Editing American march music (section)

==Musicality and the march music form==
{{Cleanup|section|reason=use of [[WP:BADEMPHASIS|boldface as emphasis]]|date=August 2014}}
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 (music)|measure]] (or two beats "to the [[bar (music)|bar"]]). Only a few marches are written otherwise (usually in 4/4 [[time (music)|time]]), while still using the same two beats per measure [[#Tempo|tempo]] (see below).

Several meters are used in marches, as follows:

*{{music|time|2|2}} time is called "cut-time", indicated by the symbol {{music|cut-time}}. (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 tone#Passing tone|passing tone]]s 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.
*{{music|time|6|8}} time marches are played "in two", meaning the dotted quarter-note gets the beat and there are two of them in a measure. {{music|time|6|8}} time is used when the composer wants a "triplet" feel in the beat; that is, {{music|time|6|8}} marches produce a more dance-like, swing beat that is more prominent and exaggerated than its cut-time cousin. A {{music|time|6|8}} march can be recognized immediately by its common "da-bah-da-bah" or "DA-da-DA-da" sound. An example of a {{music|time|6|8}} march is "[[The Washington Post March]]", also by Sousa.
*{{music|time|2|4}} 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 {{music|time|2|4}} time typically are written for the performer as it is easier to read at faster tempos. Many European marches are written in {{music|time|2|4}}, and almost all American [[galop]]s as well. Galops are played at a very fast tempo, sounding as if there was one beat to the bar.
*{{music|time|4|4}} time marches are rare. However, some slow marches such as dirges use it. Robert Jager uses {{music|time|4|4}} 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]]). As alluded to before, most march [[composer]]s did not designate a specific tempo on their [[manuscript]]s. However, that is not to say the [[march music composer]] is [[random]] with his/her tempo while conducting the march. For example, [[John Philip Sousa]] conducted his marches using around 120 [[Beat (music)|beat]]s per [[minute]]. Most [[Europe]]an 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 (march)|screamer]].

===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====
{{redirect|Grandioso|the 1901 march|Roland F. Seitz}}
[[File:blaze away.jpeg|thumb|270px|right|"Blaze Away! March" by [[Abe Holzmann]], written in military march format]]

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'''.
{{listen|filename=Thunder intro.mid|title=The Thunderer introduction|description=John Philip Sousa's "The Thunderer", introduction
}}

The first section of a military march is called the ''introduction'' (I) or [[fanfare]]; 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|''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 [[#Chords and harmonic progression|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".

{{listen|filename=Thunder 1st.mid|title=The Thunderer first strain|description=First strain of "The Thunderer"}}
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]]. 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".

{{listen|filename=Thunder 2nd.mid|title=The Thunderer second strain|description=Second strain of "The Thunderer"}}
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=====

 {{listen|filename=Thunder trio.mid|title=The Thunderer trio|description="The Thunderer" trio}}
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 "[[Semper Fidelis (march)|Semper Fidelis]]" 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 key]]s, the trio usually modulates to the [[relative major]].)

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.

{{listen|filename=Thunder breakstrain.mid|title=The Thunderer breakstrain and trio grandioso (Trio)|description=The rest of "The Thunderer"}}
{{listen|filename=The Thunderer by John Philip Sousa.mid|title=The Thunderer|description=Full midi of "The Thunderer" by John Philip Sousa|format=[[mid]]}}
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. "[[Semper Fidelis]]" 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|"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]]" 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 pattern|drum or rhythmic pattern]]—which means a march is most recognizable by its [[musical phrasing|phrasing]]. Almost all [[quickstep march]]es consist of [[bar (music)|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 [[pick-up notes#Music|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===
{{Main|Chord 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 [[Degree (music)|Scale degree]].)

Here is code for the chord progressions of the first strain of "[[Semper Fidelis (march)|Semper Fidelis]]" 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|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 [[Diminished seventh chord#Common-tone diminished seventh chord|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{{flat}} major chord (the I in the key of E{{flat}}) would be followed by a B major chord, (which is an E{{flat}} 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.