American march music is march music written and/or performed in the United States. Its origins are those of European composers borrowing from the military music of the Ottoman Empire in place there from the 16th century. The American genre developed after the British model during the colonial and Revolutionary periods, then later as military ceremonials and for civilian entertainment events. One of the earliest exponents of march music in America and its preeminent champion was John Philip Sousa, "The March King"; who revolutionized and standardized American march music during the 19th and early 20th centuries. Some of his most famous marches—"

Semper Fidelis ''Semper fidelis'' () is a Latin phrase that means "always faithful" or "always loyal" (Fidelis or Fidelity). It is the motto of the United States Marine Corps, usually shortened to Semper Fi. It is also in use as a motto for towns, families, ...

", " The Washington Post", "

The Liberty Bell March "The Liberty Bell" (1893) is an American military march composed by John Philip Sousa. History "The Liberty Bell", at the time a new composition as yet untitled, was written for Sousa's unfinished operetta "The Devil's Deputy" before fina ...

", and " The Stars and Stripes Forever"—are among the best known of historical American music and are especially revered by many Americans for their rousing strains and patriotic themes. His "Stars and Stripes Forever" features what is arguably the most famous piccolo obligato in all of music. Other notable American composers of march music include Henry Fillmore – "

The Circus Bee "The Circus Bee" is a circus march, or screamer, composed by Henry Fillmore Henry Fillmore (December 3, 1881 – December 7, 1956) was an American musician, composer, publisher, and bandleader, best known for his many marches and screamers, ...

Charles A. Zimmerman Charles A. Zimmermann (1861 – 16 January 1916) was an American composer of marches and popular music. A graduate of the Peabody Conservatory of Music in Baltimore, he was appointed bandmaster at the United States Naval Academy in 1887 at the ag ...

– " Anchors Aweigh";

W. Paris Chambers William Paris Chambers (November 1, 1854 – November 13, 1913) was an American composer, cornet soloist, and bandmaster of the late 19th century. Life and career William Paris Chambers was born in Newport, Pennsylvania but spent most of his ea ...

– "Sweeney's Cavalcade";

Edwin E. Bagley Edwin Eugene Bagley (May 29, 1857January 29, 1922) was an American composer, most famous for composing the march ''National Emblem''. Bagley was born in Craftsbury, Vermont on May 29, 1857. He began his music career at the age of nine as a vocali ...

– "

National Emblem March A national emblem is an emblem or seal that is reserved for use by a nation state or multi-national state as a symbol of that nation. Many nations have a seal or emblem in addition to a national flag and a national coat of arms. Other national sy ...

"; Meredith Willson – " Seventy-six Trombones"; and George Gershwin – " Strike Up the Band". Composers (from Europe or elsewhere) of march music popular in the US include:

Johann Strauss Sr Johann Baptist Strauss I (; also Johann Strauss Sr., the Elder, the Father; 14 March 1804 – 25 September 1849) was an Austrian composer of the Romantic Period. He was famous for his light music, namely waltzes, polkas, and galops, which he po ...

– " Radetzky March";

Kenneth J. Alford Frederick Joseph Ricketts (21 February 1881 – 15 May 1945) was an English composer of marches for band. Under the pen name Kenneth J. Alford, he composed marches which are considered to be great examples of the art. He was a Bandmaster in th ...

– " Colonel Bogey March"; Julius Fucik – " Entry of the Gladiators";

Edward Elgar Sir Edward William Elgar, 1st Baronet, (; 2 June 1857 – 23 February 1934) was an English composer, many of whose works have entered the British and international classical concert repertoire. Among his best-known compositions are orchestr ...

– " Pomp and Circumstance (No. 1)". The forms of American march music typically are of three categories: the military march form, the regimental march form, and a general group containing recapitulation marches, "four-step" marches, and other diverse forms. All marches have at least three common elements, including: different (i.e., contrasting) sections called strains; several different melodies; and a "trio" section of strains/ "repeats" that offers pronounced contrasts in phrasing. Most American marches use (seemingly) simple chord progressions, but—using chromatic harmonies, sevenths extensions, and secondary dominants—composers often complicated their marches with interesting chords and rapid chord changes.

History

The true "march music era" succeeded in the United States from the 1850s to the 1920s, and persisted through the 1940s as it slowly became shadowed by the coming of jazz in the U.S. Earlier marches by

Handel George Frideric (or Frederick) Handel (; baptised , ; 23 February 1685 – 14 April 1759) was a German-British Baroque composer well known for his operas, oratorios, anthems, concerti grossi, and organ concertos. Handel received his training i ...

Mozart Wolfgang Amadeus Mozart (27 January 17565 December 1791), baptised as Joannes Chrysostomus Wolfgangus Theophilus Mozart, was a prolific and influential composer of the Classical period (music), Classical period. Despite his short life, his ra ...

, and Beethoven tended to be parts of

symphonies A symphony is an extended musical composition in Western classical music, most often for orchestra. Although the term has had many meanings from its origins in the ancient Greek era, by the late 18th century the word had taken on the meaning com ...

or movements in suites. Despite its age and history and its popular performance in the U.S., European march music generally is not thought of as typically American music.

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 purposes of the music was to regulate army movements in the field by signalling orders, and to keep time during marching and maneuvers. The extensive use of percussion, especially cymbals, was also for psychological effect as, early on, their use was unknown in Western Europe and had the capacity to frighten opponents. (Indeed, the subsequent adoption of such percussive instruments in European 'classical' music was by direct import from the Ottomans.) Europeans were first exposed to march music in the early 18th century, and interest continued to build into the 1800s when a vogue for Turkish marching bands swept through Europe. Pieces displaying the 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''). It was apparently during the latter gunpowder age that military march music was developed for armies to support troop morale by marching with music playing, whether from the melody of a

fife Fife (, ; gd, Fìobha, ; sco, Fife) is a council area, historic county, registration county and lieutenancy area of Scotland. It is situated between the Firth of Tay and the Firth of Forth, with inland boundaries with Perth and Kinross (i ...

or the beat of a

drum The drum is a member of the percussion group of musical instruments. In the Hornbostel-Sachs classification system, it is a membranophone. Drums consist of at least one membrane, called a drumhead or drum skin, that is stretched over a she ...

