Sacred Music for Woodwinds

An accompanied clarinet solo that includes the hymns, Jesus Led Me All The Way,  and  All the Way My Savior Leads Me. After a brief intro of "All The Way…" the soloist

Beginning with a calm, reverent setting, these solos are expressive throughout. The middle section is somewhat freer in melodic presentation with the solo treated more as an obbligato line. The quiet ending

A flute solo that begins with Flow Gently Sweet Afton acapella in the lower range of the flute, and is then joined with the piano. It is repeated up the octave with a more involved accompaniment.

A traditional early American hymn scored for a medium-advanced instrumental soloist. A good choice for communion and other special moments during a worship service.

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 melody

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

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

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

This solo begins with a easy lilt underpinned by a gentle accompaniment. Moving into the second section of the piece the tune is embellished in a variation format of chromatic triplets. It repeats

A lively and exciting solo from beginning to end - a brief introduction sets up the flavor for a modified presentation of the tune; after a modulation, the second offering is more sedate and sweet, only to

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

Written in typical passacaglia (theme in the bass line) and Fugue fashion, the theme is presented in the piano.  The first variation is a gently modified tune in duple with the accompaniment in