UNIVERSITY OF OKLAHOMA

GRADUATE COLLEGE

HARMONIC AND STRUCTURAL NORMS IN THE MARCHES OF

HENRY FILLMORE

A THESIS

SUBMITTED TO THE GRADUATE FACULTY

in partial fulfillment of the requirements for the

Degree of

MASTER OF MUSIC

By

JOSEPH HASPER Norman, Oklahoma

2014

HARMONIC AND STRUCTURAL NORMS IN THE MARCHES OF HENRY FILLMORE

A THESIS APPROVED FOR THE SCHOOL OF MUSIC

BY

______________________________ Dr. Ken Stephenson, Chair

______________________________ Dr. Sarah J. Ellis

______________________________ Dr. Rachel L. Lumsden

© Copyright by JOSEPH HASPER 2014 All Rights Reserved.

iv

Acknowledgements

I would like to thank Sergeant Major Adam Heffelfinger of the 56th Army Band in

Tacoma, Washington, for providing access to his band’s library and loaning a

number of musical scores. The 56th Army Band librarian, Sergeant Josh Simmons, was

also most helpful in gathering scores for this study. Russ Girsberger, librarian at the

Naval School of Music, provided several scores and made a number of very helpful

suggestions that led to locating additional scores. I am also grateful for the assistance of

Matt Stock, Head Librarian of the University of Oklahoma Fine Arts Library, who went

out of his way to secure a number of scores through interlibrary loans.

v

Table of Contents

Acknowledgements ......................................................................................................... iv

List of Tables .................................................................................................................. vii

List of Figures ................................................................................................................ viii

Abstract ............................................................................................................................ xi

Chapter 1: Introduction ..................................................................................................... 1

Scope of the Study ...................................................................................................... 3

Methodology ............................................................................................................... 4

Form .................................................................................................................. 7

Harmony ............................................................................................................... 8

Nomenclature ..................................................................................................... 10

Chapter 2: Fillmore Biography ....................................................................................... 14

Early Years ............................................................................................................... 14

Middle Years ............................................................................................................ 17

Final Years ................................................................................................................ 19

Chapter 3: Form .............................................................................................................. 21

Type A: Intro AA BB Tr Tr ..................................................................................... 27

Type B: Intro AA BB Tr Br Tr ................................................................................. 28

Type C: Intro AA BB Tr CC .................................................................................... 29

Type D: Intro AA BB Tr Br Tr Br Tr ....................................................................... 32

Summary of Forms ................................................................................................... 32

vi

Chapter 4: Harmony ....................................................................................................... 35

Type A Marches ....................................................................................................... 41

Type B Marches ....................................................................................................... 42

Type C Marches ....................................................................................................... 44

Type D Marches ....................................................................................................... 46

Introductions ............................................................................................................. 49

First Strains ............................................................................................................... 52

Second Strains .......................................................................................................... 55

Transitions ................................................................................................................ 58

Trios ...................................................................................................................... 60

Break Strains ............................................................................................................ 63

Third Strains ............................................................................................................. 64

Key Signature Choices and Modulations ................................................................. 67

Chapter 5: Other Considerations .................................................................................... 71

Rhythm ..................................................................................................................... 71

Orchestration ............................................................................................................ 74

A Schenkerian Interpretation .................................................................................... 82

Chapter 7: Summary of the Fillmore March Style ......................................................... 93

Bibliography ................................................................................................................... 98

Appendix A: Chronological List of Fillmore Marches ................................................ 102

Appendix B: Harmonic Analyses ................................................................................. 105

Appendix C: Schenkerian Graph of Americans We ..................................................... 112

vii

List of Tables

Table 1. Chronologic Distribution of Selected Marches .................................................. 3

Table 2. Marches Selected for Study ................................................................................ 5

Table 3. I-Count and H-Count Example ........................................................................... 9

Table 4. Formal Designs in Fillmore Marches ............................................................... 22

Table 5. Variations of Type B Form .............................................................................. 28

Table 6. Overall Chord Inventory .................................................................................. 36

Table 7. Dominant Chord Inversions ............................................................................. 38

Table 8. Frequency of Primary Chords (Per Measure) by March Type ......................... 38

Table 9. Chord Inventory by Form Type ........................................................................ 39

Table 10. H-Counts by Section. ..................................................................................... 40

Table 11. Average Number of Chords Per Measure (H-Count) ..................................... 40

Table 12. Percent of Tonic and Dominant Chords ......................................................... 49

Table 13. First Strain Harmonic Rhythms ...................................................................... 54

Table 14. Second Strain Harmonic Rhythms ................................................................. 57

Table 15. Trio Harmonic Rhythms ................................................................................. 62

Table 16. Harmonic Rhythm: H-Count Summary ....................................................... 105

Table 17. Chord Inventory: Introductions .................................................................... 105

Table 18. Chord Inventory: First Strains. ..................................................................... 106

Table 19. Chord Inventory: Second Strains ................................................................. 107

Table 20. Chord Inventory: Transitions ....................................................................... 108

Table 21. Chord Inventory: Trios ................................................................................. 109

Table 22. Chord Inventory: Break Strains .................................................................... 110

Table 23. Chord Inventory: Third Strains .................................................................... 111

viii

List of Figures Figure 1. Diminished Supertonic Chords ....................................................................... 12

Figure 2. Ninth Chord Example ..................................................................................... 13

Figure 3. Ninth Chord Non-Example ............................................................................. 13

Figure 4. Fillmore at Age 24. ......................................................................................... 16

Figure 5. Henry Fillmore as Shriners Band Conductor. ................................................. 18

Figure 6. Fillmore Conducting ....................................................................................... 20

Figure 7. Number of Sections and Strains ...................................................................... 23

Figure 8. Variation in the First and Second Strains ........................................................ 25

Figure 9. Chronological Distribution of Type A Marches ............................................. 27

Figure 10. Chronological Distribution of Type B Marches ........................................... 29

Figure 11. Variations of Type C Marches ...................................................................... 30

Figure 12. "Cuckoo" Effects ........................................................................................... 31

Figure 13. Chronological Distribution of Type C Marches ........................................... 31

Figure 14. Chart of Chord Frequency ............................................................................. 36

Figure 15. Harmonic Activity (H-Count) in Type A Marches ....................................... 41

Figure 16. Harmonic Activity (H-Count) in Type B Marches ....................................... 43

Figure 17. Harmonic Activity (H-Count) in Type C Marches ....................................... 45

Figure 18. Introduction to Men of Ohio .......................................................................... 46

Figure 19. Harmonic Activity (H-Count) in Type D Marches ....................................... 47

Figure 20. Harmonically Active Break Strain ................................................................ 48

Figure 21. Relatively Inactive Break Strain. .................................................................. 48

Figure 22. Inventory of Chords in Each Form Type ...................................................... 50

ix

Figure 23. Rate of Harmonic Activity in Introductions ................................................. 51

Figure 24. Chord Choices and Frequency (Introductions) ............................................. 51

Figure 25. Rate of Harmonic Activity in First Strains ................................................... 52

Figure 26. Chord Choices and Frequency (First Strains) ............................................... 55

Figure 27. Chord Choices and Frequency (Second Strains) ........................................... 56

Figure 28. Rate of Harmonic Activity in Second Strains ............................................... 57

Figure 29. Rate of Harmonic Activity in Transitions ..................................................... 59

Figure 30. Rate of Harmonic Activity in Trios .............................................................. 60

Figure 31. Chord Choices and Frequency (Trios) .......................................................... 62

Figure 32. Rate of Harmonic Activity in Break Strains ................................................. 63

Figure 33. Chord Choices and Frequency (Break Strains) ............................................. 65

Figure 34. Chord Choices and Frequency (Third Strains) ............................................. 66

Figure 35. Rate of Harmonic Activity in Third Strains .................................................. 66

Figure 36. Sousa and King Key Signature Choices ....................................................... 67

Figure 37. Overall Key Signature Choices ..................................................................... 68

Figure 38. Key Signature Choices 1918-1954 ............................................................... 69

Figure 39. Key Signature Choices 1903-1916 ............................................................... 69

Figure 40. Limited Syncopation Examples .................................................................... 72

Figure 41. Syncopation in First Strain Only ................................................................... 73

Figure 42. Syncopation in Multiple Strains .................................................................... 74

Figure 43. Score Showing Typical March Instrumentation ........................................... 76

Figure 44. A Typical Fillmore French Horn Part ........................................................... 78

Figure 45. Harmonic Bass Role ...................................................................................... 78

x

Figure 46. Melodic Bass Role ........................................................................................ 79

Figure 47. Percussion Roles ........................................................................................... 80

Figure 48. Percussion Solo ............................................................................................. 81

Figure 49. Trombone Melody Example ......................................................................... 82

Figure 50. Break Strain Interpretations .......................................................................... 85

Figure 51. Graph of Beethoven's G-minor Bagatelle ..................................................... 86

Figure 52. Schenker Graph of Americans We ................................................................ 90

xi

Abstract

This study examines the marches of Henry Fillmore in an attempt to define his

march style in terms of formal structure and harmony. Marches from each decade of

Fillmore’s career were analyzed, from among his first published marches (Salute to the

Stars and Stripes, in 1903) to his last (The Presidents March, in 1956). The marches are

highly uniform in terms of phrase length, section length, number of strains, repetition of

strains, and the presence of introductions and stingers. The arrangement of strains is less

consistent: nine patterns were found, of which I-AA-BB-CD-CD-C is the most

common. The varieties of formal structure can be categorized into four groups, which

are referred to as Types A, B, C, and D. To quantify Fillmore’s harmonies the terms

i-count and h-count are introduced, which refer to chord inventory (or harmonic palette)

and harmonic rhythm. Harmonic analysis reveals that each of the four march types, as

well as each strain, displays characteristic harmonic traits in terms of modulations,

frequency of specific chord choices, and rate of harmonic activity. General harmonic

characteristics include a common palette of chord choices and modulation to the

subdominant at the trio. To explain the modulation a Schenkerian analysis is provided

which suggests that the trio contains the main key of the march; rather than modulating

to a new key, the entire march can be considered as having a single key with the

sections preceding the trio forming an auxiliary cadence. All of these structural and

harmonic characteristics, when quantified and categorized, provide a statistical

description of the Fillmore march style that can be used as a basis of comparison

between individual Fillmore marches and between the marches of Fillmore and those of

other composers.

1

Chapter 1: Introduction

Henry Fillmore (1881–1956) was an American composer of the early twentieth

century who enjoyed a popularity on a par with that of Karl L. King and second only to

that of John Philip Sousa.1 He is best known for his marches, but his catalog of 255

compositions and 775 arrangements also includes hymns, fox-trots, waltzes, overtures,

and classical compositions. In addition to the forty-three marches written under his own

name, he composed others under the pen names Ray Hall, Harold Bennett, Gus Beans,

Will Huff, and Al Hayes (Appendix A). His compositions were admired by his

contemporaries, including John Philip Sousa and Edwin Franko Goldman, and his

marches are frequently performed by military and educational bands.2

Despite his continued popularity, relatively little has been written about Fillmore.

Paul Bierley wrote a comprehensive biography, Hallelujah Trombone! The Story of

Henry Fillmore that details Fillmore’s life and career but does not provide any musical

studies or analyses.3 Another volume by Bierley, The Music of Henry Fillmore and Will

Huff, explores Fillmore’s use of the pseudonym “Will Huff” and gives additional

information about Fillmore’s career but little technical information about his music.4

Fillmore is often mentioned peripherally in articles and papers about band music and

marches—such as Harry Begian’s article “Behold the Lowly March,” Arthur Pryor’s

1 Studwell, William E. Circus Songs: An Annotated Anthology (Binghamton: The Haworth Press, Inc., 1999), p. 27. 2 Robert Clark, “Perspectives On The American Concert March In Music Education” (Diss., Florida State University, 2009), 81. 3 Paul E. Bierley, Hallelujah Trombone! The Story of Henry Fillmore (Cincinnati: Integrity Press, 1982). 4 Bierley, The Music of Henry Fillmore and Will Huff (Cincinnati: Integrity Press, 1982).

2

article “How To Play A March,” Chris Sharp’s dissertation “A Study of Orchestration

Techniques for the Wind Ensemble/Wind Band as Demonstrated in Seminal Works,”

and Robert Clark’s “Perspectives on the American Concert March in Music

Education”—but no detailed or comprehensive analyses of his music have yet been

published.5

This study offers a methodical analysis of the formal and harmonic characteristics of

Henry Fillmore’s marches that define a “Fillmore” march style through their consistent

usage in a number of compositions. From this basis individual marches can be

compared with respect to the Fillmore style, or one facet of a particular march could be

said to be more or less typical of a Fillmore march. This could provide a basis for

further study of Fillmore’s marches, and may lead to a deeper understanding of the

complete body of Fillmore’s work.

Thirty marches, with representatives from each decade of his career, were selected

for this study and sixteen were given a detailed harmonic analysis. The marches include

one of his first published marches (Salute to the Stars and Stripes, 1903) and his last

march (The Presidents March, 1956) (table 1).6

5 Harry Begian, "Behold the Lowly March" (Instrumentalist 58, Number 5, 2003), 90-91; Arthur Pryor, “How To Play A March” (The Metronome, August 1932), 8; Chris Sharp, “A Study of Orchestration Techniques for the Wind Ensemble/Wind Band as Demonstrated in Seminal Works” (Diss., University of Florida, 2011), 115; Clark, “Perspectives On The American Concert March In Music Education.” 6 The Presidents March was the last that Fillmore composed. King Karl King, was published later, posthumously, in 1959, but was composed a number of years before The Presidents March.

3

Fillmore composed a number of additional marches under the pen name “Harold

Bennett” that were specifically excluded from this study. When Fillmore composed

marches he intended to publish under the Harold Bennett name, he would first compose

the piece in his normal style, then methodically revise the work to make difficult

passages more accessible for less experienced players.7 Since the Harold Bennett

marches were composed with restricted ranges and rhythms—they were intended for

educational use—it was felt that they do not represent Fillmore’s most characteristic

style. Marches composed under the pseudonyms “Will Huff,” “Gus Beans,” and

“Al Hayes,” however, were deemed to be representative of the Fillmore style and were

included in this study because these pen names were assumed for non-musical purposes.

Fillmore’s use of pseudonyms is discussed further in chapter 2.

Scope of the Study

Scores were selected for this study with the objective of making a survey broad

enough to represent the entire body of Fillmore marches, with special attention to

capturing the earliest and latest of Fillmore’s marches so that stylistic changes over his

career might be accurately documented. Fillmore’s first published march, The Higham

March, is out of print and could not be secured for this study. The earliest march in this

study, Salute to the Stars and Stripes, was written only a few months after The Higham

7 Bierley, Hallelujah Trombone!, 65.

Table 1. Chronologic Distribution of Selected Marches

1903‐1912 1913‐1922 1923‐1932 1933‐1942 1943‐1956

8 9 5 5 3

marches marches marches marches marches

4

March and was published in the same year, 1903. Fillmore’s last march, The Presidents

March, dedicated to “the Presidents of the University of Miami, Coral Gables, Florida,”

was published in 1956 and is included in this analysis. In all, twenty-one marches

written under Fillmore’s own name, as well as one written under the pen name Gus

Beans, seven written under the pen name Will Huff, and one as Al Hayes were

ultimately selected (table 2). Excluding his educational marches (thirty-four marches

published under the pseudonym “William Bennett”), this sample represents

approximately one-quarter of Fillmore’s total march output and nearly 40 percent of his

“Fillmore,” “Hayes,” “Huff” and “Beans” marches.

There are two ways in which this study could be expanded to provide a more

definitive characterization of Fillmore’s march style. The confidence level of the

findings would be increased if more marches could be analyzed; this is problematic,

though, as most of his marches are out of print and many are found only in private

collections. In addition, more features of the marches could be examined—such as

melodic contour, orchestration, and texture—which would provide more points of

comparison. Focusing on harmony and form alone, though, provides ample material to

distinguish a range of traits, tendencies, and variations that are capable of defining

Fillmore’s characteristic march style.

Methodology

This study focuses on the form and harmony of Fillmore’s marches. Form and

harmony were selected for their importance in defining a composer’s style, and for their

ability to be quantified. Fillmore’s treatment of melody, countermelody, and

5

orchestration are briefly discussed, but detailed analyses of these topics are beyond the

scope of this study.

Table 2. Marches Selected for Study

Title Pen Name (if any) Year Composed

Salute to the Stars and Stripes Will Huff 1903

Vashti 1904

Lord Baltimore Will Huff 1904

Troopers Tribunal 1905

In Uniform 1905

Victorious First, The 1907

Circus Bee, The 1908

Cuckoo, The  1912

Hippodrome, The Will Huff 1913

Ft. Royal Will Huff 1913

Mt. Healthy Gus Beans 1916

Floral Parade, The Will Huff 1916

Rolling Thunder 1916

Alamo Will Huff 1916

136th USA Field Artillery, The 1918

Men of Ohio, The 1921

Noble Men 1922

Man of the Hour, The 1924

Gifted Leadership 1927

Crosley March, The 1928

Americans We 1929

Klaxon, The 1930

His Honor 1934

Footlifter, The 1935

Miami 1938

Orange Bowl 1939

US of A Armed Forces 1942

America Exultant Al Hayes 1944

Men of Florida 1949

Presidents March, The 1956

6

This study is descriptive, rather than comparative, but it is nevertheless helpful to

define the context within which Fillmore’s marches will be examined. The marches in

this study are properly categorized as American marches and are best understood in

those terms.

Originally devised as an aid to military marching, by the early nineteenth century

“march” was used as a generic term for any music with a strong, regular beat in a multi-

strained form. Over the next one hundred years, though, certain features of the march

genre became more or less standardized. For example, at the turn of the nineteenth

century, marches commonly used one of six forms: da capo, ternary, through-

composed, binary, rounded binary, and rondo. By 1870, though, virtually all marches

followed a da capo, ternary, or through-composed form—the binary, rounded binary,

and rondo forms had disappeared from the march style.8 From three to ten strains are

found in marches composed between 1800 and 1879; marches composed between 1890

and 1900, though, have much narrower range of strains, ranging only from five to eight

strains.9

Sectional structures and a steady pulse remain central to the march genre.

