This tuba solo begins with a brief motif in the piano and then begins a series of variations and the soloist presents the theme. The variations are sometimes florid, other times plaintive, some times imitative and finally bold.

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.

Taken from the “Messiah”, this solo with piano is essentially a transcription of the original work. It features sufficient counterpoint between the various instruments.

A brass solo in a Theme and Variation form. It starts out with a joyous introduction and then breaks into an antiphonal set of response of the tune. The first variation is essentially a descant while the piano carries the tune. The second variation is more contrapuntal in the piano while the solo carries on a fanfare-like obbligato. After a brief transition the piece concludes with a bold statement of the tune while being under-pinned with a walking bass line.

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.

Opening with a tender, contemplative statement, the embellished medley of this solo presents itself only to soar with a meaningful obbligato line, and then settle back into a sense of assurance that this grand old hymn exemplifies.

This solo with piano is constructed in a rondo form alternating the tunes of Jesus Loves Me, Praise Him All Ye Little Children and Jesus Loves The Little Children. Each section of the piece is in a different style thereby giving a great deal of variety technically and musically for the younger player.

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 follows a simple theme and variation form. It gives the young soloist the opportunity to play many styles in a short framework.

This solo with piano begins with the portrayal of a pastoral setting. The arrangement incorporates both “Flow Gently Sweet Afton” and “Luther’s Hymn”.

This solo with piano makes a straight forward statement of the tune followed by a contrasting section using a new counter melody. It then returns to the opening theme.

This solo with piano begins with the strains of a lion’s roar. Next enters Daniel in a simple fashion followed by a statement in a triumphal march. The lions return-Daniel prevails.

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 begins with a simple statement of the tune with a middle section that uses motivic design, only to return to the opening statement.