Hymns for Brass Ensembles

All Glory, Laud, and Honor
Tune: Valet Will Ich Der Geben/St. Theodulph
Arranged by Mark Albrecht

In this arrangement from the Hymns for Brass Ensembles series, there are five contrasting settings with refrains, including the Hymnal Version from Lutheran Worship. The first setting is in three-part harmony, and the others are in four parts. One features a repeated, two-measure, Arban exercise type of figure along with the hymn tune, above a tenor and bass of drones in fifths.

This arrangement can be played by as few as four instruments (typically I & II Trumpets, and I & II Trombones). Parts are included for I & II F Horns, Baritone T.C., and Tuba, so that quartets can be formed in different ways, or various doublings may be made for larger ensembles. The arrangement can accompany a congregation, or can be played as an instrumental suite of variations on the hymn. The difficulty level is 3.

Full set includes a Conductor/Keyboard Score, transposed parts for individual instruments, background notes, and suggestions for performance with or without the congregation and choir.

Hymns for Brass Ensembles

All Praise to You, Eternal Lord
Tune: Gelobet Seist Du
Arranged by Richard Hillert

From the Hymns for Brass Ensembles series, here is elegant brass writing with moderate ranges and easy rhythms that make this arrangement an excellent introduction for players not yet familiar with Hillert's style. The first setting complements the harmonization in Lutheran Worship. It is followed by a partita that moves uninterruptedly through three variations, each less legato than the preceding one. An alternate congregational accompaniment leads to a setting that complements the one in Lutheran Book of Worship. The final, majestic setting effectively leads the congregation while not carrying the hymn tune in its entirety.

Full set includes a Conductor/Keyboard Score, transposed parts for individual instruments, background notes, and suggestions for performance with or without the congregation and choir.

Hymns for Brass Ensembles

Angels from the Realms of Glory
Tune: Regent Square
Arranged by Dale Elmshaeuser

Setting A of this arrangement from the Hymns for Brass Ensembles series is the hymnal version from The United Methodist Hymnal (1989) and most major hymnals, followed by three congregational versions. In setting B, the hymn tune is in the tenor line; in setting C, in the bass; and in setting D, in the alto. Setting B has a trumpet duet above the hymn tune; setting C begins with muted trumpet fanfares, moves to open fanfares, and reaches a festive eighth-note conclusion. Setting D has eighth notes throughout in the tenor and bass, with a soprano descant in long tones.

This arrangement can be played by as few as four instruments (typically I & II Trumpets, and I & II Trombones). Parts are included for I & II F Horns, Baritone T.C., and Tuba, so that quartets can be formed in different ways, or various doublings may be made for larger ensembles. The arrangement can accompany a congregation, or it can be played as an instrumental suite of variations on the hymn. The difficulty level is 3.

Full set includes a Conductor/Keyboard Score, transposed parts for individual instruments, background notes, and suggestions for performance with or without the congregation and choir.

Arrangements for Woodwinds

Angels We Have Heard on High
Tune: Gloria
Arranged by Mark Albrecht

Unlike other titles from our Arrangements for Woodwinds series, this arrangement is for three Flutes and classical Guitar (acoustical, not electric guitar). There are chord symbols for the Guitar part, but it is most effective when played with the written-out, standard notation. The latter also allows a Keyboard to substitute for the Guitar. The familiar carol begins with the Flutes on the first harmonization, moves to the Guitar soloing on the second with interesting duplet and triplet arpeggios, and concludes with the Flutes on the third. The Guitar also accompanies the Flutes, which play in three-part harmony on their settings.

This is an instrumental piece, not suitable for congregational accompaniment. The overall difficulty level is 3-, although the II Flute part is somewhat easier, and the III Flute part is still easier. That aspect makes this a good arrangement for three flutists of varying abilities -- interesting enough for a more advanced player, while still accessible for fledgling flutists!

Full set includes a one-line Conductor Score, separate parts for the three Flutes, and the Guitar (or Keyboard) part -- written out, with chord symbols added.

Hymns for Brass Ensembles

As with Gladness Men of Old/For the Beauty of the Earth
Tune: Dix
Arranged by Dale Elmshaeuser

There is a great deal of energy and variety in these five settings, including one filled with fanfares, one with a descant, and one containing canonic entries. The final setting has many fast, sixteenth-note, descending and ascending scale passages. The arrangement is from the Hymns for Brass Ensembles series.

This arrangement can be played by as few as four instruments (typically I & II Trumpets, and I & II Trombones). Parts are included for I & II F Horns, Baritone T.C., and Tuba, so that quartets can be formed in different ways, or various doublings may be made for larger ensembles. The arrangement can accompany a congregation, or it can be played as an instrumental suite of variations on the hymn. The difficulty level ranges from 3 to 4.

Full set includes a Conductor/Keyboard Score, transposed parts for individual instruments, background notes, and suggestions for performance with or without the congregation and choir.

Hymns for Orchestral Ensembles

Bring a Torch, Jeanette, Isabella
Arranged by Kenneth T. Kosche

The Prelude of this arrangement in the Hymns for Orchestral Ensembles series begins with the treble instruments playing a pastoral descending line in parallel thirds to introduce the carol tune, which then passes from the soprano to the tenor to the alto lines. Four Congregational Versions follow: one with the tune in the soprano, one with the tune passing from soprano to tenor to alto, one with the tune in the tenor, and one with the tune shared by soprano and tenor amid active eighth-note accompaniments.

This arrangement can be played by as few as four instruments (soprano, alto, tenor, bass) from the same or different instrumental families, or by as many as a wind ensemble (concert band), chamber orchestra, or full orchestra (minus percussion). Orchestration suggestions are given for a large group. The arrangement can accompany group singing, or it can be played as an instrumental suite of variations on the carol. The difficulty level is 3.

Full set includes a Conductor/Keyboard Score; transposed parts for individual woodwind, brass, and string instruments; background notes; and suggestions for performance. As with all Live Oak House publications, purchasers have permission to reproduce any material in this set for (only) their own use.

