Quick Reference Performance Guide

for Marches
BY JIM DAUGHTERS

I would like to thank my colleagues for their assis­ galop, which can reach tempos of q= 2 40.
tauce in preparing this quick reference performance • Funeral Mm·ches, or dirges ) are deliberate and slow,
guide for the march. In our conversations about q= 60-72.
marches and march interpretation, my questions were • Patrols are intended to simulate the sound of a band
very straightfoN-'a.Td, such as, "what is it about 1narches marching past a listener. The audience hears the
that keeps you from performing them more often," band approaching, passing by, then marching off in
and, "what do you want to know that would help with the distance. The music includes a gradual crescendo
interpretation?'' Answers ranged from "what is march then steady decrescendo, all at a steady tempo.2
style, what types of marches are there," and as I had
thought for a long time, "what am I supposed to DO EUROPEAN MARCHES
to a march?" Through the notes and interviews of • British marches are generally slower than American
Harry Begian, William Revelli,John Vilhitwell, Harold marches, q= 108. American marches are similar to
Bachman, John Philip Sousa, and Henry Fillmore, and the British in sound, style and tempo because early
with the help of famed march researcher Paul Bierley, it Ainerican march composers were influences by
is my hope to provide you with a quick reference guide British composers. The British regimental marches
to the march that will help to answer some of those most closely resemble American marches. Some key
questions. clifferences: British marches are usually of greater
length, employ lyrical and lengthy countermeloclies,
TYPES OF MILITARY MARCHING a pompous-style second strain, and simple, song-like
• Funeral March - used to accompany the deceased to trio tunes. The marches are diguified and unhurried.
a cemetery or provide appropriate music at funerals Frederick]. Ricketts wrote under the pseudonym of
and memorial services. They are typically at a tempo Kennetl1J. Alford and was the most popular British
of q=72. march composer.
• Slow March or Ordinaiy March - the staudard by • German marches generally performed at q= 104-
which the tempos of other marches are measured. 112. Cbaracteristics include lyrical tunes juxtaposed
This was used for exercises, reviews and parade, with by rhythmically precise and marcato playing that is
a metronome marking of q= 60-80. contrasted by dynamic changes and accentuation.
• Quick March - mrice as fast as a slow march, German marches can include heavy bass parts, soar­
q= 100-140, with q= 116-120 being the norm. ing euphonium countermelodies, trumpet fanfares,
This type of march is also used for maneuvering. and high woodwind obbligatos. Popular German
• Double Quick March - an attack march, still more marcb composers include Teike, Blankenburg,
rapid in tempo than the quick march. 1 Fucik, and Strauss.
• Spanish paso doble (two step) is the most popu-
MARCH MUSIC TYPES lar Spanish march, usually performed at q= 108.
• Militaiy Marches are precise in rhythm and articula­ Characteristics include subtle lyricism with contrast­
tion. They can range from q= 112-144. ing lines including crescendos and diminuendos.
• Ci1-cu.s Marches reflect the pageantry of the circus. Guitar-like accompaniments are composed alongside
Rhythmic drive is given to percussion parts and oolong, horizontal tunes. Spanish marches are some
precision is essential. Circus marches are often of the most lyrical that can be performed. Amparito
punctuated by unwritten accents and range in tempo Roca by Jamie Texidor has a tendency to be played
depending on the namre of the activity for circus too fast, which is wrong musically and stylistically.
performers, q= 140-170. • Italian marches are similar to Spanish marches in lyr­
• Gallops are simply marches played fast. There are ical quality, however most Italian marches are a little
two types: the dance galop which is moderate in faster. The Italians are known for their symphonic
tempo and slightly faster than a militmy march marches with sweeping melodies, development of
(marches of Offenbach and Suppe), and the circus thematic material and dramatic climaxes at q= 116.

www.kmea.org 33
• French marches usually sound their best at q= 126. grand manner) sections. This is only a style change and
Fanfare openings and fanfare break strains are com­ not a tempo change. William Revelli stated, "through
mon in French marches and trio sections tend to be rhythm the march achieves life, vitality, motion and
simple and singable, often accompanied by a repeti­ character. It keeps the march alive and it is here that
tive ostinato rhythm in the snare drum.3 many bands fail in performances."'

