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I have only done this piece twice and that was over 20 years ago my memory thinks that there was a bois cue after the tacet but your insert strip is a great idea should take a lot of pressure off.
My abiding memory of the first time I played this with IYO is the conductor holding the first pause of the first movement while he turned to admonish the audience to stop using flash photography when he turned to back to continue he lost his place in the score and did not fully recover until the 11/4 bass drum solo.

the elephant wrote:It is simply a single multi-measure rest marked "Tacet" with no indication of the meters.

Oooh; one o' my pet peeves. It's almost like the composer wants the brass players to dope off during rests. I'd prefer to count boatloads of rests rather than face the embarrassment of playing in the wrong place. Thanks (although I've had this chart firmly hard-wired for about 20 years...) !

Your post made me all nostalgic went off and listened to first movement on YouTube.
How would you squeez the orchestra for this into an average pit?

Thank you!

I've run into this with a few other parts. It is irritating. This practice may save some paper but I think it's more just a result of laziness.

the elephant wrote:

Note: No download links to the feline photo bomber. I am sorry. He stays here with me!

Thanks Wade - it's a useful thing to have. I assume the cat stamp indicates:

Feline Approved

the elephant wrote: The person who laid out the original part did this to prevent an additional half page

But we don't see this "tacet" thing in parts since (oh, say...) 1950. All of a sudden they'd like us to stay awake and counting measures (which is perfectly fine by me).

Is the last note of part 1 in the tuba1 part Eb or E?

TonyTuba wrote:Is the last note of part 1 in the tuba1 part Eb or E?

Eb

Yup, I always love playing that passage at the end of the first section. I always get with the 2nd tubist beforehand and have them play that last note just a little longer than an eighth note. I also encourage a real push on the volume and you can clearly hear the 1/2 step dissonance even with the whole orchestra playing full volume. It's not hard for the 2nd player to make a very healthy crescendo since he's just playing a scale pattern in quarters. Pretty easy to knock that out of the park. The tricky part is drilling that triplet pattern in the 1st part while doing the crescendo. Any spleeahs and the effect is ruined!

Jay Bertolet wrote: I always get with the 2nd tubist beforehand and have them play that last note just a little longer than an eighth note. I also encourage a real push on the volume and you can clearly hear the 1/2 step dissonance even with the whole orchestra playing full volume.

The last note for 2nd is a quarter, and I agree: hang over a bit and enjoy the echo in the hall.