An excellent setting of a Sousa march dedicated to the US Naval Reserve. Sousa joined the US Navy during WWI to help train musicians for the war effort. This march incorporates his song, ?Blue Ridge, I?m Coming Back To You? in the Trio section.The arrangement for brass quintet has an optional drum part and optional substitute parts for the horn and trombone.This grade 3 arrangement would be perfect for a patriotic setting or for in commemoration of World War I.

America The Beautiful (Chorale Version) For Brass Quintet Samuel Ward/Katharine Lee Bates Arranged by Jari Villanueva Score 2 Trumpets in Bb Horn in F Trombone Tuba Sub parts for Eb Alto Horn and Bb Baritone provided "America the Beautiful" has been called "an expression of patriotism at its finest." It conveys an attitude of appreciation and gratitude for the nation's extraordinary physical beauty and abundance, without triumphalism. This setting for brass quintet is a chorale version using harmonization and passing tones to make the hymn a bit more interesting to perform and listen to. A retired member of the United States Air Force Band, where he served on the Music Production staff (as well as a trumpeter and bugler) and student of Bill Holcombe, Jari Villanueva continues writing for different ensembles. His arrangements are played by brass quintets all over the country including many military groups. Many of his arrangements can be found on Sheet Music Plus and JV MUSIC.

The Liberty Bell March for Brass Quintet by John Philip Sousa Arranged by Jari Villanueva Score 2 Trumpets in Bb Horn in F (Eb Alto Horn) Trombone (Baritone TC) Tuba Drums (optional) Substitute parts provided It may be associated with Monty Python's Flying Circus but "The Liberty Bell" was written for Sousa's unfinished operetta The Devil's Deputy in 1893. Financing for the show fell through and shortly afterwards, Sousa and his band manager George Hinton attended the Columbian Exposition in Chicago. As they watched the spectacle "America", in which a backdrop depicting the Liberty Bell was lowered, Hinton suggested "The Liberty Bell" as the title of Sousa's recently completed march. Coincidentally, Sousa received a letter from his wife, saying their son had marched in a parade in honor of the Liberty Bell which had been on a nation-wide tour. Sousa agreed. He sold "The Liberty Bell" to the John Church Company for publication, and it was an immediate success. The origin of the tune comes from the time Sousa heard Marcella Lindh, one of his soprano soloists, whistling a tune of her own creation. Sousa couldn?t get the melody out of his head and asked his soprano if he might use it in a march. She agreed, but didn?t know that her tune had been used until several years later when she happened to hear a European band perform the march.

Although ?America? (aka ?My Country, ?Tis of Thee?) has been a beloved anthem in the US for nearly two centuries, its origin is not American at all, and it is not unique to America as a patriotic song. Sometimes attributed to British writer/musician Henry Carey (c. 1685-1743), the tune likely dates to the 17th century or earlier and has also been attributed to the English composer John Bull, the French composer Jean-Baptiste Lully, and even a Swiss military melody. It was published in England in the 1744 tune book, Thesaurus Musicus, and it gained immediate and lasting popularity when, with the words ?God Save the King,? it was performed in September 1745 at London's Drury Lane and Covent Garden theaters in support of King George II. Eventually, the tune became the national anthem not only of Britain, but of several other nations, including Denmark, Prussia, and Liechtenstein. After the American colonies became independent from England, a variety of new patriotic texts were written to be sung to the tune. In 1831, Samuel F. Smith, a student at Massachusetts? Andover Theological Seminary, wrote the lyrics today known as ?My Country, ?Tis of Thee.? Smith's words and the traditional tune were one of several unofficial national anthems of the United States during the 19th and early 20th centuries. This attractively harmonized, contemporary setting of a long-lived traditional tune will be a favorite of both performers and listeners at patriotic observances. �Copyright 2015, revised 2020 Todd Marchand / www.ConSpiritoMusic.com

Samuel Augustus Ward (1848-1903), composer and organist at Grace Episcopal Church, Newark, New Jersey, composed his tune ?MTERNA? to accompany the hymn text ?O Mother Dear, Jerusalem? in 1882, and it was first published in 1892. Katherine Lee Bates (1859-1929), poet and teacher, wrote the poem ?Pikes Peak? during a visit to Colorado Springs, Colorado, in 1893, and it was published under the title ?America? in the church periodical, The Congregationalist, in 1893. Bates's poem, which she revised in 1904 and 1913, was first published with Ward's music in 1910 under the title ?America the Beautiful.? Samuel Ward never met Katherine Bates, having died in 1903; yet ?America the Beautiful? has become one of the best-loved American patriotic songs. This very accessible yet effective arrangement features an introductory fanfare followed by a straightforward presentation of the tune, a return of the fanfare and modulation to new key with extended harmonies, and a concluding return of the fanfare. �Copyright 2014 Todd Marchand / ConSpiritoMusic.com

?American Patrol? is the best-known work by Frank White (F.W.) Meacham (1856?1909), an arranger and composer associated with Tin Pan Alley, the home of New York City-based songwriters and music publishers who dominated the popular music of the United States in the late 19th and early 20th century. ?American Patrol? incorporates both original musical themes by Meacham and melodies from patriotic songs of the era such as ?Columbia, the Gem of the Ocean? and ?Dixie.? The ?patrol? format was popular in the latter 19th century, and was intended to represent a military band approaching, passing, and fading into the distance. It typically included an introduction played pianissimo or piano, in imitation of bugle calls or drums, then themes played progressively louder until a recapitulation of the first theme(s), gradually fading away and finishing softly, like the march began. Published for piano in 1885 and for wind band in 1891, ?American Patrol? became and remained popular through World War I and II, enjoying renewed popularity during WWII and beyond thanks to a swing arrangement for Glenn Miller's band by Jerry Gray. �Copyright 2013 Todd Marchand / ConSpiritoMusic.com

?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

Masonry has a rich history of march music from composers such as Sousa, Hebert Clarke and Karl King. Bagley, a Mason himself, based the Trio of this march on the melody "Auld Lang Syne, " written by fellow Mason, Robert Burns. Composed in 1911, this is a good old American march, perfect for a year-end concert. Performance time, 2:30.

American Revolutionary War Medley forBrass Quintet (ARM) Arranged by Jari Villanueva for Brass Quintet. An exciting setting of six tunes from the American Revolution. Perfect for patriotic concerts and events. Also works as a great opener or closer for a brass quintet concert. Jari Villanueva has been writing arrangements for decades. A student of Bill Holcombe, he continues writing for different ensembles. Many of his arrangements can be found on Sheet Music Plus. He is a winner of the 2016 Arranging Contest. Selections in the medley include: ?Washington March ?The Girl I Left Behind Me ?My Country "tis of Thee ?The British Grenadiers ?Chester ?Yankee Doodle