Gifted Leadership March Henry Fillmore Edited by Robert E

FULL SCORE Gifted Leadership March Henry Fillmore Edited By Robert E. Foster

CB134 INSTRUMENTATION Full Score...... 1 Flute & Piccolo...... 8 Oboe ...... 2 Clarinet 1 in B≤...... 4 Clarinet 2 in B≤...... 4 Clarinet 3 in B≤...... 4 Bass Clarinet in B≤...... 2 Bassoon...... 2 Alto Saxophone 1 in E≤...... 2 Alto Saxophone 2 in E≤...... 2 Tenor Saxophone in B≤...... 2 Baritone Saxophone in E≤...... 2 Trumpet 1 in B≤...... 3 Trumpet 2 in B≤...... 3 Trumpet 3 in B≤...... 3 Trumpet 4 in B≤...... 3 Horn 1 in F...... 2 Horn 2 in F...... 2 Horn 3 in F...... 2 Horn 4 in F...... 2 Trombone 1...... 3 Trombone 2...... 3 Trombone 3...... 3 Baritone T.C. in B≤...... 2 Baritone B.C...... 3 Tuba...... 4 Percussion 1...... 1 Snare Drum Percussion 2...... 2 Crash Cymbals, Bass Drum 2

Program Notes Henry Fillmore was a well known musical personality in band gained national fame after they began a series of Cincinnati when he wrote his march, Gifted Leadership, weekly radio broadcasts that were heard throughout and dedicated it to a fellow Cincinnatian, Frank Simon the country. in 1927. Fillmore was in his mid-forties, and had enjoyed a successful career conducting his popular Shrine Band, Thus, the mid-American city of Cincinnati had two and he now was leading his own professional concert extremely successful and popular professional bands band, which was enjoying a lot of success in Cincinnati. and band leaders, who each had a healthy respect for Frank Simon, also from Cincinnati, was a virtuoso cornet- the other. They were also good friends, and in 1927 ist. He had joined the great Sousa Band, and had become Henry Fillmore wrote Gifted Leadership, dedicating it to the band’s solo cornetist, following in the footsteps of his friend. The dedication read “To Frank Simon, Director the legendary soloist, Herbert L. Clarke. Simon had left of the Armco Band, Middletown, Ohio.” The result was the Sousa Band, and he returned to Cincinnati to form this unique march with its great melodies, interesting and lead a new concert band sponsored by the Armco orchestration, and rhythmic excitement which continue Company, a steel mill in nearby Middletown, Ohio. He to delight audiences today just as they have since early proved to be a gifted leader, building the Armco band in the twentieth century. into one of the finest concert bands in America. The

Performance Notes

Gifted Leadership is a most interesting march, with cially interesting, and there is much more variety and some unique scoring which sets it apart from many independence in them than is frequently found in a more ordinary marches.The woodwind parts are espe- traditional march.

Performance Suggestions:

1. March style is a separated style. Everything that is 3. Play accented notes stronger, and play staccato notes not slurred is to be separated. lighter. Make a clear distiction between the two styles. 2. Strive for greated dynamic contrasts. One key factor 4. The first time through the last strain in the trio, for this is to play the softer sections softer so that they be sure that all brass and percussion voices are soft louder sections provide dynamic contrast without the enough that the obbligato woodwind soli parts can be need to overblow. very prominent. Then, the last time through, everyone plays strongly.

This is a great march. Enjoy it!

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Notes from the Editor I had the privilege of playing under the baton of Henry As the band reached the quiet section of the march we Fillmore in 1956, when he was one of the two guest con- were playing, he turned and looked around at the audi- ductors with the MENC Golden Jubilee All National High ence, making eye contact, and said, “These kids don’t School Band in St. Louis, Missouri. I was a junior in high need me!” As the band continued to play, he strolled school, and while no one realized it, this was to be one off the stage, receiving a huge ovation, which contin- of the last major appearances by the noted composer, ued after the music ended, and he stood and took sev- who died later that same year. eral bows, acknowledging the applause.

As I look back on that experience my strongest memories Henry Fillmore was one of the greatest showmen ever are of his white suit, his long white baton, and his cha- to conduct a band. He was certainly the great show- risma, charm and wit, and most of all, his showmanship. man of his era……..and he was fun!

When he was introduced, he strolled toward the podi- So was his music! um, and before he actually arrived there, and certainly before the audience had stopped applauding for him, — Robert E. Foster he had already given a down beat, and we were playing.

