Solo Secondo Download

Notes:
In keeping with editorial format a program note has been provided. However, this comedy piece is most effective when it is foisted on an audience without warning! Here is the set-up:

 

A major work is listed on the program or announced. However, as the stick is raised to begin, the conductor notices the last chair second horn player with horn in lap, arms folded defiantly, looking very dismayed. Although the conductor timidly beckons the malcontent to play, the player defiantly shakes his head "NO."

 

This pantomime of begging and rejection goes on for a few more awkward moments, until the disgruntled player shouts, "No!." The conductor attempts to stifle this overt rebellion, but the player continues, "No. No, I won't do it!" Whereupon the "soloist" stands up and rants about the injustice he feels, seeing so many other end¬-chair players featured, yet he, as an "end-chair player," has been deprived of the opportunity.

 

The conductor, now thoroughly embarrassed, explains to the audience that while it is true the complainer is indeed an end-chair player, it is because he is actually a last-chair player! And besides, there are no solos written for second horn. At this point the "soloist" triumphantly produces a score and announces to everyone that he has written a solo especially for himself. Mystified, the conductor examines the title page, reading it aloud to the audience: "Solo Secondo - a major work for second horn and band."

 

There are many ways this impromptu confrontation can go from here, but the final outcome is the "soloist" prevails, whereupon he performs this "major work" with great drama and bravado, leaving it to the audience to discover that basically his solo uses only one pitch throughout!

 

The comedic elements of this piece will be most successful if the soloist and conductor are as visual as possible, while, with few exceptions, the band "plays it straight," providing an accompaniment that is accurate, balanced and musical.

 

Other comic options:Bar 32: Cornets suddenly lift instruments to play their lone melodic note (which is apparently out of the soloists' range.)

 

Bars 70-73 (first time): After introducing the first strain of "Now the day is over," the soloist pulls out a large handkerchief and dabs his eyes, obviously overcome by the sheer beauty of his music.

 

Bars 68-70 (second time): Resting band members now pull out their handkerchiefs [sic] as they, too, are caught up in the emotion of the moment.

 

Bars 94-end: Realizing the soloist is now going to actually attempt a scale, the band begins to cheer him on with random shouts such as, "Go on!," "You can do it!," and "Come on, keep trying!" etc., stopping before the final two bars. When the soloist unexpectedly slides up a half-step higher than planned, the befuddled band plays the first chord then quickly "adjusts" to the new key for a big finish!

 

Program NoteThis lighthearted feature takes the opportunity to feature as soloist the often overlooked and frequently unappreciated second horn player - finally!

This colorful selection uses three songs of contrasting idiom to portray a progression of the human condition from despair to triumph:

Although this is a more extended work (approximate duration: 9:00), the inclusion of optional introductions and endings provides added usefulness of presenting singular performances of these three songs as follows:
Sometimes I feel like a motherless child: Beginning to optional ending at bars 39-40.
Reach out and touch: Bar 42 to optional ending at bars 110-113.
Storm the forts of darkness: Begin with snare drum roll (can be a pause) one beat before 117. Play to end as written.

Program Note:
This beautiful setting for solo trombones and band of the folk song O Waly, O Waly is often associated with the words of Isaac Watts:Note to the Conductor:
We are pleased to present this sensitive setting as it was initially conceived for solo trombone. Written for the Amsterdam Staff Band's 2005 tour of the United Kingdom, it was later adapted as a feature for trombone ensemble, at the request of Salvationist Publishing & Supplies, where it appears in 2009 as General Series 2059.

We are grateful to SP&S for kindly giving permission to publish this solo version in the American Festival Series. Of this work, the arranger, Olaf Ritman writes: "I consider this song my personal testimony."

Beginning to bar 12: The accompaniment, particularly at the opening and closing of the piece, is atmospheric, with suspended muted chords supporting the rubato trombone solo. The judicious use of percussion (chimes, bass drum and suspended cymbal) will add to the color and mood. Be sure to cue the chimes at bars 3 and 6.

at bar 4, a clear downbeat cure for the bass drum will help clarify tempo following the soloist's pause. Also give attention to the muted sforzando in cornets and trombones in bar 8.

Bars 13-52: Following the ritardando at bar 12, it is essential for the conductor to establish the correct tempo at bar 13, allowing the soloist lyrical freedom and the ability to sustain long phrases as the tune begins at bar 16. The descending scale gesture at bar 39 should be measured, yet not overstated.

Bars 53-74: There is a slight slowing of tempo as soprano, flugel and horns take the theme while cornets, trombones and euphonium adding countermelody.

Bars 75 to end: Returning to the opening tempo, it will again be helpful to give clear cues for the chimes, bass drum and triangle from bars 75 to the end.

[Note: This solo can be heard on the Chicago Staff Band recording,Kurios, performed by Brett Tolcher]

Program Note:
The tune Randolph, by preeminent English composer Ralph Vaughan Williams was first published in 1906 as a setting of Jeremiah Rankin's hymn, of which the first verse reads:
Note to the Conductor:
William Gordon's stunning four verse setting of Randolph progresses from the quiet simplicity of unison cornets and with each succeeding verse builds to a magnificent organ-like finale.

Gratitude is expressed to the publisher and copyright holder, Oxford University Press, for granting permission to publish this brass setting in the American Festival Series.

Beginning to bar 9: A ceremonial snare drum roll is the sole accompaniment to the cornets opening unison rendering of the tune.

Bar 10-17: The mellow instruments (flugel, horns, baritones and euphoniums) provide a beautiful change of color here with 2nd horn, baritones and euphonium seamlessly adding harmony.

Bars 18-26: A two beat snare and bass drum roll signals the entrance of the cornets and trombones in a more brilliant third verse setting. Here the bass trombone is essential (cued in Eb bass). Bring out the rising soprano cornet line from bar 22.

Bar 27 to end: A dramatic percussion roll precedes the "open pipes" organ like sounds of the final verse at bar 27. Be sure to observe the swell in bar 30, followed by a dramatic decrescendo before building to the final climatic chords. Avoid any tendency to overblow while striving for the full sonorities of this majestic finale.

[Note: this setting is especially effective when performed as a benediction "in the round" with players grouped by sections surrounding the audience.]