Eighteenth-centuryBaptist minister, scholar, and hymn-writer Robert Robinson(1735-1790) wrote the hymn text, ?Come Thou Fount of EveryBlessing? in 1757 at the age of 22. Inthe USA, Robinson's hymn is typically set to the tune ?Nettleton,?whose authorship is unclear. Some attribute it to printer John Wyeth,who published it in his Repositoryof Sacred Music, Part Second(1813);others attribute it to Asahel Nettletion, a popular evangelist of theearly nineteenth century who published VillageHymns(1825).However, VillageHymnscontainedtexts only and no music, so there is no evidence that Nettletonactually wrote the tune that carries his name. Suitable for high school to professional ensembles for use in concert, recital, and worship, this intermediate-level arrangement presents the tune straightforwardly tobegin, then follows with a lyrical variation in 4/4 time, a variationin 5/8, and a concluding march. Fullscore and parts, 8.5x11-inch format. �Copyright 2010 ToddMarchand / ConSpiritoMusic.com

?An American Folk Hymn Medley? brings together three 19th-century shape-note tunes in a contemporary setting for brass quintet. HOLY MANNA is popularly known as ?Brethren We Have Met to Worship? from its association with a text by Methodist clergyman George Atkins (1793-1827). It was first published in Columbian Harmony, a shape-note tune book, in 1829, and is attributed to William Moore, the publisher. RESTORATION, first published in William Walker?s 1835 shape-note hymnal, Southern Harmony, was later renamed ARISE from its association with a text by Joseph Hart (1712-1768) in which the chorus begins ?I will arise and go to Jesus?.? PLEADING SAVIOR, published in Joshua Leavitt?s 1830 compilation The Christian Lyre, is today best-known in many churches as the accompaniment to the text ?Sing of Mary, Pure and Lowly.? In this arrangement, the similar tunes HOLY MANNA and PLEADING SAVIOR, both in major tonality and 8.7.8.7 poetic meter, frame the contrasting minor tonality tune, RESTORATION. Contrasting instrument textures, keys, and tempi, and a mix of both traditional and contemporary harmonies breathe a fresh spirit into these venerable tunes.

?The King of Love My Shepherd Is? is a metrical paraphrase of Psalm 23, written by the Anglican cleric and hymn-writer Sir Henry Williams Baker (1821-1877) for the second edition of Hymns Ancient and Modern (1868), of which he was editor as well as contributor. Baker's hymn has been described as perhaps the most beautiful of the many versions of the beloved psalm, and it has been said that the author's own last words before dying were the third stanza:

Perverse and foolish oft I strayed,
But yet in love He sought me,
And on His shoulder gently laid,
And home, rejoicing, brought me.

Originally, the hymn was paired with the tune DOMINUS REGIT ME, written by Baker's friend John Bacchus Dykes (1823-1876) specifically for Baker's text. Later, Ralph Vaughan Williams (1872-1958) sought to republish the hymn in The English Hymnal (1906), of which he was editor, and was denied the right to use Dykes's tune. He then paired Baker?s text with his own arrangement of an Irish traditional air, ST. COLUMBA.

It is on ST. COLUMBA that this arrangement for brass quintet is based. Following a short introduction, the tune is presented three times: first, by trumpets in a modal melodic/harmonic fashion; next, by low brass trio evoking Vaughan Williams' familiar harmonization; and finally, in a broad, full presentation by the entire ensemble, followed by a quiet, peaceful ending.