Additional march features that emerged from the developments of the nineteenth

century include simple, strongly marked rhythms; regular phrases; a heavy two-beat feel

in simple or compound duple meters; simple melodies and harmonies; and a preference

for major keys (particularly flat keys: F, Bb, Eb, and Ab).10

8 Elizabeth Pauline Hosack Norton, “March Music in Nineteenth-Century America,” (Diss., University of Michigan, 1983), 138. 9 Ibid., 149. 10 American Military March Form (Norfolk: US Army Element School of Music, 2005), 4-5.

7

The American march style, solidified by 1890, was derived from the marches of

John Philip Sousa. American marches are distinguished from other march styles by their

short introductions, repeated first and second strains, and one of two forms of a trio.11

Relatively few variations of this formula are found within American marches, and these

fall into two categories: the introduction may be omitted, or there may be additional

sections (such as additional strains). American marches invariably feature immediate

repetition of the first and seconds strains, and, when present, the trio (either

immediately or after an interlude).

Form

Formal divisions were determined by first scanning the scores for explicit indicators

(double bar lines, repeat signs, text annotations, modulations, and first and second

endings) and then by looking for musical clues. First and second strains in Fillmore’s

marches, which always consist of sixteen repeated measures, are identified by double

bar lines in the score and the appearance of new harmonic and melodic material. Some

of the marches (about one-third) have a transitional phrase following the first two

strains. This section is identified as a transitional passage, rather than as a new strain, by

its short length (two to eight measures), lack of repetition, and the appearance of a

modulation. The trio is frequently annotated as such in the score, and is always

accompanied by a modulation to the subdominant. The harmonic rhythm of the trio is

relatively slow, and longer note durations are used in the melody than in the other

strains. The trio is always thirty-two measures long and is most often written as a

sixteen-measure repeated section. An interlude, called the “break strain” (also known as

11 American Military March Form, 5.

8

a “breakup strain” or “dogfight”), frequently separates repetitions of the trio. It is

identified primarily by the appearance of new material (or, sometimes, material based

on the introduction) between iterations of the trio. The break strain is almost always

sixteen measures long, and is not repeated. The dynamic level is most characteristically

fortissimo, creating a contrast with the preceding, softer trio. The harmonic rhythm is

quicker, and secondary dominants are used with greater frequency. Break strains often

feature dramatic contrasts between sections of the band, pitting high woodwinds against

low brass in a call and response format, for example, or alternating loud passages with

soft ones. When present, a third strain is identified by the appearance of a new melody

after the trio. Third strains, like first and second strains, consist of sixteen measures that

are immediately repeated, and are marked with double bar lines in the score.

Harmony

Two harmonic inventories were conducted, which are referred to as i-count (where

i stands for inventory) and h-count (where h stands for harmony). The first, i-count,

records the chords sounding on each beat of every march (Appendix B). I-count is

useful in describing the composer’s palette of harmonic choices: the types of chords

used and their frequency. Counting chords occurring on the beat is sufficient to capture

the harmonic content of the marches because chord changes rarely occur on off-beats or

within syncopated rhythms. An i-count analysis can be applied to a section, an entire

composition, or a collection of works. It may also be used as a basis of comparison on

any of those levels.

Since the marches in this study are set in a uniform duple time, all eight-measure

phrases have a total i-count (n) of sixteen chords, with a variable distribution of chord

9

types. In the eight-measure example in Table 3 i-count yields a total (n) of sixteen

chords—one for each beat. The chords are distributed between four types (ii, V, V/ii,

and V/V), with V/V occurring the most frequently. Using i-count, quantitative

statements about this phrase can be made, such as “dominant-function chords comprise

75 percent of the harmonic choices”; “harmonies in this phrase are limited to four

chords: ii, V, V/ii, and V/V”; and “all supertonic chords in this passage are found in

root position.” Table 3. I-Count and H-Count Example

The second inventory, h-count, counts each change of harmony. H-count is useful to

describe harmonic rhythm, and can be used to derive the types of harmonic progressions

used. Like i-count, h-count can be applied to a section, an entire composition, or a

collection of works. An eight-measure phrase may have an h-count of one to sixteen, a

range of values representing a single harmony held for all eight measures to a harmony

changing on every beat.12 (While higher h-counts are theoretically possible, none of the

sampled marches has an h-count greater than 2.0 changes per measure.) H-count 12 The first chord in a new section, including the repeat of a section, is counted as a change of harmony even if it is the same as the last chord of the previous section. An h-count of zero is only counted when there is no harmony present, as in a section consisting only of unpitched percussion.

ms.

Analysis

i-count V/ii V/ii V/ii V/ii ii ii ii ii V/V V/V V/V V/V V V/V V V

h-count V V/V

n

i-count 4 3 4 5 16

h-count 1 2 1 2 6

ii V V/ii V/V

VV/ii ii V/V

7 8

V/ii V/ii ii ii V/V V/V V V/V V

1 2 3 4 5 6

10

provides quantitative results that permit statements such as “On average, each measure

contains 0.75 changes of harmony”; “The fourth strain is the most harmonically active

of the sections, with an average h-count per measure (1.63) more than twice the general

average (0.71);” and “From 1903-1938 the marches generally increase in harmonic

activity (from 0.51 changes per measure to 1.08 changes per measure, with an average

h-count of 0.74), while none of those composed after 1938 have greater than 0.62

changes per measure and have an average h-count of only 0.47.” For both i-count and h-count chords were tallied according to their root, triadic

structure, extensions, and inversion. Attention to these details allows specific

observations to be made such as “Thirty-four augmented sixth chords were found; the

most common, the German sixth, was in root position 59 percent of the time and in first

inversion 41 percent of the time;” “Augmented I and V chords are used rarely,

comprising only slightly over 1 percent of all harmonies, and are always used in either

root position (83 percent of the time) or in first inversion (17 percent);” and “Dominant

triads are found in root position almost twice as often as in inversion; dominant seventh

chords, however, are more often found in inversion (by a factor of 1.45).”

Nomenclature

For this study “/” is used to denote a secondary function: V/V, V7/ii, etc. To avoid

unwieldy notation, longer sequences of secondary function (that do not accomplish a

full modulation), such as the progression | V7/V/V/vi | V/V/vi | V/vi | vi | are

abbreviated as | V7/ | V/ | V/vi | vi |, with “/” indicating a function relative to the

following chord.

11

All non-diatonic chords, unless clearly part of a chromatic planing progression (e.g.,

a series of major chords progressing chromatically from I to IV, as in I-#I-II-#II-III-IV),

are treated as borrowed chords with a secondary function. This categorization includes

diatonic triads with non-diatonic extensions. For this reason a dominant seventh chord

built on 1 that is followed by a major chord on 4 is labeled as V7/IV rather than Ib7, a distinction that more clearly shows the origin of the chromatic note and the function of the triad. Depending on their usage, such chords are borrowed from the relative minor, the parallel minor, or from another, temporary, tonality.

Fully diminished seventh chords in Fillmore marches are generally built on the

leading tone and progress to tonic chords. These chords have a dominant function and

are labeled viio7. In several marches, though, a diminished seventh chord is followed by

a dominant chord (or cadential I4 ). In these instances the chord is counted as a

diminished supertonic chord, iio7, to explain its role as a pre-dominant. The iio7 label has

the further advantage of producing a 2 – 5 root motion rather than what would

otherwise be an unusual retrograde root progression, 7 - 5. One example of the

diminished supertonic is found in m. 3 of The Presidents March, where iio$3; progresses

to V7 with chromatic motion in the bass (figure 1a). Another usage, iio7 progressing to

V7 via a cadential I4 , is found in The 136th USA Field Artillery (m. 26 of the trio)

(figure 1b). A further example is found in Americans We (m. 30 of the trio), in which a

secondary dominant progresses to the dominant via a diminished supertonic chord

(figure 1c).

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12

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d is labeled a

Chords labele

n as part of a

duration of

One such exa

a ninth in the

was more

f short durat

3) is not cou

The ninth h

tone, so is

iio$3 V&

fifth

nd

as

ed as

a

ample

e

tion.

unted

has

FB

Figure 2. NiBrothers Com

Figure 3. NFillmore Br

inth Chord Empany, 1929

Ninth Chord rothers Com

Example. He9).

Non-Exampmpany, 1929)

13

enry Fillmor

ple. Henry F).

e, American

Fillmore, Am

ns We (Cincin

ericans We

nnati: Fillmo

(Cincinnati:

ore

14

Chapter 2: Fillmore Biography

Material for this chapter was drawn largely from two books by Paul Bierley that

give detailed accounts of Fillmore’s life and career. Hallelujah Trombone! provides a

wealth of information about Fillmore’s family that is useful in understanding the

complex relationship between Fillmore’s own musical career and his business

association with the Fillmore Brothers Publishing Company, as well as providing

extensive documentation of Fillmore’s private life.13 The Music of Henry Fillmore and

Will Huff is concerned with Fillmore’s use of the pseudonym “Will Huff” and the

unlikely relationship between Fillmore and the real Will Huff.14 The book also adds

personal information about Fillmore that is not found in Bierley’s previous work.

Early Years

James Henry Fillmore Jr. was born on December 3, 1881 in Cincinnati, Ohio. His

father was a composer and a joint owner of Fillmore Brothers, a music publishing

company specializing in sacred music. (As he grew older Henry took on more and

larger responsibilities in the operation of the business, and his relationship with the

business would have a profound impact on his career as a composer.) Fillmore’s uncles

were also involved with the publishing company, and he was surrounded by music as a

child.

Fillmore was musically precocious, and learned to play trombone, violin, piano,

guitar and flute at any early age. He often performed solos at home or in church, and

began to compose small pieces of music before he was a teenager. He was an unruly

13 Bierley, Hallelujah Trombone! The Story of Henry Fillmore. 14 Bierley, The Music of Henry Fillmore and Will Huff.

15

child, though. For example, his father was against his son learning the trombone—or

any brass instrument—so Henry took lessons behind his father’s back. At the age of

sixteen, following one of his frequent arguments with his father, Henry ran away from

home to become a laborer in the Robinson Circus. After a disappointing three weeks,

including one unsuccessful occasion where he attempted to play trombone with the

circus band, he returned home. In an effort to instill discipline in his son, his father

promptly enrolled him in the Miami Military Institute in Miami, Ohio. Henry flourished

at the military school, excelling in music and in a number of sports. He graduated with a

bachelor’s degree in 1901, and began work as a clerk at his father’s publishing house

that same year.

Later in 1901 Henry began musical studies at the College of Music of Cincinnati.

He was a good student, but stayed only one semester. It was an amicable separation, but

he was apparently unsuited for conventional music studies. He continued to compose,

though, and in 1903 he approached his father about publishing one of his marches with

the Fillmore Brothers. He father was opposed to the idea, so Henry surreptitiously

submitted the march for publication under the pen name Will Huff—and it was

accepted! It was some time before Henry’s father learned of the duplicity, and longer

still, 1904, before he published one of Henry’s marches (Vashti) under the name Henry

Fillmore. The Fillmore house published four more of his marches in 1904. His father

considered two of these marches, Under Arms and The Blue Brigade, too controversial

to be published under Henry’s real name so they were published instead under the

pseudonyms Al Hayes and Will Huff.

Trombo

work—whil

of venues. H

position wh

Brothers Cir

music, he sp

worked as a

explains the

syncopated,

of raucous g

marching ba

Trombone, w

of his wind

Figure 4. Fiof Henry Fi

ne Trombon

le continuing

He played in

ich was not

rcus band. A

pent only fiv

a trombonist

e genesis of s

jazzy tromb

glissandi) he

and and bear

were much a

band progra

illmore at Allmore (Cinc

ne was Henry

g to work for

the First Re

affiliated wi

Although Fill

ve months tra

in theaters a

some of his m

bone feature

e composed b

ring titles su

admired by J

ams for their

ge 24, from cinnati: Integ

16

y’s first love

r Fillmore B

egiment Ban

ith military s

lmore’s mar

avelling with

around Cinci

most popula

s called “tro

between 190

uch as Lassus

John Philip S

novelty and

Paul E. Biergrity Press, 1

e, and he use

Brothers—fo

nd of the Ohi

service), and

rches are ofte

h the circus.

innati, and h

ar compositio

ombone smea

08 and 1929.

s Trombone,

Sousa who in

d audience ap

rley, Hallelu1982), 48.

ed the instrum

or the next de

io National G

d later joined

en associated

From 1906

his affinity fo

ons: a series

ars” (for the

. These smea

, Slim Tromb

ncluded them

ppeal.

ujah Trombo

ment to secu

ecade in a va

Guard (a civ

d the Lemon

d with circus

through 191

or the tromb

s of fifteen

ir prominent

ars, scored fo

bone, and Ha

m on a numb

one! The Stor

ure

ariety

vilian

s

12 he

one

t use

for

am

ber

ry

17

Middle Years

Fillmore’s status as the son of a music publisher gave his career certain benefits, but

it was not an unqualified advantage. At the beginning, Henry’s father was unsupportive

of publishing any secular music—and band music in particular. For many years he

insisted that the Fillmore Brothers catalog should focus on gospel and sacred music, for

both religious reasons and because he did not foresee a market for band music. This was

one reason why some of Henry’s early marches were published by companies other

than Fillmore Brothers. It also explains some of the reasons Fillmore published music

under pseudonyms: to disguise his compositions from his father, and, on occasions that

his father dictated, to keep the Fillmore Brothers name free of the perceived taint of

secular band music.

A further impediment to Henry’s career was that the elder Fillmore was

unconvinced of his son’s talent. (He was also opposed, at the start, to Henry playing

trombone. He was won over only after Henry had been playing secretly for several

years, and he was never supportive of Henry’s playing in circus bands.) In 1907 Henry

published The Victorious First with Harry Coleman, a Philadelphia publishing

company. The piece sold so well that Henry was finally able to persuade his father that

Fillmore Brothers should profit from his compositions, and thereafter Henry was given

a free hand to publish his music under his own name.

After Henry began working full-time in the company business, he was never

without a steady source of income. He poured himself into growing the business by

adding a line of instrument sales, expanding the company’s catalog to include secular

band and piano music, and publishing instrumental method books. He was also a

member, an

offices to try

financial sup

health and s

In 1919

Band in Cin

band directo

to improve t

began weed

resentment,

national Shr

the nation’s

Figure 5. Trombone

nd later condu

y out new m

pport and co

strained his r

Henry becam

ncinnati. Fillm

or and condu

the quality o

ding out mus

but the band

riners Band c

top fraterna

Henry Fillme!, 75.

uctor, of the

music. While

onnections w

relationship w

me a Shriner

more was a

uctor. He led

of the band; s

icians who w

d was greatly

competition

al bands for s

more as Shrin

18

e wind band t

his connecti

with the musi

with his fath

r, and played

natural show

d the band fro

shortly after

were not up t

y improved

, and under h

several years

ners Band Co

that held pra

ion to the bu

ical commun

her.

d trombone w

wman, and q

om 1921 to

r he took ove

to his standa

as a result. T

his leadershi

s. A natural

onductor, fro

actices in the

usiness gave

nity, it took

with the Syr

quickly rose t

1926, and hi

er conducting

ards. This ca

The band we

ip the band r

leader and o

om Bierley,

e company

him both

a toll on his

rian Temple

to become th

is first task w

g duties he

aused some

ent on to win

remained on

organizer, He

Hallelujah

he

was

n the

ne of

enry

19

played a key role in organizing the first Shrine Circus in 1922, an institution that still

performs annual benefit circuses ninety-one years later.

In 1927 Fillmore was approached with an offer to host a weekly radio show, and

from 1927 to 1932 the show was aired on WLW—one of the most powerful radio

stations in the NBC network. His band, the twenty-two member Fillmore Band

(augmented with ten more musicians), also performed a regular season of concerts each

summer at the Cincinnati Zoo from 1927 to 1936.

Final Years

By 1936 Fillmore’s schedule of conducting, composing, and working in the

company business, combined with the relatively harsh winters of Ohio, began to affect

his health. He was in such poor condition that his doctor advised him to move to a

warmer climate, and Fillmore complied by moving to Miami, Florida, in 1937. He was

expected to live for only six months, and he began his Miami residency by putting his

affairs in order. Within a year, though, his health improved, and he became increasingly

active in the Florida music scene. His activities included working with the University of

Miami marching band, holding band clinics, performing numerous guest conductor and

adjudicator engagements, and acting as an advocate for school band programs across

the state.15

In 1941 Fillmore was elected president of the American Bandmasters Association, a

post that has been held by such luminaries as John Philip Sousa, Herbert L. Clarke,

Edwin Franko Goldman, Francis McBeth, William D. Revelli, and Paul Yoder. He held

this post until 1946, doing work to advance the support of school bands and music

15 Clark, “Perspectives On The American Concert March,” 5.

education su

less than a y

by the Univ

and opportu

Fillmore

to the Unive

Fillmore Ba

university.

Figure 6. F

uch as hostin

year before h

versity of Mi

unities across

e died on De

ersity of Mia

and Hall and

illmore Con

ng clinics an

his death, he

ami in recog

s the state fo

ecember 7, 1

ami the scho

d the Fillmore

nducting ca.

20

nd helping sc

was awarde

gnition of his

or almost twe

956, in Miam

ol of music

e Museum w

1937, from B

chools establ

ed an honora

s efforts to im

enty years.

mi, Florida.

named their

was construc

Bierley, Hal

lish band pro

ary Doctor o

mprove mus

As a testam

r music facili

cted on the g

llelujah Trom

ograms. In 1

f Music deg

sical educati

ment to his va

ity the Henry

grounds of th

mbone!,102.

956,

gree

on

alue

y

he

21

Chapter 3: Form

This chapter discusses the number and arrangement of distinct themes (called

strains) found in the marches, the presence or absence of introductions and transitions,

and the repetition of strains. In this and the following chapters formal divisions are

labeled with the symbols I (introduction), A (first strain), B (second strain), C (third

strain), Tr (trio),and Br (break strain). When the trio is followed by a break strain the

pair are labeled “Tr/Br” to emphasize their close relationship.

