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Were You There?
This solo piece opens with a sense of reverence presenting the melody in a gently modified fashion. The middle section gains intensity rhythmically with a rhapsodic form of theme variations. It continues to elevate only to relax into final peace.
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Were You There?
This solo piece opens with a sense of reverence presenting the melody in a gently modified fashion. The middle section gains intensity rhythmically with a rhapsodic form of theme variations. It continues to elevate only to relax into final peace.
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Were You There?
This solo piece opens with a sense of reverence presenting the melody in a gently modified fashion. The middle section gains intensity rhythmically with a rhapsodic form of theme variations. It continues to elevate only to relax into final peace.
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Were You There?
This solo piece opens with a sense of reverence presenting the melody in a gently modified fashion. The middle section gains intensity rhythmically with a rhapsodic form of theme variations. It continues to elevate only to relax into final peace.
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Were You There?
This solo piece opens with a sense of reverence presenting the melody in a gently modified fashion. The middle section gains intensity rhythmically with a rhapsodic form of theme variations. It continues to elevate only to relax into final peace.
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Were You There?
This solo piece opens with a sense of reverence presenting the melody in a gently modified fashion. The middle section gains intensity rhythmically with a rhapsodic form of theme variations. It continues to elevate only to relax into final peace.
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Were You There?
This solo piece opens with a sense of reverence presenting the melody in a gently modified fashion. The middle section gains intensity rhythmically with a rhapsodic form of theme variations. It continues to elevate only to relax into final peace.
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Were You There?
This solo piece opens with a sense of reverence presenting the melody in a gently modified fashion. The middle section gains intensity rhythmically with a rhapsodic form of theme variations. It continues to elevate only to relax into final peace.
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Be Thou My Vision
A violin solo that presents itself with simplicity with melodic alterations that offers delight.There is a continual contrast between the solo and the accompaniment that adds flavor that will make even the younger player show a sense of advancement.
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I Need Thee Every Hour
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.
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Sacred Head
This staple hymn of the Chrsitian literature starts out with the woodwinds presenting the theme with subtle splashes of percussive small instruments. The piece explodes into a tutti statement only to fall back into a solemn style in the woodwinds, colored by mallet percussion obligato. After a brief interlude of imitation in the woodwinds the brass take over with an exchange of choral motives. The piece gains strength with a tutti climax and then continues with thematic repetition to further enhance the theme’s importance. The woodwind choir with percussion underpinning makes a solemn statement and then gently settles back to a sense of peace.
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God Rest Ye Good Christian Men
This brass duet is scored for French horn, Trombone and Piano with optional trumpet for horn and baritone for trombone. While moderately easy it is joyfully colorful in passing the themes between parts and adding splashes of melodic motives as well. The piece uses a lot of imitation and hocket devices to keep the players and listeners all rejoicing.
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I Would Not Be Denied
A percussion quintet score for bells, tambourine, snare drum, tom-toms, and bass drum. The theme is presented in the bells- often in duet lines. The other instruments tend to work in tandem as supporting roles using changes in dynamics for interest. There are times when the accompanying parts modify their rhythms so as to not become stagnant. The middle section acts like a break-up strain, much like one would find in a march. The piece finishes with a flourish giving great impact.
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I Saw Three Ships
A horn solo with piano accompaniment that presents itself with a Celtic lilt with interludes that would be similar to a rondo form and interspersed with hemiola type figures.
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Fanfare on Alleluias
This is a brass trio with piano accompaniment. The brass scoring is for trumpet, horn or flugel horn, and trombone or baritone. The style is presented in a majestic manner first in block harmonies and then in a hocket structure. After a florid manner the piece follows a somewhat straight forward manner using fanfare motives in the upper parts the motion becomes more imitative. The final section is quite imitative and uses an overlayering of parts producing enjoyable passing around of the tune in a contrapuntal manner. With a final fanfare the piece concludes.
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Joyful, Joyful We Adore Thee
A delightful percussion quartet that incorporates bells (mallets), timpani (optional), snare drum, cymbals and bass drum. The snare drum is integral through out establishing a martial-march style while supplemented with the bass drum and cymbals. The bells provide the melodic material moving in and out to add variety. The piece ends with an abrupt punctuation. A truly spirited piece for the younger performer.
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There Is A Fountain
Scored for traditional brass quintet with opt. Baritone this arrangement uses many altered devices to hold interest and add variety to a piece that otherwise presents itself as pretty straight-forward.
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Follow On
A flute quartet, with optional 4th part for clarinet, this cheerful rendition just bubbles all over the place. A piccolo solo can be incorporated in an Alla Sousa fashion if desired.
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My Faith Has Found A Resting Place
Scored for 2 trumpets, horn, trombone and piano the piece begins with a gentle expression only to be met with a more active exuberance. It then quiets and then comes to a gentle repose.
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Brethren We Have Met To Worship
For traditional woodwind quintet scoring with optional alto sax and bass clarinet parts, this piece begins in a plaintive fashion moving toward a central, Celtic flavor–returning to the opening mood. optional parts: ASax for Horn and BCl for Bssn.
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America, America
This brass quintet with piano can also be used as a sextet with the optional parts. It is presented in a march style incorporating “My Country Tis Of Thee,” and “America The Beautiful”. The piece is of moderate difficulty but because of the way the scoring passes the parts around there is a variety of tonal color as well as rhythmic movement.
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Sweet Hour Of Prayer
For string quartet with optional third violin this pieces is quite motivic which gives an effect of being very contemplative. It tends to migrate rather unexpectedly with melodic material, all the while capturing the essence of the title.
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Bring A Torch, Jeanette, Isabella
This fantasia for flute and piano is Celtic in nature, and it is rich in harmonic and rhythmic movement. It is incessantly in motion until it settles in final rest.
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Coventry Carol
This vigorous, and rigorous piece is scored for four horns. It presents the theme in many formats moving through various keys and rhythmic motions. It is Celtic in nature.
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Hallelujah Side
This solo for snare drum and piano follows the format of many of the traditional, classically based snare drum solos with the tune in the keyboard. The piece is exuberant from beginning to end giving a continual sense of praise.7