Update - January 2025.
Founded by Bass Trombonist, Roger Argente, the award winning Superbrass first performed together on January 27th in 2005 and even though the brass group itself no longer exists, Superbrass Music, Music for Brass has continued to produce high quality sheet music performed across the globe, available both as Downloads and Hard Copy. As we joyously move into our third decade, we’d like you to help us celebrate this significant milestone by taking a look at some of work. Currently, a mix of more than 1500 original and arranged titles, stylistically varied from Contemporary & Original, Jazz & Swing, Baroque & Renaissance, Folk & World, Rock & Pop, TV & Film, Orchestral Masterworks, Christmas Favourites and our Educational Resource - Skool of Brass. Having originally started with publishing Music for Brass Dectet, we now publish for all the following size ensembles and more.
Music for Brass Dectet
Music for Brass Band
Music for Brass Septet
Skool of Brass
5 Part Pops for Brass
Jock’s Disney Brass Club
Music for Wind Band
Music for Brass Quintet
Rhythm ’N Rags
Celtic Reels
Dixieland Trumpets
Lofty Trumpets
and much more... !
I was born and raised in Neath, South Wales and started to play the trombone aged 13. My formative musical experiences took place at school level and at county level, where I was very fortunate to have access to high quality music making and music teachers at both. My local state school, Dwr-y-felin Comprehensive already had a fabulous musical reputation and every summer we would travel up to the Fairfield’s Halls in Croydon to participate in what was then known as National Festival of Music for Youth. Ensembles from both school and county level usually came home with various trophies and prizes, as well as offers to perform at the then new School Proms at the Royal Albert Hall - I actually played at the very first School Proms with my school brass ensemble, playing antiphonal Gabrieli.
Notable influences from those days would have to be my trombone teacher, the wonderfully patience and inspiring Idris Rees. At the West Glamorgan county level, we were further inspired by the Head of Brass, Tony Small and the County Music Advisor and orchestra conductor John Jenkins. One stand-out event took place at Margam Orangery where members of the youth orchestra formed a chamber choir that accompanied the Philip Jones Brass Ensemble in concert. We were also given numerous opportunities to perform amazing orchestral and brass band works, but also performed alongside West Glamorgan Youth Theatre.
One of the biggest stand-out events I took part in would have to be performing Leonard Bernstein’s Mass in Swansea and in London. Described as a theatre piece for singers, players and dancers, this eclectic work used a massive symphony orchestra, plus a marching band, a full choir, a children’s choir, dancers and street singers and was great fun and challenging to play. Around this time, I also won the audition for the National Youth Orchestra of Wales and the newly formed National Youth Brass Band of Wales.
I went on to study the Bass Trombone at the Royal Northern College of Music in Manchester, studying with both Neville Roberts, bass trombone at the Halle Orchestra and Terry Nagle who has Head of Brass. Upon Terry’s retirement in my final year of study, the hugely influential Howard Snell was to take over this role, while studying at the RNCM I also regularly performed with Foden’s Brass Band under the baton of Howard Snell.
During my time at the RNCM I was able to further my interest in brass ensemble music both with college organised concerts and in co-founding a student ensemble which we called Northern Festival Brass.
Notable highlights of my study time at the RNCM were performing Robert Simpson’s 4 Temperaments and Eric Crees’ skilfully arranged version of West Side Story and in a second concert Tomasi’s epic Fanfares Liturgiques, both concerts directed by Howard Snell.
Orchestral highlights including performing the Rite of Spring, conducted by Sian Edwards. With Northern Festival Brass we entered the college concerto prize as an ensemble, performing Hindemith’s Music for Brass & Strings. This created a rather a lot of controversy at the time, as technically we weren’t performing a known concerto and the size of the group that performed troubled some of the college authorities. Due to the huge amount of goodwill and expertise shared with us by our brass tutors, we received large amounts of extra coaching and went on the win this prestigious prize, which as you can imagine made us all feel very proud.
In my final year at the RNCM, my bass trombone tutor Neville Roberts, was awarded a sabbatical from the Halle Orchestra and I was offered the majority of his schedule to deputise him. This professional experience was extremely valuable, performing new repertoire each week, playing in all the top concert venues in the North West of England and sitting alongside a red-hot section that comprised Andy Duncan on tuba, Phil Harrison on 2nd trombone and Ian Bousfield on Principal - I felt I learned more through these weeks working with the Halle and opened my mind to the power and potential of side-by-side projects.
