Brass Music
| Sonata for trumpet and organ | 2008 | 15' |
| Editions BIM, Switzerland | ||
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| Sonata for tuba and piano | 2007 | 17' |
| Editions BIM, Switzerland | ||
 1st perf: James Gourlay (tba), Aaron Shorr (pno), Concert Hall, Royal Scottish Academy of Music and Drama, Glasgow, 9 November 2007.
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| Douranda as Treva (Painting Darkness Gold) for two tubas and vibraphone | 2005 | 6' |
| Editions BIM, Switzerland | ||
 1st perf: Sérgio Carolino and Anne Jelle Visser (tbas), Klaus Schwärzler (vib), Hochschule Musik und Theater, Zurich, 6 February 2006.
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| Four Sonnets for Brass Quintet | 1984 | 20' |
| Stainer & Bell Ltd. London | ||
Commissioned by Mrs Hilda Langston for the Albany Brass Ensemble. |
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| Concerto for tuba and strings | 1983 | 15' |
| Stainer & Bell Ltd. London | ||
Solo tuba & strs 5,4,3,3,2.
Listen (extracts): 1st perf: James Gourlay (tba), Terra Nova, Neil Thompson (cond), St John's Smith Square, London, 27 October 1986. ''Roger Steptoe’s Tuba Concerto is a work that was, until now, unknown to me. It’s in three movements and is a very welcome addition to our ever-growing, but still limited, repertoire. Each movement sings and, although twelve–toned, is very easy on the ears. The Royal Ballet Sinfonia under the direction of Gavin Sutherland provides excellent accompaniment and James Gourlay’s playing is awe-inspiring.'' ''Roger Steptoe's lyrical Concerto differs from orchestral tuba-writing, as it's usually in the higher register where a baritone singer might be singing or a cello might be playing, and that's a register that's not often exploited in orchestral writing. In the orchestra you're supporting the brass by being its foundation, but as a soloist you join those ranks of, if you like, baritone to tenor instruments, like the bassoon or the cello.'' ''Roger Steptoe's Concerto from 1983 was new to me and explores some exquisite timbres and sepia-like images in its vocalised rhetoric.'' ''The opening movement moves with a purposefulness reminiscent of its counterpart in the Vaughan Williams [tuba] concerto. The second movement, a fleet scherzo, has the tuba dancing as fast as it can, without losing its essential character. The finale, a slow one, is genuinely beautiful.'' ''The atmospheric slow movements, especially the finale, feature a cobweb of gentle and wistful dissonance with nostalgia sidling in and out almost imperceptibly.'' ''The composer has his own characteristic voice. The central scherzo features some fearsome virtuoso writing for the soloist, but in the slow, outer movements, the singing quality of the instrument is brought out even more powerfully. Compared to the other works on this disc (Vaughan Williams, Gregson, Golland) this is a rather weightier, more ambitious affair, and taken on its own terms it is most satisfying.''
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| Sonata No. 3 for brass quintet | 1982 | 12' |
| Stainer & Bell Ltd. London | ||
Commissioned by the Albany Brass Ensemble with funds made available by the Arts Council of Great britain. 1st perf: Albany Brass Ensemble, St John's Smith Square, London, 17 December 1982. |
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| Dance Music for symphonic brass | 1976 | 8' |
| Editions BIM, Switzerland | ||
 6 tpts, 4 hns, 2 tbns, 1 b.tbn, tba, euph, timps, 2 perc. 1st perf: Marylebone Brass Consort (dir: Sidney Ellison), Brentwood Music Club, |
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