The March – A Quick Reference Guide

An Overview of Interpretation, Performance Guide and Historical Practices

The Fillmore Wind Band, Cincinnati, Ohio
Jim Daughters, Conductor, Fillmore Wind Band
Stephen Lytle, Associate Director of Bands, Miami University
Cody Birdwell, Director of Bands, University of Kentucky

TYPES OF MILITARY MARCHING EUROPEAN MARCHES

• Funeral March ♩ = 72 • British ♩ = 108
• Slow/Ordinary March ♩ = 60-80 • German ♩ = 104-112
• Quick March ♩ = 116-120 • Spanish paso doble ♩ = 108
• Double Quick March • Italian ♩ = 116
• French ♩ = 126
MARCH MUSIC TYPES
• Military Marches ♩ = 112-144 ESSENTIAL ELEMENTS OF A MARCH
• Circus Marches ♩ = 140-170 • Tone Quality
• Gallops can reach ♩ = 240 • Technical Accuracy
• Funeral Marches ♩ = 60-72 • Tempo
• Patrols (simulate the sound of a band marching past a listener, coming and going) • Interpretation

MARCH STYLE (with much credit to John Whitwell)
• Heart of the March – bass line, tuba, bass drum, horns, percussion
• “Lilt” – 1212 (this alone will transform the style and feel of your march)
• Tempo – choose a tempo appropriate for the style of march you are performing
• Rhythm – master common rhythm figures and sustain notes for their duration
• Accentuation – accentuation can improve the interpretation and effectiveness of a march
• Dynamics – not too loud in the percussion section
• Musicality – shape and balance the heart, melody, counter melody, and obbligato

MARCH EDITIONS
Many editions of marches were published in street or flip folder (music lyre) size. These are generally printed in tutti with all
members are playing at all times. This was done to conserve printing space and so any sized group, from small circus bands,
military parade bands, or large symphonic bands, might use them. Many concert marches, particularly those in large-page
editions, are scored in a way to give adequate expression and tonal color when played strictly how they are printed. Current
editions of the earlier street size marches may or may not include tonal variety and revoicing. Other edits in these editions
can include the editors’ interpretation of accents, dynamics, phrasing, etc. Many original publications are listed under
“marching band” in music catalogues.

WHAT YOU CAN CHANGE IN A MARCH

Change dynamics in entire strains or parts of strains in addition to octave registration. Add accents to agree with your own
aural perception of how you want to hear it played. Sing through the march then mark it for style, accentuation, and
phrasing. Alter percussion parts if necessary, keeping in mind that most march composers were not percussionists. Flutes, for
example, can transition to piccolo in different parts of a strain or bells could be added to a melody. Add or delete voices to
change colors and to bring out unique textures. Brass players can and should rest more often. Include a separate pair of
cymbals to accentuate special accents in the music. Have students memorize parts of a strain and stand up, e.g. the final
strain of the march. Try using a field drum rather than a snare for a more historically accurate performance.

WHAT YOU CANNOT CHANGE IN A MARCH

While having a unique interpretation is recommended, a detached style is necessary. Legato playing, if opportunistic, can be
used in the trio section. Do not play the entire march in a legato or tenuto style; always detached. Maintain a steady tempo
throughout and remain true to the melodic, harmonic and rhythmic aspects of the march.

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The Midwest Clinic • 70 Annual Conference

INTERPRETATION
March manuscripts rarely contain the interpretations of the composer and composers often assumed bandmasters knew
march style and did not bother with stylistic markings, dynamics, revoicings or registral alterations. Additionally, many
composers rehearsed and performed their own music and as Henry Fillmore stated, “I didn’t know how I wanted it to sound
until I got in front of the band.” There is no one way to play any march and you should arrive at a convincing interpretation
on your own. Dr. Harry Begian perhaps summed it up best in a presentation at the Midwest Clinic in 1999,
We should not think of marches as musical items that are sacrosanct and that there is only one ‘true’ style or
interpretation of any march! If symphony orchestra conductors don’t all COPY one another and perform the great
symphonic literature with a prescribed style, tempo and nuances then why should band conductors not figure
things out for themselves and come up with their own musical convictions as to how they want to play a march! I
can truthfully say that those band-conductor colleagues whom I consider great march-stylists reflect their personal
musical tastes to any march they perform and never copy someone else’s interpretation. I think it truly
unfortunate that there are too many band conductors who either don’t arrive at musical convictions regarding
style, tempo or nuances or must always rely on some else’s way of playing a piece of music. One of the greatest
challenges to conductors is to be able to study a score diligently and to come up with an interpretation of that
score that is convincing, not only to him, but to his players and audiences as well. I think that is the true test of
the quality of a conductor, certainly NOT how well he can copy another conductor’s interpretation!