My first orchestral audition (Scottish Opera), while still at college was a dreadful experience, I was far too confident and had very little idea of tempos, styles and even the set repertoire, I basically winged it and fell completely flat on my face, but I learned my lesson and never attended an audition so ill-prepared again. There was still much to learn !
My second orchestral audition went much better and was for the City of Birmingham Symphony Orchestra (CBSO) under Sir Simon Rattle. Around the start of the summer of 1992, as I was about graduate, I was preparing for the CBSO audition diligently. Unfortunately, I had recently had my prized Bach 50B2 trombone stolen (prior to the audition) but had an equally prized 50BG single valve trombone also. Fearing that turning up to an audition of such magnitude without a fully chromatic instrument was not a good idea, I took my single Bach 50BG into my audition as well as a hastily purchased Bach 50B2L. I rushed into buying this instrument, which was second-hand and lacked weight of tone and clarity, but I took them both along to my audition. Choosing to play certain extracts such as Thieving Magpie and The Creation on the single and using the 50B2L for the heftier works. I should also point out that as I was still a student, albeit just about to graduate, I was only given a pre-audition slot in the morning and if successful would be invited back alongside more experienced players for the afternoon. I was invited back for the afternoon, but the panel for this later audition was considerably larger and compared to my experiences in later life where I actually chaired and managed audition panels, I had have never encountered so many members of an orchestra on audition panel. It’s a long time back (about 40 years ago) but I felt there were close on 15-20 members of the CBSO present. What happened next is funny now, but at the time was quite dauting. Compared to my wipeout first experience with Scottish Opera - all done and dusted in under 10 minutes - this second CBSO audition, scheduled to last approx. 20 minutes lasted close to 1 hour, because the (mainly) non-brass players wanted to hear the different prepared extracts on both instruments, I even remember one panellist (I think he was an oboist ?) asking me to perform the Rossini firstly on my smaller instrument, then the big one and then the small instrument again. Add to this dilemma there were numerous conflicting calls for changes of speed and articulation. It was obviously entertaining for the panel who seem divided with what they preferred and were more than happy to discuss this openly in front of me.
After this experience I awaited the results and was gutted to hear that I hadn’t made the grade and was sent the usual “Dear John” letter saying my name would be added to the extra list. A few weeks later I got a very last-minute call from the CBSO to travel down to London to perform Mahler’s Das Lied von der Erde, conducted by Rattle with the amazing Jessye Norman as soloist. This stunning performance was broadcast live from the Royal Albert Hall Proms. After a successful audition (my third) in the latter part of the year and now armed with considerably more experience from playing regularly as a deputy with the CBSO, I auditioned and won a trial with the Bournemouth Symphony Orchestra (BSO) and then went on to join the BSO in September 1986. I spent many very enjoyable formative years in the BSO, playing in a fabulous section that was Andy Cresci (Tuba) Donal Bannister on 2nd and Kevin (Mogs) Morgan on principal. With the exception of Andy Cresci, all three of us joined the BSO within 12 months of each other and were all starting our very first professional orchestral jobs. In 1992, I left to move to the bright lights of London and the Royal Philharmonic Orchestra (RPO).
I joined the Royal Philharmonic (RPO) in April 1992, I joined an extremely happy and busy orchestra. The trombone section was led by the legendary Derek James, with John Sibley on 2nd and Chris McShane on Tuba. Prior to my time at the RPO, renown brass principals had included Alan Civil, Philip Jones, Elgar Howarth and James Watson. In more recent years, principal brass players include James Fountain, Jeff Bryant, John Bimson, Graham Lee, Martin Owen and Chris Parkes. As is the way with the RPO, personal changes regularly occur, the life is hard and it’s not for everyone. Always a huge amount of travelling, busy schedules but the quality and spirit of that orchestra was just amazing.
Stylistically it could change at the drop of a hat, Mahler, Shostakovich, Prokofiev, Respighi, Bartok, Vaughan Williams, Elgar, Britten, the French Impressionists, plenty of opera and ballet too, the list could go on and on. Additionally, there was plenty of variety through large amounts of commercial work; jingles, pop sessions, library sessions and film soundtracks.
