In large part, the development, beginning at 145, is a fugato based on the transitional theme described above. It modulates very little, centring essentially around D major and B minor, calls for extreme orchestral virtuosity, and features very complex scoring. The climax of the section arrives at rehearsal 149 when the brass and percussion play a bar evoking the main theme and the trumpet hits a high B that rings out over the entire orchestra. The score calls for a B lasting only one bar, but, on one occasion, the trumpeter Ernest Hall held the note for two full bars. Elgar was so delighted that it has since become tradition to hold the B for the two bars.