66 Festive & Famous Chorales for Band: B-flat Tenor Saxophone Book

Erickson's chorale arrangements respect the harmonic integrity of each piece while distributing parts thoughtfully across the full ensemble. Tenor saxophones receive genuine musical lines rather than doubled parts, making this collection rewarding for section players who want real responsibility without requiring soloistic independence. The four-part SATB voicing means you can pull two to four saxophones and rehearse chamber arrangements during sectionals, then expand to full band.

Moving through 66 familiar chorales creates a sense of discovery, where melodies you recognize unfold in four-part harmony that sounds both grounded and transparent. The breadth of the collection feels contemplative when programmed strategically and celebratory when drawn upon for festive occasions.

Tenor saxophonists in concert band who want to develop musicianship through harmonic awareness and sectional independence. These arrangements suit developing ensembles and advanced bands alike, offering substance without technical virtuosity demands.

• Shape the phrase from the inside out. Since these are harmonies first, listen for where the soprano line wants to breathe, then support that arc with your voice rather than playing mechanically through bar lines.
• Balance is not about playing softer. Match the vowel color and articulation of the first saxophone part so all four voices feel unified; that blend creates balance far better than volume adjustment alone.
• Check intonation on the thirds and sevenths within each chord. These intervals will expose tuning problems faster than unison passages, making this repertoire excellent for ear training.

Rotate selections as opening pieces throughout the year to establish warm-up discipline while building awareness of harmonic structure across styles. Pair four or five contrasting chorales from the collection as a thematic program segment, or extract chamber arrangements for pre-concert sectional warm-ups that strengthen listening and tuning habits.

• Hearing and matching chord tones within four-part voicing
• Shaping phrases based on harmonic content rather than rhythmic structure
• Blending timbre and intonation across wind sections
• Reading SATB choral notation in concert pitch
• Balancing individual line independence with ensemble unity
• Adjusting dynamic shaping to support moving harmonies