For this study marches were grouped into four major types, A through D, according

to the number and type of strains found in each march (closely related variations are

designated B’, B’’, and so forth). All of the march types have an introduction, repeated

first strain, and repeated second strain (I-AA-BB); the four main types are chiefly

distinguishable by the sections that follow the second strain. Type A marches follow the

second strain with a repeated trio: I-AA-BB-Tr-Tr. Type B marches have the same

general structure as Type A marches, but the trio repetitions are separated by a break

strain: I-AA-BB-Tr/Br-Tr. Type C marches have no repeat of the trio and have a

repeated third strain: I-AA-BB-Tr-CC. Type D marches repeat not just the trio, but the

entire trio-break strain module: I-AA-BB-Tr/Br-Tr/Br-Tr. Counting these four types and

several variations within types, Fillmore’s marches can be categorized into nine

different formal designs, with I-AA-BB-Tr/Br-Tr/Br-Tr (Type D) as the most common

(table 4).

Fillmore used a number of forms in his marches, but some overall observations

about his formal choices can be made. The nine marches he composed from 1903 (the

year of his earliest marches) to 1913 use six different forms, with no form used more

22

than twice. These forms include types A, B, B’, C, C’, and D, marches which have

counts of between seven and ten sections. The nine marches composed between 1922

Table 4. Formal Designs in Fillmore Marches

Title Form Year

Salute to the Stars and Stripes I  AA  BB  Tr  Tr 1903 A

Victorious First I  AA  BB  Tr  Tr 1907 A

Floral Parade I  AA  BB  Tr  Tr 1916 A

Mt. Healthy I  AA  BB  Tr Tr 1916 A

Orange Bowl I  AA  BB  Tr Tr 1939 A

Men of Florida I  AA  BB  Tr Tr 1949 A

Troopers Tribunal I  AA  BB  Tr/Br  Tr 1905 B

Circus Bee, The I  AA  BB  Tr/Br  Tr 1908 B

Rolling Thunder I  AA  BB  Tr/Br  Tr 1916 B

Presidents March, The I  AA  BB  Tr/Br  Tr 1956 B

Vashti I  AA  BB  Tr/Br  Tr  Tr 1904 B'

Alamo March I  AA  BB  Tr  Tr/Br  Tr 1916 B''

Footlifter, The    AA  BB  Tr  Tr/Br  Tr 1935 B'''

Ft. Royal I  AA  BB  Tr  CC 1913 C

Hippodrome I  AA  BB  Tr  CC 1913 C

136th USA Field Artillery, The I  AA  BB  Tr  CC 1918 C

Men of Ohio I  AA  BB  Tr  CC 1921 C

America Exultant I  AA  BB  Tr  CC 1944 C

Cuckoo, The  I  AA  BB  Tr  C  B 1912 C'

US of A Armed Forces, The I  AA  BB  Tr Tr  CC 1942 C''

Lord Baltimore I  AA  BB  Tr/Br  Tr/Br  Tr 1904 D

In Uniform I  AA  BB  Tr/Br  Tr/Br  Tr 1905 D

Noble Men I  AA  BB  Tr/Br  Tr/Br  Tr 1922 D

Man of the Hour I  AA  BB  Tr/Br  Tr/Br  Tr 1924 D

Gifted Leadership I  AA  BB  Tr/Br  Tr/Br  Tr 1927 D

Crosley March, The I  AA  BB  Tr/Br  Tr/Br  Tr 1928 D

Americans We I  AA  BB  Tr/Br  Tr/Br  Tr 1929 D

Klaxon, The I  AA  BB  Tr/Br  Tr/Br  Tr 1930 D

His Honor I  AA  BB  Tr/Br  Tr/Br  Tr 1934 D

Miami I  AA  BB  Tr/Br  Tr/Br  Tr 1938 D

Type

and 1938, o

marches use

exception, T

used since 1

Presidents M

The num

or ten sectio

Nine-section

is no chrono

be observed

(figure 7).

Figure 7. N

n the other h

e a ten-sectio

The Footlifte

1916. (Fillmo

March, in 19

mber of secti

ons are the m

n marches ar

ological patte

d that after 19

Number of Se

hand, display

on I-AA-BB

er (composed

ore did not u

956.)

ions in each

most common

re the rarest,

ern to Fillmo

916 only two

Y

ections and

23

y a remarkab

-Tr/Br-Tr/B

d in 1935), u

use a Type B

march varie

n and make

, comprising

ore’s choice

o of his marc

ear of Comp

Strains

ble consisten

Br-Tr form (T

uses a variety

B form again

es from seven

up 70 percen

g only 10 per

of using eig

ches have fe

position

ncy of form.

Type D); the

y of the B ty

n until his las

n to ten. Mar

nt of all Fillm

rcent of the m

ght or ten str

ewer than eig

Eight of the

e single

ype he had n

st march, Th

rches with e

more march

marches. Th

rains, but it c

ght sections

e

ot

e

eight

es.

here

can

24

The number of distinct strains in each march, not counting the introduction, is three

or four. Marches with three strains (first strain, second strain, and trio) appear in 1903,

1907, twice in 1916, and once each in 1939 and 1949. Four strains are by far the most

frequent: this arrangement is used in 86 percent of his marches. The four strains are

most often a first strain, second strain, trio, and break strain, but there also include

marches with a trio and first, second, and third strains.

The preceding analysis can be summarized by observing that the most variety in the

number of sections and strains occurs in the first part of Fillmore’s career, between

1903 and 1916. These fourteen marches have four different section counts: seven, eight,

nine and ten. Three strains are found in four of the marches, and four strains are found

in ten marches. The fourteen marches after 1916 show more consistency in both the

number of sections and strains. Section counts of seven, eight, and ten are found, but

most of the post-1916 marches contain four strains.

An overwhelming majority of the Fillmore marches studied—93 percent—have a

four-measure introduction; two have an eight-measure introduction (America Exultant

and Victorious First), and one (The Footlifter) has no introduction. By comparison, a

study of sixty-eight selected John Philip Sousa and Karl L. King marches find

introductions in Sousa marches that are four, six, eight, or sixteen measures long, with

four-measure introductions used only 56 percent of the time. Approximately 84 percent

of the King marches have four-measure introductions, with the remainder having eight-

measure introductions.

All of the Fillmore marches have first and second strains of sixteen measures. The

strains are immediately repeated, with little or no variation. Most of the marches simply

repeat the st

parts marke

on the repea

The term

contrasts wi

lyrical melo

America Ex

16 Norton, “

Figure 8. (Cincinnat“2nd time”

train. Occasi

d “2nd time”

at (figure 8).

m “trio” in m

ith the rest o

ody.”16 Twen

ultant, has a

March Musi

Variation inti: Fillmore B” and “2nd t

ionally a cou

” or “2nd tim

march music

f the compo

nty-nine of th

a third strain

ic in Ninetee

n the First anBrothers Cotime only.”

25

untermelody

me only” to i

c “refers to a

sition by pre

he thirty mar

instead of a

enth-Century

nd Second Stmpany, 193

y is added in

indicate that

a section of a

esenting soft

rches includ

a trio). Fillmo

y America,”

trains. Henry8). Note the

the repeat, a

t they are on

a march com

fter dynamics

de a trio (the

ore trios are

141.

y Fillmore, Mcircled indi

as in Miami,

nly to be play

mposition wh

s and a more

lone except

all thirty-tw

Miami, cations

with

yed

hich

e

tion,

wo

26

measures long and are set in a major key a perfect fourth higher than the preceding

sections. The trio is usually repeated; only two marches have trios that are not repeated.

When they are repeated, the return occurs either immediately (in seven marches) or

after an intervening strain (in twenty marches).

Break strains (also referred to as interludes, breakup strains, or dogfight strains) are

considered a normal part of the twentieth-century march form.17 They are dramatic

sections found between repetitions of the trio and act as climactic points of the march

that heighten the return of the trio. A break strain is present in seventeen of the thirty

marches (57 percent).18 (By comparison, in the decade prior to Fillmore’s first march

compositions only 35 percent of all published marches included a break strain.)19

Third strains, found in only six of the marches, are not a usual component of the

American march form.20 In Fillmore’s marches the third strain is always sixteen

measures, and is always repeated in the same manner as the first and second strains.

When present, the third strain follows the trio (and any trio repeats), is in the same key

as the trio, and is the last strain of the march.

Although it is neither a formal nor a harmonic device, it is worth discussing the

stinger in Fillmore marches. Marches usually end their final strain with a root position

tonic chord on the first beat of the last measure of the section; the stinger is a short,

accented note tonic chord played on the second beat of the final bar. Stingers are found

in all but three of the marches in this study; the absences follow no pattern, as the

marches (Troopers Tribunal, 1905; The Victorious First, 1907; and The U.S. of A.

17 American Military March Form, 11. 18 Norton, “March Music in Nineteenth-Century America,” 145. 19 Ibid., 146. 20 American Military March Form, 6.

Armed Forc

Type A, Typ

Although it

omissions, i

John Philip

Six m

measure intr

marches are

seven sectio

twice, in 19

The

span sixteen

measures ea

Figure 9. C

ces, 1942) w

pe B, and Ty

is beyond th

it may be no

Sousa (e.g.,

marches foll

roduction, re

e designated

ons, and was

39 and 1949

first and sec

n measures a

ach, which is

Chronologic

were compose

ype C march

he scope of t

ted that sting

The Crusad

Type A

low a straigh

epeated first

as Type A m

used only s

9 (figure 9).

cond strains

and are alway

s another con

cal Distributi

27

ed over a spa

hes (as descr

this study to

gers are also

der March, 1

A: Intro AA

htforward arr

and seconds

marches. Thi

ix times. Aft

in these mar

ys repeated.

nstant featur

ion of Type A

an of thirty-s

ribed in the f

provide a de

o occasionall

1899, and Se

A BB Tr Tr

rangement o

s strains, and

is is the shor

fter 1906 Fill

rches, as wit

The trios an

re of Fillmor

A Marches

seven years

following se

etailed ration

ly absent in t

emper Fidelis

of I-AA-BB-

d a repeated

rtest form ty

lmore used t

th all of Fillm

nd trio repea

re marches a

and include

ctions).

nale for the

the marches

s, 1916).

-Tr Tr: a fou

trio. These

ype, consistin

this form onl

more’s marc

ats are thirty-

and emphasiz

of

ur-

ng of

ly

hes,

-two

zes

28

the importance of the trio to the overall composition. The earliest marches in this form

group, Salute to the Stars and Stripes (1903) and The Victorious First (1907), as well as

the much later Men of Florida (1939) have a short transitional phrase before the trio. A

more detailed formal description of these marches would be I-AA-BB-transition-Tr Tr,

but the transitions are not counted as formal sections (primarily because of their short

duration of eight, four, and four measures respectively).

Type B: Intro AA BB Tr Br Tr

Seven marches have the general form of I-AA-BB-Tr-Br-Tr: a four-measure

introduction, repeated first and seconds strains, and a trio repeated after an intervening

break strain. These marches as designated as Type B marches, and four marches

(Troopers Tribunal, The Circus Bee, Rolling Thunder, and The Presidents March)

follow this form exactly. Three related variations are included in this form type as well.

Type B’ adds an additional repetition of the final trio (I-AA-BB-Tr-Br-Tr-Tr); Type B’’

adds an additional repetition of the first trio (I-AA-BB-Tr-Tr-Br-Tr); and Type B’’’ is

the same as type B’’ with the introduction omitted (AA-BB-Tr-Tr-Br-Tr) (table 5).

Marches in the form I-AA-BB-Tr-Br-Tr were composed in 1905, 1908, 1906, and

1954. The variation B’ was used once, in 1904 (Vashti). The variation B’’ was used

Table 5. Variations of Type B Form

Type

B I A A B B Br

B' I A A B B Br Tr Tr

B'' I A A B B Tr Tr Br

B''' A A B B Tr Tr Br

Tr

Tr

Tr Tr

Tr

only once, i

march in thi

it would be

than any oth

Type C

by having n

four-measur

thirty-two-m

significant v

having a thi

Figure 10.

n The Alamo

is study that

considered a

her form use

marches are

no break strai

re introducti

measure trio,

variations of

rd strain) an

Chronologi

o March of 1

does not hav

as a Type B’

d by Fillmor

Type C

e distinguishe

in. Seven ma

on, repeated

, and a repea

f this pattern

nd are design

cal Distribut

29

1916. The Fo

ve an introdu

’’ form. Typ

re (figure 10

C: Intro AA

ed by having

arches have

d first and se

ated sixteen-m

(but still be

nated as form

tion of Type

ootlifter (19

uction; but f

pe B marches

0).

A BB Tr CC

g a third stra

the general

conds strain

measure thir

elong to the g

ms C’ and C’

e B Marches

35), a type B

for its missin

s span a wid

C

ain after the t

form I-AA-B

ns of sixteen

rd strain. Tw

general type

’’ (figure 11

B’’’, is the o

ng introducti

der range of d

trio, as well

BB-Tr-CC: a

measures ea

wo marches h

by virtue of

).

nly

ion,

dates

as

a

ach, a

have

f

30

The march America Exultant has no trio, which makes it unique among the thirty

marches in this study. The trio section in this march is based on the first phrase of

“America,” and is unusual for being a twelve-measure phrase. The second phrase of

“America” is the basis for the next section, whose sixteen measures are repeated to form

the final two “C” sections. The specialty march The Cuckoo (1912) is another unusual

march (and is subtitled as a “March Humoresque”) as it incorporates effects meant to

replicate a cuckoo bird (figure 12) and an uncharacteristic use of syncopation (which

will be discussed in chapter 5).

Fillmore composed seven Type C marches between 1912 and 1944. Five Type C

marches were published by 1921, and the final two were not composed for another

twenty-one years (figure 13).

Figure 11. Variations of Type C Marches

Type

C I A A B B C C

C' I A A B B C B

C'' I A A B B Tr Tr C C

Tr

Tr

Figure 12. "Brothers Co

Figure 13.

"Cuckoo" Efompany, 191

Chronologi

ffects. Henry2).

cal Distribut

31

y Fillmore, T

tion of Type

The Cuckoo

e C Marches

(Cincinnati:: Fillmore

32

Type D: Intro AA BB Tr Br Tr Br Tr

Ten marches have the form I-AA-BB-Tr-Br-Tr-Br-Tr: a four-measure

introduction, repeated first and seconds strains, and three repetitions of the trio (Tr) that

are separated break strains (Br). In addition to being the form most frequently used by

Fillmore, it is also the model most closely identified with the American military march

form.21

Fillmore’s Type D marches were composed between 1904 and 1938 (figure 14).

Given the variety of forms Fillmore used in his career, it is striking that all of the

marches he composed between 1922 and 1934—a period of twelve years—use this

single form type. Fillmore also composed no variants of this form; for example, no

Type D marches have an added third strain or transition. The reason for adhering to a

single form type from 1922 to 1934 may be simple pragmatism: in this period he also

wrote eighteen other marches for his William Bennett educational series, was deeply

involved in the production of his radio show on RKO, conducted the Syrian Temple

Band, and helped organize the first Shriners Circus.

Summary of Forms

Fillmore used nine different forms for his marches, which can be categorized as

belonging to one of four major classifications:

(1) Type A (six marches): These marches, with no structural variations, have an

introduction, repeated sixteen-measure first strain, repeated sixteen-measure second

strain, and a repeated thirty-two-measure trio. Fillmore used this form several times in

21 American Military March Form, 5.

33

his earliest marches (up to 1916) and then abandoned it for twenty-three years before

revisiting the form in 1939 (Orange Bowl) and 1949 (Men of Florida).

(2) Type B (seven marches): These marches, with four variations, differ from Type

A marches by having a break strain between repetitions of the trio. The variations—B’,

B’’, and B’’’—have an additional repetition of the trio either before or after the break

strain. Fillmore used this form throughout his career, from his earliest marches to his

very last.

(3) Type C (seven marches): These marches, with two variations—C’ and C’’—

differ from Type B marches by having a third strain. In all but one Type C march the

third strain replaces the trio repetition; the sole exception replaces the trio entirely with

a third strain. The majority of Fillmore’s Type C marches were composed between 1912

and 1921.

(4) Type D (ten marches): This type follows the prototypical American march form

and is the form most frequently used by Fillmore. His most famous marches, including

Gifted Leadership, The Crosley March, Americans We, and The Klaxon, use this form.

The Type D form is characterized by having three statements of the trio, with

repetitions separated by restatements of the break strain. Fillmore used this form from

his early marches (in 1904 and 1905) through 1938.

The most consistent, characteristic formal features of Fillmore’s marches are a four-

measure introduction (used in twenty-nine of the thirty marches), repeated sixteen-

measure first and second strains (found in all thirty marches), thirty-two-measure trios

(used in twenty-nine marches), and a break strain separating repetitions of the trio

(found in seventeen). Break strains are usually sixteen measures long; the lone

34

exception is in Rolling Thunder, which has a twelve-measure break strain. Less

characteristic, but occasionally found, are the lack of an introduction, non-repeating

trios, and the presence of a third strain.

35

Chapter 4: Harmony

A subset of sixteen scores was selected for harmonic analysis, including at least

one from every decade of Fillmore’s career and at least three of each of the form types

discussed in chapter 3.22 Two harmonic inventories were conducted: i-count, and

h-count (as described in chapter 1). The sixteen marches analyzed contain a total of

2226 measures, with 4404 individual chords (counting one for each beat of each march,

minus passages that have percussion only) and 1597 changes of harmony. The results

are considered on several levels: over the entire set of marches, using subsets of

marches based on the four form types discussed in chapter 3, and by section

(introduction, first strain, trio, etc.). The results of these counts show harmonic

tendencies, preferences, and patterns that characterize the Fillmore march style.

I-count records the types of chords used and their frequency. This inventory

reveals that Fillmore’s harmonic palette was limited to thirty chord choices (table 6).

