Musically, EP6 is distinguished by appearances of nearly all of the familiar J-tunes, sometimes paired in counterpoint, as well as Victory's lengthiest jungle-music passages. There's also the “Guadalcanal March,” with Rodgers's MARCH theme written for EP4 expanded by Bennett into a full-length concert march. Despite the march's standalone title, it doesn't accompany actual scenes at Guadalcanal, and only briefly shows recruits in training. What is featured are the men and women of the stateside US rising to the challenges of critical wartime production.

The Guadalcanal Campaign that began in August 1942 was the Allies’ first sea-invasion offense of the war. As Richard Hanser later commented, “The Guadalcanal Episode was a very difficult one because it was such a key one, and we had to make clear why this little-known island that no one had ever heard of before was selected as a battleground to begin with, and why it was so bitterly fought for… . You know, whole books have been written on what happened there … and we had to tell all this in half an hour.”

EP6 opens sometime after February 1943, after Americans had fully secured Guadalcanal in the Solomon Islands and initiated its transformation into an important Allied port and advance supply base: “Poured from some hundred factories; reaped from some thousand farms; spewed out in fantastic abundance by American labor and machines—the supplies for war are heaped upon an island base in the south Pacific… . Springboard for attack, storehouse for the stuff of victory: Guadalcanal.”

At 1:52, however, we revert to 1942, when the island was still occupied by Japan: “wild jungle, 90 uncharted miles of festering malaria and rain forest.” There's barely ten seconds of jungle footage, and Bennett provides four bars of suitable music [A] which hint at what will return at 11:37. Following an immediate segue to a new march strain [B] at 2:03, EP6 dissolves to San Francisco, with the Marines’ First Division headed for New Zealand and then into battle at an undisclosed location: “But first—the tedious ordeal of the convoy—uneventful, interminable weeks at sea.” The music includes a serene Rodgers SONG-SEAS after 2:34, and then at 3:26 [C] a horn motive for the Pacific's vast expanse.