American march music is march music written and/or performed in the United States of America. This article is about music. ...

"The Stars and Stripes Forever" by John Philip Sousa is considered amongst the greatest marches ever written.

Image File history File links Stars-stripescover. ...

History

The true "march music era" existed from 1850 to 1940's as it slowly became shadowed by the coming of jazz. Earlier marches, such as the ones from Ludwig van Beethoven, Wolfgang Mozart, and George Frideric Handel tended to be part of a symphony or a movement in a suite. Despite the age of these marches, the history it holds and its performance in the United States, they are generally not thought of as "typical American march music". Era may refer to: Era, a long period of history ERA Real Estate, also known as Electronic Realty Associates Inc. ... For the game, see: 1850 (board game) Year 1850 (MDCCCL) was a common year starting on Tuesday (link will display the full calendar) of the Gregorian calendar (or a common year starting on Sunday of the 12-day slower Julian calendar). ... This article or section does not cite any references or sources. ... Jazz is a musical art form that originated in New Orleans, Louisiana, United States around the start of the 20th century. ... A portrait by Joseph Karl Stieler, 1820 Ludwig van Beethoven (IPA: ), (baptized December 17, 1770[1] – March 26, 1827) was a German composer. ... Wolfgang Amadeus Mozart (IPA: , baptized Johannes Chrysostomus Wolfgangus Theophilus Mozart) (January 27, 1756 – December 5, 1791) was a prolific and influential composer of the Classical era. ... George Frideric Handel, 1733 George Frideric Handel (23 February 1685 – 14 April 1759) was a German-born British Baroque composer who was a leading composer of concerti grossi, operas and oratorios. ... This article or section does not adequately cite its references or sources. ... It has been suggested that Suite_de_Danses be merged into this article or section. ...

Marches and the Military Band

The origins of European and American march music can be traced to the military music of the Ottoman empire. The martial purpose of the music was to regulate the functioning of armies in the field by, in part, communicating orders, and keeping time during marching and maneuvers. The extensive use of percussion, such as cymbals, was also used for psychological effect as their use, especially in Western Europe, was unknown and had the capacity to frighten opponents. Indeed, the subsequent use of cymbals and other such percussive instruments in European 'classical' music was a direct importation from the Ottomans. In the early 1700s Europeans were first exposed to this type of music and interest would continue to build into the early 1800s when a vogue for Turkish marching bands swept through Europe. Pieces displaying this Turkish influence can be found in the works of Mozart, Haydn, and Beethoven with a notable example being "Turkish March" by Beethoven (part of Op. 113): Overture and incidental music for Die Ruinen von Athen. A modern mehter marching band Ottoman military bands are thought to be the oldest variety of military marching band in the world. ...

The origins of march music began before the Gunpowder Age during which armies would maintain their troops' morale by marching with music playing, whether that be from the beat of a drum or fife. American march music showed during the Revolutionary War and earlier wartime conflicts, in which a fife and snare drum would play while the troops marched to battle. This is why it can be said that march music is a military's music. This article or section does not cite any references or sources. ... Bass drum made from wood, rope, and cowskin A drum is a musical instrument in the percussion group that can be large, technically classified as a membranophone. ... John Trumbulls Declaration of Independence, showing the five-man committee in charge of drafting the Declaration in 1776 as it presents its work to the Second Continental Congress The American Revolution refers to the period during the last half of the 18th century in which the Thirteen Colonies that... Fife from the American Civil War A fife is a small, high-pitched, transverse flute that is similar to the piccolo, but louder and shriller due to its narrower bore. ... The snare drum or side drum is a tubular drum made of wood or metal with skins, or heads, stretched over the top and bottom openings, and with a set of snares (cords) strethced across the bottom head. ...

While the tradition of soldiers playing music while marching into battle had ended soon after the American Civil War (mid 1800’s), military bands continued to perform marches during related ceremonies and other events. This actually spawned a whole new tradition of playing marches as a source of entertainment. Combatants United States of America (Union) Confederate States of America (Confederacy) Commanders Abraham Lincoln, Ulysses S. Grant Jefferson Davis, Robert E. Lee Strength 2,200,000 1,064,000 Casualties 110,000 killed in action, 360,000 total dead, 275,200 wounded 93,000 killed in action, 258,000 total... Part of the ceremony of the Changing of the Guard in Whitehall, London. ... The word tradition comes from the Latin word traditio which means to hand down or to hand over. ... A stilt-walker entertaining shoppers at a shopping centre in Swindon, England Entertainment is an event, performance, or activity designed to give pleasure or relaxation to an audience (although, for example, in the case of a computer game the audience may be only one person). ...

John Philip Sousa

Image File history File links John Philip Sousa. ... Image File history File links John Philip Sousa. ...

