Not only does Warfield give us carefully edited scores based on primary sources, he also shows how the Sousa Band (or in the case of The Washington Post march, the United States Marine Band) would have changed the published parts in performance. [...] Each march . . . has a trail of source material: 1 sketches, 2 a holograph piano solo in pencil and/or ink, 3 a holograph band score (and sometimes an orchestra score), 4 copyist band parts, 5 the first set of printed band parts (this edition's primary source), 6 the printed piano solo, and 7 other derivatives of the holograph piano solo (the various solo and small ensembles arrangements) and of the copyist parts (the orchestra arrangements).