By Sam Pilafian / Chuck Marohnic. For Brass Quintet. Sacred, Christmas. Medium. Published by MorningStar Music Publishers - Digital Sheet Music

Brass Ensemble - Level 4 - Digital Download SKU: A0.767723 Composed by Traditional. Arranged by Jerry Lanning. Folk. Score and parts. 28 pages. Jerry Lanning #3047875. Published by Jerry Lanning (A0.767723). The first trumpet in my brass quintet asked for a short feature, and this is it. It’s one of the most difficult tunes to arrange because it’s traditionally harmonised by only two chords (the tonic and the major triad on the flattened leading note). Somehow if you start to reharmonise it, it loses its essential character. So I’ve constructed a largely unrelated intro and coda and an episode in the middle to give variety. The first trumpet part is showy but not too difficult for a competent player, although a big breath is needed at the end. Horn in Eb, Trombone in Bb, Bass in Eb and Bass in Bb parts are provided as alternatives for brass band players.

Brass Quintet - Level 2 - Digital Download SKU: A0.775288 Composed by Allan Stuart, Paul Dupont. Arranged by Bill Wilson. 20th Century. 11 pages. Alexander Wilson #4796729. Published by Alexander Wilson (A0.775288). La Rosita, by lyricist Allan Stuart and composer Paul Dupont, is a charming Latin-flavored piece. Starting in minor, the chorus switches to major. The piece rapidly switches between triplet, duplet, and somewhat ambiguous feels.   This piece was used to accompany the 1923 silent film Rosita. Performance time is approximately 1:45. Visit our website, www.tootsuitebrasspublishing.com, for a catalog of our arrangements available through sheetmusicplus.com.

Composed by Nikolay Andreyevich Rimsky-Korsakov (1844-1908). Arranged by Frank Starobin. Romantic Period, Recital. Score, Set of Parts. 17 pages. Published by Frank Starobin (S0.228471). - Score,Set of Parts - Romantic Period,Recital - Frank Starobin

Brass Quintet - Level 4 - Digital Download SKU: A0.1489487 Composed by Dr. Daniel N. Thrower. 21st Century,Chamber,Classical,Historic,Multicultural,World. 28 pages. Https://gildedmusicpress.com/ #1066350. Published by https://gildedmusicpress.com/ (A0.1489487). One of my last assignments as an Air Force musician before being stationed in Japan was to perform music in support of the 50th commemoration of what has become known in America as “Vietnam Memorial Day.”  It is observed on March 29 every year, the date when the last U.S. troops withdrew from Vietnam in 1973.  After the memorable ceremony in 2023, I lingered to talk with those mature veterans and to hear some of their experiences.  It was a strange feeling when I told them that my first assignment at my new duty station in Japan would be a series of cultural exchange performances in Vietnam.  What a somber generational bridge.I was only in Japan for a matter of days, including some intense rehearsals, before Pacific Brass (the brass quintet from the U.S. Air Force Band of the Pacific) packed up and headed to Hanoi to start our brief musical outreach in three cities.  My reflections were sobering as I contrasted my military service in Vietnam with the veterans whom I had just honored three months prior.  During some off-duty time, all five of the Pacific Brass military musicians found our way to the well-known Hòa Ló Prison, infamously known as the “Hanoi Hilton.”  Indeed, how vastly different was my brief military service in Vietnam!To the Vietnamese people, the “American War,” as they call it, is ancient history.  They are extremely forward-thinking, putting those dark years far from them, looking to the bright future that is theirs.  What an educational bridge of paradigms.  Although it was important for us as U.S. Servicemembers to witness the Hòa Ló Prison firsthand, our lot was to experience the beautiful present-day Vietnam with its rich culture of food, street shops, temples, dance, music, and other wonders that awed us all—including gongs!Our trombone player purchased a gong in a shop that sold little else besides gongs of all sizes and pitches.  That struck me as quintessentially Vietnamese, and the sights and sounds of that modest shop lingered in my imagination.  As we absorbed the extraordinary majesty of the Temple of Literature in Hanoi, ideas for this musical composition started to formulate as a bridge connecting American musical culture with Vietnamese traditional gongs.  For practicality in both notation and live performance, I scored the consort of 18 glorious “gongs” in my head for orchestral tubular bells.  It is a passionate hope that someday in a video presentation, a masterful cultural bridge of the two diverse countries will be crafted.  Better yet, what an experience it would be to have a legitimate gong consort perform live with Pacific Brass!The year of our visit, as we were coached many times by the Embassy’s Attaché, was a milestone landmark between the two nations, worthy of praise and celebration: the ten-year anniversary of the U.S.-Vietnam Comprehensive Partnership, signed by Presidents Obama and Sang in July 2013.  This bilateral relationship has bridged both nations’ commitment to economic engagement, cultural exchange, tourism, education, and human rights.  This composition is in celebration of this Comprehensive Partnership and a gift to the wonderful people of Vietnam.  May this music contribute to a continuing growth of positive relations bridging the two nations.