ESSENTIAL ELEMENTS OF A MARCH

RHYTHM
The key to playing marches with proper style is to
William Revelli noted four essential elements for master common rhythmic figures and to sustain notes
an effective rendition of the march: (!) Tone Quality­ for their correct duration. Notes of one beat or more
intonation and control, (2) Technical Accuracy articu­
C"
should be played at full value - avoid curtailing long
lation and unity, (3) Tempo - precision, togetherness, notes. Maintain precise rhythms to avoid rushing.
and rhythm, and (4) Interpretation - accents, style, Rushing is usually fixed by playing notes for full value
phrasing, dynamics, balance, nuance and expression.4 and having percussion (and winds) subdivide beats in
STYLE their bead.
The basic elements of a march are melody, harmony ACCENTUATION
and rhythm. The heart of the march consists of the tuba, Many marches have accents in obvious places and
double bass, bass drum, horns and percussion. Basses the best march interpreters tend to add accents and
and horns account for two-thirds of the basic march dynamic changes of their own. Judicious accentua-
elements and must be a priority! Balance the heart with tion can dramatically improve the interpretation and
melody, countermelody and obbligato. Highlight the effectiveness of a march. There are three ways to accent
countermelodies, obbligatos and variations so they
a note or chord: (!) giving the note full length, (2) play­
match the melody in volume. Allow the march show off ing the note louder, and (3) atracking the note strongly.
the virtuosity of the group and players. Pay great atten­ Accents are not always fortissimo accents. 8
tion to detail and perform with elegance.'
Perform marches with an appropriate marcato, DYNAMICS
detached style and pay close attention to accents and Many bands are at their worst when they play a
dynamics. Separate the notes and release each note march; overly-loud cymbals, overly-loud bass drum,
before articulating the next - do not allow them to and the entire band is blaring. Provide as much
touch. To avoid "tutting" the notes, release the tone dyn amic contrast as possible, especially in legato
with breath and not the tongue. Attacks should be firm passages. Inner voices must be balanced and the lead
and solid, precise and articulate. trumpet should never be louder than the rest band,
The second beat of the bass line in a 2/4 march even though their part usually says solo trumpet or solo
should be softer. This is called lilting. Beat one is stron­ cornet. All percussion parts should relate to the band
ger than beat two, and beat two being the rebound beat, in dynamics and accentuation. Cymbals should empha­
requires the lilt. 6 This in mm supports the march in size accents and provide support at climactic points.
having a dance feel. Sousa's Washington Post, for exam­ Do not use cymbals and bass drum at fortissimo levels
ple, was a two-step, which was one of the most popular except in truly loud passages. The cymbal player should
dances in the world in the late 19th and early 20th-cen­ match the bass drum in volnme. Do not overplay loud
tury. A fox trot could even be considered a march. volumes and give dynamic accentuation to long notes­
they are louder.9
TEMPO
Choose a tempo that is appropriate for the style of GENERAL DYNAMIC CHARACTERICS OF
march being performed. When determining a suitable EACH STRAIN
tempo, do not play a march any faster than perform­ Avoid dull performances by changing dynamics on
ers can play technical passages cleanly - slow practice repeated strains, particularly in second and break strains.
precedes rapid practice. Rhythmic inaccuracy can cause • Introduction - usually loud, forte or fortissimo.
rushing and percussion and bass lines will tend to rush • First Strain - less loud, mezzo forte, usually played
or drag. Rushing generally occurs in ascending melodic as written.
lines, shortened long notes, cadence points of strains, • Second Strain - usually the loudest strain in a march.
technically difficult passages, and the apex of phrases Vary dynamics in this strain, softer the first time and
(percussion particularly). Bands tend to rush marches in louder on the repeat. Try eliminating brass the first
6/8 and do not play with a rhythmic 'swing.' Maintain time.
a steady tempo through crescendo and decrescendo • Trio Strain - softest strain of the march, piano to
passages and do not slow the tempo in Grandioso (in a mezzo forte. Play legato if stylized that way.

