MUSINGS
Contributed By Jack Kopstein

Marches have a Role in Musical Tastes.

New research is shedding light on why not everyone swoons to the sounds of latest pop sensation Justin Bieber. In a study published in Current Biology researchers have found clues as to why some musical combinations sound so sweet, while others are downright awful. The simple answer is “musical experience.”

The key to the research project is that over the years there have been numerous claims why some people like one sound version over another. One method of measuring the musical significance of a harmonic frequency and in relation to sound and the other quality known as beating.

Thus if we rationalize the March form in the same context we can determine that the March experience began very early in the lives of children. Young people love parades, and throughout their early lives, numerous opportunities arise where they hear, see and beat their feet to an array of marching bands. Santa Claus parades and July 4th are a great example of the March form in action. Later as school students they are exposed to the sports venues where school and songs are played to develop an esprit de corps among the student body.

Nationalism in March music has been one of the most important aspects of musical experience that both children and adults are familiar. National anthems are often written in a dramatic march style. Another consideration is the number of people who have served in their countries military forces. In this area service people are exposed to the sound of drums, trumpets commands and full military bands marching troops in various employments.

The question of course arises which medium of music is an acquired taste. Music that appeals to individuals because of the style, harmonic content, solid beating, drastic counter melodies with dissonances, or simple pleasing harmony. Given for instance the jazz concepts and nuances of Charley Parker in the bebop era of the 1950’s and earlier the drum dexterity of Buddy Rich, we must conclude that this form is an acquired taste. The earlier Dixieland jazz, which it can be said was the origin of improvisation, blue notes, syncopation, and polyrhythm  most likely falls into the area of  universal  enjoyment  and requires no more than it is very pleasing to the ear.

Tonality and substance are words that are bantered around in relation to classical music, particularly found in music of the masters. Here we are often subjected to massive changes in harmonic content and dark nuances, but great symphonic marches have evolved, giving a spirited rise to the street and concert march. . Large works more often than not require a selected taste. Short program type music is understandable but despite simplicity need to provide a pleasing harmony before they enter into the human psyche.

Due to its diversity, popular music in the United States today challenges simple description. The history of popular music in the 1970s and ’80s is basically that of rock music, which has grown to include hundreds of musical styles. New styles such as folk, salsa, new wave, funk, reggae, heavy metal, acid rock, punk rock, rap, hip-hop, acid jazz and world music have developed. Country rock, a fusion of country and western and rock ‘n’ roll, grew popular in the 1970s. A blend of rhythm and blues and gospel music came to be known as soul. Disco, a repetitive dance music, and rap music are direct descendants. Rap developed in the mid-1970s among African-American and Hispanic performers in New York City. It generally consists of chanted, often improvised, street poetry usually accompanied by disco or funk music. The 1990s saw the birth of alternative music or grunge. Techno, a style of dance music that gained popularity in the 1990s, combines computer-generated, disco like rhythms with digital samples. Unfortunately sustainability within the format because of formula writing has hindered learning in modern popular music. However his constant style of the pseudo religious gospel voice inflection together with the use of drum patterns has created an uncomplicated and easily understood learning experience.

Next we examine the learning and experience of the Broadway Musical theatre, a form of theatre combining music, songs, spoken dialogue and dance. The emotional content of the piece – humor, pathos, love, anger – as well as the story itself, is communicated through the words, music, movement and technical aspects of the entertainment as an integrated whole. Since the early 20th century, musical theatre stage works have generally been called simply, “musicals.”

Musicals are performed all around the world. They may be presented in large venues, such as big budget West End and Broadway theatre productions in London and New York City, or in smaller fringe theatre, Off-Broadway or regional productions, on tour, or by amateur groups in schools, theatres and other performance spaces. In addition to Britain and North America, there are vibrant musical theatre scenes in many countries in Europe, Latin America and Asia.Some famous musicals include Show Boat, Oklahoma!, West Side Story, The Fantasticks, Hair, A Chorus Line, Les Misérables, The Phantom of the Opera, Rent, The Producers and Wicked. Most of the music for the theatre  has had a long lasting effect on audiences. This  translates very easily  into the human memory bank and for which there is common  familiarity along with understanding.  The Sound of Music is the the best illustration of  a show which not only captured the world’s imagination for over fifty years but also introduced several memorable songs such as “Climb Every Mountain,” “Do-Re-Me,” and  “Edelweiss.”

