This clearly demonstrates the speaker's vast lack of knowledge about marches and how they are written. He also does NOT know the history of bands nor of the instruments in them.
If you found factual inaccuracies, I'm more than happy to admit that I'm wrong. I don't claim to have made the complete march history in a two minute youtube video intro. There were plenty of people in this thread that commented their disagreements without looking super rude, so I know it can be done. I'll let you try again if you want 🤓. Also, the whole video was made for the meme value of making a list of marches that weren't traditional marches. Dear viewer and potential commenter: Don't be like James. Be nice.
Hi there :) I just recently found your channel and like it very much so far! Perhaps I'm biased as I have written about 20 marches but the march genre is actually quite diverse. I'm Swedish and the germanic-nordic march sound is completely different from the American one, even from the British one. I think it's a combination of different playing styles, different ideal sounds and different march styles. One of the most played marches in Sweden is "Under Blågul Fana" by Viktor Widqvist, another one is Sam Rydberg's "Vivu Esperanto" wich we used as our standard parade march in my youth band (I graduated from high school two years ago). Neither of these sound even remotely American. I love the European march genre, and with that being said I think most American marches (especially Sousa) are quite boring. My favourite American parade march would probably be "The Southerner" by Russell Alexander with Owe Green's "Pansarkamrater" as one of the European favourites, at the moment that is :)
If you haven’t taken a look at the book Teaching Music Through Performing Marches, and listened to the accompanying recordings, you should. Through much study I have grown to love many marches, but I must admit that the majority of my favorite marches are not composed by Americans. I love pretty much any March by Kenneth Alford, especially Army of the Nile. Other marches I really enjoy conducting and listening to are Amparito Roca, Valdres, Entry March of the Boyars (not really a march, but one of my favorite pieces.), Unter dem Doppeladler, Punchinello by William Rimmer, March of the Belgian Parachutists, and Pas Redouble by Camille Saint-Saens. When it comes to American marches, Americans We, Our Director (there is a great video Frederick Fennell working on this march out there.), and Quality Plus have a special place in my heart as well. The reason I continue to use marches as a pedagogical teaching tool is that they clearly help teach one of the two main styles of music. As one of my local college directors says “There are only two types of music, Love music and Pirate music.” This could be expressed more academically as song and dance, or lyrical music and technical music. Regardless, The march is a great style to use to teach many fundamental concepts that will help students be successful in performing much of the available literature.
Thanks for the super thoughtful comment! I actually looked through my copy of the TMTP Marches, but there isn't a historical section, just sections over interpretation. I know that each piece has its own historical section, but there isn't a historical section for the march writ large. I need to check out a few of those marches that you suggested, and who doesn't love March of the Belgian Paratroopers??!?! It's a fun one. The march is absolutely a great teaching tool and has a valuable place, but it does seem burdensome to require a march for every festival! Also, I need to check out the Fennell video, I've not seen that one yet.
Thank you! I have been saying this since undergrad! All these older band directors that run things seem to worship Sousa and King though. It’s time to move on!
I enjoyed your video. There are of course marches where horns get a few fun nuggets including "The Klaxon", though those opportunities are rare. As a horn player myself, I aimed to program as few traditional "marches" as possible. I have programmed "The Guadalcanal March", from "Victory at Sea", by Richard Rogers several times. Some times that horns have upbeats, but this duty is taken over by other instruments more often than not, and there are more than a few great nuggets for the horn section, most in a flashy Hollywood style.
The one time I played The Klaxon, I was in a fraternity band and had to double over to the 3rd trumpet part. What's worse than upbeats? Third trumpet 😂
Love the March form personally as a tuba player. They’re such an elegant way to introduce form to 7-9th grade students, and I find them valid regardless of what college programming looks like; while I’d be happy to see my kids go on to do band in college, that’s not what’s informing my decisions.
Interesting thoughts! They are a great teaching tool for style, if you play the melody or counter melody. But the motor people really get the short end of the stick when it comes to interesting music to play.
