Here is a very playable arrangement for woodwind quintet of 'Eventide', a tune by William H. Monk often used for the hymn, Abide With Me. Lush traditional harmonies with everyone getting a chance to play the melody somewhere in the five verse settings. An optional bass clarinet part is included for ensembles lacking a bassoon.

1798 saw Beethoven finish what would become one of his most celebrated compositions, the piano sonata number 8 in C minor, commonly known as the Sonata Pathétique. The second movement, the Adagio cantabile (slowly, in a singing style) is here transcribed for Flügelhorn or trumpet. The movement is a simple rondo, having a theme which recurs several times separated by other themes, and it works especially well for wind instruments like the Flügelhorn, which can play with an almost human singing quality.

1798 saw Beethoven finish what would become one of his most celebrated compositions, the piano sonata number 8 in C minor, commonly known as the Sonata Pathétique. The second movement, the Adagio cantabile (slowly, in a singing style) is here transcribed for horn and piano. The movement is a simple rondo, having a theme which recurs several times separated by other themes, and it works especially well for wind instruments like the horn, which can play with an almost human singing quality.

1798 saw Beethoven finish what would become one of his most celebrated compositions, the piano sonata number 8 in C minor, commonly known as the Sonata Pathétique. The second movement, the Adagio cantabile (slowly, in a singing style) is here transcribed for trombone and piano. The movement is a simple rondo, having a theme which recurs several times separated by other themes, and it works especially well for wind instruments like the trombone, which can play with a beautiful cantabile quality.

The tune Herzliebster Jesu, used most often for the Passion hymn Ah, Holy Jesus, was written in 1640 by Johann Crüger and first appeared in his New Common Songbook for the Augsburg Confession. The tune has been arranged many times, including several settings by Bach, Brahms, and Max Reger. The original text is often translated, "Oh, dearest Jesus, what law hast Thou broken, that such sharp sentence should on Thee be spoken?"

The arrangement offered here is for brass trio consisting of trumpet in Bb, horn in F, and trombone. Each instrument has a chance to play the melody and ranges are well within the reach of most high school players.

St. Theodulph of Orleans composed the lyrics for "All Glory, Laud and Honor" in 820. It is based on verses written in the early Middle Ages. The tune was composed by Melchior Teschner in 1615. This arrangement is for standard brass quintet (two Bb trumpets, F horn, trombone, and tuba), optional SATB chorus, organ, and optional congregational singing.

"All My Heart This Night Rejoices" has been added to the choral catalog of Really Good Music by Spike Maiden Müller. This version is for SA chorus, piano, and optional Horn. Text by Paul Gerhardt (1653), translated by Catherine Winkworth (1858). This setting was written for the choir of West Denmark Lutheran Church; Luck, WI. Appropriate for sacred and secular settings.

"All My Heart This Night Rejoices" has been added to the choral catalog of Really Good Music by Spike Maiden Müller. This version is for SAB chorus, piano, and optional Horn. Text by Paul Gerhardt (1653), translated by Catherine Winkworth (1858). This setting was written for the choir of West Denmark Lutheran Church; Luck, WI. Appropriate for sacred and secular settings.

"All My Heart This Night Rejoices" has been added to the choral catalog of Really Good Music by Spike Maiden Müller. This version is for SAB chorus, piano, and optional Horn. Text by Paul Gerhardt (1653), translated by Catherine Winkworth (1858). This setting was written for the choir of West Denmark Lutheran Church; Luck, WI. Appropriate for sacred and secular settings.

"All My Heart This Night Rejoices" has been added to the choral catalog of Really Good Music by Spike Maiden Müller. This version is for SSA chorus, piano, and optional Horn. Text by Paul Gerhardt (1653), translated by Catherine Winkworth (1858). This setting was written for the choir of West Denmark Lutheran Church; Luck, WI. Appropriate for sacred and secular settings.

All Through the Night is based on the tune Ar Hyd y Nos which first appeared in Edward Jones's Musical and Poetical Relics of the Welsh Bards, published in 1784. The most commonly-used Welsh lyrics are by John Ceiriog Hughes, but the tune is also often used for the hymn text, Go My Children With My Blessing. It is quite popular with Welsh male choruses and is frequently sung at festivals.

This arrangement for horn quartet includes rich harmonies and the optional use of mutes.

The tune New Britain is typical of Appalachian tunes of the United States. It is basically pentatonic, using melodic figures which outline triads. It was first set to John Newton's autobiographical hymn Amazing Grace by William Walker in his 1835 publication Southern Harmony, and is possibly the most famous of all American folk hymns.

It is here arranged for standard woodwind quintet, with a bass clarinet part included for ensembles lacking a bassoon. Not difficult and well worth the effort, this is a very accessible arrangement. Each instrument gets a chance to play the melody, alone or in combination with another. It starts in Bb major, modulates to F Major, and ends in a bluesy G Major. This was my very first arrangement for woodwind quintet, and I still consider it the best I have ever done in this genre!

In 1893, at the age of 33, Katherine Lee Bates, an English professor at Wellesley College, took a train trip to Colorado Springs to teach a short summer school session at Colorado College. Several of the sights on her trip inspired her and found their way into a poem, including the "White City" of the World's Columbian Exposition in Chicago, with its promise of the future denoted by alabaster buildings; the wheat fields of America's heartland through which her train was riding; and the majestic view of the Great Plains from high atop Pikes Peak. A hymn tune composed by Samuel A. Ward was fitted to the words in 1910 and the resulting song has become one of the most popular and enduring of many American patriotic songs. This version is for medium voice and piano. (3:27)

This chorale was originally scored for almost completely a capella voices, with just a bit of low strings sneaking in to bolster low bass parts and provide color, and the mezzo-soprano solo taking up the highest line. Keep this and a careful sense of balance in mind when making decisions as to actual dynamic levels. Many, though not all, dynamic markings herein are the original from the orchestral score. I have added a few louder markings where I believe it will help preserve balance and clarity of contrapuntal lines.

"Auld Lang Syne" is a traditional folk song commonly sung to celebrate the beginning of the new year. It gets a jazzy treatment here, with apologies to Igor Stravinsky at the conclusion.

"Auld Lang Syne" is a traditional folk song commonly sung to celebrate the beginning of the new year. It is a setting of the poem by Robert Burns and is here arranged for horn quartet.

"Be Thou My Vision" has been arranged here for SATB chorus, two flutes, piano, and organ. This arrangement was done for the choir of Luck Lutheran Church, Luck, Wisconsin, on the occasion of the high school graduation of the arranger's daughter, Mary Faye Schultz.

This is an excellent arrangement of the hymn "Beneath the Cross of Jesus", for Horn and Piano.

