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Is Your All On The Altar?
A woodwind trio or quartet with piano accompaniment and optional guitar. Woodwind parts are for flute and clarinet with optional part oboe, clarinets and alto sax. After a brief introduction the flutes introduce the tune and then answered by the clarinet. The flute and clarinet answer back and forth until all parts move in block harmony with rhythmic alterations. After a modulation the ensemble continues in block harmonic movement until punctuated by the inner parts. While the color remains consistent to the end, the melody moves about amongst the parts until final resolution.
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Leaning On The Everlasting Arms
Trp, Asax, Trb,…features rhythmic activity and contrasting dynamics…
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Leaning On The Everlasting Arms
Trp, Hrn, Trb, Tuba with optional Asax part for horn… features rhythmic activity and contrasting dynamics…
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Leaning On The Everlasting Arms
This solo begins with a easy lilt underpinned by a gentle accompaniment. Moving into the second section of the piece the tune is embellished in a variation format of chromatic triplets. It repeats back to the first section and proceeds to a Coda section- again, in a triplet format.
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Glory To His Name
This brass sextet is score for 2 trumpets, horn (opt. Trp.), trombone, baritone and tuba. Essentially in an ABA song form this march-style piece has a beautifully constructed expressive section in the middle.
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Leaning On The Everlasting Arms
Also known by the title What A Fellowship, What A Joy Divine, this hymn arrangement works equally well in church or as a feature in a concert.
Trombone Quartet -
Leaning Of The Everlasting Arms
Also known by the title What A Fellowship, What A Joy Divine, this hymn arrangement works equally well in church or as a feature in a concert.
Saxophone Quartet (2 A Sx, T Sx, Bari Sx) -
Leaning On The Everlasting Arms
This solo begins with a easy lilt underpinned by a gentle accompaniment. Moving into the second section of the piece the tune is embellished in a variation format of chromatic triplets. It repeats back to the first section and proceeds to a Coda section- again, in a triplet format.
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Leaning On The Everlasting Arms
This solo begins with a easy lilt underpinned by a gentle accompaniment. Moving into the second section of the piece the tune is embellished in a variation format of chromatic triplets. It repeats back to the first section and proceeds to a Coda section- again, in a triplet format.
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Leaning On The Everlasting Arms
This solo begins with a easy lilt underpinned by a gentle accompaniment. Moving into the second section of the piece the tune is embellished in a variation format of chromatic triplets. It repeats back to the first section and proceeds to a Coda section- again, in a triplet format.
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Leaning On The Everlasting Arms
This solo begins with a easy lilt underpinned by a gentle accompaniment. Moving into the second section of the piece the tune is embellished in a variation format of chromatic triplets. It repeats back to the first section and proceeds to a Coda section- again, in a triplet format.
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Leaning On The Everlasting Arms
This solo begins with a easy lilt underpinned by a gentle accompaniment. Moving into the second section of the piece the tune is embellished in a variation format of chromatic triplets. It repeats back to the first section and proceeds to a Coda section- again, in a triplet format.
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Leaning On The Everlasting Arms
This solo begins with a easy lilt underpinned by a gentle accompaniment. Moving into the second section of the piece the tune is embellished in a variation format of chromatic triplets. It repeats back to the first section and proceeds to a Coda section- again, in a triplet format.
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I Must Tell Jesus
An accompanied flute solo begins with expressive embellishments, then joined in by the accompaniment using warm harmonies getting a sense of comfort/ The fir theme statement is straightforward in the solo while the accompaniment gives a sense of agitation. The chorus is embellished by various rhythmic figures until it concludes by shifting to a different meter with the piano modifying the tune. Now! Back to the original meter the flute takes over and the piece increases in intensity where the solo embellishes the tune with gracefulness. The piece again shifts meters and expressively takes the piece to a secure sense of peace.
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Are You Washed In The Blood?
This piece is scored for trumpet, trombone, and piano with optional horn and baritone parts. The piece is presented in a vigorous manner with the melodic material passed back and forth between the duet parts.
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Leaning On The Everlasting Arms
This trio begins with a joyful piano introduction which leads into a three part harmonization of the instrumental parts. The second section is a lilting (waltz feeling) in block harmonization and then goes into a bell-tone rendition of the tune. A brief transition in a slower, expressive style comes to repose where it concludes in the joyful style that the piece began.
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Leaning On The Everlasting Arms
This trio begins with a joyful piano introduction which leads into a three part harmonization of the instrumental parts. The second section is a lilting (waltz feeling) in block harmonization and then goes into a bell-tone rendition of the tune. A brief transition in a slower, expressive style comes to repose where it concludes in the joyful style that the piece began.
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Leaning On The Everlasting Arms
This trio begins with a joyful piano introduction which leads into a three part harmonization of the instrumental parts. The second section is a lilting (waltz feeling) in block harmonization and then goes into a bell-tone rendition of the tune. A brief transition in a slower, expressive style comes to repose where it concludes in the joyful style that the piece began.