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Take My Life, And Let It Be
This quartet starts out with imitative voicing and then yieilds to a cello solo line. After a brief transition to a new key the lower voices give way to melodic material only to be answered by the violins in duet form. The third section features the first violin with light accompaniment in the lower voices and then explodes to a sense of finality. Then, rests in a sense of submission.
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Lead, Kindly Light
For string quartet with optional third violin begins with straight-forward harmonizations give a peaceful introduction. The second section is presented melodically in the inner voices while the outer voices enhance the lines with punctuation motives. The middle section of this composition is more active, even while being in a minor mode and using more altered harmonies. The final section goes back to the major and is more relaxed and peaceful and ends in a gentle repose.
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Good Christian Men, Rejoice
Traditional string quartet with opt. violin part for viola. The piece is rendered as a march with the tune clearly stated in the first violin and then becomes more chordal in the upper three parts. A transition is now presented in an imitation of parts with dynamic changes for interest and further then the cello takes over with the tune while the upper parts give harmonic support. The piece progresses to be more block in harmonic and rhythmical structure only to be turned over to imitation in the melodic material. The coda section is much like the introduction material and builds in dynamic force, only to be concluded with a pizzicato final note.
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Higher Ground
Vitality is the word that describes the activity of the string quartet in the whole opening section. It then moves to expressive, imitative devices in the middle section where it leads to a finale even more vigorous than the beginning.
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Softly And Tenderly
For string quartet with optional third violin the piece opens with a sublime feeling only to be agitated by more vigorous devices.It modulates through various keys and as one would expect it ends softly and gently.
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O Love That Will Not Let Me Go
This string quartet with piano begins with lush contrapuntal movement. As the piece progresses it moves between the quartet and the piano while finally unifying the total ensemble for deliberate and conclusive resolution of the theme.
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Good Shepherd Medley
Traditional string quartet with opt. violin part for viola. The introduction begins in a somewhat solemn nature, building in tension and then in repose where it introduces the hymn “Savior Like A Shepherd Lead Us.” The texture is in a traditional harmonization with the tune in the first violin where it gives over to the cello on the chorus with gentle punctuations in the upper voices. An imitative motif serves as a transition progresses leading into “He Leadeth Me” with the tune in the cello. The violin takes over with a modified tune and then in a fughetta-like series of entrances leads into a modulation where the cello expresses the tune with the upper voices accompanying with moving rhythms. The tune of “All The Way My Savior Leads Me” is presented by the viola with a violin obbligato overhead leading into a full ensemble with rich and moving harmonies. A change of meters gives way to a change of counterpoint and “God Leads Us Along.” Here, it moves amongst the various parts and gives way to sweet release.
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Holy, Holy, Holy
A traditional string quartet with option violin for viola. The introduction and first melodic statement is rather straight forward giving a beauty with its simplicity. The next section has the second violin carrying the melody in an altered fashion. Then a modulation upward takes place and the piece becomes stronger in its structure. The final section shimmers and having more movement until it makes its final statement of resolve.
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Near To The Heart Of God (acc)
A string trio with piano that begins with a cello melodic line with imitative lines in the upper parts in a flowing manner. The tune then shifts to the violin supported by the lower voices and then modulates upward where the theme is passed around amongst the parts until it modulates back to the original key where the cello once again becomes the lead voice. The piece ends with a pyramiding motif until it gently concludes in repose. (Op. violin for viola)
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Channels Only
A Violin-cello 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.