Edwin Hatch, D.D., was an occasional hymn writer. In 1886 he composed the lines which comprise Breathe on Me, Breath of God. A prayer for renewal by God's spirit, it is surprisingly simple and sensitive coming from a man who was intensely educated.

The tune Trentham was composed in 1894 by Robert Jackson, a somewhat prolific composer of hymn tunes. He spent most of his professional life as organist for St. Peter's Church in Oldham, a position his father held for many years. The rising and falling of the melody has been compared to breathing itself. Both the Greek and Hebrew words for 'spirit' are the same as that for wind, air, or breath; thus the Spirit of God is referred to in this hymn as the "Breath of God."

This arrangement is for woodwind quintet. There are not many rests, but the effect is worth the extra effort. An alternate bass clarinet part is included for ensembles lacking a bassoonist.

An original, interesting and effective brass trio. Perfect for young ensembles.

What happens when trite motives meet hip harmonic progressions? One example is this Chorale and Fugue, an antidote to the same old small ensemble fare. Here is a short chorale and fugue for flute, clarinet, and horn, suitable for teaching or concert use. The forms are traditional, but the harmonic language is fresh, modern, and falls easily upon the ear. Useful for teaching small ensemble playing, and chorale and fugue forms, this should also be a delightful addition to concert or recital programs. Score and set of parts supplied in file download. Easy to intermediate playing level. (2:24)

What happens when trite motives meet hip harmonic progressions? One example is this Chorale and Fugue, an antidote to the same old small ensemble fare. Here is a short chorale and fugue for flute, clarinet, and horn, suitable for teaching or concert use. The forms are traditional, but the harmonic language is fresh, modern, and falls easily upon the ear. Useful for teaching small ensemble playing, and chorale and fugue forms, this should also be a delightful addition to concert or recital programs. Score and set of parts supplied in file download. Easy to intermediate playing level. (2:24)

"Christus factus est pro nobis obediens" (Christ was made obedient) is a motet composed by Anton Bruckner (1824-1896) and published in 1884. This beautiful setting for brass quintet is appropriate for Christmas, Lent, and Easter, as well as concert use.

"Christus factus est pro nobis obediens" (Christ was made obedient) is a motet composed by Anton Bruckner (1824-1896) and published in 1884. This beautiful setting for eight trumpets is appropriate for Christmas, Lent, and Easter, as well as concert use.

"Christus factus est pro nobis obediens" (Christ was made obedient) is a motet composed by Anton Bruckner (1824-1896) and published in 1884. While this version for 12 horns is not technically difficult, the first horn does play several high B naturals. This beautiful setting is appropriate for Christmas, Lent, and Easter, as well as concert use.

"Christus factus est pro nobis obediens" (Christ was made obedient) is a motet composed by Anton Bruckner (1824-1896) and published in 1884. This beautiful setting for eight trumpets is appropriate for Christmas, Lent, and Easter, as well as concert use.

Here is a lovely arrangement of the most popular of Franz Liszt's piano consolations, Number 3, in a setting for bassoon and piano. For the bassoonist's convenience, parts are included for bassoon in both bass and tenor clef! Enjoy!

The Consolations (German: Tröstungen) are a set of six solo piano works by Franz Liszt. The compositions take the musical style of Nocturnes with each having its own distinctive style. Each Consolation is composed in either the key of E major or D♭ major. E major is a key regularly used by Liszt for religious themes.

There exist two sets of Consolations. The second (S.172) was composed between 1849 and 1850 containing the familiar Consolation No. 3, Lento placido, in D♭ major.

This version is for solo Horn or solo Flügelhorn.

"Crown Him With Many Crowns" has been arranged for SATB chorus with organ accompaniment. This arrangement of the classic hymn was commissioned by the choir of Shepherd of the Valley Lutheran Church; St. Croix, Falls, Wisconsin.

"Dear Lord and Father of Mankind" is a hymn with words taken from a longer poem, The Brewing of Soma, by American Quaker poet John Greenleaf Whittier. The hymn adaptation was made by Garrett Horder in his 1884 "Congregational Hymns" and is usually sung in America to this tune, Rest, by Frederick C. Maker. It is lovingly arranged here for horn and piano.

"Dear Lord and Father of Mankind" is a hymn with words taken from a longer poem, The Brewing of Soma, by American Quaker poet John Greenleaf Whittier. The hymn adaptation was made by Garrett Horder in his 1884 "Congregational Hymns" and is usually sung in America to this tune, Rest, by Frederick C. Maker. It is lovingly arranged here for trumpet or flügelhorn and piano.

"Bright and Glorious is the Sky" (Dejlig er den Himmel blaa) is a traditional Danish melody, circa 1830. The text, by famous Danish theologian Nikolai F. S. Grundtvig, compares the light of the star of Bethlehem with the light of the teachings of the Bible.

Written for the Twin Cities Horn Club, this piece was such an outburst of joy that I could only call it Effusion. Premiered by musicians of the Horn Club in the summer of 2021, it was probably a response to finally being able to play together in a group again. Its writing was precipitated by learning that the group I would be playing in for the summer would be a quintet instead of a quartet. It is a short fast syncopated a-b-a-b form in three-four time, with tradeoff between the first and third parts. The bass part is is given to the fourth player, who is mostly in the bass clef.

A traditional Catalan Christmas lullaby, it tells of nature's joy at learning of the birth of Jesus in a stable in Bethlehem. The song was made famous outside Catalonia by Pablo Casals' version for 'cello. After his exile in 1939, he would begin each of his concerts by playing it, and it has become emblematic of Catalonia.

"Eternal Father, Strong to Save" is a hymn often associated with the Royal Navy or the United States Navy and United States Marine Corps. Accordingly, it is often known as the Royal Navy Hymn or the United States Navy Hymn (or just The Navy Hymn), and sometimes by the last line of its first verse, "For Those in Peril on the Sea."

"Eternal Father, Strong to Save" is a hymn traditionally associated with seafarers, particularly in the maritime armed services. Written in 1860, its author William Whiting was inspired by the dangers of the sea described in Psalm 107. John B. Dykes, an Anglican clergyman, composed the tune "Melita" to accompany the text in 1861. This arrangement for standard brass quintet was written at the request of the arranger's friend, hornist Andy Parks. Lush romantic harmonies and the passing of the melody from player to player are its cornerstones.

"Eternal Father, Strong to Save" is a hymn often associated with the Royal Navy or the United States Navy and United States Marine Corps. Accordingly, it is often known as the Royal Navy Hymn or the United States Navy Hymn (or just The Navy Hymn), and sometimes by the last line of its first verse, "For Those in Peril on the Sea."