�2019 Todd Marchand / ConSpiritoMusic.com

?On Christmas Night, On Christmas Day, Rejoice!? takes its name from lyrics of the three tunes that comprise this medley. ?On Christmas night all Christians sing? are the opening words of the Sussex Carol, a traditional English tune with words first published in 1684. English folk-song collectors Cecil Sharp and Ralph Vaughan Williams both collected versions of the song, and Vaughan Williams published his arrangement of the tune in 1919. ?On Christmas day in the morning? are the concluding words of the refrain of the carol also known as ?I Saw Three Ships.? Like the Sussex Carol, it is a traditional English carol, and it was published by William Sandys in his 1833 work, Christmas Carols Ancient and Modern. ?Rejoice? is the imperative verb in the invitation, ?Good Christian men, rejoice,? which are the opening words to the medieval carol, ?In dulci jubilo? (?In sweet rejoicing?). John Mason Neale, an Anglican priest, scholar, and hymn-writer, wrote the familiar English translation in 1853. Quick to rehearse and fun to play, this cheerful medley evokes the joy of Christmas. Intrmediate level, suitablefor high school to professional ensembles for use in concert,recital, and worship. Full score and parts, 8.5x11-inch format. �Copyright2015 Todd Marchand / ConSpiritoMusic.com

\\\"Resonet in Laudibus\\\" (\\\"Let the voice of praise resound\\\") is a Medieval carol known in Europe at least since its appearance in the Moosburg Gradual of 1360, and probably much earlier. Today, it is well-known as the tune accompanying the text of the traditional German carol, \\\"Joseph Lieber, Joseph Mein\\\" (\\\"Joseph Dearest, Joseph Mine\\\") and John Mason Neale\\\'s \\\"Christ Was Born on Christmas Day.\\\"

The tune appears in the Medieval songbook, Piae Cantiones (Pious Songs), compiled by the Finnish priest and headmaster Jaakko Suomalainen (aka Jacobus Finno, or \\\"James the Finn\\\") and published in 1582. Ralph Vaughan Williams harmonized the tune and included it in the English Hymnal (1906), of which he was music editor.

This lovely, lilting tune is an ideal vehicle for a sonorous arrangement for brass quintet.

�Copyright 2020 Todd Marchand / www.ConSpiritoMusic.com

This is a mega-bundle of brass quintet repertoire, totalling 34 pieces and over 500 pages of music. Full scores and parts are provided for all pieces, covering weddings, Christmas music, slow melodies, traditional Welsh melodies and baroque classics. The hymns include freshly-composed descants and there are some pieces which aren't in the 'usual' brass repertoire such as the Mozart Variations and the extract from Borghild's Dream. This is the full list: 1. Wedding March (from A Midsummer Night?s Dream) (Mendelssohn) 2. Wedding March (Bridal Chorus from Lohengrin) (RichardWagner) 3. 9 Popular Hymn Tunes 4. Amazing Grace (Newton) 5. Triumphal March (Karg-Elert) 6. Brandenburg Concerto No. 3 (Bach) 7. Prelude in C (Bach) 8. Canon (Pachelbel) 9. Let The Bright Seraphim from ?Samson? (Handel) 10. Fanfarefrom ?Water Music? (Handel) 11. LaR�jouissance from ?Music for the Royal Fireworks? (Handel) 12. Rondofrom ?Abdelazer? (Purcell) 13. Largofrom ?Xerxes? (Handel) 14. ArLan y M�r (Welsh trad.) 15. Davidof the White Rock (Welsh trad.) 16. Myfanwy(Welsh trad.) 17. SuoGan (Welsh trad.) 18. PianoSonata No.8 Op.13 ?Path�tique? - 2nd mvt. (Beethoven) 19. 12Variations on ?Twinkle Twinkle Little Star? (Mozart) 20. Borghild?sDream from ?Sigurd Jorsalfar? (Grieg) 21. Pizzicatifrom ?Sylvia? (Delibes) 22. Preludein C minor (Chopin) 23. Concerto for Mandolin and Strings - 1st mvt. (Ugolino) 24. Gymnop�dieNo.1 (Satie) 25. GnossienneNo.1 (Satie) 26. AmericanPatrol (Meacham) 27. HappyBirthday 28. 15Christmas Carols 29. DeckThe Halls With Catchy Rhythms! (Welsh trad.) 30. DingDong Bing Bong! (French trad.) 31. JingleThose Bells! (Pierpoint) 32. OChristmas Tree 33. SilentNight (Gruber) 34. JoyTo The World (Mason) This pack represents a huge saving over the individually priced music, which would cost over $150.