Marches and the Concert Band

Around the late 1800’s and early 1900’s, most towns, organizations, theaters and even companies would have their own band. These bands, currently known today as community bands, would perform their music at special events much like the military band, but would often play at simple scheduled concerts and tours (such as the traditional gazebo concerts). By this time, published marches were plentiful due to prolific composers such as John Philip Sousa, Karl L. King and Henry Fillmore. Marches became a staple in the repertoire of these concert bands and can hence explain how the popularity of the march spread so rapidly across the world. // ON MAY 5 1853 MR.FADER HAD SEX WITH A MAN NAME MR WIEN THEN THEY HAD SON NAMEDMRS COTURE AND MR MANOOGIAN WENT INTO MRS HASKELLS OFFICE NAKED AND DANCED AROUND AND MASTERBATED ON HER CHEST AND SHE LICKED IT OFF THEN THEY HAD ORAL SEEX WITH NAPLOEAN OF... Year 1900 (MCM) was an exceptional common year starting on Monday (link will display the full calendar) of the Gregorian calendar, but a leap year starting on Saturday of the Julian calendar. ... For other usages see Theatre (disambiguation) Theater (American English) or Theatre (British English and widespread usage among theatre professionals in the US) is that branch of the performing arts concerned with acting out stories in front of an audience using combinations of speech, gesture, music, dance, sound and spectacle &#8212... The term company may refer to a separate legal entity, as in English law, or may simply refer to a business, as is the common use in the United States. ... A community band is a concert band ensemble, generally sponsored by the town or city in which it is located and consisting of amateur performers. ... A large ass gazebo on the grounds of Iolani Palace, Honolulu, Hawaii, USA This gazebo inside the spacious Singapore Botanic Gardens also serves as a bandstand. ... Portrait of John Philip Sousa taken in 1900 John Philip Sousa (November 6, 1854 – March 6, 1932) was an American composer and conductor of the late Romantic era known particularly for American military marches. ... Karl L. King (21 February 1891–31 March 1971) was a United States march music bandmaster and composer. ... Henry Fillmore (3 December 1881 - 7 December 1956) was a United States composer and publisher. ... Wikipedia does not have an article with this exact name. ... This article or section is not written in the formal tone expected of an encyclopedia article. ...

Marches and the Circus

Marches were further popularized with performances by circus bands. During the same period of the community band/concert band, circuses such as the Ringling Brothers and Barnum & Bailey Circus. Circus would have live music being performed by their own bands. The marches played were often a special variety of the march known descriptively as “Screamers”, “Two-Steps”, and “Cakewalks”. These marches served the purpose of exciting the crowd while circus acts were taking place. The Big Top of Billy Smarts Circus Cambridge 2004. ... Ringling Brothers were the founders of what eventually became the Ringling Brothers Barnum and Bailey Circus. ... Ringling Brothers and Barnum & Bailey Circus is an American circus that was formed from the merger of the Ringling Brothers Circus and the Barnum & Bailey Circus. ... A concert is a live performance, usually of music, before an audience. ... A Screamer is a descriptive name for a circus march. ... Two-step (Two Step) is the name of several dances, some related to each other and some not. ... Cakewalk, 1892 Cakewalk is a traditional African American form of music and dance which originated among slaves in the US South. ...

Marches and the Marching Band

Again, during the same period college marching bands were also beginning to form. March composers would often dedicate marches to university bands. Marches were performed during half-time shows and pep-rallies. Marches were indeed heard everywhere. Representation of a university class, 1350s. ... In electronics (specifically, signal processing), half time usually refers to the time it takes for the amplitude of a pulse to drop from 100% to 50% of its peak value. ...

The John Philip Sousa Revolution

American composer John Philip Sousa did indeed strongly revolutionize the march. His overall prolific writing of said quality marches added that much to its popularity. According to Sousa researcher Paul Bierley, Sousa’s marches were gems of simplicity and understatement, with rousing counterpoint and overall energy. Sousa also is said to have standardized the traditional march form (see below) and added considerably to the easy-listening genre of music. In music, counterpoint is the relationship between two or more voices that are independent in contour and rhythm, and interdependent in harmony. ... Standardization, in the context related to technologies and industries, is the process of establishing a technical standard among competing entities in a market, where this will bring benefits without hurting competition. ... This article does not cite any references or sources. ...

The Stars and Stripes Forever

American march music was forever immortalized with Sousa's The Stars and Stripes Forever, a patriotic march which soon became the official march of the United States of America. (See article for further details.) This article is about the Spice 1 album. ... The Stars and Stripes Forever is a patriotic American march. ...

March Music Composers

Most march composers come from the United States or Europe, and have some sort of musical background to them. The most popular march composers existed in the late 1800s and early 1900s, mainly because modern march dedicators are hard to come by. The following is list of march music composers whose marches are frequently performed in the United States. World map showing the location of Europe. ...

• Russell Alexander (1877-1915)
• Kenneth Alford (1881-1945) "The British March King"
• Edwin Eugene Bagley (1857-1922)
• C. L. Barnhouse (1865-1929)
• Hermann Louis Blankenburg (1876-1956)
• W. Paris Chambers
• Charles Edward Duble (1884-1960)
• Sir Edward Elgar
• Henry Fillmore (1881 - 1956) "The Trombone King"
  

  

  Karl Lawrence King, another highly popular American march composer who lived during the march music era.
• Julius Fucik (1872-1916) "The Czech March King"
• James Fulton (1873-1940)
• Edwin Franko Goldman (1878-1956) "The American Bandmaster"
• Robert B. Hall (1858-1907) "The New England March King"
• Russell Alexander (1877-1915)
• John Clifford Heed (1864-1908)
• Arthur W. Hughes (ca.1870-ca.1950)
• Fred Jewell (1875-1936) "The Indiana March King"
• Karl L. King (1891 - 1971) "The Iowa March King", "The Circus Music King"
• Alex F. Lithgow (1870-1923) "Invercargill"
• Frank H. Losey (1872-1931) "The Pennsylvania March King"
• Johann Gottfried Piefke (1815-1884) Prussian composer of military music
• J. J. Richards (1878-1956) "The Long Beach March King"
• William Rimmer (1862-1936)
• Sam Rydberg (1885-1956) "The Swedish March King"
• Roland F. Seitz (1867-1946) "The Parade Music Prince"
• George Dallas Sherman (1844-1927)
• John Philip Sousa (1854 - 1932) "The March King"
• Carl Albert Hermann Teike (1864-1922)