Written in 1860, its author William Whiting was inspired by the dangers of the sea described in Psalm 107. John B. Dykes, an Anglican clergyman, composed the tune "Melita" to accompany the text in 1861. This arrangement for standard brass quintet was written at the request of fellow hornist Andy Parks. Lush romantic harmonies and the passing of the melody from player to player are its cornerstones.

Here is the famous duet from Humperdinck's 1893 opera, Hänsel und Gretel, arranged for alto saxophone solo or duet. Coming near the climax of Act II of the opera, it is the prayer Hänsel and Gretel sing before falling asleep in the forest, and is a perennial Christmas favorite. Use just the first part for solo performance. (2:26)

Here is the famous duet from Humperdinck's 1893 opera, Hänsel und Gretel, arranged for bassoon or trombone solo or duet. Coming near the climax of Act II of the opera, it is the prayer Hänsel and Gretel sing before falling asleep in the forest, and is a perennial Christmas favorite. Use just the first part for solo performance. (2:26)

Here is the famous duet from Humperdinck's 1893 opera, Hänsel und Gretel, arranged for brass quintet. Coming near the climax of Act II of the opera, it is the prayer Hänsel and Gretel sing before falling asleep in the forest, and is a perennial Christmas favorite. Use just the first part for solo performance. (2:26)

Here is the famous duet from Humperdinck's 1893 opera, Hänsel und Gretel, arranged for Bb clarinet solo or duet with piano accompaniment. Coming near the climax of Act II of the opera, it is the prayer Hänsel and Gretel sing before falling asleep in the forest, and is a perennial Christmas favorite. Use just the first part for solo performance. (2:26)

Here is the famous duet from Humperdinck's 1893 opera, Hänsel und Gretel, arranged for flute solo or duet with piano accompaniment. Coming near the climax of Act II of the opera, it is the prayer Hänsel and Gretel sing before falling asleep in the forest, and is a perennial Christmas favorite. Use just the first part for solo performance. (2:26)

This brass fanfare was written in 2009 for the brass section of the St. Croix Valley Community Band of River Falls, Wisconsin. Scored for three trumpets, four horns, two trombones and bass trombone, euphonium, and tuba. Somewhat reminiscent of Richard Strauss’s Festmusik der Stadt Wien, this is a challenging and rewarding fanfare for standard brass choir. Starting with a straightforward open fifth in the Horns, soon joined by the trumpets, the fanfare moves from a simple quintal statement to a more complex chromatic form, culminating in a grand C Major chord. The juxtaposition of duple and triple figures adds challenge and interest.

La Peri, a one-act ballet was composed by Paul Dukas in 1911. It was his last published work, and is considered by some to among his most mature and skilled compositions. It is preceded by this brilliant fanfare, orginally played by the brass section of the orchestra and arranged here for brass quintet.

Scoring is for two trumpets in C, horn in F, trombone, and tuba, with alternate trumpet parts in B♭, and an alternate first trumpet part in E♭ provided.

Here is a simple, but beautiful arrangement of Jonathan Spilman's melody for Robert Burns' poem. Written for the wedding of Thomas Hall and Nancy Pierce, it is dedicated to Mary Maiden Müller, who played the first performance. Enjoy!

"God Rest You Merry, Gentlemen" was first published in the 1700s and has remained popular to the present day. Although its minor key may not seem on the surface very festive for a Christmas Carol, it masterfully treads the fine line between melancholy and joy.

This is an essential Easter morning celebration hymn. The fermatas in the score are for use with congregational singing, and may be omitted if done as an instrumental. The melody is known also as Vulpius or Gelobt sei Gott.

Erik Satie was an important member of the early 20-century French avant-garde, and is considered a forerunner of such later artistic movements as minimalism, repetitive music, and the Theatre of the Absurd, having friends in both Dada and Surrealist circles. His Gymnopédies are piano compositions written at the turn of the century and which use mild dissonances against more traditional harmony. They are contemplative and melancholy in character, and the first of these is often cited as the most relaxing piece of piano music ever written.

This arrangement is for horn in F with piano accompaniment.

1. Lent et douloureux
2. Lent et triste
3. Lent et grave

A Swedish folk melody, Haf trones lampa färdig was published as No. 463 in the first edition of the Swedish Homeland Singer in 1891, under the heading "Hoppet. Hemlängtan." Translating as "keep your trimmed lamps ready," the tune is used for the Lutheran Advent hymn, "Rejoice, rejoice, believers."

This is a traditional French carol for Christmas, arranged for bassoon, trombone, or euphonium and piano. While easy to play, it is a wholly complete and professional-sounding arrangement. Both soloist and piano get to play the melody and fun counterpoint is included! (1:40)

This is a traditional French carol for Christmas, arranged for clarinet or trumpet and piano. While easy to play, it is a wholly complete and professional-sounding arrangement. Both soloist and piano get to play the melody and fun counterpoint is included! (1:40)

This is a traditional French carol for Christmas, arranged for flute and piano. While easy to play, it is a wholly complete and professional-sounding arrangement. Both soloist and piano get to play the melody and fun counterpoint is included! (1:40)

Here is an arrangement of the lovely old song of faith by Civilla D. Martin and Charles H. Gabriel. It is offered here for medium voice with piano accompaniment. (4:51)

This arrangement is intended to be versatile, covering four different configurations of musical forces. It can be played by the brass quintet alone, or by brass quintet and organ, without any vocal forces whatever. The brass or brass and organ parts may be used simply to accompany congregational singing of the hymn, without the aid of any choral group. The included solo trumpet part can be played with organ alone or with chorus and/or congregation. The preferred method of performance is brass quintet and organ with four-part mixed chorus, with or without congregation singing in unison on any or all verses. It is hoped that this arrangement will therefore be flexible enough to fit several different worship situations.

Although often cited incorrectly as a traditional Quaker hymn, "How Can I Keep From Singing?" was written in the late 19th Century by the popular hymnodist Robert Wadsworth Lowry, with lyrics eventually attributed to Anna Warner. The third verse most often used these days was written by Doris Plenn, based on a version sung to her by her grandmother. It entered the public domain when she sang her version for Pete Seeger, who published it in "Sing Out!". This arrangement is for SATB chorus, a capella. Care should be taken in balancing the lines, as the melody continuously changes voices throughout the arrangement. This arrangement was written in 2009 for the choir of West Denmark Lutheran Church of Luck, Wisconsin.

In dulci jubilo, one of the most upbeat of Christmas melodies, dates from 14th-century Germany. It is a mainstay in the Nine Lessons and Carols repertoire and Bachs chorale prelude on the tune is a traditional postlude for Christmas services. This joyful arrangement is for four horns.

