John Philip Sousa The Life and Acheivements of The American March King

John Philip SousaThe Life and Acheivements of The American March KingAnnalice RichSalt Lake Community CollegeMusic 1010

John Philip Sousa Musical beginnings John Philip Sousa born November 6th 1854. Music an important part of his Childhood. Parents: John Antonio Sousa & Marie Elizabeth Trinkaus.

lcweb2.loc.govJohn Philip Sousa, most famously known for his wonderfully American marches, was born on November 6th 1854, to John Antonio Sousa, of Spanish/Portuguese descent, and Marie Elizabeth Trinkaus, of Bavarian descent. (Library of congress, website par 1) Music was an important part of Sousas childhood as he watched his father perform with the United States Marine Band as a Trombonist. This exposure to music influenced John Philip Sousa to begin studying different kinds of music by the age of 6. At this time it was found that Sousa had an innate gift with pitch allowing him to understand and learn at an incredible rate.

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Sousa the gifted childAt the age of 11-Performing with adultsLead his first small band of adultsStudied with George Felix BenkertPerformed with Washington Orchestral Union as first violin. At the mere age of 11 Sousa was not only performing with adults, but had begun leading his first small group band consisting of seven adult men. Shortly thereafter, Sousa made the decision to begin studying with George Felix Benkert, who was able to challenge him with European training in harmony and composition close to his home in Washington DC. Benkert also encouraged Sousa to perform with the Washington Orchestral Union, where he played first violin.3Sousa Journey to Adulthood At ages 13-20 enlisted and played in U.S. Marine Band.Became involved in Fords Theatre and The VaundervillAt the age of 18 published Moonlight on the Potomac.

jhir.library.jhu.eduIn 1867 at the age of 13, Sousa had been enlisted in the Marine Band, where he continued to play up until the age of 20. During that time he was also involved in Fords Theatre and the Vaudeville in Washington as a violinist, later taking on the responsibility of an orchestral leader. In the year of 1872, Sousa published Moonlight on the Potomac Waltzes. This was the first to hundreds of compositions yet to come.

4Sousas history with Broadway and his wifeSpends time assisting with music for operetta Katherine. Assists with Broadway show Pinafore.Meets Jane Van Middlesworth Bellis.Jane and John married on December 30, 1879.

archives.library.illinois.eduA few years after publishing his first composition, Sousa spent a time touring as a leader for Nobels troup, only to move on as first violin for the centennial orchestra. After some years of success he was asked to assist with the music for the operetta Katherine, as well as the Broadway show Pinafore. It was during this hectic time that he met a girl by the name of Jane Van Middlesworth Bellis. They were quickly married on December 30, 1879. 5John Philip Sousa Director of US Marine BandOne month after marriage, becomes director of US Marine Band. Played for President Clevelands wedding.Wrote The Gladiator and Semper Fidelis.Began recording and selling military band pieces.

Lwww.soundsofsousa.comA month after marriage, Sousa was selected to become the Director of the US Marine Band, so it was back to Washington where he would continue his career as a director that would span decades. (DWS, biography)During his time spent with the Marine Band, many opportunities were born including; playing for President Clevelands wedding, receiving recognition for the march The Gladiator, and even writing Semper Fidelis, which has been adopted as the official Marine Corps theme. It was also during his time as the Marine Band director that the Columbian Phonograph Company took interest in recording the military band, becoming the most sought after pieces during that time.6Sousas love of theatreDuring military duty composed 15 operettas.His music was successful, but he lacked the ability to write lyrics.

www.nypl.orgWhile much of Sousas lifetime seems to have been focused around a life of duty and military, he also had a great love of the theater. During the time he spent touring with his many bands, he somehow managed to find time to compose operettas, fifteen to be exact. While his compositions were very successful his ability to write lyrics held him back. 7

Sousas Passing and CommemorationsAt the age of 77,John Philip Sousa passes away March 6th, 1932. Commemorations of his life include: Hollywood Star, Hall of Fame for Great Americans, John Philip Sousa Award.

projects.latimes.comwww.bcc.cuny.eduwww.lahainalunamusic.orgJohn Philip Sousa passed away March 6th, 1932 at the age of 77. His legacy lives on in his music and many commemorations including a star on the Hollywood Walk of Fame, Hall of Fame for Great Americans, as well as the John Philip Sousa Award, Awarded to students for certain musical achievements or for playing one of his marches.

8Composition History, Stars and Stripes Forever.1896 Sousas friend passes away while Sousa was on vacation.The march Stars and Stripes Forever was born as a result. 1987 this march became official march of the USA.

library.duke.eduIn 1896 John Philip Sousa was told that his dear friend and band manager had passed away. At the time he was on vacation with his wife aboard a ship called the Teutonic. During his time contemplating, a march came to Sousa who then wrote the piece upon reaching the shore. In 1987 Sousa was honored when his march became the official march of the United States of America. It is also played to honor officials and is easily recognized.