Russell Alexander (1877-1915) was an euphonium virtuoso who joined the circus band of Belfords Carnival at the age of 18. ... Kenneth Joseph Alford was a composer, best known for his marches, of which the most famous is Colonel Bogey. ... Edwin Eugene Bagley (1857-1922) began his music career at the age of nine as a vocalist and comedian with Leavitt’s Bellringers, a company of entertainers that toured many of the larger cities of the United States. ... Hermann Louis Blankenburg (1876-1956) was a composer of military marches with at least 300 marches published and probably many more lost or destroyed. ... Edward Elgar Sir Edward William Elgar, Bt OM GCVO (June 2, 1857 – February 23, 1934) was a British composer, born in the small Worcestershire village of Broadheath to William Elgar, a piano tuner and music dealer, and his wife Ann. ... Henry Fillmore (3 December 1881 - 7 December 1956) was a United States composer and publisher. ... Image File history File links Karl L. King, prolific American composer of marches and other band music. ... Image File history File links Karl L. King, prolific American composer of marches and other band music. ... Portrait of Julius Fučík Julius Ernst Wilhelm Fučík (18 July 1872 – 15 September 1916) was a Czech composer and conductor of military bands. ... James Judge Fulton (born in Belfast 1739 - died in Bass River, Nova Scotia 25 September 1826) was justice of the peace, judge, surveyor, politician, and founder of the village of Bass River, Nova Scotia. ... Edwin Franko Goldman (January 1, 1878–February 21, 1956) is one of Americas prominent band composers of the early 20th Century. ... One of Americas preeminent march composers, Robert Browne Hall was born in Maine in 1858 and seldom left his native state during his short life, though his music travelled around the world. ... Russell Alexander (1877-1915) was an euphonium virtuoso who joined the circus band of Belfords Carnival at the age of 18. ... Arthur Wellesley Hughes was born in Kingston, Ontario, Canada about 1870. ... Frederick Alton Jewell, born 1875 in Worthington, Indiana, was a prolific musical composer who wrote over 100 marches and screamers, his most popular being: Fred Jewell Quality Plus (1913) E Plurbius Unum (1917) Supreme Triumph (1920) The Screamer (1921) The Old Circus Band (1923) At the age of 16, Jewell... Karl L. King (21 February 1891–31 March 1971) was a United States march music bandmaster and composer. ... Alex Frame Lithgow (1870-1929) was born in Scotland, and then lived in Invercargill. ... Johann Gottfried Piefke (pronounced peefke) (September 9, 1815 - January 25, 1884) was a German conductor, Kapellmeister and composer of military music. ... William Rimmer (d. ... George Dallas Sherman was born in Richmond, Vt. ... Portrait of John Philip Sousa taken in 1900 John Philip Sousa (November 6, 1854 – March 6, 1932) was an American composer and conductor of the late Romantic era known particularly for American military marches. ... Carl Albert Hermann Teike (February 5, 1864 - May 22, 1922) was a German composer who wrote over 100 military marches and 20 concert works. ...

Famous Marches

The following is a list of popular marches from around the world that are frequently performed in the United States. They are in alphabetical order for easy reading.

• "Old Comrades (Alte Kameraden)" - Carl Teike
• "All Sports March" - Robert Farnon
• "American Patrol" - W. Frank Meacham, copyrighted March 30, 1885
  

  

  "Repasz Band March" by Chas. C. Sweeley.
• "Americans We" - Henry Fillmore, published in 1929
• "Bandology" - Eric Osterling
• "Barnum and Bailey's Favorite" - Karl L. King, composed in 1913
• "The Big Cage" - Karl L. King, Copyright 1934
• "Blaze Away!" - Abe Holzmann
• "The Billboard" - John N. Klohr
• "Bombasto" - Orion R. Farrar
• "Boston Commandery March" - Thomas M. Carter
• "Bravura" - Charles Duble
• "Brighton Beach" - William Latham
• "Brooke's Chicago Marine Band" - Roland F. Seitz
• "The Chicago Tribune" - W. Paris Chambers
• "The Chimes of Liberty" - Edwin F. Goldman
• "Colossus of Columbia" - Russell Alexander
• "Colonel Bogey" - Kenneth J. Alford
• "Combination March" - Scott Joplin
• "Coronation March" from Le Prophète - Giacomo Meyerbeer
• "Crusade for Freedom" - J.J. Richards
• "Children of the Shrine" - James Swearingen
• "E Pluribus Unum" - Fred Jewell
• "El Capitan" - John Philip Sousa
• "Emblem of Unity" - J.J. Richards
• "Entry of the Gladiators" (Thunder and Blazes) - Julius Fucik, composed 1897
• "Fairest of the Fair" - John Philip Sousa
• "The Footlifter" - Henry Fillmore
• "The Gallant Seventh" - John Philip Sousa
• "Game of the Week March" - Joseph Mullendore
• "The Guadalcanal March" - Richard Rodgers
• "Hands Across the Sea" - John Philip Sousa, composed 1899
• "High School Cadets-March" - John Philip Sousa
• "Imperial March" - John Williams
• "In Storm and Sunshine" - John C. Heed
• "Independentia" - Robert B. Hall
• "Invincible Eagle" - John Philip Sousa
• "Invercargill" - Alex F. Lithgow, composed in 1900
• "The Klaxon" - Henry Fillmore, composed in 1929
• "Königgrätzer Marsch" - Johann Gottfried Piefke
• "The Liberty Bell" - John Philip Sousa, composed 1893
• March from A Little Suite - Trevor Duncan
• "March Grandioso" - Roland F. Seitz
  

  

