This solo is in a march style throughout. It begins with little fanfare figures in the piano and then as it progress the soloist and piano exchange rolls. The second section is in a variation style while the third section is more expressive. The final section is more boisterous ending on a solid footing.

This tuba solo begins with melodic variation with various rhythmic devices. The middle section augments the melody, and then concludes much the way it began.

Originally in a duple meter this arrangement very cleverly is in a 6-8 march style. It progresses in a rather processional manner and then transitions to a slower reflective expression. The piece returns to its former style and then ends on a declamatory note.

After a majestic introduction the piece settles down into a softer and more expressive rendition of the tune “How Great Thou Art.” The middle section is a variation of the first section with the melody in the piano while the soloist plays an obbligato styled line. Then the piano present a transition in a majestic style modulating to a new key with the solo line presenting the tune in again expressive style with a lot of dynamic shading. The piece concludes in a majestic sense of finality.

A brass solo that begins with a reflective piano introduction that is then joined in by the soloist. The tune is true to the original with little embellishment. A brief piano interlude gives over to the melody in the piano while covered by an sonorous obbligato in the solo line. The piece ends with a gentle motive and then settles in a sweet repose in the piano.

After a brief introduction thetuba solo enters with the theme with a piano line that is rather alla-Baroque. The next section is presented in the piano with warm harmonic movement. The middle section is offered by the solo line in a mildly altered tune. This leads to a modulation with textures reminiscent of the previous two styles. The Coda is a majestic conclusion stating the theme of the title.

This solo with piano is structured in a quasi-rondo form. Thus making a great deal of variety in texture, style, and dynamic.It will make the young performer sound more advanced.

This solo with piano begins with a modified melodic statement. It enters into a second section with simple obligati and then returns to a beginning-like statement and ends with a simple coda.

This solo with piano begins with a bold march statement with an elongated rhythm of the melody. The middle section is more expressive while the final section imitates the beginning, with a solid statement of faith.

This solo with piano is straight forward in design, giving the young player the opportunity to display dynamic and stylistic variety.