Alleluia Fanfare: 2nd Trombone: Choral SoundPax

The brass writing here is exuberant without overwhelming the choir, and the optional synthesizer gives you flexibility depending on what resources your program has available. Rentz knows what works in a real rehearsal room, and it shows in how efficiently she moves her musical ideas forward across 22 pages.

Fanfare energy meets devotional warmth. The brass announces and celebrates while the choir's voices elevate the text with sincerity and lift. There's a sense of joyful proclamation here, appropriate to the sacred context, without becoming operatic or overwrought.

This piece suits intermediate to advanced high school choirs, college singers, and community choirs with solid intonation and rhythmic stability. Brass players in your ensemble should be comfortable with traditional classical voicings and straightforward rhythmic patterns; this is not an advanced brass feature, but rather a support layer for the choral work.

• Prepare the brass section independently first so they can lock the rhythmic foundation before the choir enters; this accelerates the full-ensemble rehearsal process significantly.
• Balance the timpani carefully in the mix so it drives the pulse without masking the sung lines, especially during moments where the choir carries the melody.
• If using the optional synthesizer, establish its role early (doubling, harmonic filler, textural support) so the pianist and keyboardist coordinate seamlessly.
• Mark breath points clearly in the choral parts to ensure the ensemble breathes together, particularly across longer phrases that the brass punctuates.

This works beautifully as an opening or closing piece for a sacred concert, especially one that mixes traditional and contemporary choral material. Consider pairing it with quieter, more introspective sacred works to create dynamic contrast; the fanfare aspect makes it a natural bracket piece.

• Singing over active brass accompaniment without doubling or losing independence
• Executing clean, coordinated breath points across longer choral phrases
• Balancing ensemble intonation when multiple instrumental timbres are present
• Responding to conducting cues that coordinate choir and instrumental sections