The opportunity to travel was also another huge attraction with regular tours to the musical capitals of Europe, the Americas and the Far East. I’ve tried to list all the countries I visited - I hope I haven’t missed any…. Argentina, Armenia, Australia, Austria, Azerbaijan, Belgium, Bosnia, Brazil, Bulgaria, Canada, China, Columbia, Croatia, Costa Rica, Cyprus, Czech Republic, Denmark, Egypt, Estonia, Finland, France, Germany, Greece, Hungary, Ireland, Italy, Japan, Kazakhstan, Korea (South), Kosovo, Liechtenstein, Lithuania, Luxembourg, Malaysia, Mexico, Monaco, Montenegro, Netherlands, Norway, Oman, Portugal, Qatar, Romania, Russia, Serbia, Singapore, Slovakia, Slovenia, Spain, Sweden, Switzerland, Taiwan, Thailand, Turkey, Ukraine, UAE, USA, Uruguay. On these RPO tours we performed at the most prestigious concert halls and festivals with the finest conductors and soloists.
The musical directors and chief conductors of note during my time there would be Vladimir Ashkenazy, André Previn, Yuri Temirkanov,Yehudi Menuhin, Peter Maxwell Davies, Leonard Slatkin, Daniele Gatti, Pinchas Zukerman, Alexander Shelley and Charles Dutoit. As I was leaving, I had the pleasure of working with their brilliant new musical director Vasily Petrenko. While in the RPO I also gave the European premiere of the Brubeck Bass Trombone Concerto at the Royal Albert Hall. During my time at the RPO, I appeared as a guest performer with a wide variety of other orchestras and ensembles; London Symphony Orchestra, London Philharmonic Orchestra, Philharmonia, BBC Symphony Orchestra, Royal Opera House, Covent Garden, London Sinfonietta, London Brass, Symphonic Brass of London and on 3 separate occasions with the prestigious Super World Orchestra at the Tokyo International Music Festival.
When it was finally time for me to move onto new challenges and a return to my spiritual home in South Wales, the fabulous trombone section had expanded to include a fourth player, the wonderful Rupert Whitehead, with Matthew Knight on 2nd, Matthew Gee on Principal and Kevin Morgan on tuba.I left the RPO in February 2018 after 27 glorious years to take up my current position as Head of Brass at the Royal Welsh College of Music & Drama.
In 2001 I started a trombone-based performance and education based project called BONELAB as a direct response to the then declining number of school children learning to play the instrument. Still in its infancy, BONELAB put together numerous initiatives designed to focus on this glorious brass instrument, collaborating with numerous festivals, concert halls, conservatoires, education agencies and leading orchestras helping to correct the imbalance.
BONELAB worked mainly in the London and home-counties area (where I lived), but we also ran a course at the Dartington International Summer School each year. Aimed at a mix of young professional, amateur and student trombonists, and coached by the leading teachers and performers of that time, BONELAB eventually morphed into what would later became known as Superbrass and as such included all brass instruments. 100% student bursaries were made available to one student from all the eight UK music colleges for the Summer School.
During those early days, and with the help, support and guidance of Christina Coker OBE (then Chief Executive of Youth Music) and Gavin Henderson CBE (then Principal at Trinity Laban and Artistic Director of Dartington Summer School) ... a plan was hatched at Dartington to create a Nationwide initiative to combat the worries regarding the continual lowering of interest (and student numbers) in what I'll now describe as the less fashionable instruments to learn on - namely the oboe, bassoon, double bass, french horn, tuba and (proudly fighting my own corner) the trombone.
This initiative was called Endangered Species. Acting as one of the Ambassadors for Endangered Species and supported by Youth Music (then known as the National Foundation for Youth Music) - I fully supported the programme of work and gave workshops and lectures across the country, as well as regular press junkets. I do honestly believe that we made a big difference with Endangered Species and proof of this was clear to see through increased numbers now taking up these instruments.
As a session musician on Bass, Tenor and Contrabass Trombone – I have recorded countless jingles, pop sessions, game sessions and library sessions.
Working for the RPO, other London orchestras and the leading fixers, I have also recorded 100’s of film scores for composers such as Jerry Goldsmith, John Williams, James Horner, Hans Zimmer, John Barry, Danny Elfman and Michael Giacchino on big screen classics such as Gladiator, Harry Potter, Lord of the Rings, Inception, Batman, the 007 franchise and even Captain Underpants.
I really wish I’d kept all the paperwork for all these sessions, so for now here is the current list, in alphabetical order….
