Trumpet, Trombone, Tuba, Horn in F, Brass Quintet - Early Intermediate - Digital Download Arranged by Alessandro Macrì. Individual Part, Score, Set of Parts. 11 pages. Published by Music Macri Editions

Level 3 - Digital Download SKU: A0.781970 Composed by Terry Rendall and Werner Thomas. Arranged by Aaron Hettinga. Children,Contemporary,Folk,Multicultural,Standards,World. 12 pages. Aaron Hettinga #6014805. Published by Aaron Hettinga (A0.781970). This wedding reception/dance party standard is presented here in an arrangement for Brass Quintet. As this song meant to be a fun participation number, much interpretation of tempo and form will be left to the performers. It’s best to start moderately slow, then increase tempo a little more every time taking the D.S. There is no need to limit a performance to following this road map once through, be ready to repeat it for as long as your dancers are still active...and up to as fast as your players can handle! Flexibility: The 5 core brass parts will work fully freestanding on their own without drums as the accompaniment can propel itself forward without depending on the drummer alone for the rhythm. This arrangement’s package includes a sub part for Alto Sax in place of the F Horn. Find more from this arranger at https://aaronhettinga.com  

Brass Quintet - Intermediate - Digital Download Composed by American Folk Hymn. Arranged by Todd Marchand. Christian, Gospel, Spiritual, Sacred, Americana. Score, Set of Parts. 14 pages. Published by Con Spirito Music

Brass Quintet Horn,Trombone,Trumpet,Tuba - Level 2 - Digital Download SKU: A0.1410576 By Caetano Velosa. By Edward Eiscu, Gus Kahn, and Vincent Youmens. Arranged by Peet du Toit. Folk,Pop. 9 pages. Peet du Toit #992996. Published by Peet du Toit (A0.1410576). (The) Carioca is a 1933 popular song with music by Vincent Youmans and lyrics by Edward Eliscu and Gus Kahn, as well as the name of the dance choreographed to it for the 1933 film Flying Down to Rio. It was sung in the film by Alice Gentle, Movita Castaneda and Etta Moten and danced by Fred Astaire and Ginger Rogers as part of an extended production dance number illustrating the ballroom dance. The dance, which was choreographed by the film's dance director, Dave Gould, assisted by Hermes Pan, was based on an earlier stage dance with the same name by Fanchon and Marco.The word Carioca refers to inhabitants of Rio de Janeiro.Astaire and Roger's short dance has historical significance, as it was their first screen dance together. Though billed fourth and fifth, many felt they stole the film, which became a big hit for RKO. The song was nominated for the Academy Award for Best Original Song at the 7th Academy Awards, but lost to an even bigger Astaire and Rogers production number, The Continental from The Gay Divorcee (1934), their next film together and their first starring vehicle. They were billed by RKO as The King and Queen of 'The Carioca.'While the song has become a jazz standard, the dance did not have longevity. Following the success of Flying Down to Rio, an attempt was made to propagate it as a new ballroom dance, without much success. It was a mixture of samba, maxixe, foxtrot and rhumba. The distinctive feature of the dance â?? at least as portrayed in the movie â?? was that it was to be danced with the partners' foreheads touching.A French cover of the song was introduced in the comedy movie La Cité de la Peur (1994) along with a dance, also meant in a humoristic way. Both the song and the dance appear in the film that takes place in Cannes during the Cannes film festival in France, and have become a reference for a whole generation in France. 25 years later, in May 2019, the Carioca scene of the movie was celebrated in Cannes with a flashmob dance and by the actors themselves who danced again the mythic scene included in La Cité de la Peur.