Brass Quintet Horn,Trombone,Trumpet,Tuba - Level 4 - Digital Download SKU: A0.1251231 Composed by Gus Kahn, Ernie Erdman and Dan Russo. Arranged by F. Leslie Smith. 20th Century,Comedy,Pop,Standards,Traditional. 37 pages. Sweetwater Brass Press #845507. Published by Sweetwater Brass Press (A0.1251231). This song starts with the narrator/lyricist saying that he overheard a guy at the train station trying to say farewell to his girl.  The guy would kiss her, bid her adieu, get on the train, then get off and do the whole thing over again.  And, he did this seven times!  What would he say to her each time?  He’d tell her that he’s leaving, that she shouldn’t cry, that he’ll write and that if she does not hear from him she should assume he’s been arrested.  What a romantic line!     Anyway, that’s the gist of the “Toot, Toot, Tootsie!� lyrics.  Credited to Gus Kahn, Ernie Erdman and Dan Russo, New York City’s Leo Feist, Inc. first published this upbeat, leave-taking song in 1922.  It had been one of 29 numbers featured in the 1921 Broadway production Bombo, a vehicle designed to showcase the talent of Al Jolson.  Six years later Jolson sang it in The Jazz Singer, generally recognized as the first sound feature film.  Additionally, all three composers, plus Ted Fio Rito and Eddie Cantor, also made early and very popular recordings.    This bubbly, cheerful arrangement opens in the key of F major with a suggested tempo of 120 BPM.  After an 8-measure introduction, the piece goes right to the familiar chorus with Trumpet 1 and Trombone switching leads and ending with a wonderful Fillmore-style smear.  The tempo then slows dramatically for a somewhat pensive interpretation of the verse, the narrator’s observations, Horn and Trumpet 1 alternating the lead.  At measure 67 the chorus repeats faster than ever, a recommended 132 BPM, as Trombone and the two Trumpets take turns with the melody.  This leads right into a repeat of the verse—this time played at full speed—and a change of key to D-flat major.  Trombone and Tuba play in unison, exchanging the melody with Trumpets, right on into the third go-round of the chorus.  The piece wraps up with a vaudeville-style conclusion and eventually fades away.  (But don’t miss Trombone's four-measure reference to “Charlottetown Is Burning Down/Goodbye, Liza Jane� at measure 141.)Lots of fun!    Completed in 2023, performance time at the suggested tempo runs about 2 minutes, 47 seconds. 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.  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 Baritone Horn TC,Trombone,Trumpet,Tuba - Level 3 - Digital Download SKU: A0.1273084 By Keith Terrett. By Duke Ellington/Barney Bigard. Arranged by Keith Terrett. 20th Century,Jazz,Standards. 11 pages. Keith Terrett #865274. Published by Keith Terrett (A0.1273084). An arrangement of C Jam Blues for Brass Quintet. The extra parts are not necessary, but are provided if you have extra players such as a Bb Piccolo Trumpet & Bb Trombone/Euphonium in TC.New Orleans-born clarinetist Barney Bigard is likely the originator of this tune, a simple blues riff in the key of C. Since Bigard was a veteran member of Duke Ellington’s Orchestra in 1941, Duke had a slice of the pie, too, and undoubtedly arranged the piece for the orchestra. Yet Duke referred to the number somewhat disparagingly as “one of our more or less trite things.�The number was introduced in a Soundie short film. These three-minute features, produced to be shown on a jukebox-type player, illustrated the band miming to a pre-recorded performance. Entitled “Jam Session� the Soundie was filmed late in 1941 along with four other Ellington numbers. Duke introduces various band members, who then solo: Ray Nance (violin), Ben Webster (tenor sax), Rex Stewart (cornet), Joe “Tricky Sam� Nanton (trombone), and Sonny Greer (drums). The complete ensemble carries the tune to its finish with composer Bigard (clarinet) providing some improvised upper register piping.“C Jam Blues� was formally recorded under that title in January, 1942, for RCA Victor Records. It continued be a staple of the Ellington repertoire, generally featuring a handful of the soloists in the band.Co-composer Barney Bigard left Duke’s band in June 1942, and after a period of freelancing joined Louis Armstrong’s All-Stars in August, 1947. “C Jam Blues� was one of his nightly features with Satch’s ensemble along with “Tea for Two.� Despite playing the tune hundreds, or perhaps even thousands of times during his tenure with Ellington and Armstrong, he continued to perform it during his freelance years in the 1950s until shortly before his death in 1980.In the late-1950s very simple words were added (“Baby, let’s go down to ‘Duke’s Place’,� etc.) which strangely took a three-member team of writers to assemble: songwriters William Katz and Ruth Roberts and record producer Bob Thiele. Clarinetist Barney Bigard was not included in the composer credits of the song version, although he was a member of Louis Armstrong’s All-Stars when they recorded “Duke’s Place,� featuring Louis on the vocal, with Ellington in 1961.The piece typically features several improvised solos. The final solo continues in the upper register as the entire ensemble comes in and the music grows to a climax. The melody likely originated from the clarinetist Barney Bigard in 1941, but its origin is not perfectly clear.It was also known as Duke’s Place, with lyrics added by Bill Katts, Bob Thiele and Ruth Roberts Western Swing band leader Bob Wills and His Texas Playboys recorded the song sometime between mid-1945 through 1947 as part of the Tiffany Transcriptions.The 10-note occasional riff formed the basis of the Bonzo Dog Doo-Dah Band’s novelty song Intro Outro.Need an anthem fast? They are ALL in my store! All my anthem arrangements are also available for Orchestra, Recorders, Saxophones, Wind, Brass and Flexible band. If you need an anthem urgently for an instrumentation not in my store, let me know via e-mail, and I will arrange it for you FOC if possible! keithterrett@gmail.com.