Arrangements for Brasses

Christmas Carols of the Commonwealth
Arranged by Dale Elmshaeuser

This medley of carols in the Arrangements for Brasses series comes from The Oxford Book of Carols, and features Christmas melodies that have not been tiresomely over-performed. The five carols in fast-slow-fast-slow-fast format are "A Virgin Most Pure;" "Remember, O Thou Man;" "The Cherry Tree Carol;" "In the Bleak Mid-Winter" (Cranham); and "Down in Yon Forest." The styles range from slow and sonorous with highly melodic lines, to rapid staccato passages, and end in a fast triplet meter interspersed with hemiolas. Each carol can be played separately, or the entire medley can be played straight through with the bridges provided. "Remember, O Thou Man" is a good carol to play again during the following Lenten season.

This arrangement is scored for a standard brass quartet (I & II Trumpets, and I & II Trombones) plus optional Tuba. I & II F Horn parts and a Baritone T.C. part are included, so that the ensemble can be formed in different ways, or various doublings may be made for larger ensembles. This is an instrumental composition, not suitable for congregational accompaniment. The difficulty level is 4.

Full set includes a Conductor/Keyboard Score, transposed parts for individual instruments, background notes, and suggestions for rehearsal and performance.

Hymns for Brass Ensembles

Comfort, Comfort These My People
Tune: Freu Dich Sehr/Psalm 42
Arranged by Dale Elmshaeuser

This arrangement from the Hymns for Brass Ensembles series contains four settings in a lush, legato style. In one setting, the melody alternates between higher and lower instruments. The fourth setting is topped with a descant.

This arrangement can be played by as few as four instruments (typically I & II Trumpets, and I & II Trombones). Parts are included for I & II F Horns, Baritone T.C., and Tuba, so that quartets can be formed in different ways, or various doublings may be made for larger ensembles. The arrangement can accompany a congregation, or it can be played as an instrumental suite of variations on the hymn. The difficulty level is 3.

Full set includes a Conductor/Keyboard Score, transposed parts for individual instruments, background notes, and suggestions for performance with or without the congregation and choir.

Arrangements for Strings

Epiphany Set for String Quartet
Tune: Wie Schoen Leuchtet
Arranged by Frederick Frahm

This composition from the Arrangements for Strings series is organized around the worship service with three extended treatments of the great chorale, labeled "Processional," "Meditation" (One could say "Voluntary."), and "Recessional." Frahm's own setting of the rhythmic chorale melody, and the traditional setting of the isometric chorale melody complete the arrangement. These can accompany congregations singing those versions of the hymn. The maestoso Processional in chorale prelude style is based on the first five notes of the chorale, using interesting rhythmic and harmonic devices and pleasing melodic motifs. The very slow espressivo Meditation includes the chorale tune in both major and minor keys. The animoso Recessional is in 6/8 meter, "in two," but at a deliberate pace. Smaller fragments of the chorale melody are employed, at times catching the listener unawares. It ends abruptly.

This arrangement can be played by as few as four instruments (typically I & II Violins, Viola, and Cello). The Cello part can, of course, be augmented with or replaced by Double Bass, reading from the same score. Parts are included for upper Viola and upper Cello, so that quartets can be formed in different ways, or various doublings may be made for larger ensembles. In addition, parts for I, II & III Clarinets and for F Horn are included, so that substitutions can be made for missing string instruments. The difficulty level of this arrangement is 3.

Full set includes a Full Score, transposed parts for individual instruments, background notes, and suggestions for rehearsal and performance.

Arrangements for Woodwinds/Brasses

From Heaven Above
By Felix Mendelssohn, Arranged by Donald Rotermund

A four-part Chorale and Fantasy for the instruments, along with an independent organ score, were developed from two movements of the original SSATB cantata on the tune Vom Himmel Hoch. The movements are reordered, placing the Chorale first, but may be played in either order, or separately. The first half of the Fantasy is a development of the opening phrase of the chorale. After a shorter, similar treatment of the second phrase of the chorale, the Fantasy ends with a majestic playing of the entire chorale in 3/4 meter, one beat to the measure. The organ part for this movement has nearly continuous eighth notes in one hand or the other, and at times in both together, until the final, complete chorale.

This arrangement can be played by organ and as few as four instruments. It is equally effective with woodwinds or brasses. Parts are included for Flute, Oboe, Bassoon, I-III Clarinets, Bass Clarinet, I & II Alto Saxes, Tenor Sax, Baritone Sax, and F Horn, so that quartets can be formed in different ways, or various doublings may be made for larger ensembles. The set includes a I Trombone part for brass ensembles. (A Tuba part would not be compatible with the Organ Score.) Trumpets can read from the I & II Clarinet parts, and II Trombones and Baritones can read from the Bassoon part. The overall difficulty level is 3. While of easy to medium difficulty for the woodwinds, the brass players (especially the trumpets) must have well-developed embouchures to play long high notes lasting several measures.

Full set includes a Full/Organ Score, transposed parts for individual instruments, background notes, and suggestions for rehearsal and performance.

Hymns for String Ensembles

From Shepherding of Stars
Tune: Shepherding
Arranged by Richard Hillert

From the Hymns for String Ensembles series, this arrangement was written by the composer of the hymn tune. The Prelude is based on a recurring melodic group of three eighth notes and two quarter notes, beginning after an eighth rest. It ends with the final phrase of the hymn tune in augmentation. A setting complementing his Lutheran Book of Worship and Lutheran Worship harmonization follows, before an alternate congregational accompaniment that departs briefly from the hymn tune. The arrangement ends with a fantasia filled with imitative figures that are fragments of the hymn tune.

This arrangement can be played by as few as four instruments (typically I & II Violins, Viola, and Cello). The Cello part can of course, be augmented with or replaced by Double Bass, reading from the same score. Parts are included for upper Viola and upper Cello, so that quartets can be formed in different ways, or various doublings may be made for larger ensembles. In addition, parts for I, II & III Clarinets and for F Horn are included, so that substitutions can be made for missing stringed instruments. The arrangement can accompany a congregation, or can be played as an instrumental suite of variations on the hymn. The difficulty level is 3.