42 (Mark Ishan)
1917 (Thomas Newman)
47 Ronin (Ilan Eshkeri)
A Fantastic Fear of Everything (Michael Price)
A Knight's Tale (Carter Burwell)
A Man Apart (Anne Dudley)
Alien Covenant (Jed Kurzel)
Alien vs Predator (Harald Kloser)
American Assassin (Steven Price)
An Element of Doubt (Stephen Warbeck)
Anima (Fabrizio Ferri)
Animal (Jay Weigel)
Animateur's Palette (Stephen Brooker)
Ant-man (Christophe Beck)
Ant-man and the Wasp (Christophe Beck)
Arsene Lupin (Debbie Wiseman)
Asterix and Obelix - God Save Britannia (Klaus Badelt)
Avengers: Infinity War (Alan Silvestri)
Babylon A.D. (Hans Zimmer & Atli Orvarsson)
Ballerina (Klaus Badelt)
Bandidas (Eric Serra)
Batman Begins (James Newton Howard & Hans Zimmer)
Battlefield Britain (Sheridan Tongue)
Before and after (Howard Shore)
Bel Ami (Rachel Portman & Lakshman Joseph de Saram)
Book of Blood (Guy Farley)
Bright Hair (Stephen Warbeck)
Britain from Above (David Schweitzer)
Burn the Floor (Various)
Butterfly on a Wheel (Robert Duncan)
Captain America - The Winter Soldier (Henry Jackman)
Captain Corelli's Mandolin (Stephen Warbeck)
Captain Phillips (John Powell)
Captain Underpants - The First Epic Movie (Theodore Shapiro)
Caribou & The Wolves (David Mitcham)
Casino Royale (David Arnold)
Charlie and the Chocolate Factory (Danny Elfman)
Che Part 1 - The Argentine & Guerilla (Alberto Iglesias)
Children of Glory (Nick Glennie-Smith)
City of Ember (Andrew Lockington)
Cloudy with a Chance of Meatballs (Mark Mothersbaugh)
Connie and Carla (Randy Edelman)
Copland (Howard Shore)
Coraline (Bruno Coulais)
Die Another Day (David Arnold)
Divergent (Junkie XL)
Dolphins (Steven Price)
Doogal (Mark Thomas)
Doom (Clint Mansell)
Doomsday (Tyler Bates)
Dr Who (Murray Gold)
Dracula Untold (Ramin Djwadi)
Dunkirk (Hans Zimmer)
Early Man (Harry Gregson-Williams)
Earth 2000 (Elia Cmiral)
Edge of Tomorrow (Christophe Beck)
Element of Doubt (Stephen Warbeck)
Elle (Anne Dudley)
Emma (Samuel Sim)
Employee of the Month (John Swihart)
Endeavour (Barrington Pheloung)
Ender's Game (Steve Jablonsky)
Enemy at the Gates (James Horner)
Epic Movie (Edward Shearmur)
Evita (Andrew Lloyd Webber)
Exodus - Gods and Kings (Alberto Iglesias)
Extraordinary Measures (Andrea Guerra)
Fades (Paul Thompson)
Fanny Lye Deliver’d (Thomas Clay)
Fantastic Beasts (James Newton Howard)
Fast & Furious 6 (Lucas Vidal)
Fear.com (Nicholas Pike)
Felt (Daniel Pemberton)
Final Fantasy (Elliot Goldenthal)
Flight 93 (John Powell)
Flood (Debbie Wiseman)
Frankentweenie (Danny Elfman)
Free Jimmy (Simon Boswell)
G. I. Jane (Trevor Jones)
Gang's of New York (Elmer Bernstein)
Ghost Recon: Alpha (Daniel Pemberton)
Giant Screen Bugs (John Lunn)
Gladiator (Hans Zimmer)
Goal ! 3 (Mark Thomas)
Gods & Generals (Randy Edelman)
Godzilla: King of Monsters (Bear McCreary)
Great Expectations (Martin Phipps)
Guardians of the Galaxy (Tyler Bates)
Guardians of the Galaxy Vol. 2 (Tyler Bates)
Gulliver's Travels (Henry Jackman)
Half a Chance (Alexandre Desplat)
Hannibal Rising (Ilan Eshkeri)
Happily N’Ever After (Paul Buckley & James L. Venable)
Harry Potter and the Half-Blood Prince (Nicholas Hopper)
Harry Potter and the Prisoner of Azkaban (John Williams)
Harry Potter and the Sorcerer’s Stone (John Williams)
Harvest (Ben Walfisch)
Hooten & The Lady (Magnus Fiennes)
Hot Fuzz (David Arnold)
Hotel Transylvania (Mark Mothersbaugh)
Hotel Transylvania 2 (Mark Mothersbaugh)
Hotel Transylvania 3 - Summer Vacation (Mark Mothersbaugh)
Hotet (Mark Isham)
How to Train Your Dragon (John Powell)
How to Train your Dragon 2 (John Powell)
I Love You Daddy (Zac Seman & Robert Miller)
In the Heart of The Sea (Roque Baños)
Inception (Hans Zimmer)
Inkheart (Javier Navarette)
Iron Man (Ramin Djawadi)
Jack the Giant Killer (John Ottman)
Jason and the Argonauts (Simon Boswell)
Jason Bourne (David Buckley & John Powell)
Je M'Appelle Crawford (Mark Thomas)
