-
-
Fantasia on Joy To The World
Built for a trumpet quartet, it has an optional horn part if needed. The piece has many imitative devices giving it an antiphonal aura. It’s joy from beginning to end.
-
The Morning Trumpet
This trumpet quartet begins with a fanfare styled opening. The thematic material is then passed around amongst the various members of the ensemble, giving way to a more active section; ending with a triumphant fanfare.
-
A Mighty Fortress
This unacc. trumpet quartet begins with a fanfare styled opening. The thematic material is then passed around amongst the various members of the ensemble, giving way to a more sustained section; ending with a triumphant fanfare.
-
-
Power in the Blood
This trumpet trio with piano accompaniment is presented in a solid, determined manner. It makes a definitive statement in the “Power in the Blood” of Christ. The middle section changes meter while maintaining the character of the opening.
-
The Bible Stands
An unaccompanied trumpet trio begins from the “git-go” with the melody in the first part with parts two and three adding harmonic and rhythmic interest. A brief modulation and interlude leads into the next section after another modulation with the parts interplaying amongst themselves. Yet, another modulation with block harmonies giving over to yet another modulation and a final ending!
-
Standing On The Promises
An accompanied trumpet trio and horn substitute. It begins with a slow, soulful introduction with the trumpet parts. Then takes off with the piano at a fast pace. The unison trumpets for a phrase, only to split up amongst the parts. It comes back in with three part harmony with some counterpoint. A modulation ensues with some duet and trio lines. After a break up strain the parts come back in three part harmony only to be joined in with piano and a solid ending.
-
-
Jesus Saves
An accompanied trumpet trio beginning with a piano introduction. The first section is a blocked harmony in the trumpets with the first carrying the melody. The second section uses the same underlying rhythmic patterns but now the structure is in a different meter (quadruple vs the previous triple) which gives an extended feeling. A couple modulations take place and the style becomes smooth and expressive. This all leads towards the Coda where the whole premise shifts the moods of the beginning where it increases in tension and ends with solid impact.
-
Leaning On The Everlasting Arms
This trio begins with a joyful piano introduction which leads into a three part harmonization of the instrumental parts. The second section is a lilting (waltz feeling) in block harmonization and then goes into a bell-tone rendition of the tune. A brief transition in a slower, expressive style comes to repose where it concludes in the joyful style that the piece began.