March, “The Directorate” (1894)
Not dedicated to band directors, as the title might imply, this march was written in appreciation of an
honor bestowed upon Sousa by the Board of Directors of the 1893 St. Louis Exposition. The Sousa Band had
been in existence for less than a year at that time but had created such a sensation at the exposition that the
directorate held a held a special ceremony in his honor during the final week. In the brief ceremony, the
governor of Missouri presented “The March King” with an elaborate medal of gold, rubies, and diamonds. To
add the finishing touch, the Sousa Band struck up “For He’s a Jolly Good Fellow.”
Paul E. Bierley, The Works of John Philip Sousa (Westerville, Ohio: Integrity Press, 1984), 49. Used by permission.
Editorial Notes
Throughout Sousa’s career as a conductor, he often altered the performance of his marches in specific ways without
marking or changing the printed music. These alterations were designed for concert performances and included varying
dynamics and omitting certain instruments on repeated strains to expand the range of the musical textures, as well as
adding unscripted percussion accents for dramatic emphasis at key points in the music. Although Sousa never documented
his performance techniques himself, several players who worked extensively with Sousa provided directions for his
frequently performed marches, most notably from cornetist Frank Simon. Many of the marches in this volume of “The
Complete Marches of John Philip Sousa” were staples in Sousa’s regular concert repertoire and were included in the
“Encore Books” used by the Sousa Band. A complete set of his Encore Books resides in the U.S. Marine Band Library
and Archives and are referenced extensively by the Marine Band not only as a guide for some of Sousa’s special
performance practice, but also to ascertain the exact instrumentation he employed in his own performances of his
marches.
“The Complete Marches of John Philip Sousa” appears in chronological order and is based on some of the earliest known
sources for each composition. These newly edited full scores correct many mistakes and inconsistencies found in the parts
of early publications; however, all remaining markings and the original scoring are preserved. Where instruments are
added to the original orchestration, it is guided by the additional parts Sousa sanctioned in his Encore Books where
applicable or based on these typical doublings. Additionally, the alterations traditionally employed by the United States
Marine Band in performance are incorporated throughout; either those specifically documented by Sousa’s musicians or
changes modeled on the customary practices of “The March King.”
The musical decisions included in these editions were influenced by the work of several outstanding Sousa scholars
combined with many decades of Marine Band performance tradition. These editions would not be possible without the
exceptional contributions to the study of Sousa’s marches by Captain Frank Byrne (USMC, ret.), Jonathan Elkus, Colonel
Timothy Foley (USMC, ret.), Loras Schissel, Dr. Patrick Warfield, and “The March King’s” brilliant biographer, Paul
Bierley.
Performance practices that deviate from the original printed indications are described below and appear in [brackets] in
the score. In many instances these indications appear side-by-side with the original markings. An open diamond marked
with an accent in the cymbal part indicates that the cymbal player should let that accent ring for an additional beat before
rejoining the bass drum part.
Introduction (m. 1-16): This is among the longer introductions Sousa composed. The fortissimo dynamic at the opening
should be pulled back slightly to accomplish the two crescendos in the first eight measures. The cymbals should be
choked as indicated after each of the quarter notes.
First Strain (m. 17-33): The dynamic immediately drops to mezzo-forte at m. 17. In the spirit of creating some dynamic
interest, crescendos are added in m. 21-24 and m. 29-32 to fortissimo with an accent on beat two at each climax and then
returning immediately to mezzo-forte each time.
Second Strain (m. 33-49): The usual adjustments are made first time through this second strain, with piccolo, E-flat
clarinet, cornets, trombones, and cymbals tacet, and all others playing at the piano dynamic. Even at the soft dynamic, the
articulations should be crisp and short, and the printed accents are important. All voices are back in on beat two of m. 49
at fortissimo for the repeat.
Trio (m. 50-67): E-flat clarinet, cornets, and cymbals are tacet once again first time through the trio, but piccolo and
trombones may play to highlight the interesting parts written for each. Bells also join the melody beginning after the pick-
up eighth notes in m. 51. Again, the accents must be heard here, but not overdone. As is the custom, the repeat is done
even softer at pianissimo, and piccolo, trombones, all battery percussion, and euphoniums in this march should drop out to
enhance the effect.
Last Strain (m. 67-85): There is no break strain in this march, and traditionally the last strain begins softly with piccolo,
E-flat clarinet, cornets, trombones, euphoniums, and cymbals continuing to tacet (snare drum and bass drum re-enter,
however). Sometimes this first time through the final strain is performed with all instruments in and with a slow
crescendo, but an equally effective alternative is presented in this edition, keeping the first statement at piano throughout,
with a surprise fortissimo in m. 83, where all instruments rejoin. Second time through this final strain, a strong percussion
accent may be added to beat two of m. 80 as indicated.