GENERAL DYNAMIC CHARACTERISTICS OF EACH STRAIN

Avoid dull performances by changing dynamics on repeated strains, particularly in second and break strains.
• Introduction – usually loud, forte or fortissimo.
• First Strain – less loud, mezzo forte, usually played as written.
• Second Strain – usually the loudest strain in a march. Vary dynamics in this strain, softer the first time and louder on
the repeat. Try eliminating brass the first time.
• Trio Strain – softest strain of the march, piano to mezzo forte. Play legato if stylized that way.
• Break Strain – loud and technically involved, usually played as written.
• Repeated Trio Strain – loud and played out. Trio tune is played softly with emphasis and forte volume on the
countermelody and/or obbligato.
• Stinger – in the style and volume of the last strain.

HENRY FILLMORE MARCHES AND SMEARS (We are the Fillmore Wind Band after all...)
Fillmore generally liked his marches performed much faster than a traditional military march. He stated, “my marches sit well
at ♩ = 160 and the smears at ♩ = 120.” He composed under several pseudonyms and each represents a difficulty level.
Marches by Harold Bennett are non-progressive and great for middle school bands. If you can play one, you can play them
all. Al Hayes and Will Huff marches are a little more difficult and same in difficulty level. Henry Fillmore marches can be the
easiest or the most difficult. Fillmore typically wrote two percussion parts, one for concert settings and one for marching.

TYPICAL COMMENTS AT ASSESSMENTS REGARDING MARCHES

• The march selected has no special character.
• There is a lack of care in preparation. The march did not have the same meticulous attention to detail as other concert selections.
• Rhythms are not clearly defined.
• Eighth notes in triple time are played too close together with a space between each grouping of three notes – this causes a
‘hopping’ effect.
• Accompaniment figures in triple time sound like they are in duple time.
• Accompaniment figures in duple time sound like they are in triple time.
• Harmony parts are not confident and clear.
• Preserve the balance of the band at all dynamic levels.
• Keep the tone under control at all dynamic levels.
• Do not depend on upper clarinets for fortissimo effects.
• Paying more attention to accents can liven up the march.
• Make a musical sound on the stinger rather than a noise.
• It is the space between notes, which makes a march lively and spirited rather than the rate of speed it is being performed.
• You cannot attack one tone before releasing the one preceding it.
• There is little variation in the intensity of the beat from the bass drum to conform to the spirit of others in the band.
• Do not allow the band to rush away with the tempo.
• Grandioso means a change in style, not a change in tempo.

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The Midwest Clinic • 70 Annual Conference