  "Our Director March" by F.E. Bigelow.
• "The Melody Shop" - Karl L. King
• "Men of Ohio" - Henry Fillmore
• "The National Emblem" - Edwin E. Bagley
• "Official West Point March" - Philip Egner
• "On Parade" - Edwin Franko Goldman
• "On the Mall" - Edwin Franko Goldman
• "Onward and Upward" - Edwin Franko Goldman
• "On the Square" - Frank Panella
• "On the Quarter Deck" - Kenneth J. Alford
• "Our Director" - F.E. Bigelow
• "Pomp and Circumstance" no. 1 - Edward Elgar
• "Preußens Gloria" ("Prussia's Glory") - Johann Gottfried Piefke
• "The Purple Carnival" - Harry Alford
• "The Purple Pageant" - Karl L. King
• "Radetzky March" - Johann Strauss Sr.
• "Repasz Band" - Chas. C. Sweeley
• "Robinson's Grand Entree" - Karl L. King
• "Salutation" - Roland F. Seitz
• "Semper Fidelis" - John Philip Sousa
• "The Screamer" - Fred Jewell
• "The Southerner" - Russell Alexander
• "Sportsmaster" - Robert Busby
• "Stars and Bars" - Robert Jager
• "The Stars and Stripes Forever" - John Philip Sousa, composed Dec 25, 1896
• "The Tenth Regiment" - Robert B. Hall
• "The Thunderer" - John Philip Sousa
• "Under the Double Eagle (Unter dem Doppeladler)" - Josef F. Wagner, composed 1902
• "Up the Street" - Robert G. Morse
• "Washington Greys" - Claudio S. Grafulla, composed in 1861
• "The Washington Post March" - John Philip Sousa, composed 1889
• "The Watch on the Rhine" - Franz von Blon

Alte Kameraden (Old Comrades) is the title of a popular german military march. ... Carl Albert Hermann Teike (February 5, 1864 – May 22, 1922) was a German composer who wrote over 100 military marches and 20 concert works. ... Image File history File links Repasz_band. ... Image File history File links Repasz_band. ... Front page of the Tribune incorrectly reporting that Dewey won the 1948 presidential election The Chicago Tribune, formerly self-styled as the Worlds Greatest Newspaper, remains the leading newspaper of the Midwest of the United States. ... The Colonel Bogey March is one of the most successful marches ever published. ... Scott Joplin (born between June 1867 – January 1868[1]; died April 1, 1917) was an American musician and composer of ragtime music. ... Giacomo Meyerbeer Giacomo Meyerbeer (September 5, 1791 – May 2, 1864) was a noted German-born opera composer, and the first great exponent of Grand Opera. ... Entrance of the Gladiators (also known as Thunder and Blazes, originally rendered in Czech as Vjezd gladiátorů) is a highly recognizable march composed in 1897 by the Czech composer Julius Fučík. ... Hands Across the Sea is a patriotic/military march composed in 1899 by John Philip Sousa. ... The Imperial March is a musical theme recurring in the Star Wars movies. ... Williams conducting the London Symphony Orchestra during the recording of the score for Star Wars Episode I: The Phantom Menace. ... Alex Frame Lithgow (1870-1929) was born in Scotland, and then lived in Invercargill. ... Johann Gottfried Piefke (pronounced peefke) (September 9, 1815 - January 25, 1884) was a German conductor, Kapellmeister and composer of military music. ... The Liberty Bell is an American military march composed by famous bandmaster John Philip Sousa in 1893, and is considered one of his finest works. ... Trevor Duncan (27th February 1924 - 17 December 2005) was an English composer, particularly noted for his light music compositions. ... Image File history File links Our_director. ... Image File history File links Our_director. ... The Melody Shop is one of Karl Kings most popular marches and one of the most popular marches of all time. ... National Emblem is a march written ca. ... Edwin Eugene Bagley (1857-1922) began his music career at the age of nine as a vocalist and comedian with Leavitt’s Bellringers, a company of entertainers that toured many of the larger cities of the United States. ... The Pomp and Circumstance Marches, op. ... Sir Edward Elgar Sir Edward Elgar, 1st Baronet, OM, GCVO (2 June 1857 â€“ 23 February 1934) was an English Romantic composer. ... Preußens Gloria (Glory of Prussia) Armeemarschsammlung (army march collection) II, 240 is a wellknown march of the 19th century. ... The Stars and Stripes Forever is a patriotic American march. ... The Thunderer is one of John Philip Sousas marches. ... Josef Franz Wagner (1856 – 1908) was an Austrian military bandmaster and composer. ... Claudio S. Grafulla Claudio S. Grafulla was born in 1810 on Minorca, a Spanish island off the coast of Spain. ... The Washington Post* is a patriotic march composed by John Philip Sousa in 1889. ...

Popular March Arrangers

The following is a list of popular march arrangers.

• Andrew Balent
• Jerry Bilik
• John Bourgeois
• Keith Brion
• Frank Byrne
• Frederick Fennell
• Robert E. Foster, Jr
• Andrew Glover
• Edward Lisk
• Loras John Schissel
• James Swearingen

Jerry Bilik (b. ... John Bourgeois is an actor. ... Frank M. Byrne (October 23, 1858 – December 24, 1928) was the eighth Governor of South Dakota. ... Frederick Fennell (July 2, 1914 – December 7, 2004) was an internationally recognized conductor, and one of the primary figures in promoting the wind ensemble as a performing group. ... Andrew Glover is a composer born 1962 in Birmingham, UK. He studied in Nottingham and gained his Doctorate in 1994 from Keele University after studying with Dr George Nicholson. ... James Swearingen is an American composer and arranger. ...

Popular Marching Bands/Military Bands

The following is a list of bands that record marches.