, or both. American march music developed during the American Revolution and earlier colonial conflicts, in which a fife and

snare drum The snare (or side drum) is a percussion instrument that produces a sharp staccato sound when the head is struck with a drum stick, due to the use of a series of stiff wires held under tension against the lower skin. Snare drums are often used ...

would play while troops marched to battle. Thus it is said that march music is a military music. The tradition of formed lines of soldiers marching into battle with music playing ended soon after the American Civil War in the mid 19th century; military bands continued to perform marches during ceremonial events, which spawned a new tradition of playing marches as a source of entertainment.

Marches and the concert band

During the late 19th and early 20th centuries, many U.S. towns, organizations, theaters, and even companies aspired to have their own band. These so-called community/concert bands performed at scheduled parades and concerts and played at impromptu events such as the popular gazebo concerts. Published marches were plentiful due to prolific American composers like John Philip Sousa,

Karl L. King Karl L. King (February 21, 1891 – February 19, 1971) was a United States march music bandmaster and composer. He is best known as the composer of "Barnum and Bailey's Favorite". The most expensive painting in Iowa, the "Karl L. King Portrait ...

, and Henry Fillmore. Marches became a staple in the repertoire of these concert bands, explaining in part how the popularity of march music spread so rapidly across the country.

Marches and the circus

Marches were also popularized during this period by circus bands. The Ringling Brothers and

Barnum & Bailey The Ringling Bros. and Barnum & Bailey Circus (also known as the Ringling Bros. Circus, Ringling Bros., the Barnum & Bailey Circus, Barnum & Bailey, or simply Ringling) is an American traveling circus company billed as The Greatest Show on Ear ...

circuses presented their bands performing live march music. Typically, they played a special variety of marches known descriptively as screamers, two-steps, and

cakewalks The cakewalk was a dance developed from the "prize walks" (dance contests with a cake awarded as the prize) held in the mid-19th century, generally at get-togethers on Black slave plantations before and after emancipation in the Southern Uni ...

. These tunes served to energize the crowd and focus attention on the circus acts being performed.

Marches and the marching band

The march music era in the U.S. saw the development of college and high school marching bands, which typically were organized to perform march music during half-time shows and pep-rallies. Composers often dedicated marches to a favored university band.

John Philip Sousa

American composer John Philip Sousa revolutionized American march music. His prolific production of quality marches greatly advanced the genre's popularity. According to researcher Paul Bierley, Sousa's marches were known for their simplicity and understatement with rousing

counterpoint In music, counterpoint is the relationship between two or more musical lines (or voices) which are harmonically interdependent yet independent in rhythm and melodic contour. It has been most commonly identified in the European classical tradi ...

and overall energy. Sousa standardized the military march form in America, see below. His marches are typically marked by a "subdued" trio—as in " The Stars and Stripes Forever", where most of the performing band becomes subordinated to arguably the most famous piccolo obligato in all of music. Sousa's magnum opus, "The Stars and Stripes Forever" was adopted in 1987 as the national march of the United States. Sousa was prolific as both composer and orchestrator, writing 137 marches and more than 80 significant pieces, including operettas, overtures, suites, dances, and fantasies, and publishing some 322 arrangements of nineteenth-century western European symphonic works. He directed the design and production of his namesake instrument, the sousaphone, for its specialized adaption for use in a marching band. For its ease of carry and its forward-directed sound, the sousaphone is widely employed in marching bands and other musical venues.

Notable march composers in the United States

Most march composers were from the United States or Europe. Publishing new march music was most popular during the late 19th and early 20th centuries; sponsors of the genre began to diminish after that time. Following is a list of march music composers whose marches are still performed in the United States. *

Russell Alexander Russell Alexander (February 26, 1877 – October 1, 1915) was an entertainer and composer, active primarily with vaudeville shows and musical comedy organizations. Alexander was born in Nevada, Missouri, and became a euphonium virtuoso wh ...

(1877–1915) * Kenneth Alford (1881–1945) "The British March King" *

Edwin Eugene Bagley Edwin Eugene Bagley (May 29, 1857January 29, 1922) was an American composer, most famous for composing the march ''National Emblem''. Bagley was born in Craftsbury, Vermont on May 29, 1857. He began his music career at the age of nine as a vocali ...

(1857–1922) *

Hermann Louis Blankenburg Hermann Ludwig Blankenburg (14 November 1876 in Thamsbrück – 15 May 1956 in Wesel) was a Germans, German composer of military March (music), marches. Blankenburg was the only son of three children of Johann Heinrich and Ernestine Friederike Ko ...

(1876–1956) *

(1854–1913) *

Charles E. Duble Charles Edward Duble (September 13, 1884 – August 1960) was an American band musician and composer. He played for 23 years in circus bands. Career Duble's career started as trombonist with Sun Bros. Circus in 1909, and he played in others su ...

(1884–1960) * Henry Fillmore (1881–1956) "The Trombone King" * Julius Fucik (1872–1916) "The Czech March King" *

James M. Fulton James Melville Fulton (1873–1940) was a composer, arranger, conductor, and music educator best known for composing marches. He is often associated with the traditional British melody ''Garry Owen'' which he arranged for band in 1903. His most rec ...

(1873–1940) "Associated Press," "Waterbury American" * Bernard Gilmore (1937-2013) "Five Folk Songs for Soprano and Band" * Edwin Franko Goldman (1878–1956) "The American Bandmaster" * Robert B. Hall (1858–1907) "The New England March King" *

John Clifford Heed John Clifford Heed (1862–1908) was an American composer and musician, best known for composing over 60 marches. Early life and education Born in Hackettstown, New Jersey, on April 23, 1862, Heed began his musical career with the Hackettstow ...

