Brass Quintet - Level 2 - Digital Download SKU: A0.775260 Composed by Walter Donaldson, Gus Kahn. Arranged by Bill Wilson. 20th Century. 12 pages. Alexander Wilson #4604233. Published by Alexander Wilson (A0.775260). The prolific Tin Pan Alley lyricist Gus Kahn and composer Walter Donaldson teamed up to write Louisiana, an upbeat tune with just a hint of nostalgia. Donaldson introduces an unexpected syncopated rhythm in this song that may take your ensemble off guard. Arranged for brass quintet (two Bb trumpets, French horn, trombone, and tuba). Performance time is approximately 2:18. Visit our website, www.tootsuitebrasspublishing.com, for a catalog of our arrangements available through sheetmusicplus.com.

Brass Quintet Horn,Trombone,Trumpet,Tuba - Level 3 - Digital Download SKU: A0.1463552 By Various. By W.C. Handy. Arranged by Will Corbin. Blues,Jazz,March. 22 pages. Will Corbin #1042277. Published by Will Corbin (A0.1463552). W.C. Handy's St. Louis Blues is an American classic. Jerry Gray, as a GI sergeant-musician during World War II, arranged it in march style for his boss, Glenn Miller, then a major and director of the Army Air Forces Orchestra. This is an adaptation of Gray's fabulous arrangement, taken down a step to put it in a friendlier key. It's arranged for two trumpets, horn, trombone and tuba. And it swings.If you want alternative instrumentation, please contact me at wilcor@aol.com.

Brass Quintet Horn,Trombone,Trumpet,Tuba - Level 3 - Digital Download SKU: A0.1460696 Composed by Eddie De Lange and Louis Alter. Arranged by Will Corbin. Jazz,Pop. 15 pages. Will Corbin #1039599. Published by Will Corbin (A0.1460696). Here's a latter-day Dixieland favorite which first appeared in the 1947 film New Orleans. It was performed in that setting by Louis Armstrong and the great Billie Holiday. This arrangement is adapted for brass quintet from an old stock chart of mixed instrumentation.If you want to use different instruments, I'm happy to accommodate. Contact me at wilcor@aol.com.

Composed by Louis H. Redner (1830-1908). Arranged by Gert Th. Walter. Christian, Christmas, Children's Music. Score. 11 pages. Published by Gert Th. Walter (S0.244233). - Score - Christian,Christmas,Children's Music - Gert Th. Walter

Brass Quintet Horn,Trombone,Trumpet,Tuba - Level 3 - Digital Download SKU: A0.800275 Composed by Louis Bourgeois (c. 1510-1560). Arranged by Todd Marchand. Chamber,Christian,Sacred. 8 pages. Con Spirito Music #407381. Published by Con Spirito Music (A0.800275). The “Old Hundredth� psalm/hymn tune earned its name from its association with a metrical setting of Psalm 100 by William Kethe (d. 1594), published in the Anglo-Genevan Psalter (1591). Kethe’s first stanza, based on Psalm 100, verses 1-2, reads: All people that on earth do dwell,Sing to the Lord with cheerful voice.Him serve with fear, His praise forth tell;Come ye before Him and rejoice.Thus, the “Old Hundredth� is popularly titled, “All People That on Earth Do Dwell.� It is also well-known as the tune for the doxology, “Praise God From Whom All Blessings Flow.� The tune is attributed to the French music theorist and composer Louis Bourgeois (c. 1510-1559), who contributed a number of tunes to the Genevan Psalter of 1551.This arrangement is fitting as a short introit to a service of worship.©2013 Todd Marchand / www.conspiritomusic.com