Brass Ensemble,Brass Quintet Horn,Trombone,Trumpet,Tuba - Level 3 - Digital Download SKU: A0.1147711 Composed by Traditional French Melody. Arranged by Todd Marchand. Christian,Christmas,Holiday,Sacred,Traditional. Score and parts. 16 pages. Con Spirito Music #747929. Published by Con Spirito Music (A0.1147711). “The Huron Carol� is the popular name for a Christmas song written in the language of the Wendat, an indigenous people of Canada — their name meaning “people of the island� or “dwellers on a peninsula� — nicknamed “Huron� (“boar's head�) by French explorers and traders due to the bristly hairstyle of Wendat men.The song began as a tool for teaching and converting the Wendat to Christianity, and it was likely written in the early 1640s by the French Jesuit missionary, Jean de Brébeuf. In Wendat, the song is titled “Jesous Ahatonnia,� which means “Jesus is Born.� The song's melody is based on a traditional French folk song, “Une Jeune Pucelle� (“A Young Maid�). Jean de Brébeuf’s lyrics present the Nativity story using images and ideas that would have been familiar to the Wendat. Angels are “spirits� and “sky people�; the Magi (wise men) are “elders,� and as an act of reverence they oil Jesus’ scalp, a practice Wendat people would have recognized. Today, “The Huron Carol's� most well-known lyrics, beginning “'Twas in the moon of winter-time,� were written by Canadian poet Jesse Middleton and published in 1927 in a small illustrated book titled “The First Canadian Christmas Carol.�Middleton’s text is not a translation, but a complete rewriting of “Jesous Ahatonnia� for English speakers, and bears almost no relation to the original Wendat text. Middleton relied on stereotypes, critics say, painting a picture of an indigenous Nativity in a “lodge of broken bark,� with “hunter braves� replacing shepherds, and “gifts of fur and beaver pelt� delivered by “chiefs from far.� Still, the carol has long been popular, perhaps in part due to its refrain, “Jesus your King is born, Jesus is born. In excelsis gloria!� and its pairing with the easily singable “Une Jeune Pucelle� tune.This arrangement for brass quintet takes a contemplative, lyrical approach, featuring rich harmonies to the chant-like tune and contrasts in dynamics and tempo that evoke both the quiet peace and solemnity accompanying the birth of Christ.©Copyright 2022 Todd Marchand / Con Spirito Music (ASCAP). All rights reserved. Visit www.conspiritomusic.com

Level 3 - Digital Download SKU: A0.911345 By Keith Terrett. By Various. Arranged by Keith Terrett. Jazz,Spiritual,Traditional. 43 pages. Keith Terrett #517391. Published by Keith Terrett (A0.911345). Four Early Jazz Classics from the USA for Brass Quintet includes: 1)Little Brown Jug:It was originally a drinking song. It remained well known as a folk song into the early 20th century. Like many songs which make reference to alcohol, it enjoyed new popularity during the Prohibition era. In 1939, bandleader Glenn Miller recorded and broadcast his swing instrumental arrangement of the tune with great success, and the number became one of the best known orchestrations of the American Big Band era. 2)Frankie & Johnny:Frankie and Johnny (sometimes spelled Frankie and Johnnie; also known as Frankie and Albert or just Frankie) is a traditional American popular song. It tells the story of a woman, Frankie, who finds that her man Johnny was making love to another woman and shoots him dead. Frankie is then arrested; in some versions of the song she is also executed. 3)Tin Roof Blues:Tin Roof Blues is a jazz composition by the New Orleans Rhythm Kings first recorded in 1923. It was written by band members Paul Mares, Ben Pollack, Mel Stitzel, George Brunies and Leon Roppolo. The tune has become a jazz standard and is one of the most recorded and often played New Orleans jazz compositions. 4)Battle Hymn of the Republic:The Battle Hymn of the Republic, also known as Mine Eyes Have Seen the Glory outside of the United States, is a song by American writer Julia Ward Howe using the music from the song John Brown’s Body. Howe’s more famous lyrics were written in November 1861, and first published in The Atlantic Monthly in February 1862. The song links the judgment of the wicked at the end of time (Old Testament, Isaiah 63; New Testament, Rev. 19) with the American Civil War. Since that time, it has become an extremely popular and well-known American patriotic song. Arranged here for Brass Quintet, this arrangement is available for most ensembles of your choice, e-mail for other arrangements. An excellent selection for your next concert!

