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Vibrato for Trumpet

in Brass

Hey all!
This one is mainly a question for high brass but if any other could help me that would be great. I'm in 11th grade and I am a 3rd year trumpet. Right now, we are focusing on marching songs, but after Football season, we mainly play concert songs. One of those is a pretty well known trumpet piece called "A Trumpeter's Lullaby". I normally am a second chair but my band director "surprised me" and gave me solo. I've played it before but never solo. Since I am doing the solo, should I use vibrato at the appropriate times? If so, what method should I use? I obviously wouldn't use the wind speed method. So I would either use my hand or move my jaw slightly. Which one should I use? Let me know!
Thanks!
TheBlueTrumpeteer

MDL + More

In addition to MDL, I think many could agree that MuseScore also needs MFE (MuseScore Front Ensemble), to work in conjuction with MFE as a soundfont. I understand it is hard to get nice sounds on an open-source software, but it would be nice to have. Here are suggestions for the soundfont in mind:

UPDATED SOUNDS
- Marimba (with 3 hardnesses); the marimba sounds a little bit like a toy xylophone with a deeper voice. It doesn't sound very rich.
- Vibraphone (with 3 hardnesses); the vibes don't exactly sound metallic enough
- Xylophone (with 2/3 hardnesses)
- Glockenspiel (with 2 hardnesses)
- Chimes/Tubular bells (with 2 hardnesses); the chime sound isn't round enough and is a bit abrasive in timbre

NEW SOUNDS
- Crotales
- Gong (PLEASE)
- Suspended/China cymbals with pre-recorded rolls and hits on different sizes (similar to what VDL does)

And as well, a nice function that could be EXTREMELY useful is the ability to upload samples into a score by mp3 or wav.

Arranging Presto Agitato, Any suggestions for the sixteenths?

I am arranging Beethoven's Moonlight Sonata for a string quartet. I might add a double bass if I think it is necessary, but so far, no issues with it being a quartet, at least not in the first and second movements. Now I'm arranging the Presto Agitato and as if it wasn't hard enough with the need to smoothly transition from the viola to the violin in those sixteenths, if I keep the interval relationship, the notes are going to be too high. I could get away with this octave displacement in the previous 2 movements(With the first movement, I basically did this octave displacement for the entire bass line to fit it into the cello), but now, the octaves the sixteenths are in are crucial to getting the right sound out of the Presto Agitato.

There are 2 things I can think of as to how to get the Presto Agitato to sound right, one of which keeps the instrumentation, and another of which keeps the original octaves.

Option 1: Add Double Bass

This would keep the original octaves, and I could have it play the bass line and have the sixteenths start in the cello and rise upwards to the viola and second violin.

Option 2: Move bass line to Viola for first measure of each arpeggio run

This would keep the instrumentation I have going of a string quartet and for everything except the bass line, the original octaves would be kept as well.

Which one of these 2 options do you think would be better? Any other suggestions?

NOTE: I'm only asking about the arpeggio runs, the scales and Alberti bass are easier to arrange.

Polonaise in Bb, Feedback Wanted

I have been composing a polonaise in Bb for the past few days. The A section of the polonaise is what I have written down. The A section of the A section is what my first few questions are about and is the exclusively diatonic section. The B section of the A section is more chromatic. I am asking these questions because they came up to me after listening to my own polonaise a few times.

1) Is the bass in the A section of the A section(bars 1-8 and 23-30) too dense?

2) In the consequent phrase(bars 5-8), is the bass too close to the melody? Should I bring it down an octave?

3) In the B section of the A section(bars 9-22), am I handling my chromaticism correctly or not?
 
4) Is it too much of me to expect a pianist to play a polonaise rhythm in octaves for the whole B section of the A section?

5) Do I smoothly transition into the inversion(left hand becomes right hand kind of inversion) or not?
 
6) Is my A section too repetitive with 2 periods and a motive sandwiched between the 2 periods and the repeat sign?

7) Is 30 bars enough for the A section of a piece that I expect to be 200 or so bars long, or should I extend my A section further? 

Here is the link to my polonaise score:

https://musescore.com/user/50070/scores/5682039

How else do you think it could be improved? Right now, I'm thinking of what to put in the B section of my polonaise.