Full set includes a Conductor/Keyboard Score, transposed parts for individual instruments, background notes, and suggestions for performance with or without the congregation and choir.

Hymns for Brass Ensembles

Good Christian Friends (Men), Rejoice
Tune: In Dulci Jubilo
Arranged by Dale Elmshaeuser

In this arrangement from the Hymns for Brass Ensembles series, there are four congregational versions, each with the hymn tune in a sprightly, 6/8 "in two," and the final hymnal version from Hymnbook 1982 in a majestic 6/4 "in six." Settings A and B contain sections of 2 and 3 parts, ending in 4 parts. Setting C is the hymnal version "in two." Setting D features Scottish drones in the tenor and bass. Above them, the I Trumpet begins the hymn tune muted; then unmuted, exchanges it with the II Trumpet, both later dividing above the tenor and bass.

This arrangement can be played by as few as four instruments (typically I & II Trumpets, and I & II Trombones). Parts are included for I & II F Horns, Baritone T.C., and Tuba, so that quartets can be formed in different ways, or various doublings may be made for larger ensembles. The arrangement can accompany a congregation, or it can be played as an instrumental suite of variations on the hymn. The difficulty level is 3.

Full set includes a Conductor/Keyboard Score, transposed parts for individual instruments, background notes, and suggestions for performance with or without the congregation and choir.

Arrangements for Woodwinds/Brasses

Hallelujah Chorus from "Messiah"
By George Frederick Handel
Transcribed by Dale Elmshaeuser

This transcription from the Arrangements for Woodwinds series is the complete chorus with no arranging. The instrumentalists play the choral parts, and the organist or pianist can play from the Full Score. You can play this transcription as an instrumental piece, or use it as support for a choir that is small or lacks confidence. Extra parts for I Trombone and for Tuba, plus the F Horn part included in all our woodwind quartet arrangements, accommodate brass ensembles.

This transcription can be played by as few as four instruments. Parts are included for Flute, Oboe, Bassoon, I-III Clarinets, Bass Clarinet, I & II Alto Saxes, Tenor Sax, Baritone Sax, and F Horn, plus extra parts for I Trombone and Tuba, so that quartets can be formed in different ways, or various doublings may be made for larger ensembles. The difficulty level is 3/4.

Full set includes a Full/Keyboard Score, transposed parts for individual instruments, background notes, and suggestions for rehearsal and performance.

Hymns for Woodwind Ensembles

Hark! A Thrilling Voice Is Sounding
Tune: Freuen Wir Uns All In Ein
Arranged by Dale Elmshaeuser

For two of the five settings in this arrangement from the Hymns for Woodwind Ensembles series, the melody is in the tenor line. For another it is in the alto. One setting has a soprano descant, another has a soprano and alto obbligato, and still another is harmonized with different phrases from the hymn tune itself.

This arrangement can be played by as few as four instruments (soprano, alto, tenor, bass). Parts are included for Flute, Oboe, Bassoon, I-III Clarinets, Bass Clarinet, I & II Alto Saxes, Tenor Sax, Baritone Sax, and F Horn, so that quartets can be formed in different ways, or various doublings may be made for larger ensembles. The arrangement can accompany a congregation, or it can be played as an instrumental suite of variations on the hymn. The difficulty level is 3.

Full set includes a Conductor/Keyboard Score, transposed parts for individual instruments, background notes, and suggestions for performance with or without the congregation and choir.

Hymns for Brass Ensembles

Hark, the Glad Sound!
Tune: Chesterfield
Arranged by John McIntyre

John McIntyre, whose suites for brass quintet have been well-received Live Oak House publications, has written his first arrangement in our Hymns for Brass Ensembles series. His Prelude weaves a repeated melody around he hymn tune in a style reminiscent of some Paul Manz organ preludes. While the trumpets carry this light, quick theme, the lower brasses pass the cantus firmus from the bass, to the tenor, and back to the bass. The Hymnal Version from Lutheran Book of Worship and Lutheran Worship is followed by a Congregational Version that begins with the hymn tune in unisons and octaves, and ends with a I Trumpet descant. The lower brasses continue the cantus firmus in octaves before dividing to provide the ending in four-part harmony. The Maestoso and marcato final Congregational Version has the hymn tune in the II Trumpet, with the I Trumpet playing a descant above it. The setting ends Allargando, with the original theme of the Prelude.

Full set includes a Conductor/Keyboard Score, transposed parts for individual instruments, background notes, and suggestions for performance with or without the congregation and choir.

Arrangements for Orchestral Ensembles

I Love Your Kingdom, Lord/The Advent of Our God/Oh, Bless the Lord, My Soul
Tune: St. Thomas
Arranged by John Jay Hilfiger

This first-in-the-series arrangement from the Arrangements for Orchestral Ensembles series is a continuous work, consisting of an introduction and four settings of the hymn - three of which can be separated out to accompany congregational singing, two of those in F Major, and the other in G Major. The arrangement is easy enough for high school and some middle school ensembles, yet interesting enough for adults and advanced players.

The arrangement can be played by as few as four instruments (soprano, alto, tenor, bass), and by as many as a full wind ensemble (concert band), string orchestra, or full orchestra. The difficulty level is 3-.

Arrangements for Brasses

Infant Holy, Infant Lowly
Tune: W Zlobie Lezy
Arranged by Mark Albrecht

This lovely carol, here in the Arrangements for Brasses series, is arranged for standard brass quintet with optional flute solo in the smooth style of the London Brass. It begins gently, and gradually builds to a powerful climax just before the quiet ending. It is skillfully scored, so that the flute, at times by itself and at times above the brasses, is not covered by the brasses. The arrangement can be played effectively without the flute, too.

