STANLEY tells it all – Studying Sousa: style/5
One of the first stories I have read about John Philip Sousa, was the use of meticulous rehearsing techniques during his tenure as Music Director of the “President’s Own” US Marine Band (1880-1892). As the story goes, Sousa had a single musician play a musical line at first, called solo. The other musicians were asked to listen as how he played. At the second time around, the repeat, number two came in, playing along with number one.
Under normal circumstances this is called a duet, but since they played the same part this is called unisono. Sousa pointed out he wanted the second musician to play exactly the same as the first. This applies to a.o. timing, phrasing, intonation, duration of the tones, volume, balance and in the end even tone color and projection of sound.
The result is to see and hear two musicians play exactly the same, sounding like one. To execute this with perfection requires a similar breathing technique, preferably the same brand and model of musical instrument as well, but that is reserved for the highest level possible. This technique has been out there for a long time and will remain forever.
Just for the record: this is hard. If it’s easy, anyone can do it, but not this one. Most often, the process with just two musicians is repeated several times until they sound exactly the same. At that moment in time, number three comes in and the process is repeated until these three sound the same. Than number four comes in, number five, etc. As the story continues, in 1880 most musicians at the USMB struggled with this approach. In other words: it took a while before the required result was reached.
Most of us understand the use of this technique leads to lengthy, tiring and often tedious rehearsels. The ultimate form of discipline is required, whatever you think of that word. However, the result can be staggering. Nowadays, most musicians prefer to go through this process in a so called section rehearsel.
Come to think of it, analyzing this story shows Sousa must have been confronted with musicians from different European countries, bringing their national schools of performing. These are not always compatible, to say the least. In other words: it is plausible to state Sousa was aware of the differences which played a significant role in the national styles he heard during his European tours several years later.
To be continued.
Stanley E. van Wel MM – Music Director
Posted on LinkedIn.com dated 8 May 2024