FLUTE

• Measures 57-58: Ignore the slur over the first two eighth-notes and perform as a double-tongued passage
• Measure 131: Entire flute section should switch to piccolo as suggested
• Measures 140-145: Entire section should gradually switch back to flute

OBOE

• Measure 10: The low Db in the solo line is normally an edgy, rather offensive note; place the bell of the oboe between the player's knees to lessen the harshness of this low note

CLARINET

• 3rd Clarinet, measure 128, beat 2: The second sixteenth-note should be F#

ALTO CLARINET

• Measures 10-13: Soli with one 3rd Clarinet; players should sit near one another so they can hear each other
• Measure 41: Printed notes should be D, C#, and B

BASS CLARINET

• Measures 226-228: Solo with euphonium; pitch is extremely difficult because euphonium concert Ab tends to be low, while bass clarinet is usually sharp on concert Bb

TRUMPET

• Part Assignments: This piece is transcribed for three cornets and two trumpets; 2 players must play 1st Cornet because of quick mute changes and solos
• Measures 1-17: The opening solo line with flute is difficult to play softly and in tune; recommend playing on C trumpet, using a Vacchiano straight mute with the hole widened and a thin felt pad
• Measures 257-264: Solo under narration was with cello in original orchestral version, allowing for free use of vibrato; in this band transcription, it is with clarinet, so vibrato must be minimal

TROMBONE

• Measures 21-32: Watch the rhythmic integrity of the sixteenth-note pickup
• Measures 238-242: Same as above
• Measures 99-105: Band is thinly scored; reduce dynamic on section unison line
• Measures 146-175: Play section unison line mezzo forte rather than forte
• Measures 207-209: Play full length double-dotted quarter-notes

EUPHONIUM

• Measures 29-34: Sonority is key in this line
• Measures 56-58: Euphonium should be quite prominent
• Measures 148-172: Low F tends to be sharp; for reference point, listen to tubas, who are more likely to play low F in tune
• Measures 192-193: F tends to be sharp; be careful and adjust
• Measures 226: Ab in solo tends to be low--be sure to raise pitch; this is a very obvious problem, since the woodwinds play this same motive two measures earlier; because of its exposed nature, a flat Ab can be detrimental
• Measures 249-251: Same problem as measure 226

TUBA

• Measures 13-17: Consider using one player to achieve pianissimo
• Measures 86-98: One player only
• Measures 106-143: Use very conservative forte
• Measures 148-169: This line should be played down an octave by as many players as can do so with good intonation; return to written "C" as printed in measure 169
• Measures 203-207: One player only
• Measure 209: Begin mezzo piano and crescendo only to mezzo forte
• Measure 245: Breathe between half-notes, then continue without breath to measure 253
• Measures 268-270: Begin softly using only half of section; have remainder join in measure 270