Tonic and dominant chords account for an overwhelming majority (82 percent)

of the chords (figure 14). 23 Secondary dominants, altered chords, and diminished

chords account for less the 5 percent of all harmonies. The predominance of tonic and

dominant chords was not unexpected. The extent to which they dominate the harmonies,

though, is dramatic. Of the thirty chord types found in Fillmore’s marches, only nine

appear in more than 1 percent of the measures: I, ii, iii, IV, #ivo, V, vi, and viio. Chords

22 Marches selected for harmonic analysis include Troopers Tribunal, Victorious First, Rolling Thunder, 136th USA Field Artillery, Men of Ohio, Noble Men, Man of the Hour, Americans We, The Klaxon, The Footlifter, Mimi, Orange Bowl, The US of A Armed Forces, America Exultant, Men of Florida, and The Presidents March. 23 In Figure 14 “/” signifies a function relative to the following chord when used in a sequence of secondary chords, as explained in chapter 1.

appearing in

ii (2.8 perce

Figure 14. C

Table 6. Ov

Type

I

i

I+

iº

#I

#iº

bII

n more than

ent), IV (2.8

Chart of Cho

verall Chord

Count

1911

80

13

28

2

10

4

2 percent of

percent), V

ord Frequenc

Inventory

Type

ii

iiº

iii

IV

iv

#IV

#ivº

36

f the measure

(42 percent)

cy

Count

149

29

44

123

12

2

64

e are even m

), and viio (2

Type C

V 2

Vsus

vº

V+

FR

Ger

more limited:

2.5 percent)

Count

2065

3

11

10

4

37

: I (40.1 perc

Type Co

bviº

vi

viº 2

#viº

bVII

VII

viiº 1

cent),

ount

3

89

22

10

6

4

105

37

Root position primary chords (I, IV, and V) are the norm. Tonic chords are used

in root position 84 percent of the time and in first or second inversion 16 percent of the

time. Supertonic chords are found in first inversion nearly as often as in root position

(45 percent versus 46 percent). Subdominant and submediant chords are usually used in

root position, and mediant chords are always used in root position.

Tonic and subdominant chords are almost always major triads. The minor form

of the tonic is found only in the first strains of two marches (Troopers Tribunal and

Rolling Thunder) and accounts for only 4 percent of all tonic chords. The minor

subdominant chord is similarly rare and is found only in two marches (The Footlifter

and The Klaxon). Only 12 of the 121 subdominant chords are minor.

Dominant chord analysis yields some surprising results. Overall, dominant

chords (including dominant seventh chords, but not augmented or altered dominants)

are used in inversion far more frequently than in root position. When used diatonically,

inversions are used more than twice as often as root position. When used as a secondary

dominant (e.g., V/V), though, dominant chords are far more likely to be found in root

position. Table 7 shows the number of times dominant (and secondary dominant)

chords are used in each inversion.24

24 In Figure 14 “/” signifies a function relative to the following chord when used in a sequence of secondary chords, as explained in chapter 1.

38

A comparison of chord inventories for Type A, B, C, and D marches reveals two

characterizations. First, Types B, C, and D marches have progressively more varied

harmonic choices than Type A marches. Type A marches have a total palette of eight

different chord types; fifteen different chords are found in Type B marches, twenty-one

in Type C marches, and twenty-seven in Type D marches (table 8).

The second observation concerns the frequency of subdominant chords. While

the proportion of tonic and dominant chords varies by less than 10 percent between

march types, subdominant chords are found most frequently in Type A marches and

progressively less in Types B, C, and D (table 9).

H-count analysis describes harmonic rhythm, using an average number of

I and V IV

Type A 0.798 0.051

Type B 0.873 0.041

Type C 0.845 0.029

Type D 0.775 0.014

Table 8. Frequency of Primary Chords (Per Measure) by March Type

Inversion V /ii /iii /IV /V /vi / Total

none 542 24 12 13 153 63 44 851

first 128 17 2 1 26 12 186 7.7%

second 716 4 27 747 30.9%

third 614 4 17 635 26.3%

64.8%

35.2%

Table 7. Dominant Chord Inversions

root

39

harmonic-changes-per-measure as the unit of measure. For the purposes of this study a

“change of harmony” is counted at the initial chord of a section and with each

subsequent change of chord root, triad quality, extension, or inversion. Higher h-counts

indicate more harmonically active sections, while lower h-counts reflect more

harmonically static sections. The results of this analysis reveal harmonic traits that

distinguish the four structural types (A, B, C, and D) and can be used as basis of

comparison between marches or between sections of marches. Table 10 summarizes the

harmonic activity of each of the march types.

Overall, introductions are the most harmonically active sections, followed by

third strains, second strains, break strains, and trios. The first strain is overall the least

harmonically active section. Table 10 provides a comparison of harmonic activity

(h-count) by type, as discussed in chapter 2.

Table 9. Chord Inventory by Form Type

I i I+ Io #I #Io bII ii iio iii IV iv #IV #ivo

Type A 38.5% 6.6% 5.1% 1.5%

Type B 38.5% 6.6% 0.6% 0.5% 0.3% 1.0% 0.7% 3.6% 0.3% 1.6%

Type C 50.9% 0.1% 1.4% 0.2% 1.3% 1.0% 2.1% 2.9% 1.6%

Type D 32.5% 0.2% 0.8% 0.1% 0.2% 4.4% 0.2% 0.7% 1.0% 0.4% 0.1% 0.3%

V Vsus Vo V+ Fr Ger bvio vi vio #vio bVII VII viio

Type A 41.2% 0.5% 0.7% 5.9%

Type B 40.7% 0.2% 0.1% 1.2% 1.7% 0.8%

Type C 34.5% 0.2% 0.4% 0.3% 0.4% 0.4% 0.3% 1.0% 0.1% 1.0%

Type D 49.9% 0.1% 0.2% 0.2% 0.8% 1.1% 0.9% 0.5% 0.2% 0.2% 4.8%

40

Avg. (all marches) 1.04 0.71 0.87 0.69 0.69 0.71 0.92

Table 10. H-Counts by Section. Blank spaces indicate the section is not present.

Intro 1st Str. 2d Str. Trans. Trio Break 3d Str.

Troopers Tribunal 0.75 0.44 0.75 1.00 0.58 0.31

Victorious First 0.25 0.56 0.75 0.50 0.77

Rolling Thunder 0.75 0.56 0.75 0.50 0.61 0.42

136th USA Field Artillery 0.75 0.38 0.75 0.75 0.50

Men of Ohio 1.50 0.78 0.75 0.59 0.88

Noble Men 1.00 0.97 0.97 1.00 0.63

Man of the Hour 1.50 0.97 0.69 0.75 0.63

Americans We 0.75 0.97 1.06 0.85 1.47

Klaxon, The 1.00 1.09 0.94 1.03 0.81

Footlifter, The 0.44 0.81 0.63

Miami 2.00 0.81 1.31 0.93 0.56

Orange Bowl 1.25 0.50 1.00 1.00 0.89

US of A Armed Forces 1.00 0.88 1.00 0.21 1.63

America Exultant 0.13 0.38 0.56 0.63 0.68

Men of Florida 1.75 1.34 1.03 0.41

Presidents March 1.25 0.38 0.81 0.50 0.39 0.88

Avg. Chords Per Measure (H‐Count)

Table 11. Average Number of Chords Per Measure (H-Count)

Intro 1st Str. 2d Str. Trans. Trio Break 3d Str.

Type A

Type B

Type C

Type D

1.08

0.92 0.45 0.78

Avg. Chords Per Measure (H‐Count)

0.750.80 0.93

0.92

0.69

0.67 0.55 0.53

0.84 0.60 0.77 0.63 0.52

1.25 0.96 0.99 0.91 0.82

Type A

than the ave

the overall a

h-count of 0

(figure 15).

Type A tran

harmonic ch

marches—ju

active by ha

Figure 15.

marches hav

erage of all F

average of 0

0.75 compare

Since transi

nsitions has l

hanges is con

ust eight cho

armonically l

Harmonic A

T

ve a slightly

Fillmore mar

.72. On aver

ed to the ave

itions are rel

little effect o

nsidered alon

ord choices—

limited.

Activity (H-C

41

Type A Ma

quicker harm

rches), with

rage, every s

erage of 0.68

atively short

on the overal

ng with the l

—these marc

Count) in Ty

rches

monic rhyth

an overall h

strain except

8) is more ac

t and rare, th

ll h-count. W

limited harm

ches can be d

ype A March

hm than aver

h-count of 0.7

t the transitio

ctive than th

he decreased

When the freq

monic palette

described as

hes

rage (i.e., qu

78 compared

on (with an

e average

d actively of

quency of

e of Type A

being relativ

icker

d to

vely

42

Since all the Type A marches were composed in the first thirteen years of

Fillmore’s career it is tempting to suggest that Fillmore had not fully developed his

harmonic vocabulary yet, but by the time of his last Type A march (1916) he had

already composed two of the more harmonically active and varied Type D marches. A

more likely explanation for the relatively simple harmony may be that the limited

harmonic choices were chosen simply to match the simplicity of the Type A structure

(I-AA-BB-Tr Tr).

Type B Marches

Type B marches have the slowest harmonic rhythm of all types, with a combined

h-count of 0.55 (compared to the overall average of 0.72) (figure 16). Significant

outliers are found only in two sections of The Presidents March and one in Troopers

Tribunal. The introduction of The Presidents March has a much higher h-count (1.25)

than both the Type B average (0.92) and the overall average (1.02). The h-count of The

Presidents March’s break strain (0.88) is also much higher than the Type B average

(0.53) and the overall average (0.68). The increased activity in these two sections,

though, is balanced by lower-than-average activity in the remaining sections. The

overall h-count of The Presidents March is 0.49, which is slightly below the Type B

average.

The transition section in Troopers Tribunal, a four-measure section after the second

strain, confirms a modulation from Ab to Db prior to the trio. It uses four chords in the

span of four measures, yielding an h-count of 1.0—twice the average activity level of

Type B mar

I - iiØ5^ - V7 -

The othe

several strat

other chords

transition by

beat) by add

Old

New

The tran

an economy

cadence) ins

Figure 16. H

rch transition

- I progressio

er Type B m

tegies. In Am

s than the ne

y changing t

ding a lower

key: | I

w key: | —

nsitions of tw

y of harmoni

stead of com

Harmonic A

ns. The secti

on.

march transiti

merica Exulta

ew tonic. The

he tonic cho

ed seventh:

Ib7 | IV

V7 | I

wo marches,

ic count by e

ming to a harm

Activity (H-C

43

ion in questio

ions achieve

ant the trans

e modulation

ord (on the fi

. . .

. . .

The Victorio

ending on the

monic close

Count) in Typ

on consists o

e their lower

sition, a two-

n occurs on

irst beat) to a

ous First and

e dominant o

e, as The Pre

pe B Marche

of a straightf

h-counts by

-measure ph

the beat prio

a dominant (

d Rolling Th

of the new k

esidents Mar

es

forward

y using one o

hrase, uses no

or to the

(on the secon

hunder, achie

key (a half

rch does. The

of

o

nd

eve

e

44

final Type B march, America Exultant, has more changes of harmony in its transition

than The Presidents March but is twice as long, resulting in a lower h-count for the

section.

Type C Marches

Type C marches are harmonically 20 percent more active than Type B marches, and

only slightly less active than Type A marches.25 The combined h-count of Type C

marches is 0.70, which is very nearly the average of all marches in this study. Despite

the fact that Fillmore wrote more marches with Type D structures, the h-count average

suggests that the Type C march is harmonically the most representative of the Fillmore

style. Comparing the average h-counts of each section, though, reveals that none of the

Type C section averages correspond closely with the overall section averages of all

marches (figure 17).

Type C introductions average 0.84 harmony changes per measure, which is

distinctly lower than the overall average of 1.02 and but slightly less than that of Type

B marches (0.92). The harmonic activity of individual Type C introductions varies

widely, though, with examples that are both much above and much below average.

Type C marches in fact include the most active march introduction (Men of Ohio, with

an h-count of 1.50) and the least active (America Exultant, 0.13) of all marches in this

study.

25 Four Type C marches were selected for detailed harmonic analysis: The 136th USA Field Artillery. Men of Ohio, The U.S. of A. Armed Forces, and America Exultant.

F

Besides

by beginnin

analyzed be

Forces. A fi

firmly estab

Because

harmonic ch

range of har

Forces) to 0

having a thi

levels. Men

Figure 17. H

its activity,

ng on a long-

egin with any

irm sense of

blished by an

e Type C ma

haracterizatio

rmonic activ

0.75 (136th U

rd strain, an

of Ohio has

Harmonic Ac

the introduc

-duration sub

ything but a

f the tonality

n authentic c

arches have n

on can be m

vity, ranging

USA Field A

d here they a

a third strai

ctivity (H-Co

45

ction to Men

bdominant ch

tonic chord:

is delayed u

adence in F

no break stra

made concern

from h-coun

Artillery). Ty

again display

in h-count of

ount) in Typ

of Ohio is f

hord: only tw

: Men of Ohi

until the four

major (figur

ain, and only

ning these se

nts of 0.21 (

ype C marche

y a wide ran

f 0.88, which

pe C Marche

further marke

wo of the ele

io and The U

rth measure,

re 18).

y one has a tr

ctions. The t

The U.S. of A

es are disting

nge of harmo

h is very clo

s

ed as except

even marche

U.S. of A. Arm

, when it is

ransition, no

trios have a

A. Armed

guished by

onic activity

ose to the Typ

tional

es

med

o

wide

pe C

average of 0

an h-count o

with an h-co

All of th

Type C mar

harmonic ac

(America Ex

more active

Men of Ohio

also has the

Type D

almost every

Figure 18. IFillmore Br

0.92. The trio

of 1.63, whil

ount of just 0

hese observa

rches is unpr

ctivity of Typ

xultant) to 0

strains are b

o has the sec

third lowest

marches are

y strain of ev

Introductionothers Comp

o of The U.S

le The 136th

0.50.

ations lead to

redictable, w

pe C marche

.77 (Men of

balanced by

cond highest

t h-count of

T

e the most ha

very Type D

n to Men of Opany, 1921).

46

S. of A. Arme

h USA Field A

o the conclus

with wide var

es, though, f

f Ohio), indic

strains of lo

t h-count of a

all trios.

Type D Ma

armonically

D march has

Ohio. Henry .

ed Forces is

Artillery trio

sion that the

riations foun

falls within a

cating that w

ower than av

any march in

rches

active and v

an h-count a

Fillmore, M

nearly twice

o is nearly h

level of har

nd in each str

a range of h-

within individ

erage activit

ntroduction

varied of the

above averag

Men of Ohio (

e as active, w

alf as active

rmonic activi

rain. The ov

-counts of 0.

dual marche

ty. For exam

in this study

four types—

ge (figure 19

(Cincinnati:

with

,

ity in

verall

53

s

mple,

y, but

—

9).

Together Ty

marches, an

V9, viØ, vi°

The rela

palette, give

example of

break strain

explicit chan

contrasts sh

an h-count o

harmony in

root, Ab.

Figure 19. H

ype D march

nd make use

dim, #viØ7, #

atively high f

es Type D m

the harmoni

of American

nges of harm

arply with a

of just 0.31 (

sixteen mea

Harmonic A

hes use all bu

of nine chor

#vi°, and VII

frequency of

marches a gre

ic propulsion

ns We (figur

mony. The hc

n example fr

(figure 21). T

asures, and th

Activity (H-C

47

ut three of th

rds not found

I.

f harmonic c

eater sense o

n that charac

re 20). This s

count (1.47)

from a Type

Troopers Tri

he final half

Count) in Typ

he chord type

d in the othe

changes, alon

of energy tha

cterizes Type

sixteen-mea

) of the Amer

B march, Tr

ibunal uses o

f of the phras

pe D Marche

es found in F

er march type

ng with an e

an the other t

e D marches

asure phrase

ricans We br

roopers Trib

only five cha

se is based o

es

Fillmore

es: #I, bII, #I

expansive ch

types. An

s is found in

has twenty-f

reak strain

bunal, which

anges of

on a single ch

V,

hord

the

four

h has

hord

Like Typ

H-counts be

break strain

Fillmore wr

Db: || V7/

Figure 21. R(Cincinnati:

9

Figure 20. H(Cincinnati:

pe C marche

etween marc

s vary by as

rote more Ty

/vi | ‘ | ‘

Relatively In Fillmore Br

B

9 10

Harmonicall Fillmore Br

es, Type D m

hes vary by

much as 20

ype D march

| vi | V7/V

nactive Brearothers Com

Bb:

1 2

11

ly Active Brrothers Com

48

marches are i

over 20 perc

0 percent. T

hes than any

V | ‘ | ‘

ak Strain. Hempany, 1905)

2 3

12

reak Strain. Hmpany, 1929)

inconsistent

cent in each

This is an une

other type, a

| V | ‘ | ‘enry Fillmore).

4 5

13 1

Henry Fillmo).

t in their harm

strain; intro

expected fin

and wrote th

‘ | ‘ | ‘

e, Troopers

6 7

14 15

ore, America

monic activi

oductions and

nding; since

he majority o

| V7 | ‘ | ‘Tribunal

8

16

ans We

ity.

d

of

‘ |

49

those within an eight year period, a more consistent level of harmonic activity might be

expected

Chord preferences vary widely between Type D marches as well. For example,

chord frequencies in Noble Men and Americans We are heavily weighted towards

dominants, while Man of the Hour, Miami and The Klaxon favor tonic chords

(table 12). Some of the marches, Noble Men and Man of the Hour, have significantly

higher than average usage of subdominant chords, while the remainder are well below

the average usage rate. The harmonic characteristic of Type D marches that remains

consistent is that they all use a relatively large number of chord types (figure 22).

Introductions

Fillmore’s introductions generally have the highest overall harmonic activity of all

sections, with an average h-count of 0.97 (compared to the overall h-count of 0.72). The

rate of harmonic activity varies greatly between individual marches; America Exultant,

for example, has only a tonic harmony for the entire introduction, while Miami changes

Tonic Chords Dominant Chords

Man of the Hour 45.1 35.9

Miami 56.6 33.8

The Klaxon 51.8 37.9

Noble Men 24.9 45.1

Americans We 28 59

Table 12. Percent of Tonic and Dominant Chords

50

harmony twice each measure (figure 23).26 The number of different chord types found,

thirteen, is only slightly above the overall average of all sections (12.2) (figure 24).

Tonic chords are used with approximately the same frequency as in other sections,

but dominant chords are used less frequently in introductions (34.6 percent of all

chords) than the overall average (43.4 percent of all chords).

Although dominant chords themselves are underrepresented in introductions, the

dominant function (counting both chords built on the fifth scale degree as well as all

diminished chords) is somewhat compensated for, as diminished chords are used almost

twice as frequently in the introduction (17.3 percent of all chords) than the overall

average (9.4 percent of all chords).

26 A single harmony is also used in the introduction to Sousa’s The Washington Post March, which sustains a dominant chord over the entire eight measures.

