?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

America Enters The Great War for Brass Quintet Arranged by Jari Villanueva A Medley of "Goodbye Broadway, Hello France" and "How Ya Gonna Keep ?Em Down on the Farm?" Score and parts provided Full Score 2 Trumpets in B Flat Horn in F Trombone Tuba Drums Eb Alto Horn (Substitute for Horn in F) Baritone T.C. (Substitute for Trombone) "Good-Bye Broadway, Hello France? is a 1917 song composed byBilly Baskette, with lyrics written by C. Francis Reisner and Benny Davis.While the song was popular during its time, it also saw a revival during WorldWar II, where some soldiers preferred World War I songs over the war songsbeing produced at the time. ?How Ya GonnaKeep ?em Down on the Farm (After They?ve Seen Paree?)? is a World War I songthat rose to popularity after the war had ended. The music is by Walter Donaldson. The lyricshighlight concern that American soldiers from rural environments would not wantto return to farm life after experiencing the European city life and culture ofParis during World War I. It became popular among soldiers in the First WorldWar and is remembered as one of the more songs of World War I. This skillful and fun arrangement by Jari Villanueva captures the flavor of theoriginal tunes and would be a great selection commemorating the 100thanniversary of World War I. A retired memberof the United States Air Force Band where he served on the Music Productionstaff (as well as a trumpeter and bugler) and a student of Bill Holcombe, JariVillanueva continues writing for different ensembles. His arrangements areplayed by bands, brass ensembles and brass quintets all over the countryincluding many military groups. Many of his arrangements can be found on SheetMusic Plus and JV MUSIC.

In 1887, George Kitchin wrote ?Lift High the Cross.? Michael R. Newbolt revised it in 1916, and it was printed in that year in Sydney Nicholson?s supplement to Hymns Ancient and Modern. At the same time, it was set to Nicholson?s hymn tune, ?Crucifer,? and has since come to be used as the opening or closing hymn in many churches. There are several very good arrangements of ?Lift High the Cross? featuring brass instruments with varying combinations of other musicians?organ, choir, tympani, snare drum, hand bells, high voice descant. This arrangement features brass quintet alone, and the triumphant nature of the hymn?s melody sits exceptionally well with this particular instrumental grouping. It begins, however, with a completely different interpretation?the first time through the refrain and the verse are played relatively slowly, quietly and contemplatively (the tempo marking instructs ?Reverently?). The pace then picks up, and the feeling of the piece changes to one of exultation. This joyous mood is sustained throughout the variations that follow, and each player gets a chance to shine. Finally, after one last statement of the refrain, the dynamics quiet down for a beautifully soft finish. This is a perfect concert piece for Easter, Lent, or church processional or recessional. This arrangement was completed in 2017, and performance time runs about 5 minutes, 10 seconds. The arranger, Les Smith, would be very interested in your comments on this piece; contact him at lessmith@ufl.edu or leave a review on the SheetMusicPlus website. For more arrangements by Les, enter "Sweetwater Brass Press" (without the quotation marks) in the SheetMusicPlus search box.