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Abide With Me
A brass quintet which is very homophonic in structure it gives a solemn sense of security. The middle section becomes more imitative and then elevates to a sense of strength and resolution!
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Jesus Loves Me
This brass quintet is simple rhythmically in the beginning with generous employment of chromatic harmonies. The middle section states in a rather punctuated fashion the associated song, “Jesus Loves The Little Children,” Followed by a brief pause, it settles into a final statement of the title song.
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Immortal, Invisible
A brass quintet that is bold and energetic. The opening uses imitative statements passed through the various voices. The middle section states the theme in the middle brass with trumpeting devices employed in the trumpets. The final section is straight forward and the whole piece ends up in a simple and resounding statement of the title.
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Under His Wings
This brass quintet is solemn as its tradition would imply. Simple shifting harmonies enhance the flavor in the first and middle sections and returns to the solemn manner of the bginning.
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Eternal Father Medley
This brass quintet is a straight forward medley which includes: “Eternal Father Strong To Save,” “O God Our Help In Ages Past,” ending with “Holy, Holy, Holy.: The piece is highly reflective and would serve well in commerative situations.
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Guide Me, O Thou Great Jehovah
A brass quintet that opens with a lively statement and transitions to a trumpet duet with underlying fanfare-type figures, The middle section shifts to the tune “ZION” with an imitative structure and then the piece returns to the sytle of the opening section and ends with a jubilant resound!
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Nearer, My God To Thee
This brass quintet begins in a solemn fashion as one might expect from this hymn. The middle section features a trumpet solo with an underpinning of bell tones from the other instruments. The final section soars in a climatic manner and then settles into a peaceful repose.
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Praise The Savior, Ye Who Know Him
This brass quintet begins with a march style with the tune given over to the middle brass and the trumpets using fanfare-like embellishments. The middle section is solid with a walking bass for interest and then finishes with a block harmonization for strength.
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What Wondrous Love Is This
This piece begins with a single violin, then adds a second, then adds the viola, and then opens up with the richness of the full ensemble. The simplicy continues with two violins with light accopaniment and then blossoms u with the full ensemble once again. The harmonic and countrapul tension builds to the end with the establishment of a picard third, chord.
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The Old Rugged Cross
This moderately easy violin solo begins with a soulful harmonic progression in the accompaniment (alla Moonlight Sonata) that introduces the melody in a 3-4 meter. The theme is presented in its entirety. After a brief modulation the accompaniment takes over in a rich melodic/harmonic interplay of the tune and supporting lines, only to be joined with a simple counter line in the solo. The piece gains strength with the rhythmic interplay between the soloists and the accompaniment and then calms to a style presented in the opening measures. Final rest.
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The Old Rugged Cross
This moderately easy clarinet solo begins with a soulful harmonic progression in the accompaniment (alla Moonlight Sonata) that introduces the melody in a 3-4 meter. The theme is presented in its entirety. After a brief modulation the accompaniment takes over in a rich melodic/harmonic interplay of the tune and supporting lines, only to be joined with a simple counter line in the solo. The piece gains strength with the rhythmic interplay between the soloists and the accompaniment and then calms to a style presented in the opening measures. Final rest.
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The Old Rugged Cross
The introduction of this brass sextet (3 Trp., 3 Trom.) begins with strong choral movement and then settles into repose. The first presentation of the tune is in the trombones with a subtle counterline in the trumpets which then opens up to a stronger movement with the melody in the trumpet. The tune then reverts back to the trombones and then transitions to a move active support pattern in the trombones with a solo in the second trumpet. The final section gives way to a powerful presentation of the tune and immediately settles into a sensitive climate, much like the beginning. After a DC the piece ends with the strong motifs of the introduction giving a sense of finality. (Opt Horn for 1st Trom.)
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It Came Upon a Midnight Clear
Quintet (Tp, Flg; 2Tp,2 Flg; Hrn; Trm; Tba), Choir, Congregation & Organ
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