Rendering a meaning for marches in terms of  musical expression is simply “beating  of the ground with feet”. The march has evolved  into a distinct style as well as a distinct form. In other words style may range from the works of Wagner(operatic) and Beethoven(Symphonic) to the numerous street and parade marches(Sousa) which were found to be a necessity for men to be kept in step. Thus the march is strictly rythmical. Strict rhythm is observed  regardless of the melody and counter melody  or accompanyment. We can conclude that the march is by far the simplest musical form to remember and to equate to daily life. The names of the marches often will elude us but we often know the tune.  We can whistle and hum the music,or fragments of it. The most well known perhaps of all marches is Elgar’s Pomp and Circumstance No1 . Most of us find the name of the music or the  openng unrecognizable but it is in the overwhelming melody of what is known as “Land of Hope and Glory” section  that the march takes on a life of its own. Sousa’s march Stars and Stripes Forever has the same effect. Once it begins there is something  our experience tells us that we know it, and we love it. All marches however  do not excite or give us the same feeling of pleasure, however they fit the human desire to beat our feet and feel uplifted.

Another March Perspective
By Jack Kopstein

Recently I set to work to research an entire parcel of known marches of every type and style. I want to point out that I approached this subject from a different perspective. Often the measures employed with reference to marches are numerous performances on recordings. This method, although the most popular, does not always ring true in a live situation, nor does it cover some good modern marches. Although I have not explored regimental marches, I would believe that the British Grenadiers is no doubt a popular universal march. I took a sampling of world marches from various sources including band and symphony concerts. Thus I was provided with a compelling rationale of what can be considered to be a great march.

There is something very special about the march. Real great marches played by bands and orchestras around the world, often offer a challenge for the musicians. Audiences love the melodic and rhythmic nature of the marches. It is summed up in two words: ‘toe tapping.’ The truly great marches written by expert march composers found their way into the concert repertoire and became the substance of performance and parades. The exciting sounds of the march were mostly the work of a group of unknown and nondescript writers who loved March writing. Naturally we know there were exceptions, names that became synonymous with the march such as Sousa and Alford. But for the most part, outside the intimate band circle, names like J. J. Richards, A W Hughes, Karl L King, and Fred Jewell were unknown. Also the European march writers Carl Teike and the great Herman Blankenburg remain in obscurity by anyone other than band musicians. The March music of the Strauss family became the substance of both small and large orchestras and bands. As a testament to marches, the Radetsky march is played on numerous occasions, yet their music was tuneful, harmonically correct and the melodies linger in the minds of audiences around the world. The wonders of the circus are brought to mind with ‘Barnum and Baileys Favorite’ and Julius Fucik’s ‘Entry of the Gladiators.’ Military precision is exemplified in ‘Colonel Bogey’ and ‘Action Front’.

We experience the excitement of the street parade with the marches ‘Military Escort’, ‘E Pluribus Unum’. We are made to feel pride with ‘Stars and Stripes Forever’ and to stand tall with ‘Invercargill’. The late Norman Smith wrote his book “March Music Notes” as a dedication to the hundreds of masterful marches written in the last two centuries. One of the most interesting facets of Smith’s book is a section in which several marches were selected as being the most popular based on input from world contributors.

There is a march for every occasion. Marches for concerts, those that mark the Yuletide season, and marches to celebrate national holidays. There are marches written by Gustav Holst to examine the consciousness of a people because they are folk songs.

For band musicians there is an indescribable attraction to the music of the march. The sound and action bring us to the edge of our chairs: we are carried away on the momentum of flute and clarinet spirals, flashing trumpets, rhythmic undulations of trombones, thundering footsteps of tubas and crashing torrents of percussion. Much of the music of the 20th century has fallen into disfavor, but like a shining beacon the march remains a symbol for many of us in the world who do walk to the beat of our own drum.

