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Wonderful Words Of Life
An unaccompanied trombone quartet which begins which all four parts working together leading up to the first statement of the tune presented as a duet following by all four parts harmonizing together. The parts present themselves in a playful exchange of entrances. A breakup strain uses thematic motifs leading up to a modulation A new verse tosses the tune around amongst the parts, followed by the tune stated in four-part harmonies leading up to a final tag!
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O Sacred Head
This quartet is in a solemn legato style throughout featuring melodic materials in each of the four parts. It is graced with gently moving accompaniment lines that further enhances the reflective spirit which is so evident in this hymn. It peaks in different portions of the composition and then reflects itself in a quiet repose to end.
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The Bible Stands
An unaccompanied trombone (opt BHTC) trio begins from the “git-go” with the melody in the first part with parts two and three adding harmonic and rhythmic interest. A brief modulation and interlude leads into the next section after another modulation with the parts interplaying amongst themselves. Yet, another modulation with block harmonies giving over to yet another modulation and a final ending!
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Leaning On The Everlasting Arms
This trio begins with a joyful piano introduction which leads into a three part harmonization of the instrumental parts. The second section is a lilting (waltz feeling) in block harmonization and then goes into a bell-tone rendition of the tune. A brief transition in a slower, expressive style comes to repose where it concludes in the joyful style that the piece began.
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Victory Through Grace
An unaccompanied trombone trio with optional baritone TC part. The introduction is based on a exuberant motive that leads into the first section which is a straight-forward melody with straight-forward harmonic support. This leads into the next section which gravitates to a different meter as well as key. The parts interplay giving a sense of constant movement. Another modulation takes place and the mood is one of victory and solidification. This continues until a triumphant motive of celebration and victory.
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How Firm A Foundation
This trombone trio with optional parts and piano, begins in a determined style. It moves throughout in a simple triadic motion. The harmonies are well blended and the style established to create a sense of firmness and stability.
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Take Time To Be Holy
A trombone trio with opt. BHTC that is unaccompanied. The introduction begins in a duple meter with unrelated thematic material. The first section is presented in a chordal fashion with pedal in the third part which takes over the melody at the chorus. A modulation takes place where the melodic line is in the second part with the other parts in a moving counter-fashion. The third section begins in a modulated move with the three parts interacting continually until the third part begins its pedal movement once again until a solemn end.
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O Worship The King
This is an unaccompanied trombone duet written in a majestic manner. It uses imitative entrances between the parts and modulates upward for a strong finish.
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Guide Me, O Thou Great Jehovah
This is an unaccompanied trombone duet written in a majestic style with melodic alterations. At times interest is added by the imitative interplay of parts and continues so until the final statement.
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All Hail The Power…
A good piece to open a service with since it has the character of a jubilant fanfare. The tombone duet lines are solid and ends on a forceful note.(acc.)
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Take Time To Be Holy
A brass duet with piano accompaniment presents itself in a simple fashion. The middle sections show more counterpoint between the duet lines. It ends in a gentle repose.
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Soldier’s Prayer Medley
An accompanied trombone solo based on hymns of dedication including: “God Of Our Fathers,” in variation “Am I A Soldier Of The Cross?” and “Onward Christian Soldiers,” and “Lead On, O King Eternal.” A technical piece where triple tonguing is required and gives opportunity for virtuosic playing. The re are various sections which also give rise for expressive playing as well. A delightful piece that is certain to capture the listener’s ear.
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Amazing Love!/Medley
A trombone solo for the advanced player built of: “And Can It Be,” “My Saviour’s Love,” “Jesus Loves Even Me,” and “Such Love.” The piece is a combination of a medley and theme and variations and incorporates multiple tongues in sections. A piece of many styles and a pleasure for the listener and the player.
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The Cross Of Jesus
A trombone solo which begins with a sense of agony in the piano using the tune of “Beneath The Cross Of Jesus.” The solo then makes a declamatory statement and then becomes very expressive in a recitative-like section. This section is expressive and then becoming more vigorous using thematic material froA trombonet solo which begins with a sense of agony in the piano using the tune of “Beneath The Cross Of Jesus.” The solo then makes a declamatory statement and then becomes very expressive in a recitative-like section. This section is expressive and then becoming more vigorous using thematic material from “At The Cross.” After another transition the piece become vibrant using the theme of “The Cross Is Not Greater than His Grace.” A swift modulation and a faster tempo the piece ramps up a vigorous flair where it elevates to a strong crescendo including some triple tongue motives.m “At The Cross.” After another transition the piece become vibrant using the theme of “The Cross Is Not Greater than His Grace.” A swift modulation and a faster tempo the piece ramps up a vigorous flair where it elevates to a strong crescendo including some triple tongue motives.
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My Anchor Holds
This solo is in a march style throughout. It begins with little fanfare figures in the piano and then as it progress the soloist and piano exchange rolls. The second section is in a variation style while the third section is more expressive. The final section is more boisterous ending on a solid footing.
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Dona Nobis Pacem
This trombone solo begins with a brief motif in the piano and then begins a series of variations and the soloist presents the theme. The variations are sometimes florid, other times plaintive, some times imitative and finally bold.
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But Whom May Abide The Day…
Taken from the “Messiah”, this solo with piano is essentially a transcription of the original work. It features sufficient counterpoint between the various instruments.
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Hallelujah Chorus
A solo instrument with piano accompaniment? Can an arrangement capture the essence of the original with the majesty of full chorus and orchestra? This piece really does- it is amazingly complete!