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American Salute

From Wind Repertory Project
Morton Gould

Morton Gould (trans. Philip J. Lang)


Subtitle: Based on "When Johnny Comes Marching Home"


General Info

Year: 1943 / 1971
Duration: c. 4:20
Difficulty: V (see Ratings for explanation)
Original Medium: Orchestra
Publisher: Mills Music (first edition, 1943)
Publisher: Belwin / Alfred Music / EMI Mills Music
Cost: Score and Parts - $90.00   |   Score Only - $9.00


Instrumentation

Full Score
C Piccolo
Flute I-II
Oboe I-II
English Horn
Bassoon I-II-III
Eb Clarinet
Bb Soprano Clarinet I-II-III
Eb Alto Clarinet
Bb Bass Clarinet
Eb Alto Saxophone I-II
Bb Tenor Saxophone
Eb Baritone Saxophone
Bb Cornet I-II-III
Bb Trumpet I-II
Horn in Eb I-II-III-IV (opt.)
Horn in F I-II-III-IV
Trombone I-II-III
Euphonium
Basses
String Bass
Timpani
Percussion, including:

  • Bass Drum
  • Chimes
  • Cymbals (crash)
  • Gong (tam tam)
  • Marimba
  • Snare Drum
  • Steel Bells
  • Tubular Bells (chimes)
  • Xylophone


Errata

Errata in the 1943 first edition is documented in Teaching Music Through Performance in Band. Volume 2. Compiled and edited by Richard Miles. Chicago: GIA Publications, 1998, pp. 391-407.

Corrections or additions to that list:.

  • 2nd Flute. reh. F + 2 meas., beat 1: add "simile" for continuation of staccato passage.
  • 1st B-flat Clarinet. reh. D + 4 meas., beat 3: 2 eighth rests should read F quarter note tied from the previous note (as in 2 meas. after D).
  • 1st Bassoon. reh. L, beat 1: move "pp" to beat 2.
  • E-flat Baritone Saxophone. reh. J, beat 3: C natural should read C sharp (carries through to beat 4).
  • 1st, 2nd, & 3rd B-flat Cornets. reh. J + 3, beat 1: add "Natural" (to cancel "Hand in Bell" instruction at 1 meas. before reh. J).
  • 1st & 2nd B-flat Trumpets. reh. J + 3, beat 1: add "Natural" (to cancel "Hand in Bell" instruction at 1 meas. before reh. J).
  • 3rd & 4th Horns in F. 1 meas. before reh. K: add “4/4” meter signature at the end of the system
  • 2nd Trombone. reh. O + 10, beat 7: D should read E (above staff).


Additional errata for the 1943 edition:

  • 1st Flute. reh. M + 3, beat 2-3: remove dot in staff.
  • 1st Flute. 5 meas. before the end, beat 2-3: remove dot on E space.
  • 1st B-flat Clarinet. 1 meas. before reh. G, beat 1: add "Tutti".
  • 2nd B-flat Clarinet. 3 meas. before reh. G, beat 1: add. "div.".
  • 1st Trombone. reh. M: add "(mute out)".
  • 1st Trombone. reh. M + 4, beat 4: add "Tutti".


Errata for the 1971 edition:

  • 1st Bb Cornet. meas. 123–125, beat 1: dotted half note should read half note
  • 1st Bb Cornet. meas. 123–125, beat 4: quarter note should read half note (on beat 3)
  • 2nd Horn in F. meas. 97, beat 1&: F sharp should read F natural
  • All Horns and Trombones, meas. 142–143: shift beats 1, 2, & 3 to beats 2, 3, & 4
  • All Horns and Trombones, meas. 142–143, beat 1: add a quarter note rest

[Note: These instruments play on beats 2 and 4 while the rest of the ensemble plays on beats 1 and 3.]


Program Notes

Morton Gould's music is unique in its Americanism and in the seemingly endless wealth of creativity displayed by the composer. Like much of his music, this work is semiserious in nature -- a reflection of Gould's uncanny skill in thematic development. Using only When Johnny Comes Marching Home Again for melodic resources, he contrives a brilliant fantasy. Originally written for orchestra (in 24 hours) and later set for band, American Salute has become a favorite for both media.

