Brass Ensemble - Level 3 - Digital Download SKU: A0.808694 Composed by Alexander R. Reinagle (1799-1877). Arranged by F. Leslie Smith. Christian,Easter,Holiday,Sacred. Score and parts. 22 pages. Sweetwater Brass Press #4798569. Published by Sweetwater Brass Press (A0.808694).     British composer Alexander Robert Reinagle wrote this melody about 1836 and named it after the church where he was organist, Oxford's St. Peter-in-the-East. First published as a musical setting for Psalm 118, it was adapted to John Newton’s How Sweet the Name of Jesus Sounds in 1861 and then to the hymn by John Oxenham (William A. Dunkerley), In Christ There Is No East or West, in the early 20th Century.    While some sources specify that the St. Peter melody should be played without any festive fanfares, this brass quintet version does contain a few ceremonial flourishes.    Most players will have little or no difficulty with this piece. The andante moderato tempo should be interpreted as somewhere in the vicinity of quarter note = 92. Most of the rhythm patterns involve quarter and eighth notes, with a few 16th-note passages scattered throughout. Trumpet 1’s highest note is its high A; tuba’s lowest is G below the staff. Otherwise, the music remains well within the normal playing range of all instruments.     This arrangement was completed in 2019, and performance time runs about 4 minutes, 13 seconds. The arranger, Les Smith, will be happy to provide substitute parts (for example, treble clef baritone for trombone) 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 Ensemble - Digital Download SKU: A0.768515 Composed by Victor Ewald. Arranged by Edited by Roar Kvam. Romantic Period. Score and parts. 172 pages. KVAMusic Edition #5730965. Published by KVAMusic Edition (A0.768515). Victor Ewald 27 November 1860 - 16 April 1935 Ewald was a Russian composer of music, mainly for conical brass instruments. He was born in Saint Petersburg and died in Leningrad. He also collected and published Russian folk songs. Ewald’s professional life, like that of many of his musical contemporaries, was in an entirely different field; that of a civil engineer, in which he excelled, being appointed in 1900 as professor and manager of the Faculty of Construction Materials at the Institute of Civil Engineers. Brass players however are indebted to him for something very different – a series of quintets which have become a staple of the repertoire and which represent almost the only, and certainly the most extended examples of original literature in the Romantic style. Ewald’s formal musical training began in 1872 when he enrolled at the St Petersburg Conservatory at the age of twelve. Founded in 1861 by Anton Rubenstein, this institution was the first of its kind in Russia and it was here that Ewald received lessons in cornet, piano, horn, cello, harmony and composition.As an adult he worked alongside fellow musical nationalists known collectively as the Mighty Handful-Borodin, Mily Balakirev, Ce�sar Cui, Modest Mussorgsky and the most famous of all, Nicolai Rimsky-Korsakov. All of these men had day jobs in non-musical fields. Ewald’s contributions as a composer reflected an abiding love for brass instruments for which he wrote his quintets scored originally for two cornets, alto horn, baritone horn and tuba. I've edited these four quartets using Ewald's original instrumentation, but there are also separate substitute parts for the modern brass quintet (2 trumpets, horn in F, trombone and tuba).

Brass Ensemble - Digital Download SKU: A0.768517 Composed by Victor Ewald. Arranged by Edited by Roar Kvam. Romantic Period. Score and parts. 166 pages. KVAMusic Edition #5730969. Published by KVAMusic Edition (A0.768517). Victor Ewald 27 November 1860 - 16 April 1935 Ewald was a Russian composer of music, mainly for conical brass instruments. He was born in Saint Petersburg and died in Leningrad. He also collected and published Russian folk songs. Ewald’s professional life, like that of many of his musical contemporaries, was in an entirely different field; that of a civil engineer, in which he excelled, being appointed in 1900 as professor and manager of the Faculty of Construction Materials at the Institute of Civil Engineers. Brass players however are indebted to him for something very different – a series of quintets which have become a staple of the repertoire and which represent almost the only, and certainly the most extended examples of original literature in the Romantic style. Ewald’s formal musical training began in 1872 when he enrolled at the St Petersburg Conservatory at the age of twelve. Founded in 1861 by Anton Rubenstein, this institution was the first of its kind in Russia and it was here that Ewald received lessons in cornet, piano, horn, cello, harmony and composition.As an adult he worked alongside fellow musical nationalists known collectively as the Mighty Handful-Borodin, Mily Balakirev, Ce�sar Cui, Modest Mussorgsky and the most famous of all, Nicolai Rimsky-Korsakov. All of these men had day jobs in non-musical fields. Ewald’s contributions as a composer reflected an abiding love for brass instruments for which he wrote his quintets scored originally for two cornets, alto horn, baritone horn and tuba. I've edited these four quartets using Ewald's original instrumentation, but there are also separate substitute parts for the modern brass quintet (2 trumpets, horn in F, trombone and tuba).