Brass Ensemble - Level 3 - Digital Download SKU: A0.808700 Composed by Frank Loesser. Arranged by F. Leslie Smith. Contemporary. Score and parts. 16 pages. Sweetwater Brass Press #5020113. Published by Sweetwater Brass Press (A0.808700).     Brandon Thomas’ three-act farce, Charley’s Aunt, opened in London in 1892 and was a huge success. It has since been performed and adapted many times. One such adaptation was Where’s Charley? a 1948 Broadway version with music and lyrics by Frank Loesser. Ray Bolger played the starring role as Charley, and its most memorable number was the second act’s Once In Love With Amy. Every night Bolger would perform the number, then turn to the audience and invite them to sing along with him. They loved it, and Bolger would continue to perform it as his signature act for years even after the play closed.    The rhythmic and melodic nature of Once In Love With Amy, particularly its chorus, seems to lend itself to performance by musical instruments in the lower registers. And that’s what inspired this arrangement in which bass tuba carries the load with strong support from euphonium and tuba. All play the eight-measure introduction, while the verse-I caught you, sir, having a look at her as she went strolling by-features euphonium and tuba playing melody while bass tuba provides tempo and pulse. Then comes the familiar chorus-Once in love with Amy, always in love with Amy-and bass tuba takes over. The first time through, bass tuba plays melody with the other two providing accompaniment; the second time, bass tuba plays an intricate counterpoint while euph and tuba do a rather smooth swing version of the melody. Then comes the surprise ending in which all three participate.    Most players will have little trouble. The arrangement consists of 75 measures in 4/4 time. There are several tempo changes; the fastest is quarter note equals 108. Key signature is G, changing to F at measure 44. All notes for euphonium and bass tuba should be within normal playing range. Tuba, on the other hand, plays quite a few G and A notes at the top of the treble clef.     Sweetwater Brass Press also offers a similar version of Once In Love With Amy arranged for brass quintet.     This arrangement was completed in 2020, and performance time runs about 3 minutes, 1 second. The arranger, Les Smith, will be happy to provide substitute parts (for example, treble clef baritone for euphonium) at no charge; contact him directly at lessmith61@bellsouth.net. For more arrangements by Les, enter Sweetwater Brass Press (without the quotation marks) in the SheetMusicPlus search box.

