• Pomp and Circumstance March No. 4 by Edward Elgar Concert Band - Sheet Music

Pomp and Circumstance March No. 4 by Edward Elgar Concert Band - Sheet Music

By Edward Elgar

Of all four marches that came after the overwhelmingly successful No. 1, March No. 4 seems to many people to be most closely related in general effect to the first. Just why this should be so is difficult to say. All five of the Pomp and Circumstance Marches are cast in basically the same form, a two-part A-B-AB, with the A part energetic and moving briskly along, and the B bringing a change of feeling (even though no actual change of pace is indicated) with the so-called great tune by way of contrast. However, it has become almost a tradition with Nos. 1 and 4 to play the final section in a slower tempo, probably in respect of Elgar's tempo marking Grandioso at this point. Certainly both of these great tunes could, and have, been considered as portraying musically the very essence and glorification of British majesty and power at the time they were written.

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Details

Summary
Ensembles:
Concert Band
Genres:
Romantic Period 20th Century Graduation March
Composers:
Edward Elgar
Publishers:
LudwigMasters Publications
UPC:
660355011696
Format:
Score Score and Parts
Item types:
Physical
Musical forms:
March
Artist:
Edward Elgar
Arrangers:
Alfred Reed
Usages:
School and Community
Shipping Weight:
2.75 pounds
Detailed Description
Concert Band

SKU: AP.36-M907102

Composed by Edward Elgar. Arranged by Alfred Reed and M.J. Retford. Concert Band; Performance Music Ensemble; Single Titles. Master Band Series - LudwigMasters. Graduation; Masterwork Arrangement. Score and Part(s). LudwigMasters Publications #36-M907102. Published by LudwigMasters Publications (AP.36-M907102).

UPC: 660355011696. English.

Of all four marches that came after the overwhelmingly successful No. 1, March No. 4 seems to many people to be most closely related in general effect to the first. Just why this should be so is difficult to say. All five of the Pomp and Circumstance Marches are cast in basically the same form, a two-part A-B-AB, with the A part energetic and moving briskly along, and the B bringing a change of feeling (even though no actual change of pace is indicated) with the so-called great tune by way of contrast. However, it has become almost a tradition with Nos. 1 and 4 to play the final section in a slower tempo, probably in respect of Elgar's tempo marking Grandioso at this point. Certainly both of these great tunes could, and have, been considered as portraying musically the very essence and glorification of British majesty and power at the time they were written.

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