Brass Quintet Horn,Trombone,Trumpet,Tuba - Level 4 - Digital Download SKU: A0.1446054 Composed by Christoph Willibald Gluck,. Arranged by Keith Terrett. Classical,Contest,Festival,Historic,Instructional,Opera. 16 pages. Keith Terrett #1025876. Published by Keith Terrett (A0.1446054). Orfeo ed Euridice is an opera composed by Christoph Willibald Gluck, based on the myth of Orpheus and set to a libretto by Ranieri de' Calzabigi. It belongs to the genre of the azione teatrale, meaning an opera on a mythological subject with choruses and dancing.The piece was first performed at the Burgtheater in Vienna on 5 October 1762, in the presence of Empress Maria Theresa. Orfeo ed Euridice is the first of Gluck's reform operas, in which he attempted to replace the abstruse plots and overly complex music of opera seria with a noble simplicity in both the music and the drama.The opera is the most popular of Gluck's works, and was one of the most influential on subsequent German operas. Variations on its plot—the underground rescue mission in which the hero must control, or conceal, his emotions—can be found in Mozart's The Magic Flute, Beethoven's Fidelio, and Wagner's Das Rheingold.Though originally set to an Italian libretto, Orfeo ed Euridice owes much to the genre of French opera, particularly in its use of accompanied recitative and a general absence of vocal virtuosity. Indeed, twelve years after the 1762 premiere, Gluck re-adapted the opera to suit the tastes of a Parisian audience at the Académie Royale de Musique with a libretto by Pierre-Louis Moline. This reworking was given the title Orphée et Eurydice, and several alterations were made in vocal casting and orchestration to suit French tastes.Ther picture is Count Francesco Algarotti, an Italian polymath, philosopher, poet, essayist, anglophile, art critic and art collector. He was a man of broad knowledge, an expert in Newtonianism, architecture and opera. He was a friend of Frederick the Great and leading authors of his times: Voltaire, Jean-Baptiste de Boyer, Marquis d'Argens, Pierre-Louis de Maupertuis and the atheist Julien Offray de La Mettrie. Lord Chesterfield, Thomas Gray, George Lyttelton, Thomas Hollis, Metastasio, Benedict XIV and Heinrich von Brühl were among his correspondents.''The Sicilienne and Rigaudon is one of the many pieces that violin virtuoso Fritz Kreisler composed in the style of other composers. When he first presented and published these pieces, he offered them as recently discovered works by those other composers, newly adapted and arranged by himself. In the case of Sicilienne and Rigaudon, it is eighteenth-century French violinist/composer François Francoeur whose name is on the title sheet, though the piece really has nothing to do with Francoeur's style.The piece is a simple and a charming one, however. The Sicilienne is a binary-form miniature that sweeps along on a characteristic dotted rhythm, with a rather melancholy melody. Think old French ballet. The constant 16th notes of the Rigaudon, give it a character quite unlike that of a traditional rigaudon-a cheerful Baroque dance movement in duple meter.

Brass Quintet Euphonium,Flugelhorn,Trombone,Tuba - Level 4 - Digital Download SKU: A0.817111 Composed by Louis Moreau Gottschalk. Arranged by Charles Decker. 19th Century,Historic,Jazz,Multicultural,Romantic Period,World. 32 pages. Charles Decker Music Press #3541167. Published by Charles Decker Music Press (A0.817111). Bamboula is from Gottschalk's three Lousiana Creole Pieces, composed from 1844 to 1846 by the 19th century superstar pianist and composer born in New Orleans. The shifting moods and cakewalk characteristics made it one of his most popular and enduring works as well as a precursor to ragtime. The arrangement is scored for two B-flat trumpets with C trumpet alternate parts, horn in F with flugelhorn/trumpet substitute for horn, trombone and tuba.  The audio file is an actual brass quintet performance and not a computer playback of the score.See more than 70 mixed brass ensemble publications with Charles Decker Music Press at Sheet Music Plus for inexperienced to advanced musicians with music ranging from the Renaissance to contemporary new works for trios, quartets, quintets, brass choir and brass band. Many of the mixed brass ensemble editions include alternate and substitute parts being alternate C trumpet parts for B-flat trumpet parts, flugelhorn/trumpet substitute for horn, horn substitute for trombone and treble clef euphonium substitute for trombone. See also 50+ homogeneous brass group editions with Charles Decker Music Press at Sheet Music Plus for horn, trumpet and trombone ensembles. Check out the Music of Black Composers Series with Charles Decker Music Press at Sheet Music Plus with 25 arrangements for mixed brass ensembles ranging from early jazz to symphonic works with composers Samuel Coleridge-Taylor, R. Nathaniel Dett, William Grant Still, Will Marion Cook, James Reese Europe, James Johnson and others. All ensemble publications include recordings of the entire edition.  For more of my brass quintet editions use these links to Kendor Music and Cherry Classics Music for listings of my arrangements of music by J.S. Bach, H.L. Clarke, Debussy, Dukas, Elgar, Falla, Holst, Ives, Nestico, Rachmaninoff, Satie, and Tchaikovsky.

