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O God, Our Help….Passacaglia /Fugue
Written in typical passacaglia (theme in the bass line) and Fugue fashion, the theme is presented in the piano. The first variation is a gently modified tune in duple with the accompaniment in triplets. In variation two, the tune is rhythmically altered while the upper accompaniment is presented in a spritely fashion. Variation three, the tune is in a triplet moving nature while the theme is in block harmonization in the accompaniment. Variation four is expressive in an almost cadenza fashion. Finally, the Fugue is in a lively four voice manner, ending with a strong proclamation of the title, itself.
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I Will Sing Of My Redeemer
A Rich Heffler Music arrangement. The piece is in Irregular meters throughout. The work is in a continual jovial manner and is a excellent work for the more mature player.
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Leaning On The Everlasting Arms
This solo begins with a easy lilt underpinned by a gentle accompaniment. Moving into the second section of the piece the tune is embellished in a variation format of chromatic triplets. It repeats back to the first section and proceeds to a Coda section- again, in a triplet format.
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Were You There
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.
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Open My Eyes
Combined with music from Brahms Second Symphony in the opening. The second section is more straight-forward of the tune itself where it moves to the thematic material of Brahms once again. The coda section is tranquil where it comes to a final rest.
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It Is Well With My Soul
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.
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At The Cross
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.
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Jesus Paid It All
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
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The Old Rugged Cross
This moderately easy violin solo begins with a soulful harmonic progression in the accompaniment (alla Moonlight Sonata) that introduces the melody in a 3-4 meter. The theme is presented in its entirety. After a brief modulation the accompaniment takes over in a rich melodic/harmonic interplay of the tune and supporting lines, only to be joined with a simple counter line in the solo. The piece gains strength with the rhythmic interplay between the soloists and the accompaniment and then calms to a style presented in the opening measures. Final rest.
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In The Cross of Christ I Glory
A violin duet with piano. The beginning is presented in a solemn manner and then progress into the tune with the two violins interacting with a sweet counterpoint. The second section continues in a similar fashion. In a subtle manner the violins interact with “Haydnesque” melodies into a ingenious fabric. A modulation takes place with more of the same except now the soloist lines stretch the range of the instruments until it all settles into solemnity.
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Majestic Christmas Solos -Violin, Vol. 3
A collection for violin and piano including arrangements on “I Heard The Bells On Christmas Day,” O Come, O Come Immanuel,” and “Infant Holy, Infant Lowly.” These solos offer a good deal of flair for the more accomplished performer and offer a delightful experience for the listener as well.
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Majestic Christmas Solos -Violin, Vol. 2
A collection for violin and piano including arrangements on “Angels We Have Heard On High,” ” O Little Town Of Bethlehem,” and “Once in Royal David’s City.” These are vigorous solos using various string technics giving rise to exciting performance. These are also complimented by sensitive material as well.
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Three Christmas Solos -Violin Vol. 1
A collection for violin and piano including arrangements on “I Wonder As I Wander,” ” Away In A Manger,” and “What Child Is This.” These are sensitively arranged solos with enough embellishment to make them interesting- supported by moving accompaniment lines.
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God Of Abraham Praise
This unaccompanied violin trio begins with a unison statement, then breaks into harmonic development. There are brief moments of harmonic shifts to add variety to this otherwise easy piece.
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Springs Of Living Water
Bubbly is an appropriate description of this violin duet from beginning to end. It begins with non-thematic material and then breaks into the song as a simply duet style followed by the second part carrying the theme while the first part adds a delightful obbligato. The middle section is a contrast in tempo and style with an expressive line in the first violin with a gentle underpinning of the piano. After a tempo increase the violins repeat the duet style line of earlier section and then embellishes the lines with more active rhythms. With a final acceleration, the piece comes to a solid close.
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Canon In D
Written for 2 violins and piano, this arrangement extracts a portion of the original work and will serve well for various ceremonies.
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Channels Only
A Violin duet beginning with a motivic introduction followed by part one presenting a modified melody with part two using a moving countermelody. The next phrase the roles are reversed. Next a modulation occurs and the melodic material is much like the first verse followed my another modulation. The coda section is much like the introduction only this time in a different meter and concludes in a simplistic fashion.
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Trust Him Only
Scored for two unaccompanied strings it begins with a motif in imitation… The first thematic statement is made with a delicately altered theme in the upper line while the lower line moves in a gentle counterpoint.. The second section is in a new key at a higher level with the melody alters even more while the second voice is more expressive and stretched out. The next section changes key once again and mirrors the movement of the first section. Again, a modulation takes place and the parts are more bold and duet like in their presentation. A final modulation takes the piece upward and the style is more bold where it comes to a brief Coda- where it relaxes into a quite confidence.
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It Came Upon A Midnight Clear
Score for two strings and piano this easier piece shows a delicate counterpoint between the instruments along with some sensitive motivic embellsihments.