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.