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Christ The Lord Is Risen Today
This prelude, based on the familiar Easter hymn, begins with a subdued introduction, reminding us of a pre-dawn Easter morning. Thematic motives move us to the first theme statement, followed by a variation featuring bright antiphonal syncopated patterns. The next section builds toward the final triumphant presentation of the theme.
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A Thousand Tongues
A brass choir scored for three trumpets, horn, two trombones, baritone and tuba. It begins with a growing fanfare with melodic material in the trumpets. The next section has the melody in the low brass where it breaks into a obbligato-like soli in the trumpets. After a modulation the tune is now presented in the middle brass with fanfare-like obbligato in the trumpet where it leads into yet another modulation and alla “in a distance” a march like atmosphere it is established where modified melodic material is presented in the trumpets. This continues until an elevating modulation breaks into a grand finale giving over to the fanfare motives of the beginning and a resounding statement.
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Jesus Christ Is Risen Today
Four Plus Brass Series- for two Trumpets and two Trombones (with opt. Horn and Tuba for color). Beginning in a vigorous manner the introduction establishes jubilation leading up to the first statement of the theme in the trumpets echoed by the trombones. This exchange of motives continues throughout the whole first section until a rallentando presents the theme once again in a slower more expressive manner. This all leads up to the end where the style is broader and conclusive.
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Christ The Lord Is Risen Today
This is a brass trio with piano accompaniment. The brass scoring is for trumpet, horn or flugel horn, and trombone or baritone. The style is presented in a majestic manner first in block harmonies and then in a hocket structure. After a florid manner the piece follows a somewhat straight forward manner using fanfare motives in the upper parts the motion becomes more imitative. The final section is quite imitative and uses an overlayering of parts producing enjoyable passing around of the tune in a contrapuntal manner. With a final fanfare the piece concludes.
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Blessed Be The Name
For two trumpets, trombone, and piano, this brass trio is much in the style of a march. The tune is passed around amongst the parts giving color, while at other times the parts move in a very triadic fashion. It would serve well as a special number.
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Christ The Lord Is Risen
A brass solo in a Theme and Variation form. It starts out with a joyous introduction and then breaks into an antiphonal set of response of the tune. The first variation is essentially a descant while the piano carries the tune. The second variation is more contrapuntal in the piano while the solo carries on a fanfare-like obbligato. After a brief transition the piece concludes with a bold statement of the tune while being under-pinned with a walking bass line.
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Christ The Lord Is Risen
A brass solo in a Theme and Variation form. It starts out with a joyous introduction and then breaks into an antiphonal set of response of the tune. The first variation is essentially a descant while the piano carries the tune. The second variation is more contrapuntal in the piano while the solo carries on a fanfare-like obbligato. After a brief transition the piece concludes with a bold statement of the tune while being under-pinned with a walking bass line.
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Christ The Lord Is Risen
A brass solo in a Theme and Variation form. It starts out with a joyous introduction and then breaks into an antiphonal set of response of the tune. The first variation is essentially a descant while the piano carries the tune. The second variation is more contrapuntal in the piano while the solo carries on a fanfare-like obbligato. After a brief transition the piece concludes with a bold statement of the tune while being under-pinned with a walking bass line.
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Jesus, Lover Of My Soul
A Woodwind quartet for two flutes and 2 clarinets.An opening with an active top voice giving over to the lower voices doing the same. Then in block harmonic movement the pieces moves along with subtle harmonic shifts. The middle section continues in much the same fashion with dynamic shifts. The next area is the same fashion only this time with the lower voices carrying the activity and the upper voice in more solemn movement. The final section is more active with the top voice using material from the introduction and slows to repose.
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Come, Thou Long-Expected Jesus
A Woodwind quartet for two flutes and 2 clarinets. The begins with the tune in the upper line and then shifted to activity in the inner lines. And then back to the voicing of the beginning, coming to a solid conclusion.
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And Can It Be
Scored for full saxophone quartet, this piece immediately marches off with the dignity that this grand old hymn portrays. The theme is passed around amongst the various parts to add player satisfaction and joy to the listener. (S/A-A-T-B)
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Blessed Be The Name
This saxophone quartet is portrayed in a crisp and cheerful manner. The theme is passed around among the various parts and gains excitement as it passes through several keys. Surely a delight as a special number in any venue. (S/A-A-T-B)
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And Can It Be
Scored for three Bb clarinets and bass clarinet, this quartet immediately marches off with the dignity that this grand old hymn portrays. The theme is passed around amongst the various parts to add player satisfaction and joy to the listener.
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Jesus, Lover Of My Soul
Three Plus Flutes for three soprano with opt. 4th/ob. with alto and bass. An opening with an active top voice giving over to the lower voices doing the same. Then in block harmonic movement the pieces moves along with subtle harmonic shifts. The middle section continues in much the same fashion with dynamic shifts. The next area is the same fashion only this time with the lower voices carrying the activity and the upper voice in more solemn movement. The final section is more active with the top voice using material from the introduction and slows to repose.
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Come, Thou Long-Expected Jesus
Three Plus Flutes for three soprano with opt. 4th/ob. with alto and bass. The begins with the tune in the upper line and then shifted to activity in the inner lines. And then back to the voicing of the beginning, coming to a solid conclusion.