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| The Dauntless Battalion | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
The Dauntless Battalion
Your band may not be a dauntless battalion, but when they play this superb Sousa clasic, they'll sound like one! "The Dauntless Battalion" is easily one of Sousa's best pieces, and is certain to be a huge hit with your band and with your audience. Estimated Performance Time: 2:45 Technical Notes: Sousa and future president Warren G. Harding were presented honorary doctoral degrees by the Pennsylvania Military College in Chester on February 7, 1920. In typical Sousa style, he repaid the honor by composing a march dedicated "to Colonel Hyatt, the Faculty, and Cadets of the Pennsylvania Military College". Sousa completed his band score on New Year's Day, 1923 at his home on Long Island and titled the new march "The Pennsylvania Military College March". A subsequent orchestral manuscript bore the title "The Pennsylvania Military March". By the time it was published by The John Church Company later that year, Sousa had selected the much more colorful title by which the work is now known. As with many marches of Sousa's last decade, this march did not enjoy the wide distribution and subsequent popularity of earlier publications, although many Sousa scholars agree that "The Dauntless Battalion" is an outstanding Sousa gem. Many band historians and enthusiasts believe that the proper performance of marches is almost a lost art. During the heyday of the classic concert band in the first decades of this century, many more adult bands existed than now, and marches were played with greater frequency. Consequently, many performance practices were utilized then, most of which are nearly forgotten. In general, marches should be played with intensity as well as great care. Attacks should be crisp, and note values as a general rule should be shorter than usual, except on sustained melodic lines. Dynamics should be closely observed, with extra effort given toward playing "pianissimos" as softly as possible. The "fortissimos" should be very full, yet never overblown or distorted. Tempo should remain constant; Sousa never slowed his tempos, as many conductors do today. Another great American composer of marches and other works, Karl L. King, wrote about Sousa's own band in performance: "...Sousa didn't offend indoors because he got such wonderful pianissimos and shading... In his marches Sousa pulled some strains down to a whisper which always made the last strain sound just that much heavier by contrast. Also Sousa had a few tricks - like the first strains of trios. Brass laid out entirely, clarinets played but dropped it down an octave lower than written, etc. On bad high tones... most of them dropped it an octave and only the two solos took the high tones so it wouldn't sound out of tune. The old man was tops..." It is also well known that Sousa's published drum part offered little more than a guideline for the percussionists. Sousa often called for bass drum and cymbal accents not notated in the score. Some have been added in this edition. Sousa said, "I would rather be the composer of an inspired march than an uninspired symphony." Similarly, it may be suggested that the rehearsal and performance of marches should command the same care and detail as any other piece of band literature. This band set contains both a full score and a condensed score. Composer(s): This piece was composed by John Philip Sousa. Publisher: This piece was published by The John Church Company.
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This product has a difficulty rating of 3-4 on a scale of 1 through 6, with 6 being hardest. | Another product you might enjoy... | |||
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