I i I+ Io #I #Io bII ii iio iii IV iv #IV #ivo

Type A 38.5% 6.6% 5.1% 1.5%

Type B 38.5% 6.6% 0.6% 0.5% 0.3% 1.0% 0.7% 3.6% 0.3% 1.6%

Type C 50.9% 0.1% 1.4% 0.2% 1.3% 1.0% 2.1% 2.9% 1.6%

Type D 32.5% 0.2% 0.8% 0.1% 0.2% 4.4% 0.2% 0.7% 1.0% 0.4% 0.1% 0.3%

V Vsus Vo V+ Fr Ger bvio vi vio #vio bVII VII viio

Type A 41.2% 0.5% 0.7% 5.9%

Type B 40.7% 0.2% 0.1% 1.2% 1.7% 0.8%

Type C 34.5% 0.2% 0.4% 0.3% 0.4% 0.4% 0.3% 1.0% 0.1% 1.0%

Type D 49.9% 0.1% 0.2% 0.2% 0.8% 1.1% 0.9% 0.5% 0.2% 0.2% 4.8%

Figure 22. Inventory of Chords by Form Type

Figure 23. R

* The F

Figure 24. C

Rate of Harm

Footlifter has

Chord Choic

monic Activ

s no introduc

ces and Freq

51

ity in Introdu

ction

quency (Intro

ductions

oductions)

The first

harmonic rh

first strains

dominant ch

h-count is 0

There is con

though, both

rhythm, in M

(0.38), foun

Exultant (fig

27 American

Figure 25. R

t strain harm

hythm and ch

generally fo

hords in the

.71—only th

nsiderable va

h between m

Men of Flori

nd in The Pre

gure 25).

n Military Ma

Rate of Harm

mony in Ame

hord choices

ollow this con

first strain, a

he trios and t

ariation in ha

marches and b

ida, has an h

esidents Mar

March Form,

monic Activ

52

First Stra

erican march

s limited to t

nvention; hi

and in all of

transitions h

armonic rhyt

between mar

h-count (1.75

rch, The 136

23.

vity in First S

ains

hes is typical

tonic and dom

s earlier mar

his marches

have a lower

ythm and var

rch types. Th

5) that is alm

6th USA Fiel

Strains

lly simple, w

minant chor

rches use on

s the average

average h-c

riety of chord

he quickest

most three tim

ld Artillery,

with a slow

rds.27 Fillmor

nly tonic and

e first strain

count (0.69).

d choices,

harmonic

mes the lowe

and America

re’s

d

est

a

53

Variations are also found between march types. Type A and Type B marches have a

markedly slower harmonic rhythm, on average, in their first strains than in their second

strains and trios, but the more numerous Type C and Type D marches do not show such

a clear distinction. In these marches the first strain is less active than the second strain,

but more active than the trio. Type D marches show the least difference of all in the

level of harmonic activity between the first strain and other strains, with trio and second

strain h-counts within 5 percent of that of the first strain.

Comparing the actual harmonic rhythms of the first strains shows that there are

strong similarities within Type B and Type D marches. (Victorious First and Orange

Bowl, both Type A marches, have harmonic rhythms in their first strains that are very

similar to Type B marches. Type C march first strains, on the other hand, do not display

any consistent pattern of durations or rhythms within their type.) As shown in Table 13,

in Type A and Type B marches both of the eight-measure phrases of the first strain

generally begin with a harmony held for a relatively long duration, and the remainder of

the first strain is likewise dominated by long-duration rhythmic values.28 Type D

marches (and the Type A march Men of Florida) have first strains that are visibly more

active than those of Type A and Type B marches, with rhythms that are dominated by

relatively short-duration note values.

28 For clarity, note values in Table 13 are shown at one-half of their actual values. The rhythms in the “1st Strain (a)” column represent the first eight measures of the section, and those in the “1st Strain (b)” column represent the second eight measures.

54

The marches Fillmore composed before 1918 have first strain harmonies comprised

entirely of tonic and dominant chords, with tonic chords found in root position more

than 96 percent of the time.29 Dominant chords are used with more variety, and are most

often found in root position (50 of the time) then first inversion (35 percent of the time).

After 1918 Fillmore’s first strains used more chord types, with 5 percent of the total

i-count comprised of chords other than tonic and dominant.30 Additional chord choices

used after 1918 include, in order of frequency: iii, viiº, I+, Iº, #ivº, vi, and #iº. Counting

all of the marches a total of twelve chord types are used in Fillmore’s first strains

29 Pre-1918 marches include Troopers Tribunal, Victorious First, and Rolling Thunder. 30 Post-1918 marches include The 136th USA Field Artillery, Men of Ohio, Noble Men, Man of the Hour, Americans We, The Klaxon, The Footlifter, Miami, The US of A Armed Forces, America Exultant, and The Presidents March.

Table 13. First Strain Harmonic Rhythms

Title 1st Strain (a) 1st Strain (b)

A Victorious First w- w- w- hh whhwqqhOrange Bowl w-w-w-w wwhhqqhMen of Florida qqhhhqqh-hh qqhhhqqhqqqq

B Troopers Tribunal w- wwhh w- wwwB Rolling Thunder wwww wwwqqhB Presidents March w- w- ww wwh-qqwB''' Footlifter, The w- hw- wh w- hww- hqqh

D Noble Men hhhhhhhqq hhhhhhwD Man of the Hour qqwwhhqq qqwhw- qqqqD Americans We hhhhwh-qq hhhhwqqqqD Klaxon, The whhhhqqqq whhh-qqqqqqD Miami qqqqw- w- h-qq qqqqw- whhw

Type

A

A

(figure 26).

choices of in

In Amer

and chord ch

are a numbe

Hour. In Tro

the first stra

One march,

second strai

except the tr

While th

examples, w

31 American

Figure 26. C

This count,

n any section

rican marche

hoices than t

er of excepti

oopers Tribu

ain, but has a

Noble Men,

ins. More ch

rios (which a

here is a con

with h-counts

n Military Ma

Chord Choic

matched by

n.

es the second

the first stra

ons: Men of

unal the seco

a slower harm

has the sam

hords types, s

also have a c

nsiderable dif

s that range

March Form,

ces and Freq

55

the introduc

Second Str

d strain typic

in.31 This is

f Florida, Th

ond strain is

monic rhythm

me pace of ha

sixteen, are f

combined i-c

fference betw

from 0.56 to

37.

quency (First

ction, is the l

rains

cally has a h

true of most

he Klaxon, M

not only les

m than the in

armonic cha

found in sec

count of sixt

ween the mo

o 1.31, secon

t Strains)

least numbe

harmony with

t Fillmore m

Men of Ohio,

ss harmonica

ntroduction

anges in both

cond strains t

teen) (figure

ost active an

nd strains ha

r of chord

h more activ

marches but t

and Man of

ally active th

and trio as w

h the first and

than in any o

e 27).

d least activ

ave the most

vity

there

f the

han

well.

d

other

ve

consistent ra

marches hav

demonstrate

(America Ex

a much wid

harmonic ch

Harmon

similarity co

of harmonic

as those fou

measures of

the second s

period. The

32 For clarity

Figure 27. C

ange of harm

ve second str

es such a con

xultant, 1942

er range of h

hange found

nic rhythms i

omparable to

c rhythm wit

und in first st

f the sections

strain than th

Type A mar

y, note value

Chord Choic

monic activit

rain h-count

nsistency. W

2) have an h

h-count valu

in Fillmore

in the second

o that of thei

thin types, an

trains but are

s).32 Type B

hose of Type

rch can be se

es in Table 1

ces and Freq

56

ty of all the s

ts at or withi

Within Type A

h-count of eit

ues, including

’s second str

ds strains of

ir first strain

nd the differ

e still recogn

marches ge

e D marches

een to demon

14 are shown

quency (Seco

strains (figur

in 6 percent

A, B, and C

ther 0.75 or

g the highest

rains.

f Type B and

ns. As shown

rences betwe

nizable (part

nerally favo

, particularly

nstrate chara

n as one-half

ond Strains)

re 28). Eight

of 0.75; no o

marches, all

0.81; Type D

t and lowest

d Type D ma

n in Table 14

een types, ar

ticularly in th

or longer rhy

y in the first

acteristics of

f of their act

t of the sixte

other strain

l but one

D marches h

t rates of

arches displa

4, the consist

re not as dram

he first eight

ythmic value

phrase of th

f both Type

tual values.

een

have

ay a

tency

matic

t

s in

he

D

Figure 28. R

Table 14. S

Rate of Harm

econd Strain

A Vic

Ora

Me

B Tro

B Ro

B Pre

B''' Foo

D No

D Ma

D Am

D Kla

D Mi

Type

A

A

monic Activ

n Harmonic

Title

ctorious First

ange Bowl

en of Florida

oopers Tribun

lling Thunder

esidents Marc

otlifter, The

oble Men

an of the Hou

mericans We

axon, The

ami

57

ity in Secon

Rhythms

2d Stra

hhwwwhhhhhhqhhhhwh

nal wwhhwhhwhhw

ch wwwwwwww

whqqwr wwww

whhqqqhhhhhqqqqhqqqq

nd Strains

in (a) 2d

wwqqh hhhqq hhh

whhhhhwhqhhq

hqq whqwhq

qqqh whhqw hhhqhhh-qqqqh

d Strain (b)

qqhwhhhwhqqqqhqq

hhwqqhwhhqqhqqhqqqqqhhw

qqwqqqqqqhhwhwqqhhwqqhqqqqhhw

58

marches (the relatively short duration of the first two harmonies) and Type B marches

(the long-duration harmonies that complete the first phrase).

Chord choices in the second strain are comparable to those of the first strain, but

show a dramatic increase in the use of supertonic (ii) and submediant (vi) chords. The

sixty-four appearances of these chords in second strains make them four times more

frequently found in second strains than in introductions, and sixteen times more

frequently than in first strains.

Transitions

The primary function of the transition, which may be considered as an introduction

to the next strain (which is almost always the trio), is to either modulate to the key of

the trio or to reinforce a modulation that has already been accomplished.33 Fillmore

marches, when they have transitions, usually perform the latter function. In the six

marches that have transitions, three (Troopers Tribunal, The Victorious First, and The

Presidents March) accomplish a modulation on the beat prior to the transition. In these

marches the first beat of the measure preceding the transition is a root position tonic

triad; a lowered seventh is added on the second beat to create a dominant chord in the

new key (which is always the subdominant). Rolling Thunder ends the second phrase

with an authentic cadence in the old key, then begins the transition in the new key

without preparation. Orange Bowl begins the transition in the old key and modulates by

turning the tonic into the dominant of the new key, in the third measure, with the

addition of a minor seventh. The transition in America Exultant performs no harmonic

function as the following strain is in the same key as the preceding section.

33 American Military March Form, 93.

The tran

modulates n

preceding se

Second, the

strain. The t

prepare the

Only thr

dominant ch

used in first

0.69 (figure

34 American

Figure 29. R

nsition in Am

nor reinforce

ections (the

second strai

transition the

listener for a

ree chord typ

hords are alw

t inversion. T

29).

n Military Ma

Rate of Harm

merica Exulta

es an accomp

march itself

in is followe

erefore perfo

a new music

pes are found

ways found i

The harmoni

March Form,

monic Activ

no transitio

59

ant is unusua

plished modu

f is exception

ed, after a tra

orms the sec

cal section of

d in the five

in root positi

ic rhythm is

60.

vity in Transi

on

al for two re

ulation; it re

nal for not co

ansition, not

condary role

f a different

transitions:

ion, and the

slow, with a

itions

easons. First,

emains in the

ontaining a m

by a trio bu

of transition

character.34

I, iio, and V

supertonic c

an average h

, it neither

e same key a

modulation)

ut by a third

ns, which is t

V. The tonic a

chords is alw

h-count of ju

as the

.

to

and

ways

st

America

first or seco

h-count for

equally low

h-count of 0

1916) (figur

first strain (

second strai

Tribunal, an

either the fir

35 American

Figure 30. R

an march trio

nd strains, a

trios (0.69) i

h-count of 0

0.21 (The Pr

re 30). Cons

The Klaxon,

in only (Mia

nd President

rst or second

n Military Ma

Rate of Harm

os generally

and this is the

is lower than

0.69). The ac

residents Ma

equently, in

Man of the

mi, Orange

ts March). In

d strain, as in

March Form, p

monic Activ

60

Trios

have a slow

e case in mo

n all other st

ctivity level

arch, his last

some march

Hour) while

Bowl, The F

n still other m

n Noble Men

p. 96.

ity in Trios

wer harmonic

ost Fillmore

trains but the

of individua

march) to 1

hes the trio i

e in others th

Footlifter, Ro

marches the

n and Victori

c rhythm tha

marches.35 T

e transition (

al trios range

.03 (Americ

s only less a

he trio is less

olling Thund

trio is more

ious First.

an either thei

The average

(which has a

es from an

a Exultant,

active than th

s active than

der, Trooper

active than

ir

an

he

n the

rs

61

There is no discernible chronological pattern to the activity level of the trios; both

early and late marches have examples of both high and low activity in the trio. It can be

seen that Type D marches, though, have distinctly more active trios than the other types

(Table 11). All of the Type D march trios have h-counts higher than the average, and

the four most active trios in this study all belong to Type D marches.

An examination of the harmonic rhythms found in Fillmore’s trios shows that Type

B march trios have harmonies that move by relatively long rhythmic values, and are

visibly less active than Type A and Type D march trios (table 15).36 A unique feature of

the harmonic rhythm of both Type B and Type D trios is their tendency, unlike the

rhythms found in the first and second strains, to end each period with a harmony held

for a long duration. Ninety-two percent of the trio phrases belonging to Type B or D

marches end with a harmony held for four beats; by comparison, only 33 percent of

Type B or D first strain phrases and 50 percent of second strain phrases end with such a

long rhythmic value. Type C marches display no consistent harmonic rhythm

tendencies.

Sixteen different chord types are found in the trios, making trios and transitions the

most harmonically varied of all sections (figure 31). Tonic chords are used significantly

more frequently in the trio than in the other sections, which helps to provide a sense of

tonal stability despite the relatively colorful harmonic palette.

36 For clarity, note values in Table 15 are shown as one-half of their actual values.

Table 15. T

T

A Victorio

Orange

Men of

B Troope

B Rolling 

B Preside

B''' Footlift

D Noble M

D Man of

D America

D Klaxon,

D Miami

Type

A

A

Figure 31.

Trio Harmoni

Title

ous First w Bowl wf Florida w

rs Tribunal wThunder wnts March wter, The w

Men hf the Hour wans We h, The h

h

. Chord Choi

ic Rhythms

Trio (a)

-hhhhqqhww-w-w-w-w

-w-hhw-w-ww-w-ww-w-hqqw

hhhww-w-hqqw

hw-hhwqqhqqwwqqw-hhw

ices and Fre

62

Trio 

hhwwwwhhw-wwhhw-w

w-whhwwwwhw-w-www-w-hh

hhhhhhww-w-hhww-wwhqqhqqhhqqh-qq

quency (Trio

(b)

w www w-ww w-w

w w-wqq w-ww w-ww w-w

ww w-w

w hhwhhw hqqhhhqq hqq

(tr

os)

Trio (c)

whqqw-w-ww-w-w

wwww-www-hhww-hhw

w-wwwhhw

hqqwhqqw-hhw

rio is only 16

Trio (d)

hhhhhhhqwhhwhhw-hhw-w

wwwwwwwww-w-wwhhhhqqqq

wqqqqhqqhhhhhqqwwhqqqqqqhhhhhhw

6 measures lon

)

q

w

qw

qw

ng)

In gener

combined b

active, and t

the h-counts

closer inspe

Presidents M

range from

measures of

Figure 32. R

n

ral, the harm

reak strain h

third strains—

s gives a fals

ection reveal

March, the b

0.0 in The F

f drums only

Rate of Harm

no break strain

monic rhythm

h-count (0.71

—which are

se sense of th

s that in all b

break strain i

Footlifter (wh

y) to 1.47 in A

monic Activ

63

Break Stra

ms of Fillmor

1) is second

relatively ra

he normal ac

but two of th

is the least a

hich has a br

Americans W

ity in Break

ains

re’s break str

only to intro

are (Table 10

ctivity of the

he marches, A

active section

reak strain c

We (figure 3

Strains

rains are qui

oductions—w

0). Looking

e break strain

Americans W

n. H-counts

onsisting of

2).

ite active. Th

which are ve

at the avera

ns, though. A

We and The

in break stra

f sixteen

he

ery

age of

A

ains

64

One purpose of the break strain is to create a period of excitement between

repetitions of the quieter trio section.37 Syncopated rhythms and dramatic contrasts in

orchestration account for much of the energy in Fillmore’s break strains, but harmony

also plays an important role. Fourteen chord types are found in break strains, but the

strains are overwhelmingly dominated by the dominant function. Dominant function

chords account for 70 percent of all break strain harmonies; the next closest chord

function (in terms of frequency of occurrence), the subdominant, accounts for only 6

percent (figure 33). This gives the break strain a sense of continued motion and unrest,

as the harmony rarely settles on the tonic.38 Most of the break strains, in fact, do not

contain a single tonic chord in the home key, and consist of a prolonged progression of

secondary dominants leading to a dominant seventh chord in the final measure.

Third Strains

Seven Fillmore marches have a third strain. When present, third strains often have a

highly active harmony with frequent chord changes (figure 34) and an average variety

of chord types (figure 35). Only Type C marches, as described in the preceding chapter,

contain third strains, and in most of these marches the trio is not repeated. The addition

of a third strain, by extending the duration of the march in place of the omitted trio

37 American Military March Form, 117. 38 Temporary tonic chords, however, are frequently found in break strains, as in the progression V/vi–vi–V/V–V–V7, in Americans We: the vi chord is temporarily established as a minor tonic chord, but its true function (as a predominant supertonic of V/V) becomes apparent as the following harmonies are sounded. Similarly, the V chord temporarily assumes tonic function by its structure and by being preceded by its own dominant, but when its structure changes—to a dominant seventh chord—in the following measure its true function is revealed.

repeat, help

other type m

The thir

excitement b

twenty-six c

V65 |

V65 |

Figure 33. C

s to keep the

marches.

d strain of T

by using an

changes of h

ii64 V7 |

ii64 V7 |

Chord Choic

e overall leng

The U.S. of A

inventory (i-

harmony in it

I V6 | iº4

I V6 | iº4

ces and Freq

65

gth of Type

A. Armed For

-count) of el

ts sixteen me

42 I

64 | V

4

42 I

64 | V

4

quency (Brea

C marches c

rces, for exa

leven differe

easures (an h

43 V

42 | V

6

43 V

42 | V

6

ak Strains)

comparable

ample, create

ent chord typ

h-count of 1

6 V | I iº

6 V | I

to that of the

es harmonic

pes and mak

.63):

º | I

| I

e

king

Figure 34. R

Figure 35. C

Rate of Harm

Chord Choic

monic Activi

no third

ces and Freq

66

ity in Third

d strain

quency (Thir

Strains

rd Strains)

The mos

fourteen of t

major, Bb m

is not unusu

marches sho

preference f

range of key

39 For this dinvariably mso the initia40 American41 Key signaSousa and K

Figure 36. S

K

st common k

the thirty ma

major, Eb majo

ual in Americ

ows a simila

for Bb major

y choices an

discussion onmodulate to tl key signatu

n Military Maature data is Karl King.

