THE UNITED STATES ARMY FIELD BAND

The Legacy of
M a r k H i n d sley

Washington, DC

“The Musical Ambassadors of the Army”

F rom Boston to Baghdad, Tampa to Tokyo, The United States Army Field
Band has been thrilling audiences of all ages for more than 60 years. Its
members are the most traveled Soldier-Musicians in the world, earning them the title
The Legacy of
Mark Hindsley
“The Musical Ambassadors of the Army.” Each of the Army Field Band’s performing
components, the Concert Band, the Soldiers’ Chorus, the Jazz Ambassadors,
and The Volunteers, present free concerts across the continental United States
more than 100 days annually. They have also performed in more than thirty
countries on four continents in support of our nation’s diplomatic efforts and our About this Recording
fellow Soldiers overseas.
The United States Army Field Band proudly presents the sixth in a series of concert band
Internationally-acclaimed as one of the most versatile and inspirational musical recordings honoring the lives and music of individuals who have made significant contribu-
organizations in the world, The United States Army Field Band remains focused on tions to concert band repertoire and to music education.
keeping the will of the American people behind their Armed Forces. Since its inception Designed primarily as educational resources, these recordings are carefully researched
in March 1946, the Army Field Band has fulfilled its mission as defined by its founder, to accurately represent the composer’s body of work and, when possible, to reflect the origi-
General Jacob L. Devers: “Organize a band that will carry into the grassroots of our nal intent of the composer. Biographical information, detailed program notes, and historical
country the story of our magnificent Army.” photographs are included to provide music educators and their students with insight into the
compositions.
The Military’s Most Traveled Musicians As an arranger, conductor, and educator, Mark Hindsley’s influence on the American
band tradition is undeniable. His classical orchestral transcriptions for band, groundbreaking
marching band techniques, and seventy-year career in music education and military bands
Colonel Timothy J. Holtan, Commander, The U.S. Army Field Band
Conducting “Dance of the Seven Veils” and “Polovtsian Dances” have cemented his legacy for generations to come.
The Legacy of Mark Hindsley was recorded in 2010 and 2011 at Devers Hall, Fort
Colonel Thomas H. Palmatier, Commander, The U.S. Army Band
Conducting The Sorcerer’s Apprentice, Capriccio Espagñol, and Manhattan Beach George G. Meade, Maryland, using multi-track digital equipment.
Major Bruce R. Pulver, Commander, U.S. Army Europe Band and Chorus
Conducting El Capitan and Russlan and Ludmilla
2
 Early Years
On October 18, 1905, Orvah and Goldie
Hindsley of Union City, Indiana, celebrated the
The Legacy of birth of their third and youngest child, Mark.
Orvah taught school, farmed, and ran a small

Mark Hindsley
post office in Union City. Goldie exposed her
children to music very early, playing piano and
Pearl Street, west of state line, Union City, IN, Nov. 15, 1907
teaching them songs.
Young Mark distinguished himself in the classroom from a young age, quickly
progressing through grade levels in his one-room schoolhouse in Jackson Township. He picked
up the cornet at age 10 and began his first music lessons, joining his church orchestra and
the city band by age 12. Hindsley gave cornet recitals at town events, often accompanied by his
In the field of American band music, the 20th Century began with such figures as older sister on piano. He became a standout scholar and musician at his town’s consolidated
John Philip Sousa, Edwin Franko Goldman, Karl King, and C.L. Barnhouse. As the century high school, graduating at the top of his class at 15 years old.
progressed, a generation of band directors associated with schools of music from leading
universities emerged. These pioneers produced an inspiring musical legacy, influencing
countless students to become conductors and music educators in their own right. Bloomington
Mark Hindsley was one of these. Hindsley enrolled at Indiana University-Bloomington in the
Hindsley was the quintessential American music educator, with a remarkable career fall of 1921. He began with a major in chemistry as the recipient of
that spanned over 70 years. He was a major innovator in the field of college marching band, a scholarship from Randolph County. Hindsley soon found outlets for
a gifted composer and arranger who adapted many symphonic masterworks for concert band, his musical talents, playing trumpet with the university orchestra and
and a proud Army Air Forces veteran responsible for training hundreds of military musicians cornet with the concert band. Hindsley also played double bass in the
during America’s most storied military campaign. From 1907 to 2012, he was the second of orchestra, sang with the university chorus, and found opportunities
only five men to serve as Director of Bands at the University of Illinois. to sing and play organ with local church choirs. He continued his
Mark Hindsley, senior at
chemistry studies and was a leader in both chemistry and music
Mark Hindsley sketch c. 1945 Indiana University, 1924 fraternities on campus. During his junior and senior years, Hindsley
4 5
 Mark and Helen
was one of several Indiana undergraduates to qualify for the prestigious The Band Director
Rhodes Scholarship, and as a senior was asked to serve as the band’s
student assistant conductor. In 1929, Hindsley was hired by the Cleveland Heights (Ohio) School

