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The piece begins with a sustained note in the tuba
line marked pianissimo. Ensure that it remains more
as a ?presence? than a note, and if necessary, limit
the number of players on this line. In measure 2, the
chimes introduce a modified inversion of the melody
line of ?When the Saints Go Marching In,? and in
measure 12, the glockenspiel and vibraphone reply to
this with the first statement of the melody. The band
continues this exchange, which is a major theme
through the entire work, until it reaches a climax in
measure 19. / In measure 25, euphonium 1 begins the first
variation on the melody, and in measure 33, the band
returns to the ?exchange? motif, this time with the
cornets playing the ?How I want to be in that
number…? line beneath the band. Another climax is
reached in measure 40 just before a short bridge
takes the piece into an explosive percussion section. / In measure 53, the timpani starts the first direct
statement of the melody with the exception of an Eb
in measure 55. / In measure 69, the work returns to a Largo
tempo and begins a transition to the final statement
of the exchange motif. In measure 72, it may be
necessary to have clarinets 2 and 3 play louder than
the marked piano in order to ensure proper balance. / Measure 85 sees a transition from the key of G
to the key of Eb, and in measure 87, the final
statement of the melody is started by a solo alto
saxophone. Notice that the accompanying
instruments are all marked for one player. This is to
create a more chamber-like effect. / In measure 97, solo flutes and the vibraphone
enter to create an almost surreal effect. The last
measure, an Eb9 chord, is played by the clarinet
section, bassoons, and solo flutes and should fade
away to nothing.
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