66 Festive & Famous Chorales for Band: B-flat Bass Clarinet, BB-flat Contrabass Clarinet Book

Erickson's arrangements preserve the integrity of these chorales while distributing the parts so that bass clarinet and contrabass clarinet players have real voices, not filler. A collection this size gives you flexibility to rotate repertoire across rehearsals, and the SATB structure means you can pull the same chorale for sectionals or full band without rewriting anything.

These arrangements honor the contemplative, grounded character of chorale writing. There is clarity in the four-part texture and a sense of stability that comes from playing in the lower register, making each chorale feel both substantial and intimate.

Bass and contrabass clarinet players in concert band who need focused repertoire written specifically for their instruments. This book also serves directors building sectional balance exercises or seeking warm-up material that develops musicianship across multiple registers.

• Balance the bass line carefully; these lower instruments should anchor the harmonic progression without overwhelming the melody, especially in slower tempos.
• Treat articulation as a phrasing tool. Where the original chorale suggests a breath, align your articulation accordingly rather than tonguing mechanically through phrases.
• Lock in your intonation with the upper voices by listening through the harmonic movement; bass and contrabass clarinets are the foundation, so tuning for blend matters as much as tuning individually.
• Work sections of these chorales at different tempos to build flexibility. A chorale that sits at one tempo in concert may need adjustment when played as a warm-up.

Use individual chorales as sectional warm-ups with your clarinet choir, or select one to open a full rehearsal when you want the band's attention on intonation and phrasing. A chorale or two also works beautifully as a concert interlude between larger works, offering listeners a moment of reflection.

• Reading and maintaining voicing clarity in four-part harmonic texture
• Balancing bass line support with transparent ensemble sound
• Phrasing and breathing in chorale style across extended ranges
• Intonation adjustment within harmonic progressions
• Ensemble listening and blend in lower register