a, wedding an
Hindsley graduated from Indiana University in the spring of District to teach music and direct high school band and orchestra. In his
1925, earning a Bachelor’s degree in Chemistry third year, his high school band won a city music contest in Cleveland; a
“with highest distinction.” He was never to pursue
nouncement, 19 year later, they won first division scores in a national competition held in
a career in the sciences, however, as Indiana Evanston, Illinois. After five years in Cleveland Heights, leading musical
University immediately hired Hindsley as Director of the University ensembles at three junior high schools and one high school, Hindsley
Band, Indiana University
Director of the University Band. In 1926, he was had increased music enrollment from 26 students to 230.
26

appointed an Instructor in Music, and received Hindsley received the first of many national music honors in the winter of 1934, when
his Master of Music degree two years later. In School Musician magazine named him as one of the Ten Most Outstanding Music Directors
1926, he married Helena Alberts of Richmond, Indiana, in the nation. In the fall of that year, he was honored to receive an appointment from the
and they had three children: Harold, Marilyn, and Robert. University of Illinois as Assistant Director of Bands and Associate in Music. At the University
Helena Alberts, freshman at IU, 1923 of Illinois, Hindsley worked under the supervision and mentorship of legendary band director
Albert Austin Harding. Harding would guide the development of several significant figures
in American band music history: Mark Hindsley, Frederick Fennell (The Eastman School),
Glenn Bainum (Northwestern), William Revelli (Michigan), Ray Dvorak (Wisconsin), and
Clarence Sawhill (UCLA).
Upon arriving at Illinois, Hindsley was named Director of
two bands: the First Regimental Band (a quasi-military concert
ensemble) and the Football Band. During his tenure, the Football
Band would come to be known as the “Marching Illini,” where he
Mark Hindsley family, 1942
would make many innovations over the years. Under Hindsley’s
L to R: Harold, Robert, baton, the Marching Illini grew to a membership of 175 musicians.
and Marilyn Hindsley, 1941
From 1934 to 1942, Hindsley’s ensembles kept a busy schedule of
concert performances, football game appearances, and radio
broadcasts in the Midwest. Director of Bands,
University of Illinois
Hindsley home, Urbana-Champaign, IL, 1936-1955 7
The Army Bandmaster Hindsley was named Acting Director of Bands at Illinois in September, 1948, with the
retirement of his mentor, Professor A.A. Harding. Two years later, he was appointed Director
Mark Hindsley’s long tenure at the University of Illinois was

Bandmaster, U.S. Army Air Forces, 1942

and Professor of Music, positions he would hold for the next 22 years.
interrupted from 1942 to 1946, when he served as a bandmaster Professor Everett Dean Kisinger joined the Illinois faculty in 1948 as the Assistant
in the U.S. Army Air Forces. In the summer of 1942, Hindsley was Director of Bands. Together, Hindsley and Kisinger introduced many innovations that
commissioned as a Captain in the Army and assigned as a Music revolutionized American college marching bands,
Officer to the Army Air Forces Training Command in Ft. Worth, Texas, and are largely responsible for the halftime show
where he organized and administered the operations of more than format as we know it today. Decades before computer-
150 AAF bands. Hindsley was the first military band officer to organize based marching programs came into use, Kisinger and
music clinics, and conducted workshops for young military musicians Hindsley were laying out marching grids using screws,
throughout the Eastern, Central, and Western Flying and Technical flatboards and improvised “stadiums.” They imagined
Training Commands. how fans in the stands would visualize each band
With the Allied victory in Europe in the spring of 1945, movement, and from every conceivable angle.
Hindsley traveled to France, where he was assigned to the music They developed systems for band members to count Kisinger and Hindsley prepare marching
faculty of the American University in Biarritz, located on France’s steps and move into positions without special signals, band grids for the Rose Bowl, 1951
southwestern coast. He taught conducting and directed bands at procedures still used today by bands nationwide.
the school, which had a student body of more than 2,000 American service members.
Hindsley received the Army Commendation Medal for his distinguished service as a military
bandmaster, and left active duty in 1946 as a Lieutenant Colonel.