Next month we begin a series called The Story of the March

Contributed by Jack Kopstein

Soldier’s Songs and Marches

The lives of soldiers in the armies of the world have often been expressed in song. Cavalry troops often sang on the march. ‘Singers to the Front” would be the shout and the men would form up in three lines while rare songs of every description were heroically voiced. Troopships, particularly of the British Navy were a hotbed of sing-songs with sailors and soldiers joining in and provided instrumental backgrounds with fiddles and concertinas.

The repertoire of the soldiers would consist of songs which they had learned at home; folk melodies, street ballads, sentimental ballads. Many of the songs had a military reference but much of the folksy material was of the common culture.

The songs were frequently written down by officers and bandmasters. One such song is the Speech of Sgt Smith, a Song of the Royal Engineers was written down by a Captain Ward to the tune of Chesapeake and Shannon.

Some regiments encouraged the singing of traditional songs as evidenced by the Somerset Light Infantry with a song called High Germany. In Britain the wealth of folk music spawned the entrance of the Regimental march into the legend of the units which fought in various campaigns., the most famous being the Welch tune Men of Harlech which celebrates the stand by the defenders of Rorke’s drift January 22nd 1879.

Much of the early improvised material gained wide usage. The Battle of Waterloo is one of the oldest songs which trace its ancestry back to men whom actually fought at Waterloo. Many of the authors of the songs cannot be traced but since the songs travelled usually from mouth to mouth, the words were often altered to fit the conditions of service. The American civil war tunes became the battle cry for many troops, on both sides of the war. Men marched into battle, with voices raised singing the songs of war such as Battle Hymn of the Republic and When Johnny Comes Marching Home, or the Confederate song O’ I’m a Good Old Rebel.

In Britain an officer of the Rifle Brigade wrote in 1809 wrote:
“Our men are in very high spirits, and we have a most excellent band of music and thirty bugle-horns, through every country village strikes up the old tune Over the Hills and Far Away.

The songs and marches of the British Army inspired a writer to pen a book called The Romance of the Regimental March and which included a background to several of the marches which had become the official march of British military units.

Very clearly many marches were derived from the music of well-known classical composers, but others were the very simple tunes which gave meaning to the every day life of the soldiers. The Royal family succeeded in contributing marches, the most well known being the Royal Artillery Slow March written by the Duchess of Kent in 1836.

Very often music was written or sung to celebrate battles and wars. In the US the Battle of Trenton was remembered with a tune by the same name in 1792 by a composer named James Hewitt. The official marches of American fighting units became standard fare for early military bands such as March of the First Alabama Volunteer Regiment by John Holloway 1837. Later composers would express themselves with music which fêted US Presidents. Andrew Reinagle an early American composer wrote Jefferson’s March in 1804. Later funeral music for a president became common as evidenced by The President Harrison Funeral march of 1841.

The songs which commemorate both wars and popular figures seem to have been the driving force behind the phenomenon of the rambling soldiers. The Death of General Wolfe at The Heights of Abraham in Quebec 1759 is an example of the longevity of battle songs.

The song Cheer, Boys, Cheer made its appearance around 1854 and contained a phrase which was the proverbial complaint in the British Army in the nineteenth century:

Here come General Howl and Scoff
The head of the hungry army

No soldier song better defines this decade than the hymn Amazing Grace. Every Canadian service person killed in action in Afghanistan has been honored with the bagpipe rendition of the song. It was played over and over to commemorate and remember those killed in New York during 9/11 attack. It has become thematic of police officers killed in the line of duty and Firemen whom have given their lives to save others. The lyrics begin “Amazing Grace, how sweet it is” refer to the reclamation of the soul; it is played more often today to recognize those that served and whom have given their lives to save others or in remembrance. The music and words appear below.

The narratives, songs and ballads have combined over the centuries to present a view of service life through the eyes of its rank and file. It is through this historical contribution that we both understand and praise the sacrifice for those who take up the call of arms.

Musings
By Jack Kopstein

TUNES OF GLORY: Marches of Two World Wars

The twentieth century will be remembered mostly, not for innovations, but the two largest conflicts in world history. The Great War from 1914 to 1918 was to be the “War to End All Wars,” but within 21 years the world again was involved in a terrible clash. The world still is engaged in a horrible conflict. It is, however, music which seems to have the ability to transcend the quarrel. Many marches have been written to memorialize the battles and military units.

