aura Lee 8. Blankety Blank 9. Botany Bay 10.Brahms – First Symphony 11.Branle des Sabots 12.Bright Eyes 13.Cabaret 14.Cagney & Lacey 15.California, Here I Come 16.Congratulations 17.Consider Yourself 18.Coventry Carol 19.Dad's Army 20.Danse Macabre 21.Don't Sit under the Apple Tree 22.Down in the Valley 23.Downtown 24.Early One Morning 25.Eastenders 26.Easy Winners 27.Frosty the Snowman 28.Give My Regards to Broadway 29.Go West 30.Grease 31.Hello Dolly 32.He's Got the Whole World 33.Hopak 34.I Feel Pretty 35.It's Me, O Lord 36.It's Not Unusual 37.James Bond 38.Jerusalem 39.Jingle Bell Rock 40.Jupiter – Planets 41.Light Up the Fire 42.MacNamara's Band 43.Match of the Day 44.Mother Teresa's Prayer 45.Mull of Kintyre 46.Neighbours 47.New World Symphony 48.One Hand, One Heart 49.Only Fools and Horses 50.Pavane – Faure 51.Popeye 52.Red Dwarf 53.Rock Around the Clock 54.Rudolph the Red Nosed Reindeer 55.Rule Britannia 56.Schubert – Unfinished Symphony 57.Sheherazade 58.Shepherd's Hey 59.Singing in the Rain 60.Smile 61.Spring – Four Seasons 62.Super Trouper 63.Tallis – Canon 64.Thank You For The Music 65.Thank You Very Much 67.The A team. 68.The Cuckoo 69.The Lass of Richmond Hill 70.The Miller of Dee 71.Tijuana Taxi 72.Titanic Theme 73.We Are The Champions 74.We're Off to See the Wizard 75.Where Is Love? 76.Words
Category: SOLOS - ANY B♭. Inst. Composer / arranger: Various
Comes complete with solo book, piano book and a set of adjudicators parts for any Bb. Instrument.
Includes :
1. Beautiful Dreamer;
2. Drink To Me Only;
3. Robin Adair;
4. On The Banks of Allan Water;
5. Melody in F;
6. Brahams Lullaby;
7. Sweet & Low;
8. I Dream of Jeanie.
Categories: SOLOS - ANY B♭. Inst., NEW & RECENT Publications, Michael Bennett Collection Composer: Michael Bennett
Written for unaccompanied Bb. Trumpet.
Elegy for McCrae
Elegy for McCrae was composed and dedicated to fellow Aberdonian, cellist and composer Kevin McCrae whose sudden and tragic death in April 2005 stunned the musical community of Scotland.
The piece for unaccompanied solo trumpet takes the form of a Scottish lament in which the interval of a diminished twelve permeates. There is also in the lower register a repeated figure similar to that of a leitmotif and echoes are also a feature of the piece.
After the initial lament there is an agitato section where the original theme is developed technically with cascading semiquavers and octave leaps. There is then a recapitulation of the original lament followed by a short Adagio which quotes in the minor “The Northern Lights of Old Aberdeen”.
As Michael Tumelty wrote in “The ( Glasgow) Herald” “Kevin was a Musician in a million. He was a joker, a great companion and a master of his art”.
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.
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