Reinventing the College Marching Band

Lieutenant Colonel Hindsley returned to the United States in 1946, resumed his duties at
the University of Illinois that summer, and was elected President of the College Band Directors
National Association that winter. Hindsley was instrumental in helping that organization
establish its longstanding Declaration of Principles, and served in numerous Association
committees over the next several decades.
Marching Illini, Anniversary Hall of Fame game, 1948
8 9
The Senior Statesman of both American and European instruments
in the brass and woodwind families. For many
Professor Hindsley enjoyed an illustrious career at the University of Illinois. years, in addition to his conducting clinics, he
He worked on marching band shows, transcriptions, and maintained a busy schedule of presented research on tuning and intonation
guest appearances as a clinician, guest conductor, and adjudicator. He received an honorary to both musicians and acoustical scientists.
In 1955, Hindsley helped modernize
Illinois’s band department by supervising the
construction of the new band building, later
named the Harding Band Building. This was the first building designed
specifically for a college band program, a state-of-the-art structure of

Doctorate from his alma mater Indiana University,

served as President of the prestigious American
Bandmasters Association from 1956 to 1957, and
received certificates of merit and achievement from
virtually every one of our nation’s music associations. classrooms, rehearsal halls, practice rooms, recording facilities, and a world-
Perhaps most importantly, Hindsley continued A.A. class music library. The music library is home to one of the world’s largest
Harding’s legacy of producing band transcriptions of collections of wind band music, along with the acclaimed Center for American
great orchestral works. He produced more than 75 Music and the John Philip Sousa Archives.
such transcriptions for concert band, many of which Hindsley’s work in music continued his entire life; well past his “retirement”
are now mainstays of the concert band repertoire. from the University of Illinois in 1970. His departure from the university
Hindsley’s scientific background inspired him to marked the beginning of a long career as a freelance conductor, author, and
conduct research on the intonation of wind instruments. goodwill ambassador of American music—in particular, our nation’s strong
He patented his own brass valve mechanisms, tradition of wind ensemble literature. Along with his wife, Helena, he traveled
and his work influenced the design and construction
Photos (left to right): Conducting, 1958; Score study, 1969; Hindsley with Photos (top): UI Harding Band Building, 2012
copyist Tom Knox; Conducting Assembly Hall dedication concert, 1963; (left to right): UI Original Band Building, before construction; Beginning stages of construction on new building,
May 25, 1965 Harvard Herald front page original building partially in place (photo taken by Mark Hindsley); Completed Band Building
throughout the U.S. and around the world to hundreds of conferences, clinics, masterclasses,
conventions, and performances, celebrating American composers’ lasting contributions to the Photos (opposite, clockwise from left): Mark Hindsley and
Harry Begian, 1983; Mark Hindsley, Harding, and Revelli,
concert repertoire. Hindsley wrote more than 45 articles and seven books on band music, and was late 1950s; Hindsley with Edwin Franko Goldman, 1953;
working on an eighth book at the time of his death. Hall of photos inside the new Harding Band Building, 2012

