Dynamics
The overall dynamic range of this piece is p-ff, but many sections are written at mf and f. We need to work on differentiating the different levels of f, mf, and mp so that everything does not sound loud, not so loud, and soft. This is done through listening to others in your section, people in other sections, and the band as a whole. Use your “Harry-Potter extendable ears” to put yourself in other sections to help adjust your dynamics to fit as a group. In addition, his use of staggered entrances and having instruments play figures in higher or lower registers will naturally change the dynamics. This makes its even more critical that you are watching and listening around to figure out how your part fits into the texture and whether you need to back down or bring it out. One last note: the loudest part of the piece is the ff in measure 110 after two bars of cresc. This means that we cannot get that loud anywhere earlier in the piece or it will detract from the grandieur of the finale.