March of the Sun-Dried Tomatoes (3:10)

Grade 3
by Julie Giroux

This is the woeful tale of a day in the kitchen with a recipe that called for, among other things, sun-dried tomatoes and red wine. I like to think of myself as a cook, though I cannot convince many others of that fact, but had not encountered sun-dried tomatoes before. I had plenty of tomatoes growing in my little garden, and as hot as it was, there were a few on the vine that were almost dried already due to a little neglect on my part. Needless to say, after baking them to a crisp, which didn’t work, and microwaving them into oblivion, another disaster, the recipe was a complete failure and by the end of the day, a salami sandwich and a pickle was my fare. I know now you can buy sun-dried tomatoes in the store, but I will never partake of that particular recipe again.

Notes to the Conductor

The great contrasts in tempo and dynamics, not to mention the percussion parts, help to make this piece a wonderful crowd pleaser. Originally I composed this march so I could perform one with the many clinic bands that I conduct. There is never enough time for rehearsal, and working up a march to the level it needs to be takes too long, as you well know. So I wrote this piece as an easier march, that could be attained in a short amount of time. Much to my surprise, it has turned out to be a hands down crowd favorite and goes extremely well in a concert that is on the heavy side and perfect for Spring, encores and outdoor concerts.

The baritone saxophone is essential. You will note the fortissimo marking which brings its down beats to the forefront with an overstated, comical quality, which is what is intended. The percussion parts, excluding the snare, bass drum and crash cymbal parts, may all be substituted. The bird whistle is really a must. Try and have a good one on hand. The ones that you fill with water are good, however, they can sound more like a pterodactyl if the water level isn’t just right. "With great liberties" means exactly that. Feel free to move the tempo around during all but the truly march-sounding parts. It adds to the dramatic entrances of the full-fledged march sections and to the jocularity of the piece.