Mark Hindsley died on October 1, 1999. In his memory, the Jacobs School of Music of This page: Mark Hindsley, 1958
Indiana University presents the annual Hindsley Award for Symphonic Band to the school’s
most outstanding band student. Through the thousands of marching bands that still use
his techniques, the thousands of wind ensembles that have performed his transcriptions,
and the countless musicians and educators whose lives he touched throughout his long career,
the Legacy of Mark Hindsley will continue for generations to come.
 Program Notes El Capitan (1896)
John Philip Sousa (1854-1932)
In addition to his considerable research on intonation and a vast catalog of concert El Capitan shares its title with the best known of Sousa’s fifteen operettas. Both the march
band recordings, Mark Hindsley wrote more than seventy transcriptions of major musical and the theatrical work conclude with the same exciting theme. Sousa’s band performed the
works for concert band. Transcribing famous orchestral works like Capriccio Espagñol march for Admiral George Dewey’s forces as they embarked on a mission during the Spanish-
and Overture from Russlan and Ludmilla creates a challenge unique to arranging: American War. At his own personal expense, Sousa later led more than one hundred musicians
transmuting the timbres of one medium to another. When transcribing from symphony in the same march during the New York victory parade celebrating Dewey’s return.
orchestra to concert band, the arranger The march has two distinct moods, marked by different meters. Crisp accents and
must realign the colors of sound in a steep dynamic contrasts lend an unpredictable quality to the two opening strains, which trot
manner that honors the composer’s along in a jaunty 6/8 time. At the trio section, a prim, quiet melody marks a sudden shift to
original intentions of expression and 2/4 time. The melody repeats twice before a slowly building crescendo anticipates the arrival
orchestration. Thorough knowledge of of the boisterous final theme. Hindsley’s dynamic markings highlight Sousa’s formal contrast
every instrument allows the arranger between the mercurial first strains, reserved trio theme, and rousing final theme.
to best use their distinct timbres,
as well as their functional and
expressive qualities. Overture to Russlan and Ludmilla (1842)
Well aware of John Philip Sousa’s Mikhail Glinka (1804–1857)
musical idiosyncrasies, Hindsley was
always eager to incorporate dynamics Though considered one of the pioneering musical figures of his native Russia, Glinka
and instrumentation into his editions endured a frosty reception to his second opera, Russlan and Ludmilla. The composer rejected
of Sousa’s marches. This esoteric a career in Italy for the challenge of cultivating an operatic tradition in his own country. After
knowledge was no doubt cultivated at Transcribing, early 1950s success with his first opera, the failure of Russlan and Ludmilla drove the frustrated Glinka
the University of Illinois under Albert Austin Harding, a master conductor who was intimately to a period of self-imposed exile in Europe. Despite this hardship, the opera’s overture enjoys
familiar with the Sousa band and its performances of Sousa’s marches. As Harding’s successor, enduring popularity as an example of the composer’s prescient musical style.
Hindsley tenaciously added work after work to his catalog of transcriptions, benefiting our In his adventurous development of several contrasting themes, Glinka effectively blends
national tradition of music education through the concert band. the virtuosic fire of Italian opera with the elegance and nobility of French and German styles.
14 15
In his concert band transcription, Hindsley assigns the strings’ rapid scale work to the woodwinds, Dukas’ musical adaptation of Goethe’s ballad is highly programmatic, adhering strictly
while his thematic reassignments show a more diverse use of timbres. to the events as they unfold in the poem. After its premiere, the composition quickly established
The overture erupts with a vigorous rhythmic motive that quickly gives way to a itself as a part of the concert repertory, becoming immediately popular with both critics
heroic theme. To match the agility of the violins, Hindsley gives this theme to the flutes and audiences. The work gained unprecedented worldwide popularity when it was featured in
and clarinets. After the woodwinds playfully exchange fragments of the heroic theme, Walt Disney’s 1940 animated classic Fantasia.
the euphoniums and saxophones share the role of the celli as they respond with a
lyrical melody, taken from one of the opera’s arias. Trumpets and flutes echo this melody,
matching the octave of the violins. Capriccio Espagñol (1887)
The brass heralds a wide-ranging journey to other keys, punctuated by various thematic Nikolai Rimsky-Korsakov (1844–1908)
fragments that ultimately build to a frenetic cascade of rapid scales announcing a return to
Originally intended as a fantasia based on Spanish themes for violin and orchestra,
the opening parade of themes. Near the end of this recapitulation, the low brass announces
Rimsky-Korsakov’s reworking of conceptual sketches took shape over the summer of 1887.
the concluding strains by the use of a descending whole-note scale, one of the first such scales
Since the triumphant encore of the entire work at its premiere, the Capriccio continues to enjoy
found in western art music. The vigorous introductory motive makes a triumphant return,
popularity for its many demanding solis and the sparkling orchestration of the ensemble.
bringing closure to the overture.
A less deft arranger would have attempted a more drastic redistribution of timbres throughout
the work. In Hindsley’s edition, many of the solos and accompaniment figures remain in their
The Sorcerer’s Apprentice (1897) original instrumentation. He offers a reflective remark in the conductor’s score: he hopes that
Paul Dukas (1865–1935) the absence of the string sections, while impossible to ignore, will not diminish the passionate
character of the performance.
The Sorcerer’s Apprentice is based on a ballad of the same name written by Johann Wolfgang The work begins with a festive morning serenade, an Alborada, featuring a lively
von Goethe in 1797. Goethe’s verse begins with a sorcerer departing his workshop, leaving his clarinet solo. Hindsley assigns the consequent violin solo to the clarinet, as well. The lively
apprentice to finish his evening chores. As the apprentice tires of fetching water with only a rhythms of the supporting strings are covered by cornets, flutes, and clarinets. A tranquil