9Listening guideStars and Stripes Foreverhttp://www.youtube.com/watch?v=-mRn9chmRAY

0:00 Introduction: Begins leading into the first verse.0:09 First verse:. The piece seems to be very staccato, with only a few slurs. 0:17 Within the first verse: there seems to be a sort of call and response 0:24 First verse is repeated0:39 Second verse begins 0:00 Introduction: Begins with four marching quarter notes from the percussion, notably the cymbals and snare drum, followed by the brass and wind section at a fortissimo leading into the first verse.

0:09 First verse: Drops to mezzo forte, and then within the same measure crescendos to forte. The piece seems to be very staccato, with only a few slurs at the beginning of the eighth notes.

0:17 Within the first verse: there seems to be a sort of call in pianissimo and response in forte. The call and response is the repeated in mezzo forte.

0:24 First verse is repeated until the second ending seems to be reached at the end of the second call and response

0:39 Second verse begins with a pair of triplets in the first measured that is followed by a theme of quarter notes. This is then repeated with a sort of fugue by the woodwinds

1:11 Chorus: carried by the woodwinds, the dynamics play a large roll crescendos from mezzo piano to mezzo forte and back again within almost each measure. The chorus seems to be a quarter note followed by a half note, then followed by a quarter note then two eighth notes followed by a half note again. The chorus seems to have somewhat of a narrow range. The chorus is then repeated again. 10Listening guide Stars and Stripes Forever (continued)1:11 Chorus: carried by the woodwinds with somewhat of a narrow range. The chorus is then repeated again. 1:41 Bridge: The brass section come in strong with forte 2:05 Chorus: Woodwinds performing the chorus with the piccolo as the fugue 2:35-3:36 Coda that includes the Bridge section as well as the second chorus section found at 2:05.

1:11 Chorus: carried by the woodwinds, the dynamics play a large roll crescendos from mezzo piano to mezzo forte and back again within almost each measure. The chorus seems to be a quarter note followed by a half note, then followed by a quarter note then two eighth notes followed by a half note again. The chorus seems to have somewhat of a narrow range. The chorus is then repeated again.

1:41 Bridge: The brass section come in strong with forte 16th notes that seem to follow down a scale and then seem to start at a higher octave and then follow the same pattern with the cymbals emphasizing the last two notes each phrase.

2:05 Chorus: Woodwinds performing the chorus with the piccolo as the fugue staccato variation with a trill at the end. The dynamics are at a mezzo piano and diminuendo to allow for the bridge to seem that much more powerful.

2:35-3:36 Coda that includes the Bridge section as well as the second chorus section found at 2:05.11Composition History of The Libery Bell1893 march written to commemorate Liberty Bell.Inspired by exposition and separate parade Sousas son participated in.Commonly performed at inaugurations.Gained popularity from TVs Monty Pythons Flying Circus.

lifeinthe05.comwww.riverwashbooks.comWritten in 1893, this famous march was written to commemorate the Liberty Bell, a bell that is a symbol of freedom and change throughout the decades. During Sousas lifetime the Liberty Bell was toured through different cities to inspire. There are many rumors surrounding the reason Sousa chose the Liberty Bell as center of one of his marches. One is that he was inspired by an exposition of America that showcased the bell as a backdrop. (skyways, par. 2) Others rumors state that he was inspired after his son was in a parade that promoted the Liberty Bell. (britanica, par. 2) Whatever the reason, this iconic march has not been forgotten, and now serves as a symbol of freedom itself. This march has been performed countless times, and has made its appearance in many inaugurations. Most recently played for Bill Clinton, George W. Bush, and Barack Obama. Though prominently known as a symbol of American freedom, this march has also gained popularity in television in the program Monty Pythons Flying Circus. It has also been used as an opening for Steve Oliver, a radio broadcaster.(pbs, par. 1)

12Listening guideThe Liberty Bellhttp://www.youtube.com/watch?v=1PizaJJQgto 0:00 Intro: Duple meter that leads into the first verse.0:04 First Verse: The main theme is carried by the woodwinds specifically the flutes and piccolo. Brass section keep a tempo with quarter notes 0:35 Second Verse: This verse is somewhat similar to the intro. The theme is carried by both woodwinds and brass. 0:00 Intro: Duple meter that follows the beat of quarter note, eighth note, quarter note, eighth note in descending scale. Followed by an ascending scale in the form of a triplet. This leads into the first verse.

0:04 First Verse: The main theme is carried by the woodwinds specifically the flutes and piccolo. It has a very light disconnected theme with a combination of eighth notes, triplet, eight notes, and sixteenth notes. During this time the Brass section keep a tempo with quarter notes in a high note low note pattern, that then crescendo from a mezzo piano to a forte in unison. Only to repeat the verse again.

