Review

John Philip Sousa
Semper Fidelis March:

Arranged by Steve Denroche

Brass quintet

Vancouver, British Columbia, Canada
Publisher: Cherry Classics Music
Date of Publication: 1982 / 2017
URL: http://www.cherryclassics.com

Score and parts

Primary Genre: Brass Ensemble - 5 brass

“Semper Fidelis (1888), unquestionably one of the greatest of all regimental marches, leaves no one in doubt as to its purpose: it is for marching and it is Sousa's perfect "marble statue." It is the ideal march for the street or for regimental review” (Frederick Fennell. The Sousa March: A Personal View. Online Text. https://www.loc.gov/item/ihas.200152754/). This magical and treasured march, arranged for brass quintet by Mr. Denroche, is playable by any moderately experienced ensemble.  The arrangement also includes additional suggestions, which may increase its appeal to more experienced performers.

The arrangement is transposed down to B-flat major from the original key C major and technical troubles have, at times, been altered in an apparent attempt to minimize ensemble challenges. Two such examples include simplified rhythmic figures in the introduction, a quarter and eighth-note instead of a quarter and two sixteenth-notes, and the elimination of the few original ornamental melodic figures. The ascending low brass scale of the Trio, performed by trombone and tuba, has been mostly replaced by  steady downbeats. Another modification is the use of four ascending, arpeggiated figures during the Trio (upper woodwinds in original) instead of two descending and two ascending. The Trio also eliminates the third repeat of the third strain by concurrently introducing both the woodwind arpeggios and trombone counter melody. These alterations avoid questionable changes in character but the adjustments are quite noticeable for anyone more familiar with the original composition. Reinstating a missing melodic figure or a repeat and eliminating a notated stinger at the end could be easily accomplished and would more closely follow the original, should it be so desired.

Greater use of articulation and dynamic indications would be helpful in maintaining stylistic integrity and ensemble cohesion while reducing necessary rehearsal time. A noteworthy resource for anyone interested in concise and relevant information on Sousa marches, in general and specific, is the “The President’s Own” website (https://www.marineband.marines.mil/Audio-Resources/The-Complete-Marches-of-John-Philip-Sousa/). “This multi-year recording project offers a wealth of free, in-depth educational resources for each piece, including full scores, individual parts, historical notes, recordings, performance practices, and scrolling score videos.“

Inclusion of optional theatrical events during the Trio include flutter buzzing on the mouthpiece to imitate the drums during the drum-break, necessitating the addition of four measures to facilitate preparation, and the use of a “hose horn” for the bugle call with a suggestion to “swing hose horn over your head!” during the second presentation of the phrase.  The optional use of B-flat piccolo is suggested for trumpets when covering upper woodwind figures. These suggestions appear only inside the score; notice of these instruments would welcomed on either the title page and/or the top of the individual parts. This is a straight-forward arrangement with limited technical challenges, useful and enjoyable to perform.