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Victory Through Grace
An unaccompanied trombone trio with optional baritone TC part. The introduction is based on a exuberant motive that leads into the first section which is a straight-forward melody with straight-forward harmonic support. This leads into the next section which gravitates to a different meter as well as key. The parts interplay giving a sense of constant movement. Another modulation takes place and the mood is one of victory and solidification. This continues until a triumphant motive of celebration and victory.
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How Firm A Foundation
This trombone trio with optional parts and piano, begins in a determined style. It moves throughout in a simple triadic motion. The harmonies are well blended and the style established to create a sense of firmness and stability.
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Take Time To Be Holy
A trombone trio with opt. BHTC that is unaccompanied. The introduction begins in a duple meter with unrelated thematic material. The first section is presented in a chordal fashion with pedal in the third part which takes over the melody at the chorus. A modulation takes place where the melodic line is in the second part with the other parts in a moving counter-fashion. The third section begins in a modulated move with the three parts interacting continually until the third part begins its pedal movement once again until a solemn end.
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O Worship The King
This is an unaccompanied trombone duet written in a majestic manner. It uses imitative entrances between the parts and modulates upward for a strong finish.
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Guide Me, O Thou Great Jehovah
This is an unaccompanied trombone duet written in a majestic style with melodic alterations. At times interest is added by the imitative interplay of parts and continues so until the final statement.
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All Hail The Power…
A good piece to open a service with since it has the character of a jubilant fanfare. The tombone duet lines are solid and ends on a forceful note.(acc.)
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Take Time To Be Holy
A brass duet with piano accompaniment presents itself in a simple fashion. The middle sections show more counterpoint between the duet lines. It ends in a gentle repose.
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Soldier’s Prayer Medley
An accompanied trombone solo based on hymns of dedication including: “God Of Our Fathers,” in variation “Am I A Soldier Of The Cross?” and “Onward Christian Soldiers,” and “Lead On, O King Eternal.” A technical piece where triple tonguing is required and gives opportunity for virtuosic playing. The re are various sections which also give rise for expressive playing as well. A delightful piece that is certain to capture the listener’s ear.
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Amazing Love!/Medley
A trombone solo for the advanced player built of: “And Can It Be,” “My Saviour’s Love,” “Jesus Loves Even Me,” and “Such Love.” The piece is a combination of a medley and theme and variations and incorporates multiple tongues in sections. A piece of many styles and a pleasure for the listener and the player.
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The Cross Of Jesus
A trombone solo which begins with a sense of agony in the piano using the tune of “Beneath The Cross Of Jesus.” The solo then makes a declamatory statement and then becomes very expressive in a recitative-like section. This section is expressive and then becoming more vigorous using thematic material froA trombonet solo which begins with a sense of agony in the piano using the tune of “Beneath The Cross Of Jesus.” The solo then makes a declamatory statement and then becomes very expressive in a recitative-like section. This section is expressive and then becoming more vigorous using thematic material from “At The Cross.” After another transition the piece become vibrant using the theme of “The Cross Is Not Greater than His Grace.” A swift modulation and a faster tempo the piece ramps up a vigorous flair where it elevates to a strong crescendo including some triple tongue motives.m “At The Cross.” After another transition the piece become vibrant using the theme of “The Cross Is Not Greater than His Grace.” A swift modulation and a faster tempo the piece ramps up a vigorous flair where it elevates to a strong crescendo including some triple tongue motives.
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My Anchor Holds
This solo is in a march style throughout. It begins with little fanfare figures in the piano and then as it progress the soloist and piano exchange rolls. The second section is in a variation style while the third section is more expressive. The final section is more boisterous ending on a solid footing.
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Dona Nobis Pacem
This trombone solo begins with a brief motif in the piano and then begins a series of variations and the soloist presents the theme. The variations are sometimes florid, other times plaintive, some times imitative and finally bold.
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But Whom May Abide The Day…
Taken from the “Messiah”, this solo with piano is essentially a transcription of the original work. It features sufficient counterpoint between the various instruments.
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Hallelujah Chorus
A solo instrument with piano accompaniment? Can an arrangement capture the essence of the original with the majesty of full chorus and orchestra? This piece really does- it is amazingly complete!
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Lead On O King Eternal
Originally in a duple meter this arrangement very cleverly is in a 6-8 march style. It progresses in a rather processional manner and then transitions to a slower reflective expression. The piece returns to its former style and then ends on a declamatory note.
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Christ The Lord Is Risen
A brass solo in a Theme and Variation form. It starts out with a joyous introduction and then breaks into an antiphonal set of response of the tune. The first variation is essentially a descant while the piano carries the tune. The second variation is more contrapuntal in the piano while the solo carries on a fanfare-like obbligato. After a brief transition the piece concludes with a bold statement of the tune while being under-pinned with a walking bass line.
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O Mighty God
After a majestic introduction the piece settles down into a softer and more expressive rendition of the tune “How Great Thou Art.” The middle section is a variation of the first section with the melody in the piano while the soloist plays an obbligato styled line. Then the piano present a transition in a majestic style modulating to a new key with the solo line presenting the tune in again expressive style with a lot of dynamic shading. The piece concludes in a majestic sense of finality.
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Jesus Is The Sweetest Name I Know
A brass solo that begins with a reflective piano introduction that is then joined in by the soloist. The tune is true to the original with little embellishment. A brief piano interlude gives over to the melody in the piano while covered by an sonorous obbligato in the solo line. The piece ends with a gentle motive and then settles in a sweet repose in the piano.
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I Wonder As I Wander
This solo is plaintive throughout as it begins with a simple melodic motive. The first verse is simply stated in the solo while supported with broken chords in the piano. The second verse is much like the first but the piano not supports the tune with gentle punctuations. The third verse is in the piano while the solo line produces a ebb and repose obbligato- the two line join together in a dramatic cadence and then settles down to a quite repose where the piano continues in a solemn flavor. The final statement in the solo is much like the first where it is joined with moving scale patterns in the piano. The two players sweep upward one last time to then settle down into solemnity.
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Faith Is The Victory
This solo with piano starts out in a march triumphal style with a short introduction. The first section is stated in a rather familiar rendition of the melody in varied rhythmic devices. The middle section is a complete change of pace being slower and expressive. With a tempo increase the pieces orients itself back to the first style and tempo. The Coda starts at low ebb and melodically grows until it ends on a high note- then a solid final figure.