Often mistaken as a traditional spiritual, “Sweet Little Jesus Boy” was composed in 1934 by Robert MacGimsey who intentionally wrote the song in this style. It harkened back to his youth in Louisiana where he was steeped in the deep tradition of African American gospel music. In this culture, Christmas was a time to draw closer to God through personal prayer and meaningful songs, which was a stark contrast to what he observed in New York when he penned the song.

Written during the depression, “Sweet Little Jesus Boy” quickly became a standard Christmas tune, along with several other songs written at this time. Recorded by many artists over the years, the soulful recording by Mahalia Jackson in 1955 is perhaps the most famous.

“Here Is Love” was originally penned by the Welsh poet William Rees (1802-1883) then translated from Welsh into English by William Edwards (1848-1929). The text is based on one of the most famous Scripture references, John 3:16 “For God so loved the world that he gave his one and only Son, that whoever believes in him shall not perish but have eternal life” (NIV). The beautiful melody that accompanies the text was composed by American gospel songwriter Robert Lowry in 1876. Although this hymn is 150 years old, it remains popular today.

The piece begins with the solo and descant presenting the tune in unison with few modifications. This texture continues on in this manner allowing the descant to act as a color. The next section is an question/answer form with the soloist alternating against the flute and piano. The third section pairs the solo line and descant in much the same manner as the opening. The piece comes to a subtle conclusion. The piece, as a whole depicts a bird flying and flittering about in glee.

The piece begins with the solo and descant presenting the tune in unison with few modifications. This texture continues on in this manner allowing the descant to act as a color. The next section is an question/answer form with the soloist alternating against the flute and piano. The third section pairs the solo line and descant in much the same manner as the opening. The piece comes to a subtle conclusion. The piece, as a whole depicts a bird flying and flittering about in glee.

An accompanied tuba solo that begins with a gentle piano introduction. The soloist then presents the tune with subtle modifications. The second section progresses with even greater melodic enhancement. With a modulation the solo deviates the melody with an almost obbligato-like fashion. With further modulation the solo line gravitates to a style reminiscent to the second section. The coda section is patterned after the first section and then settles down to sweet silence.

An accompanied trombone solo that begins with a gentle piano introduction. The soloist then presents the tune with subtle modifications. The second section progresses with even greater melodic enhancement. With a modulation the solo deviates the melody with an almost obbligato-like fashion. With further modulation the solo line gravitates to a style reminiscent to the second section. The coda section is patterned after the first section and then settles down to sweet silence.

A tenor sax solo that is lively and exciting from beginning to the end. A brief introduction sets up the flavor for a modified presentation of the tune. After a modulation the second offering is more sedate and sweet. Only to be answered with a vigorous flair. Another modulation and a more expressive style where it moves upward to an elevated conclusion.

An alto sax solo that is lively and exciting from beginning to the end. A brief introduction sets up the flavor for a modified presentation of the tune. After a modulation the second offering is more sedate and sweet. Only to be answered with a vigorous flair. Another modulation and a more expressive style where it moves upward to an elevated conclusion.

A clarinet solo that is lively and exciting from beginning to the end. A brief introduction sets up the flavor for a modified presentation of the tune. After a modulation the second offering is more sedate and sweet. Only to be answered with a vigorous flair. Another modulation and a more expressive style where it moves upward to an elevated conclusion.

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