@@thefuturemillionairebanddi4528 Engaging? Nah, but mastering offbeats or mastering being the incarnation of the director’s pulse is part of the role of the respective instruments outside of just the march idiom.
Lots of things one could talk about here..like how the march form is approached in different countries (which I think you touched on briefly actually), the role of each instrument within the ensemble (they are different of course, so they function within their expectations), who performed these pieces and what were their skill levels?, perhaps the listener expects the rigor of the march form and then looks for the 'art' within it (as in the symphony minuet of centuries before), and last -perhaps too much emphasis is placed on adjudicating musical performance (and making the expectations easier on the judge) when it could be also valuable to play as much music as possible thereby understanding the context in which it was written.
I love this opinion about putting too much emphasis on the adjudication!!! But alas, I teach in Texas, and it's unlikely that will ever happen... but we fight on anyway!
The march is what grounds it. If there was no march, then you will get a lot of people doing a lot of different styles/types of music. There will be restrictions on the type and styles of music that you can play so that the judges can compare the style to others. Contests like to categorize stuff so it's easier to judge and it makes it more organized. Think about it like weapons. (I know, that's a weird thing to bring up.) You can have a long list of weapons that you may not bring into a certain place. No this, this, this, this, this, this, so on a so forth, until you a have about 3 pages full, of weapons that you can not bring. It's easier to just say, No Weapons. (There can be a ton of pages saying what type of music you can play for one song, or you can just say you have to play a march.) The march takes the weight of all the restrictions and regulations on all the other pieces so you can have 2 pieces of your choosing. Having to do a march is a (boring) but small price to pay to allow 2 other pieces to be, basically what they want. Now, this is just my opinion and theory on the matter, (and I hope I showed it well without it being to confusing), so I might be wrong or just misunderstand.
I used to think that marches were completed outdated until I really began to understand them. Marches can be used to help build technical facility and musical nuance. I will also concede that these same concepts can be developed using other styles from the wind lit. But I am also biased as a euphonium player 😂. Also, have you heard/played Xerxes by John Mackey? It is another anti march march. Possibly one of my favorites.
GREAT VIDEO, Kaleb. One minor minor quip, Keith Wilson was Hindemith’s colleague, not student, at Yale. Other than that, I completely agree with your ideas
Oh interesting! When researching this, I confirmed what I had always heard about Wilson being his student through the notes on the Wind Repertory Project.
Thank You for posting this! It was very interesting. I'm not a band director (yet), but I think marches are overused as well. We should still play them because they are an important part of American history/culture and are also a good blueprint for excellent ensemble playing. A march teaches good rhythm, good dynamics, and help the ensemble play together. It is a good introduction to how specific genres of music have a unique style, especially for younger students. As a tuba player, I think marches have helped me improve my tempo-stability skills and also learn how to play staccato notes while still keeping a good front, middle, and end. But I agree that we play them too much, and they shouldn't be required for contests. Marches are very good for the beginning of the year, because they establish ensemble skills. however, marches sound similar and playing them every concert gets excessive and repetitive. As a tuba player, spending so much time playing "Cs" "Fs" and "Gs" gets annoying. One of the best parts about band is that it supports tradition and modernity. Band directors shouldn't feel forced to choose marches for their ensembles; they should play what they think what music is best and what will bring the most growth.
This is a super well thought out response! There is no other piece that can teach that marcato/staccato/spaced style quite like a march can. I will always feel bad when the horns struggle with those upbeats, though. Thanks for commenting! I really enjoyed your opinion. Looking forward to your thoughts on other videos!
Instrumental music is generally an art that favors classics or historic pieces. Look at orchestral repertoire and you see most of the commonly performed pieces are hundreds of years old. The fact that it is not as commonplace to compose a March today does not make them unmerited art pieces. They are the foundation of the literature base for bands and well worthy of maintaining their prominence in festivals today. Look to the brass band world for many more contest marches which highlight the variety of a band more so than the typical parade style March. Best ~
Interesting perspective! I hadn't thought of it that way. Must be a euphonium player 😉 . Jk jk! I like marches! I just don't like playing them every year for evaluation. Maybe once every few years would be enough for me.
