Exciting arrangement of a classic song

Emotional, late 19th century classical setting

A Rich Heffler Music arrangement. This solo is presented in a reverent setting in a minor key. The middle section shifts momentarily to a major mode and then quickly back to a minor mode. The soloist is provided the opportunity to express with a fluid cadenza which gives way to a final statement of harmonic shifts coming to a solemn close.

Traditional setting, slightly contemporary- begins with piano in a motif of the theme. The first section is a stylized rendition of the theme. Then, it continues in the chorus much the same. A transition becomes freer in rhythm and harmony. It then repeats back to the opening sections and then moves to the coda where the piece ends in a solemn fashion.

A Rich Heffler Music arrangement. This solo begins with a calm, reverent setting and is expressive throughout. The middle section is somewhat freer in melodic presentation with the solo more as an obbligato. The ending settles into a quiet, assuring repose.

A Rich Heffler Music arrangement. The introduction establishes a dirge-like atmosphere joined in by the solo line carrying on the mood. The second section puts the melody in the piano part while solo soars above with a flowing obbligato and then shifts to the melody and concludes with a brief cadenza. The piece concludes with a melodic fragment in the piano and a smooth overflowing obbligato in the solo line

A collection for viola and piano including arrangements on “Once In Royal David’s City,” “Of The Father’s Love Begotten,” and “Away In A Manger.” These solos offer the player a chance for some real expressive playing as well as so flair as well.. A good balance of arrangements.

A viola solo with piano. The beginning is presented in a solemn manner with the viola carrying on the same flavor. After transitional material in the solo a subtle manner in the viola with “Haydnesque” melodies into a ingenious fabric while the piano masks the original melody. The viola once again takes over the title tune , modulates into the alternate tune and slows down to a sense of solemnity..

This viola solo starts out with piano motive that will be used throughout the piece and is then joined with the solo using the last phrase of the song. The next section uses the tune pretty much in its original form with the piano adding various arpeggios and thematic motives. The piano then presents a flowing version of the song while the soloist adds a idiomatic obbligato… then the final section has the soloist presenting the melody while the piano punctuates an underlying accompaniment. The coda section is much like the introduction and the soloist gives one final thematic motive.

A Viola solo stating the melody in a straight forward fashion with an accompaniment that is gentle and constantly moving. The second section presents the thematic material in the piano with a motivic overlay in the solo line. The final section is fashioned much like the first section The Coda is a gentle motif of the theme ending is a sweet repose.

This viola solo is a solemn, expressive piece from beginning to end where the melody is in the solo line. In the middle section the piano presents the tune while the solo line uses the counterline that was used previously by the piano.

This solo with piano follows a simple theme and variation form. It gives the young soloist the opportunity to play many styles in a short framework.The arrangement is edited with bowing and fingering marks.

This solo with piano begins with the portrayal of a pastoral setting. The arrangement incorporates both “Flow Gently Sweet Afton” and “Luther’s Hymn”.The arrangement is edited with bowing and fingering marks.

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. The arrangement is edited with bowing and fingering.