A solo that is joyous and exhuberant expressing the finding of the Savior, followed by a tender expression of thoughtfulness and pondering. The final sections of this joyous piece breaks into a flurry of rapture ending on a high note of praise.

This sax solo with piano, this piece is written in march style displaying great resolve. The central sections present new thematic material followed by modified titled hymn materials giving a sense of unity to the piece. It ends with a solid flourish.

A solo that starts out with a flourish and continues to bubble its way melodically and with variation. The middle section is a tender reflection of the price paid by Christ for one’s redemption. It then gains anticipation for a strong ending of consecration only to come to a posture of repose.

This tenor sax solo begins with a brief piano introduction and presents the tune in a gently embellished manner that creates interest. After a brief intermission the soloist presents the tune with even more melodic embellishment and ryhthmic activity. Another intermission coupled with a modulation where the piano now carries the tune while the soloist offsets it with a countermelody, The solo line now captures the tune and carries it to the end where it makes a final, restful statement.

This solo begins with a elegant little motif in the upper register of the piano and then moves downward to a simple accompanying figure. The solo enters in a gentle manner with minor modifications- very much in a restful manner. With an abrupt modulation the tune is modified once more in a different way. After two more modulations in the piano the soloist presents the tune with a more “arpeggiated” way and then settles into a final long note- as if “everything’s okay!”

This solo is technically demanding while depicting the content of its title. While it is a provocative title with soul-searching implications, the results of its message produces a great deal of joy- salvation! The themes and embellishments presented here certainly enhances the joyous conclusion of such a concept and then moves to a rather solemn reflection of the wonder of it all.

Although the melody is gently modified, this solo with piano displays both a sensitivity along with an elevated soaring quality expressing the need for divine interaction on the part of humanity.

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.

Taken from the “Messiah”, this solo with piano is essentially a transcription of the original work. The balance in the writing between the solo and the accompaniment gives way to the sensitivity of the text of this well-know aria..

This solo with piano is constructed in a rondo form alternating the tunes of Jesus Loves Me, Praise Him All Ye Little Children and Jesus Loves The Little Children. Each section of the piece is in a different style thereby giving a great deal of variety technically and musically for the younger player.

This solo with piano makes a straight forward statement of the tune followed by a contrasting section using a new counter melody. It then returns to the opening theme.