0:35 Second Verse: This verse is somewhat similar to the intro, with a triplet followed by quarter notes in a descending, then ascending scale pattern. The theme is carried by both woodwinds and brass, with some brass in the background with a similar high then low quarter note pattern. Similar to the first verse there is a crescendo that with a highlight of the piccolo. Then repeated.

13Listening guide The Liberty Bell (continued)1:08 Chorus: The percussion carries the beat with a gallop-like beat that includes the offbeat. 1:40 Bridge: The brass section comes in with a strong fortissimo with the beat that builds the theme that has been become a varied beat .2:00 Intro to coda: Ensemble crescendos ascending half notes that lead into the coda.2:03 Coda: The theme is returned to the Chorus 3:33 Ends

1:08 Chorus: begins mezzo piano for the first two measures and then crescendos to mezzo and then back to mezzo piano. The tune starts with four increasing scale quarter notes followed by high eighth note, sixteenth note, eighth note and then half note that is highlighted with the piccolo playing a trill during the end of the phrases between repeating. The percussion carries the beat with a gallop-like beat that includes the offbeat.

1:40 Bridge: The brass section comes in with a strong fortissimo with the beat that is an eighth note, triplet, followed by an eighth note, this beat is then answered by the ensemble answering the Brass with the same beat. This is then repeated in different octaves, all the while the percussion reinforces the beat with snare and cymbals. The brass section then builds the theme that has been become a varied beat involving eighth notes instead of the triplets. Still being answered by the ensemble, all the while the dynamics crescendo.

2:00 Intro to coda: Ensemble crescendos ascending half notes that lead into the coda.

2:03 Coda: The theme is returned to the Chorus at a louder mezzo forte, the coda includes the Bridge, then slows the tempo and returns once again to the chorus played together loudly and boldly as an ensemble finishing crisply.

3:33 Ends14Composition History, The Washington Post.1889 March was written.Claim that march was written for the news paper Washington post.Others claim it was dedicated to the nations capital.One of the most recognized Sousa pieces.library.duke.edu

Written in 1889, The Washington Post March was written by Sousa and has been claimed as a tribute to the popular newspaper of the town of his upbringing. There have also been other claims that the march was dedicated to the Marine contingent that was in the nations capital. Whatever the reason, the Washington post newspaper saw the march fitting, and was performed frequently during ceremonies. A favorite among beginning bands and experienced ones alike, Sousas piece The Washington Post is arguably one of his most recognized pieces, after Stars and Stripes Forever of course.15Listening guideThe Washington Posthttp://www.youtube.com/watch?v=pOCxegQupMU 0:00 Intro: The ensemble charges in with notes changing between only about three-four different notes. 0:08 First Verse: The notes ascend on the scale. With changing dynamics.0:39 Second Verse: The second theme of the march begins The beat patterns are followed throughout the verse. And then repeated.

0:00 Intro: The ensemble charges in with the tune with a fortissimo dynamic. The notes variety between only about three-four different notes, with a beat consisting of a quarter note followed by an eighth note, the half note, eighth note, quarter note, then repeating the pattern.

0:08 First Verse: The dynamics drop to a lovely mezzo forte, with a triplet, followed by an eighth note, and half note, eighth note, half note. That ascend on the scale. The dynamics then drop to piano while a light tune of eighth notes is played, then the verse is then repeated. During this time the percussion section keeps the marching rhythm primarily with the snare and cymbals.

0:39 Second Verse: The second theme of the march begins at a mezzo forte with a much smoother theme carried by the ensemble. Consisting of low building to high notes, mostly quarter notes then whole notes once the higher range is reached. A triplet draws the range down and then flows back into the lower quarter notes. This beat pattern is followed throughout the verse. The verse is then repeated and with a forte dynamic the second time with a more prominent trumpet section. Finally ending with flute trills that move onto the next section.

16Listening guide The Washington Post (continued)1:10 Chorus: The woodwind section carry the main theme. 1:46 Build to Coda: An increasing scale that crescendos, builds up the Coda. 1:50 Coda: The march then codas back to the Chorus found at 1:10, that then crescendo to a fortissimo until the end of the march2:33 End

1:10 Chorus: The woodwind section carry the main theme at a mezzo forte, with ascending quarter notes that are then followed by a quick ascending triplet and then immediately by a descending triplet. The Chorus then keeps a light smooth slurred theme. The dynamics diminuendo to a call and response section, in which the woodwinds call and are responded by the brass. The chorus is then repeated at a piano until reaching the call and response section at which point the brass section jump to a forte dynamic with the call and are responded to by the woodwinds at forte also.

1:46 Build to Coda: An increasing scale that crescendos, builds up the Coda.

