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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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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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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!
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Lead On O King Eternal
Originally in a duple meter this arrangement very cleverly is in a 6-8 march style. It progresses in a rather processional manner and then transitions to a slower reflective expression. The piece returns to its former style and then ends on a declamatory note.
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Faith Is The Victory
This solo with piano starts out in a march triumphal style with a short introduction. The first section is stated in a rather familiar rendition of the melody in varied rhythmic devices. The middle section is a complete change of pace being slower and expressive. With a tempo increase the pieces orients itself back to the first style and tempo. The Coda starts at low ebb and melodically grows until it ends on a high note- then a solid final figure.
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The Old Rugged Cross
Opening with a tender, contemplative statement, the embellished medley of this solo presents itself only to soar with a meaningful obbligato line, and then settle back into a sense of assurance that this grand old hymn exemplifies.
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Softly And Tenderly
A gentle introduction by the piano and then the solo trombone presents the theme with subtle rhythmic deviation. The chorus continues in the same fashion. A quick modulation and the theme continues in a modified fashion with even more scale wise embellishment. The piano then takes over with the tune and with another modulation the solo enters with more harmonic deviation. The Coda section moves with subtle motivic deviation and comes to a solemn rest.
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My Faith Looks Up To Thee
After a brief introduction the trombone solo enters with the theme with a piano line that is rather alla-Baroque. The next section is presented in the piano with warm harmonic movement. The middle section is offered by the solo line in a mildly altered tune. This leads to a modulation with textures reminiscent of the previous two styles. The Coda is a majestic conclusion stating the theme of the title.
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Hallelujah! What A Saviour
A horn quartet presented in a regal style with the horn parts in a stacked and blocked format puntcuated by the piano accompaniment. As the piece progresses the horn parts becoming more active with rhythmic motifs. The piece finishes much the way in began with a final declaration.
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When I Survey
A French horn trio with piano accompaniment. The opening statements in the horns are rather solemn while alternately punctuated with piano responses. After some imitative statements the piece lies in repose.
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O Worship The King
This is an unaccompanied French horn duet written in a majestic manner. It uses imitative entrances between the parts and modulates upward for a strong finish.
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The Solid Rock
This is an unaccompanied French horn duet written in a majestic manner. It uses imitative entrances between the parts and modulates upward for a strong finish.
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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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Like A River Glorious
This French horn solo, written in a majestic style, opens with a declamatory statement of the hymn. It then uses fanfare-like figures to further embellish the melody’s statement. It ends on a strong note, giving a sense of confidence.
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Softly And Tenderly
A gentle introduction by the piano and then the solo horn presents the theme with subtle rhythmic deviation. The chorus continues in the same fashion. A quick modulation and the theme continues in a modified fashion with even more scale wise embellishment. The piano then takes over with the tune and with another modulation the solo enters with more harmonic deviation. The Coda section moves with subtle motivic deviation and comes to a solemn rest.
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Simple Gifts
The traditions of this tune and its words run long and deep. The beginning is a simple statement of the tune and is so ever carefully embellished as the piece progresses. It sets the mood for careful reflection as well.
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Fantasia on Joy To The World
Built for a trumpet quartet, it has an optional horn part if needed. The piece has many imitative devices giving it an antiphonal aura. It’s joy from beginning to end.
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The Morning Trumpet
This trumpet quartet begins with a fanfare styled opening. The thematic material is then passed around amongst the various members of the ensemble, giving way to a more active section; ending with a triumphant fanfare.
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A Mighty Fortress
This unacc. trumpet quartet begins with a fanfare styled opening. The thematic material is then passed around amongst the various members of the ensemble, giving way to a more sustained section; ending with a triumphant fanfare.
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The Bible Stands
An unaccompanied trumpet 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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Standing On The Promises
An accompanied trumpet trio and horn substitute. It begins with a slow, soulful introduction with the trumpet parts. Then takes off with the piano at a fast pace. The unison trumpets for a phrase, only to split up amongst the parts. It comes back in with three part harmony with some counterpoint. A modulation ensues with some duet and trio lines. After a break up strain the parts come back in three part harmony only to be joined in with piano and a solid ending.
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Jesus Saves
An accompanied trumpet trio beginning with a piano introduction. The first section is a blocked harmony in the trumpets with the first carrying the melody. The second section uses the same underlying rhythmic patterns but now the structure is in a different meter (quadruple vs the previous triple) which gives an extended feeling. A couple modulations take place and the style becomes smooth and expressive. This all leads towards the Coda where the whole premise shifts the moods of the beginning where it increases in tension and ends with solid impact.
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Victory Through Grace
An unaccompanied trumpet trio. 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.