 SELECTED MARCH LIST OF HARRY BEGIAN AND WILLIAM REVELLI

AMERICAN ENGLISH STREET MARCHES
Americans We H. Fillmore Army and Marine W. Zehle The Billboard J. Klohr
Barnum and Bailey’s F. K. King Army of the Nile K. Alford Black Jack F. Huffer
Battle of Shiloh C. Barnhouse B.B. and C.F. J. Ord Hume Dallas R.B. Hall
Battle of the Winds C. Duble The Contemptiblea L. Stanley Kiefer’s Special W. Kiefer
Battle Royal F. Jewell Dunedin K. Alford Men of Ohio H. Fillmore
Boys of the Old Brigade C. Smit The Elephant J. Ord Hume Officer of the Day R.B. Hall
Bravura C. Duble The Middy K. Alford On the Square L. Panella
Brighton Beach March W. Latham Pentland Hills J. Howe Punjaub C. Payne
The British Eighth Z. Elliot Punchinello W. Rimmer Show-boy W. Huff
The Caravan Club K. King Sons of the Brave T. Bidgood Salutation R. Seitz
Chicago Tribune P. Chambers Trafalgar W. Zehle St. Julien A.W. Hughes
Chimes of Liberty E.F. Goldman The Vanished Army K. Alford Them Basses G. Huffine
The Circus Bee H. Fillmore The Trombone King K. King
The Circus King C. Duble GERMAN AND AUSTRIAN United Services J. Ord-Hume
Colossus of Columbia R. Alexander Action Front H. Blankenburg
The Director General F. Jewell Alte Kameraden C. Teike
El Capitan J.P. Sousa The Conqueror C. Teike RECOMMEND RECORDINGS
Emblem of Freedom K. King Duetschmeister D. Ertl William Revelli with the University of
E. Pluribus Unum F. Jewell Entry of the Gladiators J. Fucik Michigan Symphony Band
The Free Lance J.P. Sousa Florentiner J. Fucik H. Robert Reynolds with the University of
From Topic to Topic R. Alexander In Treue Fest C. Teike Michigan Symphonic Band
Gentry’s Triumphal F. Jewell Nibelungen G. Sonntag Harry Begian with the University of Illinois
Golden Friendships H. Fillmore Radetzky J. Strauss Symphonic Band
Golden Jubilee J.P. Sousa Die Regimentskinder J. Fucik Military Bands
The Goldman Band K. King Thrill of Victory F. Fuhrer
Hands Across the Sea J.P. Sousa Under the Double Eagle J. Wagner
His Honor H. Fillmore Wien Bleibt Wien J. Schrammel PUBLISHED RESOURCES
Honey Boys on Parade E. Cupero Bachman, Harold. "Henry Fillmore: A Tribute to a
Independentia R.B. Hall OTHER NON-AMERICAN MARCHES Bandman."
In Storm and Sunshine J.C. Heed Athletic Festival S. Prokofiev Begian, Harry. "Behold the Lowly March."
Joyce’s 71 N.Y. Regiment T. Boyer Bierley, Paul E. Hallelujah Trombone!
March of the Belgian Paratrp. P. Leemans Bierley, Paul E. The Incredible Band of John Philip
The Klaxon H. Fillmore Corrida D. Savino Sousa.
Military Escort H. Bennett March Electric G. Creatore Chevallard, Philip C. Teaching Music through
National Emblem E. Begley Inglesina D. DellaCese Performing Marches. Edited by Richard B. Miles.
Olympia Hippodrome R. Alexander Le Regiment de Goldman, Edwin Franko. Band Betterment;
On the Mall E.F. Goldman Sambre et Muse R. Planquette Suggestions and Advice to Bands, Bandmasters, and
The Outlook F. Jewell Laurentian L. Ganne Band-players.
The Purple Carnival H. Alford Hansen, Richard K. The American Wind Band: A
Le Grognard G. Pares
Cultural History.
Quality Plus F. Jewell March Lorraine L. Ganne Pryor, Arthur. “How To Play A March.”
Ringling Bros. Grand Entry A. Sweet Pere de la Victoire L. Ganne Ryder, Donald Dean. “The March Compositions of the
Robinson Grand Entrée K .King Sambre et Meuse R. Planquette Goldman Library.” DMA Diss.
Rolling Thunder H. Fillmore Symphonic March E. Rivela Smith, Norman. March Music Melodies.
Revelation P. Chambers Symphonic March G. Bonelli Smith, Norman. March Music Notes.
The Royal Decree W. English Valdres J. Hanseen Smith, Norman. Program Notes for Band.
Sarasota K. King Sousa, John Philip. Marching Along.
The Southerner R. Alexander CONCERT MARCHES
Tenth Regiment R.B. Hall Crusade for Freedom J. Richards
Washington Grays C.S. Grafulla ONLINE RESOURCES
The Dam Busters E. Coates
"The Complete Marches of John Philip Sousa." "The
The Golden Bear J. Richards President's Own" Marine Band.
SPANISH Hail Miami J. Richards www.marineband.marines.mil
Corazon Gitano M. Domingo Hail to the Fleet R. Maltby Brion, Keith. “Sousa’s Marches, As He Conducted
El Abanico A. Javaloyes Marche Hongroise H. Berlioz Them.”
El Relicario J. Padilla Montmarte H. Wood www.newsousaband.com
Espana Cani P. Marquina The Sinfonians C. Williams Daughters, Jim.“Quick Reference Guide to Marches.”
Flores de Espana P. Chovi www.fillmorewindband.org
Stars and Bars R. Jager
Gallito S. Lope March Symphonic
Gerona S. Lope Metamorphosis P. Hindemith
The Golden Ear M. San Miguel Vilabella M. Williams
La Calesera F. Alonso World is Waiting
La Sorella C. Borel-Clerc for the Sunrise H. Alford
Lola Flores T. Tucci American Salute M. Gould
Pepita Greus P. Chovi Children’s March P. Grainger
Sol y Sombra G. Gates Golden Cockerel N. R-Korsakov

