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CHAPTER 4 TRANSCRIPTIONS AND ARRANGEMENTS The etudes found in chapter four will target orchestral literature transcribed or arranged for wind band. The transcriptions and arrangements selected for this project include: Hector Berlioz's Roman Carnival Overture Op. 9 arranged for band by V. F. Safranek, Andreas Makris's Aegean Festival Overture arranged for band by Albert Bader, Dmitri Shostakovich's Festive Overture Op. 96 arranged for band by Donald Hunsberger, and Arthur Sullivan's Suite from the Ballet. Pineapple Poll arranged for band by Charles Mackerras. Only the most significant sections will be targeted for study. 4.1. Roman Carnival Overture Op. 9, Hector Berlioz 4.1.1. Primary Challenges The first passage marked andante sostenuto (measures 37-71) in the Roman Carnival Overture Op. 9 by Hector Berlioz is commonly included on audition lists to determine if a candidate can effectively shape lyrical phrases with a beautiful tone quality while maintaining a tonal center of F major. In addition to performing in a cantabile style, the rhythmic pulse of this excerpt must stay consistent and the musical line needs to have a clear sense of direction. 4.1.2. Etudes In order to address pitch and intonation challenges, the player must first know the common tuning tendencies of their own instrument. For example, F3 is sharp and A3 is flat on the majority of Willson 2900 professional euphonium models.32 As previously mentioned (Chapter 2.2.4.), etudes focusing on intonation challenges will use the concept of tuning through 32 The Willson 2900 euphonium is used as an example for addressing pitch and intonation in this document because of its frequent use in the premiere service bands of the United States of America. 44