(in manuscript at this time)

Taken from the “Messiah”, this trumpet solo with piano is essentially a transcription of the original work. The balance in the writing between the solo and the accompaniment gives way to the sensitivity of the text of this well-know aria..

The piece begins with a lengthy introduction based on a spritely motif taken from the theme. The first theme statement in the solo is gently modified and then goes into a short modulation. The theme is then presented in the piano while the solo adds an effervescent obbligato. This continues on in this manner until it comes to a climatic close.

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.

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.

This solo with piano starts out in a march triumphal style with a short introduction. The first section is stated in a rather familiar rendition of the melody in varied rhythmic devices. The middle section is a complete change of pace being slower and expressive. With a tempo increase the pieces orients itself back to the first style and tempo. The Coda starts at low ebb and melodically grows until it ends on a high note- then a solid final figure.

After a brief introduction the trumpet 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.