Who's Who in Navy Blue

Few Sousa marches come with a story as vivid — or as uniquely naval — as Who’s Who in Navy Blue. Written for the United States Naval Academy and dedicated to the legendary wooden figurehead Tecumseh that watches over Bancroft Hall, this march reflects the pride, tradition, and camaraderie of midshipmen preparing to enter the fleet. Long believed to be a spontaneous tribute, the march was later revealed to have been commissioned by the Academy’s Class of 1920. Letters discovered among Sousa family papers show that the students themselves requested a new graduation march, continuing the Academy’s tradition of giving each class its own musical identity. The correspondence also preserves a lively and sometimes humorous debate over the title. Proposals ranged from lofty Latin mottos to tongue-in-cheek suggestions before both sides ultimately agreed on Who’s Who in Navy Blue, a name that perfectly captures the spirit of young naval officers ready to make their mark. In recognition of Sousa’s service to the Navy during World War I — and in appreciation for this composition — he was presented with a miniature class ring and named an honorary member of the Naval Academy’s Class of 1921. The march thus stands not only as a brilliant example of Sousa’s craftsmanship, but also as a living piece of Naval Academy history. This modern performance edition has been carefully adapted to serve today’s wind ensembles while preserving Sousa’s musical intent. The B-flat clarinet writing has been simplified and brought into a more accessible range, an Alto Saxophone 2 part has been added, and the entire saxophone section has been revoiced for improved balance and clarity. The original four B-flat cornet parts have been rewritten for four trumpets, and optional E-flat contralto and B-flat contrabass clarinet parts are provided to reinforce the tuba line. The trombone section has been reorganized as three tenor trombones (1–3) and bass trombone. Selective, optional reductions in instrumentation are employed for special color and contrast in the second strain and the trio, while traditional optional parts — including E-flat clarinet, soprano saxophone, and E-flat cornet — are retained. A vocal line for the sung chorus in the trio is also included at the discretion of the director and appears in all instrumental parts for ease of rehearsal and performance. The result is an edition that honors both the pageantry of Sousa’s original and the practical needs of modern ensembles, allowing Who’s Who in Navy Blue to continue inspiring performers and audiences with the same spirit of pride, tradition, and naval heritage that first brought it to life.