Taken from the “Messiah”, this brass quintet is essentially a transcription of the original work. It features sufficient counterpoint between the various instruments.

A brass quintet (optional sextet- BHBC) with opt. parts for flugelhorn and BHTC. The piece begins in a cheerful fashion with interplay between the upper parts and lower parts and then settles in with the middle parts carrying the melody followed with the melody fragmented amongst all the parts. A transition ensues leading up to a modulation where the lower voices carry the melody and the upper lines answer with fanfares. Another modulation occurs where the lower voices once again carry the tune. Once again, the melody is fragmented into passed around motives until it reaches a conclusion of stacked entrances.

Taken from the “Messiah”, this brass quintet is essentially a transcription of the original work. It features sufficient counterpoint between the various instruments.

2 trp; hn; 2-trb

A quintet that begins in a joyous manner and somewhat in a march format. It then moves to a sweet and laid back manner only to return the vitality of the opening. After a gentle interlude it breaks forth into a joyful ending.

Scored as a traditional bras quintet, the piece is a vigorous march in style and form. With fragments of the tune in the upper brass and answered in the lower voices. The second statement of the theme the roles are reversed. A modulation takes place and the theme is fragmented amongst the parts. Imitation takes place with some Q&A where it all leads up to a joyous conclusion. It sounds and feels like a school Fight Song.

Scoring is for 2 trumpets, horn, trombone, and tuba with optional horn and baritone parts. After a brief introduction the ensemble presents the melody in a traditional fashion where the audience can optionally sing along.

A traditional brass quintet with opt. trumpet for horn and extra baritone for use as a sextet. The introduction uses extraneous material where it leads in the first theme by the trombone until the trumpets and horn take over. Since the piece is very much in a march style the first chorus is stated in the trumpets and horn lines with counterlines in the lower brass. A brief modulation takes place where the horn gets the tune in an expressive style only to modulate to a new section with the theme in the trumpet/trombone where it all leads to a climatic point, then followed by a series of cascading chords ending with diverging chromatic scales ending in a solid chord.

Written for brass quintet, or optionally sextet, this piece begins with bold statements, moving to more contrapuntal textures, then onto more imitative textures. The piece ends with a bold statement.

A standard brass quintet with optional baritone for a sextet. The introduction starts in the tuba and then adds more voices as you would expect- rising! The tune is now bantered about between the upper voices and then lower ones. Modulation! And the Q&A game continues. Another modulation and the tempo suddenly changes to a slower, expressive one with the French horn featured. As before the Q&A continues. Another modulation and an “a tempo” where the piece now in full ensemble starts lower and softer and continually adds activity and pitch raising until a vigorous conclusion.

A traditional brass quintet with an optional baritone part which allows to be a sextet as well. The beginning is active establishing a happy beginning to the piece. Then all the parts are in straight harmonies and then become fragmented. A modulation takes place allowing the lower voices to carry the tune. Then a tuba sola solo commences with light upper parts decorating the lines, until the parts fragment. This concludes with a modulation with motivic statements. After a brief intermission the piece takes off again with the tune in the lower voices and the trumpets add a flurry descants. As the piece comes to a close more and more voices add to the mix until the pieces adds a solid, grand statement.

A traditional brass quintet with opt. trumpet for horn and extra baritone for use as a sextet. The piece takes off immediately with a thematic statement in the trombone, breaking in a duet with the horn. Additional entries keep massing in the lower voices until most of the ensemble is involved. All of a sudden, the upper brass, silently present the tune in block harmonies until the lower brass present a countermelody. Now! Everybody’s involved. Next, a dialog between the upper brass and middle brass takes place as it alternates back and forth. With a modulation in place the tempo goes slow, the tune is in the lower brass- expressive! All of a sudden from bottom to top motives are presented- in stacked chords…. This goes through different transformations until the piece elevates into an uplifting conclusion.