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WORLD BOOK OF MILITARY MUSIC and MUSICIANSCompiled by Jack KopsteinWorld Book of Military MusicHYPERLINK "D:\\A.docx"A25th Infantry Division band XE "25th Infantry Division band" XE "25th Infantry Division Band" The Band of the U. S. Army's 25th Infantry Division (Light) whose nick-name is `Tropic Lightning' has a long and prestigious history. It is also the most decorated line band in the U.S. Army. The Band is part of the Headquarters & Headquarters Company of the 25th Division. This company was formed in 1953 (the Band pre-dates it) and claims participation in eleven campaigns in World War II and Korea and Vietnam. These claims are all based and credited to the 25th Division Band. The 25th Infantry Division Band was formed just twelve days after the formation of the Division itself XE "Aldershot Command Tattoo:History" The Aldershot Command Searchlight Tattoos XE "The Aldershot Command Searchlight Tattoos" The origins of the TattooThe 1920’s and 1930’s Tattoo originated from a special display arranged for Queen Victoria. In 1894, the then GOC of Aldershot, HRH the Duke of Connaught, arranged a Torchlight Tattoo for the Queen’s entertainment during one of her visits to the Royal Pavilion. The Tattoo, held in the evenings, included a selection of military performances that were illuminated by flame torches. The torchlight tattoos later became a feature of the Military Fete which was held at Government House in Farnborough. These fetes included military displays, fairground rides and the last feature of the fete was a musical display, with the bandsman accompanied by torch bearers. On the last note of the ‘last post’ the flames were extinguished, plunging the whole area into darkness.After the Great WarAfter the Great War, the Searchlight Tattoos became an event in themselves, and took place on a number of evenings during a week in June. The Tattoos consisted of massed bands, drills, fireworks, lantern displays and modern warfare displays all illuminated by searchlights. In 1925 the first historical display took place, with a recreation of the burning of Moscow in 1812, accompanied by the ‘1812’ overture, and a re-creation of the Battle of Waterloo.The tattoos were nationally renowned, with crowds of up to 500,000 people attending annually from all over the country. Special transport was chartered, His Master’s Voice (HMV) produced recordings of the event and the performances were broadcast on the wireless to Britain and other European countries.Behind the ScenesWith around 5,000 soldiers taking part and over 1,000 soldiers involved in administration, organizing the Tattoos was no easy task. Soon after each Tattoo finished an executive committee of HQ Aldershot Command and the Officer in charge of the Tattoos met to discuss the following years programme. Each display and pageant was allotted to a division, brigade or unit to prepare, with historical direction in the hands of a military historian on the Reserve of Officers.Historical accuracy during the re-enactments was so important that, in 1925 when they were re-enacting the Battle of Waterloo, two French Officers were bought over to ensure that the French uniforms and weapons were re-created properly.Attention to detail did not stop with historical accuracy, each set or prop was built to look realistic. Chariots and carriages were made up on GS wagons in the Field Stores workshops; and they also made spears, ballista’s, dummy guns and a host or other props. Sometimes items were even purchased from film companies. Bayonets were made with rubber ends, in order to prevent injuries during charges, which they wanted to look as real as possible. Elaborate sets were built including mock Tudor castles, forts and French villages.The Searchlights were the responsibility of the Corps of the Royal Engineers. In the 1939 Tattoo 33 searchlights were used, producing 3 billion candle power. The searchlights were not cheap items, at the time they cost around ?5,000 each.The local firm Harwoods was also heavily involved in the set building. The pictures show some of the firms work.In 1930, it was revealed in the press how they got the thousands of troops and thousand bandsmen to march in time. There were actually lights which flashed in time with the music to keep the soldiers in step.There were also traffic lights behind the scenes which told the soldiers when they were to go on ‘stage’. Red lights told them to stop, green to go, and amber to pause. In the 1930’s during rehearsals photographs were taken in rapid succession (at 1 second intervals) to allow the commander in charge to see if any soldiers were out of time, and to reprimand the culprits!Getting to the TattooAs the years progressed the numbers of motor cars brought to the Tattoo increased, ranging from 1,233 vehicles in 1921 to 58,113 vehicles in 1938. Special parking arrangements were made by the RAC. Routes were colour coded on maps and leaflets about the event, advising people how to enter Aldershot. These coloured routes then corresponded to the coloured car parks to make it easier for orientation of the visitor. Car drivers were asked to place a sign saying Tattoo in their windscreen (which was sent out with advanced ticket sales). These window stickers were to help police direct other traffic away from the main routes to ease congestion. When the Tattoo’s were sold out, signs were put up in a 20 mile radius of Rushmoor arena on the main routes into Aldershot. Traffic was also directed by Searchlights and by announcements via loud speakers.SocietyFrom Princes to Maharajahs; poets to Prime ministers, the Aldershot Tattoos were the place for society to entertain. The Tattoos were held in the evenings during Ascot week. Members of society would watch the races during the day and drive down to the Tattoos in the evening. Wealthy members of society hired out the royal boxes or bought reserved seats in the grandstands for their guests. Visitors such as Lord and Lady Sir Phillip Chetwode and Prince George (later to become King George V) were regular attendees at the Tattoos.Daylight RehearsalsThe full dress rehearsal of the Tattoos took place during the day. In order to provide an audience, the daylight rehearsal was free to school children nationwide. Headmasters/headmistresses had to apply for passes in writing and specially chartered buses and trains bought pupils from as far afield as Tamworth and South end on Sea. After the Tattoos finished, the goods yards at Aldershot railway station were used as a