Spanish Fantasy for Trumpet (Cornet / Flugel Horn) or Alto Sax and Band-Cette composition n?est pas n?est pas une oeuvre à programme racontant la légende de ce héros populaire qu?était le Cid. Elle cherche plutôt à communiquer un sens de l?héroïsme et du drame à travers deux mouvements contrastés. Après une introduction de caractère typiquement espagnol vient un premier mouvement tempétueux. Le second mouvement est un adagio dramatique accompagné de divers éléments espagnols (rythmes typiques castagnettes etc.). L?oeuvre s?achève par un accelerando puissant qui assure ainsi une conclusion appropriée. La partie solo peut être interprétée par une trompette un bugle un cornet ou un saxophone alto. Il existe également une versionsimplifiée de l?oeuvre.

Version for Concert BandManhattan was commissioned by the United States Army Band for their solo cornet player Woodrow English and first performed by them in Carnegie Hall New York in November 2003. The two-movement work demonstrates both the lyrical and technical abilities of this outstanding player. The 'theme' is a weekend in New York and the opening bluesy movement Saturday Serenade describes the city on a Saturday night. While writing the second movement Sunday Scherzo the composer pictured an early morning jog in Central Park. This vivaciously rhythmic second movement ends with an even quicker coda bringing the work to a brilliant close. Eachmovement can also be played individually when a shorter solo is required.

from Hymn of the Highlands - for Bb Piccolo Trumpet (or Eb Cornet/Trumpet) Solo-La suite de sept mouvements Hymn of the Highlands a été commandée par David King et la Yorkshire Building Society Band et pourvoit des mouvements thématiques qui peuvent constituer un demi-concert mettant en vedette les solistes del?orchestre. Flowerdale est l?un des mouvements solos. Ce solo est aussi disponible avec accompagnement piano édition no. AMP 285-401.

An 'unintended' play on words on the title of Mozart's famous composition forms the basis of this solo piece. It was composed in 2004 by the Scottish composer Bruce Fraser and features a solo for flugel or cornet. It is not a very difficult piece for both the soloist and the band but is that always necessary? A lovely highly recommended intermezzo for your concert.

I wrote The Nonantum Bulgar in response to a request for a klezmer-style piece for middle school band. Since my local middle school (F. A. Day) is located in close proximity to Nonantum the oldest area of Newton MA I decided to imagine the dedication of the Adams St. Shul our city's oldest synagogue which took place around a hundred years ago (December 15 1912). According to the Yiddish and English poster announcing the dedication the event featured the a prominent Boston cantor and choir and a klezmer orchestra leading a 'Grand March' down Adams St. The piece tries to re-create what the klezmer band might have played on that occasion. A Bulgar is a Romanian Jewish Dance thatwas very popular among Jewish immigrants at the beginning of the twentieth century. The trumpet solo that opens the piece is a typical rubato prelude with the trumpet playing 'cantorial-style' Jewish ornaments and phrasing in the manner of Eastern-European Jewish prayer leaders. Once the dance starts the piece is underscored with a Romanian Jewish 'Bulgaresca' rhythm heard in the trombone snare drum and tympani. The 'bulgar' section of the piece begins with a typical klezmer band orchestration of the time featuring solo clarinet (played with a somewhat nasal tone) trumpet (or even more ideally cornet) trombone saxophone tuba and percussion. The percussion section is prominently featured in the third strain. In the final round of the opening melody the band slows down in the manner of a Russian 'Grand March ' bringing the piece to a proud and majestic conclusion. --Hankus Netsky

2nd B Flat Cornet/Trumpet-Contents: Concert Warm-Ups And Chorales #2; Acapulco Holiday; Anchors Aweigh; Atlantis; The Coventry Carol; The Duke Of Bedford; Dr. Dixieland; If I Were A Rich Man; Mickey Mouse March; Pep Rally Rock; Sax-O-Matic; Somewhere Out There; The Sound Of Music; Three Carols for Christmas; Treasury Of Carols.

Les Marteaux de La Marine was composed in 1999 as a commission by the Marine Band of the Royal Netherlands Navy. The composition contains three static elements which interchange. Static in this case means that development of the material isnot pursued (by the composer). The first element with which the piece begins is tranquil and colourful. The second element is sharp and incisive while the third expresses energy. In all elements a repeated tone is the starting point whichexplains the hammers in the works title.The instrumentation is richly variegated with a harp also determining the palette of colours in the slower movements. The composition opens with an atmospheric Larghetto containing fine harmonies in thesoft and subtly moving wood-winds. The introduction breathes an impressionistic atmosphere in which expressive cantilenas and soloistic agile motifs stand out. A strong setting is followed by an Allegro virtuoso containing fast motifs contrasted withshort and rhythmic stars of the various instrumental sections. Trumpets and horns add a virtuoso bugle-call motif. After a short stringendosection the transparent Larghetto returns with a varied setting of the opening elements. The beautifulleading roles in this section are reserved for cornet (trumpet) and horn. Subsequently the flashing Vivo starts with continuous movements in triplets from both wood-winds and brass. Next the opening Allegro re-appears once again and thus LesMarteaux de la Marine ends with a fast and virtuoso climax. Les Marteaux de La Marine was selected as a compulsory grade 6 contest piece for symphonic bands in the Netherlands.

