Hebrews.7

A good piece to open a service with since it has the character of a jubilant fanfare. The brass duet lines are solid and ends on a forceful note.

Brass quartet for two trumpets and two trombones (opt horn and BHTC). The opening section follows very much the manner of the original hymn with harmonic counterpoint to add interest.

This is a brass trio with piano accompaniment. The brass scoring is for trumpet, horn or flugel horn, and trombone or baritone. The style is presented in a majestic manner first in block harmonies and then

A trombone solo which begins with a sense of agony in the piano using the tune of "Beneath The Cross Of Jesus." The solo then makes a declamatory statement and then becomes very expressive in a

This solo starts out with in a march triumphant style with a short introduction. The first section is stated in a rather familiar rendition of the melody in varied rhythmic devices. The middle section is a

This solo with piano accompaniment is based on a nautical themed gospel song. The arrangement is from the teaching files of Monty Budahl and is useful for vesper, offertory and special. This simple

A Rich Heffler Music arrangement. The piece is in irregular meters throughout. The work is in a continual jovial manner and is a excellent work for the more mature player.

Traditional setting, slightly contemporary- begins with piano in a motif of the theme. The first section is a stylized rendition of the theme. Then, it continues in the chorus much the same.  A

This trombone trio begins with a joyful piano introduction which leads into a three part harmonization of the instrumental parts. The second section is a lilting (waltz feel) in block harmonization and then

Originally in a duple meter this arrangement very cleverly is in a 6-8 march style. It progresses in a rather processional manner and then transitions to a slower reflective expression. The piece returns to

Originally in a duple meter this arrangement very cleverly is in a  6-8 march style. It progresses in a rather processional manner and then transitions to a slower reflective expression. The piece

A collection for trombone and piano including arrangements on O Come, All Ye Faithful,  O Come, O Come, Immanuel, and It Came Upon The Midnight Clear. These solos exploit the full

A collection for trombone and piano including arrangements on Hark! The Herald Angels Sing, Go, Tell It On The Mountain, and How Great Our Joy.  These solos make good use of

A collection for trombone and piano including arrangements on Come, Thou Long Expected Jesus, Angels We Have Heard On High, and What Child Is This? These solos exploit the full range of

This solo is in a march style throughout. It begins with little fanfare figures in the piano and then as it progress the soloist and piano exchange rolls. The second section is in a variation style while

A brass quartet that begins with delightful counterpoint and then breaks into the tune in the trombone with a horn counterline which in turn is punctuated with the trumpet lines. The middle section opens

A straight forward trio for trombone (with optional horn and baritone T.C. parts) that is well balanced in the scoring. The melody is tossed around between the various parts, while the piano tends to act as

After a majestic introduction the piece settles down into a softer and more expressive rendition of the tune "How Great Thou Art." The middle section is a variation of the first section with the melody in

An accompanied trombone solo that begins with a gentle piano introduction. The soloist then presents the tune with subtle modifications. The second section progresses with even greater melodic enhancement.

An accompanied trombone solo based on hymns of dedication including: "God Of Our Fathers," in variation "Am I A Soldier Of The Cross?" and "Onward Christian Soldiers," and “Lead On, O King Eternal." A

This sacred set of solos is presented in a reverent setting for Lent and Holy Week services. The soloist is provided the opportunity for musical expression with a fluid cadenza before the

An unaccompanied brass duet for trumpet and trombone (opt. Horn). This pieces uses subtle imitative devices and moving counterpoint between the parts. It ends with a sense of quiet confidence.