Pomp and Circumstance March No. 4 Cover Image

Pomp and Circumstance March No. 4: Concert Band, Ensemble Works

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Pomp and Circumstance March No. 4 Cover Image

Pomp and Circumstance March No. 4: Concert Band, Ensemble Works

By Edward Elgar / arr. M.J. Retford and Alfred Reed

Grade: 4

Item: 36-M907101

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Description
Of all four marches that came after the overwhelmingly successful No. 1, March No. 4 seems to many people to be most closely related in general effect to the first. Just why this should be so is difficult to say. All five of the Pomp and Circumstance Marches are cast in basically the same form, a two-part A-B-AB, with the "A" part energetic and moving briskly along, and the "B" bringing a change of feeling (even though no actual change of pace is indicated) with the so-called "great tune" by way of contrast. However, it has become almost a tradition with Nos. 1 and 4 to play the final section in a slower tempo, probably in respect of Elgar's tempo marking "Grandioso" at this point. Certainly both of these "great tunes" could, and have, been considered as portraying musically the very essence and glorification of British majesty and power at the time they were written.

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Additional Details
Series: Master Band Series - LudwigMasters
Publisher: Keiser Productions, Inc.
ISBN10: 8-88-852303-0
ISBN13: 979-8-88-852303-2
UPC: 676737599010
SKU: 36-M907101
Instrumentation: Detailed Instrumentation: Concert Band

More about this title

About the Composer: Edward Elgar

Edward Elgar (1857-1934) stands as one of England's most celebrated composers, whose works defined the sound of British classical music in the early twentieth century. His Pomp and Circumstance Marches, composed between 1901 and 1930, became synonymous with grandeur and pageantry, earning him international recognition and establishing him as a master of the processional form.

Elgar's gift for melody and his command of orchestration made him a natural choice for arrangements and adaptations across ensembles. His understanding of how music could convey national identity and ceremonial splendor shaped an entire generation of composers and continues to influence how bands and orchestras approach the march form today.

Why we love this

This arrangement captures what makes Elgar's original so enduring: the sweeping "great tune" that emerges in the B section feels inevitable and monumental, giving your band a chance to play something genuinely memorable rather than filling time with competent filler. The Grade 4 scoring respects the architecture of the original while remaining playable by developing ensembles, and the tradition of taking the final section Grandioso provides a natural moment for your group to show what they've built to that point.

What to expect

The opening charges forward with bright, clipped energy and military bearing. When the B section arrives, the mood shifts to something grander and more introspective, as though the band has paused to acknowledge the significance of the moment. The final return, played Grandioso, feels like a coronation: stately, unhurried, and suffused with genuine pomp.

Who it's for

Concert bands at the intermediate to advancing level who want a signature piece that audiences know and respect. Directors seeking a graduation or ceremonial march that requires musical maturity but remains achievable for Grade 4 ensembles will find this invaluable.

How to get the most out of it

  • Bring clarity to the marcato articulation in the A section; these short, precise attacks define the march's forward momentum and establish the military character before the B section's lyrical turn.
  • Shape the "great tune" with long, connected phrasing rather than treating it as a series of individual measures; Elgar wrote this melody to soar, and your band should feel the arc across the entire statement.
  • Treat the final Grandioso section as genuinely slower, not just slightly broader; this shift rewards the audience and gives the ensemble a chance to render the closing with the dignity Elgar intended.
  • Balance the harmony in the B section so the inner voices support rather than compete with the melody; the emotional weight depends on hearing the full chord, not just the top line.

How to use it

Reserve this for occasions where formality and ceremony matter: graduations, dedications, opening or closing a major concert, or any event where the audience expects the band to mark something significant. It pairs well with lighter festival marches earlier in the program, allowing you to build toward this emotional and ceremonial climax.

Skills your students will build

  • Balancing energetic articulation with sustained legato playing across contrasting sections
  • Shaping a memorable melody across extended phrases without losing direction
  • Responding to tempo and style changes (Grandioso) with mature musicianship
  • Supporting inner harmony while maintaining clear ensemble blend

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