Les Marteaux de La Marine was composed in 1999 as a commission by the Marine Band of the Royal Netherlands Navy. The composition contains three static elements which interchange. Static in this case means that development of the material isnot pursued (by the composer). The first element with which the piece begins is tranquil and colourful. The second element is sharp and incisive while the third expresses energy. In all elements a repeated tone is the starting point whichexplains the hammers in the works title.The instrumentation is richly variegated with a harp also determining the palette of colours in the slower movements. The composition opens with an atmospheric Larghetto containing fine harmonies in thesoft and subtly moving wood-winds. The introduction breathes an impressionistic atmosphere in which expressive cantilenas and soloistic agile motifs stand out. A strong setting is followed by an Allegro virtuoso containing fast motifs contrasted withshort and rhythmic stars of the various instrumental sections. Trumpets and horns add a virtuoso bugle-call motif. After a short stringendosection the transparent Larghetto returns with a varied setting of the opening elements. The beautifulleading roles in this section are reserved for cornet (trumpet) and horn. Subsequently the flashing Vivo starts with continuous movements in triplets from both wood-winds and brass. Next the opening Allegro re-appears once again and thus LesMarteaux de la Marine ends with a fast and virtuoso climax. Les Marteaux de La Marine was selected as a compulsory grade 6 contest piece for symphonic bands in the Netherlands.

Inspiration was commissioned by the Solothurnischer Kanotonal Musikverband in Switzerland in 1993. The composition begins with an A-theme written in a Phrygian tonality and after an enormous climax moves on into a quicker B-section characterized by the use of wide interval jumps. Then follows the development in which both themes return individually and together. Peace and quiet is restored in the slow middle movement based on the B-theme. The movement comes to a close with a tutti B-theme brutally interrupted by fragments from the A-theme. Without a break the final movement of this contrastive piece develops from these fragments. The theme of this extremelyrhythmical closing movement is built up of elements from the A-theme whilst the B-theme (from the slow middle movement) returns in full once more. Before the piece comes to a close in a resounding fortissimo the cornet soloist performs the A-theme from the back of the auditorium to special effect.

Standard US Set (without european suppl. parts)-The first cornet part is the conductor.

Missa Brevis est une messe pour Orchestre d?Harmonie et Choeur composée à la demande du Conseil Départemental pour la Musique et la Culture de Haute-Alsace (Dir. : Philippe Pfisterer) de Guebwiller en France à l?occasion des célébrations dumillénaire de la naissance du Pape Léon IX à Éguisheim. La création mondiale a eu lieu le 23 juin 2002 sous la direction du compositeur et a été diffusée en direct sur la chaîne de télévision nationale France 2. Les différentes parties de cettemesse (Kyrie Gloria Credo Sanctus Benedictus et Agnus Dei) conviennent autant à la liturgie catholique qu?à la liturgie protestante. Missa Brevis peut être interprétée dans différentes combinaisons instrumentales. Ellepeut être jouée dans une version purement instrumentale où les cuivres prennent en charge la partie vocale. En tel cas il est conseillé de placer les cuivres à l?écart de la formation (sur une estrade par exemple) de façon à reproduire l?idée dedeux groupes indépendants. Dans le cadre d?une interprétation avec un grand Choeur les cuivres jouent un rôle de soutien. Leurs nuances doivent alors être adaptées dans la mesure où elles ont été écrites à l?origine pour une version instrumentale.Il est également possible de ne pas faire intervenir les cuivres et de privilégier le Choeur. Pour accompagner de petits ensembles vocaux il faut opter pour une formation instrumentale réduite voire même un Quatuor (instrumentation au choix). Pourl?interprétation de cette messe l?un des choix proposés ci-dessus s?impose. Il existe néanmoins une alternative qui consiste à interpréter cette oeuvre en combinant ces options (vocales / instrumentales). Cela peut être bénéfique tant d?un point devue artistique (variante) que pratique dans le cas où le Choeur n?a travaillé que deux mouvements de la messe. Si le chef dispose de deux formations complètes (Choeur et Orchestre d?Harmonie) il peut varier l?instrumentation selon ses préférences. Àce moment-là il peut confier un rôle d?accompagnement et non de soutien aux cuivres de sa formation. Les combinaisons suivantes peuvent être formées :1. Choeur de Clarinettes (de la Clarinette Mib à la Clarinette Basse)2. Choeur de Clarinettes + Saxophones3. Cuivres (Bugles Cors Barytons / Euphoniums Basses)4. Cuivres (2 Trompettes / 2 Trombones)5. Instruments à anches doubles (Flûte et Contrebasse à cordes optionnelles)6. Tutti7. Tous les Bois8. Tous les CuivresDans le cadre d?une interprétation par un Brass Band accompagné d?un Choeur il est préférable de supprimer l?option 1 (Choeur + Cuivres + Orchestre d?Harmonie) car le Choeur étant autonome. Dans une version instrumentale pour Cuivres il estpossible de former la combinaison suivante : Quatuor (2 Cornets / 2 Trombones) et Brass Band.Partitions pour ch?ur disponibles séparément.