Lyrical Bb.Cornet Solo.
Another Christmas arrangement of the traditional English tune 'Greensleeves'. It takes the form of a solo for Bb cornet, intentionally written to be well within the ability range of most players, yet providing plenty of scope for musical lyricism.
Baritone Solo
Commissioned by Carole Crompton, this work explores both the lyrical and virtuosic characteristics of the baritone in an engaging musical language.
Category: SOLOS for E♭. Horn Composer: Kenneth Downie
Bel Canto, a solo for Eb Tenor Horn and band, was written for Sheona White. As the title suggests the music is very song-like and features soaring melodic lines which exploit the middle and upper registers of the tenor horn.
Click on MORE DETAILS to view an image (PDF) of the Solo Horn part of this work.
Categories: Solos, SOLOS for E♭. Horn Composer: Peter Graham
A collection of solos by Peter Graham for any valved instrument and piano accompaniment. Includes : Glorious Ventures; Swedish Hymn; A Time for Peace; and Whirwind.
A collection of solos by Peter Graham for any valved brass instrument with piano accompaniment.
Contents: • Glorious Ventures Variations on Lily of the Valley, this solo calls for "flying fingers" and has been recorded by various instrumentalists, most recently by Roger Webster and David Daws live from the Royal Albert Hall as a spectacular cornet duet. • Swedish Hymn (How great Thou art) Arranged for cornet legend Phillip McCann and recorded on the Chandos CD The World's Most Beautiful Melodies. • A Time for Peace The main theme from the composer's work The Essence of Time, this version was arranged for Tenor Horn virtuoso Sheona White. • Whirlwind A fast and furious solo requiring lots of dexterity.
Another superb solo from Robin Dewhurst, the easy listening light jazz style employed here is a perfect addition to the repertoire. Panache was commissioned by virtuoso euphonium player Steven Mead. (Also available with band accompaniment).
Click on MORE DETAILS to view an image (PDF) of the Solo Euphonium part of this work.
Category: SOLOS - Euphonium Composer: Ito Yasuhide
Solo suite for Euphonium and piano - duratio 12.11
Parts included in treble & bass clef.
1. Prelude 2. Allemande en forme de Chaconne 3. Interlude L'imitation de Mr. L.Couperin (piano solo) 4. Gavotte en forme de Habanera 5. Menuet en forme de Musette ( piano solo) 6. Gigue en forme de Zapateado
Recorded by Steven Mead on Polyohonic CD QPRZ 025D - The World of Euphonium Volume 5
Superb Herbert Clarke Cornet solo - technically difficult.
Duration 7.28
A short mp3 audio extract is provided here to give you a sample of this work.
Access it by clicking on the "MORE DETAILS" button.
You can buy the full recording of this work on the CD section of our site.
The recording is POLES APART - Riki McDonnell & Alexandra Kerwin on Doyen DOY CD222
Category: SOLOS - Euphonium Composer: Simon Parkin
Euphonium Solo - with piano accompaniment.
In its original form, Skunk was first performed by David Childs and Simon Parkin on January 26th 2001 at the RNCM Festival of Brass. Following subsequent revisions, the work later received its official premiere on January 7th 2004 in London's Purcell Room on the South Bank, performed by David Childs and pianist Harvey Davies.
Composed in a jazz-rock idiom the work seeks to explore both the technical and lyrical boundaries of the euphonium soloist and pianist. The music is rhythmically complex throughout and following a return to the original material; Skunk comes to an abrupt end with a series of fortissimo grunt noises depicting the sound a skunk might make!
This publication comes complete with composer biography and performance tips from David Childs
Although in three movements, this work for euphonium and piano only lasts for five minutes in total!
I. Allegro Energico is in traditional sonata form with the briefest of codas (two bars!).
II. Molto Moderato is a chaconne, a traditional form used by Purcell and Bach.
III. Molto Vivace is a short high-spirited rondo which lasts just one minute!
Category: SOLOS - Euphonium Composer: Peter Meechan
Euphonium Solo
Absolute Reality was composed following the devastating terrorist attacks carried out in the USA on September 11th 2001. The work is in no way an ‘In Memoriam’ to 9/11 but one person’s reaction to an event that shook the world, told through his music. The title of this work comes from Howl, a poem by Allen Ginsberg. During the poem Ginsberg writes of many talented and promising young friends who were destroyed, either killed or broken as people by American society. Throughout the entire poem, Ginsberg only uses capital letters for people and place names. However, two-thirds through the poem he writes of one of his friends being “…run over by taxicabs of ABSOLUTE REALITY…”. It was the true absolute reality of 9/11 that led Peter Meechan to write this work commissioned and premiered by David Thornton in November 2001.
Category: SOLOS - Euphonium Composer: Felix Mendelssohn Arranger: David Childs
Euphonium Solo - with piano/organ accompaniment with optional harp.
Click on MORE DETAILS to view the Solo Cornet part.
The lyrical simplicity of its melodic line, combined with the plea of the title makes this one of the most intimate of Mendelssohn's works. Originally composed for soprano voice, chorus and organ, the music is always a dialogue between the individual and the Creator. In its original form Hear My Prayer is approximately twelve minutes in duration, but using material from the early and latter parts of the work David Childs has arranged this shorter version for solo euphonium. As recorded by David Childs on CD 21235 Hear My Prayer.
Category: SOLOS - Euphonium Composer: Alan Williams
Duration 6.00
Jazz Disasters was premiered by David Childs, the dedicatee of the work during a solo recital at the Bridgewater Hall Manchester in 2004. The genres of music I'm most influenced by are jazz, and the "Barbaric" tendency of early 20th century composers like Bartók and Stravinsky. I suppose they have rhythmic ostinato in common, and to me, having at one time played guitar in a big band, the marriage between (in this case) funk and brass seems a natural one.
David had a big input into my piece, encouraging me to explore the extreme regions of the instrument, and of its virtuoso capabilities. It is a kind of collision between the "Balkan" rhythms of the first and last sections and the funk-fusion feel of the middle, with some walking bass thrown in for good measure. The piece should feel like a runaway train, always on the point of coming off the tracks.
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