Brass Quintet Horn,Trombone,Trumpet,Tuba - Level 3 - Digital Download SKU: A0.1461185 By The Dixie Cups. By Barbara Ann Hawkins, Joan Marie Johnson, and Rosa Lee Hawkins. Arranged by Will Corbin. Jazz,Pop. 24 pages. Will Corbin #1040044. Published by Will Corbin (A0.1461185). This song has roots in a Mardi Gras chant that ostensibly came from some unspecified Native American language. James Sugar Boy Crawford turned it into a song, and his band, Sugar Boy and his Cane Cutters (southern Louisiana had a lot of that) recorded it in 1953 as Jock-a-Mo, which may mean kiss my ass or a defiant response to that effect. It was recorded again, as kind of a whim, in 1964 by the girl trio The Dixie Cups, who made it a hit. It has since been endlessly covered by everyone from Cyndi Lauper to The Grateful Dead.This arrangement is essentially solo variations on the main melody backed by horn rhythms. If you want to make it go on endlessly, it's a simple three-chord tune (actually, mostly two chords) that lends itself to simple improv. It's arranged for two trumpets, horn, trombone and tuba.If you require alternative instrumentation, I'm happy to help. Contact me at wilcor@aol.com.

Brass Quintet Horn,Trombone,Trumpet,Tuba - Level 4 - Digital Download SKU: A0.1401614 Composed by Joseph Lamb. Arranged by F. Leslie Smith. 20th Century,Classical,Historic,Ragtime. 32 pages. Sweetwater Brass Press #984793. Published by Sweetwater Brass Press (A0.1401614). Ragtime was originally and primarily piano music.  The Library of Congress traces the origin and wellspring of ragtime to St. Louis, Missouri.  The Britannica website explains, “Ragtime evolved in the playing of honky-tonk pianists along the Mississippi and Missouri rivers in the last decades of the 19th century. It was influenced by minstrel-show songs, African American banjo styles, and syncopated (off-beat) dance rhythms of the cakewalk, and also elements of European music.�     But it wasn’t until the mid-1890s, when music publishers started printing ragtime scores, making the music available to the public at large, that ragtime’s popularity began to soar.  By 1900 ragtime was the popular music.  It stayed that way until about 1917 when the rise of jazz began to overtake it.  By 1920, ragtime was nearly forgotten.     Thirty years later, a ragtime revival began.  And one Patricia Lamb-Conn found out that her father, Joseph F. Lamb, was a well-known composer of ragtime.  In fact, the “Big Three� composers of classical ragtime are considered to be Scott Joplin, James Scott and the only non-African American, Joseph Lamb.     Lamb was born in 1887 in New Jersey, taught himself to play piano and was very much influenced by Joplin’s early ragtime publications.  From there, Lamb went on to develop into a master of classic ragtime.     One of Lamb’s most popular works was a 1916 composition he titled “Patricia Rag.� (The title apparently had nothing to do with his daughter, who was born in 1924.)  It consists of four themes in five sections, with the first theme repeated after sections 1 and 2.  Lamb pitched the opening in E-flat Major, changing to A-flat Major at the Trio.       This brass quintet arrangement, completed in 2024, consists of 150 measures, approximately five minutes, ten seconds in length.  It retains the basic structure of the original piano score but modifies the pitches to B-flat Major and E-flat Major, respectively, to accommodate the normal playing range of the brass instruments.  Possible exceptions for some players include:  (1) Trumpet 1 plays its A-above-the-staff a number of times and its B above-the-staff once; (2) Trombone plays several E above-the-staff notes; (3) Tuba plays several way-below-the-staff F notes and one high G note. Throughout the arrangement, the original melody is maintained and featured, but in some sections the background and harmony are altered to feature one or more of the five instruments.  In the Trio, the sections designated by rehearsal marks F and G are slowed and treated as a serenade; the original tempo is restored at H.  In performing this arrangement, players should pay particular attention to dynamics.  Additionally, because of the nature of ragtime, this piece may require more-than-usual practice and rehearsal.     The arranger, 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.