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 - Level 3 - Digital Download SKU: A0.1251244 Composed by Ludwig van Beethoven. Arranged by Ander. 19th Century,Christmas,Classical,March,Romantic Period. 15 pages. Woods Only, Arrangements #845522. Published by Woods Only, Arrangements (A0.1251244). This arrangement adapted for brass quintet was designed to make its listeners weep with emotion, because the adaptation preserves the original essence of the work, keeping its integrity faithful to what Beethoven wanted to transmit, with only a slight change in tone and addition of harmonic resources in the structure of the arrangement. Even though it is a funeral march, it is well suited for any musical performance occasion, being intended for beginner students who want to immerse themselves in the universe of romantic music, and nothing better than starting with the transitional composer of this period, which also does not prevent professional teachers from using it for recitals, academic presentations or didactic material in their classes as an ensemble practice.Ludwig van Beethoven's Piano Sonata No. 14 in C minor sharp, Op. 27, No. 2, is one of his most popular compositions and was an audience favorite even in his day. Written when Beethoven was 31, the Moonlight Sonata (Mondscheinsonate in German) was composed after he finished some commissioned works, but there is no evidence that he was hired to write this work. It did not receive its nickname until 1832, five years after Beethoven's death. It was the critic Ludwig Rellstab who compared the music to a moonlighting on Lake Lucerne. This comparison was adopted as a nickname for the work. Called Quasi una fantasia by the author - like its companion Op. 27, No. 1 - the piece was completed in 1801 and dedicated the following year to one of the composer's pupils. Beethoven chose to open the sonata with a slow, hypnotic arpeggio movement, the best known of the entire work. The dotted rhythm of its minimal melody evokes the tradition of 'Trauermusik' (funeral music).

Brass Quintet Horn,Trombone,Trumpet,Tuba - Level 3 - Digital Download SKU: A0.1461378 By Pat Metheny. By Pat Metheny. Arranged by Will Corbin. Contemporary,Pop. 25 pages. Will Corbin #1040135. Published by Will Corbin (A0.1461378). My dad heard this song playing as background music for some TV show. He suggested it as a quintet piece (he liked us mostly because we played some of his favorite Dixieland tunes). The result is, well, at least a little bit weird. The original haunting Pat Metheny recording was played on electric sitar, with a high-speed snare drum providing train effect. I wanted to achieve the same thing, so the horns take care of it throughout the piece (with tuba providing it from start to finish). And the song needed a train horn for effect. I wanted to know what chord a train whistle blew, and the Internet told me it was a ninth chord. That's what those weird interruptions are all about.If you need other instrumentation, I'm happy to provide. Contact me at wilcor@aol.com.