(1864–1908) *

Arthur W. Hughes Arthur Wellesley Hughes (1870–1950) was a Canadian musician and composer. Born in Kingston, Ontario, he separated from his family at a young age, spending many years in the United States as an itinerant circus musician. He was a perfor ...

(ca.1870-ca.1950) * Fred Jewell (1875–1936) "The Indiana March King" *

(1891–1971) "Iowa's Own Music Man," "The Circus Music King" *

John N. Klohr John Nicholas Klohr (July 27, 1869 – February 17, 1956) was a composer of band music. Klohr was born in Cincinnati, Ohio. A graduate of the Cincinnati public schools, Klohr set upon a career in music, especially vaudeville. He was a vaudeville ...

(1869–1956) *

Alex F. Lithgow Alexander Frame Lithgow (1 December 1870 in Glasgow – 12 July 1929 in Launceston, Tasmania) was a Scottish-born, New Zealand and Australian based composer and bandleader known as the " Sousa of the Antipodes". His name is pronounced "Alek" by ...

(1870–1923) "Invercargill" *

Frank H. Losey Frank Hoyt Losey (March 18, 1870 – 3 May 1931) was an American musician, composer, and arranger of band and orchestra music. He is credited with over 400 compositions and 2,500 arrangements including his most recognized composition, ''Gloria Mar ...

(1872–1931) "The Pennsylvania March King" *

J. J. Richards Joseph John Richards (August 27, 1878 – March 16, 1956) was a composer, conductor, and music educator best known for writing over 300 compositions for circus and school bands. His most successful works were marches, including ''Crusade for Freedo ...

(1878–1956) "The Long Beach March King" * William Rimmer (1862–1936) * Roland F. Seitz (1867–1946) "The Parade Music Prince" *

George Dallas Sherman George Dallas Sherman (August 23, 1844 – November 3, 1927) was an American bandleader. Sherman was born in Richmond, Vermont, United States, the son of Hathaway and Relief Sherman. At the age of 14, he joined the Richmond Cornet Band and soon ...

(1844–1927) Composer of "Salute to Burlington" * John Philip Sousa (1854–1932) "The March King" *

Carl Albert Hermann Teike Carl Albert Hermann Teike (5 February 1864 – 28 May 1922) was a German composer who wrote over 100 military marches and twenty concert works. Biography Born the son of a blacksmith in Stettin-Altdamm, Pomerania, Teike was the fourth of 1 ...

(1864–1922) *

John Williams John Towner Williams (born February 8, 1932)Nylund, Rob (15 November 2022)Classic Connection review ''WBOI'' ("For the second time this year, the Fort Wayne Philharmonic honored American composer, conductor, and arranger John Williams, who wa ...

(1932–present)

Famous marches

Following is a list of marches popular world-wide and frequently performed in the United States; in alphabetical order. *"All Sports March" – Robert Farnon *" American Patrol" (1885) – W. Frank Meacham *"Americans We" (1929) – Henry Fillmore *"

Amparito Roca Amparito Roca is the name of a piece of music composed in 1925 by Spanish musician and composer Jaime Teixidor (1884–1957) who named it after one of his piano students, then 12-year-old Amparito Roca (1905–1977). It was first performed in Sept ...

" (1925)–

Jaime Teixidor Jaime Teixidor (or Texidor) Dalmau (; ca, Jaume Teixidor Dalmau ) was born in Barcelona on April 16, 1884, and died in Barakaldo on February 23, 1957. He was a Spanish musician, conductor, publisher, and composer. After studying composition and c ...

*" Anchors Aweigh" –

*"Band of America" –

Paul Lavalle Paul Lavalle (born Joseph Usifer, September 6, 1908 - June 24, 1997) was an American conductor, composer, arranger and performer on clarinet and saxophone. Early years Lavalle was born in Beacon, New York, the son of Ralph and Jennie Usifer, both ...

*"Bandology" –

Eric Osterling The given name Eric, Erich, Erikk, Erik, Erick, or Eirik is derived from the Old Norse name ''Eiríkr'' (or ''Eríkr'' in Old East Norse due to monophthongization). The first element, ''ei-'' may be derived from the older Proto-Norse ''* ...

*"Barnum and Bailey's Favorite" (1913) – Karl L. King *"Belgian Paratroopers (Marche des Parachutistes Belges)" – Pierre Leemans *"The Big Cage" (1934) – Karl L. King *"The Black Horse Troop" (1924) - John Philip Sousa *"

Black Jack March "Black Jack March" was written by Fred K. Huffer (1879–1943), an early 20th century composer. It was named after General John J. "Black Jack" Pershing. Written in a 6/8 meter, trumpets and drums are featured with a trumpet call. Sheet music, ...

" –

Fred K. Huffer Fred K. Huffer (January 1, 1879 – August 28, 1943) was an American early 20th century composer and conductor. Early life Born into a musical family, Fred Huffer's father was an accomplished violinist and orchestra conductor. Huffer's music ed ...

*"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 March" –

*"The Chimes of Liberty" – Edwin F. Goldman *"Coat of Arms" – George Kenny *"Colossus of Columbia" – Russell Alexander *" Colonel Bogey March" – Kenneth J. Alford *"Combination March" –

Scott Joplin Scott Joplin ( 1868 – April 1, 1917) was an American composer and pianist. Because of the fame achieved for his ragtime compositions, he was dubbed the "King of Ragtime." During his career, he wrote over 40 original ragtime pieces, one ra ...

*"Commando March" –

Samuel Barber Samuel Osmond Barber II (March 9, 1910 – January 23, 1981) was an American composer, pianist, conductor, baritone, and music educator, and one of the most celebrated composers of the 20th century. The music critic Donal Henahan said, "Proba ...

*"Coronation March" from Le Prophète –

Giacomo Meyerbeer Giacomo Meyerbeer (born Jakob Liebmann Beer; 5 September 1791 – 2 May 1864) was a German opera composer, "the most frequently performed opera composer during the nineteenth century, linking Mozart and Wagner". With his 1831 opera ''Robert le di ...

