Seventy Six Trombones (arr. Ed Lojeski): SAB Choral Octavo

Lojeski's SAB arrangement captures the infectious energy of this march without losing Willson's clever orchestration. The three-part texture sits comfortably for mixed ensembles while preserving the rousing character that makes this number a guaranteed crowd pleaser. Fifteen pages of pure theatrical joy that works equally well as a concert opener or a finale.

A parade that's already in motion. The number practically propels itself forward with its steadily climbing melody, punchy rhythms, and unmistakable swagger. There's a wink in the writing that makes singers and audiences both want to smile.

Any mixed choir seeking a reliable crowd pleaser that connects instantly with audiences. Perfect for directors building programs that balance concert-hall sophistication with genuine entertainment value. SAB voicing makes it accessible to developing ensembles while keeping the writing musically substantial.

• Anchor the rhythmic drive with steady eighth-note accompaniment in the middle voice; it's the pulse that makes the march feel inevitable rather than plodding.
• Shape the altos' counter-melody line with slight dynamic lift on beats two and three to ensure it registers without overpowering the sopranos.
• Let the recorded accompaniment establish the brass band character completely; your choir's job is to land the rhythmic hits and project the text with theatrical clarity.
• Articulate the consonants in 'trombones' precisely on ensemble entries; the word itself should feel like part of the orchestration.

This works brilliantly as a second-half opener to refresh energy after a more introspective group. Pair it with other upbeat theatrical selections for a medley concept, or let it stand alone as your finale. Directors often find it especially effective early in the season when teaching singers how to commit fully to character and theatrical presence.

• Maintaining steady pulse within a march framework
• Singing counter-melody lines that complement rather than compete
• Theatrical text delivery and rhythmic precision
• Balancing ensemble blend while articulating text
• Responding to recorded accompaniment without losing independence