1:50 Coda: The march then codas back to the Chorus found at 1:10, that then crescendo to a fortissimo until the end of the march

2:33 End

17Composition History of Semper FidelisSemper Fidelis is Latin for Always FaithfulWritten in 1888 recognized as march of US Marine Corps.Originally for President Chester Arthur as a march for the president. s911.photobucket.com

Another iconic march that has become a rich part of our American history is the march Semper Fidelis. Written in 1888 Semper Fidelis is Latin for Always Faithful. While this piece is now recognized as the march of the US Marine Corps, it was originally provided to President Chester Arthur to be a march for the President. It has been stated that the official documentation that proves this march to be the US Marine Corps march has been lost in a flood. While there may not be any documentation, this piece has certainly made its place as a piece of United States Marine Corp history. (Marines web. Par. 3)

18Listening guideSemper Fidelishttp://www.youtube.com/watch?v=6AEj-otqMLE 0:00 Intro: The ensemble plays with the woodwinds as the dominant sound. The percussion keeping the marching rhythm.0:11 First verse: Brass section playing scale like fashion while the woodwinds section carry a similar tune. 0:43 Chorus: The woodwinds once again carry the main theme, all the while the percussion follow a constant march. 0:00 Intro: Dynamics begins at a fortissimo with a midrange eighth note that jumps to a higher quarter note followed by descending eighth notes. This is repeated followed by almost a perfect scale that ascends and then descends, leading into the first verse. The ensemble plays this with the woodwinds as the dominant sound. The percussion keeping the marching rhythm0:11 First verse: The sections break off into different parts, with the Brass section playing mostly quarter notes in a simple scale like fashion. The woodwind section carry a similar tune only with eighth notes instead of quarter notes. At the end of the phrase the two groups take turns running up the scale and then back down, with a crescendo from mezzo forte to forte. 0:43 Chorus: The woodwinds once again carry the main theme, consisting a simple tune at first with harmonic quarter notes, followed by an intricate back to back triplet, and then back to the quarter note theme. In the mean time the brass section varies between quarter notes, bouncing between two notes. All the while the percussion consisting of mostly a snare and cymbal follow a constant march. The dynamics remain at a fortissimo during the chorus.

19Listening guide Semper Fidelis (continued)1:14 Snare Drum Solo: consists of Military style rolls. 1:22 Second Verse: The brass take control over the verse, with some running triplet scales. 2:10 Chorus Reprise: A theme similar to the chorus begins. 2:41 Coda: Coda back to the very 3:23 End1:14 Snare Drum Solo: The snare has a solo that consists of Military style rolls followed by clicking their drum sticks after the rolls. At the end of their solo the dynamics diminuendo from forte to mezzo piano.1:22 Second Verse: The brass take control over this verse, with some running triplet ascending scales. This group consists mostly of trombones, while another group consisting of mostly trumpets carries the main theme that almost sounds similar to the same notes played in Taps. This section is then repeated with the same brass sections but the woodwinds are added with accenting eighth and sixteenth notes, this simulates the sound of a trill. The dynamics remain at a mezzo forte-forte.2:10 Chorus Reprise: A theme similar to the chorus begins. This section carries the chorus theme as the background with a fugue performed by the trombone. This is accompanied by a counter melody performed by mostly the woodwind section and trumpets.2:41 Coda: Coda back to the very beginning of the march ending just before the main chorus.3:23 End

20BibliographyLibrary of Congress Website: http://lcweb2.loc.gov/diglib/ihas/loc.natlib.ihas.200152755/default.htmlNaxos Website: http://www.naxos.com/person/John_Philip_Sousa_24864/24864.htmDWS Biography:http://www.dws.org/sousa/learn/timelinePadbook Website:http://pabook.libraries.psu.edu/palitmap/bios/Sousa__John_Philip.htmlSkyways Library:http://skyways.lib.ks.us/orgs/mcb/Library/M0912.htmWashington Post Website:http://www.washpostco.com/phoenix.zhtml?c=62487&p=irol-history1875US Marines Website:http://www.marines.com/history-heritage/timeline/-/timeline/decade/2#1880

References. Library of Congress Website: http://lcweb2.loc.gov/diglib/ihas/loc.natlib.ihas.200152755/default.htmlNaxos Website: http://www.naxos.com/person/John_Philip_Sousa_24864/24864.htmDWS Biography:http://www.dws.org/sousa/learn/timelinePadbook Website:http://pabook.libraries.psu.edu/palitmap/bios/Sousa__John_Philip.htmlSkyways Library:http://skyways.lib.ks.us/orgs/mcb/Library/M0912.htmWashington Post Website:http://www.washpostco.com/phoenix.zhtml?c=62487&p=irol-history1875US Marines Website:http://www.marines.com/history-heritage/timeline/-/timeline/decade/2#1880

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