PICCOLOMelissa Bosse

FLUTES Lindsey Childress Rebecca DyeAlexis GreenAnne KaneMichelle Livengood Meredith McClungMandy Meeks Julie Schoppa

OBOES Susan Keappock Elizabeth Wilson

CLARINETSCrystal Coe Micah HerringtonLindsey ToddMelissa Travis Patrick Walko Jocylin WilliamsNicole RippoleStephen Yin

BASS CLARINETMatthew Hicks

BASSOONS Stacie Howard Robin Maltsberger

SAXOPHONES Matt CheshierLisa Goff Caroline Ruuggles Cynthia Walton

TRUMPETS Christina AdcockBrett BuurgerLuke Gorney Kail GrahamAmanda Haney Jack Hornbuckle David Luna Travis MosemanBenjamin ReddShailen SinghLarissa Travis Jason Vendel

FRENCH HORNSKeith Anthis Tracy Cox Addie EmbreyAnne Hargrove Rebecca Heinemann Stephanie MichaelChris Moran Hong SengKristin Witte

TROMBONESChris BarrowJerome CaguioaJames FurrAndrew LannonCasey LoringJason SvatekJohn TroyRobert WallaceJason WillcoxRyan Zeitler

EUPHONIUMTracy AllenMark GandinAaron KnapeTroy MansellPhillip Zweifel

TUBANicholas BairdJudd BristoThomas GarnerEddie MajerczykAngelo Podagrosi

PERCUSSIONAnthony GarzaMichael GorneyLanny HayesJared HusemanRebecca MitchellPeter NorrisNicholas Stell

Texas A&M University

Concert BandPICCOLOAngela Sturm

FLUTES Christine FrenchJamilla HolomanHanna Kenas Kensley Jones(*)

Julie Ann Storm

OBOES Stephanie Bell Cara Stephens

CLARINETS Jennifer AtkinsonSteve Beinke Chris Cooley (*)

Victoria Dobiyanski Molley Dodd Lindsey Fuller Sarah McBeeSarah McDonald Kathryn VickeryArmando Villarreal

BASS CLARINETS Daniel Anderson, III John Shaffer

BASSOONSMeredith CappsGenevieve Connors(*)

SAXOPOHONESCarson Higgs(*)

Shayom Ortiz Brian Payne Lance Richards Philip Sterling

TRUMPETS Paul Coppinger(*)

Michael DanbyMatt Dunne Heather Garrett Daniel Moran Josh Puda Brent Selzer Tracy TombariElizabeth Wolf

FRENCH HORNSScott Buford Douglas CoppingerRebekah DeatonJana GrabbeTeresa LynchAdam NaborsThomas RobertsNathan RogersWendi Statzer(*)

(*)Principal Players

TROMBONESAndy GilbertJason GriffinSteve HelmMike MaginnessChris MiglRussell MuellerNathan NicholsEric QuiatJeff Whiting(*)

Emily Yendell

EUPHONIUMSteven CuffleAndrew Whitley (*)

TUBASJames Garza(*)

Joe HarmonJohn SlackCarl Weaver

PERCUSSIONBrian BakerNick BunchRobert Lee DicusC.W. FaulknerJason Heiser(*)

Jeff NelsonJill OlsonKristofer Schoeffler

Texas A&M University Symphonic Band

FOR MORE INFORMATION

Texas A&M University BandsE.V. Adams Band Building • College Station, TX 77843-3153Phone (409) 845-3529 • FAX (409) 845-4733E-mail: trhea@tamu.edu

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The Texas A&M UniversitySymphonic Band is conducted by Dr. Timothy B. Rhea. In addition toserving as conductor of the concertensembles in the Texas A&M Universityband department, Rhea is associatedirector of the nationally famous"Fightin’ Texas Aggie Band." He alsoserves as composer and arranger for allthe ensembles within the TAMU BandDepartment. Rhea came to Texas A&MUniversity in 1993 at which time he wasnamed co-conductor of the SymphonicBand. He was named conductor of theensemble in 1996. He formed theUniversity Concert Band during the1995-96 academic year.