- Program Note from Program Notes for Band


Originally written for orchestra, American Salute has become a favorite of the concert band repertoire. Using the familiar tune When Johnny Comes Marching Home as the sole melodic resource, Morton Gould demonstrates his skill in thematic development, creating a brilliant fantasy on a single tune.

Written in 1942 in the early days of World War II, it was composed at the request of a government radio program producer who wanted a “salute to America.” The composer insisted that he had no idea that the work was destined to become a classic: “It was years before I knew it was a classic setting. What amazes me is that critics say it is a minor masterpiece, a gem. To me, it was just a setting. I was doing a million of those things.” A million may be an exaggeration, but not by much. The pace of Gould’s schedule in those days was astounding. By his own account he composed and scored American Salute in less than eight hours, starting at 6 p.m. the evening before it was due (with copyists standing by), and finishing at 2 a.m. Although the ink couldn’t have been dry, the score and parts were on the stand in time for rehearsal the next morning and ready for broadcast that evening.

- Program Note from U.S. Marine Band concert program, 24 August 2016


American Salute, written during World War II, is a fine example of both Gould's sophisticated writing and his instinct for achieving broad appeal. This pieces is based on When Johnny Comes Marching Home, originally written during the Civil War by Patrick Gilmore and subsequently securing a strong position within American popular culture. American Salute has become Gould's most popular work. The composer attended a performance of the piece, given by the United States Military Academy Concert Band, on the last evening of his life.

- Program Note from University of Arkansas Wind Symphony concert program, 21 November 2016


Commercial Discography

  • Audio CD: United States Air Force Band - "America" Released January 1, 1999


State Ratings

  • Maryland: VI
  • Minnesota - Category I
  • Georgia: VI
  • Florida: V
  • Texas: V
  • New York: V
  • North Carolina: VI
  • South Carolina: VI
  • Virginia: VI
  • Louisiana: V


Performances

To submit a performance please join The Wind Repertory Project

  • Woodinville Community Band (Redmond, Wash.) (John Werth, conductor) – 19 May 2019
  • Gainesville (Fla.) Pops (Gary Langford, conductor) – 18 May 2019
  • Cottey Wind Ensemble (Nevada, Mo.) (Jackie Lordo, conductor) – 27 April 2019
  • University of North Texas (Denton) Symphonic Band (Dennis W. Fisher, conductor) – 5 February 2019
  • Appalachian State University (Boone, N.C.) Symphony Band (Donald Peach, conductor) – 29 November 2018
  • Oak Ridge (Tenn.) Community Band/Wind Ensemble (Shaun Salem, conductor) – 18 November 2018
  • Case Western Reserve University (Cleveland, Ohio) Symphonic Winds (Ryan Sherber, conductor) – 11 November 2018
  • Brevard (N.C.) College Wind Ensemble (Eric Peterson, conductor) – 9 November 2018
  • University of Kentucky (Lexington) Wind Symphony (Cody Birdwell, conductor) – 21 October 2018
  • Kishwaukee Concert Band (Dekalb,Ill.) (Dave Lehman, conductor) – 14 October 2018
  • New Orleans (La.) Concert Band (Charles Taylor, conductor) – 4 July 2018
  • Golden Gate Park Band (San Francisco, Calif.) (Robert Calonico, conductor) - 1 July 2018
  • Winchendon (Mass.) Winds (James Chesebrough, conductor) - 1 July 2018
  • Karl K. King Municipal Band (Ft. Dodge, Iowa) (Jerrold P. Jimmerson, conductor) - 1 July 2018
  • San Luis Obispo (Calif.) Wind Orchestra (Anthony Yi, conductor) – 3 June 2018
  • University of California, Santa Barbara, Wind Ensemble (Paul Bambach, conductor) - 27 May 2018
  • Pennsylvania Music Educators Association Wind Ensemble (Lancaster, Penn.) (Michael Fansler, conductor) – 21 April 2018
  • Dallas (Tx.) Winds (Dennis Ziesler, conductor) - 8 March 2018 (83rd Annual ABA National Convention)
  • Dallas (Tex.) Winds (Jerry Junkin, conductor) –27 February 2018
  • Western Illinois University (Macomb) Wind Ensemble (Mike Fansler, conductor) – 23 February 2018


Works for Winds by this Composer


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