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Majestic Flute Solos, Vol. 3
A suite of three accompanied flutes including: “Immortal, Invisible” a flourish of joy and action ending with a sense of serenity; “Showers Of Blessing” a technical workout of exuberance; “Come Thou Fount” an ornamented rendition of the tune with a middle section or greater simlicity and then a return to the action of the beginning.
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Majestic Flute Solos, Vol. 1
A suite of three accompanied flutes including: “My Faith Has Found a Resting Place” in a vigorous and bouyant manner; “Brethren, We Have Met To Worship,” in a somber and plaintive fashion: and’ “All For Jesus, All For Jesus” in a thoughtful, then joyous presentation of exuberance!
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My Faith Has Found a Resting Place
An accompanied flute solo which begins with the flute alone. The second phrase is together. The following phrase as a more active accompaniment giving a flowing feeling. The second melodic statement is very ornamented with a lot of flourish. The next section is a variation using a triplet figure leading where the next phrase is in quadruplets. With a brief pause the piece becomes much slower and expressive and continues in that manner until the piece lies in repose.
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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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What Child Is This?
This flute solo begins with the piano using figures that are very harp-like and then joined by the flute in a plaintive manner. It continues in this manner for some time while modulating through various keys. The tune is then embellished with the piano accompanying in a hocket motif. The final section is then presented in a lilting manner with the piano once again acting in a harp fashion. The ending is a final peaceful rendition.
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Away In a Manger
A flute solo that begins with “Flow Gently Sweet Afton” accapella in the lower range of the flute, and is then joined with the piano. It is repeated up the octave with a more involved accompaniment. It modulates and meanwhile shifts to the “Luther’s Hymn” where it remains in a rather simple fashion.
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‘Tis So Sweet to Trust in Jesus
An accompanied flute solo begins with a jaunty piano motive and then joined in with the flute in a simplistic thematic statement The chorus changes meter and presents itself in a whole different flavor, one of strength and determination. The next section returns to the manner of the first, only this time the soloist provides an obbligato with much more flourish. The coda section is more plaintive and then settles into a gentle repose.
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Now I Belong to Jesus
An accompanied flute solo begins with a soulful piano motive and then joined in with the flute in a simplistic thematic statement. After a brief modulation the flute presents the theme in addition with expressive rhythms and embellished flourishes. After another modulation the piece gains intensity only to end with a solid statement.
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Turn Your Eyes Upon Jesus
An accompanied flute solo begins with a soulful piano motive and then joined in with the flute in a simplistic thematic statement. The chorus is presented by the flute with a moving piano accompaniment ending in a solemn repose. The next section presents the theme in the piano with the flute overlaying it with a gentle obbligato. The piece ends in further solemnity.
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He Is Born, The Divine Christ Child
Three Plus Flutes for three soprano with opt. 4th/ob. with alto and bass & piccolo. The piece gins in a spritely duet in the upper voices and reverses roles with the lower voices carrying the melody and duet lines. All four voices now join in a smooth, serene fashion until it gains dynamic and harmonic strength. A modulation upward with the tune in voice two, and an obbligato-like movement in part one, while the lower parts underpin with a simplistic, though active line. In the last section the parts become more active and excitement abounds until a final flourish establishes the end.
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I Want Jesus To Walk With Me
Three Plus Flutes for three soprano with opt. 4th/ob. with alto and bass. A beginning that is yearning in emotion and subtle shifts in harmonic and linear lines. A modulation to a higher tessitura in strong block chords gives a feeling of strength. The piece then settles back into the original key with a series of imitation of the various parts. The piece becomes more solemn as the pitch levels drop until settling into a final cadence.
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The Master Hath Come
Three Plus Flutes for three soprano with opt. 4th/ob. with alto and bass & piccolo. An introduction using unrelated material leads the tune presented in voice two, supported by harmonies in the lower voices, then an obbligato-like motion added by the upper voice. A modulation upward makes room for a duet in the upper lines, later joined by the lower voices in a contrapuntal fashion. The final section becomes more vigorous and imitative until a solid, declamatory ending.
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Jesus’ Hands Were Kind Hands
Three Plus Flutes for three soprano with opt. 4th/ob. with alto and bass & piccolo. The first phrase is stated in the top voice, then adding the second voice, further adding the third voice until all voices are in agreement. The next section moves in a rather jaunty motion going through various meter changes. The middle section is stated with the tune in the top voice with accompaniment figures presented in a syncopated manner. All this happening in a modulated key. Further modulation takes place with a motive stated in the second voice, followed the third, then first until it settles into a final statement of kindness.
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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.