Rhea is a graduate of DeKalb, TXHigh School and grew up in the musicprograms of the Texas public schools.He earned the Bachelor of MusicEducation with honors from the

University of Arkansas where he was aprivate conducting student of Eldon A.Janzen. He earned the Master ofMusic in Wind Conducting from TexasTech University where he studied withthe late James Sudduth. During histime at Tech, he served as assistant con-ductor of the University SymphonicBand and graduate assistant directorand arranger to the 400-member TexasTech University Marching Band, wherehe worked with Keith Bearden. Rheaearned the Doctor of Musical Arts inWind Conducting and Compositionfrom the University of Houston in Mayof 1999. At the July 1999 convention ofthe Texas Bandmasters Association, Dr.Rhea was awarded the OutstandingYoung Bandmaster of the Year for thestate of Texas.

This current release marks thefourth compact disc on which Dr.Rhea has served as conductor of thesymphonic band. During his tenure atTexas A&M, Rhea has conducted theband for conventions of the TexasMusic Educators Association (twice),the American Bandmasters Association,and the College Band DirectorsNational Association, in settings suchas the Meyerson Symphony Center ofDallas and the Wortham Center ofHouston, as well as on tours that havetaken the band throughout the state ofTexas. In the spring of 1999, Rhea con-ducted the band in a series of concertsin Europe, with performances in bothIreland and England. The spring of2001 will find the band returning to

Europe for a concert tour of Germanyand Austria.

In addition to conducting, Rheamaintains a very successful career as anarranger and composer. For over tenyears, he has maintained an extremelyactive schedule as an arranger for bothuniversity and public school marchingbands. As a composer, various commis-sions have resulted in performances forthe Texas Music Educators Association,the Texas Bandmasters Association, theCollege Band Directors Association, theCotton Bowl, and the Tournament ofRoses Parade. His works are publishedwith TRN Music Publisher, RBCMusic Publisher, and Arranger’sPublishing Company.

Rhea maintains an extremely activeschedule as conductor, clinician, andadjudicator. He holds memberships inTexas Music Educators Association,Texas Bandmasters Association, CollegeBand Directors National Association,Big 12 Band Directors Association,National Band Association, WorldAssociation of Symphonic Bands &Wind Ensembles, American Society ofComposers, Authors, & Publishers, PhiMu Alpha, Phi Kappa Phi, Pi KappaLambda, Kappa Delta Pi, and is anhonorary member of Kappa Kappa Psi.

TRADITION Legacy of the March

Texas A&M University BandsDr. Timothy Rhea, Conductor

Volume IITo be released February 2001

Action Front (Blankenburg), Battle of the Winds (Duble),BB & CF (Ord Hume), Colossus of Columbia

(Alexander), Emblem of Freedom (King), Gentry’sTriumphal (Jewell), Gloria (Losey), Great Little Army(Alford), Hail Miami (Richards), Mystic Call (King),

Northwind (Chambers), Porter’s Catalina Band(McCaughey), Royal Decree (English). Trafalgar (Zehle),

Trooper’s Tribunal (Fillmore), Columbian (King),Gippsland (Lithgow), Mighty Mite (Mesang), Parade of

the Champions (Yoder), Royal Bridesmaid (Casto)

Volume IIITo be released February 2002

Army & Marine (Zehle), Boys of the Old Brigade(Chambers), Circus King (Duble) DR III’s Honnormarsj

(Mostad), Eagle Squadron (Alford), Garland Entrée(King), Gladiator’s Farewell (Blankenburg), Olympia

Hippodrome (Alexander), Port Arthur (Seitz), Screamer(Jewell), Tripoli Temple (Barnhouse), Viking (King),Wings of Victory (Ventre), With Sword and Lance(Starke), Woody Van’s (King), Combination March

(Joplin), Die Ehrenwache (Lenhardt), Henderson Field(King), Sounds of Peace (von Blon), Zacatecas (Codina)

Conductor & Executive ProducerDr. Timothy B. Rhea

ProducerLt. Colonel Ray E. Toler

Associate ProducersJohn "Pete" Kunkel • Waymon Bullock

Recording EngineerMark J. Morette

EditingDavid St. Onge • Timothy Rhea

Graphic DesignMarkArt Laura A Grote-Salamone

Recorded November 15-18, 1999at the A&M United Methodist Church

College Station, TexasDirector of Music Mike Lightfoot

ABOUT THE CONDUCTORABOUT THE CONDUCTOR CREDITSCREDITS

FUTURE RELEASESFUTURE RELEASES

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Legacy of the March, through RBC Music Publications ofSan Antonio. All of the copyrighted works were performedfrom the original printed parts to which I added my owndynamic and articulation changes. My thanks to TomRhodes for his assistance and encouragement in the publi-cation portion of this project.