YES Symphonic Metamorphosis!!!! I remember first getting it junior year and low-key freaking out bc 'wait is that the melody in my part!??!?'. I just miiight be a little biased but I totally agree it's silly we're still having to play marches
I had an “old-timer” mentor who told me you always start a concert with a march because it is like your warm-up... ??? That alone should tell you the quality of most march rep. Watch me write Remington March for Winds now.
Every instrument is integral in creating a good concert march where each performer should taste some lip-smacking prominence within the piece. Certain voices should never be a second thought behind a melodic line. Being a Tubist, I make sure the entire ensemble feels a critical need for their expertise in all of my compositions. My latest march "Madam President" exemplifies march like traditions, then moves beyond upbeat French Horns along with downbeat Tubas and Bass Drum for some good fun for all. Enjoy ! ruclips.net/video/5gMRUgA9F5Y/видео.html
Lol... tuba gets the melody in my ensemble sometimes... we are very limited.... I think marches shouldn’t be a requirement, but band directors should still include on in the program because it’s tradition... just because it’s outdated doesn’t mean it shouldn’t be tossed aside... then again, your talking to a guy who composes and listens to music that’s ancient(baroque). I don’t have a particular favorite march... oh well...
The problem I have is that if the current composers aren't writing marches, that means that nobody is commissioning them. If nobody is commissioning marches... then likely nobody is interested in them!
I'm just here wondering when this person's going to arrive in the comment section: "UIL rules state the piece is 'Director's Choice' and doesn't specify that the piece has to be a march." ...(eye roll) #texas Great video and editing btw Kaleb! Favorite Basil Bouras marches: Children's March (as you've said) March of the Belgium Paratroopers Brighton Beach March Star and Stripes (could listen to that every day so long as the President's Own or the Dallas Winds was playing it)
I’ve actually looked, and it says “Director’s Choice March”. I know that directors have been told they can’t play fanfares or other pieces because they aren’t Marches. 😳 Also, that’s a great list. I love the March of the Belgian Paratroopers! So fun!
I think measuring the value of a march based off of your part is a little misleading. There are many reasons to value a march for educational purposes. For example the first march I ever learned in middle school was the, “Mickey Mouse March”. I know not your typical Sousa march but it taught me 6/8 time and I had a lot of fun playing it even though I wasn’t playing a melody. Going on to high school playing a march such as “El Capitan” by John Philip Sousa helped me learn the difference between a triplet and a dotted eighth sixteenth note. By the time I reached college I realized I did not play enough marches to keep up with the demand of repertory knowledge for the ensemble as a whole and my own individual part. What I realized is that marches teach you how to listen to other parts going on at the same time. For example with a horn part you do have a bunch of upbeats or the dreaded 6/8 triplet pattern but that gives a chance for the horns to develop a great ear for the other instruments around them. I think that’s why there are so many times that the horns are called out for not playing their part right because they are simply getting lost in listening to the music around them.
This is a quality response. And honestly, I have no good response other than "marches are super boring for hon players to have to play every time you take a band to festival". Having said that, I do remember one time in high school (I think we were playing Purple Carnival?), and I *really* nerded out to the overall harmony that the horns got to outline. But that was just once! lol
For what it's worth, I'm also playing a KK march with my group this semester. I think they're easy to teach, follow march style/form, and don't come with the same octave/balance issues that Sousa marches do.
Practice all the time. Ask your directors what you can do to help with logistical things like copies and chairs. Ask your middle school directors if you can observe their classes if you have out periods. Be in the band hall as much as possible. Observe other bands/ensembles/groups in your program. Join choir. Take AP Music Theory.
