"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

"The Truth From Above," aka "[This Is] the Truth Sent From Above," and sometimes known as "The Herefordshire Carol," is an English folk melody that was collected by Ralph Vaughan Williams in 1909, used in his Fantasia on Christmas Carols (1912) and and published in Eight Traditional English Carols (1919).

Its text tells of God's creation of man and woman, their placement in Paradise, their sin and its subsequent consequences for all humanity, the nativity of Christ, His example and teaching, and His promise of salvation for all who believe in Him. Another text, "The Great Forerunner of the Morn," which tells of John the Baptist's preparation for the Christ, is also sung to the tune.

The Dorian-mode melody uses the first through fifth tones, and the seventh tone, of that mode. Although collected by Vaughan Williams just after the turn of the 20th century, its chant-like quality, both melodically and rhythmically, is reminiscent of centuries-old music.

This arrangement features solo tuba on the first presentation of the tune followed by the full ensemble in full harmony, a key change and canonic presentation by horn and trombone, and a return to the original key and concluding statement by full ensemble with harmonic variation.

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

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

?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

?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

?What is This Lovely Fragrance?? (?Quelle est cette odeur agr�able??) is a 17th-century French traditional No�l (carol) about the Nativity of Christ. The melody accompanying its lyrics, a folk tune, was used by John Gay (1685?1732) in his satirical work, The Beggar's Opera (1728). It is this tune to which the text, calling the shepherds to the manger, is typically set. What is this lovely fragrance wafting like to the scents of flow'rs in spring? / Shepherds, O tell us, whence such beauty, hear you not heav'nly carolling? / What is this lovely fragrance wafting like to the scents of flow'rs in spring? Thisintermediate level arrangement is suitablefor advanced high school to professional ensembles for use inconcert, recital, and worship. Full score and parts, 8.5x11-inchformat. �Copyright2013 Todd Marchand / ConSpiritoMusic.com

?Angels We Have Heard on High? (?Gloria?) is a Christmas carol based on an 18th-century French noel, ?Les Anges Dans Nos Campagnes.? The well-known English-language version of the carol with text by James Chadwick (1813-1882) retains the tune of the French noel, though Chadwick?s text is a largely original adaptation, with parts only loosely translated from the French. The carol commemorates the birth of Jesus as told in the Gospel of St. Luke, and its chorus recalls the ?multitude of the heavenly host praising God and saying, ?Glory to God in the highest?.?? (Luke 2:13-14). The signature feature of the chorus is a rising and falling melisma on the ?o? vowel of ?Gloria? ? thus, the tune is often ascribed the name ?Gloria.? Its familiar harmonization was written by the American organist and composer Edward Shippen Barnes (1887-1958) in 1937. In this festive arrangement, the tune and refrain are presented multiple times in a variety of keys, harmonizations, and orchestration. �Copyright 2017 Todd Marchand / ConSpiritoMusic.com