An accompanied clarinet trio opening with an exciting motive. The first rendition is in block harmonies with occasional rhythmic punctuations. The next section has subtle contrapuntal statements amongst all parts giving a joyous texture. After a modulation the ensemble alternates between solo statements and full ensemble giving contrasts in texture and color. Another modulation ensues where imitative motives take place through the voices only to come together in a solid fashion for an exciting ending.

An accompanied brass trio for trumpet, horn (trumpet) and trombone (baritone horn TC). The piece begins with a motive that is imitative and builds in intensity until the theme is presented in the trombone with punctuations from the upper voices. It continues much in this manner until the chorus erupts in block harmonies. After a modulation and meter change, the trio presents a fanfare style until it abruptly reverts to the original meter. And then a more solemn manner, all the while gaining strength until a conclusive ending.

An accompanied saxophone trio for altos and optional tenor. The piece begins in a lively fashion starting quietly and adding more parts as it crescendos up to the opening of the tune in full ensemble scoring. The chorus passes active melodic portions amongst the parts until it flairs up to a triumphal statement. After a modulation the theme is passed around in a hocket-like fashion and then explodes into a block set of harmonies adding more and more rhythmic movement. The concluding section uses multiple dynamic and rhythmic shifts to cause contrasts up to a resounding conclusion

A trombone trio with optional horn and BHTC parts with piano. After an opening fanfare in the brass the instruments break out into a three part harmony of the tune and rythmic modifications. The theme returns in the third part and then joined by the upper parts in fanfare-like motifs. The final section is modulated to a key that elevates the piece with final fanfare conclusions.

Published with parts for violin, violin/viola and cello plus piano. The piece begins with a rather traditional solo and then joined by an imitative second part. The piece continues in block harmonies and then breaks into contrapuntal movement. With a modulation, the parts become more ornamented. A break is then created with the piano carrying the melodic material and then joined with the trio parts moving together producing solid harmonies. Then, in traditional fashion the piece concludes in a manner of repose.

Published with multiple woodwind parts for each of the three voices plus piano. The piece begins with a rather traditional solo and then joined by an imitative second part. The piece continues in block harmonies and then breaks into contrapuntal movement. With a modulation, the parts become more ornamented. A break is then created with the piano carrying the melodic material and then joined with the trio parts moving together producing solid harmonies. Then, in traditional fashion the piece concludes in a manner of repose.

With a sense of expectation this piece has a sense of solid movement- having both solid harmonic structure among the trio parts as well as imitative movement to add interest. After a final, solid statement, the piece ends with a bold chord.

A straight forward trio for trombone (with optional horn and baritone TC parts) that is well balance in the scoring. The melody is tossed around between the various parts while the piano tends to act is an obbligato. Solid and functional.

Flute trios 1,2, fl, 3rd/clar

This is a hymn that is typically portrayed in a stately and somewhat more reserved fashion, but this arrangement exudes a sense of joy. The theme alternates back and forth between solid ensemble harmonic structures to other times of imitation and motivic snatches. Again, the whole flavor of the piece is one of exuberance – as to the thought of the text itself.

This is a hymn that is typically portrayed in a stately and somewhat more reserved fashion, but this arrangement exudes a sense of joy. The theme alternates back and forth between solid ensemble harmonic structures to other times of imitation and motivic snatches. Again, the whole flavor of the piece is one of exuberance – as to the thought of the text itself.

Two violins and viola

Two violins and viola