*"Country Band March" (1903) -

Charles Ives Charles Edward Ives (; October 20, 1874May 19, 1954) was an American modernist composer, one of the first American composers of international renown. His music was largely ignored during his early career, and many of his works went unperformed f ...

*"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) (1897) – Julius Fucik *"Fairest of the Fair" – John Philip Sousa *"Father of Victory (Le père la victoire)" – Louis Ganne *"The Footlifter" – Henry Fillmore *"

The Gallant Seventh The Gallant Seventh is a march composed by John Philip Sousa in 1922 whilst recovering from a broken neck. The march takes its name from the 7th Regiment of the New York National Guard. The conductor of the Regiment band was Major Francis Sutherl ...

" – John Philip Sousa *"The Guadalcanal March" – Richard Rodgers *" Hands Across the Sea" (1899) – John Philip Sousa *"High School Cadets-March" – John Philip Sousa *"In Storm and Sunshine" – John C. Heed *"Independentia" – Robert B. Hall *"Invincible Eagle" – John Philip Sousa *" Invercargill March" (1909)-

Joyce's 71st New York Regiment March ''Joyce's 71st N.Y. Regiment March'' is an American march composed by band director, arranger, and composer Thornton Barnes Boyer (1856-1936) in 1881. Boyer's "most famous" composition, it is a classic of the American parade and concert band mar ...

" – Thornton Barnes Boyer *"The Klaxon" (1929) – Henry Fillmore *"

Königgrätzer Marsch The Königgrätz March ( AM II, 134 (AM II, 195)), also known as Der Königgrätzer or Der Königgrätzer Marsch, is one of the most famous German military marches, composed in 1866 by Johann Gottfried Piefke in commemoration of the Battle of K� ...

" – Johann Gottfried Piefke *" The Liberty Bell" (1893) (Used as score for "

Monty Python's Flying Circus ''Monty Python's Flying Circus'' (also known as simply ''Monty Python'') is a British surreal sketch comedy series created by and starring Graham Chapman, John Cleese, Eric Idle, Terry Jones, Michael Palin and Terry Gilliam, who became known ...

") – John Philip Sousa *"March from A Little Suite" –

Trevor Duncan Trevor Duncan (27 February 1924 – 17 December 2005) was an English composer, particularly noted for his light music compositions. Born in London, and largely self-taught, he originally composed as a sideline while working for the BBC. In th ...

*"March Grandioso" – Roland F. Seitz *"

The Melody Shop "The Melody Shop" is one of Karl King's most popular marches. The march is written in E♭, with its trio section changing keys to the subdominant A♭ as is typical for marches and polkas. Excerpts of the march are commonly used in auditions for ...

" – Karl L. King *"Men of Ohio" – Henry Fillmore *" The National Emblem" –

*"Officer of the Day" – Robert B. Hall *"Official West Point March" – Philip Egner *"On Parade" – Edwin Franko Goldman *"

On the Mall "On the Mall" is a famous march composed by American bandmaster Edwin Franko Goldman (1878–1956). It vies with Goldman's " Chimes of Liberty" as his two most popular compositions. "On the Mall" still in 2013, as indicated by Jack Kopstein, remai ...

" – Edwin Franko Goldman *"Onward and Upward" – Edwin Franko Goldman *"On the Square" –

Frank Panella Frank A. Panella (January 14, 1878 – May 13, 1953) was a composer and arranger for band, best known for his march '' On the Square''. Panella was born in Pittsburgh, Pennsylvania and began playing clarinet at age seven. He was a member of the ...

*"On the Quarter Deck" – Kenneth J. Alford *"Old Comrades (

Alte Kameraden "" ("Old Comrades") is the title of a popular German military march. It is included in the ''Armeemarschsammlung'' as HM II, 150. History The march was written around 1889 in Ulm, Germany, by military music composer Carl Teike. Teike wrote many ...

)" (1899) –

Carl Teike Carl Albert Hermann Teike (5 February 1864 – 28 May 1922) was a German composer who wrote over 100 military band, military march (music), marches and twenty concert works. Biography Born the son of a blacksmith in Stettin-Altdamm, Province ...

*"Our Director" – F.E. Bigelow *" Pomp and Circumstance, No. 1" –

*" Preußens Gloria" ("Prussia's Glory") – Johann Gottfried Piefke *" The Last Long Mile" ("Plattsburg Marching Song") – Emil Breitenfeld *"The Purple Carnival" –

Harry L. Alford Harry L. Alford (August 3, 1875 – March 4, 1939) was an American arranger and composer of band marches. Early life Harry LaForrest Alford was born in Hudson, Michigan. His family moved to nearby Blissfield, Michigan two years later. As a bo ...

*"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 *"

" – John Philip Sousa *" Semper Paratus" –

Francis Saltus Van Boskerck Francis may refer to: People *Pope Francis, the head of the Catholic Church and sovereign of the Vatican City State and Bishop of Rome *Francis (given name), including a list of people and fictional characters *Francis (surname) Places *Rural Mu ...

*"The Screamer" – Fred Jewell *"Second Connecticut Regiment " – D.W. Reeves *" Seventy-six Trombones" – Meredith Willson *"The Southerner" – Russell Alexander *" Stars and Stripes Forever" (1896) – John Philip Sousa *" Strike Up the Band" (1927) – George Gershwin *" Sweeney's Cavalcade" –

*"The Tenth Regiment" – Robert B. Hall *"

The Thunderer "The Thunderer" is a march composed by John Philip Sousa in 1889. The origin of the name is not officially known, though it is speculated that it gets its name from the "pyrotechnic ffectsof the drum and bugle in hescore." It is also one of Sou ...

