A brass quintet with opt. horn and BHTC parts. After a rousing introduction the piece goes into a straight forward rendition of “Stand Up For Jesus” with the melody in trumpet one with various rhythmic devices in the other parts. After a brief transition a modulation occurs presenting “Stand Up, Stand Up For Jesus” again the melodic material is passed around amongst the parts. After another transition and modulation the piece reverts back to the first tune where it becomes more rhythmically active up to a fiery conclusion.

An accompanied brass quartet for two trumpets with opt. horn and BHTC with piano. The opening is a fanfare with resolve. The first rendition of the tune is passed between parts in a somewhat hocket fashion where it continues throughout. The second section is more chordal with the accompaniment more march and fanfare like. Then a brief transition in the piano only is joined by the brass in a cascading series of entrances. Then the brass join the piano in a Q/A transition leading into a choral presentation of the theme. After a motivic interplay of the brass the piece concludes in an augmented statement in the brass.

A Christmas brass quartet score for two trumpets, horn and trombone with optional parts for Flugel horn (horn) and bartione (trombone) in a medley format includes “Fum Fum Fum,” “Come Here Little Children,” ” Ding Dong Merrily On High” that bubbles with delight from beginning to end. With multiple key transitions and color shifts this medley will add delight and cheer to this festive time of the year.

(2-tp, 2-trb, opt)

A brass quartet scored for two trumpets and two trombones with optional horn and baritone parts. The piece is in some ways simplistic and at the same time quite profound. The first section is somewhat gentle with subtle countrapuntal movement. The second section is more declamatory and then comes to a quiet repose.

A brass quartet for two trumpets and two trombones with opt. Fr. Horn and Baritone Treble Clef. It begins in unison and then breaks into four part harmony- all in a majestic style, continuing in that manner throughout the first verse. The second verse is a duet between the first trumpet and trombone. The next statement passes the tune around the various parts gaining in excitement. The final section is more solemn and then enhanced with bell-tone figures. The Coda is in a majestic conclusion.

(2-tp, 2-Trb, hn/BH) -four pieces: Hark The Herald Angels It Came Upon A Midnight Clear; Angels We Have Heard On High; O Little Town Of Bethlehem

(2-tp, 2-trb, opt Horn and BHTC

Written for Brass quartet, this pieces creates a solemn presence by the way it interweaves the various parts together. It would work well for a meditation.

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!

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.

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.

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.

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.

A Woodwind quartet for two flutes and 2 clarinets. The piece gins in a spritely duet in the upper voices and reverses roles with the lower voices carrying the melody and duet lines. All four voices now join in a smooth, serene fashion until it gains dynamic and harmonic strength. A modulation upward with the tune in voice two, and an obbligato-like movement in part one, while the lower parts underpin with a simplistic, though active line. In the last section the parts become more active and excitement abounds until a final flourish establishes the end.