Sousa and K

Key Signatu

key signature

arches.39 On

or, and Ab m

can marches

r preference

(rather the E

d a preferen

nly the initiathe subdominure provides

March Form, based on an

King Key Sig

67

ure Choices

e in Fillmore

nly a narrow

major (figure

s.40 A compa

for a narrow

Eb major) in

ce for F maj

l key signatunant for the a clear acco5.

n ad hoc surv

gnature Choi

and Modul

e marches is

range of key

36). This pr

arison of sele

w range of fl

n King march

jor in Sousa

ure is considtrio and incl

ount of Fillm

vey of sixty-t

ices

lations

s Eb major, a

ys are used:

reference for

ected Sousa

lat keys, but

hes, and both

marches (fig

dered. Fillmolude no othe

more’s overa

two marches

choice used

C major, F

r major, flat

and King

also shows

h a slightly w

gure 37).41

ore marches er modulationll key choice

s by John Ph

d in

keys

a

wider

ns, es.

hilip

A few o

eight of the

most consis

Eb major; th

discernable

commonly u

All but t

from the sec

an introduct

major). Both

the subdomi

march.

Num

ber

of M

arch

es

Figure 37

bservations

ten Type D

tent in terms

he other two

shift toward

used key sig

two marches

cond strain o

tion and first

h of the mar

inant (Db ma

7. Overall K

can be made

marches—w

s of structure

are set in F

ds key signat

nature (figur

s begin in ma

on. Troopers

t strain in F m

ches follow

ajor) for the t

ey Signature

68

e concerning

which were p

e, harmonic

major. The m

tures with fe

re 38 and fig

ajor keys, an

s Tribunal (1

minor and a

the America

trio and rem

e Choices

g Fillmore’s

previously n

palette and h

marches com

ewer flats, bu

gure 39).

nd all the ma

1905) and Ro

second strai

an march con

main in that k

key choices

noted as bein

harmonic rh

mposed after

ut Eb major r

arches are se

olling Thund

in in the rela

nvention of

key for the re

s. For examp

ng among the

hythm—are s

r 1916 show

remains the m

et in a major

der (1916) ha

ative major (

modulating

emainder of

ple,

e

set in

a

most

key

ave

(Ab

to

the

All of th

trio, or at th

for two reas

Num

ber

of M

arch

es

Figure 38. K

Num

ber

of M

arch

es

Figure 39. K

he marches e

he transitiona

sons. First, it

Key Signatu

Key Signatu

except one (A

al passage pr

t is the only

ure Choices 1

ure Choices 1

69

America Exu

receding the

one of the m

1903-1916

1918-1954

ultant, 1944)

trio. Americ

marches that

) include a m

can Exultant

does not hav

modulation a

t is exception

ve a trio; the

at the

nal

e first

70

two strains are followed by a third strain. Secondly, the third strain is based on a pre-

existing tune “America.” America Exultant is the only example in this group to

incorporate a pre-existing melody.42 (The original melody, in 3/4, is recast in cut time

by prolonging the first beat: the rhythm |qqq|q.eq| in 3/4 becomes |w|hh|h.q|w| in cut time.) The use of a pre-existing melody helps explain the lack of a trio in this

march. In marches the trio is usually the most memorable strain, with recognition

enhanced by repeating the strain, using longer melodic note durations, and having a

slower harmonic rhythm. The tune “America” is clearly meant to be recognized upon its

appearance, and—especially in the era it was composed, during WWII—would easily

overshadow any original trio melody.

Fillmore’s use of “America” also explains structural and harmonic anomalies found

in American Exultant. Besides the aforementioned lack of a trio, the third strain has an

unusual phrase length and structure. The first iteration of the third strain is twenty-eight

measures long, organized in phrases of twelve, eight, and eight measures. The repetition

of the strain, sixteen measures long, omits the first twelve measures and consists of only

the final two phrases of eight measures each. This is unusual phrasing for a march, but

follows the phrase structure of the embedded tune, “America.” The harmony of the third

strain is similarly influenced by its roots in “America.”

42 Seventeen other Fillmore marches also incorporate pre-existing music: All Day, The Poet, Peasant and Light Cavalryman, Safe in the Arms of Jesus, St. Edmund, Shall We Gather at the River, Tell Mother I’ll Be There, Tosti’s Goodbye March, Waves, Banner of Democracy, Duke Street, Flag of Humanity, Joyful Greeting, Old Kentucky Home, The Old Oaken Bucket, Onward Christian Soldiers, Rocked in the Cradle of the Deep, and United Service.

71

Chapter 5: Other Considerations

The focus of this study has been on the quantifiable structural and harmonic

characteristics of Fillmore’s marches. There are a number of other musical factors,

though, that contribute to the Fillmore march style and should be noted, such as

syncopation and orchestration. In addition, Schenkerian analysis is provided that sheds

additional insights into the nature of the modulation at the trio and the harmonic role of

the break strain.

Rhythm

Marches typically use “simple, repetitive, non-syncopated” rhythms.43 This is

generally true of Fillmore marches, but syncopated rhythms are occasionally found.

Such passages are relatively rare, occurring in less than half the marches and in

approximately 11 percent of all march sections; their scarcity adds to the surprise of

rhythmic disruption when they occur in the otherwise steady, regular rhythm.

Among the marches that contain syncopation, the extent of the syncopation varies

greatly. In some of the marches the syncopation is extremely limited, occurring in just a

few measures of the entire march. Alamo and Rolling Thunder (figure 40) are examples

of very limited syncopation: only a single measure at the end of the second strain of

Alamo has any syncopation, and in Rolling Thunder syncopation is prominent in the

introduction but not found again until the trio. In several marches syncopation plays an

important rhythmic role in the first strain while the rest of the march maintains a regular

rhythm, as in The Hippodrome and The Klaxon (figure 41).

43 American Military March Form, 5.

A few m

Vashti) featu

marches, Th

rhythms in e

have been p

marches tha

Figure 40. LBrothers CoFillmore Br

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72

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75

bass clef versions), basses (tuba), bells, and drums (snare drum, bass drum, and pair of

cymbals) (figure 43). The marches were published with an octavo size condensed score

and individual parts sized for marching use (six and three-quarters of an inch wide by

five and one-quarter inches tall).

All of the instruments play almost all of the time, and instruments are always used

in sections rather than as soloists.44 The upper woodwinds (piccolo, flutes, oboes, and

first clarinet) are employed as a unit and are generally scored in octaves; second and

third clarinets double the first clarinet an octave lower or play harmony parts in the

same rhythm as the first clarinet. Eb clarinet and soprano saxophone, when included in

the score, play no uniquely characteristic roles and are used mainly to double the flutes,

oboes, or first Bb clarinets. Alto saxophones frequently double the cornets, or

sometimes double the tenor saxophone at the octave. Tenor saxophone usually doubles

the first trombone, or may be used, in chordal textures, with the alto saxophones. Bass

clarinets and bassoons are used to double the bass, or may double the tenor saxophone

on countermelodies. Baritone saxophone usually doubles the basses, and may reinforce

the tenor saxophone when both are used in a chordal, harmonic role.

The first cornet usually plays the main melodies in all strains, while second and

third cornets either harmonize the first cornet or play a rhythmic and harmonic role by

doubling the French horns.45 French horns, scored in four parts, are almost always

relegated to playing chordal rhythms: close position chords containing all the chord

44 The solo cornet, when present, is an exception to the purely sectional use of instruments and plays the main melody at all times. 45 Eb alto horns were used in Fillmore’s earlier marches, but were entirely supplanted by French horns in his later marches. Remarks in this chapter regarding French horns are true of the Eb alto horns as well.

Figure 43. SScore cover

showing typ

76

pical Fillmorre instrumenntation

77

tones of the underlying harmony. These chords, played on the off-beats (beats two and

four, in cut time), complement bass notes played on beats one and three that together

comprise the characteristic “oom-pah” figure that provides a rhythmic and harmonic

underpinning to the marches (figure 44). In cut time, for example, the French horn’s

characteristic rhythm is comprised of quarter notes on beats two and four

( Q q Q q | Q q Q q ), while in compound duple meters they play a pattern that

emphasizes the triplet division of the beat ( e E e e E e | e E e e E e ). While these

background parts are hardly glamorous, “the Horns are particularly important, since

with their ‘after-beats’ they are practically the back-bone of the band.”46 Fillmore’s use

of the horns in a subsidiary role is comparable to that of Sousa.47

Trombones are scored in unison when playing countermelodies, and are frequently

given either the main melody or a countermelody. When used in a harmonic,

background role, they are usually scored in thirds, with second trombone doubling the

first trombone, or more rarely with first and second trombone in thirds with the third

trombone doubling the bass. The euphonium is used lyrically, and is often given a

countermelody that is doubled with tenor saxophone, trombones, or both.

Basses usually play harmonic roots (or alternate between chord tones) on

downbeats, as in Americans We (figure 45). Occasionally the basses are given brief

melodic passages, as in the introduction (“I”), second strain (“2”), and break strain

46 Edwin Franko Goldman, Band Betterment: Suggestions and Advice to Bands, Bandmasters, and Band-players (New York: Carl Fischer, Inc., 1934), 12. 47 Megan Jane Starrett, “The Role of the Horn in Band Music” (Thesis, University of Kansas, 2009), 17.

Figure 45. H(Cincinnati:

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83

features—tonal harmonic structures and progressions—that are directly addressed by

Schenkerian theory. Arriving at a satisfactory Schenkerian interpretation of Fillmore’s

marches poses certain analytical problems, though. The two main problems are

interpreting repeats of the trio (specifically in Type B and Type D marches) and

explaining the modulation that occurs at the trio.

The following discussion of trio repeats specifically addresses Type B marches, but

the findings are applicable to Type D marches, with their I-AA-BB-CD-CD-C form, as

well. Discussion of a modulation at the trio is applicable to all Fillmore marches that

contain a trio (twenty-none of the thirty in this study). It is also understood that both

discussions are tentative, with definitive findings pending Schenkerian analysis of a

significantly larger number of Fillmore marches. The interpretations suggested have

potential for providing a general template for all Fillmore marches, though, since they

are based on the presence of a modulating, repeated trio separated by a contrasting

break strain—characteristics that have been shown to be a general feature of most

Fillmore marches.

Type B marches have the general form I-AA-BB-Trio-Break-Trio. The restatement

of the trio is nearly identical to the original trio, and this presents an interpretive

problem. The final trio is the last section of the composition, contains significant

melodic material, and concludes with an authentic cadence on the tonic—so it is likely

to contain a descent of the Urlinie to 1 (such as 3 2 1 or 5 4 3 2 1) or at least complete

the descent to 1. The trio and its restatement have the same main melody and the same

harmony, so they are also likely to contain the same same fundamental structure—a

descent to 1 with a cadence on the tonic. The problem is that since the Urlinie has

84

already descended to 1 over a tonic harmony at the end of the first trio statement, the

trio repeat—especially because it is a nearly exact repeat—seems structurally

superfluous. Furthermore, if the Ursatz is complete by the end of the first trio, the

structural role of break strain is unclear. The roles of the break strain and the trio repeat

can both be explained, however, using concepts borrowed from some of Schenker’s

treatments of ternary forms in Free Composition.49

The trio/break/trio module is the concluding part of a Type B march and is tonally

closed off from the preceding sections, so the trio/break/trio module can be analyzed as

a ternary (ABA) structure. Specifically, since each iteration of the trio begins and ends

on a tonic chord and the break strain is based on an extended dominant chord, the final

three sections form a divided ternary structure. Some Schenkerian interpretations of the

B section in divided ternary forms that can be applied to Fillmore’s marches include

considering the break strain as the prolongation of a structural note from the previous

section (figure 50a), as a temporary deflection in the fundamental line (i.e., an

elaborated neighbor note) (figure 50b), or as an interruption (figure 50c). A test analysis

of Americans We, discussed in detail later, confirms that in at least one case the break

strain functions as the prolongation of a structural note, 5, from the initial trio statement

in a pattern similar to that of Figure 50a.

49 Heinrich Schenker, Free Composition (Der freie Satz), trans. and ed. Ernst Oster (New York: Longman, 1979), 132-133.

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87

of the trio may be applicable to the trio-break strain-trio module in a number of

Fillmore’s marches.

In the test case of Americans We, though, the break strain functions more clearly as

a prolongation of 5 (from the preceding trio section), as shown in Figure 50a . One

overriding factor in choosing this analysis is the prominent role of 5 in the break strain.

The last eight measures of the strain frame a chromatic ascent from F4 to F5, with

harmonies that plane chromatically over an F pedal in the bass. This F—5 in relation to

the key of the trio—harkens back to a prominent F in the first trio section that is

revealed in middle ground analysis, and foreshadows a prominent F (also uncovered in

a middle ground analysis) in the following trio repeat. (A summary of the analysis of

the entire march is discussed later, and the complete graph is contained in Appendix B.)

A second obstacle to Schenkerian analysis of Fillmore marches is interpreting the

modulation that occurs at the trio. The problem is that after modulating the marches do

not return to the opening key. If the beginning key is considered as the primary key of

the composition it is difficult to construct a satisfactory fundamental line that ends on

1—in the original key—because the marches always end with an authentic cadence in

the key of the trio. One way to account for the modulation is to assume that the primary

key of the march is that of the trio. A number of theories support this interpretation,

including Schenker’s “transference of the fundamental structure” (also referred to as an

auxiliary cadence), James Sobaskie’s “precursive elaboration,” and L. Poundie

Burstein’s “non-tonic opening.”

Schenker’s theory includes, as a central tenet, the premise that compositions are the

result of the Auskomponierung (composing out) of a single tonic. In this scheme

88

modulations, even when covering considerable spans, are viewed in relation to a single,

primary tonality. Pieces that begin in one key, modulate to another key, and return the

original key present no particular analytical difficulty in this regard.

Some compositions, though, do begin in one key and end in another. Schenker

described this situation in his analysis of Chopin’s op. 28, no. 2, a composition which

begins in E and ends in A.51 Here the fundamental structure of the final section, in the

key of A, is “transferred” to the preceding section in the key of E. James Sobaskie calls

this a type of precursive elaboration:

A ‘precursive prolongation’ consists of one or more contextually dependent tonal elements associated with and preceding a contextually distinguished pre-eminent element at a given structural level. In a precursive prolongation, the initially appearing subordinate elements are prefixial to the pre-eminent element, which functions as an anchoring object.52

In Sobaskie’s terms precursive elaborations include “neighbour prefixes, anticipations,

dominant prefixes, initial ascents and arpeggiations, plus elaborated instances of these,

as well as those passages and pieces Schenker called ‘auxiliary cadences’.”53 Key points

of Sobaskie’s terminology that apply to Fillmore marches are that a precursive

prolongation precedes a “contextually distinguished pre-eminent element”—which

clearly applies to the trio in Fillmore marches—and that the latter element provides the

context—an “anchor”—for the preceding precursive prolongation.

Burstein provides an elaboration of Schenker’s concept of auxiliary cadences in his

article “Unraveling Schenker's Concept of the Auxiliary Cadence.”54 Burstein’s theory

51 Schenker, Free Composition, 88–89 and Figure 110. 52 James Sobaskie, "Precursive Prolongation in the Préludes of Chopin," Journal of the Society for Musicology in Ireland [Online], Volume 3, Number 0 (November 2007), 22 53 Ibid., 23. 54L. Poundi Burstein, “Unraveling Schenker's Concept of the Auxiliary Cadence.”

89

requires the beginning of an auxiliary progression to be tonally closed off (abgeriegelt)

from what came before. He extends this requirement to all levels of the tonal

structure—a condition can be applied without qualification to the tonal separation

occurring between preceding sections and the trio in Fillmore’s marches.55

The introduction, first strain, and second strain of Fillmore marches can be

considered as large-scale elaborations of a dominant harmony that precedes the primary

tone of the Ursatz, found at the trio. To summarize the terminology of Schenker,

Sobaskie and Burstein, the non-tonic openings in these marches are based on auxiliary

cadences that find their destinations at the trio, creating precursive prolongations of the

trio; the non-tonic opening is contextually dependent on the following trio.

Placing the primary tone of the Urlinie at (or within) the first iteration of the trio

alleviates the aforementioned problem of having two apparent tonics and provides an

explanation for the modulation that is rooted, in accordance with Schenker’s theory, in

the unfolding of a single tonic. Proceeding from the assumption that the head tone of the

Urlinie would most likely arrive at (or near) the beginning of the trio, Americans We

was subjected to a Schenkerian analysis in which the break strain is shown to consist of

a prolongation of 5 from the preceding trio section (figure 52).

Americans We was chosen as a test subject for Schenkerian analysis because it is a

Type D march, the form Fillmore used more frequently than any other. It was composed

in 1929, which was very close to halfway through his career. Additionally, Americans

We is one of Fillmore’s most famous marches, which could enhance the utility of any

Music Theory Spectrum, Volume 27, Number 2 (Fall 2005), 174-176. 55 Ibid, 174.

Figure 52. Schenker GGraph of Am

90

mericans We

91

significant findings. The following is a summary of the analysis; the complete graph is

shown in Appendix C.

