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O Come, O Come Emmanuel
A solo with piano accompaniment. After a solid introduction the arrangement presents the melody with a simple statement. After several melodic statements the soloist then presents itself with a delightful counterline. It is finalized with declamation.
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O Come, O Come Emmanuel
A solo with piano accompaniment. After a solid introduction the arrangement presents the melody with a simple statement. After several melodic statements the soloist then presents itself with a delightful counterline. It is finalized with declamation.
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O Come, O Come Emmanuel
A solo with piano accompaniment. After a solid introduction the arrangement presents the melody with a simple statement. After several melodic statements the soloist then presents itself with a delightful counterline. It is finalized with declamation.
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O Come, O Come Emmanuel
A solo with piano accompaniment. After a solid introduction the arrangement presents the melody with a simple statement. After several melodic statements the soloist then presents itself with a delightful counterline. It is finalized with declamation.
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O Come, O Come Emmanuel
A solo with piano accompaniment. After a solid introduction the arrangement presents the melody with a simple statement. After several melodic statements the soloist then presents itself with a delightful counterline. It is finalized with declamation.
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O Come, O Come Emmanuel
A solo with piano accompaniment. After a solid introduction the arrangement presents the melody with a simple statement. After several melodic statements the soloist then presents itself with a delightful counterline. It is finalized with declamation.
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O Come, O Come Emmanuel
A solo with piano accompaniment. After a solid introduction the arrangement presents the melody with a simple statement. After several melodic statements the soloist then presents itself with a delightful counterline. It is finalized with declamation.
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O Come, O Come Emmanuel
A solo with piano accompaniment. After a solid introduction the arrangement presents the melody with a simple statement. After several melodic statements the soloist then presents itself with a delightful counterline. It is finalized with declamation.
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Young Tenor Sax Soloist
A solo collection with piano including: “Praise Him All Ye Little Children,” “Abide With Me,” “Dare To Be A Daniel,” “My Jesus I Love Thee,” “Away In A Manger,” “We Gather Together,” ” “Hallelujah! What A Saviour,” and “‘Tis So Sweet To Trust In Jesus.”
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Tis So Sweet To Trust In Jesus
This solo with piano is structured in a quasi-rondo form. Thus making a great deal of variety in texture, style, and dynamic.It will make the young performer sound more advanced.
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Hallelujah! What A Saviour!
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.
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Away In A Manger
This solo with piano begins with the portrayal of a pastoral setting. The arrangement incorporates both “Flow Gently Sweet Afton” and “Luther’s Hymn”.
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My Jesus I Love Thee
This solo with piano begins with a modified melodic statement. It enters into a second section with simple obligati and then returns to a beginning-like statement and ends with a simple coda.
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Abide With Me
This solo piece with piano is presented in a straight-forward manner for the younger player with some altered pitches for interest.
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Dare To Be A Daniel
This solo with piano begins with the strains of a lion’s roar. Next enters Daniel in a simple fashion followed by a statement in a triumphal march. The lions return-Daniel prevails.
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Praise Him All Ye Little Children
This solo with piano begins with a bold march statement with an elongated rhythm of the melody. The middle section is more expressive while the final section imitates the beginning, with a solid statement of faith.
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Battle Hymn
A mallet solo with piano accompaniment, this rendition of the “Battle Hymn” is in a march style with the opening solo part featuring a catchy, obligato figure. The ending section uses duet writing in the solo line.
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Battle Hymn
Scoring is for 5 mallet parts, tympani, and 3 general percussion parts. The piece is in a march style and has militaristic as well as expressive sections. The piece ends in a blaze of glory.
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Majestic Sweetness Sits Enthroned
The traditions of this tune and its words run long and deep. The beginning is a simple statement of the tune and is so ever carefully embellished as the piece progresses. It sets the mood for careful reflection as well.
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Amazing Grace
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.
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The Trumpet Shall Sound- Aria
Taken from the “Messiah”, this duet (trpt. and tromb.-opt bar/tuba) with piano is essentially a transcription of the original work. The balance in the writing between the solo and the accompaniment allows for great flavor.
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Face To Face
An accompanied clarinet trio which begins with a flowing motif setting up a sense of serenity. The first statement allows all three of the clarinets to intertwine for a constant, gentle movement- this action is a common denominator throughout the piece. A modulation takes place where the pitch is elevated, but also the rhythms more intense as the piece becomes more fluid even as the three solo lines are unaccompanied. The final statement is strong, bold and resolved.
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Glory To His Name
This brass sextet is score for 2 trumpets, horn (opt. Trp.), trombone, baritone and tuba. Essentially in an ABA song form this march-style piece has a beautifully constructed expressive section in the middle.