The Lord Is King: Brass Duo & Ensemble, Choir, Conductor Score & Parts

Nelhybel's arrangement gives you genuine flexibility. You can pair it with your existing organ-based anthem, strip away the organ and let brass carry the harmony, or perform the brass section independently when your choir schedule doesn't align with a full anthem performance. The writing sits comfortably across the brass range and respects both the anthem's spiritual character and the brass section's need for musicality.

Stately and affirmative, with the solid harmonic support typical of a strong anthem setting. The brass timbre brings weight and grandeur to the text while remaining transparent enough to blend with vocal lines if the full arrangement is performed together.

Brass directors and church musicians seeking a flexible setting of this anthem that accommodates varying ensemble sizes and combinations. Intermediate to advanced brass players will find the part-writing idiomatic and rewarding, whether performing as a standalone brass work or as an accompaniment to choir.

• Balance the three trumpet and three trombone lines as equal voices rather than stacking them hierarchically; each part deserves clarity in the texture.
• If performing with choir and organ, establish the organ's role during rehearsal so the brass doesn't overpower the harmonic foundation or step on sung entrances.
• Lock the timpani part early in sectional rehearsals; it anchors the brass texture and clarifies rhythmic figures that might blur without it.
• Shape phrase endings together as a full brass choir rather than allowing individual sections to taper independently; this maintains the anthem's forward momentum.

Feature this as a standalone brass offering during a service or concert when you want strong instrumental color without full choir participation. It also works as a powerful alternative accompaniment for your regular anthem performance, letting you preserve the original organ arrangement while rotating in fresh sonority for variety across the liturgical year.

• Balancing independent melodic lines within a four-part harmonic texture
• Coordinating with timpani to support harmonic rhythm and phrase structure
• Adapting ensemble role based on whether performing with or without voices and organ
• Sustaining tone quality across dynamic changes within a solemn, lyrical style