34 Bluegrass Music News FALL 2015

• Break Strain - loud and technically involved, usually INTERPRETATION
played as written. March manuscripts rarely contain the interpreta­
• Repeated Trio Strain - loud and played out. Trio tune tions of the composer1 and composers often assumed
is played softly with emphasis and forte volume on bandmasters knew march style and did not bother with
the countermelody and/or obbligato. stylistic markings, dynamics, revoicings or registral
• Stinger - in the style and volume of the last strain. alterations. Additionally, many composers rehearsed
COUNTERMELODY AND OBBLIGATO and performed their own music, and as Henry Fillmore
stated, "I didn't know how I wanted it to sound until
Countermelody is a melodic line, which is subordinate
to, and combines contrapuntally with a principal line. I got in front of the band." 12 There is no one way to
play any march, and you should arrive at a convincing
Obbligato is defined as an indispensable instrumental
line, where the instrumental part is obligatory and interpretation on your own. Dr. Harry Begian perhaps
special or unusual in effect. 10 summed it up best in a presentation at the Midwest
Clinic in 1999,
HENRYF1LLMORESPECIFIC
We should not think of marches as musical items
Fillmore generally liked his marches performed that are sacrosanct and that there is only one 'true' sty1e
much faster than a traditional military march. He or interpretation of any march! H symphony orchestra
stated, "my marches sit well at q= 160 and the smears at conductors don't all COPY one another and perform the
q= 120." He composed under several pseudonyms and great symphonic literature with a prescribed style ) tempo
each represents a difficulty level. Marches by Harold and nuances then why should band conductors not
Bennett are non-progressive and great for middle school figure things out for themselves and come up with their
own musical convictions as to how they want to play a
bands. If you can play one, you can play them all. Al march� I can truthfully say that those band-conductor
Hayes and Will Huff marches are a little more difficult colleagues whom I consider great march-stylists reflect
and same in difficulty level. Henry Fillmore marches can their personal musical t.astes to any march they perform
be the easiest or the most difficult. Fillmore typically and never copy someone else's interpret.ation. I th.ink it
wrote two percussion parts, one for concert settings truly unfortunate that there are too many band con­
ductors who either don\ arrive at musical convictions
and one for marching.11
Qintinued on p. 36

www.kmea.org 35
Daughters, oontinued from p.35

regarding style, tempo or nuances or must always rely on effects.

some else's way of playing a piece of music. One of the • Paying more attention to accents can liven up the
greatest challenges tb conductors is to be able to study a march.
score diligently and to come up with an interpret.a.ti.on of
that score that is convincing, not only to him, but to his • Make a mnsical sound on the stinger rather than a
players and audiences as well. I think th.at is the true test nmse.
of the quality of a conductor, certainly NOT how well he • It is the space between notes, which makes a
can copy another conductor's inter:pret.ation! 13 march lively and spirited rather than the rate of
speed it is being performed.
IN SHORT, WHAT YOU CAN CHANGE IN A
MARCH • You cannot attack one tone before releasing the one
Change dynamics in entire strains or parts of strains preceding it.
in addition to ocuve registration. Add accents to agree • There is little variation in the intensity of the beat
from the bass drum to conform to the spirit of others
with your own aural perception of how you want to
hear it played. Sing through the march then mark it in the band.
for style, accentuation1 and phrasing. Alter percussion • Do not allow the band to rush away with the tempo.
parts if necessary, keeping in mind that most march • Grandioso means a change in style, not a change in
composers were not percussionists. Flutes, for example, tempo. 14
can transition to piccolo in different parts of a strain or MARCH EDIDONS
bells could be added to a melody. Add or delete voices Many editions of marches were published in street or
to change colors and to bring out unique textures. flip folder (mnsic lyre) size. These are generally printed
Brass players can and should rest more often. Include a in tutti, all members are playing at all times. This was
separate pair of cymbals to accentttate special accents in done to conserve printing space and so any sized group,
the music. Have students memorize parts of a strain and from small circns bands, military parade bands, or
stand up, e.g., the final strain of the march. Try nsing large symphonic bands, might nse them. Many con­
a field drum rather than a snare for a more historically cert marches, particularly those in large-page editions,
accurate performance. are scored in a way to give adequate expression and
WHAT YOU CANNOT CHANGE IN A MARCH tonal color when played strictly how they are printed.
vVhile having a unique interpretation is recom­ Current editions of the earlier street size marches, e.g.,
mended, a detached style is necessary. Legato playing, the Faster or Fennell editions of Fillmore's Americans
We, may or may not include tonal variety and revoicing.
if opportunistic, can be nsed in the trio section. Do not
play the entire march in a legato or tenuto style; always Other edits in these editions can include the editors'
detached. Maintain a steady tempo throughout and interpretation of accents, dynamics, phrasing, etc. 15
remain true to the melodic, harmonic and rhythmic MARCHES SELECTED BY HARRY BEGIAN AND
aspects of the march. WILLIAM REVELLI
TYPICAL MARCH COMMENTS AT AMERICAN
ASSESSMENTS Americans We (Cincinnati Zoo) H. Fillmore
• The march selected has no special character. Barnum and Bailey's Favorite KKing
• There is a lack of care in preparation. The march did Battle of Shiloh C. Barnbonse
not have the same meticulous attention to detail as Battle of the Wmds C. Duble
other concert selections. Battle Royal F.Jewell
• Rhythms are not clearly defined. Boys of the Old Brigade C. Smit
• Eighth notes in triple time are played too close Bravura C. Duble
together with a space between each grouping of Brighton Beach Concert March W.Latham
three notes - this canses a 'hopping' effect. The British Eighth Z. Elliot
• Accompaniment figures in triple time sound like The Caravan Club KKing
they are in duple time. Chicago Tribune P. Chambers
• Accompaniment figures in duple time sound like Chimes of Liberty E.F. Goldman
they are in triple time. The Circus Bee H. Fillmore
• Harmony parts are not confident and clear. The Circus King C. Duble
• Preserve the balance of the band at all dynamic Colossns of Columbia R. Alexander
levels. The Director General F.Jewell
• Keep the tone under control at all dynamic levels. El Capitan J.P. Sonsa
• Do not depend on upper clarinets for fortissimo Emblem of Freedom KKing

