66 Festive & Famous Chorales for Band: 2nd Trombone, Baritone B.C. Book

Erickson's arrangements preserve the harmonic integrity and melodic clarity of these beloved chorales while giving every section meaningful material. The 2nd trombone and baritone B.C. parts stay in practical ranges and avoid the technical muddiness that can plague lower voices in chorale settings, letting your players focus on intonation and balance rather than overblowing or struggling with register shifts.

Singing hymns through brass. These chorales move with quiet dignity and harmonic richness, offering players the satisfaction of contributing to something grounded and whole rather than flashy or decorative. The familiar melodies create immediate connection and allow the ear to focus on blend and balance.

Second trombone and baritone B.C. players at the intermediate to advanced level who are building musicianship in a concert band setting. This book serves players who want consistent, thoughtful repertoire for warm-ups and sectional work without the intimidation of soloistic writing.

• Balance the melody: since these arrangements work across multiple ensemble sizes, confirm which part carries the tune in each chorale and adjust sectional volumes accordingly during rehearsal.
• Approach phrasing as a full low brass choir. When 2nd trombone and baritone parts move together, they anchor the harmonic foundation, so listen for weight and warmth rather than prominence.
• Use these for systematic intonation work. Pause after each chorale and use a tuner or your ear to identify any cents-sharp tendencies in the lower voice parts, then replay with corrected focus.

Open rehearsal with a rotating selection of these chorales as your standard warm-up routine, spending 5-7 minutes daily. Alternatively, program a brief prelude of three to five contrasting chorales at the start of a concert to establish an intimate tone before launching into full-scale works.

• Sustaining full-range intonation across dynamic and harmonic contexts
• Balancing sectional roles within four-part harmony
• Recognizing phrase structures and breathing points in familiar melodic material
• Blending timbres as part of a harmonic whole rather than as solo voices
• Reading and responding to dynamic and expressive text across 24 pages of varied repertoire