The 14th-century German tune, In dulci jubilo, was probably originally a folk dance melody. It is reputed to have been written by medieval mystic Heinrich Seuse in response to a vision of Angels who sang and invited him to dance. Nowadays, it is used most often for the Christmas carol, Good Christians, All Rejoice. Use this version as written, or pick and choose the verse settings which work best for your situation or group!

"Infant Holy, Infant Lowly" is based on a traditional Polish Carol, "W żłobie leży". This lush arrangement is for flute and piano, and is appropriate for high school flutists and pianists.

"Infant Holy, Infant Lowly" is based on a traditional Polish Carol, "W żłobie leży". This arrangement is for horn and piano, and is appropriate for high school pianists.

Infant Holy, Infant Lowly is a traditional Polish Carol, W żłobie leży. Simple, but lovely, this arrangement for bassoon and piano is appropriate for high school players.

This arrangement is based on a traditional Polish Carol, "W żłobie leży". The lush arrangement is for alto saxophone and piano, and is appropriate for high school musicians.

"Jeg er så glad hver julekveld" (I am so glad each Christmas Eve) is a Scandanavian Christmas song by Peder Knudsen.

This Easter arrangement works with or without organ and optional congregational singing.

The popular Christmas tune arranged for four horns.

Cleverly arranged for young concert band.

This arrangement is intended to be performed with any of several different configurations of forces. It may be played by brass quintet alone, brass quintet and organ, brass and organ accompanying congregational singing, or brass and organ with SATB chorus. Thus it is hoped that the arrangement will fit several different worship situations.

William Bradbury's Woodworth was published in the Third Book of Psalmody in 1849. It was adapted several years later to fit the poem, Just as I Am, by Charlotte Elliott.

This medium-difficulty arrangement is for standard woodwind quintet. A part for clarinet in A is included as a substitute for that in Bb, as is a bass clarinet part for ensembles lacking a bassoon.

"Let All Mortal Flesh Keep Silence" is an ancient chant of Eucharistic devotion based on the verses taken from Habakkuk taken from one of the books of the 12 minor prophets of the Bible. The original was composed in Greek as a Cherubic Hymn for the Offertory of the Divine Liturgy of St. James in the fourth Century AD, with local Churches adopting arrangements in Syriac. In modern times, the Ralph Vaughan Williams arrangement of a translation from the Greek by Gerard Moultrie to the tune of Picardy, a French medieval folk melody, popularized the hymn among Christian congregations that worship liturgically.

This hauntingly beautiful quartet was originally composed for a capella mixed chorus. It is a dedication for a church.

This hauntingly beautiful piece was originally composed for a capella mixed chorus. It is a dedication for a church.

Lord Jesus, Think On Me, from a Greek text dating from c. 430 A.D., is usually set to the tune Southwell by Willliam Daman from his 1579 Psalms of David in English Meter. This arrangement for two trombones sets the two instruments contrapuntally playing the tune and countermelody. A simple but beautiful piano accompaniment completes the arrangement, originally written for the memorial service of Dona Maiden in April of 2016. This arrangement is also available for horn, bassoon (trombone or euphonium), and piano and for two clarinets and piano.

Lord Jesus, Think On Me, from a Greek text dating from c. 430 A.D., is usually set to the tune Southwell by Willliam Daman from his 1579 Psalms of David in English Meter. This arrangement for two clarinets sets the two instruments contrapuntally playing the tune and countermelody. A simple but beautiful piano accompaniment completes the arrangement, originally written for the memorial service of Dona Maiden in April of 2016. Also available for horn, bassoon (trombone or euphonium), and piano and for two flutes and piano.

Lord Jesus, Think On Me, from a Greek text dating from c. 430 A.D., is usually set to the tune Southwell by Willliam Daman from his 1579 Psalms of David in English Meter. This arrangement for two flutes sets the two instruments contrapuntally playing the tune and countermelody. A simple but beautiful piano accompaniment completes the arrangement, originally written for the memorial service of Dona Maiden in April of 2016. This could also be effectively played by two soprano or tenor recorders and is also available for horn, bassoon (trombone or euphonium), and piano and for two clarinets and piano.

Lord Jesus, Think On Me, from a Greek text dating from c. 430 A.D., is usually set to the tune Southwell by Willliam Daman from his 1579 Psalms of David in English Meter. This arrangement for horn and bassoon (or trombone) sets the two instruments contrapuntally playing the tune and countermelody. A simple but beautiful piano accompaniment completes the arrangement, originally written for the memorial service of Dona Maiden in April of 2016. This is also available for two flutes and piano, two clarinets and piano, and for two trombones or euphoniums and piano.

Lord Jesus, Think On Me, from a Greek text dating from c. 430 A.D., is usually set to the tune Southwell by Willliam Daman from his 1579 Psalms of David in English Meter. This arrangement for two trombones sets the two instruments contrapuntally playing the tune and countermelody. A simple but beautiful piano accompaniment completes the arrangement, originally written for the memorial service of Dona Maiden in April of 2016. This arrangement is also available for horn, bassoon (trombone or euphonium), and piano and for two clarinets and piano and two flutes and piano.

A traditional Finnish folk tune, this Advent hymn is here arranged for brass quintet.

This is a charming arrangement of a traditional Irish melody. For SATB chorus with piano and flute.

This is a lush but playable arrangement of the traditional Irish tune most often used for the Rosetti poem, Love Came Down at Christmas. Everyone gets a go at the melody and everyone gets rests. A bass clarinet part is included for ensembles lacking a bassoon.

From the Bohemian Brethren's Kirchengesänge, 1566. One of the best hymn tunes from the Reformation.

Now the Day Is Over, written in 1865 by Sabine Baring-Gould of Dalton, Yorks, England, and printed in the Church Times that same year, has become common in all English-speaking countries. Its tune, Merrial, was written by Joseph Barnby in 1868. Barnby was organist and choirmaster at St. Andrews of Wells Street in London, where he developed an outstanding choral program and championed the music of Bach. He conducted the Royal Choral Society and composed and edited music, including four hymnals, and in 1892 was knighted by Queen Victoria.

"Nu Är Det Jul Igen" is a traditional Swedish dance carol. The title translates as "Now it is Christmas again".

World Parts are provided with this score when purchased as a PDF download. Instrumentation for standard and a number of alternate parts make this playable by almost any 5 piece brass ensemble:

Part 1 - Bb Trumpet (alt. C Trumpet) Part 2 - Bb Trumpet (alt. C Trumpet) Part 3 - F Horn (alt. Eb Horn, Bb Baritone T.C.) Part 4 - Trombone B.C. (alt. Bb Trombone T.C.) Part 5 - Tuba B.C. (alt. Eb Bass T.C., Bb Bass T.C)

John Greenleaf Whittier was born in Massachusetts in in 1807. Beginning life as a farm boy and shoemaker, he eventually became a successful journalist, editor, and poet. As secretary to the American Anti-Slavery Society he was active in progressive causes. O Brother Man expresses his Quaker conviction that true worship expresses itself in action, and no other hymn text has quite so eloquently stated the case.