" – John Philip Sousa *"Under the Double Eagle (Unter dem Doppeladler)" (1902) – Josef F. Wagner *" The U.S. Air Force" – Robert Crawford *"Up the Street" – Robert G. Morse *" Washington Grays March" (1861) –

Claudio S. Grafulla Claudio S. Grafulla (1812–1880) was a composer in the United States during the 19th Century, most noted for martial music for regimental bands during the early days of the American Civil War.The Washington Post March" – John Philip Sousa, composed 1889 *"The White Rose" – John Philip Sousa

Musicality and the march music form

This section discusses the format and other musical aspects of march music.

Meter

The majority of marches are written in duple meter, meaning they have two beats per

measure Measure may refer to: * Measurement, the assignment of a number to a characteristic of an object or event Law * Ballot measure, proposed legislation in the United States * Church of England Measure, legislation of the Church of England * Mea ...

(or two beats "to the bar"). Only a few marches are written otherwise (usually in 4/4 time), while still using the same two beats per measure tempo (see below). Several meters are used in marches, as follows: * time is called "cut-time", indicated by the symbol . (This means common time cut-in-half, hence the name "cut-time"). Marches written in cut-time have a clear upbeat/downbeat feel, which in layman's terms, means a strong "oom-pah" sound is heard. Many cut-time marches use heavy syncopation to create rhythmic interest. Because passing tones in most cases are shorter than marches in a different meter, cut-time marches tend to sound faster. An example of a cut-time march is " Stars and Stripes Forever" by Sousa. * time marches are played "in two", meaning the dotted quarter-note gets the beat and there are two of them in a measure. time is used when the composer wants a "triplet" feel in the beat; that is, marches produce a more dance-like, swing beat that is more prominent and exaggerated than its cut-time cousin. A march can be recognized immediately by its common "da-bah-da-bah" or "DA-da-DA-da" sound. An example of a march is " The Washington Post March", also by Sousa. * time is much like cut-time, except fewer notes appear in a measure, as here the quarter-note gets the beat instead of the half-note; but there are still only two beats per measure. Marches in time typically are written for the performer as it is easier to read at faster tempos. Many European marches are written in , and almost all American galops as well. Galops are played at a very fast tempo, sounding as if there was one beat to the bar. * time marches are rare. However, some slow marches such as dirges use it. Robert Jager uses in his quick march "Stars and Bars".

Tempo

The tempo of marches varies significantly. 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 Polka is a dance and genre of dance music originating in nineteenth-century Bohemia, now part of the Czech Republic. Though associated with Czech culture, polka is popular throughout Europe and the Americas. History Etymology The term ...

). As alluded to before, most march

composer A composer is a person who writes music. The term is especially used to indicate composers of Western classical music, or those who are composers by occupation. Many composers are, or were, also skilled performers of music. Etymology and Defi ...

s did not designate a specific tempo on their manuscripts. However, that is not to say the

march music composer A march, as a musical genre, is a piece of music with a strong regular rhythm which in origin was expressly written for marching to and most frequently performed by a military band. In mood, marches range from the moving death march in Wagner's ...

is random with his/her tempo while conducting the march. For example, John Philip Sousa conducted his marches using around 120 beats per

minute The minute is a unit of time usually equal to (the first sexagesimal fraction) of an hour, or 60 seconds. In the UTC time standard, a minute on rare occasions has 61 seconds, a consequence of leap seconds (there is a provision to insert a nega ...

. 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 screamers are three South American bird species placed in Family (biology), family Anhimidae. They were thought to be related to the Galliformes because of similar beak, bills, but are more closely related to ducks (family Anatidae),Todd, F. ...

Key

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

March music forms

Most marches follow a fairly strict structure known as the march music form, the origins of which appear to be derived from the sonata form, as these two forms share similar ideas of contrasting sections. The period of early development of the true march music form denotes the start of the march music era in the US by the 1850s; eventually the form was standardized by John Philip Sousa. While the form varies among different styles of march music, all marches have these common elements: *Different sections, called strains. *Several separate melodies. *A middle section, dubbed the Trio, that features contrasting melodic material and is usually lighter in texture and more lyrical in style. After the Trio the main section is recapitulated. Following are descriptions of various march forms that have been popular and are/were frequently used by march music composers.

Military march form

The military march form is largely credited to John Philip Sousa, who came to be known as "The March King". He standardized the "military" form (as compared to the "regimental" form), using it in over half of his marches. The military march form is: I-AA-BB-C(C)-Br-C-Br-C(Grandioso); or, in more generic code: I-AA-BB-CCDCDC. The first section of a military march is called the ''introduction'' (I) or

fanfare A fanfare (or fanfarade or flourish) is a short musical flourish which is typically played by trumpets, French horns or other brass instruments, often accompanied by percussion. It is a "brief improvised introduction to an instrumental perfo ...

; it is typically 4, 8, or 16 bars long and played in marcato style, using forte (loud) dynamics and chromatic alterations to catch the attention of the listener. The introduction is usually the shortest section of a march and is almost never omitted. Still, examples of marches written without an intro include "Bugles and Drums" and "The Footlifter". Introductions to marches vary but some standard practices include: (a) ''tutti'' unison ("The Washington Post"), (b) ''tutti'' rhythmic unison with contrary motion ("The Thunderer"), (c) ''tutti'' rhythm unison in four-part harmony ("Semper Fi"), and (d) four-part independent ("The Klaxon"). The introduction is commonly based on the dominant key to create clarity of key as centered in the first strain, (see harmonic progressions below). Generally, the intro is not repeated, but it is in some marches: "Bravura", "The Rifle Regiment", and "Washington Grays". The introduction generally starts in major because marches typically are in major keys, but there are marches with introductions in minor keys, including "Gladiator", "The Picadore", "Nobles of the Mystic Shrine", and "Rolling Thunder". 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 (as opposed to contrasting motifs—see trio, below) in its phrasing, and it sounds more rhythmically straightforward than the following section. After the first playing of the strain, it is repeated once, sometimes with added parts such as

counter-melodies In music, (German for ''primary voice'') or is the main voice, chief part; i.e., the contrapuntal or melodic line of primary importance, in opposition to . (German for ''secondary voice'') or is the secondary part; i.e., a secondary contr ...

