Graduation Day Memories with Elgar's Pomp and Circumstance March No 1
The Listen Guide
Pomp and Circumstance March No. 1 in D major, Op. 39 No. 1
I'm Edward Elgar, and this is the listen guide to my Pomp and Circumstance March No 1. You'll learn to pick the instruments out of my big orchestra, including the organ, which stays silent until the final statement of the big middle tune. Whenever you're ready, head over to the Trainer , because on this site my fellow composers and I also teach you to recognize our pieces when you hear them.
---
Who Sits Where, and Why You Should Care
Before you press play, let me tell you where to point your ears, because a big orchestra can sound like one enormous wall of noise until you know who is in it. The strings are the warm body of the sound, so whenever you feel lost, follow them first. Two piccolos sparkle high above, four horns add a golden weight underneath, and two harps shimmer in the background. Three timpani, a bass drum, cymbals and jingles keep the whole thing stepping forward, so listen for them whenever the music wants to look particularly grand.A Name Big Enough for a Whole Set
I borrowed a phrase from Shakespeare because it sounds like banners, processions and great occasions, which is just what this music is about. I meant the name to cover a whole set of marches, so the piece you're about to hear is properly Pomp and Circumstance March No 1, in D major. I finished five of these marches myself, and a sixth was completed later by Anthony Payne. So if you're looking for the famous one, ask for the first, and you'll be in the right place.Not a Sonata, Not a Rondo, Just a Very Good March
You might expect a composer to reach for something grand like a sonata or a rondo, but here I chose a march with a trio, which simply means a brisk march followed by a contrasting, singing middle. First comes the brisk march section, played twice, and then a short bridge that carries us across to the next part. After that comes the lyrical trio in G major, also played twice, followed by a fuller statement of the same tune back in D major. The piece closes with a reminder of the opening march, and I'll take you through these five stops one at a time.Section 1: Please Stand Up Straight
The march begins in D major, our home key, with a bright, confident stride that rarely lets up. Don't worry about picking out every instrument the first time through, and simply feel the steady beat under your feet. When the section repeats, listen again for how the different groups of the orchestra answer one another. This is the music of people walking in together, shoulders back and chins up.Section 2: A Deep Breath Before the Big Moment
The bridge is short, and its job is to let the energy drain away from the opening. The stride loosens, the sound softens, and the music seems to look around for a new direction. Listen for the way it quietly leans toward the key of G major, which is where we're heading next. It's the shortest section of the piece, but I find it does a lot of work, because it makes the next arrival feel earned.Section 3: The Tune Everybody Hums
Now we've arrived in G major, and everything changes, because the brisk march gives way to a broad, noble melody that seems to unfold in no hurry at all. The key sounds warmer and more spacious than the home key, a bit like stepping from a corridor into a large hall. I repeat the whole section, so you get a second chance to let the tune settle in. By the end of the repeat, I suspect you'll be humming it, and I wouldn't blame you.Section 4: The Same Tune in Its Best Suit
Here the big melody returns, but now it's back in D major and played with a fuller, richer sound. Everything you heard before is still there, only grander, as though the whole orchestra has leaned in to sing along. Hearing it in the home key gives a feeling of coming back after a long journey, and it's the emotional peak of the piece. This is also the moment that audiences at the Last Night of the Proms have made their own, and you'll hear why.Section 5: One Last Salute
To finish, I bring back a reminder of the opening march, and the lively energy of the beginning comes marching back in. After the broad singing of the previous section, it feels like a brisk, cheerful wave goodbye. The ending is quick and decisive, with no long farewell and no lingering. The march has been played at every Proms season since 1944, so I like to think this brief goodbye has served me well.Your Turn, Press Play
Now it's your turn, so press play and let the sound wash over you. Keep our five stops in mind as you listen: the brisk march, the bridge, the singing tune in G, its grander return in D, and the last salute. If you've ever sat through a graduation, you already know the middle tune, though I never wrote it for that, and it was first used that way at Yale in 1905, when I received an honorary doctorate. I hope you enjoy the journey through this march as much as I enjoyed creating it.---
I hope you enjoyed learning about my Pomp and Circumstance March No 1 as much as I enjoyed telling you about it. If you've followed this guide from start to finish, you've heard how a march with a lot of fire at the start can open up into one of the most familiar tunes in the world. There is still more to discover about Pomp and Circumstance March No 1, and I think it rewards a second and a third listen. Next time, try following a different part of the orchestra from beginning to end, and see how the music changes when you do. If you'd like to go further, please click on the links provided and keep exploring Pomp and Circumstance March No 1 at your own pace.