As a middle school band director, I feel like the selections are only worse. Poor tubas/FHorns. I’m a fan of Johnie Vinson marches (New Castle/New Forest) or Spanish Style marches. Florida FBA has thankfully widened their definition of a March for Festival which allows us to pick something less traditional. I wish we could play Commando March
The middle school march scene is much different, since the technical ability of the students is much different. There are *some* good marches for young band out there that don't just give horns the upbeats for the entire piece, but other than the 5-10 marches that everybody plays, you really have to dig to find the gems. And yes - New Castle March!
Way to diss a whole genre of music that has rich heritage and teaches technique, balance, articulation, musical form, etc. Sorry that French horns get up beats but percussionists get a ton of rests in certain concert band music but we don’t cry about it 🤷🏻♂️😂 we just count and know it serves a purpose. Also Purple Pageant and Rolling Thunder are my two favorite actual marches, not pieces with “march” in the title. 😎
![Coheed and Cambria - Searching for Tomorrow [Official Video]](http://i.ytimg.com/vi/hDsYGLbmadg/mqdefault.jpg)
This clearly demonstrates the speaker's vast lack of knowledge about marches and how they are written. He also does NOT know the history of bands nor of the instruments in them.
If you found factual inaccuracies, I'm more than happy to admit that I'm wrong. I don't claim to have made the complete march history in a two minute youtube video intro. There were plenty of people in this thread that commented their disagreements without looking super rude, so I know it can be done. I'll let you try again if you want 🤓.
Also, the whole video was made for the meme value of making a list of marches that weren't traditional marches.
Dear viewer and potential commenter: Don't be like James. Be nice.
This guy CLEARLY isn’t as much of an intellectual as Mr. Schu...
🧐 ☕️ 🎺 📚
Hi there :) I just recently found your channel and like it very much so far! Perhaps I'm biased as I have written about 20 marches but the march genre is actually quite diverse. I'm Swedish and the germanic-nordic march sound is completely different from the American one, even from the British one. I think it's a combination of different playing styles, different ideal sounds and different march styles. One of the most played marches in Sweden is "Under Blågul Fana" by Viktor Widqvist, another one is Sam Rydberg's "Vivu Esperanto" wich we used as our standard parade march in my youth band (I graduated from high school two years ago). Neither of these sound even remotely American. I love the European march genre, and with that being said I think most American marches (especially Sousa) are quite boring. My favourite American parade march would probably be "The Southerner" by Russell Alexander with Owe Green's "Pansarkamrater" as one of the European favourites, at the moment that is :)
If you haven’t taken a look at the book Teaching Music Through Performing Marches, and listened to the accompanying recordings, you should.
Through much study I have grown to love many marches, but I must admit that the majority of my favorite marches are not composed by Americans. I love pretty much any March by Kenneth Alford, especially Army of the Nile. Other marches I really enjoy conducting and listening to are Amparito Roca, Valdres, Entry March of the Boyars (not really a march, but one of my favorite pieces.), Unter dem Doppeladler, Punchinello by William Rimmer, March of the Belgian Parachutists, and Pas Redouble by Camille Saint-Saens. When it comes to American marches, Americans We, Our Director (there is a great video Frederick Fennell working on this march out there.), and Quality Plus have a special place in my heart as well.
The reason I continue to use marches as a pedagogical teaching tool is that they clearly help teach one of the two main styles of music. As one of my local college directors says “There are only two types of music, Love music and Pirate music.” This could be expressed more academically as song and dance, or lyrical music and technical music. Regardless, The march is a great style to use to teach many fundamental concepts that will help students be successful in performing much of the available literature.
Thanks for the super thoughtful comment! I actually looked through my copy of the TMTP Marches, but there isn't a historical section, just sections over interpretation. I know that each piece has its own historical section, but there isn't a historical section for the march writ large.
I need to check out a few of those marches that you suggested, and who doesn't love March of the Belgian Paratroopers??!?! It's a fun one. The march is absolutely a great teaching tool and has a valuable place, but it does seem burdensome to require a march for every festival!
Also, I need to check out the Fennell video, I've not seen that one yet.