The composers seem to be able top represent servicemen and women in not only praise in name but by the irresistible melodies that provide a moving tribute to the spirit of both their service and country.

I will not delve into much background for the marches, but try and list them by composer and in which war they appeared.

The most well known of the famous marches was “Colonel Bogey,” as it was played, whistled and sung throughout both wars and remains to this day one of the world’s most famous marches. Kenneth Alford had a knack of writing great material which has stood the test of time. In 1917, “Voice of the Guns” and the naval marches “On the Quarterdeck” and the “Middy” are but a few of the stirring renditions he composed.

On the other side of the ocean, John Philip Sousa was busy writing a whole host of great marches, and in 1918 added two of the greatest when he wrote “The Field Artillery March” and the march “Solid Men to the Front.”

In Germany and Austria, several marches existed prior to the war, but some of the most popular were the well known “Prussian Glory” by March composer Johann Piefke. The traditional “Parade March #2” was used universally in the German army. Julius Fucik wrote a number of marches. He was a Bohemian (Czech today) who composed the enormously popular “Entry of the Gladiators.” The most popular march, however, was the march by Carl Teike, “Old Comrades,” which remains as one of worlds finest today.

The Second World War marches of Kenneth Alford included two that made their appearance in 1941. “The Army of the Nile,” which quotes Last Post and Lights Out, represents the allied victory in North Africa. The march “Eagle Squadron” quotes the “Star Spangled Banner” and the RAF March Past. The Eagle Squadron was itself formed from a number of American Pilots who joined the RAF prior to the American entry in the war.

Another significant march written for wartime experience is the “British Eighth”. It was dedicated to the British Eight Army in the North African campaign. The American composer Lorenzo Elliot sent the march to General Montgomery who described it is as “a first class march.” One march which perhaps stands out is the march “Arromance” written by Albert Kelley. It is a march which commemorates the D-day Landings. Another march which made its way in the small screen in the highly popular series “Victory at Sea” was the march “Guadalcanal” written for the series by the eminent American Broadway composer Richard Rogers. Kelly also added a great march to the military band repertoire with the march “Arnhem.”

In addition to the fine marches of commemoration there were also two wonderful melodic marches written to honour the veterans.  “The American Legion March” by Charles Parker and the “Royal British Legion March” written by Thomas Bidgood. Bidgood wrote the magnificent “Vimy” march, which has been recorded and re printed several times. It is very interesting to note that there are nine marches titled “The American Legion March” written by various composers as well as Morton Gould’s American Legion Forever. The Royal Canadian Legion of Canada recently adopted a march by distinguished Canadian musician Edwin Barlow of Guelph Ontario.

We are always interested in hearing your comments about your favorite march. Some years ago Norman Smith who wrote several books on March music (March Music Notes) worldwide canvassed several of his correspondents on the world’s most well liked marches. Please let us know your choices!

Paul Lavalle and the Cities Service Band of America

Jack Kopstein

Paul Lavalle

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Paul Lavalle was a conductor, composer, arranger and performer on clarinet and saxophone. He was born Joseph Usifer on September 6, 1908 in Beacon, New York, and died in Harrisonburg, Virginia on June 24, 1997.

Lavalle’s parents were Ralph and Jennie Usifer, both Italian immigrants. Graduating from Beacon High School, he planned to study law at Columbia University. After winning a scholarship there, Lavalle studied music at the Juilliard School and was a student of composition of Joseph Schillinger. He performed in many 1930s bands, including one in Havana, Cuba. In 1933, he became an arranger and clarinetist in the NBC Symphony Orchestra when it was conducted by Arturo Toscanini. His first composition to be performed with this orchestra was Symphonic Rhumba (1939), conducted by Leopold Stokowski on December 6, 1942.

