regimental marches include Sousa's "Semper Fidelis" (when not recapitulated back to the beginning of the march – see below), "Men of Ohio" by Henry Fillmore, "Bugles and Drums" by Goldman, and "Robinson's Grand Entry" by Karl L. King. Other forms and styles Some earlier marches presented a simple, "four-part", form: I-AA-BB-CC. Typically those marches, having neither a breakstrain nor 'D' section, were written for marching bands or youth bands. The piece was ended by simply playing one repeat of the trio, usually in the grandioso style. Examples include "Our Director" by F.E. Bigelow and "Gallant Marines" by Karl L. King. Henry Fillmore and Karl King often used the four-part style in their marches. Sousa rarely used this style. Sousa's marches of the early 1890s (including "High School Cadets" and "Manhattan Beach"), used an introduction unique to his career. Many earlier American and European marches, using either the four-part or the regimental form, recapitulate back to the beginning of the march. Typically, after completing the final trio (or 'D' section), the march is re-started; repeats are ignored, and the piece is ended after the second strain. Codas are rare, but sometimes used; examples: "Riders for the Flag" by Sousa and "Children of the Shrine" by James Swearingen. The tradition of writing recapitulating marches ended near the start of the American march music era. John Philip Sousa abandoned this technique except with his march "On Parade"—one of his few circus marches. Victor Herbert was one of the last American composers to write recapitulating marches. Examples include "Under the Double Eagle" by Wagner and "The Serenade" by Victor Herbert. Phrasing The basic (and vague) definition of a march describes a piece of music based upon a regular, repeated drum or rhythmic pattern—which means a march is most recognizable by its phrasing. Almost all quickstep marches consist of four-measure, or four-bar, phrases typically ending with a whole note (that either creates or resolves melodic tension, see chord progression), followed by a pickup note. Thus it is said that this "basic" framework is what makes marches melodically "pleasing". Some marches have more noticeable phrases than others. Marches by Karl King have very clear-cut phrases with distinctive whole notes and pickups. In contrast, John Philip Sousa used practically seamless phrasing. Chords and harmonic progression The harmonic progressions of American march music are well-grounded in the archetypal harmonic techniques of the times in which they were written.