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At The Cross
SMS: Brass quartet for two trumpets and two trombones (opt horn and BHTC) and piano. The piece is straight forward with much of the interest in the thematic material alternating between the upper and ,lower instruments. The middle section is in unison, then breaking into a chordal structure. The ending section is spritely, concluding on a solid footing.
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Lead Me To Calvary
SMS: Brass quartet for two trumpets and two trombones (opt horn and BHTC) The pieces starts out immediately in the nature of the original hymn in four part harmony. The next section is slower and very expressive with harmonic movement in all the parts, followed by the melody in the lower voices and a counter line in the trumpets. The final section is alla marcia growing to a final codetta that is strong in confidence and then relaxes into repose.
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In The Garden
SMS: Brass quartet for two trumpets and two trombones (opt horn and BHTC) The open passage presents the melodic motif amongst the parts which sets it up for the first presentation of the melody in the trumpets with a gentle contrapuntal fill of the low brass. This continues throughout the entire section. The second section is rich in counterpoint with strong emotion with movement in all parts. The final section is reminiscent of the first which transition to a gentle coda establishing repose.
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At Calvary
SMS: Brass quartet for two trumpets and two trombones (opt horn and BHTC). The opening section follows very much the manner of the original hymn with harmonic counterpoint to add interest. With a brief modulation the piece goes into a more solemn style reminiscent of the opening section. The third section is in a march style leading into the final section which establishes a sense of conclusion.
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Near The Cross
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.
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Three Hymns Of The Cross
For traditional woodwind quintet scoring with optional alto sax and bass clarinet parts, this piece begins in a plaintive fashion moving toward a central, Celtic flavor–returning to the opening mood.
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Near The Cross
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.
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Near The Cross
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.
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Near The Cross
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.
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Near The Cross
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.
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Were You There?
This solo piece opens with a sense of reverence presenting the melody in a gently modified fashion. The middle section gains intensity rhythmically with a rhapsodic form of theme variations. It continues to elevate only to relax into final peace.
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Were You There?
This solo piece opens with a sense of reverence presenting the melody in a gently modified fashion. The middle section gains intensity rhythmically with a rhapsodic form of theme variations. It continues to elevate only to relax into final peace.
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Were You There?
This solo piece opens with a sense of reverence presenting the melody in a gently modified fashion. The middle section gains intensity rhythmically with a rhapsodic form of theme variations. It continues to elevate only to relax into final peace.
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Were You There?
This solo piece opens with a sense of reverence presenting the melody in a gently modified fashion. The middle section gains intensity rhythmically with a rhapsodic form of theme variations. It continues to elevate only to relax into final peace.
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Were You There?
This solo piece opens with a sense of reverence presenting the melody in a gently modified fashion. The middle section gains intensity rhythmically with a rhapsodic form of theme variations. It continues to elevate only to relax into final peace.
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Were You There?
This solo piece opens with a sense of reverence presenting the melody in a gently modified fashion. The middle section gains intensity rhythmically with a rhapsodic form of theme variations. It continues to elevate only to relax into final peace.