. The first strain may be repeated yet again after the second strains, particularly if it (first strain) is in minor. Karl L. King frequently arranged this style, as did Henry Fillmore with his trombone smears. Examples include "Peacemaker March", "New York Hippodrome", "Caravan Club March", "Trombone King", "Lassus Trombone", "Royal Decree", and Price's "March of Youth". 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", and Sousa's Untitled March, the second strain is 32 bars in length. Some marches commonly play the first run of the second strain quietly and the second run loudly; these include: "The Stars and Stripes Forever", "His Honor", "The Washington Post", "Hands Across the Sea", "On the Mall", and others, particularly by Sousa. The second strain may use somewhat different instrumentation or may alter the relative dynamics of the different parts. The melody is normally played with the basses, i.e., the low brass and low woodwinds). This strain typically uses 4-measure phrases, but with greatly varied motifs, which causes the melodies to sound more "stretched out". For example, many marches use more whole notes in the second strain than the first—as can be heard in "The Stars and Stripes Forever". Like the first, the second strain is usually repeated once, sometimes twice; but some marches, including "Emblem of Freedom", "Cyrus the Great" and the "Melody Shop", omit this repeat.

=The trio and repeats

= In some marches, a short ''introduction to the trio'' is heard, often a repeat of the opening introduction, or it may be a different melody played by the whole band, a fanfare by the brasses—or a ''percussion soli'' (drum roll-off) as heard in "

" by Sousa. Another example of a 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'', which usually is the ''main melody'' of the march. It typically is 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. This trio strain is the most contrasting of the sections, often containing variations of motifs heard in the previous two strains. The trio melody may be repeated once at a softer dynamic, or may not be repeated at all. Typically, it is played quietly for the first or second playthrough, then features piccolos (or flutes, or other woodwinds) playing over the trio melody. In almost all cases the trio now modulates to the subdominant key of the march, meaning one flat is added to the key signature. The key is now flatter and this repeat will, with softer instrumentation, offer a relaxing feel from the previous volume. The contrast makes the trio more memorable as the new key is maintained to the end of the strain. (For marches starting in minor keys, the trio usually modulates to the

relative major In music, relative keys are the major and minor scales that have the same key signatures (enharmonically equivalent), meaning that they share all the same notes but are arranged in a different order of whole steps and half steps. A pair of major an ...

.) Next comes the breakstrain or ''breakup strain'' (sometimes called the ''dogfight'' or ''interlude''), making it the fourth melody heard. This strain is loud, intense, and marcato. Its purpose can be found in its title, as it literally breaks a gap between the trio sections, providing contrast to the usually softer trio melodies and generating excitement for the listener. Most breakstrains resemble a conversation between the upper woodwinds and the low brass. The final measures typically contain tension-building chords or chromatic motifs. The breakstrain is usually 16 bars long, as in the case of "Hands Across the Sea", but marches vary: "The Washington Post" and "The Interlochen Bowl" have eight-bar breakstrains, where "On the Mall" and "The Purple Pageant" have 12-bar, and "The Thunderer" has a 15-bar breakstrain. "The Stars and Stripes Forever" has a 24-bar breakstrain. After the breakstrain, the trio is repeated again. The trio after the breakstrain is usually played in the same style as the first, but sometimes counter-melodies or obbligatos are added to these latter runs of the trio. Now the breakstrain is played again and the march moves to the final trio. The final trio is known as the grandioso, ''trio grandioso'' or ''trio'', which typically, as the grand finale, is played through much more loudly than previous runs of the trio. It sometimes adds yet another counter-melody or obligato (such as the one in "The Stars and Stripes Forever") and uses all instrumental sections of the band, bringing everything to a close. The grandioso is the most exciting section of the march; its role is to make the trio melody memorable to the listener.

=The stinger

= The last measure of the march sometimes contains a ''stinger'', a I chord played in unison on the downbeat after a quarter rest. Most, but not all, marches carry a stinger. "

" is a famous march that does not have an ending stinger when not recapitulated back to the beginning of the march (see below). Most marches end at forte volume (loud); one that does not is Sousa's "Manhattan Beach", which ends fading away. In some military marches, such as "U.S. Field Artillery March" (the "Caissons Song") by John Philip Sousa, there is only one "playing" (or run) of the breakstrain, resulting in only two playings of the trio. Apart from "On the Mall", "the Chimes of Liberty", and a couple of others, Goldman's marches in the military form had only two playings (two runs) of the trio. 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

Regimental march form

The regimental march form as developed in the US is perhaps older than the military form; it is also called the "review march". There are some key differences between the two styles. The regimental march form is: I-AA-BB-CC-DD The introduction, first strain, and second strain are typically that of a military march, but some use a longer (or much longer) introduction. After the trio the regimental march follows with a strain (D) instead of a breakstrain. This new strain also uses a modulated key and typically relates to the second strain; it is almost always repeated once. The regimental march is considerably shorter than a military march for lack of a third repeat of the trio and breakstrain; thus, it is preferred for performances by marching bands in parades—hence the name "review march". Examples of regimental marches include Sousa's "Semper Fidelis" (when not recapitulated back to the beginning of the march – see below), "Men of Ohio" by Henry Fillmore, "

Bugles and Drums The bugle is one of the simplest brass instruments, normally having no valves or other pitch-altering devices. All pitch control is done by varying the player's embouchure. History The bugle developed from early musical or communication ...

" by Goldman, and "Robinson's Grand Entry" by Karl L. King.

