March of the Empire
Uploaded on Oct 25, 2016
This is likely the least march-like of all the marches I have composed so far. It's probably a march the same way John Williams's "The Imperial March" is a march--the opening bars sound like an imperious procession, but the succeeding bars don't sound particularly like a march.
Speaking of the Imperial March, this isn't the most creative march, either. The name is inspired by the Imperial March. The structure is just like Elgar's 3rd Pomp and Circumstance march. This piece's plot slightly resembles Star Wars.
Like Elgar's 3rd Pomp and Circumstance march, this piece starts with a quiet theme in the home minor key, gets louder and louder, shifts to a happier major-key trio, shifts back to the home-key march proper and repeats it, then replays the trio in the tonic major, and finally reverts to the home key in loud protest.
Like Star Wars, this piece involves an evil empire and a rebel force that vies against it. The evil empire gets the A sections (and the coda), while the rebel force gets the B sections. The evil empire establishes itself first, then the rebels strike, then the empire defends itself, then the rebels strike so hard they seem to grasp victory, and finally, the empire exerts even more force and is victorious, crushing the rebels.
The musical directions tend to take the point of view of the rebels. The rebels are none too happy about the empire's oppressive assertion of power in the A sections. The B section (especially Bars 30-41) should be played optimistically, as if the rebels are hoping their hardest that they can win. The B' section (especially Bars 87-98) should be played victoriously, as if the rebels are about to win. The coda (starting Bar 107) should be played as if the tables have turned and the empire is securing victory instead.
Play tips-wise, Bars 52-53 are surprisingly easy to play--simply hold right-hand notes for as long as possible until the left hand needs to play them. However, beware--the B' section is not purely a transposed version of the B section, and you need to be on the lookout for its changed and added harmonies.
Like a lot of my other pieces, this started from improvised hummed tunes, and as I fleshed them out on the piano, I found that it started sounding powerful but still relatively easy to play. This should be within reach of intermediate to early advanced pianists--you don't need to be a virtuoso to play this piece. You might need some extra chops if you want to fully express this piece's soaring and crushing moments, though...
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