This arrangement is scored for a standard brass quintet (I & II Trumpets, F Horn, Trombone, and Tuba), plus optional Flute solo. An alternate Trombone part in pIace of the F Horn, and a Baritone T.C. part in place of the (regular) Trombone are included. This is an instrumental composition, not intended for use with the congregation, although a congregational accompaniment can be extracted easily. The difficulty level is 3.

Full set includes a Conductor/Keyboard Score, transposed parts for individual instruments, background notes, and suggestions for rehearsal and performance.

Hymns for Brass Ensembles

Let All Mortal Flesh Keep Silence
Tune: Picardy
Arranged by Dale Elmshaeuser

From the Hymns for Brass Ensembles series, here is a very sonorous arrangement in legato style that contains the hymnal version from Lutheran Worship and three congregational accompaniments, including one with a layered entry to each phrase, and one with the tenor melody enhanced by a soprano descant.

Full set includes a Conductor/Keyboard Score, transposed parts for individual instruments, background notes, and suggestions for performance with or without the congregation and choir.

Hymns for Brass Ensembles

Let All Together Praise Our God/O Christ Our Hope
Tune: Lobt Gott, ihr Christen
Arranged by Dale Elmshaeuser

From the Hymns for Brass Ensembles series. After the introductory fanfares based on the hymn tune, four festive settings follow. One is in the style of the Introduction, and one has the melody in the tenor, with a soprano descant. The Hymnal Version is from Lutheran Book of Worship and Lutheran Worship.

Full set includes a Conductor/Keyboard Score, transposed parts for individual instruments, background notes, and suggestions for performance with or without the congregation and choir.

Hymns for String Ensembles

Let Our Gladness Have No End
Tune: Narodil Se Kristus Pan
Arranged by Frederick Frahm

From the Hymns for String Ensembles series. The Prelude begins with all playing in unisons and octaves. Melodic fragments from or related to the hymn tune provide the dance-like material that is at times accompanied by chords in off-beats, or else played in canon. Next is the Hymnal Version from Lutheran Book of Worship, followed by a Congregational Version which relays the hymn tune among the upper three voices. The final, Congregational Version starts with the I Violin and Viola playing the hymn tune in their high octaves, moves to all unison/octaves to begin the third phrase, and diverges slightly from the hymn tune at the end. The II Violin and Cello finish after the final note of the hymn.

Full set includes a Conductor/Keyboard Score, transposed parts for individual instruments, background notes, and suggestions for performance with or without the congregation and choir.

Original Works for Woodwinds

Manger Musik/Palestine Panorama
By Dale Elmshaeuser

A Mediterranean flavor is used in this entirely original composition from the Original Works for Woodwinds series to suggest the many moods surrounding Christ's birth. A shepherd's pipe tune opens this work in arch form. Other themes include a merry dance, and an awe-filled canon as the shepherds kneel before the Christ child. Finally, they disappear into the distance with the opening shepherd's pipe tune. The writing has been compared to Menoti, Copland, and Grainger, so you must decide for yourself. The alternate title facilitates playing this arrangement at times other than Christmas.

This septet is scored for Flute, Oboe, Bassoon, and I - IV Clarinets. Cross cueing enables the composition to be played without the Oboe, although with the resulting loss of an important timbre. Extra parts included are Bass Clarinet in place of the Bassoon, Alto Sax in place of II Clarinet, Tenor Sax in place of IV Clarinet, Baritone Sax in place of Bassoon, and F Horn in place of III Clarinet. The difficulty level is 4.

Full Set includes a Full Score, transposed parts for individual instruments, and background notes.

Hymns for Woodwind Ensembles

O Chief of Cities, Bethlehem
Tune: Truth from Above
Arranged by Dale Elmshaeuser

From the Hymns for Woodwind Ensembles series, this arrangement of an English folk tune promoted by Ralph Vaughan Williams begins with a straightforward congregational accompaniment. Another congregational setting has the cantus firmus in the tenor line making a duet with the bass, and layered entries in the upper two voices. Next is a more extended treatment, with each phrase of the hymn tune introduced by canonic figures related to it. The final congregational accompaniment has the cantus firmus in the alto line, and begins with it also in the bass, augmented.

Full set includes a Conductor/Keyboard Score, transposed parts for individual instruments, background notes, and suggestions for performance with or without the congregation and choir.

Hymns for Brass Ensembles

O God, Our Help in Ages Past
Tune: St. Anne
Arranged by Mark Albrecht

In this arrangement from the Hymns for Brass Ensembles series, an introduction (or interlude) precedes the hymnal version and five congregational versions. One setting is in 3 parts, with the melody in the bass. Everyone gets to play the melody before the arrangement is finished.

This arrangement can be played by as few as four instruments (typically I & II Trumpets, and I & II Trombones). Parts are included for I & II F Horns, Baritone T.C., and Tuba, so that quartets can be formed in different ways, or various doublings may be made for larger ensembles. The arrangement can accompany a congregation, or it can be played as an instrumental suite of variations on the hymn. The difficulty level is 3.

Full set includes a Conductor/Keyboard Score, transposed parts for individual instruments, background notes, and suggestions for performance with or without the congregation and choir.

Arrangements for Brasses

O Little Town of Bethlehem
Tune: St. Louis
Arranged by Mark Albrecht

This composition from the Arrangements for Brasses series provides a smooth, rich sound. Running eighth-note phrases, particularly in the F Horn, add melodic and rhythmic interest. Although written as an independent instrumental piece, it contains three distinct treatments of the entire carol tune -- all in the typical singing key of F. This allows playing it also as congregational accompaniments.

This arrangement is scored for a standard brass quintet (I & II Trumpets, F Horn, Trombone, and Tuba). An alternate F Horn part in pIace of the II Trumpet, an alternate Trombone part in place of the (regular) F Horn, and a Baritone T.C. part in place of the (regular) Trombone are included. The difficulty level is 3.

Full set includes a Full Score, transposed parts for individual instruments, background notes, and suggestions for rehearsal and performance.