holding area for the children, in order to get them organized to insure they got on the right train. Each train was given a number, and the children had their train number on cards tied round their necks. They then had to line up in their groups of numbers, and they were led onto the platform when their trains arrived.It was not only school children who went to see the daylight rehearsals, the royal princesses Elizabeth and Margaret also attended. When the princesses attended in 1935 they were treated to an impromptu fireworks display. A truck laden with fireworks and explosives caught fire, and wowed the children arriving for the rehearsal who all thought it was part of the show.Alford Kenneth J XE "Alford Kenneth J" Kenneth J. Alford was the pseudonym of Fredrick Joseph Ricketts. Kenneth J. Alford was derived from the first name of his oldest son Kenneth, Ricketts’ middle name, Joseph, and Alford was his mother’s maiden name. Frederick Joseph Ricketts was born in London on 21 February 1881. His father, Robert, was a coal merchant in Ratcliff. When Ricketts was seven his father died. In 1895 he also lost his mother, Louisa (née Alford). 2019300454660After he became an orphan he chose to apply for a career in Army Music. Since he was too young he had to lie about his age. The entry age for Band Boys was 15. To the recruitment officer he stated his birth date as 5th March 1880. Ricketts was chosen to join one of the oldest regiments in the British Army, the Royal Irish Regiment. He joined the regiment in September 1895. After a few months he joined the Band of the 2nd Battalion playing cornet. In 1896 the 2nd Battalion and its band was sent to India for seven years of Foreign Service. In 1904, after service in India, he became a student at the Royal Military School of Music, Kneller Hall. While there, according to a story circulated among British bandsmen, he composed several works for fellow students who had been given composition assignments. One of the marches he is supposed to have written is Namur, which is credited to W. V. Richards. While at Kneller Hall, he also served as an organist and assistant director of music from 1906-1908In June, 1908, he was appointed bandmaster of the 2nd Argyll and Southern Highlanders. Within a week of assuming command of this band, and at the request of his new commanding officer, he composed, The Thin Red Line, and dedicated it to the battalion. Royal Engineers band 1854Ricketts served with the 93rd Highlanders for 19 years, transferring to a post with the Royal Marines Depot Band at Deal in July, 1927. When this unit was dissolved in 1930, he finally received the appointment that he had long hoped for: director of music of the Plymouth Division, Royal Marines. Under Ricketts' direction, this band became world-famous, traveling to Paris and Canada. During World War II, he was promoted to the rank of Major, and the band made tours of camps and factories throughout England. Frederick Ricketts was commonly known as Joe. He was forced to leave military service in April, 1944, because of bad health. He retired from the Band of H.M. Royal Marines on June 1, 1944. He died at his home in Reigate, Surrey on May 15, 1945. Just seven days after the war in Europe was over, and shortly after being operated on for cancer. As a composer, Ricketts, alias Alford, is viewed as the "British March King." His marches are finely crafted compositions and bear titles which relflect his patriotism. Some pay tribute to great British military victories. XE "Alford Kennth J" \t "See Rickets" XE "Alford Kennth J" \t "See Rickets" XE "American Civil war Bands and Musical Instruments" American Civil War Bands and Musical Instruments XE "American Civil War Bands and Musical Instruments" When the American Civil War began in 1861 there were few full time military bands in existence. There was the United States Marine Band, some army regimental bands and the United States Military Academy band at West Point. There were however numerous state and militia bands. These bands that we will refer to as reserve units were of a very high quality. The reserve military bands had numerous patrons who donated funds to enable the bands to hire musicians and leaders. In many of the larger centers there were a number of highly trained and experienced reservists who manned these bands. The leaders in many instances were very high profile military bandmasters. The great Patrick S Gilmore was the leader of the 24th Massachusetts Infantry band. The American Brass band of Providence Rhode Island attached to the First Rhode Island Infantry was led by Joseph Green. The composer of the world famous Washington Greys march Claudio S Grafulla was the director of the 7th New York Infantry.Band of the New York State Militia 1861After the beginning of the Civil War, Congress authorized the creation of regimental bands for the Regular Army. The law which was published under Order No. 48 on July 31st 1861 specified that each infantry regiment was entitled to two musicians per company, and covered the artillery and the cavalry as well. Bands were limited however to twenty-four members in the infantry and artillery with a lesser number of 16 in the cavalry. The terminology of "musician" seemed to have a different connotation for some; the musician was the field musician such as fifes, bugles and drums. They offered signals and ceremonial music. The bands primarily provided entertainment for the troops and civilian gatherings. The proliferation of volunteer regiments caused Congress to reassess the situation in regard to the bands because the musicians were under salary and it was noted that the cost of operation for the bands was between $9,100.00 and $13,000.00 which included salaries, equipment, transportation, and subsistence. Finally a public law was passed on July 1862 which abolished regimental bands in volunteer units. Regular army bands were not affected per-se by this ruling but each unit was restricted to 16 bandsmen. To many modern day band buffs this is a familiar story and we have no doubt that there was an effect on the morale of the players. There is an up-side to reducing personnel because it helps to eliminate chair warmers.The appreciation for good band music was expressed by several young soldiers who in their letters home mentioned the concerts performed by the regimental bands. In one instance a soldier of the 24th Massachusetts Infantry in writing to his home in Boston described the band concert with leader Patrick S Gilmore providing a "splendid array of