Hello, good music lovers!

My name is Mark Chester (I always write it with my middle initial,
which is "S," for reasons I cannot explain.)  I am a new subscriber
to MMD (within the last two weeks) and expected that my first
submission would be a formal introduction.  However, I'm currently
using my available free time putting a new roof on my house, so I'm
still working on the introduction which will surface as my SECOND
posting!  What prompted THIS outburst was Matthew Caulfield's question
in 981011MMDigest.  Although I am not a musicologist, I have read this
explanation somewhere, it makes sense, and is supported by empirical
observation.

"Patrol" is used in the title of many popular "march" type compositions,
and it does have a particular significance with regard to the
composition and its performance.  It is appropriately used to describe
a march piece which, unlike the typical march arrangement of, say,
Sousa, which builds to a rousing finale at the final repeat of the last
movement (e.g. - "The Stars and Stripes Forever"), a "patrol" starts
off softly, gradually builds in volume and force, climaxes, then
gradually tapers off, almost disappearing.  The reason for this
arrangement is that it is intended to create for the concert audience
the impression that the stationary band performing the piece is
actually passing in review, as in a military parade.  Hence, the
increasing force and volume as the parade band approaches the
observer's viewing spot, with maximum verve (with "all the stops
pulled out") at the middle of the piece, when the band is directly in
front of the observer, and the diminishing volume and power as the
band continues off into the distance.

One of the most popular standards of this genre is, of course,
F(rank) W.  Meacham's "American Patrol."  I have an old (circa 1910)
copy of the sheet music for this piece arranged for piano, with a
copyright date of 1885.  Interestingly, the dynamics throughout the
piece are accompanied by parenthetical descriptions above the staff,
which I quote verbatim, including the punctuation.  At the very
beginning, the pianist imitates the drum rolls, but verrrry softly -
the dynamic is pppp - then the familiar melody begins.  At this point
the dynamic is ppp, and the description "(Patrol heard in the
distance.)" appears above the staff.  Then crescendo to pp, then p,
then the dynamic instruction "poco a poco cres." (trans: increase bit
by bit), and the description "(Patrol gradually approaches.)" This is
followed by several "cres." and "poco a poco cres." Notations with the
description "(Patrol passing.)"  The dynamic eventually changes to fff
up to the bugle call where it is ff and the description here is, oddly
enough, "(Bugle call.)" then "(Drum call.)" at f then a diminuendo to
mf, then a "poco a poco dim."  as the description "(Patrol gradually
retiring)" follows.  More dim. and poco a poco dim. dynamics follow
through pp and then to ppp with the description "(Patrol Disappears.)" -
but not totally, because there are still nineteen measures to go!  The
music softens to pppp and finally, the last note is accompanied by the
dynamic ppppp and the description "(Gone!)"

Sorry my response is so wordy, but I hope you all will enjoy!

More about me and my interests in mechanical music soon!

My best wishes,
Mark S. Chester