small pail, he enchants a broom to do the work for him using sorcery he has yet to master. set of Variations features low brass and English horn, with saxophones and cornets given
He soon realizes the error of his ways as the floor becomes awash with water and he cannot control feature roles in string-centered variations. The flutes and clarinets assume the string
the broom. In a fit of panic, he takes an axe to the broom, splintering it in two, but is horrified as he arpeggios while also carrying their original solo duties. With suddenness, the third movement
witnesses each of the pieces take a pail and begin to fetch water at twice the speed. Things continue revisits the opening Alborada theme. Lacking a violin for the composer’s featured solo,
to spiral out of control until the old sorcerer returns just in time to break the spell. Hindsley showcases the clarinet once more.
16 17
 The fourth movement, a Scene and Gypsy Song, features virtuosic soli cadenzas for which underpins a serene theme that has wave-like echoes in the saxophones and tubas.
brass, clarinet, oboe, harp, and saxophones, which notably serve as Hindsley’s imaginative As the finale begins, trumpets and trombones enter quietly, as if in the distance. The journey
reconfiguration of a violin. A brash “Gypsy” theme weaves throughout the upper voices, toward the bandstand is marked by a steady crescendo throughout the ensemble. As the
building in intensity over a percussive, brittle ostinato. A stately fandango announces the final listener strolls by, an equally gradual diminuendo creates a peculiar denouement, with the
movement which alternates with bold declarations from the brass and playful embellishments band quietly receding in the distance.
from the woodwinds. Near the final climax, both the Gypsy and Alborada themes return.
A frenzied Presto ends the work with an appropriately Iberian flourish.
"Dance of the SevenVeils" from Salome (1905)
Richard Strauss (1864–1949)
Manhattan Beach (1893)
Salome’s Dance, or “Dance of the Seven Veils,” comes from one of Richard Strauss’s
John Philip Sousa (1854–1932) most celebrated, provocative, and controversial operas, Salome. Strauss based this one-act
This unusual march commemorated Sousa’s first summer as bandmaster at the high- opera on the text from Oscar Wilde’s one-act play of the same name, a modern adaptation of
profile Manhattan Beach summer resort. That season, the band featured an impressive the Biblical story focusing heavily on the erotic and morbid aspects of the legend. Many early
roster that included eighteen musicians from the tenure of the previous bandmaster, twentieth century listeners reacted with horror, viewing the work as an attack on morality and
Patrick Gilmore. Sousa dedicated the march to the resort’s proprietor, who reciprocated the the musical norms of the day.
following summer by presenting Sousa with one of the most impressive medals of his long career. The composition depicts Salome as she performs for her stepfather, Herod, the ruler
While the composer’s 1875 work The Phoenix March provided some source material, of Judea. Herod has given Salome his word that he will grant her any wish in return for
the appeal behind Manhattan Beach rests with the creation of musical textures through her dance. Salome agrees and does not divulge her wish until completing her performance.
dynamics and phrase shapes. Sousa’s unorthodox handling of the march’s trio and finale is of Herod is horrified when Salome demands the head of St. John the Baptist, the prophet who has
particular interest to Hindsley, who emphasizes in each instrument the desire of the composer. pronounced a curse on her for her shameless and lewd behavior.
Simplicity being Sousa’s hallmark, Hindsley uses a crescendo-diminuendo effect to fashion an
aural narrative: a seaside stroll along the boardwalk.
The opening refrain consists of a series of crescendos punctuated by strong accents.
In the second refrain, Sousa offers a conventional pair of themes, but reverses their
dynamics when repeated: first loud to soft, then soft to loud. The effect is a manic reversal
of characters. In the trio, we hear the rolling sea, depicted in low brass and clarinet arpeggios,
18 19
"Polovtsian Dances" from Prince Igor (1879) References
Alexander Borodin (1833–1887)
Often played as a stand-alone concert work, the “Polovtsian Dances” are the best Bierley, Paul E. The Works of John Philip Sousa. Westerville, Ohio: Integrity Press, 1984.
known part of Russian composer Alexander Borodin’s opera, Prince Igor. A chemist by trade, Boyd, Malcolm. “Arrangement,” The New Grove Encyclopedia of Music, 2nd ed. London: Macmillon; New York:
Borodin merely dabbled in composition until the early 1860s, when he was persuaded by a Distributed within the United States by Groves Dictionaries, 2001.
friend to pursue his hobby full time. His opera Prince Igor, stands as his greatest musical
Deihl, Ned C. “Mark Hindsley: Distinguished Conductor,” Conductor’s Anthology, Volume 2: Conducting and
achievement even though it remained unfinished at the time of his death. The task of Musicianship, 2nd ed. Northfield, Illinois: The Instrumentalist Company, 1993.
completion was taken up by his fellow Russian composers Nikolai Rimsky-Korsokov and
Alexander Glazounov. Ellingson, Ter. “Transcription,” New Grove Dictionary of Music and Musicians, 2nd ed. Vol 25. London:
Macmillon; New York: Distributed within the United States by Groves Dictionaries, 2001.
Borodin adapted the libretto of Prince Igor from the East Slovic epic known as "The Lay
of Igor’s Host," which recounts the military campaign of Russian Prince Igor Svyatsolovich Frovola-Walker, Marina. “Glinka, Mikhael Ivanovich,” The Oxford Companion of Music, edited by Alison Latham.
against the invading Polovtsian tribes in 1185. The “Polovtsian Dances” occur in Act 2 of the Oxford University Press, 2003.
opera, which depicts an evening in the Polovtsian camp. Frovola-Walker, Marina. “Rimsky-Korsakov, Nikolay,” The Oxford Companion of Music, edited by Alison Latham.
Oxford University Press, 2003.
Lundquist, Rick. Email message to author, September 20, 2011.
Rasmussen, Richard Michael. Band Music: 1950–1987, A Selected, Annotated Listing. Jefferson, North Carolina:
McFarland & Company, Inc., 1988.
Smith, Norman. Program Notes for Band. Chicago: Program Note Press, 2002.
Hindsley Transcriptions, Ltd. “Dr. Mark Hindsley Biography.”
http://www.hindsleytranscriptions.com/about-dr-hindsley/
Jacobs School of Music, Indiana University Bloomington. “Mark H. Hindsley Award for Symphonic Band.”
http://music.indiana.edu/giving/scholarships/scholarships-hindsley.shtml
University of Illinois Bands. “The Legacy of Illinois Bands.”
http://bands.illinois.edu/history

