Sacred Music for Woodwinds

This acclaimed instrumental solo series has been enthusiastically embraced by skilled instrumentalists seeking resources for worship and concert. These hymn settings showcase Brant's idiomatic understanding

Based on the familiar melody, this is an engaging and lyrical chamber work for violin solo and piano, with optional strings and oboe.  It can be easily adapted for flute solo with several passages

Florid lines surround the melody in this relaxing and contemplative setting of the dearly loved tune.  

This delicate, lyric solo is presented here for C instrument with CD accompaniment.  A version for C instrument, piano and string quartet is also available.  It is sure to find a special place in

Piae Cantiones, published in 1582, is a collection of late medieval sacred and secular songs begging to be given performance, either as written, or perhaps in new settings. Three sacred tunes in

"Joyful" is the best term to describe this animated woodwind quintet arrangement. All five parts are exciting to play, with prominent flute and horn parts. This work is an accessible and fresh take on the

Arirang is considered the unofficial national anthem of South Korea. This setting for flute and piano features three distinct sections: a gentle and reflective beginning, a flowing and lyrical

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

The classic and beautiful hymn by Jacob Arcadelt has been freshly arranged for Saxophone Quartet (Soprano Sax, Alto Sax, Tenor Sax, Baritone Sax). Accessible for all levels of playing and appropriate for

The classic and beautiful hymn by Jacob Arcadelt has been freshly arranged for Woodwind Quartet (Flute, Oboe, Bb-Clarinet, Bassoon). Accessible for all levels of playing and appropriate for any church

Based on the hymn GOD OF LOVE, this hymn tune adaptation was written for the fantastic flute section during my time teaching at Tabor College. This offering was a featured chamber work on the 2013 spring

In 1609, Michael Praetorius harmonized the version of Lo, How a Rose E'er Blooming with which most of us are familiar. His contemporary, Melchior Vulpius, created a four-voice canon on the same