THE GREAT AMERICAN TRADITION Marches For A New Millennium This collection of traditional American-style original marches has been a work in progress over the past 12 years. This goes back to my days as an Arranger/Composer for the United States Army Band (Pershing’s Own) in Washington, DC. That’s when two of the marches in this collection were written. The others were written between 2002 and 2006. In this collection I have tried to write marches that have their roots solidly in the established marches of the last century, but with a modern flare and style to highlight the sound of today’s bands. Some of them are written to mimic the style of certain well-known march composers of the past. Others are written in the style of my symphonic marches, but scored to be playable by CONCERT or MARCHING BAND. And still others take my established march writing style into new directions. I hope that this collection of marches will find a place in the repertoire of today’s military, university, community, High School and Middle School bands, and be enjoyed by audiences throughout the land. This body of work is lovingly dedicated to my son, James Alexander Hosay, who is now serving in the Army’s 82nd Airborne Division, currently stationed in northern Iraq. We all pray for his safe return and the safe return of all U.S. troops serving abroad. THE FILLMORE STANDARD is dedicated to and written in the style of the great and famous American march composer, Henry Fillmore. His marches are some of the most played and beloved marches of all time. His melodies are noble and flowing, his orchestrations superb, and as far as I know, he never wrote a bad or mediocre march. He is in my opinion, the overall greatest march composer of them all. HEROES AMONG US was inspired by the events of September 11, 2001, particularly the courage and dedication shown by the Firemen, Policemen, and rescue workers of the City of New York in their response to the tragedy. The opening strains of the march are in 6/8 meter, with a heroic mood, while the Trio strain is lyrical and reflective and changes to a 2/4 meter. FOUNDING FATHERS takes us back to our country’s beginnings. Commissioned by the Williamsburg Consort, under the direction of Sally Craig, this march features sounds of a Colonial-style fife and drums corps. With bold brass figures intertwined, this march pays tribute to those who founded our nation and shaped our democracy. OUR SONS AND DAUGHTERS is a heart-felt gift to the families and loved ones of those who have given the ultimate sacrifice in Iraq, both American and Iraqi, in the struggle to bring peace and stability to that country. The march starts out in a minor key, changing to major at the 2nd strain. The form is that of a standard Quick March, except that the key modulates up a minor third halfway through the Trio strain. This is a device that has a very up-lifting effect and I have used it in other marches as well. SPORT AND SPECTACLE is inspired by and pays tribute to the Olympic Games. Every two years we all look forward to the “Thrill of victory and agony of defeat” one becomes a part of when witnessing the winter and summer Olympics. The high level of athletic competition and the incredible pageantry of the opening and closing ceremonies combine to make memories that are never forgotten. The opening strains of this march are descriptive of the strength,
agility and skill of the world-class athletes as they strive for immortality. The noble and flowing Trio strain represents the dignity, camaraderie, sportsmanship and international goodwill displayed during this grand and awe-inspiring event.