21
 Acknowledgements Credits
Music Director Colonel Timothy J. Holtan
The United States Army Field Band would like to thank the following individuals Producers Major Dwayne S. Milburn
and organizations for their assistance with this project: Major Bruce R. Pulver
Assistant Producer Master Sergeant Jay Norris
• Department of Bands, University of Illinois, • A very special thank you to Robert Hindsley, Project Managers Sergeant First Class Jason Stephens
Champaign-Urbana whose information, insight, and personal Staff Sergeant Paul White
• The Sousa Archives, University of Illinois, photographs were invaluable during the Recording/Mix Engineer Sergeant First Class Michael McLaughlin
Champaign-Urbana production of this project. Mastering Meyer-Media, LLC
• Hindsley Publications • Monte Poling, City Manager–Union City, Indiana Graphic Design/Layout Master Sergeant Scott C. Vincent
Editor Sergeant First Class Phillip Johnson
Editorial Staff Sergeant First Class Adam Getz
Sergeant First Class Jennifer Everhart
Staff Sergeant John Blair
Staff Sergeant Brendan Curran
Staff Sergeant Patricia Dusold
Staff Sergeant Brian Eldridge
Staff Sergeant Charis Strange
Staff Sergeant Lauren Veronie
Staff Sergeant Kevin Walko
Staff Sergeant Meghan Whittier
Liner Notes Master Sergeant William Gabbard
Sergeant First Class Phillip Johnson
Sergeant First Class Brian Sacawa
Sergeant First Class James Wood
Staff Sergeant Brendan Curran
Photo Credits Hindsley family archives, c/o Robert Hindsley
Three Generations of Hindsleys: Mark, Douglas, and Robert
University of Illinois Archives
Union City, Indiana
Photography Master Sergeant Robert McIver, Jr.
22 Master Sergeant Scott C. Vincent
 Personnel
Concert Band Soldiers’ Chorus
The Legacy of Piccolo
COL Timothy J. Holtan.......................................... Commander
MAJ Dwayne Milburn.................................Deputy Commander Soprano