At a fundamental level the march unfolds as a descent from 5 in the key of Bb, with

a structural 5 first appearing in m. 43. The introduction, first strain, and second strain

comprise an elaboration of a dominant harmony that leads to a tonic harmony at the

trio—a linear ascent. The trio is a descent from 5 to 1 with a first phrase structure

(mm. 39-54) that mirrors but is subordinate to the overall structure of the trio, ending on

2. The second phrase of the trio, mm. 55-70, repeats the descent from 5 but completes

it, progressing to 1 in m. 70. A key harmonic difference between the first and second

phrases is how 4 is supported. In the first phrase, 4 is supported by a dominant harmony

(m. 47), and moves to 3 over a first inversion tonic. In the second phrase, 4 is supported

by a supertonic harmony; the harmony then proceeds to the dominant by way of a

cadential six-four tonic (mm. 65-66). The trio repeat, mm. 87-117, unfolds in exactly

the same manner: a descent from 5 that is begun at a subordinate level in the first phrase

and completed in the second phrase.

At the foreground level the harmony of the break strain (mm. 71-86) is III-VI-II-V;

at the background level the entire strain functions as an extended V chord. Melodically,

the break strain is shown to be a prolongation of 5--a prolongation that begins in the trio

(m. 43) and continues through the break strain and into the trio repeat (to m. 91). A the

break strain the prolonged F is raised to F# (m. 71) and is embellished by a lower

neighbor (m. 74) before returning to Fn (m. 77). The final eight measures of the break

strain (mm. 79-86) consist of an 8-progression from F4 to F5 embellished with

chromatic passing tones.

92

Most of Fillmore’s marches have a modulation to the subdominant at the trio and

have a trio that is repeated after an intervening break strain. Additional marches must be

examined before any conclusive theory can be suggested, but considering the ubiquity

of these two features (a modulation at the trio and trio repeats separated by a break

strain) and the profound effect they have on the overall structure, it is possible that the

general structure uncovered in Americans We may be a deep-level structural model for

all Fillmore marches. The key features of this premise are (1) interpreting the key of the

trio is the main key of the composition, (2) treating the sections that precede the trio as a

non-tonic opening (the elaboration of a dominant harmony that precedes the primary

tone of the Urlinie), and (3) a break strain that functions as the composing-out of a note

from the tonic chord.

93

Chapter 7: Summary of the Fillmore March Style

In the preceding formal and harmonic analyses a number of observations were made

about Fillmore’s marches. Many of the observations pertain to general characteristics of

the American march genre; for example, the fact that Fillmore’s marches have duple

time signatures of 2/2 (or C), 6/8, or—rarely—2/4, and do not change meters is

generally true of all American marches. In this regard Fillmore’s marches are

unexceptional, and were composed using harmonic and rhythmic options that are

generally found in other American marches. His marches are distinguishable, though,

by noting the frequency with which the various options are exercised. As an example,

most American marches have introductions; the extent to which this generality applies

to Fillmore’s marches is made specific by noting that 96 percent of his marches have

introductions, and 93 percent of those are four measures in length. The following is a

summary of the Fillmore march style based on analysis of the thirty marches included in

this study.

Fillmore marches are organized into sections with regular periods of sixteen

measures. Exceptions are found only in the introductions, which are four or eight

measures long, and transitions, which are two, four, or eight measures long. Each

section (except the aforementioned introductions and transitions) consists of an

antecedent and a consequent phrase of eight measures, and contains a single, complete

musical theme which is identified as a distinct strain. Syncopated rhythms are relatively

rare; they are found in less than half the marches, and in less than 12 percent of all the

94

sections. The Cuckoo is an exceptional march as it has syncopation in each of its

sections.

Fillmore marches contain seven to ten sections (counting repeated sections twice),

with three or four unique strains. A complement of four strains is the most common,

and is found in over 86 percent of Fillmore marches. The unique strain types are an

introduction, a first strain, a second strain, and a trio. These four strains are nearly

universal features of Fillmore marches: only one march in this study, The Footlifter,

does not have an introduction, and only one march, America Exultant, does not have a

trio. Type C marches, which make up 25 percent of the sample, have a third strain in

addition to or instead of a trio.

Each strain has is characterized by the range of chord types used and by harmonic

rhythm. Introductions are the most harmonically active sections, followed by third

strains, second strains, break strains, and trios. The first strain is overall the least

harmonically active section.

The introduction is generally four measures long; only two introductions, in

Victorious First and America Exultant, have a different length (eight measures). The

first strain and second strain are always repeated. The trio is repeated unless there is a

third strain, in which case the trio is played once and the third strain is repeated. Type B

and Type D marches have a break strain between repetitions of the trio; Type A and

Type C marches repeat the trio without an intervening strain.

Fillmore marches are set in an initial key signature, in decreasing order of

frequency, of Eb, F, Ab, Bb, or C. Marches composed before 1918 favor Eb and Ab

equally; marches composed after 1918 favor Eb, with F as the second most common key

95

signature. The marches are generally set in major keys, with all the strains in major

modes. Only two marches, Troopers Tribunal and Rolling Thunder, have strains in a

minor mode. In both of these marches the introduction and first strain are in F minor,

while the second strain is in the relative major, Ab. All of the marches that contain a trio

modulate to the subdominant at the trio; the one march that does not have a trio,

America Exultant, does not have a modulation.

The formal structures of Fillmore marches can be categorized as belonging to one of

four patterns:

(1) Type A marches, four marches composed between 1903 and 1916, have the

form I-AA-BB-CC. The distinguishing feature of Type A marches is that they have no

break strain, resulting in a trio (C) that is immediately repeated.

(2) Type B marches, seven marches, have the form general form I-AA-BB-CD-C

with three variations based on an extra repeat of the trio (either before or after the break

strain) or the absence of an introduction. The distinguishing feature of Type B marches

is that the trio is repeated after an intervening break strain.

(3) Type C marches, seven marches, have the general form I-AA-BB-C-DD. There

are two variations of this form: in the first, the second strain (B) is reprised as the last

section of the march. In the other variation, the trio (C) is immediately repeated before

the third strain (D). The distinguishing feature of Type C marches is the presence of a

third strain. Except in one march, The U.S. of A. Armed Forces, the trios do not repeat.

(4) Type D marches, the most common of Fillmore march types, have the form

I-AA-BB-CD-CD-C. The distinguishing feature of Type D marches is a repetition of

96

the entire trio-and-break-strain module (CD), resulting in two statements of the break

strain and three statements of the trio.

A total of thirty chord types (counting combinations of chord roots, triad structures,

and extensions) are found in all of Fillmore’s marches. Tonic and dominant chords

account for an overwhelming majority (81 percent) of the chords. Besides the tonic and

dominant, only three chords appear in more than 2 percent of the measures: ii (2.8

percent), IV (2.8 percent), and viio (2.5 percent). Type D marches are, on average, the

most harmonically active in terms of harmonic rhythm, and use all but three of the

chord types found in Fillmore marches. Furthermore, Type D marches use nine chords

(#I, bII, #IV, V9, viØ7, vi°, #viØ7, #vi°, and VII) not found in the other march types.

From a Schenkerian perspective, the main key of the composition is the key of the

trio. The sections that precede the trio constitute an elaboration of a dominant harmony

that precedes the head note of the Urlinie, which appears in the trio. In a test case, a

Schenkerian analysis of Americans We, the break strain functions as an elaborated

neighbor note (7) of the tonic; it seems possible that this is a general characteristic of

Fillmore marches.

In all, thirty Fillmore marches were examined—with detailed analyses of sixteen

marches and a complete Schenker graph of one march—in an effort to define a Fillmore

march style in terms of harmony and formal structure. Analysis reveals structural

consistencies within groups of marches that allow them to be categorized into four main

types, and harmonic norms were found in the individual strain types (introduction, first

strain, second strain, transition, trio, break strain, and third strain) in terms of harmonic

variety, harmonic rhythm, and relative prominence of primary chords. These structural

97

and harmonic characteristics provide a description of the Fillmore march style by which

individual Fillmore marches, as well as a number of stylistic features within specific

marches, can be marked as more or less normative of the Fillmore march style.

98

Bibliography

Published Books and Periodicals

American Military March Form. Norfolk: US Army Element School of Music, 2005. Begian, Harry. "Behold the Lowly March." Instrumentalist 58, Number 5 (2003). Bierley, Paul E. Hallelujah Trombone! The Story of Henry Fillmore. Cincinnati: Integrity Press, 1982. –––––. The Music of Henry Fillmore and Will Huff. Cincinnati: Integrity Press, 1982. Burstein, L. Poundie. “Unraveling Schenker's Concept of the Auxiliary Cadence.” Music Theory Spectrum, Volume 27, Number 2 (Fall 2005). Cadwallader, Allen and David Gagné, Analysis of Tonal Music: A Schenkerian Approach. Oxford: Oxford University Press, 2011. Chesebrough, Jim. “Harmonic Content in the Marches of John Philip Sousa.” Journal of Band Research, volume 39, no. 2 (March 2004). Goldman, Edwin Franko. Band Betterment: Suggestions and Advice to Bands, Bandmasters, and Band-players. New York: Carl Fischer, Inc., 1934. Neumeyer, David and Susan Tepping. A Guide to Schenkerian Analysis. Upper Saddle River: Prentice Hall College Division, 1992. Pryor, Arthur. “How To Play A March.” The Metronome, August 1932. Schenker, Heinrich. Free Composition (Der freie Satz), trans. and ed. Ernst Oster. New York: Longman, 1979. Sobaskie, James. "Precursive Prolongation in the Préludes of Chopin." Journal of the Society for Musicology in Ireland [Online], Volume 3 Number 0 (November 2007). Studwell, William E. Circus Songs: An Annotated Anthology. Binghamton: The Haworth Press, Inc., 1999.

Unpublished Dissertations and Theses

Church, Charles Fremont. “The Life and Influence of John Philip Sousa.” Diss., Ohio State University, 1942.

99

Clark, Robert. “Perspectives On The American Concert March In Music Education.” Diss., Florida State University, 2009. Norton, Elizabeth Pauline Hosack. “March Music in Nineteenth-Century America.” Diss., University of Michigan, 1983. Sharp, Chris. “A Study of Orchestration Techniques for the Wind Ensemble/Wind Band as Demonstrated in Seminal Works.” Diss., University of Florida, 2011. Starrett, Megan Jane. “The Role of the Horn in Band Music.” Thesis, University of Kansas, 2009.

Music

Beans, Gus. Mt. Healthy. Cincinnati: Fillmore Brothers Company, 1916. Fillmore, Henry J. Jr. 136th USA Field Artillery. Cincinnati: Fillmore Brothers Company, 1918. –––––. Americans We. Cincinnati: Fillmore Brothers Company, 1929. –––––. Circus Bee, The. Cincinnati: Fillmore Brothers Company, 1908. –––––. Crosley March, The. Cincinnati: Fillmore Brothers Company, 1928. –––––. Cuckoo, The. Cincinnati: Fillmore Brothers Company, 1912. –––––. Footlifter, The. Cincinnati: Fillmore Brothers Company, 1935. –––––. Gifted Leadership. Cincinnati: Fillmore Brothers Company, 1927. –––––. His Honor. Cincinnati: Fillmore Brothers Company, 1934. –––––. In Uniform. Philadelphia: Harry Coleman, 1905. –––––. Klaxon, The. Cincinnati: Fillmore Brothers Company, 1930. –––––. Lord Baltimore. Cincinnati: Fillmore Brothers Company, 1904. –––––. Man of the Hour, The. Cincinnati: Fillmore Brothers Company, 1924. –––––. Men of Florida. Cincinnati: Fillmore Brothers Company, 1949. –––––. Men of Ohio. Cincinnati: Fillmore Brothers Company, 1921. –––––. Miami. Cincinnati: Fillmore Brothers Company, 1938. –––––. Noble Men. Cincinnati: Fillmore Brothers Company, 1922. –––––. Orange Bowl. Cincinnati: Fillmore Brothers Company, 1939. –––––. Presidents March, The. New York: Carl Fischer, 1956. –––––. Rolling Thunder. Cincinnati: Fillmore Brothers Company, 1916. –––––. Troopers Tribunal. Cincinnati: Fillmore Brothers Company, 1905. –––––. US of A Armed Forces. Cincinnati: Fillmore Brothers Company, 1942. –––––. Vashti. Cincinnati: Fillmore Brothers Company, 1904. Hayes, Al. America Exultant. Cincinnati: Fillmore Brother Company, 1917. Huff, Will. Alamo. Cincinnati: Fillmore Brothers Company, 1916. –––––. Floral Parade, The. Cincinnati: Fillmore Brothers Company, 1916. –––––. Hippodrome, The. Cincinnati: Fillmore Brothers Company, 1913. –––––. Salute to the Stars and Stripes. Cincinnati: Rudolph Wurlitzer Company, 1903.

100

King, Karl L. Aces of the Air. Oskaloosa, IA: C. L. Barnhouse, 1942. –––––. Alamo, The. Oskaloosa, IA: C. L. Barnhouse, 1943 –––––. Allied Honor. Oskaloosa, IA: C. L. Barnhouse, 1955. –––––. Aviation Tournament. Oskaloosa, IA: C. L. Barnhouse, 1911. –––––. Barnum and Bailey’s Favorite. Oskaloosa, IA: C. L. Barnhouse, 1913. –––––. Big Cage, The. Fort Dodge, IA: K. L. King Music House, 1934. –––––. Big Four March, The. Oskaloosa, IA: C. L. Barnhouse, 1955. –––––. Bon Voyage. Oskaloosa, IA: C. L. Barnhouse, 1921. –––––. Bonds of Unity. Oskaloosa, IA: C. L. Barnhouse, 1955. –––––. Burma Patrol. Oskaloosa, IA: C. L. Barnhouse, 1942. –––––. Call to Victory. Oskaloosa, IA: C. L. Barnhouse, 1942. –––––. Circus Days. Oskaloosa: K. L. King Music House, 1944. –––––. Coast Guards, The. Oskaloosa, IA: C. L. Barnhouse, 1942. –––––. Fame and Fortune. Fort Dodge, IA: K. L. King Music House, 1919. –––––. Fidelity March, The. Oskaloosa, IA: Birch Island Music Press, 2011. –––––. Gallant Marines, The. Oskaloosa, IA: C. L. Barnhouse, 1942. –––––. Home Town Boy, The. Fort Dodge, IA: K. L. King Music House, 1962. –––––. Hosts of Freedom. Oskaloosa, IA: C. L. Barnhouse, 1920. –––––. Imperial March. Oskaloosa, IA: Birch Island Music Press, 2012. –––––. Lexington March, The. Oskaloosa, IA: C. L. Barnhouse, 1943. –––––. Melody Shop, The. Oskaloosa, IA: Birch Island Music Press, 1999. –––––. Military Life. Canton, OH: Wm. E. Strassner Publications, 1910. –––––. Miss Liberty. Oskaloosa, IA: C. L. Barnhouse, 1955. –––––. Neddermeyer Triumphal. Oskaloosa, IA: C. L. Barnhouse, 1911. –––––. Our Heritage Oskaloosa, IA: C. L. Barnhouse, 1955. –––––. Peace Makers, The. Oskaloosa, IA: C. L. Barnhouse, 1955. –––––. Prestissimo. Fort Dodge, IA: K. L. King Music House, 1931. –––––. Rough Riders, The. Oskaloosa, IA: C. L. Barnhouse, 1943. –––––. Salute to the Sultan. Boca Raton: Ludwig Masters Publications, LLC, 2013. –––––. Torch of Liberty. Oskaloosa, IA: C. L. Barnhouse, 1942. –––––. True Blue. Fort Dodge, IA: K. L. King Music House, 1925. –––––. United Nations, The. Oskaloosa, IA: C. L. Barnhouse, 1942. –––––. Valley Forge. Oskaloosa, IA: C. L. Barnhouse, 1943. –––––. Viking March, The. Oskaloosa, IA: Birch Island Music Press, 2011. –––––. Zenobie. New York: Leo Feist, 1905. Sousa, John Philip. Anchor and Star. New York: Carl Fischer, 1918. –––––. Beau Ideal. New York: Carl Fischer, 1893. –––––. Corcoran Cadets. New York: Carl Fischer, 1899. –––––. Crusader March. New York: Carl Fischer, 1899. –––––. Diplomat, The. New York: Carl Fischer, 1904. –––––. Directorate, The. Philadelphia: John Church Company, 18894. –––––. El Capitan. New York: Edwin F. Kalmus and Company, 1896. –––––. Fairest of the Fair. Philadelphia: John Church Company, 1908. –––––. Gladiator, The. New York: Carl Fischer, 1915.

101

–––––. Golden Star. New York: Chappell and Company, 1920. –––––. Hands Across The Sea. Philadelphia: John Church Company, 1899. –––––. High School Cadets, The. New York: Carl Fischer, 1890. –––––. Invincible Eagle. Philadelphia: John Church Company, 1901. –––––. King Cotton. Philadelphia: John Church Company, 1895. –––––. Liberty Bell March, The. New York: Boosey and Hawkes, LTD, 1894. –––––. Manhattan Beach. Philadelphia: John Church Company, 1922. –––––. On Parade. New York: Carl Fischer, 1893. –––––. Our Flirtations. New York: Carl Fischer, 1912. –––––. Right Forward. New York: Carl Fischer, 1894. –––––. Semper Fidelis. New York: Carl Fischer, 1888. –––––. Stars and Stripes Forever, The. Philadelphia: John Church Company, 1897. –––––. Thunderer, The. New York: Carl Fischer, 1889. –––––. Washington Post March, The. New York: Carl Fischer, 1899. –––––. White Rose, The. New York: T. B. Harms & Francis, Day, & Hunter, 1917. –––––. Wolverine March, The. Philadelphia: Harry Coleman, 1885.

102

Appendix A: Chronological List of Fillmore Marches

The following is a chronological list of all of Fillmore’s marches, including those

published under his own name as well as those published under the pseudonyms Gus

Beans, Harold Bennett, Ray Hall, and Al Hayes. Although Fillmore composed marches

over a period of fifty-three years, over half of his marches were composed in the fifteen

years prior to 1918. His most productive period, in terms of new marches composed,

was from 1904 through 1926 when he composed seventy-four marches. In comparison,

in the last twenty-one years of his career he composed only eight marches.

