In the first seven measures, it is very important that the moving line, which alternates between clarinet 1 and horn 2, is heard. In the following section the melody is carried by a solo trumpet, so everyone else must be no louder than piano. When the entire band enters together at measure 26, keep the dynamics on the soft side, as this will leave room for growth in intensity later on. At measure 43, the solo saxophone obviously needs to be the loudest, but the phrases in the accompaniment also need to be shaped so they don't become boring. For example, a crescendo and decrescendo in mm. 45-46 in the 1st and 2nd trombones will create a nice flow in the accompaniment. In the section running from measure 73 through 88, the accents are breath accents. They must not be tongued hard. The eighth notes in the clarinets and bells are designed to give the music a sense of forward motion in this section. Be careful to count note values carefully. In measure 76, the bass voices change differently from the rest of the band. Once more, all moving lines are very important in this section, especially since no one instrument has the melody here. Measure 89 is the apex of the piece. It needs to be as loud as possible while still retaining control of the sound. The final section, which goes from measure 105 to the end, should be played with one to two players on a part, as it must be played softly and delicately. Good luck and enjoy!