Brass Ensemble - Level 4 - Digital Download SKU: A0.945066 Composed by Anonymous. Arranged by Kent S. Burchill. Contemporary,Easter,Folk,Sacred. Score and parts. 32 pages. WINDCREST #6247961. Published by WINDCREST (A0.945066). This arrangement of WERE YOU THERE? has been written for large brass ensemble. The performance duration is slightly more than five minutes at the suggested tempo. The percussion instruments, while optional, will provide an added dimension to the performance.  This selection will find performance opportunities whenever brass ensemble or small brass band music is featured.  This arrangement will also provide a quality music experience for any church wishing to enhance their Easter service with a larger brass ensemble. In addition, the arrangement also represents an example of how spirituals can be rendered instrumentally, portraying written text melodically and harmonically.

Brass Ensemble - Level 4 - Digital Download SKU: A0.868622 Composed by Bill Gaither. Arranged by Dean Mounts. Contemporary. Score and parts. 35 pages. Mounts Mounts #5288735. Published by Mounts Mounts (A0.868622). This popular Bill Gaither praise song is scored for brass septet. Basic instrumentation is 2 Trumpets, 2 Horns in F, 2 Trombones and Tuba. Also provided are optional other brass parts which will allow playing with almost any combination of brass instruments. A good addition to your religious material. Playing time – 3:22.

Brass Ensemble - Level 4 - Digital Download SKU: A0.808689 Composed by W. Benton Overstreet (1888-1935). Arranged by F. Leslie Smith. Graduation,Holiday,Jazz,Traditional. Score and parts. 30 pages. Sweetwater Brass Press #4331333. Published by Sweetwater Brass Press (A0.808689).      William Benton Overstreet did it all-played piano, wrote songs, led bands. Probably the accomplishment for which he’s most remembered today is his composing of There’ll Be Some Changes Made, published in 1921. Billy Higgins, popular stage comedian, wrote the lyrics, and Ethel Waters, then just 24, recorded the song on the Black Swan label. The disc quickly achieved hit status, and the song has remained popular across multiple musical platform styles ever since.     This arrangement is a happy, fun piece and includes some of the great (and familiar) Vaudeville-style ornaments and phrases. It’s a real toe-tapper.     For the most part this arrangement is up-tempo, about 140 bpm. It does slow to 92 at the first iteration of the verse and again for the final ¬6 measures of the piece. Time signature is 4/4 except for measure 89, which is 6/4. The key is B-flat throughout, and the melody weaves among all instruments.     Trumpet 1 plays B5 (B-flat trumpet’s high C) briefly at measures 4 and 35 and for two measures at the very end of the piece. Tuba plays G3 briefly several times in measures 90-93. Other than that, there are no exceptionally out-of-normal-range notes. Trumpets 1 and 2 may wish to double-tongue at measure 64.     This arrangement was completed in 2019, and performance time runs about 3 minutes, 30 seconds. The arranger, Les Smith, would be very interested in your comments; contact him at lessmith@ufl.edu. For more arrangements by Les, enter Sweetwater Brass Press (without the quotation marks) in the SheetMusicPlus search box.

