Instrument | |
---|---|
Level | 2 |
Occasion | |
Theme | Trust And Obey |
Writer | |
Publisher | |
Copyright | 1996 |
Trust And Obey (solo Eb/F)
$24.95
Related products
-
-
Count Your Blessings
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.
-
-
Only A Sinner
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.
-
Christ Arose
Scored for traditional brass quintet, an optional bartione part can be used to expand the piece to a sextet. After an opening upper brass fanfare, the lower parts present the theme in solemn fashion with further extended fanfares from the upper lines. The middle section reverses the stylistic assignments only to be given back to the opening styles. The with a powerful stacking of parts the piece concludes in a triumphant chord.
-
-
Spirit of God, Decend Upon My Heart
A standard brass quintet with optional trumpet for horn. The piece opens with a solo trumpet and gradually adds voices until it leads up to a modulation where the theme is now in the lower voices with gentle harmonic shifts. The upper voices respond with more motion until things are met with another modulation. This new section is more stayed until another modulation greets yet another modulation with the parts all intertwining amongst themselves and then… a solemn conclusion.
-
How Firm A Foundation
Opening with a fanfare, the first section is in block harmonization with some moving lines. It then moves into melodic statements in the lower instruments with supported obiligatti in the trumpets and horn. The structure again becomes solid in scoring only to return with similar trumpet obbligati. The obbligati is next introduced in the lower voices and then increased rhythmic activity in all voices builds to a solid ending.