Paul Lavalle has combined an ability in organization with a solid background in music performance, conducting, and composition. As the conductor of the Cities Service Band of America during eight years of weekly broadcasts over NBC Radio, beginning in 1948, his name became known in millions of American homes. With the help of his brother, Michael Usifer, conductor of the town band, he learned the fundamentals of most of the instruments, but preferred to perform on clarinet and saxophone. After graduating from Beacon High School, he began majoring in law at Columbia University, but upon winning a scholarship to the Juilliard School of Music during his freshman year, he abandoned law for music. After leaving Juilliard he performed with a band in Havana, Cuba, followed by a series of concerts with the NBC Symphony, conducted by Arturo Toscanini. In addition to the famous Band of America–selected as the official band of the 1964-65 New York World’s Fair–Lavalle founded the Chamber Music Society of Lower Basin Street, the Stradivari Orchestra, and the NBC Highways of Melody Orchestra. In 1966, he organized the McDonald All-American High School Band. In 1968, he became director of music for the Radio City Music Hall Orchestra, and in 1981 he began conducting the Wilton, Connecticut, Chamber Orchestra. Throughout much of his career, he guest¬conducted school and professional orchestras and bands in various sections of the United States.

Recipient of a number of honors and awards, Lavalle’s showy and energetic style of conducting won the approval of most audiences–as well as the criticism of a few more conservative conductors. Living in Wilton, Connecticut, for many years, Lavalle, learned to counteract a busy schedule in New York and elsewhere with hobbies, including gardening and golf.

Lavalle wrote a variety of musical works for band and orchestra, and several scores which he composed while driving into New York City each day. In addition to tone poems,  instrumental concertos and features, and symphonic arrangements, he  composed  a number of marches. All-American High School Band, Ballyhoo, Band of America, and Good Fellowship are listed in the 1982 Band Music Guide. Other marches included: Be Prepared (for the Boy Scouts); The Big Brass Band; Big Joe the Tuba; Boys Club of America; Bugle Calls A-Plenty; Dwight D. Eisenhower (built on the notes D-D-E we featured during the 1952 presidential campaign); The Merrymakers; and United Press.

Paul Lavalle applied for the conductor’s position of the Cities Service Band of America in 1948, and he won out over a number of other highly qualified applicants, including  Frank Simon, conductor of the well-known ARMCO Band in the 1920′s . Every Monday night for the next eight years, millions of Americans heard the introduction over NBC Radio begin with: “Forty-eight states . . . forty-eight stars …forty-eight men marching down the main street of everybody’s hometown! Here comes Cities Service Band of America, conducted by Paul Lavalle!” During the series of over 400 entertaining and stimulating broadcasts, this professional band entertained a vast radio audience, produced a number of record albums for RCA, and served as a beacon for school bands across the United States. He became instantly recognized and newspapers across America, including the Appleton Wisconsin Crescent,  suggested that “Maestro Paul Lavalle Walks in the Shoes of Sousa.”He became the inspiration for young band musicians across the USA and Canada. He travelled extensively performing and his recordings were snatched up immediately when they were released.

Lavalle worked on numerous radio programs, including The Dinah Shore Show (1939-40), The Chamber Music Society of Lower Basin Street (1940-44), Plays for Americans (1942) and Highway of Melody with the Band of America (1944-56). On his radio shows he collaborated with Victor Borge, Mario Lanza, Robert Merrill and Dinah Shore. In November 1944, his jazz composition “Always” made it to number 29 on the top 40 charts. In 1940, The New York Times described him as “NBC’s ubiquitous music maker” and said he was “of small size, dynamic, dark haired…” Lavalle told the reporter, “Music is my life, and I am happy that it is so.”
In 1949, Lavalle and the band became one of the first musical groups to appear weekly on television. Beginning in 1964, the Band of America toured extensively and also became the official band of the 1964 New York World’s Fair, an engagement that lasted into 1965.

Lavalle guest conducted many orchestras, including the ABC Symphony, CBS Symphony, NBC Symphony Orchestra, New York Philharmonic and Rochester Philharmonic Orchestra. In 1967, he was instrumental in forming the 100-member All-American High School Band (by 1968 known as McDonald’s All-American High School Band) which participated in the Macy’s Thanksgiving Day Parade and Tournament of Roses Parade.

