I. Courage March Harold by Bennett, arr. Hiroki Takahashi
Henry Fillmore (1899-1981), who composed many works for wind band including marches, used several pen names depending on the style and purpose of the piece. "Harold Bennett" was one such pseudonym, often used for educational works such as the well-known Military Escort.
Courage March was originally arranged by Larry Clark for modern school bands and published by Carl Fischer, becoming a popular piece with American bands. This new arrangement by Hiroki Takahashi is specifically tailored for smaller ensemble bands in Japan. Instruments shown in italics in the score - 2nd Clarinet, Baritone Saxophone, 2nd Trumpet, 2nd Horn, 2nd Trombone, Timpani, and Glockenspiel - are optional, allowing the piece to be performed by as few as 13 players if those parts are omitted.
The style and form of the piece are highly traditional. The melody mainly progresses in stepwise motion and repeatedly uses the same motifs, making it very accessible for performers. However, the chromatic motion in the second strain and trio section provide a distinctive character. As the title Courage suggests, the piece should be performed with a sense of strength and resolve. At the same time, to avoid monotony from repetition, performers should carefully shape contrasts in dynamics, articulation, and balance - elements key to a successful performance.
II. Alamo March by Karl L. King, arr. Hirokazu Fukushima
Karl L. King (1891-1971), alongside John Philip Sousa, is regarded as one of America's foremost march composers. He is especially beloved for his circus marches, such as Barnum and Bailey's Favorite. Alamo March is one of King's works written for school bands. In the United States, the version arranged by James Swearingen and published by C. L. Barnhouse has been widely performed. However, it had not gained much popularity in Japan - something that is expected to change thanks to this new arrangement by Hirokazu Fukushima.
In this version, the Piccolo, 2nd Trumpet, 2nd Trombone, and Timpani are optional, allowing the piece to be performed with as few as 16 players. Compared to Courage March, this piece features a slightly wider melodic range (by a semitone) and makes more frequent use of syncopated rhythms, which may make it slightly more challenging. Paying attention to contrast and variation to bring out the repeated sections effectively is also an important point in performing this piece.
The title Alamo refers to the Alamo Mission, the site of a pivotal battle during the Texas Revolution (1835-1836), and this piece is dedicated to the soldiers who fought in that conflict. However, there are no scenes that evoke war - it should simply be enjoyed as a lively march in a traditional style.
III. The Washington Post March by John Philip Sousa, arr. Hirokazu Fukushima
One of the most iconic works by "The March King," John Philip Sousa (1854-1932), The Washington Post March is also considered one of the most representative marches written in 6/8 time, alongside Sousa's El Capitan.
This piece was commissioned in 1889 by the owner of the American newspaper The Washington Post for use at an awards ceremony for an essay contest featured in the paper. At the time, Sousa was serving as the director of the United States Marine Band. It is often said that this march brought prestige and attention to The Washington Post, which had been a relatively unremarkable newspaper until then. The piece later became associated with the two-step dance craze and is regarded as one of Sousa's most frequently performed works.
Compared to Courage March and Alamo March, this piece is more demanding both technically and musically. It features a wider range across instruments, and the 6/8 meter can easily lead to rhythmic inaccuracies. Particular attention must be paid to rhythms involving ties and rests, which are prone to becoming unstable; removing the ties during practice can be a useful method of preparation. Chromatic movement, articulation in the trio section involving many slurs, and the effective contrast between unison and harmonic motion are all important focus points during rehearsal.
This arrangement by Hirokazu Fukushima follows a near-standard instrumentation. Excluding the optional instruments, it can be performed with as few as 23 players.
IV. Amparito Roca by Jaime Texidor, arr. Hiroki Takahashi
Composed by Spanish composer Jaime Texidor (1884-1957), Amparito Roca is not only one of the most famous marches but is also one of the most internationally recognized pieces of Spanish music. While it is commonly categorized as a march in wind band repertoire, it is originally a paso doble. The word "paso doble" translates to "double step," referring to its duple meter. It is typically danced in pairs to march-like music, with the male dancer representing the matador and the female portraying the red cape used in bullfighting.
Among the four pieces in this collection, Amparito Roca is arguably the most technically demanding. The melodic parts require agility and control across a wide range, while the accompaniment must deliver steady, precise rhythms to maintain the music's characteristic forward drive. Many players might struggle right from the start, with the rapidly repeating G notes and underlying chromatic motion - but the challenge is well worth it, as the piece is exceptionally rewarding in performance. Particularly striking is the trio section, where the music shifts from C minor to C major. The contrast between the flowing, lyrical melody and the sparkling high-register passages provides a moment of brilliance that is sure to inspire many ensembles.
The title Amparito Roca is named after one of the composer's students from his time teaching at a music school. However, the reason why he chose to name the piece after this young girl remains unknown.
Like The Washington Post March, this arrangement by Hiroki Takahashi can be performed with as few as 23 players when excluding optional instruments.
Recommendation by Yo Goto
In selecting these four marches, my intention was to encourage performers to recognize that the term "march" encompasses a wide variety of content, styles, and educational value, and to experience that diversity through studying these pieces. In terms of technical difficulty, Pieces I and II fall in the beginner-intermediate range, while Pieces III and IV are intermediate-advanced. The easier Pieces I and II include numerous pedagogical considerations. Each piece differs in tonality and meter, and Piece III, written in 6/8 time, will surely provide new learning opportunities. It is also worth noting that both Pieces III and IV carry the character of dance music, while Piece IV, in particular, draws upon folk culture - elements that serve as important clues for musical expression.
To fully discover and enjoy this variety, I suggest beginning with at least two of the works and rehearsing them. I hope you will take pleasure in exploring the rich musical world that marches can offer.
(Supervisor Yo Goto, Arranger Hiroki Takahashi / Hirokazu Fukushima)