Year Title Composer 1903 Higham March Huff 1904 Lord Baltimore Fillmore 1904 March of the Blue Brigade Huff 1904 Under Arms Hayes 1904 Vashti Fillmore 1905 Cradle of Liberty Hayes 1905 Honor and Glory Fillmore 1905 In Uniform Fillmore 1905 Tell Mother I'll Be There Fillmore 1905 Troopers Tribunal Fillmore 1906 Marvel, The Fillmore 1906 Old Oaken Bucket, The Hayes 1906 Peace and Prosperity Hayes 1906 Safe In the Arms of Jesus Fillmore 1906 Shall We Gather At The River Fillmore 1907 Good Citizenship Hayes 1907 Old Kentucky Home Hayes 1907 St. Edmund Fillmore 1907 Victorious First, The Fillmore 1908 Circus Bee, The Fillmore 1908 Pirate, The Hayes 1908 Rocked in the Cradle of the Deep Hayes 1908 Southern Pastime Hayes 1909 His Excellency Fillmore 1909 Success Bennett

103

Year Title Composer 1910 Fraternity Hayes 1911 American, The Hayes 1911 Duke Street Hayes 1912 Advance Bennett 1912 Cuckoo, The Fillmore 1912 March of the Mighty Hayes 1912 Merry Makers, The Hall 1912 Welcome Bennett 1913 Onward Christian Soldiers Hayes 1914 Black Mask, The Hayes 1914 Courier, The Hayes 1914 Glencoe, The Hayes 1914 Herald, The Hayes 1914 Merrimac, The Hayes 1914 Monitor, The Hayes 1914 Our Waving Colors Hall 1914 Sinfonia Hayes 1914 United Service Hayes 1915 Poet, Peasant, and Light Cavalryman, The Fillmore 1916 Alamo Huff 1916 Golden Plume Huff 1916 More Fraternity Fillmore 1916 Mt. Healthy Beans 1916 Rolling Thunder Fillmore 1917 America Exultant Hayes 1917 Banner of Democracy Hayes 1917 Flag of Humanity Hayes 1917 Improvement Bennett 1918 136th U.S.A. Field Artillery Fillmore 1918 Joyful Greeting Littleton and Hayes 1918 Progress Bennett 1919 Courage Bennett 1920 Headway Bennett 1920 Longtone Hayes 1921 Men of Ohio Fillmore 1921 Necoid Hayes 1921 Service Bennett 1921 Universe, The Hayes 1922 All Day Fillmore 1922 Noble Men Fillmore 1922 Tosti's Goodbye March Fillmore 1923 Activity Bennett 1923 Military Escort Bennett 1923 Mister Joe Bennett

104

Year Title Composer 1923 Mutual Bennett 1923 Normal Bennett 1923 Project Bennett 1923 Safety Bennett 1923 Summit Bennett 1924 Man of the Hour, The Fillmore 1926 Aunt Hannah Bennett 1926 College Boy Bennett 1926 Concord Bennett 1926 Delmar Bennett 1926 Golden Friendships Fillmore 1926 Power Bennett 1926 Precision Bennett 1926 Sabo Bennett 1927 Gifted Leadership Fillmore 1927 Playfellow Fillmore 1928 At Sight Bennett 1928 Crosley March, The Fillmore 1929 Americans We Fillmore 1929 Old Time Political Parade, An Fillmore 1930 Klaxon, The Fillmore 1930 Laurel Bennett 1932 National Press Club, The Fillmore 1933 High Tower Bennett 1934 His Honor Fillmore 1935 Footlifter, The Fillmore 1935 Hikers, The Fillmore 1935 Man Among Men, The Fillmore 1937 Aline Bennett 1937 Biga Bennett 1937 Genius Bennett 1937 Hiland Bennett 1937 Knighthood Bennett 1937 Pivot Man Bennett 1937 Proclar Bennett 1937 System Bennett 1938 Miami Fillmore 1939 Orange Bowl Fillmore 1942 U.S. of A. Armed Forces, The Fillmore 1943 Waves Fillmore 1946 Hail! Hail to Edison Fillmore 1949 Men of Florida Fillmore 1956 Presidents March, The Fillmore 1959 King Karl King (published posthumously) Fillmore

105

Appendix B: Harmonic Analyses

Table 16. Harmonic Rhythm: H-Count Summary. This table lists the average h-count (number of chord changes per measure) by section for all thirty marches examined in this study.

Table 17. Chord Inventory: Introductions. Each box equals one measure; heavy boxes indicate two or more chords in the measure.

0.92 0.72

Intro 1st Str. 2d Str. Trans. Trio Break 3d Str. Overall

1.04 0.71 0.87 0.69 0.69 0.71

Average Number of Harmony Changes Per Measure

Troopers Tribunal i i Ger V7

Victorious First I I I I I I I V V

Rolling Thunder i i i iv7 V

136th USA Field Artillery I I IV V

Men of Ohio IV ii±43 I V7 I V7

Noble Men I6 ii65 ii±43 V7 V7

Man of the Hour I I Ger6 I64 V7 I V7

Americans We I I I vº7 V7

Klaxon, The V viº #viº V7

Footlifter, The

Miami I I+ I6 viio42/V V43 vo42 V42 V7

Orange Bowl vi V43/vi vi Ger6 V43

US of A Armed Forces #ivº7 I64 I64 V7 I

America Exultant I I I I I I I I

Men of Florida I V7/ii ii6 ii V6 ii43 V7

Presidents March I I ii64 iiº43 V V7

106

Table 18. Chord Inventory: First Strains. Troopers Tribunal i i i i V7 V7 i i64 i i i i

Victorious First I I I I I I I V43 V7 V7 I I6

Rolling Thunder i i V43 V43 V65 V65 i i i i V43 V43

136th USA Field Artillery I I V43 V43 V43 V43 I I I I iii64 iii64

Men of Ohio I I I I V43 V65 I I V7 I I I

Noble Men iii V/V V7 I V43 V943 I I viiº7/iii iii V7/V V7

Man of the Hour I6 iº6 V43 V43 I I V43 V65 I V7 I6 iº6

Americans We I V43 viiº7/iii I6 V43 V43 I I V7 I V43 viiº7/iii

Klaxon, The I I V43 I V43 I iii V65/iii V43 V7 I I

Footlifter, The I I I V43 V43 V43 V43 I I I I V64

Miami I I+ I6 viio42/V V43 V43 V43 V43 V43 V43 V7 I

Orange Bowl I I I I I I I I V7 V7 Iadd6 Iadd6

US of A Armed Forces I I6 #ivº42 V43 V43 V43 V43 I #iº7 V43 I I6

America Exultant I I I I V64 V64 I I I I I I

Men of Florida I V7/ii ii6 V7 I vi64 vi±43 V943 V943 I vi42 I

Presidents March I I I I I I V43 V43 V43 V43 I I

Troopers Tribunal V7 V7 i i

Victorious First V43 V43 V V7/V V

Rolling Thunder V65 V65 i V7 i

136th USA Field Artillery iii64 V7/iii iii iii

Men of Ohio I V65/ii V64 V6 V43/V V7/V V V V7

Noble Men vi V65 V7/V V V

Man of the Hour V43 V43 I V64 V64 V64 V7/V V V7

Americans We I6 V64 V64 V/ V7/V V V7

Klaxon, The V43 I V43 V43 I6 V V7/V V V7

Footlifter, The V64 V64 V/ V7/V V

Miami I+ I6 viio42/V V43 V43 V43 V7/V V7 V7

Orange Bowl vi6 V43/ii vi Ger6 V43

US of A Armed Forces #ivº42 V43 V43 V43 V7/V V7 I

America Exultant V64 V7/V V V

Men of Florida V7/ii ii6 V7 I vi64 vi±43 V43 V43 V7/V V V7

Presidents March V64 V64 V7/V V V

107

Table 19. Chord Inventory: Second Strains

Troopers Tribunal I64 V7 V7 I V

Victorious First V43 vº43 V43 I I

Rolling Thunder iii iii V7 I

136th USA Field Artillery

I64 V7/V V I

Men of Ohio V43 V43 I I

Noble Men vi ii viiº/V I64 I64 V7/V V7 I viiº42/V

Man of the Hour Ger6 I6 V7 I I

Americans We V43 I Ger6 I64 I64 I64 V7 I

Klaxon, The viiº42/V I6 I6 V V7 I

Footlifter, The I6 V7/ V7/V V7 I I

Miami vo43 V43 I6 V+64 I6 V43/ V7/vi V7 I I

Orange Bowl I6 IV V7 I I

US of A Armed Forces

iº7 I #ivº7 I64 V7 I I

America Exultant V65 V65 I I

Men of Florida I6 V7/ V7/V V7 I I V

Presidents March Ger I64 V7/V V7 I I V65/ii

Troopers Tribunal V7 V7 I I V7 V65 I I V7 V7 I viiº7/V

Victorious First V V6 I I V7/vi V7/vi vi vi ii6 ii6 I6 I6

Rolling Thunder V65 V43 I I V65 V43 I I I V42/IV IV6 Ger

136th USA Field Artillery I I I I V65 V65 I V7/V I V42/IV IV6 FR

Men of Ohio IV ii±43 I6 viiº42/V V43 V43 I I IV ii±43 I6 viiº42/V

Noble Men V43 V43 I I6 viiº42/V V43 V43 I I viiº42/V V43 V43

Man of the Hour V7 V7 I I V7/ii V7/ii ii ii V7/iii V7/iii iii ii65

Americans We V43 V43 I I6 V7 ii43 vº65 V65 I iº7 I V43

Klaxon, The ii6 viiº64 I6 viiº42/V V43 V43 V7 I I ii6 viiº64 I6

Footlifter, The V7 V7 I I V7/vi V7/vi vi vi IV iv I6 iº65

Miami V43 vo43 V43 I6 V+64 I6 V43/ V7/vi V7 I I I6 V43

Orange Bowl #iº7 V43 #iiº7 I6 IV V7 I6 iº65 I6 #iº7 V7 #iiº7

US of A Armed Forces V7 vº7 V7 iº7 I V43 V43 I I V7 vº7 V7

America Exultant V65 V65 I I V65/vi V65/vi vi vi ii6 V65/V I64 I64

Men of Florida #ivº V42 I6 #ivº42 V43 V43 I I V #ivº V42 I6 #iiº7

Presidents March V64 V64 I I V65 V65 I I V43 V43 I ii64

108

Table 20. Chord Inventory: Transitions

Victorious First I I I I V7

Rolling Thunder V V V V7

136th USA Field Artillery

Men of Ohio

Noble Men

Man of the Hour

Americans We

Klaxon, The

Footlifter, The

Miami

Orange Bowl V V V7/V V7 V7

US of A Armed Forces

America Exultant I I V V I I V I

Men of Florida

Presidents March I I

109

Table 21. Chord Inventory: Trios

Tro

oper

s T

ribun

alV

7/vi

vivi

ii±

65ii±

65I6

I6V

7V

7I

I

Vic

torio

us F

irst

V7v

iV

7/vi

vivi

vi64

IV#i

vº7

I64

V7/

V7/

VV

7I

IV

7

Rol

ling

Thu

nder

II

IVIV

V65

/VV

65/V

I64

I64

V43

V43

II

136t

h U

SA

Fie

ld

Art

iller

yI

II

II

V7/

IVIV

ii6

ii6

ii6

iiº7

I64

viiº

7/V

I64

V7/

V7/

VV

7I

I

Men

of

Ohi

oIa

dd6

I7I

II

IV

65/I

VIV

IV#i

vº7

#ivº

7I6

4I6

4V

7V

7I

I

Nob

le M

en

Man

of

the

Hou

rI

Iii

6ii

6vi

iº7/

Vvi

iº7/

VI6

4V

65/v

ivi

6G

er6

I64

I64

V7

II

Am

eric

ans

We

V65

/ii

iiii

ii6

#ivº

7I6

4V

7/V

7/V

iiº4

3V

7I

I

Kla

xon,

The

I6vi

iº42

/VV

43V

43vi

iº42

/VV

43V

43V

/V

/V

42/

V7/

V7/

V7/

Vvi

iº6/

VV

6I6

4vi

iº/

V7/

VV

7I

I

Foo

tlift

er,

The

II+

6IV

IVIV

iº43

I64

Ger

6I6

4V

43/

V7/

VV

7I

I

Mia

mi

I6io

6V

43V

43V

43V

65I

II

V42

/IV

IV6

Ger

I64

V7

II

Ora

nge

Bow

lV7/IV

IV

V7/IV

ivº

IVV

65/V

ii64/

VV7/V

V7

V7

IIa

dd6

II

IV7/

V7/

VV7

II

US

of

A A

rmed

F

orce

sI

II

II

II

II

II

Am

eric

a E

xulta

nt

Men

of

Flo

rida

Ivi

6I6

ii6

ii6

ii6

ii6

I64

I64

V43

V7

II

Pre

side

nts

Mar

chV

7/IV

IVIV

#ivº

7#i

vº7

#ivº

7#i

vº7

#ivº

7#i

vº7

II

Tro

oper

s T

ribun

alI

II

II

I6V

7V

7V

43V

43V

43V

43V

7V

65I

II

II

IV

7/vi

Vic

torio

us F

irst

II

IV

43I

I6I

ii7/

iiV

65/i

iV

65/i

iV

43/i

iii

iiV

43/V

V43

/VV

7V

7V

7/IV

V7/

IVIV

IV

Rol

ling

Thu

nder

II

II

II

V43

V43

V65

V65

II

V7/

VV

7/V

VV

V65

II

II

136t

h U

SA

Fie

ld

Art

iller

yI

II

II

I6vi

iº7/

VV

43V

43V

65V

65V

65bV

II7

ii64

bVII

42V

7V

7V

+7I

II

Men

of

Ohi

oI

I+Ia

dd6

I7I

II

I6bv

iº7

V43

V43

V43

V43

V43

V43

V43

V43

II

II+

Nob

le M

enI

V7/

V7/

VV

65/V

V43

V43

II

IV

7/V

7/V

V65

/VV

43V

43/V

II

Man

of

the

Hou

rI

II

II

I6vi

iº42

/VV

43V

43V

43V

43V

43V

43V

43V

65I

II

II

I

Am

eric

ans

We

II7

Iadd

6Ia

dd6

Iadd

6vi

iº42

/VV

43V

43V

43V

43V

943

V94

3V

943

V94

3I6

I6I

I7Ia

dd6

Iadd

6I

Kla

xon,

The

Iadd

6I6

viiº

42/V

V43

V43

viiº

42/V

V43

V43

II

Iadd

6I6

viiº

42/V

V43

V43

viiº

42/V

V43

V7/

VV

VIa

dd6

Foo

tlift

er,

The

II

II

II6

viiº

42/V

V43

V43

V43

V43

V43

V43

V43

V7

II

II

II

Mia

mi

II6

io6

V43

V43

V43

V65

II

II6

io6

V64

V64

V43

/V

7/V

7/V

VV

V7

I

Ora

nge

Bow

lI

Iadd

6I

II

I6#ivº42

V43

V43

V43

V43

V43

V43

V43

V7

V42

I6ii

V7

V65

/IV

ii/IV

US

of

A A

rmed

F

orce

sI

II

II

Am

eric

a E

xulta

nt

Men

of

Flo

rida

II

II

II6

#ivº

42V

43V

43V

43V

43V

43V

43V

43V

43V

+65

II

II

I

Pre

side

nts

Mar

chI

II

II

IV

64V

64V

64V

64V

64V

64V

64V

64I

II

II

II

(dru

ms

only

)

110

Table 22. Chord Inventory: Break Strains

Troopers Tribunal V7/vi V7/vi V7/vi vi V7/V V7/V V7/V V V V V V V7 V7 V7 V7

Victorious First

Rolling Thunder V7/vi V7/vi V7/vi vi V7/V V7/V V7/V V V V V V7

136th USA Field Artillery

Men of Ohio

Noble Men V/ V/ ii/ V7/ ii/ V7/ V/V V/V V V7/V V V V V V V

Man of the Hour V/ii V/ii ii ii V/V V/V V V/V V V V viº7 viº7 viiº7/V viiº7/V V65

Americans We V/vi V/vi vi V7/vi vi V/vi vi V/V V/V V V7/V V V7/V V V bVI

Klaxon, The iv iv iv viiº65 bII7b5 I IV IV iv viiº65 bII7b5 I V V vi±7 vi±7

Footlifter, The

Miami V64/ V64/ V64/ V7/ ii/V V64/V V64/V V64/V V7/V V V V V V V ii6

Orange Bowl

US of A Armed Forces

America Exultant

Men of Florida

Presidents March V7/vi V7/vi vi V7/vi vi V7/V V65/V V V7/V V V V I64 I64 V64 V64

Troopers Tribunal

Victorious First

Rolling Thunder

136th USA Field Artillery

Men of Ohio

Noble Men V V V7

Man of the Hour V7 V7

Americans We VI bVII VII I #I II #II III IV #IV V

Klaxon, The #vi±7 #vi±7 V7 V7

Footlifter, The

Miami ii6 V V7

Orange Bowl

US of A Armed Forces I I I I I I I I I I I I I I I I

America Exultant

Men of Florida

Presidents March V43/V V V

111

Table 23. Chord Inventory: Third Strains

Troopers Tribunal

Victorious First

Rolling Thunder

136th USA Field Artillery I I V43 V43 V43 V43 I I I I IV #ivº7 I64 V7 I I

Men of Ohio I I6 bviº7 V43 V43 V65 V65 V+ Iadd6 Iadd6 I V42/IV IV6 Ger I64 V7 I

Noble Men

Man of the Hour

Americans We

Klaxon, The

Footlifter, The

Miami

Orange Bowl

US of A Armed Forces V65 ii64 V7 I V6 iº42 I64 V43 V42 V6 V I iº I V65 ii64 V7

America Exultant I I ii6 V7 Vsus V65 I vi7 IV iii64 V65/vi vi IV I64 V7 I I

Men of Florida

Presidents March

Troopers Tribunal

Victorious First

Rolling Thunder

136th USA Field Artillery

Men of Ohio I

Noble Men

Man of the Hour

Americans We

Klaxon, The

Footlifter, The

Miami

Orange Bowl

US of A Armed Forces

I V6 iº42 I64 V43 V42 V6 V I I

America Exultant I I I I V7 V7 V7 V7 I I I I6 IV I64 V7 I I

Men of Florida

Presidents March

Appendixx C: Schen

112

nkerian GGraph of AAmericans We

113

114

115

116

117

118

119

120

121

122

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124

125

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