Hymns for String Ensembles

O People, Rise and Labor
Tune: Aus Meines Herzens Grunde
Arranged by John E. Frantz

From the Hymns for String Ensembles series. The chorale Prelude begins with a charming alto pizzicato ostinato accompanying the tenor cantus firmus over pedal tones in the bass. Later, a legato descant appears in the soprano. In the last of the three congregational versions (after the hymnal version from Lutheran Worship), the alto ostinato returns, played with the bow this time. Another congregational version provides more harmonic interest. This arrangement is easy enough for a good junior high quartet to play.

Full set includes a Conductor/Keyboard Score, transposed parts for individual instruments, background notes, and suggestions for performance with or without the congregation and choir.

Hymns for Brass Ensembles

Of the Father's Love Begotten
Tune: Divinum Mysterium
Arranged by Mark Albrecht

From the Hymns for Brass Ensembles series, here a very smooth, round sound that is especially appropriate to the plainsong melody. There are four settings and a transition, plus the hymnal version from Lutheran Worship. The first setting is for two-part, lower brasses. The second one contains a pleasing I Trumpet counter melody. The fourth setting has the hymn tune in canon, with the tenor playing one beat after the soprano. The final setting has sharp contrasts in volume levels, along with more modern harmonies. Everyone has a turn at the hymn tune.

Full set includes a Conductor/Keyboard Score, transposed parts for individual instruments, background notes, and suggestions for performance with or without the congregation and choir.

Hymns for String Ensembles

Oh, Come, Oh, Come, Emmanuel
Tune: Veni, Emmanuel
Arranged by John E. Frantz

Since the chorale prelude of this arrangement from the Hymns for String Ensembles series is over two and one-half minutes in length and reminiscent of a fast movement from one of the Brandenburg Concertos, it is a composition in itself. It contains the entire hymn tune, but not always as expected! Because of the perpetual motion and high ranges, the alternate woodwind parts should not be considered as providing the possibility for a woodwind ensemble performance, but rather as making available an alternate part for a missing string instrument. The prelude is followed by the hymnal version, a 2-part setting for Violin and Cello, and two more florid settings -- one with the hymn tune in the II Violin part, and the final one with it in the Viola line. Each of these four settings is suitable for accompanying singers, and is playable by an all-woodwind ensemble.

This arrangement can be played by as few as four instruments (typically I & II Violins, Viola, and Cello). The Cello part can, of course, be augmented with or replaced by Double Bass, reading from the same score. Parts are included for upper Viola and upper Cello, so that quartets can be formed in different ways, or various doublings may be made for larger ensembles. In addition, parts for I, II & III Clarinets and for F Horn are included, so that substitutions can be made for missing stringed instruments. The arrangement can accompany a congregation, or it can be played as an instrumental suite of variations on the hymn. The difficulty level ranges from 3 to 4.

Full set includes a Conductor/Keyboard Score, transposed parts for individual instruments, background notes, and suggestions for performance with or without the congregation and choir.

Hymns for Woodwind Ensembles

On Jordan's Bank the Baptist's Cry
Tune: Puer Nobis
Arranged by Dale Elmshaeuser

In this arrangement from the Hymns for Woodwind Ensembles series, there is a short introduction based on the latter part of the hymn tune. Next are a hymnal version and a congregational version, both in 4-part harmony. Another of the three settings can be played in either 2, 3, or 4 parts -- or all three ways (possibly with different instrumentations), building progressively, and ending with syncopated motifs echoing each other.

Full set includes a Conductor/Keyboard Score, transposed parts for individual instruments, background notes, and suggestions for performance with or without the congregation and choir.

Hymns for String Ensembles

Once Again My Heart Rejoices (All My Heart This Night Rejoices)
Tune: Frohlich Soll Mein Herze Springen
Arranged by Dale Elmshaeuser

From the Hymns for String Ensembles series. For the Prelude, the first two phrases of this Christmas chorale are played in fugal style by the Cello and II Violin. After the Viola and I Violin add the first two phrases of the chorale in octaves, the Cello and II Violin continue with their fugal treatment of the third and fourth chorale phrases, once again joined in octaves by the other two instruments playing the same phrases. The Prelude ends with the last phrase of the chorale played in augmentation by the two inner voices. After the harmonization from Lutheran Book of Worship (except in D Major), there are three new settings, each in four-part harmony. The first is in hymnal style, with a counter melody in the I Violin. It is followed by one that begins each two phrases with layered entries. The final setting is a joyful, dance-like treatment in 12/8 time.

Full set includes a Conductor/Keyboard Score, transposed parts for individual instruments, background notes, and suggestions for performance with or without the congregation and choir.

Hymns for Woodwind Ensembles

Once in Royal David's City
Tune: Irby
Arranged by Dale Elmshaeuser

From the Hymns for Woodwind Ensembles series. The four settings of this Christmas processional hymn include a three-part version (treble, treble, bass) and one in a moderately modern chorale prelude style with the phrases of the hymn tune in the bass separated by material which is also used to harmonize the tune. The tenor hymn melody in the first setting moves under a British-style descant, and the hymnal version from Lutheran Worship is also included.

This arrangement can be played by as few as four instruments. Parts are included for Flute, Oboe, Bassoon, I-III Clarinets, Bass Clarinet, I & II Alto Saxes, Tenor Sax, Baritone Sax, and F Horn, so that quartets can be formed in different ways, or various doublings may be made for larger ensembles. The arrangement can accompany a congregation, or can be played as an instrumental suite of variations on the hymn. The difficulty level is 3.

Full set includes a Conductor/Keyboard Score, transposed parts for individual instruments, background notes, and suggestions for performance with or without the congregation and choir.

Hymns for Woodwind Ensembles

Prepare the Royal Highway
Tune: Bereden Vag For Herran
Arranged by Dale Elmshaeuser

From the Hymns for Woodwind Ensembles series. The 3/4 form of this hymn tune from Lutheran Book of Worship and the 4/4 form from Lutheran Worship each have both the hymnal version and a new, more varied setting. There is an Introduction and a Transition before each harmonization, so that the two forms of the tune can alternate in a continuous suite, or a shorter suite can be made using only one form or the other. The suggestions for accompanying congregational singing include either form of the tune.