Actress Muriel Angelus met Paul Lavalle while she was performing on the radio, and they married in 1946. She retired from acting to raise a family. They maintained an apartment in Manhattan and a Colonial home in Connecticut. Their daughter Suzanne Lavalle Bothamley was an NBC reporter and became a realtor for Coldwell Banker Funkhouse. Paul Lavalle died June 24, 1997 in Harrisonburg, Virginia at the Rockingham Memorial Hospital

•     Paul Lavalle’s compositions

•    Band of America March (1949)
•    Big Joe, The Tuba March (1950)
•    Boys’ Clubs of America (Marching Song) (1948)
•    Dwight D. Eisenhower March (built on the notes D-D-E; the official theme of the 1952 campaign)
•    The United Press March (1952, composed for United Press International)
•    United States Overture (1951)
•    (Information from Paul Bierley, The Instrumentalist, Marquis Who’s Who., and The New York Time )and Appleton Wisconsin Post Crescent, The Beckley Post Herald W Va)and Wikipedia,Encyclopedia

If you were influenced by the Lavalle broadcasts please feel to blog, we would love to hear from you.

Musings

By Jack Kopstein

United States Navy Band Celebrate 84 years 1925-2009

Lt Charles Benter, Founder

L t Charles Benter certainly must take his place as one of the pioneers of military music in the United States. Whereas many military band leaders succeeded to the leadership of well-known military musical ensembles steeped in tradition, he founded his own organization, brought it to a state of perfection and remained as the leader of the Navy band from 1919 to his retirement in 1942. He was Born in New York, New York in 1887 and died in Washington, D.C in 1964

In addition to founding the US Navy band, he was the organizer of the U.S. Navy School of Music, and the first U.S. Navy bandmaster to attain officer rank. He was commissioned a lieutenant by an act of Congress in 1925. When he retired from the Navy in 1942, after thirty-seven years of service, he conducted the Metropolitan Police Band in Washington, D.C., for another twenty years, and then worked for a public relations firm until his death two years later.

Benter was educated in the public schools of New York City. He received an honorary doctorate from Columbia University in 1929. He joined the Navy as an apprentice musician in 1905, playing saxophone and bassoon, and he became a bandmaster at the age of nineteen. He even directed bands on a number of navy ships, including the gunboat Paducah, battleship Rhode Island, flagship Connecticut, and the USS Henderson. He was aboard the latter ship with a band of thirty-five musicians who accompanied President Harding on a voyage to Alaska in 1923, a short time before the President’s death. Knowledgeable in political matters, Benter was successful in having the band’s authorized membership increased to seventy-five men in 1924. Under his direction, the Navy Band became famous through its tours and many radio broadcasts (beginning in 1927). Benter organized the Navy School of Music in 1935 and later formed the Navy Band Orchestra. He received several military awards for service in Cuba and Vera Cruz during World War I, was a charter member of the American Bandmasters Association, and was also an active member of the American Society of Composers, Authors, and Publishers.

Benter is credited with a number of compositions. Many are associated with the Navy including All Hands March and Our Navy March. Although Benter had a reputation for severity with his subordinates, his accomplishment in bettering the conditions for military musicians is widely acknowledged. He brought the US Navy band into the main stream of military music in the United States with broadcasts both on the Columbia and National Broadcasting systems. He instituted coast wide tours through the U.S.  in 1925. Lieutenant Benter was a great friend, admirer, and disciple of John Philip Sousa. The two men had much in common. During World War 1 Sousa had been the director of the Great Lakes Navy band in Chicago. This large and very effective band had an impact on Benter being assigned the job of forming a similar size band in Washington in 1919. The task for Benter was to create a full time band worthy of upholding the traditions of the Navy and would rank second to none in the world. His legacy in developing the Navy band into a first class military music ensemble capable of playing in several different mediums has withstood the test of time.

Highlights during LT Benter’s tenure: 1925-1942
—–    leads 75-member Navy Band to become a presidential favorite
—–    frequently featured on NBC’s “Hour of Memories” broadcast
1925    (Mar. 4) President Calvin Coolidge signs bill establishing the United States Navy Band and approving national tours
1927    welcomes home Col. Charles Lindbergh following his historic transatlantic flight
1929    performs for Rear Adm. Richard Byrd’s homecoming after his South Pole flight
1932    (Feb.) John Philip Sousa makes his last appearance with a major band when he guest conducts the Navy Band for the bicentennial
of George Washington’s birth
1940    American Bandmasters Association recognizes the Navy Band as “The World’s Finest”