2 Clarinet from Cambrai Quick March
The Quick March “Cambrai” takes its name from the village in France which provided the location of the first battle in which the Royal Guernsey Light Infantry (RGLI) was involved in 2017.
Alan West has used the original theme from the bugle march “Chanson de Roland” which, itself, was taken from a Norman marching song composed by the Marquis de Paulmy said to have been sung by the invading Norman Army at the Battle of Hastings. “Chanson de Roland” was adopted by the RGLI as its Regimental Quick March.
The composer was provided with a piano transcription of the piece from a press cutting of 1916 but this only provided the first theme of the march. The march was originally listed as a bugle march which the composer included in the version for brass band. However this has been omitted from this wind band version. Further themes were added to create a full march.
INTRODUCTION: The march opens with a fortissimo motif in unison from which follows a short semi-quaver passage in the Clarinets, Saxophones, 1st Cornets and Euphonium over harmonic quavers. A 2 bar decrescendo leads to the main theme.
SECTION 1: The original theme of Chanson de Roland which is a very simple, crotchet-based, melody. ¬The tune is heard in the 1st Clarinet and 1st Cornet with an answering motif in the Trombones. When repeated, the melody is further taken up by the Piccolo and a counter melody is heard in the Saxophones and Euphonium.
SECTION 2: With a 3 quaver lead, the bass solo provides a strident fortissimo theme set against a fanfare accompaniment in the top section of the band. Also heard is a harmonised semi-quaver motif which provides brilliance.
SECTION 3: A reprise of the opening theme.
SECTION 4: A 4 bar modulation to the sub-dominant leads to the Trio. Set against a simple off-beat accompaniment through the lower Clarinets, Lower Cornets, Horns and Trombones, the lilting legato melody is heard in the 1st Cornet and 1st Clarinet. During the repeat a counter melody is played in the Saxophones Trombones and Euphonium with a high motif heard in the Piccolo.
SECTION 5: An 8 bar, repeated, fortissimo section in the relative minor in contrapuntal style, this features the Clarinets and Cornets with a rhythmic semi-quaver based theme. Counterpoint is provided by Tenor Saxophone, Trombones and Euphoniums.
SECTION 6: A reprise of the Trio, this time at fortissimo.
The march concludes with a Da Capo to the Fine bar (it is customary to omit all repeats in this section).
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