A Tuba solo that opens with a simple, dignified and militant style! The middle section is more delicate with the theme embellished to give a sense of bouyancy then migrating over to a more flowing and uplifting feeling. The final section begins lower and then starts its rising to a powerful statement of “having arrived!”

This is an expressive level three solo with piano accompaniment that employs a celtic lilt in its melodic flow. It modulates upward and adds excitement with the newly introduced motivic counterlines in the solo, only to begin its final movement downward in a meditative repose.

This is a tuba solo with piano which presents the opening melody in a straight forward manner. The middle sections use various cleverly designed counter melodies in the solo part. The final section establishes the original melody.

This solo with piano is presented in a militaristic venue. The interlude section displays fanfare motifs and then moves back to the opening style. The piece ends in a bold statement of faith-musically.

Back in 1873, “Mrs. Joseph F. Knapp (Phoebe) composed a melody and played it over to me two or three times on the piano. She then asked what it said. Fanny Crosby replied, “Blessed assurance, Jesus is mine!” These words became the tune’s inspiration.

A solo with piano accompaniment. After a solid introduction the arrangement presents the melody with a simple statement. After several melodic statements the soloist then presents itself with a delightful counterline. It is finalized with declamation.

A brass solo with piano that expresses itself with altered melody lines, rhythm-wise, giving a great opportunity for great expressiveness. The middle section is enhanced by beautiful counterlines moving to melodic motifs to the end.

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.

This tuba 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.

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 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.