marches, gallops, two-steps and even selections from opera."The Civil war took a great toll on both sides and even the bands suffered casualties. Many bands led their regiments into battle and on May 5th 1862 at Fair Oaks during the battle at Williamsburg (Peninsular Campaign). A bandsman was severely wounded. The following is a description of the battle culled from a book by Stephan Sears 'To the Gates of Richmond':[Federal] Corps commander [Samuel] Heintzelman joined the desperate struggle to close the broken ranks. He hit on the novel idea of rallying them with music. Finding several regimental bands standing by bewildered as the battle closed in, Heintzelman ordered them to take up their instruments. "Play! Play! It's all you're good for," he shouted. "Play, damn it! Play some marching tune! Play 'Yankee Doodle,' or any doodle you can think of, only play something!" Before long, over the roar of the guns, came the incongruous sound of "Yankee Doodle" and then "Three Cheers for the Red, White, and Blue." One of [General Joseph] Hooker's men thought the music was worth a thousand men. "It saved the battle," he wrote.Other records of the Civil War indicated even more episodes that included bands. Survivors of General George Pickett's disastrous charge at the Battle of Gettysburg (July 3, 1863) remembered in later years that Confederate regimental bands stationed in the trees played stirring martial airs as they started off across the mile-long field that separated them from George Meade's Army of the Potomac. Those same bands greeted them with "Nearer, My God, To Thee" as they streamed back to the safety of their own lines after being repulsed at the stone wall. At Antetem (16-17th September 1862) the band led the charge and many of the bandsmen received wounds, and yet kept the momentum of the troops alive with the sounding of the drums and the playing of various Confederate songs.At Chancellorsville (1-4 May 1863) several Union Bands performed heroically in an attempt to stave off disaster threatened by the Confederate troops of General Stonewall Jackson. General Winfield Scott ordered all of the bands to play "Rally Round the Flag Boys". Despite the shells and mountains of munitions flailing from both sides they stood in the center playing tunes such as the Yankee Doodle, and The Star Spangled Banner. This performance during the fire storm had a good effect removing the pandemonium that existed and bringing calm to the troops. This performance and the valor of the musicians under fire is indeed a glorious page in the history and heritage of military bands. The bands became a very important asset for the regiments providing both music during lulls in the battles and as described during battles but also they were needed to accompany troops on ceremonial parades and from bivouac. The regimental music was important to the men. They developed a sense of teamwork through song; the accompaniment of the bands brought them closer together. Many of the personnel in the volunteer units came from the same home town and even were neighbors and the music provided a way to cement the bond of association. The bands and the bandsmen were the catalyst for the formation and the preservation of loyalty on both sides. The Civil War bands also played an important role in developing a link to the general public. They were often called upon to perform concerts in war torn communities and at hospitals.Instrumentation Civil War BandsA review of photographs of Civil War bands held by the Library of Congress suggests that the instrumentation for the most part remained consistent with the restricted figure of sixteen set by Congress in 1861. The instrumentation includes Eb Cornets, Bb Cornets, Eb Alto Horns, Bb Basses and percussion. The instruments themselves were bell-up horns. Many of the instruments were manufactured by J F Stratton of New York. In addition Isaac Fisk who manufactured a variety of brass instruments such as the Eb and Bb soprano Cornets introduced a catalogue of his instruments. The horn-up style dominated the Civil War bands, and surprisingly was still in use long after the war had ended into the late 1890's. Photographs of numerous town bands in the heartland and the south of the USA indicated that the instruments were treasured by Civil War veterans. The advent of the three valve brass band instruments began as the Civil war came to an end and spelled the demise of the bell-up horns.One aberration in regards to the 16 man limit was a photograph of the Fort Monroe Post band showing a twenty-four piece band in 1864. This included a Drum Major bedecked in full dress and sash. A plumed director also is shown and was no doubt the solo cornet. Several photographs illustrate that the bands were outfitted in full dress uniforms and in particular the 9th Volunteer Reserve band is seen wearing shakos and a Hussar style uniform while performing at the Officers Unit of a hospital.The Music of Civil War BandsRobert E Lee once remarked that without music there would be no army. Music played a very big part in the life of the soldier on both sides during the Civil war. The outpouring of patriotic music was essential to building morale and to cement the bonds of soldiers. Loyalty through music was nothing new, the ear piercing fife and clatter of drums as well as the somber wail of the bag pipes had stirred the spirit and imagination of soldiers for decades. Therefore the music of the Civil war capped off generations of wartime music. The music was in such abundance that even today as musicologists and historians study authentic music of the period 1861-1865, it is a daunting task.Bobby Horton, the song writer and performer who contributed to the sound track of enormously successful series by Ken Burns the Civil War (Baseball and the American West) has recreated the sounds of the war in his emotional and spirited recordings. Songs such as 'Battle Cry of Freedom' and 'Dixie' evoke a strong sense of heart wrenching patriotism to their cause. The bands played the songs to both entertain and to inspire the troops. The playing of songs such as 'Cheer Boys Cheer' and 'The South Shall Rise Up Free' impacted on the soldiers and their will to succeed. The marches and songs and other types of music had an enormous influence on the outcome of the war. It was not strategy or numbers that always spelled the difference it was team work developed by a sense of belonging which in turn was created through the music of the Civil War. The music also spawned a very different life for many of the