1. The american march By: Matt Ralph

2. History of the march “March music era” existed from 1850-1940’s when jazz began to overshadow it The early marches by Mozart, and Beethoven tended to be part of a symphony, or movement in a suite –They are not thought of as “typical American march music” Origin of the march began before the Gunpowder Age, when armies would maintain morale by having troops march to music by beat from a drum or fife Tradition of playing marches during war ended after the Civil War, however bands continued to play marches at ceremonies and other events

3. History contd. This spawned a new idea of playing marches for entertainment Around the late 1800’s and early 1900’s marches became a staple for concert bands and local city municipal bands around the country Marches were further popularized by circus bands, some with the famous circuses like Barnum & Bailey Circus, and the Ringling Bros. circus Also around this time college marching bands were beginning to be formed, and it was common for march composers to dedicate marches to a university’s band which would be played at half-time or a pep-rally

4. The “big 3” of american marches There are three composers of marches that stand out as the all-time greats throughout the history of America: –John Philip Sousa –Karl L. King –Henry Fillmore

5. John philip Sousa November 6, 1854-March 6, 1932 Born in Washington, D.C. At 13 evaded Marine Corps, and joined circus Came back to head Marine Corps Band from 1880-1892 Also led the Gonzaga College High School marching band

6. Sousa repertoire Marches Semper Fidelis The Washington Post Stars and Stripes Forever El Capitan Processional (Wedding March) Fairest of the Fair Other Information Known as the “March King” Learned to conduct in theatrical pit orchestra Father was a trombonist in Marine Band at one time In 1900 represented U.S. at Paris Exposition

7. Karl l. king February 21, 1891-March 31, 1971 Born in Painesville, OH At 18 began career with circus conducting and playing Settled down in Fort Dodge, Iowa in 1920 and conducted the municipal band for the next 50 years

8. Karl King repertoire Marches The Purple Pageant The Big Cage The Walking Frog Valley Forge The Peacemaker The Royal Scotch Highlanders Other Information Was a self-taught musician, and had very little schooling Published 300 works: waltzes, rags, etc; as well as 188 marches (out- wrote Sousa by 50 marches) Known as the “Iowa March King”

9. Henry fillmore December 3, 1881- December 7, 1956 Born in Cincinnati, OH Attended the Cincinnati Conservatory of Music beginning in 1901 Traveled around the U.S. as a circus band master with his wife

10. Fillmore’s Repertoire Marches Men of Ohio His Honor The Klaxon Rolling Thunder Lassus Trombone King Karl King Other Information Mastered piano, violin, guitar, flute, and trombone Turned Shriners Temple Band into one of the best bands in the country in the 1920’s Published a large number of tunes under various pseudonyms Known as the “Trombone King”

11. March form & musicality Marches were musically meant to be uplifting and driving Marches could also be somber, emotional or subtle There are many factors that make up a marches personality: will it be heavy or light, fast or slow, happy or sad

12. meter 2/2 or cut-time: –Have a clear upbeat/downbeat or “oom-pah” feel to them –Most use heavy syncopation to make it rhythmically interesting –Cut-time marches tend to sound “faster” than other marches 6/8 –Played in 2, dotted quarter gets the beat –Used when composer wants a triplet feel, or a dance-like swing feel –Most famous is The Washington Post March 2/4 –Similar to cut-time march, but with fewer notes in measure because the quarter notes gets the beat not the half note –Written for the sake of the performer, for they are easier to read at faster tempos –Many European marches are written in 2/4, as well as all American galops –The galops are played at a very fast tempo, making it seem like it is played in 1 4/4 –Rarely seen, and pointless for fast tempos –Dirges utilize the 4/4 tempo

13. Tempo & key Tempo –Tempos of marches are varied, but most marches are quick –Most composers did not designate a tempo marking –Sousa conducted all his marches around 120 beats per minute, while most European’s conducted marches at slower tempos –There are of course exceptions Key –Marches are typically written in flat keys for the sake of the performers –Frequently used keys are Concert F, Bb, and Ab

14. March music form Most marches follow a fairly strict structure which was standardized by John Philip Sousa All marches must have: –Different sections or strains –Several separate melodies –Contrasting section known as the trio

15. Introduction/fanfare This is the first section of the march Usually 4, 8, or 16 measures long, played in a very marcato style, and played at forte dynamics Usually the shortest section of the march Commonly based on the “V” chord to create tension leading to the next section

16. The first strain First prominent melody of the march Typically 8-16 measures long, with 4-measure phrases Can either be in major or minor mode, and can use a variety of dynamics and instrumentation Has similar motifs in its phrases, and is more rhythmically clear-cut than the next section The first strain is repeated after the first time, and sometimes there are added counter- melodies on the repeat

17. Second strain Can be 8, 16, or 32 measures long Second primary melody of the march May use different instrumentation, and change relative dynamics Still uses 4-measure phrases, but varies the motifs and this makes melodies in the second strain sound more stretched out Usually repeated once, however some marches omit the repeat

18. trio Third primary melody of the march, and is called the “main melody” Played legato and at a softer dynamic than the rest of the march Features the woodwinds more than the brass Often repeated once at a softer dynamic, or sometimes not repeated at all Almost always modulates to the subdominant key of the march, basically a flat is added to the key signature The key change adds contrast, and offers a more relaxing feel to trios with softer instrumentation Marches that start in minor keys modulate to the relative major which is maintained to the end of the piece

19. breakstrain Sometimes called dogfight or interlude Fourth primary melody of the march It is loud, intense, and marcato Offers contrast from the softer trio, and generates excitement for the listener Final measures of this section utilize tension- building chords and chromatic motifs Trio is repeated after this section sometimes with added counter-melodies, and after this repeat the breakstrain is played again

20. grandioso Also called the final trio Louder than the previous trio, and uses all sections of the band Most exciting section of the march, and instills the trio melody into mind of the listener Sometimes adds another counter-melody Last measure of march sometimes contains a stinger, but not always –Exception to this is the “National Emblem” march, this does not contain a stinger

21. references “American march music.” Wikipedia Free Encyclopedia. 25 November 2006. wikipedia.com. 23 November 2006 “John Philip Sousa.” Wikipedia Free Encyclopedia. 20 November 2006. wikipedia.com. 23 November 2006 “Karl King.” Wikipedia Free Encyclopedia. 10 August 2006. wikipedia.com. 23 November 2006 “Henry Fillmore.” Wikipedia Free Encyclopedia. 12 November 2006. wikipedia.com. 23 November 2006