The tune Welwyn was composed in 1902 by Sir Alfred Scott-Gatty, long-serving officer of arms at the College of Arms in London and a successful composer. He wrote largely for voices and his music was intended primarily for amateur performers. Although he never composed professionally, his works were popular and well-regarded in their day. The name Welwyn was given this tune for his living place of Welwyn in Hertfordshire, England.

The present arrangement is for standard woodwind quintet, and includes an alternate bass clarinet part for ensembles lacking a bassoon.

Raised in the Church of England, Frederick W. Faber (b. Calverly, Yorkshire, England, 1814; d. Kensington, London, England, 1863) came from a Huguenot and strict Calvinistic family background. Educated at Oxford and ordained in the Church of England, Faber followed John Henry Newman into the Roman Catholic Church. Believing that Catholics should sing hymns like those written by John Newton, Charles Wesley, and William Cowper, Faber wrote 150 hymns himself, this one dating from 1849. The tune St. Cross, dating from 1861, is a nearly-forgotten gem by John B. Dykes who at the age of ten became the organist of St. John's in Hull, England, where his grandfather was vicar. Ordained into the Church of England in 1847, Dykes became the precentor and choir director at Durham Cathedral, where he introduced reforms in the choir by insisting on consistent attendance, increasing rehearsals, and initiating music festivals.

Raised in the Church of England, Frederick W. Faber (b. Calverly, Yorkshire, England, 1814; d. Kensington, London, England, 1863) came from a Huguenot and strict Calvinistic family background. Educated at Oxford and ordained in the Church of England, Faber followed John Henry Newman into the Roman Catholic Church. Believing that Catholics should sing hymns like those written by John Newton, Charles Wesley, and William Cowper, Faber wrote 150 hymns himself, this one dating from 1849. The tune St. Cross, dating from 1861, is a nearly-forgotten gem by John B. Dykes who at the age of ten became the organist of St. John's in Hull, England, where his grandfather was vicar. Ordained into the Church of England in 1847, Dykes became the precentor and choir director at Durham Cathedral, where he introduced reforms in the choir by insisting on consistent attendance, increasing rehearsals, and initiating music festivals.

Raised in the Church of England, Frederick W. Faber (b. Calverly, Yorkshire, England, 1814; d. Kensington, London, England, 1863) came from a Huguenot and strict Calvinistic family background. Educated at Oxford and ordained in the Church of England, Faber followed John Henry Newman into the Roman Catholic Church. Believing that Catholics should sing hymns like those written by John Newton, Charles Wesley, and William Cowper, Faber wrote 150 hymns himself, this one dating from 1849. The tune St. Cross, dating from 1861, is a nearly-forgotten gem by John B. Dykes who at the age of ten became the organist of St. John's in Hull, England, where his grandfather was vicar. Ordained into the Church of England in 1847, Dykes became the precentor and choir director at Durham Cathedral, where he introduced reforms in the choir by insisting on consistent attendance, increasing rehearsals, and initiating music festivals.

Raised in the Church of England, Frederick W. Faber (b. Calverly, Yorkshire, England, 1814; d. Kensington, London, England, 1863) came from a Huguenot and strict Calvinistic family background. Educated at Oxford and ordained in the Church of England, Faber followed John Henry Newman into the Roman Catholic Church. Believing that Catholics should sing hymns like those written by John Newton, Charles Wesley, and William Cowper, Faber wrote 150 hymns himself, this one dating from 1849. The tune St. Cross, dating from 1861, is a nearly-forgotten gem by John B. Dykes who at the age of ten became the organist of St. John's in Hull, England, where his grandfather was vicar. Ordained into the Church of England in 1847, Dykes became the precentor and choir director at Durham Cathedral, where he introduced reforms in the choir by insisting on consistent attendance, increasing rehearsals, and initiating music festivals.

Raised in the Church of England, Frederick W. Faber (b. Calverly, Yorkshire, England, 1814; d. Kensington, London, England, 1863) came from a Huguenot and strict Calvinistic family background. Educated at Oxford and ordained in the Church of England, Faber followed John Henry Newman into the Roman Catholic Church. Believing that Catholics should sing hymns like those written by John Newton, Charles Wesley, and William Cowper, Faber wrote 150 hymns himself, this one dating from 1849. The tune St. Cross, dating from 1861, is a nearly-forgotten gem by John B. Dykes who at the age of ten became the organist of St. John's in Hull, England, where his grandfather was vicar. Ordained into the Church of England in 1847, Dykes became the precentor and choir director at Durham Cathedral, where he introduced reforms in the choir by insisting on consistent attendance, increasing rehearsals, and initiating music festivals.

Raised in the Church of England, Frederick W. Faber (b. Calverly, Yorkshire, England, 1814; d. Kensington, London, England, 1863) came from a Huguenot and strict Calvinistic family background. Educated at Oxford and ordained in the Church of England, Faber followed John Henry Newman into the Roman Catholic Church. Believing that Catholics should sing hymns like those written by John Newton, Charles Wesley, and William Cowper, Faber wrote 150 hymns himself, this one dating from 1849. The tune St. Cross, dating from 1861, is a nearly-forgotten gem by John B. Dykes who at the age of ten became the organist of St. John's in Hull, England, where his grandfather was vicar. Ordained into the Church of England in 1847, Dykes became the precentor and choir director at Durham Cathedral, where he introduced reforms in the choir by insisting on consistent attendance, increasing rehearsals, and initiating music festivals.

O Come, All Ye Faithful" (originally written in Latin as Adeste Fideles) is a Christmas carol attributed to John Francis Wade. Beautiful, slow beginning and challenging throughout.

Originally taken from a fifteenth-century French Requiem mass, the tune Veni Emmanuel has become perhaps the most beloved of the Advent hymns. Set here for brass quintet, the melody is first intoned by the trombone, with the other instruments joining one by one in unison, culminating in the joyous refrain. Each verse grows in volume and harmonic complexity.

Hans Leo Hassler was a 16th-Century German composer who absorbed the Venetian polychoral style through his friendship with Giovanni Gabrielli and brought it back with him to Germany. Though a Lutheran, Hassler composed for both the Catholic and Lutheran churches.

Hans Leo Hassler was a 16th-Century German composer who absorbed the Venetian polychoral style through his friendship with Giovanni Gabrielli and brought it back with him to Germany. Though a Lutheran, Hassler composed for both the Catholic and Lutheran churches.

