Top Christian Hits Instrumental Solos: Trombone Book & CD

Warm, accessible, and rooted in melody. These songs are built on direct harmonic progressions and singable lines, so the trombone part feels natural to phrase without requiring virtuosity. The arrangements honor the emotional tone of the original recordings while sitting comfortably in the intermediate player's range.

Intermediate trombone students in church music programs, school bands, or private studios who benefit from playing arrangements of familiar contemporary Christian songs. This book works equally well for soloists preparing recital pieces and ensemble players rehearsing within a church or community band setting.

• Anchor the quarter-note pulse in ensemble pieces by listening to the bass line on the accompaniment track during early rehearsals; once the harmonic foundation lands, other parts lock in faster.
• Shape phrases through slight tempo flexibility rather than mechanical note-reading; these hymn-based melodies benefit from breathing like a singer would, even on an instrumental arrangement.
• Blend your tone with the piano accompaniment PDF during practice by playing along with that part alone before adding the full recorded ensemble; this prevents overblowing and keeps the solo voice integrated rather than prominent.
• Use the tempo slider in the included Alfred's Tempo Changer Software to learn passages at 75 percent speed, then increase incrementally; contemporary Christian melodies often sit higher on the trombone than classical solo repertoire, and this reduces embouchure fatigue.

Include one or two selections from this book in a spring or summer church service or concert featuring contemporary worship music alongside your ensemble. These pieces also work as confidence builders early in the year for players transitioning from Grade 1 to Grade 2-3 repertoire, since the familiar melodies reduce note-reading anxiety.

• Sight-reading contemporary chord progressions and rhythmic patterns common in modern worship music
• Phrasing sustained melodic lines with shape and intention rather than mechanical articulation
• Balancing independence as a soloist with blend in a full orchestral accompaniment
• Using a recorded accompaniment to develop rhythmic precision and ensemble awareness