This solo with piano begins with a bold march statement with an elongated rhythm of the melody. The middle section is more expressive while the final section imitates the beginning, with a solid statement of faith.

This solo with piano begins with a simple statement of the tune with a middle section that uses motivic design, only to return to the opening statement.

This solo with piano is straight forward in design, giving the young player the opportunity to display dynamic and stylistic variety.

A trombone solo which begins with a sense of agony in the piano using the tune of “Beneath The Cross Of Jesus.” The solo then makes a declamatory statement and then becomes very expressive in a recitative-like section. This section is expressive and then becoming more vigorous using thematic material froA trombonet solo which begins with a sense of agony in the piano using the tune of “Beneath The Cross Of Jesus.” The solo then makes a declamatory statement and then becomes very expressive in a recitative-like section. This section is expressive and then becoming more vigorous using thematic material from “At The Cross.” After another transition the piece become vibrant using the theme of “The Cross Is Not Greater than His Grace.” A swift modulation and a faster tempo the piece ramps up a vigorous flair where it elevates to a strong crescendo including some triple tongue motives.m “At The Cross.” After another transition the piece become vibrant using the theme of “The Cross Is Not Greater than His Grace.” A swift modulation and a faster tempo the piece ramps up a vigorous flair where it elevates to a strong crescendo including some triple tongue motives.

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.

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!

After a majestic introduction the piece settles down into a softer and more expressive rendition of the tune “How Great Thou Art.” The middle section is a variation of the first section with the melody in the piano while the soloist plays an obbligato styled line. Then the piano present a transition in a majestic style modulating to a new key with the solo line presenting the tune in again expressive style with a lot of dynamic shading. The piece concludes in a majestic sense of finality.

A brass solo that begins with a reflective piano introduction that is then joined in by the soloist. The tune is true to the original with little embellishment. A brief piano interlude gives over to the melody in the piano while covered by an sonorous obbligato in the solo line. The piece ends with a gentle motive and then settles in a sweet repose in the piano.

This solo is plaintive throughout as it begins with a simple melodic motive. The first verse is simply stated in the solo while supported with broken chords in the piano. The second verse is much like the first but the piano not supports the tune with gentle punctuations. The third verse is in the piano while the solo line produces a ebb and repose obbligato- the two line join together in a dramatic cadence and then settles down to a quite repose where the piano continues in a solemn flavor. The final statement in the solo is much like the first where it is joined with moving scale patterns in the piano. The two players sweep upward one last time to then settle down into solemnity.

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.

This solo with piano is constructed in a rondo form alternating the tunes of Jesus Loves Me, Praise Him All Ye Little Children and Jesus Loves The Little Children. Each section of the piece is in a different style thereby giving a great deal of variety technically and musically for the younger player.

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.