"O du fröliche, O du seelige" is a German carol originating in the 18th century. The tune is also associated with the hymn "O Sanctissima" and in Italy is known as the "Sicilian Mariners Hymn" or simply the "Mariners Hymn".

"O Jul med din glede" (O Yule, with your gladness) is a Swedish Christmas Carol.

"Onward, Christian Soldiers" was composed by Sir Arthur Sullivan in 1871. A popular hymn, it is commonly associated with the Salvation Army.

Jacobus Gallus Carniolus, or Jacob Handl was a Slovene-born composer who spent much of his professional life serving the Viennese court during the height of the Renaissance. He represented the Bohemian Counter-Reformation, mixing the polyphonic style of the High Renaissance Franco-Flemish School with the style of the Venetian School. Orietur stella ex jacob (A star shall rise up out of Jacob) is one of his more than 300 sacred motets, suitable for both Advent and Christmas. Arranged here for brass quintet, it is a gem of Renaissance Christmas music, starting in four, switching to a faster three, and finishing again in four.

Here is an arrangement of the Gallus setting of the text, "A star shall rise up out of Jacob," suitable for Advent and Christmas, for church or concert. Download includes score and parts for standard woodwind quintet instrumentation of flute, oboe, clarinet, horn, and bassoon, with a bass clarinet part for ensembles lacking a bassoon. A lovely gem from the Renaissance, it starts out in four, switches to a faster three, then finishes in four.

Here is a very playable arrangement of a perennial Christmas favorite, arranged for bassoon and piano.

This is a set of standard patriotic tunes arranged for brass trio. Included are: The Star Spangled Banner, America the Beautiful, America (My Country, 'Tis of Thee), Chester, and We Shall Overcome.

Peace of the River, sometimes known as Peace I Ask of Thee, O River, first came to life as a poem written by Glendora Gosling. Gosling, a woman in her early twenties, was on a riverboat on the Kentucky River for a Girl Scout training program for camp counselors. She showed the poem to fellow traveler Viola Wood, who set it to music. This song from the 1920s is still a campfire favorite and is here arranged for horn quartet.

'Simple Gifts' is believed to have been written around 1848 by Elder Joseph Brackett from Alfred Shaker Village in Maine. The tune was largely unknown outside Shaker communities until Aaron Copland used it in his 1944 ballet 'Appalachian Spring.' Since then it has inspired and/or informed such classics as Sydney Carter's 'Lord of the Dance' and John Zdechlik's 'Chorale and Shaker Dance.' This version was written as the processional for the wedding of Thomas Hall and Nancy Pierce. The flute and piano parts require some technical skill, while the organ part is simple and straightforward. If used for a wedding, be sure to emphasize the 'Here Comes the Bride' motif in the last two bars of the organ pedal part!

Composed in 2008 for SATB choir a cappella with optional Horn in F. Lyrics by Paul Lawrence Dunbar (1872-1906). This new Christmas carol, with a text by nineteenth-century African-American poet Paul Lawrence Dunbar, brims full of musical imagery. The horn obbligato, sometimes an integral harmonic voice for the choir, sometimes a joyful descant, rounds off the setting. For choirs wishing a bit of extra instrumental underlay a piano part is included.

Salvation Is Created was composed by Tchesnokov in 1912 as the fifth in his Ten Communion Hymns, Opus 25. It is based on a synodal Kievan chant melody and Psalm 74 (Psalm 73 in the Greek version). This is one of the last sacred works he completed before being forced to turn to secular music by the Soviet government. Although he never heard it performed during his lifetime, his children had the opportunity in the years following his death. Its popularity is such that many different versions exist both in Russian and in English; transcriptions also exist for different combinations of winds. This arrangement is in the original key and preserves as much as possible the original chords, voicing, and octave settings. It is unmeasured as in the original choral score and the players are encouraged to think of playing it in a chant-like manner, not adhering to strict meter or tempo. Barlines are to help with phrasing and staying together. I am proud to make this masterpiece of choral literature available for horn quartet or four-part horn choir.

For 2 Bb trumpets and F Horn. Johann Crüger composed Schmücke Dich for Johann Franck's text, "Deck thyself, my soul, with gladness," and first published the tune in Geistliche Kirchen-Melodien. The tune name is the incipit of the original German text. Johann S. Bach used this tune in his Cantata 180; he and many other composers have written organ preludes on the melody.

Shades of Sennett is the Keystone Cops theme from The Pink Panther score by Henry Mancini. Arranged here for brass quintet: Mancini supplies the music, you supply the brass, and don't forget to add the cream pies!

This arrangement ©2019 EMI MUSIC PUBLISHING/NORTHRIDGE MUSIC

Fauré's Sicilienne, Op. 78, originally an orchestral piece for an abandoned theatrical production, was reworked for 'cello and piano, then incorporated, back in orchestral scoring, into his incidental music for Maeterlinck's Pelléas et Mélisande. This perennially popular melody is here arranged for horn and piano.

Here is an arrangement of Franz Gruber's famous Christmas melody in a medium easy arrangement for one or two alto saxophones, E flat horns, or mellophones. Rhythms are kept simple and the duet instruments are mostly homophonic (moving together in rhythm) with very little chromatic harmony, yet the arrangement is complete and full-sounding.

Here is an arrangement of Franz Gruber's famous Christmas melody in a medium easy arrangement for two horns in F, with a substitute bassoon part in tenor clef for Horn 2. Rhythms are kept simple and the duet instruments are mostly homophonic (moving together in rhythm) with very little chromatic harmony, yet the arrangement sounds complete and full.

Here is an accessible medium easy arrangement of Franz Gruber's classic carol, in an arrangement for two trombones, euphoniums, or bassoons and piano. Rhythms are kept simple and the duet instruments are mostly homophonic (moving together in rhythm) with very little chromatic harmony, yet the arrangement sounds full and complete.

An easily accessible but beautiful version of the Christmas classic.

Here is an arrangement of Franz Gruber's famous Christmas melody in a medium easy arrangement for two Bb instruments, such clarinet, trumpet, or baritone horn in treble clef. Rhythms are kept simple and the duet instruments are mostly homophonic (moving together in rhythm) with very little chromatic harmony, yet the arrangement is complete and full-sounding.

Here is an arrangement of Franz Gruber's famous Christmas melody in a medium easy arrangement for two flutes, oboes, or other C instruments. Rhythms are kept simple and the duet instruments are mostly homophonic (moving together in rhythm) with very little chromatic harmony, yet the arrangement sounds full and complete.