ARCHITECT OF VICTORY was written around 1994 for the retirement ceremony of an out-going Army Chief Of Staff. I have re-dedicated the march to my favorite military hero, General George C. Marshall. He was U.S. Army Chief of Staff during World War Two, and then went on to serve as U.S. Secretary Of State. This march has become part of Pershing’s Own’s standard repertoire, and I have received numerous requests for the score and parts to this march, which has remained unpublished. However, this new version of the march has been re-arranged to be a little easier and more “outdoor friendly” than the original, signature version, still played by the U.S. Army Band and Herald Trumpets. Sorry folks, but some things ARE sacred, and the Army Band’s signature version of this march will remain as such. FORTRESS OF THE SKY is the second of the two marches written while I was with The United States Army Band (Pershing’s Own). During the Gulf War, the 62nd Air Defense Artillery was one of the U.S. Army units receiving notoriety for their deployment of the Patriot Missile as a defense against enemy rocket fire into populated areas. The great success of that defense system and the soldiers who operated it became a memorable part of that conflict. When asked by representatives of the 62nd Air Defense Artillery if I would write an official march for their unit, I jumped at the opportunity and quickly penned these strains. WITH FULL HONORS was written quite recently as a flashback to my service with Pershing’s Own. One of the daily duties of that great band is to lay to rest those who have served in our Armed Forces and earned the right to a full-honors burial at Arlington National Cemetery. During this time-honored ritual, the band escorts the deceased from the Chapel at the entrance to the cemetery to their final resting place. A 21-gun salute is rendered by a riffle squad, Taps is played by a bugler in the distance, and the national colors are presented to the closest living relative. Each of these elements of the ceremony are represented in this solemn and reflective march to pay homage to those who have served our country with honor, dedication and sacrifice. SUDDENLY SOUSA is written in the style of and dedicated to - well if you don’t know then you have probably never heard a march, or even heard of the word march, because that word and Sousa are almost one in the https://www.tradebit.comn though I may be able to imitate his style, I, nor anyone else could ever match his accomplishments and level of notoriety as a march composer and American icon. Just about everyone in the world has heard the rousing strains of The Stars And Stripes Forever, and just about every American has heard many of his other famous marches as well. No musician in this country or in many others can truthfully say that they have never performed a Sousa march. John Philip Sousa is nothing less than legendary. So here’s to you, Mr. Sousa, Sir. I hope it does you justice. ALL THE KING’S HORSES is the grand finale Circus March. A “Circus March to end all Circus Marches? Well, we’ll see - hopefully I didn’t go too over-the-top. But what else can you do if you are paying tribute to the greatest Circus March composer of all time? I’m speaking of course, about Karl King, the boy who “Ran away to join the Circus” - really This genius of a composer was almost completely self-taught, yet his mastery of the Circus March is unmatched. The sheer inventiveness of his melodies, counter-melodies and accompaniment elements, and the way they all fit together like a perfect puzzle is astounding. When you study a Karl King march score, you peer into the mind of an absolute musical genius, who’s work is incredibly artistic as well as entertaining. No one else could write a march that shows off a band’s technical prowess and dramatic flare like King. He, more than anyone else has earned the title - American March King!
James L. Hosay was born in Nashville, Tennessee and grew up in Norfolk, Virginia, where he attended public school and began playing trumpet in the 6th grade. While playing in every ensemble he could, James was greatly influenced by Symphonic Band composers who’s work he performed - Frank Erickson, Claude T. Smith, W. Francis McBeth, James Clifton Williams, Alfred Reed, Joseph W. Jenkins, and others, as well as all the great classical masters. It was during Jr. High School that James began writing arrangements for his school band and became interested in composition. After graduating from High School, he decided to join the Army as a Trumpet player and began what would become a 20 year military band career which culminated with obtaining the position of Staff Arranger/Composer for The United States Army Band (Pershing’s Own) in Washington, DC. During his tenure with the U.S. Army Band, James Hosay wrote arrangements for numerous celebrity recording artists, including Patti LaBell, Amy Grant, Reba McEntire, and Lee Greenwood. Quite often, his original music was performed for U.S. and foreign dignitaries, foreign heads of State, and the President of the United States. His tour of duty spanned the administrations of Presidents Carter through Clinton. Upon retiring from the Army in 1999, Master Sergeant Hosay received his second Meritorious Service Medal. For the past 10 years, James L. Hosay has been an exclusive Composer, Arranger, and Play-Along CD Producer for CURNOW MUSIC PRESS and DE HASKE PUBLICATIONS, publishing over 75 original works and arrangements, and producing dozens of Play-Along CDs. He has produced several Symphonic Band recordings, including two CDs for the prestigious United States Continental Army Band at Fort Monroe, Virginia. He has written commissioned works for numerous organizations, including the Duke Ellington School of the Arts in Washington, DC, the U.S. Atlantic Fleet Band, the U.S. Naval Academy Band, the U.S. Continental Army Band, the Virginia Music Educators Association, and most recently, the Virginia Symphony Orchestra. For the past five years, Mr. Hosay has served as an adjudicator for Spectrum Festivals, judging performances of bands and orchestras from all over the country. James L. Hosay resides once more in the greater Hampton Roads area, in the beautiful and peaceful city of Chesapeake, Virginia, where he finds much inspiration for life and music.
This file is sold by music, an independent seller on Tradebit.