Categories: SALVATIONIST MUSIC, SOLOS - B♭. Cornet & Band Composer: Alexander Goedicke Arranger: William Broughton
Bb. Cornet Solo.
Although firmly established in the trumpet repertoire, this exciting work has also been featured by cornet, tenor horn, trombone and even tuba players!
Major Joy Webb’s contributions to The Salvation Army’s vocal repertoire have blessed and inspired both performers and listeners alike. Bandmaster Ivor Bosanko of the USA Western Territory has written this transcription of one of Major Webb’s most poignant compositions.
The melodic line lies comfortably for Cornet, and provides scope for much expression. Soloists not familiar with the lyrics would do well to refer to the original song, which can be found in The Musical Salvationist, July 1987.
If you enjoyed listening to this extract and want to hear the full recording, you can buy the CD on this website in the CD Section. The CD is "PATRONS CHOICE II" Fodens Band conducted by Michael Fowles.
Categories: SOLOS - Euphonium, SALVATIONIST MUSIC Composer / arranger: Robert Redhead
Euphony ( 7.29) was somposed for the euphonium soloist Wilf Mountain in 1978 and is based on four Salvation army tunes by Sidney Cox 1. He Found Me 2. This One Thing I Know 3. You Can Tell Out the Sweet Story and 4. Deep & Wide.
These tune are used in the three part structure of this work. (fast/slow/fast) following a grand introduction.
Categories: SALVATIONIST MUSIC, SOLOS - Trombone Composer: Alexander Guilmant Arranger: Ray Steadman Allen
Solo for Trombone (Morceau Symphonique)
Guilmant was an organist of the Church of Trinity, Paris and was also a staff member at the Paris Conservatoire. Concert Piece (also known as Morceau Symphonique) consists of a slow prelude followed by a quicker, more brilliant section, the two linked by a cadenza. A lyrical element persists in the second section and there is a brief return to the theme of the prelude following which the music is brought to a fiery and exciting conclusion.
Categories: SALVATIONIST MUSIC, SOLOS - Euphonium Composer: Edward Gregson
Solo for Euphonium & Brass Band
Comments by Lieut-Colonel Dr Ray Steadman-Allen This work maintains a strongly lyrical style, and whilst the variation element is a fundamental feature, the close adherence to thematic material and recapitulative ‘echoes’ create a cohesive whole, making the conception satisfyingly unified.
The theme is that of an old song: So we’ll roll the old chariot along, And we won’t drag on behind.
As far as the end of section A the music takes on the form of a long opening statement, introducing thematic fragments and phrases rather than being an ‘introduction’. Noteworthy motives are the opening figure for the soloist with its four-semiquaver rise to a frequently encountered pattern, best identified by its associated words ‘chariot along’, and the three opening notes of the tune (solo comet bars 6 and 7) from which a good deal of the subsequent music springs. Section B — There are interesting touches in the accompaniment to this plain establishment of the theme; for instance, the flugel horn augmentation appearing from bar 7 which linics the end of the theme to repeated fragments of it for full band. Section C — This episodic section is robust, its rhythmic nature offering contrast to the comparative simplicity of the theme presentation. Keep everything well-controlled; such episodes can sometimes be allowed to degenerate into a careless blare. The episode is very much part of the action and is marked only forte. Sections D and E — It may be found helpful, in rehearsal, to establish the accompaniment independently of the soloist. It will be noticed that the ostinato figure is derived from the three opening notes (with which the soloist begins the lyrical variation). In design the variation falls into three sections, the middle section having the melodic line allocated to the part for full band while the soloist plays a florid obbligato. Section F — Just prior to this section the basses begin to create another ostinato by repeating a figure developed from the 14th bar of B. When the soloist commences at F there will be some conflict of pattern but the basses should be well enough established for there to be no problem. Obviously a degree of flexibility will be required from the soloist; the passage is one of warm emotion but beware of maudlin sentiment! Some care will be needed in working out the cadenza but the notation of the music is clear. Sections G and II— These sections continue the long sweep of melodic utterance, the soloist part becoming more complex. At all times ensure the clarity of thematic fragments such as the motifs in the first four bars of G.
Categories: SUMMER 2020 SALE TITLES, SOLOS - Euphonium Composer: Max Bruch Arranger: Bram Gay
SALE - was £33.95 now £25.95 - limited sale stock on this title - first come first served !
Click on MORE DETAILS to view the Solo Euphonium part.
Max Bruch (1838-1920) is chiefly remembered for two works: the G minor Violin Concerto and the Kol Nidrei for Cello and Orchestra. Derived from the Hebrew prayer for the evening of the Day of Atonement, this has become a staple of the solo cello repertoire.
In transcribing this marvellous piece, I have retained as much of the original cello register as possible, knowing that today’s euphoniumist is less intimidated by high notes than was his predecessor. Players should not, however, attempt so much of the high register as to impose a sense of physical strain on the music; above all, an atmosphere of peace is the first requirement here. An occasional octave drop may be taken without destroying the sense of the piece. I have made various suggestions in the solo part.
Within the band, the piano mark prevails. This should be a warm piano, since every note in the band, as well as in the solo, must contribute to Bruch’s deeply felt expression.
The first performance was given by Steven Mead with the Band of the Birmingham Conservatoire. The work was recorded by him with the Williams Fairey Band, conducted by Howard Snell, in July 1998.
You can 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 for you to sample.
To view 
