Con Spirito Music

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Scottish-born James Montgomery (1771-1854) was a poet, writer, and editor, raised and theologically trained in the Moravian Church. As a writer of hymns, his work has been compared favorably to that of Samuel Wesley, Isaac Watts, Philip Doddridge, John Newton, and William Cowper (Cooper). Among his most well-known lyrics are "Angels From the Realms of Glory," "Go to Dark Gethsemane," and "Hail to the Lord's Anointed."

Written in the first-person voice, "In the Hour of Trial" presents in stanzas 1-2 (women, then men) pleas for Jesus' presence in times of temptation. Stanza 3, in full SAB harmony and unaccompanied, expresses the author's reliance on Christ in times of affliction; stanza 4, with full choir and organ accompaniment, expresses the author's reliance, at time of death, on Jesus' truth and promise of eternal life. 

"In the Hour of Trial" is especially appropriate in Lent and for memorial services, and it is a fitting anthem for general worship as well.

In the Hour of Trial

SAB Full Score

"That We May Give Ourselves" is a short anthem based on a traditional collect  a prayer comprising an invocation, petition, and conclusion  that appears in various Anglican prayer books:

Eternal God and Father, by whose power we are created and by whose love we are redeemed: Guide and strengthen us by your Spirit, that we may give ourselves to your service, and live this day in love to one another, and live this day in love to you; through Jesus Christ our Lord. Amen.

Appropriate at any time of year, this medium-easy anthem of dedication is an ideal offertory selection.

That We May Give Ourselves

Scottish-born James Montgomery (1771-1854) was a poet, writer, and editor, raised and theologically trained in the Moravian Church. As a writer of hymns, his work has been compared favorably to that of Samuel Wesley, Isaac Watts, Philip Doddridge, John Newton, and William Cowper (Cooper). Among his most well-known lyrics are "Angels From the Realms of Glory," "Go to Dark Gethsemane," and "Hail to the Lord's Anointed."

Written in the first-person voice, "In the Hour of Trial" presents in stanzas 1-2 (women, then men) pleas for Jesus' presence in times of temptation. Stanza 3, in full SATB harmony and unaccompanied, expresses the author's reliance on Christ in times of affliction; stanza 4, with full choir and organ accompaniment, expresses the author's reliance, at time of death, on Jesus' truth and promise of eternal life. 

"In the Hour of Trial" is especially appropriate in Lent and for memorial services, and it is a fitting anthem for general worship as well.

SATB Full Score

Ensemble

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This lovely medley brings together the two tunes most often associated
  with the children's hymn, "Away in a Manger": CRADLE SONG (popular
  in the U.K.) and MUELLER (popular in the U.S.). An accessible, lyrical
  selection that's ideal for use both in worship and recital.

Away in a Manger

Brass Quintet

Instrument Type

Written by Irish composer, critic, and folk-song collector Herbert Hughes in 1909 and based on a traditional Irish tune ("The Maids of Mourne Shore"), "Down by the Salley Gardens" has long been a favorite of folk singers and has been arranged by composers including Benjamin Britten and John Rutter. This richly harmonized arrangement for four trombones opens with members of the ensemble entering one at a time and provides opportunities for both Trombone 1 and Trombone 4 (Bass) to shine on the simple but beautiful melody.

Down by the Salley Gardens

Trombone Quartet

A late 19th century song that recounts the escape from Scotland of Bonnie Prince Charlie following his failed campaign to retake the throne of the united Kingdom, the Skye Boat Song quickly became popular in its own time, and it has enjoyed even greater renown since the folk music revival of the 1960s and the rising popularity of Celtic music in the late 20th and 21st centuries. This arrangement for brass quintet and percussion explores the tune in various keys and with various harmonizations. The percussion may be performed by two players  with one player on bodhran (Celtic drum) and another on triangle and suspended cymbals  or by a single player covering the parts on drum set. (A part for drum set is provided as well as the separate parts for bodhran and triangle/cymbal.)

Skye Boat Song

An allusion to Lamentations 1:12 ("Is it nothing to you, all ye that pass by? Behold, and see if there be any sorrow like unto my sorrow...."), "Have, Have Ye No Regard" is a setting for solo baritone, SATB voices, and organ of Robert Herrick's poem, "His Saviour's Words, Going to the Cross." Ideal for Holy Week / Good Friday services.

Have, Have Ye No Regard?

An ideal prelude or offertory selection, this arrangement of a lovely,
  lyrical tune from the shape-note hymnal Southern Harmony (1835) features a
  statement of the melody by the soloist in verse 1, descant over the
  presentation of the tune by piano in verse 2, and recapitulation transposed
  one step higher in verse 3, with short, original interludes between
  verses.
    