Brass Ensemble - Level 4 - Digital Download SKU: A0.726435 Composed by Various. Arranged by Kenneth Baird. Christian,Christmas,Standards. Score and parts. 24 pages. Kenneth Baird Music #6092095. Published by Kenneth Baird Music (A0.726435). Many have loved the duet arrangements found in the original collection of 12 Christmas Duets for Bass Clef Instruments arranged by Kenneth Baird. Volume 2 is now available! As in the original collection, this is a delightful collection of intermediate to advanced-intermediate level duets based on traditional Christmas carols. They are challenging at times (not for beginners) without being overwhelming; at times joyful, at times uplifting, at times serene. There's even a very jazzy version of Go Tell It on the Mountain! In addition to being a joy for friends to play together, they are a great resource for teachers to play at lessons with their students, they are are suitable for informal Christmas performances, and many are appropriate for church services. Note: the duets in this collection have NOT been arranged to be fully compatible with Mr. Baird's duet collections for other instruments. Instead, these have been arranged specifically for bass clef wind instruments (trombones, euphoniums, and/or bassoons). This collection does include the duets found in previously released Five More Christmas Duets for Bass Clef Instruments by Mr. Baird. Included in Christmas Duets, Volume 2, are: Carol of the Bells, Ding Dong! Merrily on High, the First Noel, Go Tell It on the Mountain, It Came Upon a Midnight Clear, Jingle Bells, Joy to the World (a more traditional version than found in the original duet collection), We Three Kings, Angels We Have Heard on High, God Rest Ye Merry Gentlemen, and In Dulci Jubilo (Good Christian Men Rejoice). If you are looking for simple harmonizations of Christmas Carols, this collection is not for you. If you are looking for something more, you've come to the right place.

Brass Ensemble - Level 3 - Digital Download SKU: A0.942490 Composed by Adam Hutchins. Contemporary,Jazz,New Age,Pop,World. Score and parts. 22 pages. Adam Hutchins Ltd #6168571. Published by Adam Hutchins Ltd (A0.942490). A book of refreshing, modern melodies with the chance to have a go at playing a solo if you’re feeling adventurous! Solo sections can be skipped if not. Intermediate to advanced level.From mellow ballads to blues via a couple of pop inspired tunes. Piano part included.Clearer SkiesHere’s To The New Year!A Big StickAnd They Were GoneChristmas WaltzRed SunsetSnow DayHometown Blues

Brass Choir or Ensemble - Advanced - Digital Download By The Beatles. Arranged by Seb Skelly. Score, Set of Parts. 49 pages. Published by Seb Skelly

Brass Ensemble - Digital Download SKU: A0.1028133 Composed by Arwyn Bailey. Christian,Gospel,Jewish,Sacred,Spiritual. Score and parts. 113 pages. Galactic Publishers Limited #3382201. Published by Galactic Publishers Limited (A0.1028133). Hope PrevailsThe composition consists of six movements and is for a Brass Quintet with guest instrumentalists of Oboe, Violin, Viola and Soprano voice.The piece explores the moods that many encounter as they go through life from loneliness through to elation. the composers brother experienced these extreme emotions and it resulted in him taking his own life. This piece is dedicated to his memory.The MP3 contains a very short extract from each movement that is a direct download from computer composition software and is therefore not of great quality.The composer is looking for a group to record this piece. Please get in touch if you wish to be part fo a collaborative project perhaps as a school, college, university or other group.The Struggle of the night - 4:09 in length:The first movement commences with sonorous chord sequences and quickly moves to a lively section. The piece incorporates the tune of the Welsh National Anthem along with the hymn tune Cwm Rhondda. The movement moves between the despair and loneliness of the night that one can feel, even when sleeping next to a close partner, and the racing desperation of the mind, whereby patriotic affiliations will calm the soul at these times.  the movement finishes with the tune of Land of my father's resonating but even this is of no comfort, and the troubled mind lies awake and the movement finishes with a flurry of discord.The Solitude - 5.34 in length:The movement begins with a haunting melody led by the Oboe. the Horn soon joins in as do other instruments of the quintet. A simple Gregorian type rhythm and chant passes through the quintet with the Oboe leading the movement.Crescendos and attacked notes give the piece a rise and fall showing the mood of the soul that alternates between a calm and a peak of mood as sleep is hard to come by and a restless state is invoked.It appears that the oboe will be leading the soul into peace yet, at the last moment, the quintet joins in with chords of attack and crescendo followed by a sharp diminuendo to end the piece.The soul has sought solace, yet, all they find is loneliness.Brad's Broadcast - 3:01 in length:The restless soul awakes after a restless night.  The world is full of voices, advice, motivation and answers.In this lively movement, the soul searches for solace and finds sense from some sources, yet, the cacophony of contrary advice and the nature of some disciples of business and life coaches becomes confusing. there are some real gems of advice available, but, the noise of others drowns out the sense and sanity.The soul manages to find some humour in the forums and media, they smile, but the relief is short lived.The movement ends with all voices descending away in a glissando and silence is restored.By His Own Hand - 4:26 in length:This movement reflects the desperation of the soul. they have sought solace, humour has passed them by, they do not feel that they can continue to live.The piece starts with a cadenza played by a viola.  A violin soon duets in this Jewish styled lament.Throughout the movement the brass are spartan, reflecting the confusion of the soul. The ability to cling onto the world and to continue living is a losing battle.The waves of the lament increase in their presence, but not velocity, for the depressed souul is reaching the point of no return and of no choice.They will soon depart from the world by their own hand. The end ofthe movement is a descent and a unifying discordant sound as the soul leaves.Dreaming of Heaven - 2:31 in length:The soul is now rising and an ancient Celtic tune accompanies the soul in the form of a Soprano voice singing words of hope and light.The soul's path is lit and the ancient bell of.