musicians when the war finally ended. This was true of many of the Afro-American bandsmen who moved to the cities of America and took with them their instrumental skills. Thus as their musical proficiency was passed on to the next generation to start bands and create a music of their own, there emanated a new and exciting American phenomenon the origin of the jazz idiom.The music of the Civil war was essentially folk music as suggested by many of the titles, below are some examplesSongs of the ConfederacyBonnie Blue Flag Dixie LandGoober PeasDixie the Land of CottonThe Yellow Rose of TexasSongs of the UnionWe are Coming Father AbrahamMarching Through GeorgiaSherman's March to the SeaHard TackJust Before the Battle MotherJohn Brown's BodyThe Civil War developed in the American people a powerful momentum. This great trial by fire where Americans were pitted against each other instilled a patriotic fervor that we recognize today as the birth of their nation. The bands and the music were compelling catalysts for the joining of America. Later John Philip Sousa wrote numerous marches emblematic of the great struggle. His flag waving music was the culmination of the great surge forward for a Nation that was destined to become the leader of the free world.Agentine Military bandsThere are several military bands in Argentina with the Navy band being extremely popular. The Presidium of the city of Ushuaia formed the first military band in that city.From 1936, they tried to improve the living conditions of prisoners; the Mayor of the Presidium, Mr. Roberto PETTINATO, founded the first school of music of the establishment you months later saw birth the band of music of the Presidio.They were summoned to participate in domestic ceremonies during patriotic dates, Sports Championships or performing concerts in the dining room of the jail; also attending the events organized by the authorities of the Government of the then national territory of Tierra del Fuego and the South Atlantic Islands. Weekend met in the public square to play marches and popular songs. On many occasions the Presidio music band he shared with small naval bands that were engaged on different ships of the Navy that arrived to the island.The first master of the music band of the Southern Naval area with a seat in the city of Ushuaia was the NCO Principal musician (RE) José Alberto FORTUNATO, who in 1952 embarked aboard the ship ARA Pueyrredón and in 1958 the ship ARA Bahía Tethis as a member of the band's music. At the end of the last trip and after some months, as a trained music director, was assigned to the Base Naval Ushuaia with the Mission of forming a band.On October 9, 1961 aboard the transport ship's ARA Les Eclaireurs, arrived in the port of Ushuaia the first seventeen members of this band which included bandmaster , thirteen sailors and three conscripts with drumming experience.Then put hands to configure the dining room of the former presidio to be used as a rehearsal room, and also to implement a plan of professional training in order to train staff on musical and technical instruction on the different musical instruments that make up a military band. Before long the naval band started to become known in the city: they appeared during the hoisting of the Pavilion in front of Government House, participating in parades, concerts, ceremonies and playing for students in different educational establishments.In 1978, José Fortunato was assigned again to Ushuaia, but now with the rank of a senior non-commissioned officer, to once again play the position of band master until 1982, year in which retired from active service, finally settling in that city.Currently, the band of the Southern Naval area, carries out its activities in the integrated Naval Base "Alte". "Berisso" (former headquarters of the city of Ushuaia airport)Regular Army BandsBanda Militar Escuela de Suboficiales del Ejercito "Sargento Cabral"Infantery BandsBanda Militar "Tambor de Tacuari" del Regimiento de Infanteriía 1 "Patricios" Banda Militar "Boqueron" del Regimiento de Infantería Paracaidista 2 "General Balcarce"Banda Militar del Regimiento de Infantería Mecanizado 3 "General Belgrano"Banda Militar "Capitan Tocagni" del Regimiento de Infantería Mecanizado 6 "General Viamonte"Banda Militar "Puerto Argentino" del Regimiento de Infantería de Monte 9 "Coronel Pagola"Banda Militar "Pedro Bustamante" del Regimiento de Infantería de Monta?a 10 "TTE GRL Racedo"Banda Militar "Talcahuano" del Regimiento de Infantería de Monta?a 11 "GRL Las Heras"Banda Militar del Regimiento de Infantería Mecanizado 15 "General Francisco Ortiz de Ocampo"Banda Militar del Regimiento de Infantería de Monta?a 16 "Cazadores de los Andes"Banda Militar del Regimiento de Infantería de Monta?a 22 "Tcnl Juan Manuel Cabot"Banda Militar "Combate de San Carlos" del Regimiento de Infantería Mecanizado 25Banda Militar "Chimehuin" del Regimiento de Infantería de Monta?a 26 "Cnl Benjamin Moritan"Banda Militar "Puerto Argentino" del Regimiento de Infantería de Monte 29 "Coronel Ignacio José Javier Warnes"Banda Militar del Regimiento de Infantería de Monte 30 "Cnl Felix Bogado"Banda Militar "Rospentek" del Regimiento de Infantería Mecanizado 35Cavalry Bands Banda Militar del Comando de la Ira Brigada Blindada IBanda Militar del Comando de la Ira Brigada Blindada II "Parana"Banda Militar "Malvinas Argentinas" del Regimiento de Caballería de Exploración 3 "Coraceros GRL Pacheco"Banda Militar "El Hinojal" del Regimiento de Caballería de Monta?a 4 "Coraceros General Lavalle"Banda Militar "Cnl Bonifacio Ruiz de los Llanos" del Regimiento de Caballería Ligero 5 "General Güemes"Banda Militar "Granadero Chepoya" del Regimiento de Caballería Exploración 15 "Libertador Simón Bolívar"Fanfarria Militar “Alto Perú”, del Regimiento de Granaderos a CaballoBanda Militar del Regimiento de Caballeria de Tanques 1 "Coronel Brandsen"Banda Militar del Regimiento de Caballeria de Tanques 6 "Blandengues"Banda Militar "Combate de Perdriel" del Regimiento de Caballeria de Tanques 10 "Husares de Pueyrredón"Artillery Bands Banda Militar "Ituzaingó" del Grupo de Artillería 1 "Brig Grl Tomás de Iriarte"Banda Militar "Vuelta de Obligado" del Grupo de Artillería 3Banda Militar "Curupayti" del Grupo de Artillería 10 "Tte Grl Bartolome Mitre"Banda Militar "Cte Luis Piedra Buena" del Grupo de Artillería Blindado 11Banda Militar "Campa?a al Desierto" del Grupo de Artillería 16Banda Militar del Grupo de Artillería Antiaéreo 161Banda Militar de la Aprupación de Artillería Antiaérea dr Ejército 601 - EscuelaEngineers Bands Banda Militar del Batallón de Ingenieros Blindado 2Banda Militar del Batallón de Ingenieros de Monta?a 6Banda Militar "Puerto Argentino" del Regimiento de Ingenieros de Montes 12Communications Bands Banda Militar de Batallón de Comunicaciones "Sargento Mayor Santiago Buratovich"Navy BandsBandas de Música de la Armada XE "Arrangements for Military Bands" \t "See Military band Journals" Arrangements for Military Band -Also see Military band JournalsAn arrangement is, in its widest sense a version for military band other than that for which the music was originally composed. There are arrangements for public performance to help broaden the scope of the military band and to make the music more widely known. Arrangements for military band became possible because of the advent of consistent instrumentation and musicians who turned their hand to devising a formula for the division of voices from different mediums. Piano music became the basis for the early arrangements followed by organ music which often lend itself to the band. The introduction of the military band journals in Britain by Boosey, Boosey and Hawkes and Chappell and the Pepper Military band Journals in the USA in the late 1880's started a trend which helped to raise the standard of the military bands.(see Journals for Military band)The terms band arrangement and band transcription are often used interchangeably although they are different. A transcription is a musical selection revised or re-written for band from some other musical medium so as to imitate the original as much as possible. Numerous peices from the orchestral repertoires fit this description such as Light Cavalry overture byFranz Von Suppe and the Blue Danube waltz by Johann Strauss.Band Music Arrangers CanadianMilitary and civilian bands were integral to Canada's early performances of instrumental music and the dissemination of larger non-choral works such as symphonies, oratorios, and operas. Accordingly, there was desire for such works as well as popular tunes to be adapted for the instrumentation available within individual bands, the earliest of which included the Sharon Band and the Société Ste-Cécile band. The activity of early band music arrangers is difficult to trace until the mid-19th century, when the repertoire began to circulate in print as piano arrangements. Many other genres of music have also been arranged for band, including marches, dance tunes, and medleys of traditional songs. An example of the latter is Joseph Vézina's Mosa?que sur des airs canadiens (1880), in which he arranged a medley of Quebec folk and patriotic tunes. Band music arrangers active during the first half of the 20th century include J.-J. Gagnier, Arthur Wellesley Hughes, Louis-Philippe Laurendeau, Charles O'Neill, and Charles Thiele. Arrangers from the latter half of the 20th century included Kenneth Bray, Kenneth Campbell, William McCauley, Jack Sirulnikoff, and Morris Surdin. British Arrangers BritishMany of most significant world military band arrangers were products of British military bands. The work of the Godfrey family was exceptional. Charles Godfrey was the earliest of the family to make his mark and became the editor of the first military band publication Julien's Military Journal. Later other family members including Adolph Frederick Godfrey became bandmasters and arranged a memorable collection of band scores In the period from 1910 to 1930 the most illustrious of the British band arrangers was Frank Winterbottom. He had been the director of the Royal Marine band at Plymouth and instructor instrumentation at Kneller Hall. Winterbottom’s arrangements of band music remains as one of the the most important aspects of the military band movement. He provided over 300 works for band most of which was published by Boosey and Chappell. The work of William Henry (WJ) Duthoit was prolific in the field of military band arrangements. He was also first a bandmaster and on his retirement from the North Staffordshire Regiment in 1929 became the chief arranger for Chappell's Army Journal.Band Germany ArrangersWilhelm Wieprecht is considered the father of European military bands and his work as an arranger was both prolific and remarkable given the early instruments for which he arranged. Much of his work remains to this day in the repertoire of European bands. Among his arrangements were 12 works by Beethoven consisting of the first 5 symphonies and seven by Mozart and 3 by Wagner. Luxembourg Arrangers World renown composer and arranger Pol Albrecht was a military musician for over fifty years in Luxembourg. He was the conductor of the Band of the Garde Grande-Ducale where in addition to his numerous compositions he provided dozens of professional arrangements of popular songs and orchestral works. Czechoslovakian ArrangersThe three most well know Czech band arrangers were all members of one family who had careers in military bands. They were the Komzak family. Karel Komzak(1823 1893) his son also known as Karl (1850-1905) and the grandson Karel (1878-1924) their output in the field of arrangements for band was prolific and may have numbered in the thousands. Swedish ArrangersMilitary musician, conductor, composer and arranger Per Berg is universally known for his band arrangements and original marches. His arrangements of both the classical and popular repertoire are known throughout Europe and North America. He also arranged music for the movie industry in Sweden and made the music available for concert band. Norwegian ArrangersOscar Borg was sometimes known as the March King of Norway. His contribution to band arrangements and military music was immense. He was the military band conductor of the Eastern Region military band for fifty years and during that time arranged hundreds of light popular and classical music for band. He also provided numerous choral backgrounds and hymns for church services.Torstein Aagaard-Nilsen (b.1964), has been staff arranger and composer for the Norwegian Armed Forces Music, and is now living in Bergen. His latest piece is Pentagram (a lagre-scale piece commissioned by the Royal Northern College of Music Wind Orchestra in Manchester, who premiered it this April), very challenging and difficult for all players. Needs 4 percussion players and lots of equipment! All clarinet parts should have 3 or 4 players, otherwise no doublings. 