"Silent Night" is a popular Christmas carol, composed in 1818 by Franz Xaver Gruber to lyrics by Joseph Mohr. It was declared an intangible cultural heritage by UNESCO in 2011. The song has been recorded by a large number of singers from every music genre, and the version sung by Bing Crosby is the third best-selling single of all-time. Here is the famous carol for horn quartet.

Here is an accessible medium easy arrangement of Franz Gruber's classic carol, in an arrangement for two horns and piano, with optional flute. There are two different alternate parts included for the second horn part, so it may be played by bassoon, trombone, or euphonium. Rhythms are simple, with little independent movement, but there is rich harmony with a dash of polytonality. Enjoy!

Written in 1989, this is a three movement work that challenges a young performer. Key and tempo changes abound. Use of mute and dynamics are integral. The sonata was written for a couple of my students. It is ideal for a student with maturity of interpretation, reasonable finger dexerity, and endurance, but does not require a lot of high range (it ranges from a4 to a6, but mostly confines itself to the c4 to e5 area.) The first movement is a fast sonata form with a rather challenging piano part that complements and enhances the trumpet line. The middle movement is a through-composed cantabile, appropriate for a trumpeter who can really make the instrument ’sing.’ The last movement is a tongue-in-cheek scherzo which includes muted trumpet and some interesting melodic elisions.

Here is a very playable arrangement of the hymn tune 'Morecambe' by Frederick C. Atkinson. Lush harmonies and counterpoint throughout with the melody moving from player to player. For three Bb soprano clarinets and bass clarinet with an optional alto clarinet part included to substitute for the third soprano clarinet part.

This popular hymn was composed by Frederick Atkinson in 1870, originally entitled "Morecambe". This arrangement may be played by horn quartet or horn choir, and an optional descant is provided.

The Blue Bells of Scotland was originally written by Dorothea Jordan, a late eighteenth-century English actress and writer, who published it in 1801. It has gone through so many versions that it has long since passed into folk song status. This approachable, yet elegant arrangement for flute and piano was written for the wedding of Thomas Hall and Nancy Pierce.

The Blue Bells of Scotland was originally written by Dorothea Jordan, a late eighteenth-century English actress and writer, who published it in 1801. It has gone through so many versions that it has long since passed into folk song status. This approachable, yet elegant arrangement for horn and piano was originally written for the wedding of Thomas Hall and Nancy Pierce.

The hymn text, The Church's One foundation was written as a direct response to the schism within the Church of South Africa caused by John William Colenso, first Bishop of Natal, who denounced much of the Bible as fictitious. When Bishop Colenso was deposed for his teachings, he appealed to the higher ecclesiastical authorities in England. In response, Englishman Samuel John Stone wroite a set of hymn texts based on the Apostles' Creed. He titled it, Lyra Fidelium: Twelve Hymns on the Twelve Articles of the Apostles' Creed. "The Church's One Foundation" is based on the ninth article, The holy Catholic Church and The Communion of Saints.

This Easter arrangement works with or without optional organ, optional congregational singing or optional SATB chorus.

This bright six-eight march pays homage to the great Nineteenth-Century march composers such as Sousa and King. All parts share in both melodic and harmonic material with an abundance of counterpoint. Written for and premiered in the summer of 2010 by the St. Croix Valley Community Band of River Falls, Wisconsin.

Francis Scott Key was so moved by the sight of the American flag during the Battle of Baltimore in 1814, that he composed the poem "The Defence of Fort McHenry." He intended the rhythms of his poem to fit a popular drinking song by English composer John Stafford Smith entitled "To Anacreon in Heaven." The result was adopted as our National Anthem in 1916 by Woodrow Wilson by executive order and finally by congressional resolution in 1931.

The Strife Is O'er, the Battle Done comes from the 17th-century Latin hymn, Finita iam sunt proelia, the popular English-language translation having been done in 1861 by Francis Pott. The tune, Victory, is adapted from a 1591 setting of the Gloria Patri by Palestrina, from a Magnificat tertii toni. The Alleluia refrain was composed by William Henry Monk. This arrangement is meant to be performed by brass quintet and organ, with optional mixed chorus. The brass cues in the second verse should not be played when chorus is used. Trumpet parts are provided in B♭ and C.

Thine Is the Glory (also known as Thine Be The Glory) is a popular Easter Christian hymn, written by the Swiss writer Edmond Budry (1854–1932) and set to the tune of the chorus "See, the Conqu'ring hero comes" from Händel's oratorio Judas Maccabaeus. The hymn is sometimes sung at weddings or funerals; this is, for example, customary in the Dutch royal family. This arrangement is for brass quintet and organ

Commissioned by Robbinsdale Parkway United Church of Christ in Robbinsdale, Minnesota, this arrangement is intended to be versatile, covering three different configurations of musical forces. It can be played by the brass quintet and organ, without any vocal forces whatsoever. The brass and organ parts may be used simply to accompany congregational singing of the hymn, without the aid of any choral group. The preferred method of performance is with four-part mixed choir, which may or may not sing parts on verses one and two, and which may sing the second verse a cappella or with organ accompaniment, and with congregation singing in unison on either verse three, or verses one and three. It is hoped that this arrangement will therefore be flexible enough to fit several different worship situations.

This jazz waltz was written for and received an honorable mention in the 2017 composition competition of the Twin Cities Horn Club of Minneapolis/St. Paul. It contains a section where two or more players are invited to improvise. Although the piece can be performed without improvisations by omitting measures 73 - 188, it is to be hoped that players will not be daunted at the prospect of improvising.

"Ukraine is not yet dead" proclaims the Ukrainian national anthem. It first saw life as a poem written in 1862 by Pavlo Chubynsky. A year later Chubynsky's poem was set to music by Ukrainian composer and Catholic priest Mykhailo Verbytsky. It bespeaks the mix of hope and desperation felt through centuries by Ukrainians in their struggle to rule their own land. Originally sung as a hymn, both melody and lyrics share similarities with Polish, Serbian and Israeli anthems. Adopted as the national anthem after the Bolshevic Revolution, there was much discussion over the lyrics when the country's second independence was declared in 1991. After years of discussion, modest changes were made. Instead of opening with the phrase, "Ukraine has not yet perished, nor has her glory or freedom," it now reads, "Ukraine's glory and freedom which haven't perished." Whittled down to one verse with a refrain, the anthem concentrates on the ideas of vanquishing the enemies of the country and the breath of freedom.

This arrangement is for a standard brass quintet.

This is the beautiful elegiac song by Edvard Grieg, here arranged for bassoon and piano.

Australian-born composer, arranger, and pianist Percy Aldridge Grainger, in the course of a long and innovative career, played a prominent role in the revival of interest in British folk music in the early years of the 20th century. Much of his music was experimental and could not easily be pigeon-holed into existing musical forms, or was written for non-traditional groups of instruments and/or voices. This lovely tune is arranged here for brass quintet.