Mark Hindsley
SFC Katayoon Hodjati OIC, Soldiers' Chorus SGM Janet Hjelmgren **
Piccolo/Flute MAJ Scott McKenzie................................ Associate Bandmaster MSG Laura Lesche *
SFC Sarah McIver * OIC, Concert Band SFC Rose Ryon
SSG Kasumi Leonard CW4 William S. McCulloch....................................Bandmaster SSG Teresa Alzadon
SSG Sean Owen OIC, Jazz Ambassadors SSG Rachel Rose Farber
SSG Gina Sebastian CSM James L. McClung.................. Command Sergeant Major SSG Tracy Labrecque
1. El Capitan (2:32)......................................................... John Philip Sousa (The Hindsley Transcriptions)
Oboe/English Horn SSG Charis Strange
trans. Mark Hindsley SFC Daniel Brimhall * Saxophone Euphonium SSG Meghan Whittier
2. Russlan and Ludmilla (5:48).........................................Mikhail Glinka (The Hindsley Transcriptions) SSG Leah Forsyth SFC Christopher Blossom SFC Chris Sarangoulis *
Alto
trans. Mark Hindsley SSG Erika Grimm SFC Brian Sacawa * SSG Lauren Curran
SSG Sarah Schram-Borg SSG Daniel Goff SGM Joan Mercer †
3. The Sorcerer’s Apprentice (11:27).....................................Paul Dukas (The Hindsley Transcriptions) Tuba SFC Teresa Harris
E-flat Clarinet SSG David Parks MSG Scott Cameron
trans. Mark Hindsley SSG Brian Eldridge Trumpet MSG Daniel Sherlock *
SFC Erica Russo *
SGM Virginia Turner † SSG Jessica Coates
4. Capriccio Espagñol (16:02).......................... Nikolai Rimsky-Korsakov (The Hindsley Transcriptions) B-flat Clarinet SFC Matthew Nelson SSG Elizabeth Garcia
MSG Michael Klima *
I. Alborada IV. Scena e Canto Gitano trans. Mark Hindsley MSG Matthew Kanowith
SFC Nicholas Althouse String Bass/Electric Bass
MSG Shari Smith* Tenor
II. Variazioni V. Fandango Asturiano SFC John Altman SSG Joel Ciaccio
SFC Jennifer Everhart SGM Daniel Hopkins **
III. Alborada SFC Reis McCullough SFC Phillip Johnson Harp MSG William Gabbard *
5. Manhattan Beach (2:16)............................................ John Philip Sousa (The Hindsley Transcriptions) SFC Michael Sears SFC James Wood, Jr. SFC Melissa Dunne * MSG Robert McIver, Jr.
SFC Ward Yager SSG Nadia Pessoa
trans. Mark Hindsley SSG John Blair
Army Band, "Pershing's Own"
SFC Mario Garcia, Jr.
SSG Marlena Dillenbeck French Horn SSG Jeremy Cady
6. “Dance of the Seven Veils” from Salome (10:15).....Richard Strauss (The Hindsley Transcriptions) SSG Lauren France MSG Robert Cherry Piano SSG Daniel Erbe
trans. Mark Hindsley SSG Adrienne Hodges MSG Alan White * SSG Darren Lael SSG Benjamin Hilgert
SSG Jeremy Klenke SSG Stephen Aaron Timpani
“Polovtsian Dances” from Prince Igor.................. Alexander Borodin (The Hindsley Transcriptions) SSG Jeanne Getz Bass
SSG Joel Klenke SSG Robert Marino
7. I. Dance of the young Polovtsian maidens. (2:21) trans. Mark Hindsley SSG Christopher Reardon SSG Timothy Huizenga Percussion MSG Allen Bishop *
8. II. Introduction. Dance of the young slave maidens. Dance of the wild men. (4:05) SSG Matthew Sikes SSG Christy Klenke MAJ Bruce Pulver MSG Victor Cenales
9. III. General dance. Dances of the Polovtsian slaves. (2:14) Alto/Bass Clarinet Trombone SGM William Elliott * MSG Robert Jefferson
10. IV. Dance of the little boys. Dance of the men. Dance of the young maidens. (2:53) SFC Chad Martin* SGM Mark Bowling ** SGM Thomas Enokian ** SFC Samuel Chung
11. V. Dance of the little boys. Dance of the men. General dance. (3:03) SSG Kevin Walko MSG Aaron Kadrmas * MSG Scott C. Vincent SFC Mark Huseth
SFC Todd Sturniolo SFC Phillip Kiamie, Jr. SSG Brendan Curran
Bassoon
SSG Carmen Russo SFC Brian Spurgeon SSG Charles Parris
MSG Daniel Bowlds **
SSG Thaddeus Crutcher Bass Trombone COL–Colonel • MAJ–Major • CW4–Chief Warrant Officer 4
SFC Wesley Ballenger III CSM–Command Sergeant Major • SGM–Sergeant Major • MSG–Master Sergeant
SSG Patricia Dusold
SFC–Sergeant First Class • SSG–Staff Sergeant • OIC–Officer in Charge
24 † Element Leader ** Group Leader * Section Leader
 Educational Outreach Concert Sponsorship
The U.S. Army Field Band is strongly committed to education and the arts, supporting Inquiries concerning concert appearances of The United States Army Field
the National Standards for Arts Education through an extensive outreach program that Band should be addressed to:
ranges from preschool to postgraduate. Each year, the Musical Ambassadors of the Army
present more than 650 educational activities throughout the country, reaching more than Tour Director
100,000 students. The US Army Field Band
In addition to performances for school assemblies, programs include presentations for 4214 Field Band Drive STE 5330
elementary students, instrumental and vocal clinics, chamber music recitals, and college Fort George G Meade MD 20755-7055
masterclasses. On evening concerts, outstanding students from local schools are often invited Phone: (301) 677-6586
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to perform with the Army Field Band. For music educators, guest conducting opportunities ArmyFieldBand.com Booklet Online
and professional development workshops are available.
As a long-term benefit for both students and teachers, the Army Field Band produces
an ongoing series of educational resources. These instructional videos, reference
recordings, and classroom posters are distributed free of charge to schools throughout
the United States.
Inquiries concerning the Army Field Band’s outreach programs should be addressed to:
EDUCATIONAL ACTIVITIES COORDINATOR
THE US ARMY FIELD BAND
4214 FIELD BAND DRIVE STE 5330
FORT GEORGE G MEADE MD 20755-7055
Phone: (301) 677-6586

