Lift High The Cross

A brass quintet with opt. Trumpet for horn and baritone TC. It begins with fanfare motifs of the tune and then breaks into the hymn adding more parts as it progresses. It continues with a Q&A type of dialog between the lower, then upper voices. The second setion in a different key is reminiscent of the opening only this time in the middle voices and again moves in a Q&A type of dialog. Again modulating to a new key the theme is bounced around with rhythmical interest only to finalize in strong chordal patterns and ending on a bold declamation.

A traditional brass quintet with an optional baritone part which allows to be a sextet as well. The beginning is active establishing a happy beginning to the piece. Then all the parts are in straight harmonies and then become fragmented. A modulation takes place allowing the lower voices to carry the tune. Then a tuba sola solo commences with light upper parts decorating the lines, until the parts fragment. This concludes with a modulation with motivic statements. After a brief intermission the piece takes off again with the tune in the lower voices and the trumpets add a flurry descants. As the piece comes to a close more and more voices add to the mix until the pieces adds a solid, grand statement.

Be ye thankful! Written for standard woodwind quintet with optional parts, this piece is highly decorated melodically and active rhythmically. It gives both the sense of majesty and joy.

A woodwind quartet for Flute, oboe, and two clarinets with optional parts for flute and alto sax. Plus a set of fifth parts for bassoon or bass clarinet can allow for the piece being a quintet. The first statement is in the clarinets where it leads into a full ensemble passing the lines amongst the parts. A delightful little segue leads to a modulation where the tune is in the lower lines alternated with flourishes in the flutes. This Alternating texture carries on for some time. Then the tempo picks up for a vibrant exclamation where the theme is once again bantered about where it makes one final boast and concludes.

This quintet (opt. Sextet) begins with extraneous motifs leading into the first statement of the theme in the low brass offset by answering material in the trumpets. The pieces continues in this question and answer texture passing motivic material around the parts. Then in a transition mimicking the beginning a modulation takes place where the theme is more expressive and becomes more aggressive leading up to a majestic coda where it ends on a thought-provoking conclusion.