We have the same problem in our Spanish pasodobles which follow the same standard March format with a sometimes repeating Trio
Thank you! I have been saying this since undergrad! All these older band directors that run things seem to worship Sousa and King though. It’s time to move on!
Let's treat marches like Christmas music... It definitely has a cultural place, but only during certain times of the year!
I enjoyed your video. There are of course marches where horns get a few fun nuggets including "The Klaxon", though those opportunities are rare. As a horn player myself, I aimed to program as few traditional "marches" as possible. I have programmed "The Guadalcanal March", from "Victory at Sea", by Richard Rogers several times. Some times that horns have upbeats, but this duty is taken over by other instruments more often than not, and there are more than a few great nuggets for the horn section, most in a flashy Hollywood style.
The one time I played The Klaxon, I was in a fraternity band and had to double over to the 3rd trumpet part. What's worse than upbeats? Third trumpet 😂
Love the March form personally as a tuba player. They’re such an elegant way to introduce form to 7-9th grade students, and I find them valid regardless of what college programming looks like; while I’d be happy to see my kids go on to do band in college, that’s not what’s informing my decisions.
Interesting thoughts! They are a great teaching tool for style, if you play the melody or counter melody. But the motor people really get the short end of the stick when it comes to interesting music to play.
@@thefuturemillionairebanddi4528 Engaging? Nah, but mastering offbeats or mastering being the incarnation of the director’s pulse is part of the role of the respective instruments outside of just the march idiom.
Lots of things one could talk about here..like how the march form is approached in different countries (which I think you touched on briefly actually), the role of each instrument within the ensemble (they are different of course, so they function within their expectations), who performed these pieces and what were their skill levels?, perhaps the listener expects the rigor of the march form and then looks for the 'art' within it (as in the symphony minuet of centuries before), and last -perhaps too much emphasis is placed on adjudicating musical performance (and making the expectations easier on the judge) when it could be also valuable to play as much music as possible thereby understanding the context in which it was written.
I love this opinion about putting too much emphasis on the adjudication!!! But alas, I teach in Texas, and it's unlikely that will ever happen... but we fight on anyway!
It it makes you wanna drive the heel it's a march. Also the best kind of music
The march is what grounds it. If there was no march, then you will get a lot of people doing a lot of different styles/types of music.
There will be restrictions on the type and styles of music that you can play so that the judges can compare the style to others.
Contests like to categorize stuff so it's easier to judge and it makes it more organized.
Think about it like weapons. (I know, that's a weird thing to bring up.) You can have a long list of weapons that you may not bring into a certain place.
No this, this, this, this, this, this, so on a so forth, until you a have about 3 pages full, of weapons that you can not bring. It's easier to just say, No Weapons. (There can be a ton of pages saying what type of music you can play for one song, or you can just say you have to play a march.)
The march takes the weight of all the restrictions and regulations on all the other pieces so you can have 2 pieces of your choosing.
Having to do a march is a (boring) but small price to pay to allow 2 other pieces to be, basically what they want.
Now, this is just my opinion and theory on the matter, (and I hope I showed it well without it being to confusing), so I might be wrong or just misunderstand.
I used to think that marches were completed outdated until I really began to understand them. Marches can be used to help build technical facility and musical nuance. I will also concede that these same concepts can be developed using other styles from the wind lit. But I am also biased as a euphonium player 😂.
Also, have you heard/played Xerxes by John Mackey? It is another anti march march. Possibly one of my favorites.
I think this video is the result of trauma endured by the standard horn player.
One might say I was.... #triggered ... bad horn pun? anybody? I'll see myself out..
Hey man heard you on the ramsey show thought I would stop by the channel.
Thanks for checking out the channel!
Same here!
Black granite March has some sick horn lines check that one out!
GREAT VIDEO, Kaleb. One minor minor quip, Keith Wilson was Hindemith’s colleague, not student, at Yale. Other than that, I completely agree with your ideas
Oh interesting! When researching this, I confirmed what I had always heard about Wilson being his student through the notes on the Wind Repertory Project.
