Transcript PowerPoint - University of Akron

The american march
By:
Matt Ralph
History of the march
• “March music era” existed from 1850-1940’s when jazz
began to overshadow it
• The early marches by Mozart, and Beethoven tended to
be part of a symphony, or movement in a suite
– They are not thought of as “typical American march music”
• Origin of the march began before the Gunpowder Age,
when armies would maintain morale by having troops
march to music by beat from a drum or fife
• Tradition of playing marches during war ended after the
Civil War, however bands continued to play marches at
ceremonies and other events
History contd.
• This spawned a new idea of playing marches for
entertainment
• Around the late 1800’s and early 1900’s marches
became a staple for concert bands and local city
municipal bands around the country
• Marches were further popularized by circus bands, some
with the famous circuses like Barnum & Bailey Circus,
and the Ringling Bros. circus
• Also around this time college marching bands were
beginning to be formed, and it was common for march
composers to dedicate marches to a university’s band
which would be played at half-time or a pep-rally
The “big 3” of american marches
• There are three composers of marches
that stand out as the all-time greats
throughout the history of America:
– John Philip Sousa
– Karl L. King
– Henry Fillmore
John philip Sousa
• November 6, 1854-March
6, 1932
• Born in Washington, D.C.
• At 13 evaded Marine
Corps, and joined circus
• Came back to head
Marine Corps Band from
1880-1892
• Also led the Gonzaga
College High School
marching band
Sousa repertoire
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• Marches
Semper Fidelis
The Washington Post
Stars and Stripes Forever
El Capitan
Processional (Wedding
March)
Fairest of the Fair
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• Other Information
Known as the “March
King”
Learned to conduct in
theatrical pit orchestra
Father was a trombonist
in Marine Band at one
time
In 1900 represented U.S.
at Paris Exposition
Karl l. king
• February 21, 1891-March
31, 1971
• Born in Painesville, OH
• At 18 began career with
circus conducting and
playing
• Settled down in Fort
Dodge, Iowa in 1920 and
conducted the municipal
band for the next 50
years
Karl King repertoire
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• Marches
The Purple Pageant
The Big Cage
The Walking Frog
Valley Forge
The Peacemaker
The Royal Scotch
Highlanders
• Other Information
• Was a self-taught
musician, and had very
little schooling
• Published 300 works:
waltzes, rags, etc; as well
as 188 marches (outwrote Sousa by 50
marches)
• Known as the “Iowa
March King”
Henry fillmore
• December 3, 1881December 7, 1956
• Born in Cincinnati, OH
• Attended the Cincinnati
Conservatory of Music
beginning in 1901
• Traveled around the U.S.
as a circus band master
with his wife
fillmore’s reperToire
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• Marches
Men of Ohio
His Honor
The Klaxon
Rolling Thunder
Lassus Trombone
King Karl King
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• Other Information
Mastered piano, violin,
guitar, flute, and
trombone
Turned Shriners Temple
Band into one of the best
bands in the country in
the 1920’s
Published a large number
of tunes under various
pseudonyms
Known as the “Trombone
King”
March form & musicality
• Marches were musically meant to be
uplifting and driving
• Marches could also be somber, emotional
or subtle
• There are many factors that make up a
marches personality: will it be heavy or
light, fast or slow, happy or sad
meter
• 2/2 or cut-time:
– Have a clear upbeat/downbeat
or “oom-pah” feel to them
– Most use heavy syncopation
to make it rhythmically
interesting
– Cut-time marches tend to
sound “faster” than other
marches
• 6/8
– Played in 2, dotted quarter
gets the beat
– Used when composer wants a
triplet feel, or a dance-like
swing feel
– Most famous is The
Washington Post March
• 2/4
– Similar to cut-time march, but
with fewer notes in measure
because the quarter notes
gets the beat not the half note
– Written for the sake of the
performer, for they are easier
to read at faster tempos
– Many European marches are
written in 2/4, as well as all
American galops
– The galops are played at a
very fast tempo, making it
seem like it is played in 1
• 4/4
– Rarely seen, and pointless for
fast tempos
– Dirges utilize the 4/4 tempo
Tempo & key
• Tempo
– Tempos of marches are varied, but most marches are
quick
– Most composers did not designate a tempo marking
– Sousa conducted all his marches around 120 beats
per minute, while most European’s conducted
marches at slower tempos
– There are of course exceptions
• Key
– Marches are typically written in flat keys for the sake
of the performers
– Frequently used keys are Concert F, Bb, and Ab
March music form
• Most marches follow a fairly strict structure
which was standardized by John Philip
Sousa
• All marches must have:
– Different sections or strains
– Several separate melodies
– Contrasting section known as the trio
Introduction/fanfare
• This is the first section of the march
• Usually 4, 8, or 16 measures long, played
in a very marcato style, and played at forte
dynamics
• Usually the shortest section of the march
• Commonly based on the “V” chord to
create tension leading to the next section
The first strain
• First prominent melody of the march
• Typically 8-16 measures long, with 4-measure
phrases
• Can either be in major or minor mode, and can
use a variety of dynamics and instrumentation
• Has similar motifs in its phrases, and is more
rhythmically clear-cut than the next section
• The first strain is repeated after the first time,
and sometimes there are added countermelodies on the repeat
Second strain
• Can be 8, 16, or 32 measures long
• Second primary melody of the march
• May use different instrumentation, and
change relative dynamics
• Still uses 4-measure phrases, but varies
the motifs and this makes melodies in the
second strain sound more stretched out
• Usually repeated once, however some
marches omit the repeat
trio
• Third primary melody of the march, and is called the
“main melody”
• Played legato and at a softer dynamic than the rest of
the march
• Features the woodwinds more than the brass
• Often repeated once at a softer dynamic, or sometimes
not repeated at all
• Almost always modulates to the subdominant key of the
march, basically a flat is added to the key signature
• The key change adds contrast, and offers a more
relaxing feel to trios with softer instrumentation
• Marches that start in minor keys modulate to the relative
major which is maintained to the end of the piece
breakstrain
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Sometimes called dogfight or interlude
Fourth primary melody of the march
It is loud, intense, and marcato
Offers contrast from the softer trio, and
generates excitement for the listener
• Final measures of this section utilize tensionbuilding chords and chromatic motifs
• Trio is repeated after this section sometimes
with added counter-melodies, and after this
repeat the breakstrain is played again
grandioso
• Also called the final trio
• Louder than the previous trio, and uses all
sections of the band
• Most exciting section of the march, and instills
the trio melody into mind of the listener
• Sometimes adds another counter-melody
• Last measure of march sometimes contains a
stinger, but not always
– Exception to this is the “National Emblem” march, this
does not contain a stinger
references
• “American march music.” Wikipedia Free Encyclopedia.
25 November 2006. wikipedia.com. 23 November
2006 <http://en.wikipedia.org/wiki/American_
march_music>
• “John Philip Sousa.” Wikipedia Free Encyclopedia. 20
November 2006. wikipedia.com. 23 November 2006
<http://en.wikipedia.org/wiki/John_Philip_Sousa>
• “Karl King.” Wikipedia Free Encyclopedia. 10
August 2006. wikipedia.com. 23 November 2006
<http://en.wikipedia.org/wiki/Karl_L._King>
• “Henry Fillmore.” Wikipedia Free Encyclopedia. 12
November 2006. wikipedia.com. 23 November 2006
<http://en.wikipedia.org/wiki/Henry_Fillmore>