Four Plus Brass Series- for two Trumpets and two Trombones (with opt. Horn and Tuba for color). In Alla breve the trumpets begin the piece in exultation with counter-movement in the trombones passing through a maze of meter changes. The theme tends to be insolated by part, but does exchange between the voices in an imitative format. This format continues, only in a more harmonically full scoring. The second section is stronger in fabric and the voicing becomes more solid. This all leads up to a solid conclusion with a final statement of satisfaction.

Four Plus Brass Series- for two Trumpets and two Trombones (with opt. Horn and Tuba for color). Beginning with a tempo and style of vitality the introduction uses motivic repetitions until the trombones establish the tune with trumpet counterpoint. The rest of the whole first section is an exchange of thematic motives amongst the parts. With a modulation the trumpets present a little duet with the trombones adding brief flourishes. The final section again presents melodic motives passed around the various voices and then slows to a strong conclusion.

Four Plus Brass Series- for two Trumpets and two Trombones (with opt. Horn and Tuba for color). With excited anticipation the piece breaks forth with imitative motives until it settles down to the first statement of the theme. It continues in a rather straight forward manner with constant interplay of the parts. It gains strength and progresses through various harmonic stages until it relaxes to a softer, slower statement of the theme in the trombones. The final section is reminiscent of the earlier theme until in relaxes into a final statement.

Four Plus Brass Series- for two Trumpets and two Trombones (with opt. Horn and Tuba for color). Beginning in a vigorous manner the introduction establishes jubilation leading up to the first statement of the theme in the trumpets echoed by the trombones. This exchange of motives continues throughout the whole first section until a rallentando presents the theme once again in a slower more expressive manner. This all leads up to the end where the style is broader and conclusive.

Four Plus Brass Series- for two Trumpets and two Trombones (with opt. Horn and Tuba for color). Beginning in a robust and jubilant manner with unison statements in the voices. The trombones carry the tune with brief flourishes of punctuation in the trumpets. Then breaking into a duet in the trumpet and trombone in an imitative fabric, the piece gives over to the trumpets carrying the theme. The next section is slower and more harmonically divergent. Then once again a more vigorous manner like the beginning where the piece concludes with optional endings.

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). In alla breve, the style is pensive a thoughtful of mankind at peace with their situation The trumpets carry the tune throughout the whole first section until it goes into a imitative section with the trombones. After a modulation takes place the trombones carry the tune much in the same style as the trumpets, earlier. The final section becomes more relaxed where it lies in simple relation.

Four Plus Brass Series- for two Trumpets and two Trombones (with opt. Horn and Tuba for color). The theme is built on the tune Puer Nabis and is in alle breve. The lines are long and solemn, primarily in the trumpets. The second section Is built in a light fughetta fabric giving interest until in breaks into a three meter with the motive passed back and forth between trumpets and trombones.The final section mirrors the open section until it bows in repose

(2-tp, 2-trb, opt, pn)

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.

(2-tp, 2-trb, opt)

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.

An accompanied brass quartet for two trumpets with opt. horn and BHTC with piano. The opening is a fanfare with resolve. The first rendition of the tune is passed between parts in a somewhat hocket fashion where it continues throughout. The second section is more chordal with the accompaniment more march and fanfare like. Then a brief transition in the piano only is joined by the brass in a cascading series of entrances. Then the brass join the piano in a Q/A transition leading into a choral presentation of the theme. After a motivic interplay of the brass the piece concludes in an augmented statement in the brass.