Rhythm

The element of music that shows the movement is called Rhythm. Without rhythm, the melody would not
exist.
Most marches are written in a duple meter (or 2). This means they have two beats per measure and a
quarter note gets the beat. In 6/8, there are six beats per measure and the eighth note gets the beat. This
meter or time signature has a feel of two. The March identifies the band marching in a parade. Left –
Right, Left – Right, for marching. How fast or slow a typical march is played is determined by a tempo
marking. This dictates how many beats per minute. Tempo markings will vary from composer to composer.
John Philip Sousa wanted his marches played around 120 beats per minute for instance. Most European
composers preferred slower tempos around 100 beats per minute.
Harmony

Two or more notes or pitches played at the same time is the element in music called Harmony.
Composers compose marches using chords to build the harmonic structure around the melody. This
harmonic structure defines the texture and form of the typical march. From the most basic of chord
progressions, (I – IV – V – V7 – I) to the more advanced harmonic treatment will identify a composer’s
signature.
Timbre

This element of music describes the qualities of a musical sound. It has nothing to do with pitch, volume,
or duration of the sounds. Timbre (pronounced – “Tam – ber”), enables the listener to hear the differences
between musical instruments in the ensemble.

The trumpet has a much different sound than the violin, for example. Furthermore, the sound of the
symphony orchestra is much different than a symphonic band. The human voice is another example of
different timbres. Everybody has a different sound to their voice.

Musical Form of a Typical March Outline

Introduction
First Strain ( repeated )
Second Strain (repeated )
Trio
Break strain
Coda / Recap

Most Marches begin with an Introduction. The introduction is written in four, eight, or sixteen measures
long. This sets the mood of the music.
The different sections in March are called Strains. Each strain contains one main melody. There are
usually three different strains plus the contrasting section called the Trio.
 The First Strain

The first strain of a March is the main melody. Being the main melody usually means that people recognize
the march by this first melody. The length is usually eight or sixteen measures long with four-measure
phrases. These short eight or sixteen measures in length warrant the second hearing of this first strain.
So, the repeat of the first strain is standard practice for a March. There is one difference between the first
time through it and the second time. To go along with the main melody, the composer adds a second
melody called a counter melody. In the music composition, writing counter melodies is a special skill that
most great composers have. We call this compositional technique: counterpoint (Point against Point).

Second Strain of a Typical March

The second strain is usually sixteen measures long. This new strain introduces the second melody. This is
new material. Many times the composer will choose to have the second melody played softer for contrast.

Much like the first melody (strain), this strain consists of eight or sixteen measures in length. Composers
always write this as a repeated section.

The Trio

The Trio is the featured section of the March. We can identify this section by listening for three items:

The tonal center or key signature changes,

There is an immediate change in the dynamic level from loud to soft by the entire ensemble.
A new melody is a prominent element.

The Trio section is usually thirty-two measures long.

The Break Strain

A March has a “raucous” part to it called the break strain. An “old school” term used for this is – “dogfight”.
The purpose of the break strain is to put a break between the Trio sections. The break strain always
produces excitement for a listener and musician alike.

Coda/Recap

A final return to the Trio theme with occasional modifications.