The hymn tune St. George's Windsor is named for St. George's chapel in Windsor, England, where the composer was organist for forty-seven years. The tune is used for the hymns, "Come, ye thankful people, come" and "Watchman, tell us of the night."

A gospel song which became a protest song and the signal anthem of the civil rights movement, We Shall Overcome is commonly believed to be lyrically descended from I'll Overcome Some Day, a hymn by Charles Albert Tindley. The modern version was first contributed to the People's Songs Bulletin by Zilphia Horton, who said she had learned it from tobacco worker organizer Lucille Simmons in 1945. It became associated with the civil rights movement in 1959 when Guy Carawan and Pete Seeger began using their version at the Highlander Folk School in Tennessee. Within a year, it had spread across the south, becoming the unofficial anthem of the civil rights movement. This simple solemn version for horn, trombone (or bassoon) and piano is offered for contemporary use.

A gospel song which became a protest song and the signal anthem of the civil rights movement, We Shall Overcome is commonly believed to be lyrically descended from I'll Overcome Some Day, a hymn by Charles Albert Tindley. The modern version was first contributed to the People's Songs Bulletin by Zilphia Horton, who said she had learned it from tobacco workers organizer Lucille Simmons in 1945. It became associated with the civil rights movement in 1959 when Guy Carawan and Pete Seeger began using their version at the Highlander Folk School in Tennessee. Within a year, it had spread across the south, becoming the unofficial anthem of the civil rights movement.

This simple solemn version for horn, flute or clarinet, and piano is offered for contemporary use.

A gospel song that became a protest song and the signal anthem of the civil rights movement, We Shall Overcome is commonly believed to be lyrically descended from I'll Overcome Some Day, a hymn by Charles Albert Tindley. The modern version was first contributed to the People's Songs Bulletin by Zilphia Horton, who said she had learned it from tobacco workers organizer Lucille Simmons in 1945. It became associated with the civil rights movement in 1959 when Guy Carawan and Pete Seeger began using their version at the Highlander Folk School in Tennessee. Within a year, it had spread across the south, becoming the unofficial anthem of the civil rights movement.

This simple solemn version for horn quartet is offered for contemporary use.

A gospel song which became a protest song and the signal anthem of the civil rights movement, We Shall Overcome is commonly believed to be lyrically descended from I'll Overcome Some Day, a hymn by Charles Albert Tindley. The modern version was first contributed to the People's Songs Bulletin by Zilphia Horton, who said she had learned it from tobacco workers organizer Lucille Simmons in 1945. It became associated with the civil rights movement in 1959 when Guy Carawan and Pete Seeger began using their version at the Highlander Folk School in Tennessee. Within a year, it had spread across the south, becoming the unofficial anthem of the civil rights movement.

This simple solemn version for two trumpets and piano is offered for contemporary use.

Trumpets provided in B♭ and C.

A gospel song which became a protest song and the signal anthem of the civil rights movement, We Shall Overcome is commonly believed to be lyrically descended from I'll Overcome Some Day, a hymn by Charles Albert Tindley. The modern version was first contributed to the People's Songs Bulletin by Zilphia Horton, who said she had learned it from tobacco workers organizer Lucille Simmons in 1945. It became associated with the civil rights movement in 1959 when Guy Carawan and Pete Seeger began using their version at the Highlander Folk School in Tennessee. Within a year, it had spread across the south, becoming the unofficial anthem of the civil rights movement.

This simple solemn version for two clarinets and piano is offered for contemporary use. The first clarinet part is well within reach for second- or third-year students, while the second clarinet part stays below the break throughout, making it playable by a good first-year player, yet the arrangement is full-sounding and appropriate for any occasion.

A gospel song that became a protest song and the signal anthem of the civil rights movement, We Shall Overcome is commonly believed to be lyrically descended from I'll Overcome Some Day, a hymn by Charles Albert Tindley. The modern version was first contributed to the People's Songs Bulletin by Zilphia Horton, who said she had learned it from tobacco workers organizer Lucille Simmons in 1945. It became associated with the civil rights movement in 1959 when Guy Carawan and Pete Seeger began using their version at the Highlander Folk School in Tennessee. Within a year, it had spread across the south, becoming the unofficial anthem of the civil rights movement.

This simple solemn version for Bb or C trumpet, horn and piano is offered for contemporary use.

.Instrumentation:

Trumpet (B♭ and C part provided) Horn in F Piano

"We Three Kings", also known as "We Three Kings of Orient Are" or "The Quest of the Magi", is a Christmas carol written by John Henry Hopkins, Jr., in 1857. At the time of composing it, Hopkins served as the rector of Christ Episcopal Church in Williamsport, Pennsylvania, and wrote it for a Christmas pageant in New York City. It remains one of the most popular Christmas carols today.

"What is This Lovely Fragrance Wafting" (Quelle est cette odeur agréable?) is a popular French carol describing the nativity.

This is a lush but playable arrangement of the traditional French Christmas carol. Everyone gets a go at the melody and a bass clarinet part is included for ensembles lacking a bassoon.

Here is an arrangement of the popular Nineteenth-Century folk hymn, What Wondrous Love Is This? arranged for woodwind quintet. Remaining mostly in the traditional Dorian mode, the harmony is nonetheless striking, the melody weaving in and out among the parts. The opening bassoon solo is also cued in the horn part, should the bassoonist find it a bit high, and an alternate part for bass clarinet is furnished as a substitute for bassoon.

An excellent arrangement of the hymn, "When I Survey the Wondrous Cross." The tune, Hamburg (named after the German city,) was composed by Lowell Mason in 1824. Mason indicated that the tune was based on a chant in the first Gregorian tone.

Here is an arrangement of the charming Beatles tune from Yellow Submarine. It is set for standard woodwind quintet: flute, oboe, Bb clarinet, F horn, and bassoon. Suitable for pop concert or recital encore. Everyone gets a stab at the melody and range is kept within the limits of reasonably good high school players. Enjoy!

Tallis' "When Rising From the Bed of Death" (also used for the hymn, "I Heard the Voice of Jesus Say") is appropriate for church use during Lent and up to Easter.

For 2 Bb trumpets and Trombone. Alternate F Horn parts provided for Trumpet II amd Trombone. Philipp Nicolai lived an eventful life–he fled from the Spanish army, sparred with Roman Catholic and Calvinist opponents, and ministered to plague-stricken congregations. Nicolai composed Wie Schön Leuchtet by adapting a tune written for Psalm 100 from Wolf Köphel's 1538 Psalter.