• Band of the US Air Force Reserve
• Dallas Wind Symphony
• Keith Brion's New Sousa Band
• Royal Artillery Band
• United States Air Force Heritage of America Band
• United States Air Force Band of the Rockies
• United States Army Band
• United States Coastguard Band
• United States Marine Band
• United States Navy Band
• Washington Winds

The Dallas Wind Symphony [1] (DWS) is a professional concert band based in Dallas, Texas. ... United States Service Bands Each of the branches of the U.S. military, has a headquarters band organization, all but one of which are in the Washington, D.C. area. ... The United States Marine Band, colloquially known as The Presidents Own, was established by an Act of Congress on July 11, 1798, and is America’s oldest professional musical organization. ... The United States Navy Band, based at the historic Washington Navy Yard in Washington, D.C., has served since 1925 as the official musical group of the United States Navy. ...

Musicality and the March Music Form

Most marches are musically uplifting, driving, and rollicking. Some can be very emotional, poetic, or even somber. Some can be extremely subtle, while others can be brash and powerful. This topic discusses the musicality aspect of marches; what actually makes up a march, and gives it an ongoing drive. Generalities (the word "most") will be used frequently because as alluded to before, marches can differentiate greatly, especially those of different styles. See "See Also" at the bottom of the page for more information.

Meter

The majority of marches are written in duple meter, meaning they have two beats per measure. In fact, only a handful of marches are written otherwise, usually in 4/4, but still using the same tempo (see below).

The following is a list of meters used in marches:

• 2/2 or cut-time (indicated by a letter "c" with a slash through it. This literally represents common time being cut in half, hence the name "cut time"). Marches written in cut-time have a clear upbeat/downbeat feel. In layman's terms, a cut-time march has a strong "oom-pah" sound to it. Many cut-time marches utilize heavy syncopation to create rhythmic interest. Because passing tones in most cases are shorter, cut-time marches tend to sound "faster" than other marches in a different meter. The most famous cut-time march would probably be The Stars and Stripes Forever by Sousa.
• 6/8 marches are played in two, meaning the dotted-quarter note gets the beat and there are two of them in a measure. If the composer wants a triplet feel to the march, 6/8 is used. In other words, 6/8 marches have a more dance-like swing feel to them, which is more prominent and exaggerated than its cut-time cousin. A 6/8 march can be distinguished immediately by recognizing its common "da-bah-da-bah" or "DA-da-DA-da" sound. The most famous 6/8 march would probably by The Washington Post March, also by Sousa.
• 2/4 is much like cut-time, except that fewer notes appear in a measure, since the quarter note now gets the beat instead of the half note but there are still only two beats per measure. Marches written in 2/4 tend to be for the sake of the performer, as it is, for the most part, easier to read at faster tempos. Many European marches are written in 2/4, and almost all American galops are as well. These galops are played at a very fast tempo, making it sound as if there was one beat to a bar.
• 4/4 marches are rarely seen, as it is almost pointless to use with a fast tempo. However, some slow marches, such as dirges, utilize 4/4. Robert Jager also uses 4/4 with his popular quick march, "Stars and Bars".

The Washington Post* is a patriotic march composed by John Philip Sousa in 1889. ... Image File history File links Smaller version of washington_post2. ...

Tempo

The tempo of a march is surprisingly varied. While most bands perform marches in their own tempo, most marches are quick (faster than a waltz, as fast as or slower than a polka). As alluded to before, most march composers did not designate a specific tempo on their manuscripts. However, that is not to say the march music composer is random with his/her tempo while conducting the march. For example, John Philip Sousa conducted his marches using around 120 beats per minute. Most European march composers, however, conducted their marches in a slower style, using around 100 beats per minute. There are, however, many and notable exceptions: see concert march and screamer. The first two measures of Mozarts Sonata XI, which indicates the tempo as Andante grazioso and the metronome marking as = 120. (Metronome markings were not used in Mozarts day. ... A waltz (German: , Italian: , French: , Catalan: ) is a ballroom and folk dance in   time, done primarily in closed position. ... Street musicians in Prague playing a polka Polka is a type of dance, and also a genre of dance music. ... A composer is a person who writes music. ... A manuscript (Latin manu scriptus, written by hand), strictly speaking, is any written document that is put down by hand, in contrast to being printed or reproduced some other way. ... One who specifically composes any kind of march music. ... Random redirects here. ... Portrait of John Philip Sousa taken in 1900 John Philip Sousa (November 6, 1854 – March 6, 1932) was an American composer and conductor of the late Romantic era known particularly for American military marches. ... See also the beat disambiguation page. ... A minute is a unit of time equal to 1/60th of an hour and to 60 seconds. ... World map showing the location of Europe. ... A concert march is a march specifically composed for a concert band or brass band (to be played at a formal concert or other audience event). ... A Screamer is a descriptive name for a circus march. ...

Key

For the sake of band performers, especially altos, marches are typically written in flat keys. The keys of Concert F, Bb, Eb, and Ab are the most frequently used. (NOTE: These refer to the key the march begins in, not the modulated key in the trio (see below).

The March Music Form

Most marches follow a fairly strict structure. This structure is known as the march music form. The march music form's origins can be derived from the sonata form, as it shares similar ideas of contrasting sections. The true march music form was not utilized until the start of the march music era, and was eventually standardized by none other than John Philip Sousa. While the march music form varies tremendously amongst different styles of the march, all marches must have the following:

• Different sections, or strains.
• Several separate melodies.
• A contrasting section known as the trio.

The following two march forms are the most popular and frequently used by march music composers.

The Military March Form

The military march can be heavily credited to John Philip Sousa. He is said to have standardized the military march form, and it is used in over half of his marches.

"Blaze Away! March" by Abe Holzmann, written in military march format.