Brass Ensemble - Level 3 - Digital Download SKU: A0.1107288 Composed by Julius Katterfeldt (1813-1886). Classical,Sacred. Score and parts. 14 pages. Albismusic #709950. Published by Albismusic (A0.1107288). Julius Katterfeldt was born in Wandsbek in 1813. Wandsbek was not yet part of Hamburg at that time. His father Johann Hinrich Katterfeldt was the organist at the famous Schnitger organ of Hamburg's main church St. Jakobi. He also gave his son first music lessons. Later he was a pupil of the famous Christian Heinrich Rinck in Darmstadt. Julius Katterfeldt was first organist at the church of St. Johannes in Eppendorf. In 1840, Katterfeldt was appointed by the Danish king to the post of cathedral organist in Schleswig. After the Schleswig-Holstein uprising (1848 to 1851) he had to give up his organist post at the cathedral. Friedrich von Reventlou (1797-1874) brought Katterfeldt to the monastery church in Preetz, where Renventlou was provost, because of the political quarrels over the county of Holstein. In Preetz he even had to take on sexton duties in addition to organ duties. After the war (Battle of Dybbøl/DK), Schleswig once again belonged to the Republic of Prussia. For this reason, the German Emperor had a new tower built for Schleswig Cathedral in 1864. It can be assumed that the church symphony by Julius Katterfeldt was composed for this purpose beforehand and was therefore later published by the renowned Berlin music publisher BOTE & BOCK. His Church Symphony Opus 18, for brassband and organ, is dedicated to the Prussian Emperor Wilhelm I. Katterfeldt’s Church Symphony is the first original symphonic work for the instrumentation organ and brass band. His son-in-law was the Schwerin cathedral organist George Hepworth (1825-1918). Through his contacts in England, some of J. Katterfeldt's organ works were published in the anthologies Organist's Quarterly Journal (editor, William Spark). this publication: ISMN 979-700-212-81-0 instrumental parts (PiccTrp, Fluegelhorn, Trumpet 1+2, Frenchhorn 1+2 (F alt. C), Euphonium, Tuba) conductor score: ISMN 979-700-212-81-4.