Full set includes a Conductor/Keyboard Score, transposed parts for individual instruments, background notes, and suggestions for performance with or without the congregation and choir.

Hymns for Woodwind Ensembles

Rejoice, Rejoice, Believers
Tune: Haf Trones Lampa Fardig
Arranged by Dale Elmshaeuser

A fine Advent processional hymn, in this arrangement from the Hymns for Woodwind Ensembles series, its tune in the second setting has been altered just enough to allow a 4-part canon. The melody phrases in the third setting are exchanged among the soprano, alto, and bass lines. The tenor line has the melody in the final setting, with a soprano descant above.

Full set includes a Conductor/Keyboard Score, transposed parts for individual instruments, background notes, and suggestions for performance with or without the congregation and choir.

Hymns for Woodwind Ensembles

Savior of the Nations, Come
Tune: Nun Komm, Der Heiden Heiland
Arranged by Dale Elmshaeuser

From the Hymns for Woodwind Ensembles series, here are four settings, including a sprightly one in three-part harmony, and one with a haunting soprano descant above the Hymnal Version from Lutheran Book of Worship. The arrangement can be played effectively by a good middle school ensemble.

Full set includes a Conductor/Keyboard Score, transposed parts for individual instruments, background notes, and suggestions for performance with or without the congregation and choir.

Arrangements for Orchestral Ensembles

Six Traditional Carols
Arranged by Dale Elmshaeuser

Like the consistently best-selling sets of Six Traditional Carols for brasses, for woodwinds, and for strings, this very flexible arrangement contains carols not found in any of the other suites. The Carols are "The Angel Gabriel from Heaven Came" (Tune: Gabriel�s Message); "The Hills Are Bare at Bethlehem" (Tune: Prospect); "Unto Us a Boy Is Born" (Tune: Puer Nobis Nascitur); "On Christmas Night All Christians Sing" (Tune: Sussex Carol); "While Shepherds Watched Their Flocks by Night" (Tune: Winchester Old); and "On This Day Earth Shall Ring" (Tune: Personet Hodie). Each carol begins with a Traditional Setting, followed by an Alternate Setting that has more harmonic or rhythmic interest. The instrumentalists can play alone or with the organist, who can read from the Conductor/Keyboard Score. Musical devices include canons, descants, and tune in parallel fourths.

This arrangement can be played by as few as four instruments (soprano, alto, tenor, bass) from the same or different instrumental families, or by as many as a wind ensemble (concert band), chamber orchestra, or full orchestra (minus percussion). Orchestration suggestions are given for a large group. The ranges are suitable for group singing. The Traditional Settings can accompany group singing, or instrumental suites con be made of the Traditional Settings, the Alternate Settings, or any combination of settings. The difficulty level is 3.

Full set includes a Conductor/Keyboard Score; transposed parts for individual woodwind, brass, and string instruments; background notes; and suggestions for performance with or without the congregation and choir. As with all Live Oak House publications, purchasers have permission to reproduce any material in this set for (only) their own use.

Arrangements for Brasses

Six Traditional Carols
Arranged by Dale Elmshaeuser

The carols are "Lo! How a Rose E'er Blooming;" "O Come, All Ye Faithful;" "While by My Flocks I Watched at Night" (Echo Carol); "Away in a Manger" (Tune: Away in a Manger/Mueller); "Angels We Have Heard on High;" and "Hark! The Herald Angels Sing."

Each carol has a traditional setting and an alternate, more modern treatment. The latter range from meditative to almost humorous. The arrangement can be played as a complete suite, a traditional suite, or a modern suite. The pitches are appropriate for accompanying the congregation or choir with the traditional settings and some of the alternate settings. Brasses can play alone, or the organist can join in, reading from the Conductor/Keyboard Score.

Full set includes a Conductor/Keyboard Score, transposed parts for individual instruments, and suggestions for rehearsal and performance.

Arrangements for Brasses

Six Traditional Carols, Set II
Arranged by Dale Elmshaeuser

In the same format as Six Traditional Carols, the carols in this set are "Hark! A Thrilling Voice Is Sounding" (Tune: Merton); "Ding, Dong, Merrily on High;" "O How Joyfully;" "Rise Up, Shepherds, and Follow;" "From Heaven Above to Earth I Come;" and "God Rest Ye Merry, Gentlemen."

Each carol is provided with a traditional setting and an alternate, more modern or active one. Play them in their entirety as an instrumental suite, play only one setting of each carol, or spread individual carols throughout a worship service or a carol festival. The alternate setting of "From Heaven Above" is one of the J. S. Bach harmonizations. This arrangement can be played by brasses alone, or with the organist joining in from the Conductor/Keyboard Score.

Full set includes a Conductor/Keyboard Score, transposed parts for individual instruments, and suggestions for rehearsal and performance.

Arrangements for Strings

Six Traditional Carols
Arranged by Dale Elmshaeuser

This arrangement offers to string ensembles what others by the same name offer to brasses and to woodwinds, but with still different carols, and in the string idiom. The carols are "O Christmas Tree;" "Away in a Manger" (Tune: Flow Gently, Sweet Afton); "Come, All Ye Shepherds;" "What Child Is This;" "Bring a Torch, Jeanette, Isabella;" and "The First Nowell."

Each carol has a traditional setting and a more varied, alternate setting. They can be played as instrumental suites, or separately, to accompany group singing. The instrumentalists can play alone, or the organist can join in, reading from the Conductor/Keyboard Score.

Full set includes a Conductor/Keyboard Score, transposed parts for individual instruments, and suggestions for rehearsal and performance.

