Wade In The Water (Spiritual)

A traditional brass quintet with opt. trumpet for horn and extra baritone for use as a sextet. The piece takes off immediately with a thematic statement in the trombone, breaking in a duet with the horn. Additional entries keep massing in the lower voices until most of the ensemble is involved. All of a sudden, the upper brass, silently present the tune in block harmonies until the lower brass present a countermelody. Now! Everybody’s involved. Next, a dialog between the upper brass and middle brass takes place as it alternates back and forth. With a modulation in place the tempo goes slow, the tune is in the lower brass- expressive! All of a sudden from bottom to top motives are presented- in stacked chords…. This goes through different transformations until the piece elevates into an uplifting conclusion.

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.

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.

A woodwind quintet with opt. parts for Alto Sax and Bass Clar. This piece presents itself with a sense of joy throughout with the introduction itself in a motivic manner setting the tone The piece passes through several modulations where the upper voices carry the melodic material while the lower voices support the ensemble with strength. The writing of this arrangement is well crafted to take advantage of the “woodwind quintet sounds.” It continues that way right up to the very end with a declamatory statement of “Mercy.”

A standard brass quintet with optional baritone for a sextet. The introduction starts in the tuba and then adds more voices as you would expect- rising! The tune is now bantered about between the upper voices and then lower ones. Modulation! And the Q&A game continues. Another modulation and the tempo suddenly changes to a slower, expressive one with the French horn featured. As before the Q&A continues. Another modulation and an “a tempo” where the piece now in full ensemble starts lower and softer and continually adds activity and pitch raising until a vigorous conclusion.