Each of the twenty marches on this recording wererecorded in November of 1999 by the Texas A&MUniversity Symphonic and Concert Bands. The marcheswere passed out near the beginning of the fall semester andwere simply used as warm-up pieces at the beginning ofour regular band rehearsals. Both bands still performedtheir normal literature for the fall semester and took onthis march project in addition to their regular concerts.One full rehearsal was given to these marches the finalmeeting before the recording session. Above all else, mythanks go to the fine student musicians who play in mybands. They do it for all the right reasons --- to continuetheir love of music by electing to participate in our instru-mental ensembles here at Texas A&M. They receive noscholarship monies of any type for their participation inthese ensembles. I feel very lucky to be associated with theoutstanding individuals.

This march project was greatly aided by the assistanceof several people. First, Ray Toler, Director of Bands atTexas A&M and my great friend -- Ray served as pro-ducer on this project, running the recording sessions andmaking them a positive experience for all involved. Mythanks to Ray for all he does for me and all of our bandorganizations. Mark Morette was our recording engineer.Mark is one of the top persons in the band recording busi-ness and all of us here at Texas A&M are extremely great-ful for the important relationship that we enjoy with him

and Mark Custom Recording. Finally, my thanks to PeteKunkel and Waymon Bullock. Pete and Waymon weretwo of those famous East Texas band directors I knew frommy high school career, and I will never forget the first timeI saw the Pete’s Longview High School Band andWaymon’s Lufkin High School Band – I was in the ninthgrade and had never seen two more thrilling marchingbands in my life! They are both giants in the band pro-fession and each has a particular understanding of themarch. I was delighted when they agreed to come toCollege Station and assist us in the recording of thesepieces. Their participation in this project so added a newdimension to this music. It is a great time in your careerwhen you can work with those persons whom you haveadmired for so long. Thanks so much Pete and Waymon.

I hope that you enjoy the marches on this recordingand will look forward to later releases in our series.

The Texas A&M UniversitySymphonic & Concert Bands differfrom the band programs of most majoruniversities in the fact that theseensembles contain no music majorsand rehearse only three hours per weekduring both the fall and spring acade-mic semesters. Auditions are open toall students on the Texas A&MUniversity campus, which currently hasan enrollment of 43,000 students. Themajor goal of these ensembles is to givestudents a pause from their academicroutine by allowing them to jointogether in a highly sophisticatedmusical environment.

Despite the fact that these groupscontain no music majors, both ensem-bles attract players of extremely highquality and strive to program the bestin both traditional and contemporarywind band literature. In recent years,the symphonic band has performedconcerts for the memberships of theTexas Music Educators Association, theAmerican Bandmasters Association,

and the College Band DirectorsNational Association. As well, the sym-phonic band regularly tours during thespring semester and recent perfor-mances have included the Morton H.Meyerson Symphony Center in Dallasand both the Wortham Center andMusic Hall in Houston. The symphon-ic band made their first tour to Europein the Spring of 1999 and will returnin 2001.

The Symphonic Band was foundedin 1973 and the Concert Band wasbegun during the 1995-96 academicyear in response to the overwhelmingstudent interest in the instrumentalconcert ensembles. The 2000-2001academic year will include the forma-tion of a third concert band at the uni-versity. Past conductors of the concertbands at Texas A&M have included JoeT. Haney, Joe T. McMullen, Bill J.Dean, Ray E. Toler, as well as presentconductor Timothy B. Rhea.

Today’s instrumental music pro-gram at Texas A&M University is

under the guidance of Director ofBands, Lt. Colonel Ray E. Toler.Colonel Toler serves as director of the400 member nationally famous"Fightin’ Texas Aggie Band." ColonelToler is assisted in this roll by Lt.Colonel Jay O. Brewer, who in additionto serving as Associate Director of theAggie Band, also serves as director ofthe Aggieland Dance Orchestra. Mrs.Dorothy Hopkins serves as administra-tive assistant for the band departmentand in addition to her many manageri-al duties, coordinates travel and logis-tics for all of the university bands. Dr.Timothy Rhea is conductor of boththe University Symphonic and ConcertBands and is also involved as an asso-ciate director of the Texas Aggie Band.