Joan of Arc (Eric Serra)
Johnny English (Edward Shearmur)
Jupiter Ascending (Michael Giacchino)
Jurassic World: Fallen Kingdom (Michael Giacchino)
Justice League (Danny Elfman)
Justin and the Knights of Valour (Ilan Eshkeri)
Kaas Chante Piaf (Abel Korzenlowski)
Kick-Ass (Henry Jackman)
King Arthur (Hans Zimmer)
Kingsman - The Secret Service (Henry Jackman & Matthew Margeson)
Kingsman: The Golden Circle (Henry Jackman & Matthew Margeson)
Kong - Skull Island (Henry Jackman)
Kull The Conqueror (Joel Goldsmith)
Kung Fu Panda (Hans Zimmer & John Powell)
L’Immortel (Klaus Badelt)
Lara Croft – Tomb Raider (Graeme Revell)
Layer Cake (Ilan Eshkeri)
LD50 Lethal Dose (Michael Price)
Le Reve (Benoit Jutras)
Leap ! (Klaus Badelt)
Lesbian Vampire Killers (Debbie Wiseman)
Life (Jon Ekstrand)
Life of Mammals (Dan Jones)
Live Like Line (Roque Baños)
Living the Dream (Stephen Warbeck)
London Road (Adam Cork)
Looking for Richard (Howard Shore)
Love Actually (Craig Armstrong)
Lucky Luke and the Daltons (Alexandre Azaria)
Magic Silver 2: The Quest for the Magic Horn (Magnus Beite)
Malefident (James Newton Howard)
Man of Steel (Hans Zimmer)
Max and Me (Mark McKenzie)
Megamind (Hans Zimmer & Lorne Balfe)
Message in a Bottle (Gabriel Yared)
Metronomic (Mathieu Alvado)
Miss Peregrine’s Home for Peculiar Children (Michael Higham & MatthewMargeson)
Mission Impossible Fallout (Lorne Balfe)
Monkey Bone (Anne Dudley)
Monsters vs Aliens (Henry Jackman)
Moulin Rouge (Craig Armstrong)
Mowgli - Legend of the Jungle (Nitin Sawhney)
Mr Peabody & Sherman (Danny Elfman)
Mr. Bean's Holiday (Howard Goodall)
My Dog Skip (William Ross)
Naked Earth (Ilan Eshkeri)
ParaNorman (Jon Brion)
Paul (David Arnold)
Peter Pan (Joel McNeely)
Pride (George Fenton)
Prime Suspect (Stephen Warbeck)
Primrose (Marius de Vries)
Prometheus (Harry Gregson-Williams)
Puss in Boots (Henry Jackman)
Quantum of Solace (David Arnold)
Quest for a Heart (Tuomas Kantelinen)
Rangoon (Simon Hale)
Rat Race (John Powell)
Red 2 (Alan Silvestri)
Red Planet (Graeme Revell)
Reign of Fire (Edward Shearmur)
Resident Evil 3 (Jeff Danna)
Return to Never Land (Joel McNeely)
Ring of the Buddha (Oliver Heise)
Robin Hood (Joseph Trapanese)
Robocop (Pedro Bronfman)
Rock Dog (Rolfe Kent)
Roman Israel Esq. (James Newton Howard)
Safe House (Ramin Djwadi)
Season of the Witch (Atli Orvarsson)
Shanghai Knights (Randy Edelman)
Sinbad - Legend of the Seven Seas (Harry Gregson-Williams)
Singing Behind Screens (Han Yong)
Sky Captain and the World of Tomorrow (Edward Shearmur)
Skyfall (Thomas Newman)
Skyscraper (Steve Jablonsky)
Sleepy Hollow (Danny Elfman)
Something to Believe in (Lalo Schifrin)
Son of the Mask (Randy Edelman)
Spectral (Tom Holkenborg Junkie XL)
Spectre (Thomas Newman)
Spider-Man (Danny Elfman)
Spinel (Unknown)
Spirou & Fantasio (Eric Neveux)
St Trinian's 2 - The Legend of Fritton's Gold (Charlie Mole)
Stardust (Ilan Eshkeri)
Stealth (Brian Transeau)
Surf's Up (Mychael Danna)
Sweeny Todd - The Demon Barber of Fleet Street (Stephen Sondheim)
Synergie (Oussama Rahbani)
Teacher's Pet (Stephen James Taylor)
The 10th Kingdom (Anne Dudley)
The 300 (Tyler Bates)
The Batchelor (Dave Arch)
The Book of Life (Gustavo Santaolalla)
The Boss Baby (Hans Zimmer)
The Bourne Ultimatum (Hans Zimmer)
The Childhood of a Leader (Scott Walker)
The Chronicles of Narnia - The Voyage of the Dawn Treader (David Arnold)
The Corpse Bride (Danny Elfman)
The Count of Monte Cristo (Edward Shearmur)
The Dark Knight (James Newton Howard & Hans Zimmer)
The Dark Knight Rises (Hans Zimmer)
The Descent (David Julyani)
The Descent - Part 2 (David Julyani)
The Edge of Love (Angelo Badalmenti)
The Golden Compass (Alexandre Desplat)
The Good & The Evil (Guy Farley)
The Grand Canal of China (Klaus Badelt)
The Hobbit - An Unexpected Journey (Howard Shore)
The Hollow Man (Jerry Goldsmith)