About the Arranger

Robert E. Foster has a rich history of involvement in At the University of Kansas the band program has grown bands and band music, going back over a half-century to include eleven bands involving over 600 students. to his early band experiences in his father’s school band Every facet of the program has enjoyed critical acclaim, in Texas soon after the end of World War II. Growing up from the highly visible Marching Jayhawks and basket- in this highly motivated and successful era of growth in ball bands to the concert bands and the jazz program. every facet of band performance, he brings to the podi- um a breadth of experiences and background, which are In addition to his work at the University, he maintains an very exciting and stimulating. active schedule as a conductor, clinician, and adjudicator. He and his wife Becky have three grown children, and Following a successful professional performing career they live in the rolling hills south of Lawrence, Kansas. (performing as a trumpet player with the Austin and the Houston Symphony Orchestras), and experience teach- ing in the Texas public schools, he joined the faculty at the University of Florida, working with director of bands, Richard W. Bowles, before becoming director of bands at the University of Kansas in 1971.

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Henry Fillmore (1881-1956)

James Henry Fillmore, Jr. was born in Cincinnati on He moved to Miami with the expectation of living only December 3, 1881 into a family of composers and pub- a short time. However, he was revived by the Florida lishers of religious music. A somewhat incorrigible sunshine and lived almost two more decades. Much of boy, he was bored with church music. He preferred his renewed energy could be attributed to a new life more exciting music such as that used in circuses. In as mentor of school musicians throughout the state fact, he ran off with circuses at least three times. This of Florida. He loved the kids, who adopted him univer- caused no small amount of consternation in the fam- sally as their “Uncle Henry.” ily, which had a dignified English-American bearing (he was a second cousin, twice removed, of President His activities in the music education field soon became Millard B. Fillmore), so he received much of his educa- a serious commitment. One of his old friends was John tion in a military school. J. Heney, a noted former percussionist of Sousa’s Band, who was obsessed with raising the level of school bands He graduated from the Miami Military Institute in 1901. in Florida. Together they traveled about the state Frustrated at being unable to influence the Fillmore encouraging school officials to start bands. The end Brothers to branch into the publication of band music, result of their extraordinary promotional efforts was he left home. He married his secret sweetheart Mabel the creation of three dozen new high school bands. Jones, a vaudeville dancer, and joined the Lemon Brothers circus as a trombone player. He returned An especially loving relationship developed between to Cincinnati and the publishing company after one Henry and the band at the University of Miami. He was season, but it was several years before the family named “permanent guest conductor” and accompanied accepted Mabel. the band on trips, including three to Central America. In appreciation of his concern—and his generosity—the Gradually, Henry persuaded his father and uncles to university awarded him with an honorary doctorate. publish more band music. The firm eventually became a leading band house, primarily because the music Despite the warnings of doctors, Henry became even of Henry Fillmore and his seven aliases had become more active in the band movement. He was elected very popular. Another factor was his expertise as an president of the prestigious American Bandmasters arranger and editor. Association and held the organization together through the years of World War II when travel was restricted. And Meanwhile, he was heavily involved with bands in the he seldom passed up a chance to be present at functions Cincinnati area. Under his leadership, the Syrian Temple of the Florida Bandmasters Association. Shrine Band became America’s finest fraternal band. Industrialist Powell Crosley enticed him to organize As might be expected, he paid the price for not heed- a professional band, and it, too, achieved widespread ing his doctor’s advice. After being weakened by a fame through broadcasts over the powerful radio series of illnesses, the big heart of Henry Fillmore station WLW. One novel feature of the programs was finally gave way. He died peacefully in his sleep on Henry’s exceptional dog, Mike the “radio hound,” who December 7, 1956. His body was cremated, and his barked at predetermined spots in the music. ashes were interred with those of his beloved Mabel at the Woodlawn Park Cemetery in Miami. Henry’s music was now being played by bands throughout North America and abroad, and his intense sched- The band world had lost a giant, but his music will live ule as composer, arranger, music editor, and conductor as long as there are bands to play it. Benefiting most began to take its toll. In his late fifties, he developed a from his legacy was the University of Miami Band, to serious heart problem. Doctors told him his life expec- which he bequeathed most of his estate. The Henry tancy would be less than one year unless he retired. Fillmore Band Hall with its Fillmore Museum is a sym- They also suggested that he move to a warmer cli- bol of that legacy. mate. Used by permission of Paul E. Bierley from Hallelujah Trombone published by Carl Fischer.

