Four Plus Brass Series- for two Trumpets and two Trombones (with opt. Horn and Tuba for color). The introduction begins in a slow, plaintive manner leading to a gentle statement of the tune in four-part harmony while going through a series of meter changes. The section features the trombone in the theme until it once again comes to a point of repose. Then finalizes in a state of solemnity

Four Plus Brass Series- for two Trumpets and two Trombones (with opt. Horn and Tuba for color). In a slow alle breve the piece begins in a mysterious fashion in octave unisons. Leading into the section where the parts move in a two part counterpoint until it becomes more choral. Then it segues into a solemn mood with a trombone solo carrying the tune with answering sections in the trumpets. With a segment of strength and power and in a block chordal movement the piece continues to settle into solemnity until it concludes to a single pitch.

Four Plus Brass Series- for two Trumpets and two Trombones (with opt. Horn and Tuba for color). Presented in a jaunty and rollicking meter with the tune in the first trumpet. Later it is passed to the first trombone. The middle section of the work strays from the traditional tune for interest only to gravitate back to it. The final section mimics the first section and brings the piece to a final punctuation.

Four Plus Brass Series- for two Trumpets and two Trombones (with opt. Horn and Tuba for color). The piece begins in a flowing manner- fir by the trumpets and the trombone. The next section has more contrapuntal structure heightening the emotion of the work. Various statements of these motives continue to a brief fermata, and then a more vigorous statement of the theme bringing the piece to a strong conclusion.

Four Plus Brass Series- for two Trumpets and two Trombones (with opt. Horn and Tuba for color). The piece begins in a trumpet duet fashion and then echoed back in similar manner by the trombones. The next section is tossed about with bell like support motives, only to be broken down in motives and passed around the various voices. A modulation takes place and pieces like the beginning are once again presented and then back to the motive repeats bringing the piece to a strong conclusion.

A brass quartet for two trumpets and two trombones with opt. parts for Fr. Horn and Baritone TC. The pieces begins with canonic entrances and then increases in activity. The first thematic statement is stately in a block harmonic structure. The parts then state the tune with others in an ornamental addition. A modulation takes place and the first tombone/horn states the theme while the others portray soft bell-tone like accompniment. A spirited entrance from low voices to higher in a fugal format coming to a final, majestic Coda marking a strong ending.

Score for two trumpets and two trombones with optional parts for French horn and Baritone TC. The piece is majestic as one might expect for a fanfare. The melodic material is pretty well in the trumpets throughout with the lower instruments given harmonic and contrapuntal support. The piece is not overly long and would serve as a stately introduction or intermission to all sorts of venues.

Scored for two trumpets and two trombones with opt. Horn for Trom. 1 and Bar. TC for Trom. 2. The opening begins excitedly while giving a sense of moving upward. The first presentation of the theme is very much in a march style and then breaks into more activity with rhythmic alterations. The second section moves to a new key and is essentially a trombone duet and then adds upper voices to place the piece on an elevated plain. Another modulation moves the musical thought even higher while passing the melodic motifs around to the different voices. The Coda gives a sense of elevation and arrival.

A brass quintet with opt. horn and BHTC parts. After a rousing introduction the piece goes into a straight forward rendition of “Stand Up For Jesus” with the melody in trumpet one with various rhythmic devices in the other parts. After a brief transition a modulation occurs presenting “Stand Up, Stand Up For Jesus” again the melodic material is passed around amongst the parts. After another transition and modulation the piece reverts back to the first tune where it becomes more rhythmically active up to a fiery conclusion.

A brass quartet that begins with delightful counterpoint and then breaks into the tune in the trombone with a horn counterline which in turn is punctuated with the trumpet lines. The middle section opens with the horn offset by the other voices and then the melodic material is passed around among all voices. The final section becomes even more active and ends with a solid resolve. (Opt parts Trp for horn and Bar. TC for trombone.)

Written in a gentle and flowing manner, this brass quartet is scored for two trumpets, horn, trombone, and piano. It is written with very open voicing, giving each part a chance to express.

A brass quartet scored for two trumpets and two trombones with optional horn and baritone parts. The piece is in some ways simplistic and at the same time quite profound. The first section is somewhat gentle with subtle countrapuntal movement. The second section is more declamatory and then comes to a quiet repose.

A quartet for two trumpets and two trombones the piece begins in a straight forward fashion. A second verse uses a duet statement and the adds fanfare flourishes. Transition material uses imitation and a more legato style. After a series of melodic bell tones the piece ends in straight forward fashion once again with running bass and then closes with a unison motif and balance chord.

(2-tp, 2-trb, opt Horn and BHTC

Written for Brass quartet, this pieces creates a solemn presence by the way it interweaves the various parts together. It would work well for a meditation.