5 movements (Call and Awakening, Ritual I, De Profundis, Ritual II, Call and Destrucion. Grade 6, about 31', and like most of his works published by Nordic Sounds.Arrangers United States of AmericaFloyd Werle holds the record as the most prolific of all U.S. military band composers, Air Force officials said. over his long career he penned more than 900 original compositions and arrangements, exceeding John Philip Sousa’s total musical works by 255.The plaque dedicating the library in his name says his leadership resulted in the largest continuous staff of professional composers and arrangers and the largest single collection of music manuscripts in the inventory of the Defense Department.His arrangement of “The Star-Spangled Banner” was heard as the sign-off on television stations around the country for years, along with film of the Air Force’s demonstration team, the Thunderbirds.Australian Army Band boy Training SchoolThis was developed as a far sighted venture by Lt Colonel R A Newman to overcome the shortage of Bandsmen to fill vacancies in some of the less attractive locations and postings in the army bands. The school was a spectacular success with 362 musicians graduating in the 29 years that the training scheme existed. XE "Australian Military bands" Australian Military BandsOn 2 February 1788 at Sydney Cove, the reading of the Governor's Commission was accompanied by music from the fife-and-drum corps musicians.Military music, beginning with the fife-and-drum corps of the First Fleet, was the only public music-making apart from folk music sung in the public hotels. Both the fife-and-drum corps and the regimental band gave open-air concerts. The few musical instruments brought with them, including pianos, were often dragged overland to new homes.Military bands have accompanied Australian ceremonies, parades, church services, mess dinners and performed at concerts on innumerable occasions since then. Musicians have long been incorporated into active armed service units, often doubling as medics. They have accompanied troops into action, sometimes as part of a fighting unit, and sometimes as a band.Civilian pipe and drum bands have had a long and successful history in Australia, with some bands having performed continuously for over 100 years.There have been a number of changes to the formation and re-formation of the military bands in Australia. Through all of these changes many outstanding musicians have received their musical training in the military and then gone on to contribute to music generally. Depending on the occasion, military musicians perform in a variety of musical styles - from jazz to classical, Christmas carols to rock and pop.(1)Defense Force School of MusicThe Defense Force School of Music provides further and advanced training to support the skills and development of practicing and senior military musicians. The Army School of Music, located originally at Balcombe, was the foundation of the Defense Force School of Music located at Meares House, Simpson Barracks Victoria, in 1984. They were joined by the Royal Australian Navy (RAN) School of Music, formerly at HMAS Cerberus, to form a joint services facility. Entry to military bands is usually assessed on the basis of an audition.(2)Australian military bandsRoyal Australian Navy (RAN) BandRoyal Australian Navy musicians have been playing at events since Federation in 1901. Since its inception, the RAN Band has maintained a reciprocal exchange program with the Royal Marines in Kent, England, which has included the training of Bandmasters. Since 1958 the RAN Band has produced 28 records, mostly for EMI and numerous recording sessions for ABC radio programs.(3)Royal Australian Air Force (RAAF) Command BandThe Royal Australian Air Force (RAAF) Command Band was formed in 1923 at Point Cook, Victoria. Early highlights included performing at the opening of the Parliament House in Canberra, 1927. In 1975 the RAAF Command Band won the award of a Gold Record for the recording Thirty Smash Hits of the War Years. The RAAF Command Band has various ensembles that perform at regal, vice-regal, Defense Force ceremonial and public performances: ceremonial band, concert band, marching band, ceremonial fanfare team, ten-piece stage band, brass quintet, woodwind quintet, clarinet quartet, and jazz ensemble.(4)Royal Military College (RMC) BandThe Royal Military College (RMC) Band is the official band for all regal, vice regal, diplomatic and state functions held in the national capital. For example, 'Trooping the Colour' in the presence of Her Majesty Queen Elizabeth II; representing Australia in Paris for the 50th anniversary of Armistice Day; and participating in the official openings of the Sydney Opera House and Parliament House, Canberra. The RMC Band is also involved in community relations and since its formation in 1954 has played a prominent role in Canberra's musical life.(5)Australian Army BandsDue to the size of Australia and the locations of departure ports for overseas service, bands today tend to be geographically dispersed. The Australian Army has bands based in each state capital. The military musical needs of Canberra are serviced by the Royal Military College Band, Duntroon.The Australian Army Band Corps Association was formed in 1989 to encourage communication between all former and current members of Army bands.(6)Active serviceActive military band service was first recorded in 1899, when the Band of the Victorian Naval Brigade sailed to China as part of the Naval contingent to suppress the Boxer Rebellion.Unfortunately there is little record of active military band service during World War I. In World War II musicians served with distinction in various capacities. In addition to their musical duties, bandsmen worked as gun crews, shell bearers in magazines, first aid parties and as lookouts during day and night watches.In 1950 the 3rd Battalion Royal Australian Regiment, complete with bandsmen, embarked at Kure, Japan, for Korea:Although he never played it in Korea (he gained the military medal for fighting infantryman at Kapyong in April 1951) Private Dunque went to war armed with a bass tuba and an Owen sub-machine-gun.Naval musicians also saw action in Korean waters whilst aboard the HMAS Sydney in 1953.In the Vietnam War, the First Battalion Royal Australian Regiment (1RAR) Army Band musicians were required to work as stretcher bearers at a medical platoon between performances. In 1969 the Royal Australian Air Force Central Band toured Vietnam and Malaysia for ceremonial performances and morale boosting concerts. The Navy Fleet Band also performed two concert tours of Vietnam during the early 1970s.In 1988 the RMC Band traveled to Bougainville, PNG, to perform for 300 Australian soldiers based in the province as part of the peace-monitoring group. In 1999 the RMC Band was deployed to Dili, East Timor, in support of INTERFET. A 'Tour of Duty' concert was presented which featured artists such as Kylie Minogue, John Farnham, Gina Jeffries and James Blundell.Over Christmas and New Year 2005-6 the RAN Band were redeployed to the Middle East Area of Operations. Musicians from the Sydney and Melbourne detachments, Defence School of Music and the Directorate of Music formed a contingent that presented 25 concerts in 8 separate locations, over a 16 day period. Three and a half tonnes of equipment were transported to each concert location.