A rather jovial introduction is begun by the piano and then joined in by the soloist stating the melody’s verse and then the chorus in a modified form. The second verse is presented in a pleasing way underpinned by the piano using a harp-like accompaniment. And once again, the chorus is presented in a even more modified way. The coda section continues with the flavor of the piece in a motivic manner and then arrives to the final destination in repose.

This tenor sax solo begins with a brief piano introduction and presents the tune in a gently embellished manner that creates interest. After a brief intermission the soloist presents the tune with even more melodic embellishment and ryhthmic activity. Another intermission coupled with a modulation where the piano now carries the tune while the soloist offsets it with a countermelody, The solo line now captures the tune and carries it to the end where it makes a final, restful statement.

This solo begins with a elegant little motif in the upper register of the piano and then moves downward to a simple accompanying figure. The solo enters in a gentle manner with minor modifications- very much in a restful manner. With an abrupt modulation the tune is modified once more in a different way. After two more modulations in the piano the soloist presents the tune with a more “arpeggiated” way and then settles into a final long note- as if “everything’s okay!”

This bubbly rendition of “Come Thou Fount” is effervescent from beginning to end. It is filled with movement and excitement expressing intense joy throughout.

Although the melody is gently modified, this solo with piano displays both a sensitivity along with an elevated soaring quality expressing the need for divine interaction on the part of humanity.

This solo opens with a gentle, Celtic fashion in a duple meter. It progresses through a series expressive obbligati giving a sense of elevation. As it nears the end it modulates metrically and harmonically to a triple meter, and then final repose.

This solo with piano is constructed in a rondo form alternating the tunes of Jesus Loves Me, Praise Him All Ye Little Children and Jesus Loves The Little Children. Each section of the piece is in a different style thereby giving a great deal of variety technically and musically for the younger player.

This solo with piano is straight forward in design, giving the young player the opportunity to display dynamic and stylistic variety.

Taken from the “Messiah”, this alto sax solo with piano is essentially a transcription of the original work. The balance in the writing between the solo and the accompaniment gives way to the sensitivity of the text of this well-know aria..

A piano introduction begins in a vigorous manner and is then joined with the soloist in a brilliant manner of a decorated melody. Coming to the chorus the solo is more fluid and expressive. After a modulation the soloist is offered an opportunity to express the tune with a great deal of flair. The middle section is slower in a thoughtful presentation. The final section regains the flair of the earlier sections and ends on a final long note of resolve.

A rather jovial introduction is begun by the piano and then joined in by the soloist stating the melody’s verse and then the chorus in a modified form. The second verse is presented in a pleasing way underpinned by the piano using a harp-like accompaniment. And once again, the chorus is presented in a even more modified way. The coda section continues with the flavor of the piece in a motivic manner and then arrives to the final destination in repose.

This solo begins with a polite introduction and then is joined with the soloist in a gentle alteration of the tune in its entirety. A second verse is modulated upward with the tune with even more variation. After more modulations there is a brief cadenza and then a coda section based on the opening motif of the tune.

The effect of a parade coming and going… using: Jesus Loves The Little Children; Onward Christian Soldiers; I’ve Got the Joy, Joy, Joy