Other forms and styles

Some earlier marches presented a simple, "four-part", form: I-AA-BB-CC. Typically those marches, having neither a breakstrain nor 'D' section, were written for marching bands or youth bands. The piece was ended by simply playing one repeat of the trio, usually in the grandioso style. Examples include "Our Director" by F.E. Bigelow and "Gallant Marines" by Karl L. King. Henry Fillmore and Karl King often used the four-part style in their marches. Sousa rarely used this style. Sousa's marches of the early 1890s (including "High School Cadets" and "Manhattan Beach"), used an introduction unique to his career. Many earlier American and European marches, using either the four-part or the regimental form, recapitulate back to the beginning of the march. Typically, after completing the final trio (or 'D' section), the march is re-started; repeats are ignored, and the piece is ended after the second strain. Codas are rare, but sometimes used; examples: "Riders for the Flag" by Sousa and "Children of the Shrine" by James Swearingen. The tradition of writing recapitulating marches ended near the start of the American march music era. John Philip Sousa abandoned this technique except with his march "On Parade"—one of his few circus marches. Victor Herbert was one of the last American composers to write recapitulating marches. Examples include "Under the Double Eagle" by Wagner and "The Serenade" by Victor Herbert.

Phrasing

The basic (and vague) definition of a march describes a piece of music based upon a regular, repeated drum or rhythmic pattern—which means a march is most recognizable by its phrasing. Almost all quickstep marches consist of four-measure, or four-bar, phrases typically ending with a whole note (that either creates or resolves melodic tension, see chord progression), followed by a pickup note. Thus it is said that this "basic" framework is what makes marches melodically "pleasing". Some marches have more noticeable phrases than others. Marches by Karl King have very clear-cut phrases with distinctive whole notes and pickups. In contrast, John Philip Sousa used practically seamless phrasing.

Chords and harmonic progression

The harmonic progressions of American march music are well-grounded in the archetypal harmonic techniques of the times in which they were written. In summary, most American marches use seemingly simple chord progressions for the sake of creating a melodically pleasing sound, however composers often complemented their marches with interesting chords and rapid chord changes—using chromatic harmonies, sevenths extensions, and secondary dominants. A detailed discussion of chord progressions follows. (Recommended reading in conjunction with these details: Chord progression and

Scale degree In music theory, the scale degree is the position of a particular note on a scale relative to the tonic, the first and main note of the scale from which each octave is assumed to begin. Degrees are useful for indicating the size of intervals and ...

.) Here is code for the chord progressions of the first strain of "

" by John Philip Sousa. Note, each bar pair (e.g., , G7, ), represents one of a total of 16 measures. *, G7, , G7, , C, , C, , G7, , G7, , C, , C, , G7, , G7, , C, , C, G7/B, , G, , G, , D7, , G7, The first strain begins with a very simple V-I progression (see chord progression basics), creating a wave-like sense of tension and relief within the chord. The use of dominant seven chords makes the V chord stronger and is used in many marches. In the middle of the measure, before the trumpet "fanfare", the chord alters to C♯dim7 instead of remaining on C. This leads to a G7 chord (rather than to a D minor chord), and is an example of a common-tone diminished seventh chord. This chord ''leads into'' the V chord (G), then to a D7 chord. Here a D chord in the key of C would be the ii chord (as all ii chords must be minor). But the D chord here is ''not'' minor. Rather, it is known as a "secondary dominant", i.e., a dominant chord borrowed from different key. (A secondary dominant naturally leads into a chord other than the first (or I chord); here it leads into the V (G7)). Here is code for chord progressions of the second strain. *, C, , F, G7, , C, , C, , G7, , G7, , C, , C, G7, , C, , F, E7, , Am, , A♭7, , C, , C, , G, , C, As with most second strains of march music, ''rapidly changing'' chords are featured: a legacy of Sousa. The IV chord is used here in marches to create an "uplifting" and lyrical sound which tends either to resolve back to the I chord—or to proceed into the V chord, as it does here. At the tenth measure, (, F, E7, ), which restates the main theme, Sousa uses a "deceptive" chord change. Instead of using F to G7 to C (as in measures two and three), the chord goes from the IV (F) ''to'' V7/VI (i.e., E7), ''to'' the VI (Am). The main melodic theme uses the same notes, but revolves around a different harmonic progression. Sousa then uses his trademark chromatic-accented chord A♭7, (a half-step below the previous chord) to create a "wall of tension" that quickly resolves into the I chord. Another chromatic-accented chord change often used by march music composers is inverting a I chord with a lowered third and raised fifth. For example, an E major chord (the I in the key of E) would be followed by a B major chord, (which is an E chord with a lowered third and raised fifth). Unlike secondary or "borrowed" dominants, this chord does not have logical harmonic functions other than to add texture and interest.

Difficulty of performance

The actual difficulty of performance varies considerably among marches. When first being written for grade school bands then being organized throughout the country, most marches were fairly modest in difficulty. Soon however, there were composers writing scores for (their own) bands that required professional to almost virtuosic skill to perform—some composers noting that any given march might be difficult to play "perfectly", that is, with all the correct expressions and articulations and with steady tempo. A grading system of difficulty of performance as adapted from Norman Smith's "March Music Notes" follows. *Grade 1: Minimum difficulty. Suited for beginner bands first approaching music; may be a simple etude or ditty from an instructional book. *Grade 2: Also for beginner bands, but more developed, using different notes and rhythms. Instrumental ranges are comfortable, most requiring minimal endurance. Some scores follow the standard march form, but most are abbreviated, or of a simpler concert march form. *Grade 3: At standard march difficulty. Usually in full march form, and requiring moderate technique and endurance skills. Instrumental ranges are usually intermediate, and likely containing chromatic notes, obbligatos, and counter-melodies. Many parade marches contain Grade 3 scoring, examples being "

" and "The National Emblem". *Grade 4: Moderately difficult, containing many technically challenging parts and some syncopation. This grade requires a considerable amount of practice/rehearsal of most high school bands; and typically requires a disciplined, complete ensemble for proper performance, as it contains intricate harmonies and counter-melodies. Example scores of this difficulty are " The Stars and Stripes Forever" and " Barnum and Bailey's Favorite". *Grade 5: Considerably difficult; usually originally written for professional or virtuoso players such as those in a circus band, as screamers are typical of this grade. Grade 5s contain woodwind obbligatos or chromatic runs and will test the range of any player; they have very quick tempos, as well as complicated rhythms and syncopation. Example marches are " Entry of the Gladiators", " Washington Grays", and "Battle of Shiloh". *Grade 6: A rare difficulty. Usually found in greater works such as a symphonies, which typically contain mixed meters and intricate rhythms and harmonies.

