(3-tpt, P.tpt, 2-hn 3-tmb, BH, tba, vibes and percussion)

(4-tpt, hn, 3-tmb, BH, tba, perc

(2-tpt, hn, 3-tmb, BH, tba, ch, bells)

(4-tpt, hn, 3-tmb, BH, tba, perc)

(3-tpt, 2-hn, 3-tmb, BH, tba): Ring The Bells of Heaven; You May Have the Joybells

For brass choir, including 3 trumpets, horn, 2 trombones, baritone, and tuba, the piece starts out in a reflective mood gaining energy to a more fanfare-like presentation of the melody. The second section is more Celtic in nature, ends gloriously.

(4-tpt, 2-hn, 2-tmb, BH, tba, antiphonal choirs

A Brass choir written for four trumpets, (Opt Horn), two trombones, baritone and tuba. A solid introduction with motives passed around the various parts. The chorus is now given with the theme in the upper lines. Then echoed back in the lowest voice. A brief meter shift and then the harmonized theme gives a sense of security. Then another meter shift with line that acts as a Q&A in a smooth and expressive manner. Now the piece, through a DS gravitates back until it reaches a CODA and ends on a high note- in block structure.

For full brass choir and timpani. The piece begins in a fanfare fashion in the trumpets, echoed back by the lower brass. The theme is presented in the trumpets and horns while the accompaniment is punctuated in the trombones. Then the full choir is presented in a choral fashion. The tune is now in the horns while the trumpets and lower brass and timpani make vigorous intejrections. The second section sees an interplay between the various timbres of brass. A modulation takes place and the lower brass present the tune while the trumpets and horns add flourishes. Shortly thereafter the roles are reversed. One final set of fanfares and the piece ends on a high note and active lower brass.

(3-tpt, hn, 2-tmb/BH, tba

(3-tpt, tpt/hn, 2-tmb, BH, tba)

Brass choir scored for four trumpets (opt horn) two trombones, baritone BC/TC and tuba. This entire piece is one of serenity, gentleness and great affect. The introduction is in the lower voices producing a rich sound and sense of expectation. The trumpets add in on the melody with long lines of expression, and then the lower voices offer a response in like manner. The next section increases in movement and dynamic until it modulates to a new key center. The phrases now alternate between the low voices in an almost antiphonal fashion. Another modulation elevates the urgency of the piece and the trumpets carry the entire load throughout this section. The rest of the instruments then bolster the ensemble giving increased strength. The pieces quiets and becomes reflective and then settles with an “all is well.”