Thank You for posting this! It was very interesting. I'm not a band director (yet), but I think marches are overused as well. We should still play them because they are an important part of American history/culture and are also a good blueprint for excellent ensemble playing. A march teaches good rhythm, good dynamics, and help the ensemble play together. It is a good introduction to how specific genres of music have a unique style, especially for younger students. As a tuba player, I think marches have helped me improve my tempo-stability skills and also learn how to play staccato notes while still keeping a good front, middle, and end. But I agree that we play them too much, and they shouldn't be required for contests. Marches are very good for the beginning of the year, because they establish ensemble skills. however, marches sound similar and playing them every concert gets excessive and repetitive. As a tuba player, spending so much time playing "Cs" "Fs" and "Gs" gets annoying. One of the best parts about band is that it supports tradition and modernity. Band directors shouldn't feel forced to choose marches for their ensembles; they should play what they think what music is best and what will bring the most growth.
This is a super well thought out response! There is no other piece that can teach that marcato/staccato/spaced style quite like a march can. I will always feel bad when the horns struggle with those upbeats, though. Thanks for commenting! I really enjoyed your opinion. Looking forward to your thoughts on other videos!
@@thefuturemillionairebanddi4528 Thank You!
Instrumental music is generally an art that favors classics or historic pieces. Look at orchestral repertoire and you see most of the commonly performed pieces are hundreds of years old. The fact that it is not as commonplace to compose a March today does not make them unmerited art pieces. They are the foundation of the literature base for bands and well worthy of maintaining their prominence in festivals today. Look to the brass band world for many more contest marches which highlight the variety of a band more so than the typical parade style March. Best ~
Interesting perspective! I hadn't thought of it that way. Must be a euphonium player 😉 . Jk jk! I like marches! I just don't like playing them every year for evaluation. Maybe once every few years would be enough for me.
YES Symphonic Metamorphosis!!!! I remember first getting it junior year and low-key freaking out bc 'wait is that the melody in my part!??!?'. I just miiight be a little biased but I totally agree it's silly we're still having to play marches
Usually the horn players see it that way! lol
My HS is featured in the video.
I had an “old-timer” mentor who told me you always start a concert with a march because it is like your warm-up... ??? That alone should tell you the quality of most march rep. Watch me write Remington March for Winds now.
Let me in on that commission! Lol. I’ll co-premier it with your band at UIL.
Also + Gum-Suckers March
I had a band parent at my 1st job who would not attend a concert unless there was a march on the program. :-)
Every instrument is integral in creating a good concert march where each performer should taste some lip-smacking prominence within the piece. Certain voices should never be a second thought behind a melodic line. Being a Tubist, I make sure the entire ensemble feels a critical need for their expertise in all of my compositions.
My latest march "Madam President" exemplifies march like traditions, then moves beyond upbeat French Horns along with downbeat Tubas and Bass Drum for some good fun for all. Enjoy ! ruclips.net/video/5gMRUgA9F5Y/видео.html
Lol... tuba gets the melody in my ensemble sometimes... we are very limited....
I think marches shouldn’t be a requirement, but band directors should still include on in the program because it’s tradition... just because it’s outdated doesn’t mean it shouldn’t be tossed aside... then again, your talking to a guy who composes and listens to music that’s ancient(baroque).
I don’t have a particular favorite march... oh well...
The problem I have is that if the current composers aren't writing marches, that means that nobody is commissioning them. If nobody is commissioning marches... then likely nobody is interested in them!
@@thefuturemillionairebanddi4528 nobody commissions baroque music, but it’s still performed...
I think someone is having their band play this piece in particular...
ruclips.net/video/-af96T0ADFY/видео.html&ab_channel=AnthonyMondon
I'm just here wondering when this person's going to arrive in the comment section:
"UIL rules state the piece is 'Director's Choice' and doesn't specify that the piece has to be a march."
...(eye roll) #texas
Great video and editing btw Kaleb!