ABOUT THETEXAS A&M UNIVERSITY BANDSTEXAS A&M UNIVERSITY BANDS

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fares, woodwind obligatos, and the low brass breakstrain. A great musical vehicle, this march featuresbrass pyramids, accented off beats in the break strain,and the final phrase demands a high Eb from the SoloCornet players. It is truly a great march.

TEXAS A&M UNIVERSITY BANDSLegacy of the March, Volume I

My high school years were spent in East Texas duringthe 1980’s. During this time, I came to love and appre-ciate the great traditional march literature that was pro-grammed so often by the high school bands in that par-ticular part of our state. From my high school years tothe present, I have purchased every great march that Icould find for addition to my own personal musiclibrary. In my position at Texas A&M University, I havehad the chance to program many great marches with myUniversity Symphonic and Concert Bands, as well as the"Fightin’ Texas Aggie Band." The great performance ofthis traditional march literature teaches so many musicalconcepts which may be applied to the many other types ofliterature that we program here with our bands. Aswell, our audiences always show great response to ourprogramming of marches.

It is my hope to record many of the older marchesthat are not well known, nor released on prior compactdiscs. Our series, utilizing both the Texas A&MUniversity Symphonic and Concert Bands, will produceone recording each fall semester in a series titled:Tradition – Legacy of the March. Since many of theseold marches contain certain problems in instrumentation and trans-position, as well as lack of uniformity in dynamic andarticulation markings, I have taken the marches that arein public domain and edited them for my bands. Noneof the original notes were changed (although a few clar-inet parts were revoiced from the higher octave scoring),a full score was produced, and all dynamics and articu-lations were unified across the score. All of these publicdomain editions will be released in a series also titled

ACKNOWLEDGEMENTSprogramnotes

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1 Golden Bear (1948) Joseph John RichardsJoseph John Richards was born in Cwmavon, Wales,in 1878. He died in Long Beach, California in 1956.Richard’s musical career included directing circusbands, teaching public school music, and conductingvarious municipal bands. Following the 1945 death ofHerbert L. Clarke, Richard’s was selected to succeedClarke as conductor of the Long Beach, California,Municipal Band. Golden Bear March brings to mindmany of the remembrances one might associate withthe circus. Influences from Richard’s circus experi-ences are clearly present in this march. Written in 6/8meter, this march contains wonderful dynamic con-trasts, modulations, and varying orchestration. It iswritten in the keys of F and Bb major.

2 H. M. Jollies (1929) Kenneth J. AlfordKenneth J. Alford (1881-1954) was a pseudonym forFrederick Joseph Ricketts. Alford’s eighteen marchesare among some of the most musical works in themarch idiom. Alford has been called the March Kingof England in much the same fashion as Sousa isreferred to as the March King of America. Alford’smarches are characterized by great contrasts betweenfull ensemble and more lightly scored passages, won-derful countermelodies, and contain an overall trulyBritish quality. H.M. Jollies was written by Alford ina salute to the three divisions of the Royal MarineCorps -- an organization which he has joined twoyears earlier. The march contains segments of variousnautical themes. The top half of the march, scored inF major, is in cut time. The trio of the march shifts to6/8 meter and is in the tonal centers of both Bbminor and Db major.

3 Trombone Section (1920) W. Paris ChambersWilliam Paris Chambers was a cornet player and con-ductor. He also spent time as a representative andmanager for the C.G. Conn store. Chamber’s compo-sitional output included cornet solos as well as a num-ber of fine marches. The title of his march TheTrombone Section is rather misleading, for it is notthe trombones that have the most technical parts, butrather the trumpets and upper woodwinds. Written inthe keys of F and Bb major, this march makes a greatconcert opener. A bold and technical fanfare is fol-lowed by a more relaxed, yet still very technical firststrain, which is in turn followed by a very driving sec-ond strain. The trio features a great obligato scored infirst trumpet and woodwinds, while the trombonescarrying the melodic material. This march is chal-lenging in terms of technical difficulty.

4 American Legion (1920) Charles ParkerCharles Parker was a band director, a composer, andan instrument salesman with a style similar toMeredith Wilson’s "Music Man." American LegionMarch is Parker’s only known published work. Thismarch is dedicated to the American Legion, an organi-zation of American veterans, which was incorporatedby Act of Congress in 1919. The style and scoring ofthis very playable march denote a composer with con-siderable writing experience, hardly a "one-march"composer.