(7)Australian Police bandsThe NSW Police Band has performed at police and state government functions since its formation in 1895. Comprised of four police officers and 29 professional musicians, the NSW Police Band has participated in many high profile events such as royal visits, papal visits and major parades. Ensembles include stage band, wind quintet, jazz ensemble and brass quintet.Other Australian police bands include the Victorian Police Band and Pipe Band, South Australian Police Band, Western Australia Police Pipe Band, Queensland Police Pipe Band and the Tasmania Police Pipe Band.(9)Pipe and drum bandsPipe and drum bands have performed at civilian and military functions in Australia since the early 1800s. Australia is known worldwide for its bagpipe playing. The Australian Ladies Pipe Band toured worldwide in the 1920s, and the Victoria Police Pipe Band won the world championship in Scotland in 1998.An indication of the range and extent of pipe and drum bands is evident from the Western Australian bands. The Scotch College Pipe Band was established in 1947 and paraded for the first time a year later with 8 pipers and 5 drummers. This band continues to perform and has achieved success in WA Pipe Band Association competitions. The WA Presbyterian Ladies College (PLC) Pipe Band was formed in 1981 and performs regularly for school and community functions. The PLC Pipe Band has also toured Australia and Scotland. The WA Coastal Scottish Pipe Band was established from pipers and drummers employed at the Fremantle Railway workshops in 1898. It is one of the oldest civilian bands in the southern hemisphere.(10)Australian Royal Navy BandsPrior to the Federation in Australia in 1901 there were Naval Brigade bands belonging to each state, most of whom had small naval elements. Plans were made to form a national navy and ships had been built by 1911. In 1913 the flagship HMAS Australia a battle cruiser was commissioned and the need arose to recruit a band for the ship. Six musicians were selected from Australia and the remained from ex-Royal, Marines and Army musicians. They were sent to the Royal Marine School of music in Plymouth. The uniform selected was that of the Royal Marines with buttons and badges of the Royal Australian navy. All of the musicians that were selected were capable of being able to perform in a band or orchestra. This is often referred to as being "two-handed". The flagship band formed the only permanent band in the RAN until 1927 when a second band was formed for the HMAS Cerberus training establishment in Victoria. Over the next 10 years the strength of the navy increased and most of the Cruisers and had bands. During the there was a considerable loss of band ranks due to enemy action. The bands action station was in the Transmitting station, the same as the Royal Marine bands and casualties occurred in Perth, Canberra, and Australia with an entire band being lost in Sydney. With demobilization after the war there was a decline in band personnel and a school of music was formed to train musicians to fill the void. Bands continued to serve on the Aircraft carriers and shore establishments. Today there are two navy bands. The bands returned to traditional navy uniforms in 1960 because the Royal Marines uniforms were too similar to the Army dress uniforms. The bands are of a very high standard and were the first bands worldwide to employ women musicians in their ranks.Austro-Hungarian Empire Bands and MusicBy approximately the year 600, Austria had become the ethnological meeting place of the Germanic and Slavic peoples. Inside these large groupings were many small groupings, all involved in various types of interaction as various rulers strove to enlarge their spheres of influence. These manipulations, among other things, led to almost continuous wars and disagreements. Naturally wars created a need for organized armies, and in turn, armies needed bands to provide stirring music for ceremonies and marching.With the 19th Century rise of nationalism, each country of the Empire seemed to be creating music unique to itself. Yet the ever-present reassignment of bandsmen, bandmasters, and even bands allowed each to absorb musical traits of their new assignment environment. Consequently music which was composed, mostly by bandmasters, for military use-primarily marches can not be safely said to be "characteristically representative of any particular nationality." This multi-national I character becomes most evident in the marches of the late 19th and early 20th Century composers (e.g.,Julius Fucik).When discussing band music of the Austro-Hungarian Empire, it is important to consider that this huge territory contained all, or parts of, what are now the following countries: Austria, Czechoslovakia, Hungary, Italy, Poland, Rumania and Yugoslavia. Following World War I, in 1918, this central and eastern European Empire was partitioned to form, or change the size of, these nations. Since the end of World War II, in 1945, some of the original territory of the Empire has been possessed by the U.S.S.R. So, any discussion of the bands and music must first take into consideration that national boundaries as we know them did not exist at the time these marches were written; hence, conclusions relative to national musical styles must be made with extreme care.Early bands seem to be similar to those of other countries a small group (about a dozen) of heterogeneous wind players. Experimentation with chromatic brass and improvements n woodwinds in the early 1800's led to a standardization of instrumentation by the middle of the century. Oriental percussion, which dates back to the Turkish invasions of Europe, was accepted into bands about the end of the 16th Century.The authorized size of a band was about 43 members, and-dependent upon the authority consulted-consisted