Arrangements for Strings

Six Traditional Carols, Set II
Arranged by Dale Elmshaeuser

Like its popular predecessor and the similar sets for brasses and for woodwinds, this suite offers great flexibility. The carols are "Still, Still, Still;" "I Am So Glad Each Christmas Eve;" "Gentle Mary Laid Her Child" (same tune as "Good King Wenceslas"); "Angels from Heaven;" "O Little Town of Bethlehem" (Tune: Forest Green); and "Mary Had a Baby." Devices include high, ethereal violins over slow, meditative melodies; a tenor counter melody; rippling ostinatos; pizzicato passages; and an English-style descant.

Each carol begins with a traditional setting, followed by an alternate setting that has more harmonic or rhythmic interest. When played straight through, the set makes an effective, varied suite. The carols are in keys suitable for group singing as well. The instrumentalists can play alone or with the organist, who can read from the Conductor/Keyboard Score.

Full set includes a Conductor/Keyboard Score, transposed parts for individual instruments, and suggestions for rehearsal and performance.

Arrangements for Woodwinds

Six Traditional Carols
Arranged by Dale Elmshaeuser

The carols are "Joy to the World;" "O Little Town of Bethlehem" (Tune: St. Louis); "Silent Night, Holy Night;" "Cold December Flies Away;" "We Three Kings of Orient Are;" and "Go Tell It on the Mountain." These are in the same format as the Six Traditional Carols for brasses, but they are different carols, and in the woodwind idiom. Each carol has a traditional setting in the typical group singing key, followed by a more harmonically or rhythmically varied alternate setting. The entire composition, or parts of it, can be played as an instrumental suite; or individual carols can be chosen. The woodwinds can play with or without the organist, who would read from the Conductor/Keyboard Score.

This arrangement can be played by as few as four instruments. Parts are included for Flute, Oboe, Bassoon, I-III Clarinets, Bass Clarinet, I & II Alto Saxes, Tenor Sax, Baritone Sax, and F Horn, so that quartets can be formed in different ways, or various doublings may be made for larger ensembles. The difficulty level is 3. (Two of the alternate settings have many sixteenth notes, but each instrument has only a few at a time.)

Full set includes a Conductor/Keyboard Score, transposed parts for individual instruments, background notes, and suggestions for performance with or without the congregation and choir.

Arrangements for Woodwinds

Six Traditional Carols, Set II
Arranged by Dale Elmshaeuser

A sequel to Six Traditional Carols for woodwinds. Each carol has a traditional setting and a more modern, active one. The carols appear in slow-fast-slow-fast-slow-fast order: "Away in a Manger" (Tune: Cradle Song); "Patapan;" "I Wonder as I Wander;" "Carol of the Bells;" "'Twas in the Moon of Wintertime;" and "He Is Born, the Divine Christ Child." Frequent use of secondary melodies to the main carol tunes, along with antiphonal effects, provide interest and variety in the alternate settings. You can use only the carols and settings you want, in any order. Each setting is independent. The woodwinds can play alone, or with the organ, reading from the Conductor/Keyboard Score.

Full set includes a Conductor/Keyboard Score, transposed parts for individual instruments, background notes, and suggestions for performance with or without the congregation and choir.

Hymns for Brass Ensembles

Songs of Thankfulness and Praise
Tune: Salzburg
Arranged by Emily Maxson Porter

This Epiphany hymn arrangement from the Hymns for Brass Ensembles series includes the setting from Lutheran Book of Worship and four original congregational versions. Thy hymn tune moves from I Trumpet to I Trombone to II Trumpet. There are many "fill-in" eighth notes, and the harmony lines generally move melodically, making these settings rhythmically interesting, fun to play, and pleasing to hear. The I Trumpet has opportunities to play rather high, but there are alternate lower notes as well.

This arrangement can be played by as few as four instruments (typically I & II Trumpets, and I & II Trombones). Parts are included for I & II F Horns, Baritone T.C., and Tuba, so that quartets can be formed in different ways, or various doublings may be made for larger ensembles. The arrangement can accompany a congregation, or it can be played as an instrumental suite of variations on the hymn. The difficulty level is 3.

Full set includes a Conductor/Keyboard Score, transposed parts for individual instruments, background notes, and suggestions for performance with or without the congregation and choir.

Original Works for Brasses

Star of Stars
By Dale Elmshaeuser

Mildly modern in 5/4 meter, this composition from the Original Works for Brasses series is a musical journey with the wise men. An original, chant-like melody is the unifying thread of a tapestry that includes other original motifs and brief quotations from seven carols and tunes concerning stars. The high point is two pleasingly dissonant phrases from "How Lovely Shines the Morning Star," as the travelers reach Jesus, the Star of Stars. A very special Christmas concert piece, with explanatory notes, it can be an effective part of Epiphany worship as well.

This arrangement is scored for two Trumpets, two Trombones, and Tuba. There is an alternate F Horn part in place of I Trombone, and a Baritone T.C. part in place of II Trombone. The arrangement can be performed without the Tuba. This is an instrumental composition, not suitable for congregational accompaniment. The difficulty level is 4.

Full set includes a Full Score, transposed parts for individual instruments, background notes, and suggestions for rehearsal and performance.

Arrangements for Woodwinds

Still, Still, Still
Arranged by Evan Becker

In this arrangement from the Arrangements for Woodwinds series, sturdy eighth-note arpeggios in the Keyboard are joined by a simple ostinato pattern in the bells, and continue under a complete stanza of the carol, played by the Oboe. A modulation from D Major to B-flat Major introduces a stanza for all the Woodwinds, Keyboard, and a delicate eighth-note pattern for the Bells. Returning to the original key, the Bells play the carol tune, while Flute, Oboe, and Clarinet play legato eighth-note melodic motifs above the Bassoon bass line and Keyboard chords.

This arrangement is scored for a quartet of Flute, Oboe, Clarinet, and Bassoon, plus either Orchestra Bells or Handbells, and an independent Keyboard part. Extra parts are included for alternate Clarinet in place of the Oboe, Bass Clarinet in place of the Bassoon, I Alto Sax in place of the Oboe, II Alto Sax in place of the (regular) Clarinet, Tenor Sax in place of the (regular) Clarinet, Baritone Sax in place of the Bassoon, and F Horn in place of the (regular) Clarinet. In addition to all of these, Alternate Treble Instrument parts in C and B-flat allow performance with Bells, Keyboard, and only one or two instruments. This is an instrumental piece, not suitable for congregational accompaniment. The difficulty level is 3.