Favorite Basil Bouras marches:
Children's March (as you've said)
March of the Belgium Paratroopers
Brighton Beach March
Star and Stripes (could listen to that every day so long as the President's Own or the Dallas Winds was playing it)
I’ve actually looked, and it says “Director’s Choice March”. I know that directors have been told they can’t play fanfares or other pieces because they aren’t Marches. 😳
Also, that’s a great list. I love the March of the Belgian Paratroopers! So fun!
I think measuring the value of a march based off of your part is a little misleading. There are many reasons to value a march for educational purposes. For example the first march I ever learned in middle school was the, “Mickey Mouse March”. I know not your typical Sousa march but it taught me 6/8 time and I had a lot of fun playing it even though I wasn’t playing a melody. Going on to high school playing a march such as “El Capitan” by John Philip Sousa helped me learn the difference between a triplet and a dotted eighth sixteenth note. By the time I reached college I realized I did not play enough marches to keep up with the demand of repertory knowledge for the ensemble as a whole and my own individual part. What I realized is that marches teach you how to listen to other parts going on at the same time. For example with a horn part you do have a bunch of upbeats or the dreaded 6/8 triplet pattern but that gives a chance for the horns to develop a great ear for the other instruments around them. I think that’s why there are so many times that the horns are called out for not playing their part right because they are simply getting lost in listening to the music around them.
This is a quality response. And honestly, I have no good response other than "marches are super boring for hon players to have to play every time you take a band to festival".
Having said that, I do remember one time in high school (I think we were playing Purple Carnival?), and I *really* nerded out to the overall harmony that the horns got to outline. But that was just once! lol
I may be in the minority, but I love Karl King Marches. My band typically enjoy playing King marches. 🤷♂️
For what it's worth, I'm also playing a KK march with my group this semester. I think they're easy to teach, follow march style/form, and don't come with the same octave/balance issues that Sousa marches do.
this was very informative! I really want to be a band director. do you have any advice for things I can do in high school to work towards my goal?
Practice all the time. Ask your directors what you can do to help with logistical things like copies and chairs. Ask your middle school directors if you can observe their classes if you have out periods. Be in the band hall as much as possible. Observe other bands/ensembles/groups in your program. Join choir. Take AP Music Theory.
@@thefuturemillionairebanddi4528 thank you! this is very helpful!
What about Circus Days?
Hmmmm... that March... ya know.... it might make for a decent March for a Non-Varsity band... if I had to guess.
I played that in district honor band last year!
As a middle school band director, I feel like the selections are only worse. Poor tubas/FHorns.
I’m a fan of Johnie Vinson marches (New Castle/New Forest) or Spanish Style marches.
Florida FBA has thankfully widened their definition of a March for Festival which allows us to pick something less traditional.
I wish we could play Commando March
The middle school march scene is much different, since the technical ability of the students is much different. There are *some* good marches for young band out there that don't just give horns the upbeats for the entire piece, but other than the 5-10 marches that everybody plays, you really have to dig to find the gems.
And yes - New Castle March!
@@thefuturemillionairebanddi4528
I smell a new video!!!
@@erikorue lolol, we're just going to see how many ant hills in the band world I can kick
Way to diss a whole genre of music that has rich heritage and teaches technique, balance, articulation, musical form, etc.
Sorry that French horns get up beats but percussionists get a ton of rests in certain concert band music but we don’t cry about it 🤷🏻♂️😂 we just count and know it serves a purpose.
Also Purple Pageant and Rolling Thunder are my two favorite actual marches, not pieces with “march” in the title. 😎
Bro you sound like Barack
You mean one of the greatest orators in our nation’s history. Thanks!!!!!! 🙃🤓
No I'm talking about that one dude on tv a while ago
first
This comment shows up first in my feed, therefor I declare this the WINNER
@@thefuturemillionairebanddi4528 😼👍
To put it simply, I disagree with everything you said and everything you stand for with regard to what marches are, and what they mean and are for.
First
laaaaaate
You must have a ton of time on your hands.