Brass Ensemble - Level 5 - Digital Download SKU: A0.899867 Composed by John Philip Sousa. Arranged by Alexander L Burden. Romantic Period. Score and parts. 10 pages. Alexander Burden #3560127. Published by Alexander Burden (A0.899867). Genre: MarchLength: 2:48Instrumentation: Alto Saxophone and EuphoniumKing Cotton is a military march composed in 1895 by John Philip Sousa, for the Cotton States and International Exposition (1895). The expression King Cotton in general refers to the historically high importance of cotton as a cash crop in the southern United States. This fun arrangement and challenging arrangement for alto saxophone and euphonium is sure to be a crowd favorite and includes altissimo passages in the saxophone part.The Composer:John Philip Sousa (November 6, 1854 – March 6, 1932) was an American composer and conductor of the late Romantic era, known primarily for American military and patriotic marches. Because of his mastery of march composition, he is known as The March King, or the American March King due to his British counterpart, Kenneth J. Alford also being known by the former nickname. Among his best-known marches are The Stars and Stripes Forever (National March of the United States of America), Semper Fidelis (Official March of the United States Marine Corps), The Liberty Bell (used as the theme for Monty Python's Flying Circus), The Thunderer and The Washington Post.The Arranger:Email: alburden9012@eagle.fgcu.eduAlexander Burden is a Florida born, professional musician and music educator residing in Southwest Florida. There, he is the music teacher at Westside Elementary in Clewiston. Concurrent with his duties at Westside, he also teaches private and group instrumental music lessons and preforms regularly with various professional ensembles throughout Southwest Florida. Burden holds a Bachelor of Music Education degree with an instrumental concentration from the Bower School of Music at Florida Gulf Coast University in Fort Myers, Florida. There he studied under world renowned saxophonist Mario Bernardo. He also holds an Associate of Arts degree with a Music Education and Saxophone Performance concentration from Eastern Florida State College where he was a student of James Bishop. During his time at the Bower School of music, he served as principle saxophonist in the FGCU Wind Orchestra, lead alto in the Jazz Band Flight: Jazz at FGCU, and played soprano saxophone in the Bower Saxophone Quartet. Alexander was selected to play tenor saxophone in the 2017 National Intercollegiate Band as well as principle alto saxophone in the 2017 Florida All-State Intercollegiate Band and tenor saxophone in the 2016 Florida All-State Intercollegiate Band. In November of 2015, Alexander participated in a critically acclaimed performance at Carnegie Hall in New York City with the FGCU Wind Orchestra.

Brass Ensemble - Level 4 - Digital Download SKU: A0.899870 Composed by Samuel Francis Smith, Katharine Bates & Samuel Ward. Arranged by Alexander L Burden. Folk,Patriotic. Score and parts. 9 pages. Alexander Burden #5359107. Published by Alexander Burden (A0.899870). Genre: Folk Songs, PatrioticLength: 3:35Instrumentation: Alto Saxophone and EuphoniumThis fun and accessible mashup includes three well known American folk songs: Yankee Doodle, America (My Country Tis of Thee), & America, the Beautiful. Great for any occasion, it's guaranteed to be a hit at your next performance! The Arranger:Alexander Burden is a Florida born, professional musician and music educator residing in Southwest Florida. There, he is the music teacher at Westside Elementary in Clewiston. Concurrent with his duties at Westside, he also teaches private and group instrumental music lessons and preforms regularly with various professional ensembles throughout Southwest Florida. Burden holds a Bachelor of Music Education degree with an instrumental concentration from the Bower School of Music at Florida Gulf Coast University in Fort Myers, Florida. There he studied under world renowned saxophonist Mario Bernardo. He also holds an Associate of Arts degree with a Music Education and Saxophone Performance concentration from Eastern Florida State College where he was a student of James Bishop. During his time at the Bower School of music, he served as principle saxophonist in the FGCU Wind Orchestra, lead alto in the Jazz Band Flight: Jazz at FGCU, and played soprano saxophone in the Bower Saxophone Quartet. Alexander was selected to play tenor saxophone in the 2017 National Intercollegiate Band as well as principle alto saxophone in the 2017 Florida All-State Intercollegiate Band and tenor saxophone in the 2016 Florida All-State Intercollegiate Band. In November of 2015, Alexander participated in a critically acclaimed performance at Carnegie Hall in New York City with the FGCU Wind Orchestra.

