Taken from the “Messiah”, this tenor sax solo with piano is essentially a transcription of the original work. The balance in the writing between the solo and the accompaniment gives way to the sensitivity of the text of this well-know aria..

A solo that is joyous and exhuberant expressing the finding of the Savior, followed by a tender expression of thoughtfulness and pondering. The final sections of this joyous piece breaks into a flurry of rapture ending on a high note of praise.

This sax solo with piano, this piece is written in march style displaying great resolve. The central sections present new thematic material followed by modified titled hymn materials giving a sense of unity to the piece. It ends with a solid flourish.

A rather jovial introduction is begun by the piano and then joined in by the soloist stating the melody’s verse and then the chorus in a modified form. The second verse is presented in a pleasing way underpinned by the piano using a harp-like accompaniment. And once again, the chorus is presented in a even more modified way. The coda section continues with the flavor of the piece in a motivic manner and then arrives to the final destination in repose.

A solo that starts out with a flourish and continues to bubble its way melodically and with variation. The middle section is a tender reflection of the price paid by Christ for one’s redemption. It then gains anticipation for a strong ending of consecration only to come to a posture of repose.

This tenor sax solo begins with a brief piano introduction and presents the tune in a gently embellished manner that creates interest. After a brief intermission the soloist presents the tune with even more melodic embellishment and ryhthmic activity. Another intermission coupled with a modulation where the piano now carries the tune while the soloist offsets it with a countermelody, The solo line now captures the tune and carries it to the end where it makes a final, restful statement.

This solo is presented in a lush, relaxed format which incorporates the carols “Silent Night”, “Away In A Manger”, “It Came Upon A Midnight Clear”. The solo line is altered rhythmically to give a sense of child-like gentleness while the accompaniment gives a restful underpinning of lush harmonies.

This bubbly rendition of “Come Thou Fount” is effervescent from beginning to end. It is filled with movement and excitement expressing intense joy throughout.

This solo opens with a gentle, Celtic fashion in a duple meter. It progresses through a series expressive obbligati giving a sense of elevation. As it nears the end it modulates metrically and harmonically to a triple meter, and then final repose.

This piece would serve well as a meditation. Beginning with a quiet Celtic lilt, the center section is stronger and bolder. After several bell effects, the piece returns to the mood of the beginning.

This solo with piano makes a straight forward statement of the tune followed by a contrasting section using a new counter melody. It then returns to the opening theme.

This solo with piano begins with a simple statement of the tune with a middle section that uses motivic design, only to return to the opening statement.

This solo with piano is straight forward in design, giving the young player the opportunity to display dynamic and stylistic variety.