    
    
    Suitable for euphonium, trombone, cello, or other tenor instrument;
  includes both bass clef and Bb treble clef solo parts.

Prospect

Trombone Solo

Ideal for use at Pentecost, at ordinations, and as an offertory or communion anthem at any time, "Breathe on Me, Breath of God" invokes the Holy Spirit and pleads for its presence, guidance, and sanctification of the petitioner.

Breathe on Me, Breath of God

"Adam Lay Ybounden" or "Adam lay i-bowndyn" is a Middle English poem dating to approximately 1400. Of unknown authorship, it recalls the Fall of Man as recounted in the Book of Genesis, chapter 3, and celebrates the redemption of the world by the birth, death, and resurrection of Christ. Quick to rehearse and easily singable — ideal for a service of lessons and carols at Advent or Christmas.

Adam Lay Ybounden

SAB Octavo

Introduce your audience to a Christmas carol that, perhaps, is new to
  them with this beautiful tune that features attractive harmonies, tonal
  contrasts, and dynamic contrasts.

Irish Carol

An ideal recital piece, this delightful arrangement introduces the hymn
  tune NETTLETON simply and straightforwardly in its traditional 3/4 meter
  (Pastorale), then follows with a lyrical variation in 4/4 time, a variation
  in 5/8 (Giocoso), and a concluding march (Alla Marcia).

Come Thou Fount of Every Blessing

Ideal for Advent I or at any time of the season, this venerable text by Charles Coffin (1676-1749) references both the coming of Christ to the world in his incarnation and earthly ministry, as well as his Second Coming and eternal reign. 

This medium-easy arrangement for SAB voices and organ adapts the hymn tune CHESHIRE for its first four verses, followed by an original tune for the concluding doxology.

The Advent of Our God

"Easter Rejoicing" is a joyful medley of three tunes that are
  associated with hymns for Easter: "Rejoice, Ye Pure in Heart"
  (MARION), by A.H. Messiter, "Rejoice, the Lord is King" (DARWALL)
  by John Darwall, and "Thine is the Glory" (JUDAS MACCABEUS) by G.F.
  Handel. 
    
    
    
    Ideal as a prelude, postlude, or offertory selection on Easter Sunday or at
  any time in Eastertide, "Easter Rejoicing" is a bright, jubilant
  selection that sounds brilliant with brass alone or with the included
  optional timpani part.

Easter Rejoicing

Exuberantly glorious, "Easter Anthem" by America's first
  native-born composer, William Billings (1746-1800), translates brilliantly
  from SATB voices to the sonorities of the brass quintet. In this joyful work,
  tempo indications, dynamic markings and articulations, as well as a newly
  composed timpani part, have been added by the arranger.

Easter Anthem

An ideal hymn selection for Easter Sunday, Eastertide, or at any celebration of the eucharist, "At the Lamb's High Feast We Sing" is a richly theological, grand hymn that references God's saving works in both the Old Testament and the New, culminating in Christ's victorious resurrection and his triumph over sin and death, and celebrates his feeding of the faithful gathered for the eucharistic feast with his Body and Blood.

This arrangement for organ and brass quintet begins with alternating fanfares for organ and brass, followed by:

Verse 1: organ accompaniment
Verse 2: brass accompaniment
Verse 3: organ accompaniment with solo trumpet "punctuations"
Interlude
Verse 4: organ and brass accompaniment in alternate harmonization
Coda recapitulating the introductory fanfares 

Full score, parts for organ, Bb tpt. 1, Bb tpt. 2, F horn, tbn, tuba, and reproducible bulletin insert for voices (8.511 PDF)

At the Lamb's High Feast We Sing

Sir John Stainer's venerable choral anthem, based on John 3:16,
  translates beautifully to the brass quintet in an arrangement that's
  appropriate in Lent, at Easter, for offertory, or at communion.

God So Loved the World

Featuring a short fanfare and introduction, with fanfare echoed at the conclusion, this arrangement of the United States National Anthem is ideal as an opener for patriotic and general concerts by school and community bands.

The Star-Spangled Banner

Concert Band Score & Parts

"Hail the Day That Sees Him Rise," one of the most popular hymn texts on the Ascension of Christ, was penned by the great Methodist hymn writer Charles Wesley; and the tune most often associated with it, "LLANFAIR," is attributed to Welsh singer Robert Williams. In this arrangement, elements of the tune are employed in a majestic, constantly modulating introduction before giving way to three presentations of the melody in various instrument combinations and harmonizations, concluding with a short coda incorporating a flourish recalling the introduction. Especially fitting as a prelude or postlude to worship.

Hail the Day That Sees Him Rise

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