Brass Ensemble - Level 3 - Digital Download SKU: A0.817619 Composed by James Bland. Arranged by F. Leslie Smith. Folk,Spiritual,Traditional. Score and parts. 28 pages. Sweetwater Brass Press #424503. Published by Sweetwater Brass Press (A0.817619).      James Alan Bland, composer of “In the Evening by the Moonlight,” was a prolific song writer.  He is said to have created the words and music for more than 600 compositions.  Born in 1854 to a free African American family in Flushing, New York, he made a name for himself as musician, composer and minstrel performer.  Among his compositions were “Oh, Dem Golden Slippers,” “In the Morning in the Bright Light” and “De Golden Wedding.”  His most famous song by far was “Carry Me Back to Old Virginny,” which the State of Virginia used as its official anthem for over 50 years.      Bland, in keeping with his persona as a minstrel, wrote the lyrics to “In the Evening by the Moonlight” in dialect.  Years passed and sensitivities changed, but the song’s poignant melody and basic sentiment survived.  Latter day recordings, such as those by Bing Crosby and the Ray Charles Singers, dropped the dialect and objectionable terms.  One of the most notable versions was by singer, pianist and civil rights activist Nina Simone, released in 1960 on the album Nina at Newport.      This brass quintet version begins with the group instrumentally humming along under an eight-measure Horn in F introduction.   The first statement of the melody initially takes the form of a partial call-and-response between a Trombone/Horn duo and Trumpet 1, then switches to an exchange between Trumpet 1 and Tuba.  Next, the melody is repeated but in a rhythmic pattern reminiscent of the 1880 tune “Here Dem Bells”; Tuba plays counterpoint.  Third time around, the melody is presented almost exactly as Bland wrote it and as Hitchcock’s Music Store published it in 1880.  Finally, the tempo slows and the melody is presented as so many have sung it around campfires at YMCA, 4-H and other youth camps all over the country:  softly and tenderly.  The arrangement ends with a brief recapitulation of the introduction.      There are no really difficult or tricky rhythms in this arrangement.  Trumpet 1’s highest note, which occurs in Section D, is A above its staff; Tuba’s lowest, G below the staff.  Otherwise, there are no exceptionally high or low notes.  The piece opens in the key of F major then, about halfway through, changes to G major.  Tempo opens with a suggested MM of 104, speeds up to 120, slows to 66, increases again to 122 and finally slows to 66.      Completed in 2022, performance time runs about 4 minutes, 22 seconds. The arranger, Les Smith, will be happy to provide substitute parts (for example, treble clef baritone for trombone) at no charge.  He would also like to receive your suggestions, comments, corrections and criticisms.  Contact him directly at lessmith61@bellsouth.net.  For more arrangements by Les, enter "Sweetwater Brass Press" (without the quotation marks) in the SheetMusicPlus or Sheet Music Direct search box.  (Also, purchase of this piece entitles you to your choice of another of his arrangements at no charge; send a copy of your purchase receipt directly to him at lessmith61@bellsouth.net.)

Brass Ensemble - Level 5 - Digital Download SKU: A0.767318 Composed by Mike Lyons. Concert,Contemporary. Score and parts. 46 pages. Lyons Music Services #3465944. Published by Lyons Music Services (A0.767318). This is a brand new work for brass quartet, using brass band instrumentation: Cornet (doubling Flugelhorn), Tenor Horn, Baritone Horn and Euphonium.It was written as a submission for a new brass quartet (A4 Brass Quartet) comprising musicians from the RNCM, but didn't get selected. Each movement is based on the ensemble's name and contains a pun on A4. Each movement also has fourths involved in it somewhere.The first movement is called Aforethought (because it contains my initial ideas) and it uses a mixture of tonal and quartal harmonies. Melodies and harmony are based around fourths and fifths. It requires all players to be able to flutter-tongue. After the opening fanfare, there is a march-like melody on the cornet, accompanied by the rest of the ensemble. This is followed by a contrasting tune using intervals of a fourth. These ideas are developed over several keys until the first march-like melody returns. The fanfare idea closes the movement.The second movement is called Aforementioned. It takes its ideas from the first movement, but gives them a bluesy style. The cornet player changes to the flugelhorn for this movement which has a beautiful languid melody. The horn shares some of the glory towards the end.The third and final movement is called Aphorhythm (A4 rhythm) and is in 7/8 time. The jerky little melody plays with the pulse of the 7/8 and smoothly morphs into a steadier 'middle 8' section before reprising the opening music.Altogether, this is an enjoyable and exciting piece for brass quartet..