Like ?How Great Thou Art,? ?It Is Well With My Soul? is one of the most well-known and beloved gospel songs/hymns, expressing confidence in the promises of Christ ? his mercy, forgiveness, salvation, and eternal Kingship ? despite the trials and tribulations of this present life. The song?s text has its origins in the tragic events experienced by hymn-writer Horatio Spafford (1828-1888), who in 1871 suffered the death of an infant son and the loss of his personal fortune due to the Great Chicago Fire, and two years later suffered the deaths of his four daughters when the sailing ship Ville du Havre, on which his family was traveling for vacation, was struck by the English ship Lochearn and sank in only 12 minutes. Spafford, who had sent the family ahead while attending to business stateside, sailed to England to meet his surviving wife, and on the journey penned ?It Is Well With My Soul.? Philip Bliss (1838-1876), a teacher, singer, evangelist, gospel music composer, and family friend, wrote the music to accompany Spafford?s text and named the tune ?Ville du Havre.? The text and tune were published together in Gospel Hymns No. 2 (1876), compiled by gospel singer/songwriter Ira D. Sankey and Bliss. This enduring hymn?s comforting words have encouraged countless individuals facing their own trials and tribulations; and its flowing, soaring tune is one of the most memorable in all of hymnody.

One of the best-loved gospel songs worldwide, ?How Great Thou Art? began as a nine-stanza hymn of praise, ?O Store Gud? (?O Great God?), written in 1885 by Swedish poet and lay minister Carl Gustav Boberg (1859?1940). In 1891 Boberg published the poem, accompanied by a Swedish folk melody, in Sanningsvittnet (Witness for the Truth), a weekly Christian journal of which he was editor. Today, the tune is commonly named ?Sanningsvittnet? in hymnals. From its Swedish origins, the text was translated to German in 1907, then to Russian in 1912. The Russian text became the basis for a translation to English by Stuart W. K. Hine (1899?1989), a British Methodist missionary who discovered it in 1931 while on mission in the Ukraine. Hine's work commonly contains four verses: the first two being a relatively close translation of stanzas by Boberg, and the latter two being original verses by Hine. Published in 1949, ?How Great Thou Art? gained great popularity in North America after George Beverly Shea began singing it in the Billy Graham evangelistic crusades in 1955. It has been named the #1 favorite hymn by respondents to various polls in both the United States and United Kingdom. �Copyright 2013 Todd Marchand / ConSpiritoMusic.com

This lively arrangement has a ?Gospel? type feel. Add a drummer and you?ll have a blast! Grade 3 Along with the traditional brass instrumentation (Trumpet 1 and 2, Horn, Trombone and Tuba), there are substitution parts provided for: Alto Sax (for Trumpet 2) Alto Sax (for Horn) Trumpet 3 (for Horn) Trombone (for Horn) Baritone Treble Cleff/Tenor Sax (for Trombone) Baritone Sax (for Tuba) Horn (for Trombone)

"Down to the River to Pray" (also known as "Down in the River to Pray," "Down in the Valley to Pray," and "The Good Old Way") is a 19th-century American folk hymn variously attributed as an African-American spiritual/slave song, Appalachian song, and gospel song. In recent years, it was popularized in the 2000 motion picture, "O Brother, Where Art Thou," and by folk/bluegrass performer Alison Kraus.

In this arrangement, the first three presentations, or verses, of the pentatonic tune employ simple, traditional harmony and limited instrumentation, evoking the simplicity of folk-singing style. Verse 4 is characterized by a direct key change up a fourth (from concert Eb to Ab) and more active harmonies. After a short, two-bar modulation up one more step to Bb major, the final verse begins with rising parallel harmonies under the melody in trumpet 1, and continues with more contemporary harmonies. The piece concludes with a simple "Amen"-like ending.