Educational Online Resource System: This resource is provided to make it more

convenient for educators to request clinicians, clinic teams, masterclasses and guest
conductors. Visit our website for more information and to
This recording is approved by the Department of the Army and is not for resale.
ArmyFieldBand.com
THE UNITED STATES ARMY FIELD BAND

The Legacy of
Mark Hindsley
Colonel Timothy J. Holtan, Commander

1. El Capitan (2:32)......................................................... John Philip Sousa (The Hindsley Transcriptions)

trans. Mark Hindsley
2. Russlan and Ludmilla (5:48).........................................Mikhail Glinka (The Hindsley Transcriptions)
trans. Mark Hindsley
3. The Sorcerer’s Apprentice (11:27).....................................Paul Dukas (The Hindsley Transcriptions)
trans. Mark Hindsley
4. Capriccio Espagñol (16:02).......................... Nikolai Rimsky-Korsakov (The Hindsley Transcriptions)
I. Alborada IV. Scena e Canto Gitano trans. Mark Hindsley
II. Variazioni V. Fandango Asturiano
III. Alborada
5. Manhattan Beach (2:16)............................................ John Philip Sousa (The Hindsley Transcriptions)
trans. Mark Hindsley
6. “Dance of the Seven Veils” from Salome (10:15).....Richard Strauss (The Hindsley Transcriptions)
trans. Mark Hindsley
“Polovtsian Dances” from Prince Igor.................. Alexander Borodin (The Hindsley Transcriptions)
7. I. Dance of the young Polovtsian maidens. (2:21) trans. Mark Hindsley
8. II. Introduction. Dance of the young slave maidens. Dance of the wild men. (4:05)
9. III. General dance. Dances of the Polovtsian slaves. (2:14)
10. IV. Dance of the little boys. Dance of the men. Dance of the young maidens. (2:53)
11. V. Dance of the little boys. Dance of the men. General dance. (3:03)