For string quartet with optional third violin begins with straight-forward harmonizations give a peaceful introduction. The second section is presented melodically in the inner voices while the outer voices enhance the lines with punctuation motives. The middle section of this composition is more active, even while being in a minor mode and using more altered harmonies. The final section goes back to the major and is more relaxed and peaceful and ends in a gentle repose.

Traditional string quartet with opt. violin part for viola. The piece is rendered as a march with the tune clearly stated in the first violin and then becomes more chordal in the upper three parts. A transition is now presented in an imitation of parts with dynamic changes for interest and further then the cello takes over with the tune while the upper parts give harmonic support. The piece progresses to be more block in harmonic and rhythmical structure only to be turned over to imitation in the melodic material. The coda section is much like the introduction material and builds in dynamic force, only to be concluded with a pizzicato final note.

For string quartet with optional third violin the piece opens with mutiple entrances and alternates between those devices with more solidly scored, traditional material. Simpe. Rich. Meaningful.

Traditionally score string quartet with piano and opt. 3rd vioin.The theme is well distributed between the parts and little motivic devise really enhance the flavor of the writing.The piece is well edited to assist players of all degrees.

(vln III/vla)

Traditional string quartet with opt. violin part for viola. The introduction begins in a somewhat solemn nature, building in tension and then in repose where it introduces the hymn “Savior Like A Shepherd Lead Us.” The texture is in a traditional harmonization with the tune in the first violin where it gives over to the cello on the chorus with gentle punctuations in the upper voices. An imitative motif serves as a transition progresses leading into “He Leadeth Me” with the tune in the cello. The violin takes over with a modified tune and then in a fughetta-like series of entrances leads into a modulation where the cello expresses the tune with the upper voices accompanying with moving rhythms. The tune of “All The Way My Savior Leads Me” is presented by the viola with a violin obbligato overhead leading into a full ensemble with rich and moving harmonies. A change of meters gives way to a change of counterpoint and “God Leads Us Along.” Here, it moves amongst the various parts and gives way to sweet release.

(vln III/vla)