Brass Quintet Horn,Trombone,Trumpet,Tuba - Level 3 - Digital Download SKU: A0.1462284 Composed by Edward Ory. Arranged by Will Corbin. Jazz. 23 pages. Will Corbin #1041039. Published by Will Corbin (A0.1462284). My dad loved Dixieland music, so I arranged a lot of it for his enjoyment (and we made it part of the party we put together to celebrate his life, along with a lot of martinis). Muskrat Ramble was one of the first. It's a Kid Ory tune -- although that has long been in dispute -- that was first recorded in 1926 by Louis Armstrong and his Hot Five. This arrangement is not quite so hot, since it's a kind of tamed down Dixie for two trumpets, horn, trombone and tuba.If you need alternative instrumentation, please contact me at wilcor@aol.com.

Brass Quintet Horn,Trombone,Trumpet,Tuba - Level 3 - Digital Download SKU: A0.1458413 Composed by Spencer Williams. Arranged by Will Corbin. Blues,Historic,Jazz. 22 pages. Will Corbin #1037395. Published by Will Corbin (A0.1458413). Basin Street sits on the edge of the French Quarter of New Orleans. A few years before this song was written, it served as the border of a red-light district known as Storyville. A city councilman named Sidney Story came up with the idea of creating a district to which prostitution would be limited, where it could be watched and regulated. So The District was created in 1897; it soon became known as Storyville, much to the chagrin of Councilman Story. During its 20-year official life, a visitor could buy a blue book for two bits that listed prostitutes alphabetically and by race and address. It was abolished in 1917 during World War I because it violated a rule that no house of prostitution could be within 5 miles of a military base. The Navy wanted its sailors pure of heart. It's also a place where jazz grew up. The bordellos hired musicians to entertain customers, who weren't particularly interested in the music. So the mostly black performers were free to experiment, to try new syncopated rhythms, to blend the sounds of African drums and plantation gospel to come up with what would become known as Dixieland music. Storyville (it would later mostly be razed for public housing, and still later begin to gentrify as property values rose) was where Spencer Williams wrote the song in 1928; Louis Armstrong, who spent some of his childhood nearby, first recorded it in 1928. It has since been recorded by dozens of other artists.If you need alternative instrumentation, I'm happy to accommodate. Contact me at wilcor@aol.com.

Brass Quintet Horn,Trombone,Trumpet,Tuba - Level 3 - Digital Download SKU: A0.1463544 By Various. By Traditional. Arranged by Will Corbin. Blues,Jazz,Traditional. 22 pages. Will Corbin #1042269. Published by Will Corbin (A0.1463544). This song's roots go back to medieval England and may or may not refer to a hospital for lepers. Or maybe one for prostitutes. Or for young rakes with veneral disease and an addiction to alcohol. Whatever the case, it has been through many iterations, many names and many supposed composers. Louis Armstrong's 1928 recording put it permanently on the U.S. blues/jazz map.This rendition is inspired in part by a treatment by Troy Andrews, otherwise, and mostly, known as Trombone Shorty.If you need alternative instrumentation, please contact me at wilcor@aol.com.