The orchestration techniques used in wind band transcriptions of a cappella choral works have received limited attention from researchers. The primary purposes of this study were to (1) examine orchestration techniques used in wind band transcriptions of a cappella choral works, (2) note differences between original a cappella choral works and their wind band transcriptions, and (3) provide rehearsal suggestions for band conductors based on information gathered from comparisons of repertoire.

The researcher reviewed nine wind band transcriptions of a cappella choral works, as well as one a cappella choral transcription of a wind band work. The results of the investigations indicated that (1) transcribers use combinations of orchestration techniques - (a) basic part assignments, (b) complex part assignments, (c) dividing sections of the band to represent two or more vocal parts, (d) octave displacements and doublings, (e) incorporation of percussion, and (f) special effects - in wind band transcriptions of a cappella choral works, (2) transcribers adjust musical aspects of a cappella choral works - (a) bar lines and meters, (b) repeats, (c) tempo, (d) key, (e) rhythms, rests, and breath marks, (f) dynamics, (g) articulation and style markings, and (h) form and structure - during the wind band transcription process, and (3) many rehearsal implications - (a) tempo, (b) tone quality and intonation, (c) articulation and style, (d) phrasing, (e) dynamics, and (f) balance and blend - are gained from comparing wind band transcriptions to original a cappella choral works. Further research in this area might explore the orchestration techniques used in wind band transcriptions of accompanied choral works, choral transcriptions of wind band works, and original choral compositions with wind band accompaniment.