Full set includes a Full Score, transposed parts for individual instruments, background notes, and suggestions for rehearsal and performance.

Hymns for Woodwind Ensembles

The King Shall Come When Morning Dawns
Tune: Consolation/Morning Song
Arranged by Dale Elmshaeuser

From the Hymns for Woodwind Ensembles series, the first setting begins with layered entries, with the hymn tune in the alto voice. The cantus firmus moves to the tenor in the second setting, and remains there in the next setting, while the soprano instruments play a lovely descant of slurred sixteenth-note segments. After the Hymnal Version from Lutheran Book of Worship and Lutheran Worship, the arrangement concludes with a tenor cantus firmus between alto and bass harmonic lines, topped with a soaring soprano descant.

Full set includes a Conductor/Keyboard Score, transposed parts for individual instruments, background notes, and suggestions for performance with or without the congregation and choir.

Hymns for Woodwind Ensembles

The Only Son from Heaven
Tune: Herr Christ, Der Einig Gotts Sohn
Arranged by Dale Elmshaeuser

In this arrangement from the Hymns for Woodwind Ensembles series, the second of four settings has the melody in the bass line, then in the tenor with a soprano descant. The third setting adds a soprano descant above the hymnal version. The "busy" fourth setting suggests the angel host of the hymn's fourth stanza.

Full set includes a Conductor/Keyboard Score, transposed parts for individual instruments, background notes, and suggestions for performance with or without the congregation and choir.

Arrangements for Woodwinds/Brasses

Three Christmas Preludes
Arranged by Preston D. King

The first of three separate movements begins with "O Come, All Ye Faithful," and ends with "The First Noel." The second movement is a meditative setting of "Lo! How a Rose E'er Blooming." The fast-slow-fast format ends with a quick-moving setting of "God Rest Ye Merry, Gentlemen" in 2/2 time. Each movement stands on its own.

This arrangement can be played by as few as four instruments. It works equally well with woodwinds or brasses. Parts are included for Flute, Oboe, Bassoon, I-III Clarinets, Bass Clarinet, I & II Alto Saxes, Tenor Sax, Baritone Sax, and F Horn, so that quartets can be formed in different ways, or various doublings may be made for larger ensembles. The set includes a I Trombone part and a Tuba part for brass ensembles. Trumpets can read from the I & II Clarinet parts, and II Trombones and Baritones can read from the Bassoon part. The difficulty level is 3.

Full set includes a Conductor/Keyboard Score, transposed parts for individual instruments, background notes, and suggestions for rehearsal and performance.

Arrangements for Woodwinds

Two Advent Chorales for Woodwinds and Organ
Tunes: Veni, Emmanuel; Freu Dich Sehr
Arranged by Evan Becker

In this arrangement from the Arrangements for Woodwinds series, there is a beautiful setting of "O Come, Emmanuel" for Flute, Oboe, Clarinet, Bassoon, and Organ, in which the melody is instantly recognizable, and the style is appropriately meditative. For the same instrumentation, "Comfort, Comfort Now My People" follows in a transcription of an organ piece by Sigfrid Karg-Elert. The latter uses a highly ornamented form of the melody.

This arrangement is scored for a quartet of Flute, Oboe, Clarinet, and Bassoon, with an independent Organ part. Alternate parts are included for another Clarinet in place of Oboe, Bass Clarinet in place of Bassoon, and Alto Sax in place of (regular) Clarinet. The difficulty level is 3.

Full set includes a Full/Organ Score, transposed parts for individual instruments, background notes, and suggestions for rehearsal and performance.

Arrangements for Strings

Two Early American Carols
I Wonder as I Wander(Tune: Appalachian Carol)
We Three Kings (Tune: Kings of Orient)
Arranged by Evan Becker

As in the first and second sets of "Two Early American Hymns," the arranger has devised a large amount of harmonic and rhythmic vitality from two well-known tunes. In both movements, the carol tunes appear in surprising places and ranges, moving from one instrument to another amid intriguing rhythmic figures. Either one separately or both together as a suite are useful for quiet times in the worship service or for program occasions. This arrangement is challenging, but will be appreciated by advanced high school and church instrumentalists, as well as by those in university-level ensembles.

This arrangement is for a string quartet of I & II Violins, Viola and Cello. Alternate parts are included for another Viola, another Cello, I-III Clarinets and F Horn. Flutes could play the I Violin part, and Oboes could play the II Violin part. However, due to the wide range and difficulty of these string parts, woodwind instruments should be considered as providing the possibility of a substitue for a missing string instrument or as doublings for larger ensembles, rather than to be used as an alternate woodwind quartet. The difficulty level is 4+.

Full set includes a Full Score, transposed parts for all the instruments mentioned above, and suggestions for performance.

Arrangements for Woodwinds

Two 14th Century German Carols
Tunes: Joseph Lieber, Joseph Mine; Quem Pastores
Arranged by Mark Albrecht

From the Arrangements for Woodwinds series, this Clarinet quartet in legato style begins with "Joseph Lieber, Joseph Mein," moves on to "Quem Pastores," and finishes with both together -- all with mildly contemporary harmonies.

This arrangement is scored for four soprano (B-flat) Clarinets. The fourth part may be played by soprano or Bass Clarinet, or both. Alternate parts are included for Flute in place of I Clarinet, Oboe in place of I Clarinet, Bassoon in place of IV Clarinet, I Alto Sax in place of II Clarinet, II Alto Sax in place of III Clarinet, Tenor Sax in place of III Clarinet, Baritone Sax in place of IV Clarinet, and F Horn in place of III Clarinet. The difficulty level is 3.

Full set includes a Full Score, transposed parts for individual instruments, background notes, and suggestions for rehearsal and performance.

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