Light, “ragtime” feel

Written in typical passacaglia (theme in the bass line) and Fugue fashion, the theme is presented in the piano. The first variation is a gently modified tune in duple with the accompaniment in triplets. In variation two, the tune is rhythmically altered while the upper accompaniment is presented in a spritely fashion. Variation three, the tune is in a triplet moving nature while the theme is in block harmonization in the accompaniment. Variation four is expressive in an almost cadenza fashion. Finally, the Fugue is in a lively four voice manner, ending with a strong proclamation of the title, itself.

A Rich Heffler Music arrangement. This solo begins with a calm, reverent setting and is expressive throughout. The middle section is somewhat freer in melodic presentation with the solo more as an obbligato. The ending settles into a quiet, assuring repose.

A collection for flute and piano including arrangements on “O Come, O Come Immanuel,” “Infant Holy, Infant Lowly,” and “Angels We Have Heard On High.” All three pieces are highly embellished with flourishes that add much excitement. The accomplished flutist will feel much satisfaction from playing these pieces as well as the listener in hearing them.

A collection for flute and piano including arrangements on “Away In A Manger,” “O Holy Night,” and What Child Is This?” All three arrangements are somewhat solemn in nature with melodic enhancements to add interest. “What Child Is This?” is the more active piece of the three…

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.

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.

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.

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.

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.