The american march

By:

Matt Ralph

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

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

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

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

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

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

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”

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

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”

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

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

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

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

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

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

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

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

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

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

references• “American march music.” Wikipedia Free Encyclopedia.

25 November 2006. wikipedia.com. 23 November 2006 <http://en.wikipedia.org/wiki/American_

march_music>• “John Philip Sousa.” Wikipedia Free Encyclopedia. 20

November 2006. wikipedia.com. 23 November 2006 <http://en.wikipedia.org/wiki/John_Philip_Sousa>

• “Karl King.” Wikipedia Free Encyclopedia. 10 August 2006. wikipedia.com. 23 November 2006 <http://en.wikipedia.org/wiki/Karl_L._King>

• “Henry Fillmore.” Wikipedia Free Encyclopedia. 12 November 2006. wikipedia.com. 23 November 2006 <http://en.wikipedia.org/wiki/Henry_Fillmore>