Charlier: Second Solo de Concours: Trumpet Part(s)
By Théo Charlier
Item: 00-PK-0003550
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Description
A b-flat trumpet solo composed by Théo Charlier.
Don't just read it, hear it, play along with it, and watch your students grow with it. In MakeMusic Cloud, Charlier: Second Solo de Concours: Trumpet Part(s) comes alive with professional accompaniment, adjustable tempo, and built-in practice tools that turn solo practice into real progress.
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Additional Details
Series:
Kalmus Edition
Publisher:
Alfred Music
Page Count:
20
SKU:
00-PK-0003550
More about this title
About the Composer: Théo Charlier
Théo Charlier (1868-1944) was a Belgian cornet virtuoso and composer whose technical mastery shaped the brass solo repertoire of the early 20th century. His solo de concours works became standard audition and competition pieces, written to showcase both musicianship and command of the instrument across a wide range of difficulty levels.
Charlier's compositions remain central to cornet and trumpet pedagogy. His solos demand secure high register playing, smooth legato phrasing, and the ability to shift between lyrical passages and virtuosic display. Teachers and students continue to return to his works as benchmarks for artistic brass playing.
Why we love this
The Second Solo de Concours strikes an intelligent balance between genuine musical depth and achievable technical demands. Rather than relying on shallow showmanship, Charlier builds the piece around sustained melodic lines and harmonic motion that reward thoughtful interpretation, making it equally valuable for advancing musicianship as for polishing technique.
What to expect
The piece weaves between moments of lyrical introspection and confident technical display, never descending into empty virtuosity. The writing sits comfortably in the trumpet's singing range, rewarding players who prioritize tone quality and phrasing over mechanical execution.
Who it's for
This solo serves intermediate to advanced trumpet players preparing for auditions, competitions, or solo recitals. The work also provides teachers with a standard repertoire piece for assessing students' musicality and range facility across a full-length form.
How to get the most out of it
- Anchor the legato passages with consistent air support; the lyrical sections depend on seamless phrase connections that no amount of slide technique can replace.
- Treat the higher register passages as natural extensions of your middle voice rather than separate events. Maintain the same tonal concept throughout the range.
- Shape longer melodic lines by listening for harmonic arrival points, not just by following written dynamics. This approach creates arc and prevents the piece from feeling episodic.
- Balance clarity in the technical passages with the singing quality the piece fundamentally requires. Speed alone will sound hollow in this context.
How to use it
This solo works well as a standalone feature on a recital or as part of a brass artist's showcase concert. It also serves as a strong solo option within a chamber or band concert when you want to highlight an advancing player's artistry rather than novelty appeal.
Skills your students will build
- Sustaining legato lines across register transitions
- Managing high register playing with consistent tone and intonation
- Shaping longer melodic phrases through harmonic awareness
- Balancing technical clarity with musical expression
- Building endurance across a full-length solo form