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PROJECT

DATE

March Madness Making the most of the Concert March for JANUARY 20, 2012 MICHIGAN MUSIC CONFERENCE Wind Bands CLIENT

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Marches Nothing in the band world is more inspiring, thrilling, and musically satisfying to band audiences than a stirring march, when performed by a superb band under the direction of vital, inspired leadership. Select marches carefully, rehearse them thoroughly, and perform them with life, vitality and observe your audience reaction. --William D. Revelli, The University of Michigan

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Marches Suggestions to rehearse and improve Edits and Interpretation ideas to consider Titles and Resources

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(1942)

by Karl L. King (18911971) arr. by James Swearingen arr. by James Swearingen arr. by James Swearingen Performance by the Blanc HS Ensemble

Grand Wind

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Consider the Tempo

The March

Style of march such as military, funereal, quick step, circus or nationality

Originally designed to promote the orderly marching of a large group Originally designed to promote the orderly marching of a large group Originally designed to promote the orderly marching of a large group

The technical limitations of ensemble Acoustics of performance hall Is it proper or accurate to change the tempo during the performance? 5


The Introduction Articulation March style is detached style. Notes must not touch each other. There should be a slight separation on the release of each tone before articulating the succeeding note. (W. Revelli)

Harmonic Direction Slow down Set-up chord

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Expression

First Strain

Shape the line and identify the direction Use the markings provided Consider downplaying the counter-line on the first time Rhythm and Pulse Identify who provides the pulse of the music Focus the ensemble Sizzle it! 7


The Second Strain Contrast Dynamic and Melodic Seek it out and/or create it!

Accented notes (m. 32) Emphasize by ‘De’-emphasizing 8


The Trio

Vary the orchestration Consider lowering clarinets, tacet flutes, oboe and trumpets Eliminate number of players

KARL L. KING

Phrase shapes and endings Slow it down Listen to horns Find more reasons to play soft

BARNUM AND BAILEY CIRCUS BAND, CA. 1918 9


Final Strain Rhythmic Precision Rhythmic discipline Contrast Never play a thing the same way twice. Louis Armstrong

The Stinger

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Works of

John Philip Sousa (1854-1934)

Which edition? Church Fennell (timp, dbl sn/field drum and cymbals) Schissel, Byrne, Brion, Hindsley YOU decide! 11


Fairest of the Fair Form Intro acts as a rondo, appears even in break up strain (5 times!) Edits from Fennell Clarity to dynamics, articulations Limited orchestration chages

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Performance Hints for Fairest of the Fair Create contrast Look for orchestration changes Snare Drum + Field Drum? Enhance the dynamics Feel the left foot! 13


Circus Marches Tempo, Tempo, TEMPO! Play one dynamic level softer, with the lightest articulation Think about the big beats Whip and Spur , Thomas Allen/Cramer Rolling Thunder, Henry Fillmore/Fennell Storm and Sunshine , JC Heed The Screamer , Jewell/Kopetz 14


Processional Marches Slow, processional march (Think Pomp and Circumstance) Phrasing Enhanced Dynamics Find the Nationalistic Quality

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British Eighth Zo Elliot (1891-1964) and arranged by quincy c. hilliard 16


Novelty Marches March of the Steel Men, Charles Belsterling, ed. James Jurrens Lassus Trombone, Henry Fillmore The Trombone King, Karl L. King, arr. Paynter

BAND WAGON

Nobles of the Mystic Shrine or Manhattan Beach, John Philip Sousa/Fennell

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6/8 Marches Sousa Liberty Bell, El Capitan, King Cotton or Semper Fidelis Huffine, Them Basses Make the eighth note pick-ups lean across the bar line No compressed eighths but swing!

1

2

3

4561

2

3

4561

Sizzle! The dotted eighth must be in threes Snares use triples to roll, no duples!

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Nationality Marches Zacatecas, Genaro Codina/Glover (Mexico) Fanfarenkl채nge Marsch, arr. Siegfried Rundel and Entry of the Gladiators, Julius Fucik (Czech) Valdres, Johannes Hanssen/ Bainum (Norway) Marche des Parachutistes Belges, Peter Leemans/Wiley Scossa Elettrica, Puccini/Yates, (Italy)

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A Slavic Farewell (1912) Vasilij Agapkin (1884-1964) ARRANGED BY

JOHN R. BOURGEOIS 20


Other Marches Commando March, Samuel Barber Esprit de Corps, Robert Jager The Crosley March, Henry Fillmore/Foster The Gumsuckers March, Percy Grainger ed. Rogers The Quality Plus March, Fred Jewell/Longfield Who’s Who in Navy Blue, J.P. Sousa/Byrne

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References Bierly, Paul E. The Music of Henry Fillmore and Will Huff. Columbus, OH: Integrity Press, 1982. _____. The Works of John Philip Sousa. Columbus, OH: Integrity Press, 1982. Chevallard, Carl. Teaching Music through Performing Marches, edited by Richard Miles. Chicago: GIA Publications, 2003. Simon, Frank. Authentic Rehearsal Techniques from Sounds of John Philip Sousa. American School Band Directors Association, 1990. Smith, Norman E. March Music Notes. Lake Charles, LA: Program Notes Press, 1986.

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Thank You Grand Blanc High School Wind Ensemble, Corbin Hutchison, conductor and Mr. Jacob Finkbeiner Parents of the GBHS University of Michgan-Flint and Department of Music Sectional coaches: Dr. Lois Alexander, Dr. Jessica Ceck, Philip Mitchell, Mr. Jeff Price, Alaina Tindall, Mr. Joe Wright.

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March Madness Presentation  

The Powerpoint Presentation from the session given at the 2012 Michigan Music Conference (note: this was original produced in Keynote and a...

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