Titles in this category are currently being re-categorised into new sections in the website which are INSTRUMENT SPECIFIC to make your browsing easier - these new sections already exist.
Once this process has been completed over the next few weeks this section SOLOS will disappear, and you will look for solos by INSTRUMENT.
Baritone Solo
Commissioned by Carole Crompton, this work explores both the lyrical and virtuosic characteristics of the baritone in an engaging musical language.
Categories: Solos, BOOKS with CD Accomp. Composer / arranger: Various
With CD accompaniment.
Includes :
1. Amazed,
2. Get Here,
3. I Don't Want to Miss a Thing,
4. A Little Bit More,
5. The Rose,
6. My Heart Will Go On,
7. Swear It Again,
8. Wind Beneath My Wings.
Categories: Solos, BOOKS with CD Accomp. Composer / arranger: Various
With CD accompaniment.
Includes :
1. Be_Bop_A-Lula,
2. Blue Suede Shoes,
3. Blueberry Hill,
4. C'mom Everybody,
5. Great Balls of Fire,
6. The Green Door,
7. Jailhouse Rock,
8. Let's Twist Again.
Categories: Solos, BOOKS with CD Accomp. Composer / arranger: Various
With CD accompaniment.
Includes :
1. She Caught Katy,
2. Gimme Some Loving,
3. Shake a Tail Feather,
4. Everybody Needs Somebody to LOve,
5. Think, Sweet Home Chicago & more.
Category: Solos Composer: T. Lodge Arranger: Rom Stanko
Tuba feature.
Click on MORE DETAILS to view the Solo Cornet and Eb.Bass parts.
Please note that there is no score published for this work. Historically, conductors have used a cued Solo Cornet part to rehearse and perform with – click on MORE DETAILS to view.
Click on MORE DETAILS to view the Solo Horn part.
The Three movements are :
1. Sonata
2. Elegy
3. Rondo
COMPOSER’S NOTE
My Tenor Horn Concerto was written as part of my Composer-in-Residence post with the Williams Fairey Band. It was commissioned with funds made available by the Jewish Music Heritage Trust for a work dedicated to the memory of Marilyn Hydleman, the late sister of Dr Clive Marks, a notable benefactor to numerous music students and passionate crusader of humanitarian issues worldwide.
I decided from the outset that ultimately the work would be life-affirming and this basic premise suggested the structure of the piece, enabling me to crib the mood of my former teacher Joseph Horovitz’s Euphonium Concerto which in his words starts ‘first in the head, then in the heart, and finally in the toes’.
1. The opening movement SONATA is restless and aggressive in character and the most serious part of the concerto. Many elements of traditional sonata form are employed, though freely interpreted. The solo horn commences proceedings with a pagan-like fanfare that returns in ritornello fashion throughout the movement. Ideas both aggressive and lyrical are shared and developed between the soloist and band culminating in a frenzied climax of rhythmic activity.
2. The work’s emotional core is a bittersweet ELEGY where an almost seamless melodic line is shared between soloist and band. Again the movement opens with some fanfare figures though this time in the band and of a much more delicate nature than in the first movement. They return from time to time to bridge the various solo melodic lines which all lead to a quiet and sensitive close.
3. The closing RONDO is intended to be fun all round and very definitely wears its heart on its sleeve. For some reason I had the bier-kellers of Munich in mind when writing this finale and this may go some way to explaining the character of the main theme!
To view 