Crown Him With Many Crowns

A Brass choir scored for four trumpets (optional horn), two trombones, baritone and tuba. The beginning is stated in the lower voices in a solemn fashion. The theme then presents itself in the upper voices in s straight forward manner followed by a key shift, giving over to a tuba solo with the middle voices supporting it in a flowing fashion. The next section becomes more rhythmic adding more voices for a full sound continuing on with more imitation amongst the voices building more agitation. The ensemble becomes increasingly chordal with some punctuating motives in the lower parts and then settles into a quiet resolve.

Three Plus Flutes for three soprano with opt. 4th/ob. with alto and bass & piccolo. 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.

For full brass choir and timpani. The piece begins in a fanfare fashion in the trumpets, echoed back by the lower brass. The theme is presented in the trumpets and horns while the accompaniment is punctuated in the trombones. Then the full choir is presented in a choral fashion. The tune is now in the horns while the trumpets and lower brass and timpani make vigorous intejrections. The second section sees an interplay between the various timbres of brass. A modulation takes place and the lower brass present the tune while the trumpets and horns add flourishes. Shortly thereafter the roles are reversed. One final set of fanfares and the piece ends on a high note and active lower brass.

Three Plus Flutes for three soprano with opt. 4th/ob. with alto and bass. The begins with the tune in the upper line and then shifted to activity in the inner lines. And then back to the voicing of the beginning, coming to a solid conclusion.