The Hunger Games – Catching Fire – James Newton Howard (James Newton Howard)
The Hunt (Steve Price)
The Incredible Hulk (Craig Armstrong)
The Iron Lady (Thomas Newman)
The Jungle Book 2 (Steve Harwell & Joel McNeely)
The Kid Who Would Be King (Matt Dunkley and Christoph Bauschinger)
The Life of Mammals (Dan Jones)
The Lord of the Rings - The Fellowship of the Ring (Howard Shore)
The Lord of the Rings - The Return of the King (Howard Shore)
The Lord of the Rings - The Two Towers (Howard Shore)
The Martian (Harry Gregson-Williams)
The Messenger - The Story of Joan of Arc (Eric Serra)
The Mortal Instruments - City of Bones (Atli Orvarsson)
The Mummy (Jerry Goldsmith)
The Musketeer (David Arnold)
The Musketeers (Paul Englishby)
The Reckoning (Magnus Fiennes)
The Rugrats Movie (Mark Mothersbaugh & Jamshied Sharifi)
The Snow Queen (Paul Joyce)
The Spy Who Dumped Me (Tyler Bates)
The Star (John Paesano)
The Talented Mr Ripley (Gabriel Yared)
The Time Machine (Klaus Badelt)
The Water Horse (James Newton Howard)
The World is Not Enough (David Arnold)
The Young Victoria (Ilan Eshkeri)
Thor: Ragnarok (Mark Mothersbaugh)
Throw of the Dice (Nitin Sawhney)
Thunderbirds (Hans Zimmer)
Titus (Elliot Goldenthal)
Tomb Raider (Graeme Revell)
Tomorrow Never Dies (David Arnold)
Tosca (Giacomo Puccini)
Transcendence (Mychael Danna)
Transformers (Steve Jablonsky)
Troy (Gabriel Yared)
United 93 (John Powell)
Until Death (Mark Sayfritz)
V for Vendetta (Dario Marianelli
Valiant (George Fenton)
Victoria and Abdul (Thomas Newman)
Virus (Joel McNeely)
Wallace & Gromit - The Curse of the Wear-Rabbit (Julian Nott)
Watership Down (Mike Batt)
We Were Soldiers Once & Young (Nick Glennie-Smith
What Dreams May Come (Michael Kamen)
Wolf Warrior 2 (Joseph Trapanese)
Wonder Woman (Rupert Gregson-Williams)
World War Z (Marco Beltrami)
Wrath of the Titans (Marco Beltrami)
Young Hannibal (Ilan Eshkeri)
Alongside the RPO and for nearly 20 years, I have worked at Trinity College of Music (now Trinity Laban Conservatoire of Music and Dance) firstly as Brass Co-ordinator and then as Head of Brass Studies. The part-time Head of Brass position was created especially for me in 2004 and allowed me to continue my playing career while helping to transform Trinity into one of the country’s leading music colleges, particularly making the Brass area a first class, first choice destination for aspiring Brass players opting for further education. In addition to managing my team of Brass teachers and all Brass students, I organised entry auditions and end of year assessments. My duties included forward planning, conducting and coaching all Brass related projects throughout the year along with teaching the trombone. I also created an annual festival of Brass called the TCM Brass Experience. The headlining event of our Brass Festival was the Brass Massive, which was an opportunity that allowed our own students to perform alongside and inspire younger musicians from various London boroughs and beyond, while being enthused and inspired themselves by leading national and international soloists and educators, who were in turn invited to participate as guest artists. I instigated and managed a series of international masterclasses that saw visits from world-class performers from orchestras such as the Vienna Philharmonic, Berlin Philharmonic, Chicago Symphony, Boston Symphony and Los Angeles Philharmonic to visit Trinity on a regular basis. I also introduced and managed the popular PSS programme (Principal Study Support) to Trinity, which allowed visits by homegrown musical experts to lecture at Trinity on a weekly basis on a host of specialized and specific topics in an instrument specific setting and fostered the launch of the Personal Portfolio initiative. I stepped down from my position as Head of Brass Studies in April 2012 to concentrate on launching my Superbrass publishing initiative (and to see more of my family !) but I still continued to teach and lecture at Trinity in a more modest part-time capacity until 2016.