• The first section is called the Introduction (I) or fanfare and is either 4, 8, or 16 bars long. The introduction is typically played in marcato style, typically using forte dynamics to catch the attention of the listener. The intro is almost never not used in a march, examples without an intro include, Bugles and Drums and the Footlifter Compared to the other sections of a march, the introduction is usually the shortest part. Most introductions utilize chromatic scales and contrary motion counterpoint. This is discussed below. The introduction is commonly based on the V chord for the purpose of creating tension which naturally leads into the next section (See Harmonic Progressions below). The intro isn't generally repeated, but examples where it is are, Bravura, Rifle Regiment, and Washington Greys. The introduction generally starts in major, but examples where it doesn't are the Gladiator, the Picadore, the Nobles of the Mystic Shrine, Rolling Thunder, and Hands Across the Sea' 'Click here to listen to the introduction of "The Thunderer" by John Philip Sousa. Sound clips are in MIDI format.

• The next section is commonly called the first strain, as it is the first prominent melody of the march. The first strain is typically 8 or 16 bars long with 4-measure phrases. The first strain can be in either major or minor mode and can use any variety of dynamics, instrumentation and modulations. Typically this strain utilizes similar motifs in its phrases, and sounds more rhythmically straightforward than the next section. After the first playing of the strain, it is repeated once, sometimes with added parts such as counter-melodies.

• The second strain is usually 16 bars long and is the second primary melody of the march. However, in marches like Solid Men to the Front, amd also Sousa's Untitled March, the second strain is 32 bars in length. This strain may use somewhat different instrumentation or may alter the relative dynamics of the different parts. The melody of the second strain is normally played with the basses (low brass and low woodwinds). In terms of phrasing, it also uses 4-measure phrases, but with more varied motifs. This makes the second strain's melodies sound more "stretched out". For example, many second strains utilize more whole notes than the first strain. For a good example, listen to The Stars and Stripes Forever. The second strain is usually repeated once like the first, but some marches, fro example, US Field Artillery, On the Mall, the Melody Shop and a few others, omit this repeat.

• In some marches, a short introduction to the trio is heard. This introduction to the trio can be a repeat of the first introduction, a whole new separate melody played by the whole band, a fanfare by the brasses, or a percussion soli (drum rolloff). "Semper Fidelis" by Sousa, for example, has this. Another example of Trio Introduction is found in Twin Eagle Strut, by Zane Van Auken.
• The third (or technically fourth or fifth) primary melody in a march is called the trio. The trio is described as the main melody of the march. It is often played legato style in a softer dynamic, and features woodwinds more than brass. Sousa often used clarinets and euphoniums in lower tenor register in his trios. The trio is the most contrasting section, often containing variations of motifs heard in the previous two strains. The trio melody is often repeated once at a softer dynamic, or not repeated at all and goes right to the next section. Generally, it is played quietly for the first (or second) playthrough, then the next has a piccolo bringing it out, and in the final playthrough, it is loud. In almost all cases, the trio modulates to the subdominant key of the march, meaning one flat is added to the key signature. Again, this is for the purpose of contrast and makes the trio more memorable to the listener. The fact that the key is now flatter also offers a more relaxing feel for those trios with softer instrumentation. For marches starting in minor keys, the trio usually modulates to the relative major. This key is maintained to the end of the piece.

The trio is the main melody of a march. Note the natural sign in the key signature marking the typical subdominant modulation. Also note the four-measure introduction into the trio.

• Next comes the breakstrain or breakup strain (sometimes called the dogfight or interlude), making it the 4th main melody heard. This strain is loud, intense and marcato. The break strain's purpose can be found in its title. The breakstrain literally breaks a gap between the trio sections. It offers contrast to the usually softer trio melodies, and generates excitement for the listener. Most breakstrains resemble a conversation between the upper woodwinds and the low brass. The final measures of the breakstrain typically contain tension-building chords or chromatic motifs.
• After the breakstrain, the trio is heard again, either for one last time or and the 2nd (or third) time. If the trio after the breakstrain is the last, it is usually played in the same style as the first trio. Sometimes this trio has added counter-melodies or obbligatos. After this trio, the breakstrain is played again, then moves on to the final trio. The final trio is known as the grandioso. It is typically much louder than the previous playing(s) of the trio and utilizes all sections of the band, bringing everything to a close. The grandioso is considered the most exciting section of the march and serves the purpose of instilling the trio melody into the mind of the listener. The grandioso sometimes adds yet another counter-melody or obbligato, such as the one in The Stars and Stripes Forever. The last measure of the march sometimes contains a stinger, a I chord played in unison on the upbeat after a quarter rest. Most, but not all marches carry a stinger; the Semper Fidelis march is a famous march not to have an ending stinger. Most marches end at the volume forte (loud), but an example that doesn't is Sousa's Manhattan Beach ends fading away.
• In some military marches, such as "U.S. Field Artillery" by John Philip Sousa, there is only one playing of the breakstrain, resulting in only two "playings" of the trio.

Therefore, the Military March Form is this: I-AA-BB-C(C)-Br-C-Br-C(Grandioso) Image File history File links Blaze_away. ... Image File history File links Blaze_away. ... A fanfare is a short piece of music played by trumpets and other brass instruments, frequently accompanied by percussion, usually for ceremonial purposes. ... Marcato in the context of bowed string instruments is an arco technique for playing such a stringed instrument, such as violin, viola, cello, and the double bass, also called contrabass, bass viol, or upright bass. ... Image File history File links Thunder_intro. ... Software development stages In computer programming, development stage terminology expresses how the development of a piece of software has progressed and how much further development it may require. ... Image File history File links Thunder_1st. ... Software development stages In computer programming, development stage terminology expresses how the development of a piece of software has progressed and how much further development it may require. ... Image File history File links Thunder_2nd. ... Software development stages In computer programming, development stage terminology expresses how the development of a piece of software has progressed and how much further development it may require. ... A minor scale in musical theory can be viewed as the sixth mode of the major scale. ... In music, the relative minor of a particular major key (or the relative major of a minor key) is the key which has the same key signature but a different tonic, as opposed to parallel minor or major, respectively. ... Image File history File links Firemaster_trio. ... Image File history File links Firemaster_trio. ... Image File history File links Thunder_trio. ... Software development stages In computer programming, development stage terminology expresses how the development of a piece of software has progressed and how much further development it may require. ... Semper Fidelis is Latin for Always faithful. ... Image File history File links Thunder_breakstrain. ... Software development stages In computer programming, development stage terminology expresses how the development of a piece of software has progressed and how much further development it may require. ...

