Eight Chorales for Elementary Band: Concert Band Conductor Score & Parts

Hilliard's eight chorales cut through the noise of beginner band literature by refusing to separate technique from artistry. The strategic key choices (Bb, Eb, and F Major) and mixed meter practice feel purposeful rather than arbitrary, and the deliberately simple instrumental parts create genuine space for your students to listen, breathe, and refine their sound together.

Singing without words. Each chorale invites students into genuine lyrical playing, where the goal is a unified, warm sound rather than individual prowess. The result is music that sounds mature and intentional despite the elementary difficulty level.

First-year band directors and conductors working with beginning ensembles who need material that targets intonation and ensemble blend without overwhelming young musicians with technical demands. These chorales also serve experienced directors who want focused, productive warm-up material that builds musicality alongside fundamentals.

• Have each section sustain a full phrase on a single breath before moving to the next chorale; this trains air support and prevents the piecemeal phrasing that plagues young bands.
• Work intonation by pairing players from different sections on unison passages, then gradually separate them once they've locked the pitch.
• Rotate which chorale you begin rehearsal with over several weeks; starting with the same piece every day masks which ones your band genuinely owns versus which ones need more attention.
• Record a rehearsal and listen back specifically for tone consistency rather than accuracy; young players often sacrifice quality sound in pursuit of the right note.

Open your first few rehearsals with one or two of these chorales to establish a culture of listening and tone production before diving into longer concert repertoire. They also pair beautifully with a concert program, offering a reflective set that demonstrates how far your band has come in tone and intonation by mid-year.

• Sustaining steady dynamics across entire phrases
• Reading multiple time signatures (4/4, 3/4, 2/4) in continuous context
• Playing in tune across three major keys (Bb, Eb, F)
• Matching tone quality within and across sections
• Listening to blend rather than focusing solely on individual accuracy