In addition, and as an educationalist and teacher, I have coached the trombone and brass sections of the National Youth Orchestras and Brass Bands of both Great Britain and Wales, as well as the National Youth Orchestra of Spain and the National Children’s Orchestra. I have examined on final recital panels at all the UK's conservatoires. I was heavily involved in setting up the RPO's award winning Education Department (then known as Sharp Edge). I set the trombone syllabus for the Trinity Guildhall examination board. I sit on the Artistic Board of the World Youth Orchestra. I have been a proud endorsee for Courtois Instruments, part of the Besson Group. I am equally proud to have collaborated and lead education projects for sections of the UK Armed Forces.
I have been invited to give specialist tuition and coaching at the UK's specialist music schools; Chethams, Wells Cathedral School and the Purcell School. I also enjoy the many invitations I receive to coach youth orchestras, such as The Cambridge Youth Orchestra, Blackheath Youth Orchestra, The Classic FM Youth Orchestra and The London Schools Symphony Orchestra. I have also been a member of the teaching faculty on the English Brass Academy and the Belgian Brass Academy. I have taken masterclasses at the National Chiayi University in Kaohsiung, Taiwan, the Central Conservatoire of Music, Beijing, The Yong Siew Toh Conservatory of Music in Singapore and the San Francisco Conservatory of Music as well as Holland, France, Italy, Spain, Armenia, Azerbaijan and Canada.
I have also acted as a mentor at the Music for Youth National Festival at Symphony Hall Birmingham, specializing at both school and county level in the brass ensemble, brass band and wind band categories. I am a past President of the British Trombone Society, in which capacity I was able to continue to encourage people of all ages, standards and styles to take up the trombone. In 2014 I received the International Trombone Society’s Presidents Award. I have adjudicated at the Norwegian National Brass Band Championships at both Championship and 4th section level, and the GB National Brass Band Championships in Cheltenham. I am a Mentor for Music for Youth as well as regularly adjudicating their annual National Festival in Birmingham. I also recently adjudicated the first round of the 2024 BBC Young Musician of the Year competition.
In February 2019, I took the difficult decision to retire from the RPO and relinquish the valuable connections I had in the session world and move back to my roots in South Wales and take up the position of Head of Brass Performance at the Royal Welsh College of Music & Drama (RWCMD). As a young teenager I had actually travelled up several times a year to the RWCMD for private trombone lessons with the great Danny Hannaby, trombone prof at the RWCMD and Principal Trombone at the then BBC Welsh Symphony Orchestra.
My responsibilities see me manage an excellent team of 22 Brass teachers and approx. 55 Brass students. I organise entry auditions, regular tutorials, performance classes, repertoire sessions and assessments held across the whole academic year. My duties include forward planning, recruitment, conducting and coaching brass related projects throughout the year along with teaching the trombone.
This academic position now allows me to finally live a more structured family life in Central Cardiff and having spent the vast majority of my career travelling the globe, I’m finally able to walk to work daily. My hobbies include supporting the Cardiff Blues rugby team and taking the dogs for long walks in the beautiful Welsh countryside on weekends.