Instrumentation

A 'correct' general description of the original instrumentation of (American) march bands is unlikely, as these bands were extremely varied through the 19th and early 20th centuries and most march music was written by composers for their own bands. Thus, almost all bands accumulated marches in repertoire that were written for their specific instrumentation. On the other hand, marches were also written for specific instrumentation to be determined "locally". That is, composers simply wrote a piano version of a march which was given to the publisher to arrange the different parts for concert or marching band, or orchestra, etc. Still, modern repertoire and arrangements are typically scored for: *C

piccolo The piccolo ( ; Italian for 'small') is a half-size flute and a member of the woodwind family of musical instruments. Sometimes referred to as a "baby flute" the modern piccolo has similar fingerings as the standard transverse flute, but the so ...

flute The flute is a family of classical music instrument in the woodwind group. Like all woodwinds, flutes are aerophones, meaning they make sound by vibrating a column of air. However, unlike woodwind instruments with reeds, a flute is a reedless ...

* oboe *

bassoon The bassoon is a woodwind instrument in the double reed family, which plays in the tenor and bass ranges. It is composed of six pieces, and is usually made of wood. It is known for its distinctive tone color, wide range, versatility, and virtuo ...

clarinet The clarinet is a musical instrument in the woodwind family. The instrument has a nearly cylindrical bore and a flared bell, and uses a single reed to produce sound. Clarinets comprise a family of instruments of differing sizes and pitches ...

alto clarinet The alto clarinet is a woodwind instrument of the clarinet family. It is a transposing instrument pitched in the key of E, though instruments in F have been made. In size it lies between the soprano clarinet and the bass clarinet. It bears a grea ...

bass clarinet The bass clarinet is a musical instrument of the clarinet family. Like the more common soprano B clarinet, it is usually pitched in B (meaning it is a transposing instrument on which a written C sounds as B), but it plays notes an octave bel ...

alto saxophone The alto saxophone is a member of the saxophone family of woodwind instruments. Saxophones were invented by Belgian instrument designer Adolphe Sax in the 1840s and patented in 1846. The alto saxophone is pitched in E, smaller than the B tenor ...

*B tenor saxophone *E

baritone saxophone The baritone saxophone is a member of the saxophone family of instruments, larger (and lower-pitched) than the tenor saxophone, but smaller (and higher-pitched) than the bass. It is the lowest-pitched saxophone in common use - the bass, contra ...

* Trumpet in B *Cornet * Euphonium * French horn (in F) * Trombone * Tuba * Timpani *Keyboard instrument (usually

glockenspiel The glockenspiel ( or , : bells and : set) or bells is a percussion instrument consisting of pitched aluminum or steel bars arranged in a keyboard layout. This makes the glockenspiel a type of metallophone, similar to the vibraphone. The glo ...

) *

Snare drum The snare (or side drum) is a percussion instrument that produces a sharp staccato sound when the head is struck with a drum stick, due to the use of a series of stiff wires held under tension against the lower skin. Snare drums are often used ...

Bass drum The bass drum is a large drum that produces a note of low definite or indefinite pitch. The instrument is typically cylindrical, with the drum's diameter much greater than the drum's depth, with a struck head at both ends of the cylinder. Th ...

* Clash cymbals

Assignments and roles of instrument sections

Generally, the several instrument sections of an American march band serve the various roles of performing a typical march as follows: *Trumpets and cornets almost always carry the melody. They also may be scored various " flourishes" and "calls" for effect. *Clarinets, flutes, and piccolos also carry the melody, and are assigned obbligatos and other integral lines. *The tubas and other

basses Bass or Basses may refer to: Fish * Bass (fish), various saltwater and freshwater species Music * Bass (sound), describing low-frequency sound or one of several instruments in the bass range: ** Bass (instrument), including: ** Acoustic bass ...

usually carry the bassline, providing the "oom" of the "oom-pah" sound of cut time marches (see French horns, below); they also provide the tonal foundation of the march, and assist to control volume and tempo. *French horns almost always carry the rhythmic backup of a march. For example, in cut time marches, they are typically assigned upbeats to provide the "pah" for the stylistic "oom-pah" sound. In 6/8 marches, French horns play on: beat 1, the ''li'' of 1, beat 2, and the ''li'' of 2, (or, 1–la–li–2–la–li, see solmization); thus, the measure is one eighth note, then an eighth rest, then two eighth notes, an eighth rest, then a final eighth note. *The euphonium often carries the melody, as in the trio of "The Stars and Stripes Forever", and may be assigned other roles.

References

Norman E. Smith Norman or Normans may refer to: Ethnic and cultural identity * The Normans, a people partly descended from Norse Vikings who settled in the territory of Normandy in France in the 10th and 11th centuries ** People or things connected with the Norm ...

Jeff Yaeger Jeff is a masculine name, often a short form (hypocorism) of the English given name Jefferson or Jeffrey, which comes from a medieval variant of Geoffrey. Music * DJ Jazzy Jeff, American DJ/turntablist record producer Jeffrey Allen Townes * ...

''Forgotten American Music''
*

Paul E. Bierley Paul Edmund Bierley (February 3, 1926 – April 9, 2016) was an American music historian. Among his awards were a Society for American Music Lifetime Achievement Award and receiving an Honorary Doctor of Music from Ohio State University. Career ...

''The Works of John Philip Sousa''. Copyright 1984 by Paul E. Bierly, published by Integrity Press.
Music.vt.edu ''Virginia Tech Online Music Dictionary''

External links

Air Force Link – March Music
Downloadable recordings of marches performed by the US Air Force Bands (page archived by the Wayback Machine) {{DEFAULTSORT:American March Music March March music