5 Neddermeyer Triumphal (1911) Karl L. KingKarl Lawrence King was born in Paintersville, Ohio in1891 and died in Fort Dodge, Iowa in 1971. Thebeginning of his musical career was as a euphonium

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16 Hostrauser’s (1896) W. Paris ChambersChambers wrote this march in 1896, dedicating it tohis friend J.F. Hostrauser. A number of his composi-tions from around the turn of the century were namedafter people – some famous and others less wellknown. Set in 6/8 meter, this march is much moredifficult than it first appears. The first strain featureslow brass melodic materials which extend upward tohigh Ab. The second strain ends with an articulatedchromatic scale in which players across the entire bandmust match note length and style. A drum interludeleads to the trio which features a technically difficultcountermelody in euphonium, as well as several articu-lated figures for the trumpets. The march is set in thetonal centers of F minor, Ab major, and Db major.

17 Bennet’s Triumphal (1925) Melvin H. RibbleMelvin H. Ribble was born in 1870 and died in 1964.A cornetist, he moved to Chicago in 1898, where hehas a staff arranger for Harry Alford’s company whichmade custom arrangements. While in Chicago, healso composed and arranged for the Victor MusicCompany and its associated companies. He moved toLincoln, Nebraska in 1931 and established his ownarranging business, remaining there until his death.Bennet’s Triumphal March was written during Ribble’sChicago days with the Victor Music Company. Thisdifficult march is driving and active in both energyand excitement, and is typical of a standard circusmarch. It is written in the keys Ab and Db major andhas challenging parts for all players.

18 March Ponderoso (1910) Karl L. KingMarch Ponderoso is representative of a Karl Kingmarch at a higher level of difficulty. This march isscored in the keys of Eb and Ab major. The introduc-tion is an immediate test of the technique of the lowbrass players. The first strain contains clarinet parts

written in the top register of the instrument (whichmay be played down an octave) as well as wonderfuleuphonium countermelodies. The trio is an idealvehicle for showcasing the melodic capabilities of theeuphonium and clarinet sections. The break strain,from the standpoint of technique, represents one ofgreat difficulty for all players. A sweeping scale pas-sage in both euphonium and French horns leads theband into the final driving strain. March Ponderoso isdedicated to Mr. Otto Bohlen, Clarinetist, Canton,Ohio.

19 Independentia (1895) Robert B. HallRobert B. Hall was faced with the difficulties associat-ed with a lifetime of poor health, the early death of hisfather, and an unfortunate marriage. Nevertheless, hebecame a virtuoso cornet player, an outstanding band-master, and a composer of an amazing number ofconsistently excellent marches. Independentia wascomposed for the typical community bands in New England around the turn ofthe century. Hall’s marches are gems of simplicity andunderstatement, composed of flowing melodies andcountermelodies, contrasting dynamics, and an occa-sion element of surprise. This march is in the keys ofEb and Ab major.

20 Our United States (1949) Frank VentreFrank Ventre (1895-1966) was music supervisor of theRoxy Theatre in New York City, the Holiday on Iceshows, and various industrial shows. He was also chiefarranger for the Cities Service Band of America andPaul Lavalle’s 1964 World’s Fair Band. Our UnitedStates March is representative of a march at the highestdegree of difficulty. Every section of the band is givena part that is challenging both technically and musi-cally. Scored in the keys of Ab and Db major, themarch requires great technique in the trumpet fan- five

player and conductor with various circus bands. In1917, he became bandmaster with Barnum and Bailey’s"Greatest Show on Earth." Beginning in 1920, Kingbegan directing the Fort Dodge, Iowa MunicipalBand, a position he held for the next fifty-one years.King also operated his own publishing company inFort Dodge. He composed nearly 300 works, includ-ing 188 marches. Many of his first compositions werewritten for the circus and although his later composi-tions were composed for purposes not associated withcircus life, they retained the excitement and contrastfound in his music for the big top. The marches ofKing are usually performed at a quick tempo.Neddermeyer Triumphal March was dedicated toKing’s friend Fred Neddermeyer and the NeddermeyerConcert Band of Columbus, Ohio. This march fea-tures a technically difficult break strain as well asplenty of dynamic contrasts. The keys are Bb and Eb major.

