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.

?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

"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

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

?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

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.