Two Chorales for Brass: Conductor Score & Parts

These chorales strike a genuine balance between musicality and playability. Rather than resort to simple fanfare writing, Shulman uses the harmonic language and voice-leading of traditional chorale style to create pieces that sound mature and rewarding to perform, even at Grade 3. They work equally well as a concert selection or as a focused warm-up that actually develops musicianship.

Chorale writing brings a sense of formality and artistic intention to brass sound. These pieces have the dignity and harmonic richness of vocal chorales adapted for instruments, offering performers the chance to create warm, blended sonority rather than the bright attack of typical brass fanfares.

Intermediate brass ensembles looking for legitimate concert or contest repertoire that doesn't talk down to the players. This works for groups with 8 to 12 brass players and clear distribution across trumpet, horn, trombone, euphonium, and tuba parts.

• Balance the chorale texture by having each section listen to the harmonic whole rather than playing to individual volume. The euphoniums and trombones should anchor without dominating.
• Conduct with attention to phrase shape, not just meter. These chorales benefit from subtle dynamic shaping that traces the contour of each melodic line.
• Take advantage of the two separate pieces to explore different character and tempo at rehearsal. A slower, more reflective first chorale followed by a sturdier second piece demonstrates musical range.
• Encourage the trumpets to support the ensemble sound rather than lead; the chorale texture dissolves quickly if the upper voices dominate.

Open a brass recital or ensemble concert with one or both of these pieces to set a refined tone for the program. They also serve as excellent material for a focused rehearsal warm-up that doubles as genuine musicmaking rather than routine exercises.

• Balance and blend in ensemble texture
• Phrase shaping through subtle dynamic control
• Voice-leading awareness across the harmonic structure
• Sustain control and tone production in legato playing
• Listening to vertical sonority rather than individual line