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

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

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

(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, optional percussion

For brass choir, including 3 trumpets, horn, 2 trombones, baritone, and tuba, the piece starts out in a reflective mood gaining energy to a more fanfare-like presentation of the melody. The second section is more Celtic in nature, ends gloriously.

(4-tpt, 2-hn, 2-tmb, BH, tba, antiphonal choirs

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.

For full brass choir and timpani. The piece begins in a fanfare fashion in the trumpets, echoed back by the lower brass. The theme is presented in the trumpets and horns while the accompaniment is punctuated in the trombones. Then the full choir is presented in a choral fashion. The tune is now in the horns while the trumpets and lower brass and timpani make vigorous intejrections. The second section sees an interplay between the various timbres of brass. A modulation takes place and the lower brass present the tune while the trumpets and horns add flourishes. Shortly thereafter the roles are reversed. One final set of fanfares and the piece ends on a high note and active lower brass.

(3-tpt, hn, 2-tmb/BH, tba

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.”