A rather jovial introduction is begun by the piano and then joined in by the soloist stating the melody’s verse and then the chorus in a modified form. The second verse is presented in a pleasing way underpinned by the piano using a harp-like accompaniment. And once again, the chorus is presented in a even more modified way. The coda section continues with the flavor of the piece in a motivic manner and then arrives to the final destination in repose.

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 solo begins with a polite introduction and then is joined with the soloist in a gentle alteration of the tune in its entirety. A second verse is modulated upward with the tune with even more variation. After more modulations there is a brief cadenza and then a coda section based on the opening motif of the tune.

This solo is presented in a lush, relaxed format which incorporates the carols “Silent Night”, “Away In A Manger”, “It Came Upon A Midnight Clear”. The solo line is altered rhythmically to give a sense of child-like gentleness while the accompaniment gives a restful underpinning of lush harmonies.

The effect of a parade coming and going… using: Jesus Loves The Little Children; Onward Christian Soldiers; I’ve Got the Joy, Joy, Joy

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.

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!

An accompanied clarinet duet which begins with a melodic motif and then presents the hymn tune in unison by the two parts. The chorus then breaks into a duet harmonization in a straight forward manner. The next section presents the first part in a melodically altered rendition with the second part answering in an obbligato like fashion. The middle section is a Q&A form with the piano dropping out, followed by a piano solo section. A modulation now gives rise to the second part acting as a solo, followed by another modulation where the first takes over as a soloist. Then another modulation where the two parts present the chorus in a straight duet section., where it remains until the end.

This alto sax solo begins with the piano playing a gentle motif of the theme and then joined in with the solo line playing the theme in a straight forward fashion. The theme is now stated in a modified manner while the soloist exudes a moving obbligato line which adds more excitement to the piece. The piece concludes with the latter section of the first section and then settles into a solemn 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.