36 Bluegrass Music News FALL 2015

 E. Pluribus Unum F. Jewell Pentland Hills ].Howe
The Free Lance J.P. Sousa Puochinello WRimmer
From Topic to Topic Alexander Sons of the Brave T. Bidgood
Gentry's Tri=phal F.Jewell Trafalgar WZehle
Golden Friendships H. Fillmore The Vanished Army K.Alford
Golden Jubilee J.P. Sousa
GERMAN AND AUSTRIAN
The Goldman Band K. King
Action Front H. Blankenburg
Hands Across the Sea J.P. Sousa
Alte Kameraden C. Tei.Le
His Honor H. Fillmore
The Conqueror C. Tei.Le
Honey Boys on Parade E. Cupero
Duetschmeister D. Ertl
Independentia R.B. Hall
Entry of the Gladiators J. Fuci.k
In Storm and Sunshine JC.Heed
Florenriner J. Fuci.k
Joyce's 71 N.Y Regiment T. Boyer
In Treue Fest C. Tei.Le
The Klaxon H. Fillmore
Nibelungen G. Sonntag
Military Escort
National Emblem
H. Bennett
E. Begley
Radetzky J. Sttauss
Die Regimentskinder J. Fuci.k
Olympia Hippodrome R. Alexander
Thrill of Victory F. Fuhrer
On the Mall E.F. Goldman
Under the Double Eagle J. Wagoer
The Outlook F.Jewell
Wien Bleibt Wien ]. Schrammel
The Purple Carnival H.Alford
Quality Plus F.Jewell OTHER NON-AMERICAN MARCHES
Ringling Bros. Grand Entry A. Sweet Athletic Festival S. Prokofiev
Robinson Grand Entree K.King March of the Belgian Paratroopers P. Leemans
Rolling Thunder H. Fillmore Corrida D. Savino
Revelation P. Chambers March Electric G. Creatore
The Royal Decree W English Inglesina D. DellaCese
Sarasota K. King Le Regiment de Sambre et Muse R. Planquette
The Southerner R. Alexander Laurentian L. Ganne
Tenth Regiment R.B. Hall Le Grogoard G. Pares
Washington Grays C.S. Grafulla March Lorraine L. Ganne
Pere de la Victoire L. Ganne
SPANISH Sambre et Meuse R. Planquette
Corazon Gitano M.Domingo
Sym phonic March E. Rivela
ElAbanico A. Javaloyes
Symphonic March G. Bonelli
El Relicario J. Padilla Valdres J. Hanseen
Espana Cani P.Marquina
Flores de Espana P. Chovi CONCERT MARCHES
Gillito S. Lope Crusade for Freedom J. Richards
Gerona S. Lope The Dam Busters E. Coates
The Golden Ear M. San .Miguel The Golden Bear J. Richards
La Calesera F. Alonso Hail.Miami J. Richards
La Sorella C. Borel-Clerc Hail to the Fleet R.Maltby
Lola Flores T. Tucci Marche Hongroise H. Berlioz
Pepita Greus P. Chovi Monttoarte H. Wood
Sol ySombra G. Gates The Sinfonians C. Williams
Stars and Bars R.Jager
ENGUSH
March Symphonic Metamorphosis P. Hindemith
Army and Marine WZehle
Vilabella M. Williams
Army of the Nile K.Alford
B.B. and C.F. J. Ord Hume World is Waiting for the Sunrise
American Salute
H.Alford
M. Gould
The Contemptiblea L. Stanley
Children's March P. Grainger
Duoedin K.Alford
Golden Cockerel N. R-Korsakov
The Elephant J. Ord Hume
The.Middy K.Alford