6 Chicago World’s Fair (1933) Carl MaderCarl Mader was born in 1885 in Munich, Germany.He came to the United States, settling in Chicago in1900. In addition to being bandmaster of the ChicagoPost Office Band, he also led the Winfield Scott PostJunior Band of Forest Park, and the orchestra of theOld Forest Theatre. In addition to his music, Maderwas active in veterans’ and fraternal organizations. Hedied in 1952. His march, Chicago World’s Fair, is dedi-cated to the 1933 exposition. The upper half of thismarch features the lower brass, while the trio of themarch is procession-like in quality. The keys of themarch are g minor and Eb major. This march is ofmedium difficulty.

7 Radio Waves (1922) Fred JewellFred Jewell was a euphonium and cornet player, com-poser, and conductor. Like many other march com-

posers of his era, Jewell was an active circus musician.Following his circus days, he remained active as a con-ductor by directing both professional and amateurbands and orchestras. Although Jewell did not receivemany honors during his lifetime, he was a friend ofSousa and was a member of the elite AmericanBandmasters Association. As a composer, Jewell’s output included 130 bandworks. This turnout included 100-plus marches.Radio Waves is a great march that immediately evokesan image of the big top. With challenging parts for allplayers, this march is a great way to end a concert.The march is in the keys of Eb and Ab major.

8 The Courier Journal (1961) Robert GriffithRobert Griffith was born in 1914 in Washington, D.C.He studied at the University of Kentucky and taughtin the public schools of Louisville from 1937-1961. Hewas on the faculty of the University of Louisville from1961-1968 and played French horn in the LouisvilleOrhcestra. Courier Journal is a march of medium dif-ficulty that is an ideal vehicle for concert performance.The march contains well written euphonium counter-melodies, a second strain that features the lower brass,and a trio which allows the French horns to be fea-tured on the melodic material – a rare occurrencewhen one thinks of a traditional march. The march inthe keys of Bb and Eb major.

9 University of North Dakota (1935) Karl KingKarl King’s output of compositions included marchesof all difficulty levels. The University of NorthDakota is a great King march at the medium level ofdifficulty. This march, written in the keys of Eb andAb major, features wonderful countermelodies in theeuphoniums, good dynamic contrasts, and veryplayable parts for all performers – particularly the

13 Drum Major (1936) John S. TaylorJohn S. Taylor was the youngest in a family of musical-ly-gifted children. Eager to learn to play a bandinstrument, he became a cymbal player in his home-town band. He gradually learned to play various windinstruments and eventually became solo cornet playerin the band. Later, he studied music at OberlinCollege in Ohio. He became band director atMichigan Agricultural College (now Michigan StateUniversity) in the fall of 1919 and remained in thatposition until his retirement in 1928. The DrumMajor March is a excellent march at the medium

grade of difficulty, The march features writing whichwill challenge the woodwind players, but the brassparts are most playable. The march is written in thekeys of Eb and Ab major. The euphonium part in thesecond strain is the most challenging technical part ofthe march and could possibly be done as a solo.

14 Our Gallant Infantry (1955)

Austyn R. Edwards

As with many other march composers of his era, AustynEdwards musical career began with the circus.Following circus days, he moved to Chicago and stud-ied cornet with Hale VanderCook. Edwards playedwith many professional groups before moving to Indiana where we became instructor of brassinstruments at Valparaiso University. He ended hiscareer by teaching in the schools of north-centralIllinois. Edwards composed 55 marches, among whichOur Gallant Infantry is one of the better known.Written in the keys of Eb and Ab major, this marchprovides many challenges for performers. Rapid tech-nique and tonguing is required of all players. The top

half of the march proves to be more dif-ficult than the trio. The break strain alsocreates challenges with a number of acci-dentals and a question and answer feelbetween the upper and lower sounds ofthe band. This march lends itself tomany musical opportunities.

15 Kiefer’s Special (1921) William

H. KieferWilliam H. Kiefer was born in thesouthwest Indiana town of Washingtonin 1872. Although Kiefer was mainlyinvolved in public service, he directedthe Washington Band for twenty years

in order to satisfy his love for music. His most popu-lar march, Kiefer’s Special, was published in 1921, theyear after his death. Kiefer’s Special is a very playableall-purpose march. Depending on tempo, the marchmay used to accompany a circus routine, move troopsfrom one location to another, enliven a football half-time show, or entertain a concert audience. Themarch is in the keys of F and Bb major.