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The Midwest Clinic • 70 Annual Conference

 FILLMORE WIND BAND
Jim Daughters, conductor
Dr. Stephen Lytle, associate conductor

Flute Soprano Saxophone Horn

Kirsten Grimsley | Cincinnati, OH Brett Thaman | Hebron, KY Jacob Carpenter | Milford, OH
MA, College of Mount St. Joseph Undergraduate, Northern Kentucky University BMME, University of Kentucky
Jodi Smith | Cincinnati, OH Jordan Hensly | Cincinnati, OH
BMME, Bowling Green State University Alto Saxophone BA, Northern Kentucky University
Natalie Smith | Florence, KY Brandon Boone | Union, KY Bethany Howard | Florence, KY
BA, Denison University Undergraduate, CCM MA, University of Cumberlands
Christina Butsch | Independence, KY Ron Lutterbie | Blue Ash, OH
Oboe BMME, Eastern Nazarene College Vice President, Fifth Third Bank
Nick Marques | Milford, OH Brad Howard | Independence, KY Nathan Minor | Athens, GA
Undergraduate, CCM MM, Eastern Kentucky University BA, CCM
Molly Terrill | Middletown, OH Cory Jones | Lexington, KY Andrea Reupert | Milford, OH
BMME, Miami University Undergraduate, University of Kentucky MM, CCM
Jacob Vidourek | Cincinnati, OH Elise Schowalter | Ft. Wright, KY
MA, University of Oklahoma Tenor Saxophone MM, CCM
Sean Reeves | Kingsport, TN
Bassoon BA, Xavier University Bass Trombone
Donald Forman | Charlestown, WV Conrad Krieger | Cincinnati, OH
Undergraduate, CCM Baritone Saxophone Undergraduate, Northern Kentucky University
Brian Theis | Cincinnati, OH Jason McElroy | Cincinnati, OH Matt Phillips | Alexandria, KY
NA, Northern Kentucky University MM, Miami University BMME, Northern Kentucky University

Eb Clarinet Trumpet Euphonium

David Cramer | Covington, KY George Carpten | Memphis, TN Stewart Blatt | Liberty Township, OH
Undergraduate, Northern Kentucky University DMA, CCM BMME, Bowling Green State University
Michael Cotten | Burlington, KY Eric Knechtges | Cincinnati, OH
Bb Clarinet BMME, University of Kentucky DM, Indiana University
Randell Bertsche | Hebron, KY Tim Dailey | Walton, KY
Undergraduate, CCM DMA, CCM Tuba
Sean Carey | Jonesboro, AR Jennifer Grant | Cincinnati, OH Kyle Hurst | Independence, KY
BA, CCM BS, Northern Kentucky University BM, University of Kentucky
Bonnie Hugus | Ft. Wright, KY Chris Hedges | Dry Ridge, KY Mark Quintero | Cincinnati, OH
BSN, MHS Texas Weselyan University MM, Morehead State University MM, Miami University
Geoff Miller | Virginia Beach, VA Zachary Paulus | Point Pleasant, NJ
MM, Northwestern University BS, CCM Percussion
Terence Milligan | Cincinnati, OH Brandon Dittgen | Cincinnati, OH
DMA, University of Texas at Austin Trombone BMME, Morehead State University
Gayle Riemer | Edgewood, KY Ben Loyer | St. Marys, OH Ian Stokes | Fort Thomas, KY
MA, University of Cincinnati BME, CCM BS, Northern Kentucky University
Nick Troehler | Milford, OH Alex McCoy | Cincinnati, OH Albin Waldbillig III | Cincinnati, OH
BMME, CCM Undergraduate, CCM BA, College of Mount St. Joseph
Richard Mitchell | Troy, OH
Contrabass Clarinet Undergraduate, CCM
Kenton Venskus | Lorton, VA Dan Stenger | Walton, KY
Undergraduate, CCM MA, Northern Kentucky University
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The Midwest Clinic • 70 Annual Conference