• Examples of military marches include: The Stars and Stripes Forever by John Philip Sousa, Barnum and Bailey's Favorite by Karl L. King, and On the Mall by Edwin F. Goldman

The "Regimental" March Form

Another popular (and perhaps older) march style is the regimental march, or review march. There are a few key differences between a typical military march and a regimental march.

• The introduction, first and second strains are typically that of a military march. However, some utilize a much longer introduction.
• Instead of a breakstrain after the trio, a regimental march has a completely new strain (D), which still uses the modulated key). This strain has similar characteristics of a second strain, and is almost always repeated once.
• Because the regimental march is considerably shorter than a military march (due to its lack of a third trio repeat and breakstrain), it is often played by marching bands in parades (hence the name "review march").

Therefore, the "Regimental" march form is this: I-AA-BB-CC-DD

• Examples of "regimental" marches include: Semper Fidelis by John Philip Sousa (when not recapitulated back to the beginning of the march - see below), Men of Ohio by Henry Fillmore, and Robinson's Grand Entry by Karl L. King.

Other Forms and Styles

• Some marches, typically those written specifically for marching and/or youth bands, have no breakstrain or 'D' section at all. They simply have one repeat of the trio (typically in the grandioso style), and then the march ends (Form: I-AA-BB-CC). Examples of these marches include "Our Director" by F.E. Bigelow, and "Gallant Marines" by Karl L. King. Karl King and Henry Fillmore often used this style in their marches. John Philip Sousa rarely used this style.
• Many earlier and European marches recapitulate back to the beginning of the march. These marches typically did not use the Military March Form, but rather a shorter form such as the one directly above or the regimental march form. In other words, after either the final trio, or 'D' section, the march would start over again. Once it has done that, repeats are ignored, and ends after the second strain. Codas are rare, but sometimes used as well, for example in "Riders for the Flag" by Sousa, and "Children of the Shrine" by James Swearingen. The tradition of recapitulating marches ended at the start of the march music era. For example, John Philip Sousa abandoned this technique with all of his marches, except for "On Parade" one of Sousa's few circus marches. In fact, only Victor Herbert was one of the last American composers that still used recapitulation during the march music era. Examples of these marches include: "Under the Double Eagle" by Wagner and "The Serenade" by Victor Herbert.

Phrasing

The basic (and vague) definition of a march is a piece of music based upon a regular repeated drum/rhythmic pattern. Therefore, what makes a march recognizable is its phrases. Almost all quickstep marches consist of four-measure phrases, typical ending with a whole note either creating or resolving melodic tension (see Progressions) followed by a pickup note (see Pickups). It can be said that this rather "basic" framework is what makes marches melodically "pleasing". Some marches have more noticeable phrases than others. Karl King's marches for example have very clear-cut phrases with said whole notes and pickups. John Philip Sousa however tended to use practically seamless phrasing.

Chords and Harmonic Progression

The basic nature of all music is to harmonically "setup and resolve" tension. Marches are no different. In fact, most marches use seemingly basic progressions and chords for the purpose of sounding melodically pleasing, and unchallenging (listening wise). However, that's not to say march composers did not utilize certain extended techniques.

Consider "Semper Fidelis" by John Philip Sousa. The following is the chord progression. Note, each barred section represents one measure, for a total of 16 measures.

• |G7| |G7| |C| |C| |G7| |G7| |C| |C| |G7| |G7| |C| |C|C#dim| |G| |G| |D7| |G7|

"Semper Fidelis'" first strain begins with a very simple V-I progression, creating a wave-like sense of tension and relief. Note its use of dominant seven chords to make the V chord stronger. This extension is used in many marches. Towards the end however, the progression gets more harmonically interesting. In the middle of the measure before the trumpet "fanfare", the chord alters to C#dim instead of remaining on C as before. Because the C#dim chord does not exist in the key of C, it is known to be "chromatically leading". This chord "leads" into the V chord (G), which is then followed by a D7 chord. A D chord in the key of C would be the ii chord, and all ii chords must be minor. However, the D chord in this case is not minor. Rather, it is known as a secondary dominant, in which a dominant chord is borrowed from another key, hence "secondary dominant". A secondary dominant naturally leads into a chord other than the first (I chord). In this case, it leads into the V (G7).

The following is the chord progression of the second strain. Note, each barred section represents one measure, for a total of 16 measures.

• |C| |F|G7| |C| |C| |G7| |G7| |C| |C|G7| |C| |F|E7| |Am| |Ab7| |C| |C| |G| |C|

As with most second strains, this one features more rapidly changing chords. Note the use of the IV chord, used in marches to create a very "uplifting" and lyrical sound which will tend to resolve back to the I chord or proceed into the V chord, as it does here. At measure ten, where it restates the main theme, Sousa uses a rather "deceptive" chord change. Instead of using F to G7 to C as he did in measures two and three, it goes from the IV (F) to the V7/VI (E7, secondary dominant), to the VI (Am). The main melodic theme uses the same notes, but revolves around a different harmonic progression, resulting in greater chordal interest (less repetitive). Sousa then uses his trademark chromatic accented chord (Ab7; note that it is a half-step below the previous chord) to create a "wall of tension" which quickly resolves into the I chord.