Brass Quintet Horn,Trombone,Trumpet,Tuba - Level 1 - Digital Download SKU: A0.1402823 Composed by Daniel Alomia Robles, Jorge Milchberg, and Paul Simon. Arranged by Alan Frazer (arranger) & Peet du Toit (orchestrator). Folk. 10 pages. Peet du Toit #986049. Published by Peet du Toit (A0.1402823). This song started out as an Andean folk melody that Paul Simon came across in 1969 when he played a week-long engagement at a theater in Paris along with the South American group Los Incas, who played an instrumental version of the song called Paso Del Condor. Said Simon: I used to hang around every night to hear them play that. I loved it and I would play it all the time, and then I thought, Let's put words to it.The Peruvian songwriter Daniel Robles recorded this song in 1913, and copyrighted it in the United States in 1933 during his travels in America. When Simon recorded it with his added lyrics, he thought it was a traditional song, as that's what Los Incas told him. When Robles' son filed a lawsuit, Simon had to give Robles a composer credit on the song, with his estate getting those royalties.In discussing the song, Simon always talks about it as being based on a traditional Peruvian song, and we've never heard him mention Robles. This wasn't the first time Simon got tangled over songwriting credits on traditional melodies: Simon & Garfunkel's Scarborough Fair / Canticle was based on a folk song, but his arrangement came from a singer named Martin Carthy. Simon was always clear on his influences, but legal misunderstandings were a problem in these cases.Los Incas, who were the group that introduced Simon to the song, provided the instrumentation when they recorded it in Paris with Simon. Their leader, Jorge Milchberg, played a charango, which is an Andean string instrument made from the shell of an armadillo. Simon played acoustic guitar, and other members of Los Incas played flutes and percussion. When Simon brought the track to America, he added his lyrics. This was one of the easier songs to record for the Bridge Over Troubled Water album, since the backing track was already mixed together - it was just a matter of adding the vocals.The title translates to English as The Condor Passes. The lyrics Robles wrote to the song in 1913 are about returning home to his native Peru.Los Incas leader Jorge Milchberg got a composer credit on this song along with Simon and Robles. Milchberg later became the head of the group Urubamba and remained friends with Simon, who toured with them and produced their first American album. >>The Wainwright Sisters covered this for their 2015 Songs in the Dark album. Lucy Wainwright Roche explained to The Sun: I chose 'El Condor Pasa' because it was one of the first songs I ever learned to play on it guitar and it has a childlike quality to it, but it also has a darkness and sadness that fit in well with the album.Paul Simon performed this on both Sesame Street (in 1977) and The Muppet Show (in 1980).

Brass Quintet Horn,Trombone,Trumpet,Tuba - Level 3 - Digital Download SKU: A0.1210866 Composed by Traditional. Arranged by James Smith. Christmas,Folk,Holiday,Religious,Traditional. 22 pages. James Smith #808575. Published by James Smith (A0.1210866). In the manner of The Twelve Days of Christmas, The Twelve Songs of Christmas is a medley of 12 classic songs heard during the holidays in addition to The Twelve Days of Christmas: God Rest Ye Merry Gentlemen, Deck the Halls, We Wish You A Merry Christmas, The First Noel, Hark! the Herald Angels Sing, O Come All Ye Faithful, It Came Upon A Midnight Clear, Joy To the World, O Holy Night, We Three Kings, and the Ukranian folk chant Shchedryk, given Christmas-themed lyrics later on. Perfect for a holiday concert.A string quartet version is available here. A woodwind quintet version is available here.View other selections in my catalog at linktr.ee/jamessmithmusic.

Horn,Trombone,Trumpet,Tuba - Level 4 - Digital Download SKU: A0.782117 By Frederick Fennell. By Richard Milburn. Arranged by Aaron Hettinga. 19th Century,Classical,Folk,Patriotic,Traditional. 22 pages. Aaron Hettinga #6851515. Published by Aaron Hettinga (A0.782117). Richard Milburn was a 19th-century African-American composer and barber who wrote the melody for Listen to the Mocking Bird which was later set to lyrics by Alice Hawthorne, also known as Septimus Winner (1827 – 1902). The song’s extreme popularity led Gustavus Washington Ingalls (1824-1903) as bandmaster for New Hampshire’s 3th Regimental band (also known as the Port Royal Band), to contribute a spirited arrangement of Milburn’s melody for the Port Royal band books used during the American Civil War.

Composed by Traditional song. Arranged by Keith Terrett. 20th Century, Romantic Period, World, Asian, Patriotic. Score, Set of Parts. 8 pages. Published by Casio (S0.112743). - Score,Set of Parts - 20th Century,Romantic Period,World,Asian,Patriotic - Casio

Horn,Trombone,Trumpet,Tuba - Level 3 - Digital Download SKU: A0.763605 Composed by traditional American tune. Arranged by Nigel Williams. Folk,Patriotic,Standards. 11 pages. Nigel Williams #6087521. Published by Nigel Williams (A0.763605). The official song of the US Army since 1956, also known as Caissons Song. The trombone introduces the melody before handing it over to the trumpets. The tuba provides a walking bass line while the other instruments provide a snappy rhythmic accompaniment. Ideal repertoire at an any patriotic event or service of worship, and also a great encore piece for a brass quintet recital program. The full score downloads with five individual parts attached. Enjoy browsing my selection of brass quintet arrangements available on SMP.