Due to family heritage, I am also a confirmed hispanophile and love everything Spanish – the food, the wine, the culture, the history and the language, including taking regular holidays to Andalucia in the south of country.
In 2005 I started Superbrass. In my role as Head of Brass at Trinity College of Music (TCM), every year I presented a week-long festival (we used to call it the TCM Brass Experience) of everything brassy. It started with one single event and grew every year, with chamber groups, soloists, masterclasses, competitions, international visitors and jazz events, all supported by our local community in Greenwich and Blackheath. For the TCM Brass Experience 2005, and with just 4 days to go the scheduled professional brass ensemble pulled out of the concert. With a guaranteed and enthusiastic audience expecting a cornucopia of excellence, I was cornered. I rang all the leading players I knew and offered them a gig, with a rehearsal on the day. The repertoire chosen was mainly Philip Jones inspired and the (rather preposterous) name Superbrass came about through a rushed discussion with the TCM marketing team. A large proportion of the audience for the TCM Brass Experience concerts were young brass players and these young players always got the chance to perform alongside my college students on prepared repertoire in the first half of the programme, with the professional ensemble lighting up the night in the second half with exciting and high-class music making.
Despite limited rehearsal time, we managed to pull it off and everyone seemed happy. My new-found Superbrass colleagues seemed suitably inspired and there was much conversation over a couple of cold one’s later that evening of doing it again. Little did they know, but I had already been approached by one audience member asking if we’d visit his music service to do something similar….. and that’s how it all started on January 27 2005.
Collectively we decided on several important “rules” for ourselves.
Namely we wanted to deliberately breakdown the barriers between classical and jazz/swing/world music.
We wanted to generate our own unique sound with original repertoire to accompany our new-found musical voice.
We wanted to work on enhancing the side-by-side experience by playing more alongside the young musicians. In fact, we managed to go one-step further than this and usually involve music college students too, who became known as our Superbrass Apprentices who would contribute to the whole event, watching, learning, helping and playing themselves in the final concerts.
These concerts were quite often titled the Brass Massive, so for example one of the very first concerts we did was in Hampshire and was advertised as the Hampshire Brass Massive 2006.
All the musicians were the pick of the crop and excelled themselves not just with their exemplary playing but in the way they interacted and encouraged the young players they were there to inspire. This formula seemed to work well, and demand was high. As well as working with music services we worked alongside Music for Youth, The BBC Proms (performing alongside and helping to plan the 2007 BBC Proms Brass Day), the Southbank Centre and music centre’s, colleges, schools and brass bands.
Our 2011 debut CD “Under the Spell of Spain” received rave reviews – “Superbrass is superfun ! This Phillip Jones-inspired brass ensemble based in London has recorded a remarkably colorful and engaging CD”. “Track after track on this CD contain enigmatic pulse-pumping musical essences that will make you want to jump for joy, weep your heart out, or dance until dawn” - Lydia Van Dreel - The Horn Call, Journal of the International Horn Society. The second award winning CD “Brass Taps” was released in 2013 - “This intriguing "water-borne" voyage runs the gamut from more classically-tinged interpretations to straight-ahead and improvised jazz. Along that journey we are treated to a highly inspired and masterfully presented performance.” - Nicholas F. Mondello - Allaboutjazz.com. This second CD was also successfully crowdfunded through Kickstarter.
In 2008 were nominated for the prestigious Royal Philharmonic Society’s Education Award for our work on the BBC Proms Brass Day. Superbrass performed across the UK and in Italy, Dubai and Switzerland.
It now no longer performs as an ensemble, as I personally made the painful decision to stop playing seriously, when I moved out of London and started my full-time teaching position at the Royal Welsh College of Music & Drama in Cardiff.
An unexpected offshoot of Superbrass; Superbrass Music, Music for Brass now specialises in publishing high quality sheet music. Originally, we had wanted to solely perform our own music, plus I was not originally expecting the high demand to play our new repertoire. I was also continually getting sent original works and arrangements to peruse. I decided to embrace this opportunity and here we are now, 20 years later.
Superbrass Music, Music for Brass publishes music for Brass Ensemble, Brass Band, Wind Band, Solo Brass and Educational Band repertoire and is distributed across the world. Now numbering more than 1,500 different titles, all available in both Hard Copy and as Downloads.
Superbrass Music is owned and edited exclusively by Roger Argente.