Another "accented" chromatic chord frequently used by march music composers is an inversion of a I chord with a lowered third and raised fifth. For example, if there was an Eb major chord (the I in the key of Eb), it would be followed by a B major chord (because a B chord is an Eb chord with a lowered third and raised fifth). Unlike the aforementioned secondary dominants, this chord really does not have logical harmonic functions to it (besides neighbor tone usage) other than to add texture and interest.

In summary: Image File history File links Nobles_chord. ... Software development stages In computer programming, development stage terminology expresses how the development of a piece of software has progressed and how much further development it may require. ...

• Most marches use seemingly simple chord progressions, for the sake of sounding melodically pleasing, however...
• March composers will often compliment their marches with interesting chords and chord changes, such as the use of chromatic harmonies, sevenths extensions, and secondary dominants.

Difficulty

The actual difficulty of performance is considerably varied amongst marches. Because marches were some of the first music to be written for grade school bands (which were just becoming prominent throughout the country), many marches are fairly modest in difficulty. However, given the fact that many composers wrote marches for their own band (typically a professional community or circus band), some require almost virtuoso skill to perform. That being said, many conductors note that any march is difficult to play "perfectly", with all correct expressions, articulation and steady tempo. The following difficulty grading system is adapted from Norman Smith's "March Music Notes".

• Grade 1: Minimum difficulty. Suited for beginner bands who are first approaching music. May even be a simple etude or diddy from an instructional book.
• Grade 2: Also for beginner bands, but more developed, usually with different notes and rhythms. Instrumental ranges are comfortable and most require minimal endurance. Some follow the standard march form, but most are abbreviated, or in a more concert march form.
• Grade 3: The standard march difficulty. Usually in full march form, this difficulty requires moderate technique and endurance skills. Instrumental range is usually intermediate (trumpets going up to a high G, no ledger line), and most likely will contain chromatic notes, obbligatos, and counter-melodies. Many Grade 3's are used in actual parade marching. Examples of Grade 3 marches would be "The Thunderer" and "The National Emblem".
• Grade 4: Moderately difficult. Typical high school bands will find this grade requiring a considerable amount of practice/rehearsal. Grade 4's will contain many technically challenging parts and some syncopation. They also tend to require a strict, complete ensemble for proper performance as they may contain intricate harmonies and counter-melodies. Examples of Grade 4 marches would be "The Stars and Stripes Forever" and "Barnum and Bailey's Favorite".
• Grade 5: Considerably difficult. Usually originally written for professional, virtuoso band members, such as those in a circus band. Therefore, many Grade 5's are Screamers. They are guaranteed to contain woodwind obbligatos or chromatic runs and test the range of any player (high C's for trumpets). May have very quick tempos, as well as complicated rhythms and syncopation. Examples of Grade 5 marches would be "Entry of the Gladiators", "The Washington Greys", and "Battle of Shiloh".
• Grade 6: A rare difficulty. Usually a Grade 6 is found in a greater piece of work such as a symphony, where it can contain mixed meters, intricate rhythms, and harmonies.

Instrumentation

A general instrumentation setup used originally for American marches would be very difficult to explain, as most bands were extremely varied in the late 1800s and early 1900s. As stated before, most of the standard march music was written for the composer's band. Whether that be the Sousa, Ringling Bros. or Gilmore, every band typically had marches written by their conductor in repertoire. With that said, most marches were also written in a very specific instrumentation. For example, many composers simply wrote a piano version of the march, and it was up to the publisher to arrange separate parts for concert band, orchestra, etc.

Assignments and Roles of Instrument Sections

There are some generalities that can be made pertaining to what role a section of a concert band holds in a typical march. Examples: Trumpets/cornets almost always carry the melody. They also tend to be scored various "flourishes" and "calls" for effect. Clarinets, piccolos, and flutes also tend to carry the melody, but often are assigned obbligatos and other various integral lines. French Horns tend to always carry the rhythmic backup of a march. For example, in cut-time marches, they are typically assigned upbeats (the + of 1 and 2) to provide the "pah" for the stylistic "oom-pah" sound. In 6/8 marches, French horns play on beat 1, the 'a' of 1, beat 2, and the 'a' of 2 (1-a2-a). In other words, the measure would be one eighth note, then an eighth rest, then two eighth notes, an eighth rest, then a final eighth note.

Harry Dinkle, the "Greatest music director in the world", references Sousa in the popular comic, "Funky Winkerbean".

Image File history File links Funky_Winkerbean_sousa. ... Image File history File links Funky_Winkerbean_sousa. ...

Media

Image File history File links Thunder. ... Software development stages In computer programming, development stage terminology expresses how the development of a piece of software has progressed and how much further development it may require. ...

External links

• Marches Free military marches in mp3 from all over the world
• March Music Downloadable recordings of marches performed by the US Air Force Bands
• Karl King Page Includes circus marches by one of America's March Kings

References

• Norman E. Smith "March Music Notes" Copyright 1993 by Norman E. Smith, Published by Program Note Press.
• Norman E. Smith "March Music Melodies" Copyright 1993 by Norman E. Smith, Published by Program Note Press.
• Paul E. Bierley "The Works of John Philip Sousa" Copyright 1984 by Paul E. Bierly, Published by Integrity Press
• "Virginia Tech Online Music Dictionary" http://www.music.vt.edu/musicdictionary/

See also

• Martial music
• Concert march
• Screamer (march)
• Marching band
• Authorized marches of the Canadian Forces