Brass Ensemble - Level 5 - Digital Download SKU: A0.1116163 By Pasquale Tassone. By Unknown. Arranged by Pasquale Tassone. Folk,Pop. Score and parts. 37 pages. Pasquale Tassone #717818. Published by Pasquale Tassone (A0.1116163). Bella Ciao (Goodbye Beautiful) is an Italian protest folk song from the late 19th century, originally sung by the seasonal female rice paddy workers in Northern Italy in protest to the harsh working conditions.  The song was modified and adopted as an anthem of the Italian resistance movement by the partisans who opposed the Nazi occupiers between 1943 and 1945. Versions of Bella Ciao continue to be sung worldwide as hymns of freedom and resistance. Written during the Covid 19 Pandemic, Variations on “Bella Ciao’ was inspired by the scenes of music- making by Italian musicians during the darkest days of the pandemic. From rooftops, balconies and deserted piazzas, people continued to express themselves in testaments to the human spirit. This arrangement includes a score and a full set of parts.

Horn,Trombone,Trumpet,Tuba - Level 3 - Digital Download SKU: A0.839121 Composed by John Henry Hopkins Jr. Arranged by Craig Garner. Christmas,Holiday,Jazz,New Age,Sacred. 19 pages. Dorm 40 Music #444471. Published by Dorm 40 Music (A0.839121). This American carol from 1857 is interlaced with Carol of the Bells, a Ukrainian folk song. The pensive mood of this arrangement is interrupted, with a jazz-inspired verse in 4/4 time, before returning to the original melody. (an optional cut is provided to skip over the jazz verse, if necessary, for use in church services) This arrangement makes a nice addition to your Christmas repertoire and is appropriate for church services and Christmas concerts. Scored for 2 B-flat trumpets, horn, trombone and tuba. Performance time, 3:15. Published by Dorm 40 Music, www.dorm40music.com.

Brass Quintet Horn,Trombone,Trumpet,Tuba - Digital Download SKU: A0.1468129 Composed by F. Leslie Smith. Arranged by F. Leslie Smith. 19th Century,Chamber,Folk,Historic,Traditional. 49 pages. Sweetwater Brass Press #1046440. Published by Sweetwater Brass Press (A0.1468129). In 1856 Joseph P. Webster, a Wisconsin songwriter, met Henry D.L. Webster (no relation), formerly the minister of Zanesville, Ohio’s Universalist Church.  Joseph was in the process of writing a song but needed lyrics to go with his melody.  Henry obliged by writing a longish poem about the love of his life, Ella Blocksom.  She had been his fiancée, but the engagement had been broken and, apparently, so had Henry’s heart.  Joseph’s melody needed a name that would fit into a three-note phrase, so “Ella” was changed to “Lorena.”  Chicago’s Higgins Brothers published the song in 1857, and it became widely popular.  When the American Civil war broke out, “Lorena” was beloved by both Union and Confederate soldiers as they thought of the wives and girlfriends they had left behind.       J.P. Webster’s “Lorena” is beautiful and plaintive. It is no wonder that this song has remained a sentimental favorite over the years and is still performed and recorded.  In this composition, “Lorena: A Brass Quintet Setting,” the “Lorena” tune has been expanded and transformed to create additional melodies that enhance and complement the original.  You’ll find it a pleasure to play and a real crowd pleaser for audiences.     This composition is 201 measures in length.  It begins in the key of E-flat, transitions to B-flat at section C (measure 51) and goes to F at section G (measure 141).  Initial tempo marking is Adagio, increasing to Moderato at section C.  There are a number of temporary tempo variations and fermata marks, and the last 9 measures are characterized by a gradual slowing.     The introduction is 21 measures in length.  It leads to the second section, which consists of a plain, simple and straightforward statement of J.P. Webster’s “Lorena” theme, complete with grace notes and gruppetto.  In this section, Horn and Trumpet 1 do the honors, eventually joined by Tuba, and it should be played with great expression.       At section C, tempo then picks up, and the arrangement presents a series of explications of the theme in various styles.       The final section, I (measure 179), reprises most of the variations and ends with a partial reiteration of the “Lorena” theme.     Performance time is about eight minutes, forty seconds.  Tuba plays several notes near the top of its scale; otherwise, all notes are within the normal playing range of each instrument.     The composer, Les Smith, will be happy to provide substitute parts (for example, treble clef baritone for trombone) at no charge.  He would like to receive your suggestions, comments, corrections and criticisms.  Contact him at lessmith61@bellsouth.net.  For more arrangements by Les, enter Sweetwater Brass Press (without the quotation marks) in the Sheet Music Plus or Sheet Music Direct search box.