www.kmea.org 37
STREET MARCHES Louisiana: Program Notes Press, 1993.
The Billboard J. Klohr Sousa,John Philip. Mai·ching Along. Chicago: GIA
Blackjack E Huffer Publications, 2015.
Dallas R.B. Hall "The Complete Marches ofJohn Philip Sousa." "The
Kiefer's Special W. Kiefer President's Own" Marine Band. Accessed August 2,
Men of Ohio H. Fillmore 2015.
Officer of the Day R.B. Hall
On the Square L. Panella Jim Daughters, daughtersjim@gmail.com, was most
Punjaub C. Payne recently Visiting Professor and Dinctor ofInstrumental
Show-boy W.Huff Activities at Xavier University (OH). He is the music
(Fillmore) director ofthe Fillmore Wind Band, the Cincinnati Junior
Salutation R. Seitz Youth Wind Ensemble at CCM, andformer band direct01· at
St. Julien A.W. Hughes Conner Middle School in Hebron, KY Jim is a candidatefor
Them Basses G. Huffine the Doctor ofMusical Arts at the University Degree at the
The Trombone King KKing University ofKentucky.
United Services J. Ord-Hume
ENDNOTES
RECOMMEND RECORDINGS 1 Paul E. Bierley and William H. Rehrig, The Heritage
William Revelli and the University of Michigan Bands Enryclopedia ofBand Music: Composers and Theii· Music
Harry Begian and the University of Illinois Bands (Westerville, Ohio: Integrity Press, 1991).
Service Band recordings 2 Bierley and Rehrig, Heritage Enryclopedia.
3 Harry Begian, "Tempo, Style and Interpretation in
RESOURCES
Playing Marches" (lecture presented at the Midwest
Bachman, Harold. "Henry Fillmore: A Tribute to a
International Band and Orchestra Clinic, Chicago,
Bandman." Music]ournal26,no.10 (1968): 31-33,
Illinois, December 16, 1999).
72-74.
4 The Interpretation of the March, Box 5, William
Begian, Harry. "Behold the Lowly March." The
D. Revelli Papers, 1907-1994, The Michigan
Instrumentalist 58, no. 5 (2003).
Historical Collections Bentley Historical Library,
Bierley, Paul E. Hallelujah Trombone! Columbus,
University of Michican.
Ohio: Integrity Press, 1982.
5 John Whitwell, "Using the March to Develop Every
Bierley, Paul E. The Incredible Band of]ohn Philip Sousa.
Aspect of Musicianship" (lecture presented at the
Urbana: University of Illinois Press, 2006.
Midwest International Band and Orchestra Clinic,
Chevallard, Philip C. Teaching Music through Pe,forming
Chicago, Illinois, December 20, 2013).
Marches. Edited by Richard B. Miles. Chicago: GIA
6 Whitwell., "Using the March."
Publications, 2003.
7 Interpretation of the March, Revelli Papers.
Freedland, Michael. Music Man: The Story ofPrank
8 March Interpretation, Box 17, Folder 8, Harry
Simon. Portland, Oregon: Vallentine & Mitchell,
Begian Papers 1926-97, The Sousa Archives and
1994.
Center for American Music, The University of
Goldman, Edwin Franko. Band Betterment; Suggestiom
Illinois.
and Advice to Bands, Bandmasters, and Band-players,
9 Interpretation of the March, Revelli Papers.
New York: Carl Fischer, 1934.
10 March Interpretation, Begian Papers.
Hansen, Richard K The American Wind Band: A
11 H enry Fillmore, interview by Jack H. Mahan,July
Cultural History. Chicago, ID.: GIA Publications,
18, 1953, transcript.
2005.
12 Henry Fillmore, interview by Jack H. Mahan.
Pryor, Arthur. "How To Play A March." Musical
13 Begian, "Tempo, Style and Interpretation."
Courier, September 26, 1931: 45, 56.
14 March Interpretation by Harold Bachman, Box 17,
Rehrig, William H., and Paul E. Bierley. The Heritage
Folder 8, Harry Begian Papers 1926-97, The Sousa
Enryclopedia ofBand Music: Composers and Their Music.
Archives and Center for American Music, The
Westerville, Ohio: Integrity Press, 1991.
University of Illinois.
Ryder, Donald Dean. "The March Compositions of the
15 March Interpretation by Harold Bachman, Begian
Goldman Library." DMA Diss., University oflowa,
Papers.
1999.
Smith, Norman. March Music Melodies. Lake Charles,

38 Bluegrass Music News FALL 2015