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7 13 8 !Ð © © © © © © © © © © © © © P© © D© ! © © © © © © © © P© © © Fl. / Picc. D D © © P© © © © © © © © D© Fl. / Picc. D D © P© © © P© © © © © , P© © © © © D D ¨ D D ¨ , ¨ H ) Ob. 1 !Ð © Ob. 1 © © 2 DD D ¨ © © © © © 2 DD D ¨ L © © , X © ¨ D X © Ð X D © © © X Ð H ) ! © P© © © © Ð © © © P© © D© ! © © © © © © © © © © © © © 1 D © © © © © © © © © © © © © D© 1 D © © © © P© © © © P© © © © © © D ¨ D ¨ , , ¨ Cl. in B Cl. in B D D H ) 2 !Ð © © © D Ð © © © © © © Ð © © © © © X 2 D © !Ð © © © © © X © © P© © © 3 D Ð PÐ © ¨ © © © © X 3 D © ¨ Ð © © © © © © X © ¨ © © © © © © , H ) B. Cl. D B. Cl. D in B D ¨ ¨ ¨ ¨ ¨ © ¨ in B D ¨ © ¨ ¨ ¨ ¨ © © © D Ð Ð © © © © D © Ð © © © © © © © © © © © © © H © © © © Bsn. " D © P© © D© © © X X © Bsn. " X X ! © © © D DD ¨ DDDD © Ð © © © © © © H ! L Ð © ! © © A. Sax. 1 © © © © © Ð © © © © © A. Sax. 1 L © © © © © © © X © © © © © in E 2 D ÐX PÐ © ¨ © © © X 2 D © ¨ Ð© © © P© © © © © , ¨ © P © © © D in E © © D ! T. Sax. !Ð ! H X © ) D © © © © © © © © T. Sax. D © © © © © © © © in B D © P© © D© © © © © © in B D ¨ , © © , ¨ © © © © D © D © H ) Bar. Sax. Bar. Sax. © © © in E D Ð Ð © © ¨ © ¨ ¨ ¨ © ¨ ¨ in E D © ¨ ¨ ¨ © ¨ ¨ © © © © D © © © © © © D Ð © © © © © © © © 13 H !Ð 1 D © © © © © © © © © © 1 D L © © © © D X © ¨ X D © ¨ © © © © © © © , X © ¨ © © © © ! © P© © H ) Tr. ! Tr. in B 2 DD Ð PÐ © ¨ © P© © © © Ð © © 2 D © © © © © © D © © © X in B D ¨ © © © © © X © ¨ © © D © !Ð P© , P© © H ) 3 D 3 4 D Ð © ¨ 4 D Ð Ð Ð Ð © Ð © XX ©© ©© ©© D X X © Ð © ¨ © © © © ¨ Ð Ð X X © !Ð © © © © Ð H ) 1 1 D D 2 D D ¨ © ¨ ©© ¨ © © © ¨ ©© ¨ ©© ¨ ©© ¨ ©© ¨ ©© ¨ ©© 2 D D ¨ ©© ¨ ©© ¨ ©© ¨ ©© ¨ ©© ¨ ©© ¨ © © © © ¨ © P© © © Horn Horn © © in F in F H ) 3 3 ! D 4 D 4 D D ¨ ¨ ¨ ¨ ¨ ¨ ¨ ¨ ¨ D D ¨ © ¨ © ¨ © ¨ © ¨ © ¨ © ¨ ¨ © P© © © © © © © © © © © © © © © © © © © © Ð H ! 1 © © © Ð X X © © © 1 X © !Ð © © ¨ 2 " D P© X 2 " D X X © Ð © © © © © © Ð D DD ¨ ¨ ¨ D DD © © © Tbn. Tbn. H © © © © 3 " P© © D© © © X © 3 " D X X © !Ð © © © © © © DDDD ¨ X ¨ D DD © © © !Ð H © © © © © © © © ! X © Bar. " D © P© © D© © © © © © © © © © © ! © © © © D DD Bar. " , © © , © P© © © DDDD ¨ © ¨ H ) Tuba " DDDD Ð Ð © © ¨ © ¨ ¨ ¨ © ¨ ¨ Tuba " D D ¨ ¨ ¨ ¨ ¨ © © © © © © D D © © © © © © © © © Ð © © © © © © © © H ¨ ¨ ¨ ¨ ¨ ¨ 1 © © © © © © © © © © © © © © © © © © © © © © 1 ¨ ¨ ¨ ¨ © © © © © © © © © © © © © © © © © © XÐ Ð X © © © © Ð© © © © Perc. ¨ ¨ ¨ ¨ ¨ ¨ ¨ ¨ ¨ ¨ Perc. ¨ ¨ ¨ ¨ ¨ ¨ ) 2 ¨ ¨ ¨ Å ¨ ¨ ¨ ¨ ¨ ¨ 2 11 12 13 14 15 ¨ ¨ ¨ ¨ ¨ ¨ ¨ CB125F 16 17 18 19 20 CB125F

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