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.

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.

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.

Taken from the “Messiah”, this solo with piano is essentially a transcription of the original work. It features sufficient counterpoint between the various instruments.

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!

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.

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.

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.

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.