�2019 Todd Marchand / ConSpiritoMusic.com

This powerful arrangement begins lightly and builds throughout. A classic! Grade 3 Along with the traditional brass instrumentation (Trumpet 1 and 2, Horn, Trombone and Tuba), there are substitution parts provided for: Alto Sax (for Trumpet 2) Alto Sax (for Horn) Trumpet 3 (for Horn) Trombone (for Horn) Baritone Treble Cleff/Tenor Sax (for Trombone) Baritone Sax (for Tuba) Horn (for Trombone)

Item Number: S0.268031 This majestic hymn is a great opener to any service.?Very heroic and a blast to play! Grade 3 Along with the traditional brass instrumentation (Trumpet 1 and 2, Horn, Trombone and Tuba), there are substitution parts provided for: Alto Sax (for Trumpet 2) Alto Sax (for Horn) Trumpet 3 (for Horn) Trombone (for Horn) Baritone Treble Cleff/Tenor Sax (for Trombone) Baritone Sax (for Tuba) Horn (for Trombone)

This traditional Shaker melody is one of the most recognized tunes in American history. This arrangement is true to the piece, and builds with great excitement to the end. Grade 3 Along with the traditional brass instrumentation (Trumpet 1 and 2, Horn, Trombone and Tuba), there are substitution parts provided for: Alto Sax (for Trumpet 2) Alto Sax (for Horn) Trumpet 3 (for Horn) Trombone (for Horn) Baritone Treble Cleff/Tenor Sax (for Trombone) Baritone Sax (for Tuba) Horn (for Trombone)

?The Morning Trumpet,? by Benjamin Franklin White (1800-1879), is a camp revival song published in 1844 in the first edition of The Sacred Harp, a shape-note hymn book compiled by White and E.J. King (1821-1844). Shape-note tunes are often predominantly pentatonic, with harmonies that emphasize stark intervals of fourths and fifths. In four-part harmony, the tune is typically in the tenor voice. This arrangement preserves the tune but harmonizes it in a more contemporary style, and features alternating calls between first and second trumpet. Includes snare drum part (optional, may be successfully performed by brass quintet alone). �Copyright 2012 Todd Marchand / ConSpiritoMusic.com

This arrangement begins with a fanfare and boldy proclaims ?O Worship the King!? Grade 3 Along with the traditional brass instrumentation (Trumpet 1 and 2, Horn, Trombone and Tuba), there are substitution parts provided for: Alto Sax (for Trumpet 2) Alto Sax (for Horn) Trumpet 3 (for Horn) Trombone (for Horn) Baritone Treble Cleff/Tenor Sax (for Trombone) Baritone Sax (for Tuba) Horn (for Trombone)

A classic spiritual, this arrangement captures the text vividly with a wayfaring tuba beginning and ending this classic tune. Grade 3 Along with the traditional brass instrumentation (Trumpet 1 and 2, Horn, Trombone and Tuba), there are substitution parts provided for: Alto Sax (for Trumpet 2) Alto Sax (for Horn) Trumpet 3 (for Horn) Trombone (for Horn) Baritone Treble Cleff/Tenor Sax (for Trombone) Baritone Sax (for Tuba) Horn (for Trombone)?

?Were You There? is a nineteenth-century African-American spiritual that likely predates the American Civil War, and may have roots in a folk hymn known in Tennessee as ?Have You Heard How They Crucified MyLord?? It was first published in William Eleazar Barton's 1899 Old Plantation Hymns; and in 1940, it was included in the hymnal of the Episcopal Church with harmonization by C. Winfred Douglas, making it the first spiritual to be included in any major American hymnal. This arrangement evokes the call-and-response tradition of the spiritual, and features solo trumpet answered by low brass in the introduction and first stanza, solo trombone/low brass trio in the second stanza, and full ensemble in the final stanza. Although appropriate for use throughout the year, it is particularly fitting for performance on Good Friday, Holy Saturday (Easter Vigil) and Easter sunrise services. This intermediate-level arrangement is suitable for ensembles from high school to community and professional musicians. �Copyright 2015 Todd Marchand / ConSpiritoMusic.com