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woodwind obligatos in the final strain. The march isdedicated to Professor John Howard and theUniversity of North Dakota Band.

10 Our Glorious Emblem (1935)Joseph DeLuca

Joseph DeLuca was born in Rome in1890. He achieved great success inItaly as a conductor and brass instru-ment soloist. DeLuca came to theUnited States and in 1920 toured aseuphonium soloist with the band ofGiuseppe Creatore. From 1921 to 1928he was a soloist with Sousa’s band. In1928 he was appointed band director atthe University of Arizona, a position heheld until his death in 1935. DeLucareportedly composed more that 125works, including a number of solos andmarches. According to copyright andpublishing data, this march was proba-bly composed during the later period of DeLuca’s life.Written in the keys of Eb and Ab major, this march isdifficult for brass players due to range requirementsand the length of the composition – almost three andone-half minutes! The trio is processional in natureand the break strain contains quotes from famousAmerican tunes. The woodwind obligato followingthe break strain is quite difficult. This march con-tains many great opportunities for dynamic contrasts.

11 Queen City (1958) W. H. BoornBand historians have been unable to learn much aboutW. Hakon Boorn except that he lived in Detroit,Michigan, at the time that he composed his QueenCity March. There are several cities in the UnitedStates known as "Queen Cities." Boorn apparentlywas never a resident of Cincinnati, Ohio, one of the"Queen Cities" and location of the Fillmore Brothers,

publisher of his march. Queen City March is repre-sentative of one of the very high quality marches at thelower level of difficulty. Written in the keys of Eb and

Ab major, the march offers few technical challenges tothe performers. However, it is a great march andremains very popular with many band programs, par-ticularly in East Texas.

12 St. Julian (1918) Arthur W. HughesArthur Hughes learned most of his arranging andcomposing techniques while touring with circusbands. St. Julian March has the outward features ofthe standard early twentieth-century marches, but isalso has novel features. These features include gracenotes in the minor key strain after the introductionand several quick modulations in the break strain ofthe trio. It is believed that the title refers to the townnear the Belgian-French border that was the scene ofseveral important World War I battles. This march inif the keys of F minor, Ab major, and Db Major. seven

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3203-MCD 1 Golden Bear (1948) Joseph John Richards 3:02

2 H.M. Jollies (1929) Kenneth J. Alford 2:283 Trombone Section (1920) W. Paris Chambers 2:304 American Legion (1920) Charles Parker 2:135 Neddermeyer Triumphal (1911) Karl L. King 2:436 Chicago World’s Fair (1933) Carl Mader 2:207 Radio Waves (1922) Fred Jewell 2:17

8 The Courier Journal (1961) Robert Griffith 2:39

9 University of North Dakota (1935) Karl L. King 2:20

10 Our Glorious Emblem (1935) Joseph DeLuca 3:25

11 Queen City (1958) W.H. Boorn 2:24

12 St. Julian (1918) Arthur W. Hughes 2:24

13 Drum Major (1936) John S. Taylor 2:53

14 Our Gallant Infantry (1955) Austyn R. Edwards 2:26

15 Kiefer’s Special (1921) William H. Kiefer 2:28

16 Hostrauser’s (1896) W. Paris Chambers 2:20

17 Bennet’s Triumphal (1925) Melvin H. Ribble 2:19

18 March Ponderoso (1910) Karl L. King 2:44

19 Independentia (1895) Robert B. Hall 2:20

20 Our United States (1949) Frank Ventre 2:29

THE UNIVERSITY SYMPHONIC BANDTHE UNIVERSITY SYMPHONIC BAND

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3203-MCD

THE UNIVERSITY CONCERT BANDTHE UNIVERSITY CONCERT BAND

THE UNIVERSITY SYMPHONIC BANDTHE UNIVERSITY SYMPHONIC BAND

10815 Bodine Road • Clarence, New York 14031

ph: 716-759-2600 • fx: 716-759-2329 • www.markcustom.com

Legacy

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March

Volume I

Texas

A&M

University

Bands

Fall 1999

Timothy

Rhea

Conductor