(3-tpt, 2-hn, 3-tmb, BH, tba, opt percussion/ rhythm)

(3-tpt, P.tpt, 2-hn 3-tmb, BH, tba, vibes and percussion)

(2-tpt, hn, 3-tmb, BH, tba, ch, bells)

(4-tpt, hn, 3-tmb, BH, tba, perc)

(3-tpt, 2-hn, 3-tmb, BH, tba): Ring The Bells of Heaven; You May Have the Joybells

A Brass choir written for four trumpets, (Opt Horn), two trombones, baritone and tuba. A solid introduction with motives passed around the various parts. The chorus is now given with the theme in the upper lines. Then echoed back in the lowest voice. A brief meter shift and then the harmonized theme gives a sense of security. Then another meter shift with line that acts as a Q&A in a smooth and expressive manner. Now the piece, through a DS gravitates back until it reaches a CODA and ends on a high note- in block structure.

A brass choir scored for three trumpets, horn, two trombones, baritone and tuba. It begins with a growing fanfare with melodic material in the trumpets. The next section has the melody in the low brass where it breaks into a obbligato-like soli in the trumpets. After a modulation the tune is now presented in the middle brass with fanfare-like obbligato in the trumpet where it leads into yet another modulation and alla “in a distance” a march like atmosphere it is established where modified melodic material is presented in the trumpets. This continues until an elevating modulation breaks into a grand finale giving over to the fanfare motives of the beginning and a resounding statement.

A Brass choir written for three trumpets, Horn, two trombones, baritone and tuba. The piece begins in an excitedly manner in the middle brass and then punctuated with the upper brass with ornamental devices. It continues in this form for quite some time until a modulation. The mood becomes more solemn with the theme alternating between the middle-lower voice and then the upper lines. The theme is now present by the trumpet and horn with snippets of rhythmical activity in the remaining trumpets. As the piece begins to conclude the motives are tossed about until a final conclusion.

(3-tpt, 2-hn, 2-tmb, BH, tba): God Be With You; God Leads Us Along; God Will Take Care of You; We Have An Anchor

A Brass choir scored for four trumpets (optional horn), two trombones, baritone and tuba. The beginning is stated in the lower voices in a solemn fashion. The theme then presents itself in the upper voices in s straight forward manner followed by a key shift, giving over to a tuba solo with the middle voices supporting it in a flowing fashion. The next section becomes more rhythmic adding more voices for a full sound continuing on with more imitation amongst the voices building more agitation. The ensemble becomes increasingly chordal with some punctuating motives in the lower parts and then settles into a quiet resolve.

Brass choir scored for four trumpets (opt horn) two trombones, baritone BC/TC and tuba. This entire piece is one of serenity, gentleness and great affect. The introduction is in the lower voices producing a rich sound and sense of expectation. The trumpets add in on the melody with long lines of expression, and then the lower voices offer a response in like manner. The next section increases in movement and dynamic until it modulates to a new key center. The phrases now alternate between the low voices in an almost antiphonal fashion. Another modulation elevates the urgency of the piece and the trumpets carry the entire load throughout this section. The rest of the instruments then bolster the ensemble giving increased strength. The pieces quiets and becomes reflective and then settles with an “all is well.”