The original form is A//:B://:C://:Trio:// with a da capo of ABC
But for the B section I wrote out all repeats in full as I wanted to change the orchestration of the second run. In the da capo A is very slightly varied, B is the same, and C presents the main ideas of both of the first two runs and then the euph and tuba run crazy at the very ending. All done partially to vary colours, partially to avoid too much wear on the trumpet embouchures. When at all possible I try to see each setting as a number in a full concert and then strive to be kind on especially the trumpeters' lips. The horn players may argue that they got a whole lot to do in this setting, but there are no notes above top-of-staff-G in the F parts. And they have a lot of low range notes.
There are timpani in Ab, Eb, Bb, and F. I tried to get away with 3 timpani, but that would have called for some impossibly fast retuning, and the 4 kettles allow for a much better part in all sections. Aside of snare, bass drum, and cymbals the percussion section has tenor drum and Glockenspiel. The tenor drum is used as a light bass drum in some sections. It also plays off-beats and in some passages helps emphasizing the cross rhythms in the brasses. The Glockenspiel plays melody lines, counter figurations, and even off-beats, often in two-part lines. It is meant to add chiff, brilliance, and percussive precision to the ensemble.
Trumpet parts come in Bb plus in Eb for the 1st part. Horn parts come in F and in Eb. The 2nd and 4th parts also come for low Bb horns thereby allowing baritones to play these parts in a brass band context. The 3 tenor trombone parts come in tenor and bass clefs plus in treble clef Bb. The euphonium part comes in bass clef and in treble clef Bb. The (contrabass-)tuba part comes in bass clef plus in treble clef Eb and BBb. In Europe some countries have a Glockenspiel in Bb. The part was written for an instrument in C, and has a couple of grace note glissandos in thirds. These have been simplified in the Bb part, because they would have involved notes from the lower as well as from the upper row of tone bars.
The 3rd and 4th trumpets will need straight mutes. The 2nd and the 3rd trumpets may share one cup mute. If no tenor drum is available you may use a second snare drum, preferably a deeper one, with the snares detached. A trap set will not be able to fill the drum and cymbal functions. Please respect that all parts have unique functions, so that performances call for all parts to be played.
I am no master of creating well balanced sampled sound files, so this mp3 only is a rough guide:
https://dl.dropboxusercontent.com/u/387 ... rSound.mp3
These sample pages are from a late stage of the process, but the final score and parts have undergone some more proofing:
