| Marketing Copy | Like all concert marches, as distinct from the march intended to accompany marching groups of people, this piece differs from the traditional form, instrumentation and musical elements found in its protype, even though the constant forward drive of its rhythm remains. The opening fanfare-like figure reappears in the transition from the second theme to the traditional "trio", and the first theme is developed largely through canonic imitation between the trumpets/cornets and trombones/baritones. The contrasting second theme is treated in two forms, first as a solo melodic line, and then with a harmonic development that includes a long, flowing counter-melody line in the tenor instruments. The opening fanfare returns for the last time in the coda, and brings the entire work to a stirring conclusion. PRO TEXANA was written on the occasion of the composer's visit to Baylor University in Waco, Texas. |
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