of the following: 2-4 Db piccolos and flutes: 9-10 clarinets, mostly in Bb, but frequently using Eb soprano and often using Ab sopranino; 4 horns in Eb; 2-4 Bb fluegelhorns; 2 Bb bassfluegeihorns; 1-2 euphoniums; 3 trombones; 5-6 Eb trumpets; 1-2 Bb bass trumpets; 2-4 basses, in Eb, F and/or BBb; and 3 drummers. Some instrumentation lists include 2 bassoons; an Eb piston; and an Eb alto fluegelhorn. Though no list included oboes, it is known from biographies that some bands did indeed include oboes.The actual composition of a band fluctuated for many of the same reasons contemporary military bands fluctuate. Players were enlisting and being discharged; other military duties occasionally called a player away from music-making; leave policies might have allowed for rotation of holiday time; and the ever-present bane of conductors-players' illnesses-can always be relied upon to alter a band's make-up.Another cause of variation in size seems to have been the size and prestige of the regiment's station. A regiment stationed in a large city would usually have many more than 43 members in its band, whereas smaller stations would have only the authorized strength. In large measure this condition depended upon the administration of the band, the status of the band in the eyes of the regiment, and political influences (not unlike the present day conditions of military bands!). The largest military band was the Navy Band of 120 members stationed at Pola on the Adriatic Sea; Franz Lehar was conductor of this group between 1894 and 1896.The literature of the early bands was meant to serve strictly military functions. Mostly this meant providing marching music for troops and additional military ceremonial music. Marching music for different regiments might necessitate different tempi (for instance, cavalry marches were not played at the same tempo as infantry marches). Review ceremonies generally included a variety of tempi. Select instruments (e.g. trumpets or drums) were used for transmitting signals.As bands increased in size and attempted to project sounds better in their outdoor functions, more and better brass instruments were added. The standards of musicianship, once entrusted to the senior members of the band, rose; players were entering bands after training in some of the major conservatories of the Empire. In particular, mention should be made of the large number of band conductor/composers who had attended the conservatory at Prague.With improving capabilities of instruments and instrumentalists, the calibre of compositions rose to a new level. Many of the older marches (as well as other works, we may assume) were forgotten as new ones replaced them. Schooled musicians-for political, nationalistic, and other reasons($?)-began to write marches titled for, or dedicated to, the regiments' patrons. Arrangements of popular works of the day were made; these ranged from folkdance tunes to opera overtures. (In the days before radio and television, bands did more to popularize orchestral literature than did orchestras.) It is also an interesting sidelight that many military music organizations performed both as orchestras, with some wind players doubling on strings, as well as bands.Great discrepancies existed between bands' instrumentation, tuning and literature until about 1860. At about that time Andreas Leonhardt, besides having developed the helicon and written compositions for band, standardized these areas for Austrian bands. Interestingly, Wilhelm Wieprecht had made almost identical contributions at just about the same time for German bands.Many town bands were in the process of forming at about this same time, mostly through the efforts of military musicians whose terms of service had expired. These groups numbered about 15-20 players, which made performance of the literature of their service days almost impossible. So in the small towns there was a return to the march and dance literature, which was particularly appropriate, in that these bands performed mainly at local festivals.An interesting example of the pendulum constantly swinging is that after World War I, Austrian band society took a position against transcriptions, favoring the use of marches, polkas, etc. This set composers to writing in this genre, and with the great number of small bands, publishers did not hesitate to keep up production. This same society, after World War II, leaned toward developing a band literature of a more symphonic character! This movement is still underway, but as is evident in all nations, the idealistic requests have not met with realistic demand. So large scale works are not being published in great numbers.Almost without exception the regimental band directors were products of the military band system, having enlisted and per-formed as military bandsmen. A sizable number were capable composers, at least in the smaller forms, and all were skilled at arranging for their bands. Many had studied at conservatories.The bandmaster was both chief administrator and chief musician, with responsibilities delegated in varying degrees and in various ways. In Austria, upon becoming bandmaster, he was no longer considered an enlisted man, but neither was he an officer! At the same time he could not be considered a civilian; A contract between him and his regiment outlined the regulations of his employment; these regulations generally differed from regiment to regiment.The military bandmaster was obliged to conduct himself as an officer, but he did not rate a salute, nor could he mete out disciplinary measures. His uniform, modeled after that of an officer, contained enough discrepancies to keep him from being-mistaken for an officer; yet it was gaudy enough to mark him as someone of importance. Quite in contrast, his musical duties and status have always been very clear and well-defined.At this point it might be wise to include a caution to the researcher involved in band music. The term "Bohmischer Musikant", which translates as Bohemian (or Czech) musician, is still used idiomatically to describe an outstanding musician. It does not necessarily mean that the person was Bohemian, nor does it imply that other countries of the Empire were not capable of producing fine musicians.An aspect of military music frequently misunderstood, especially in the U.S., are the "numbered marches". In Austria these are the old marches assigned to particular regiments of the former Austro-Hungarian Army. In some cases their use was restricted to that particular regiment exclusively, which is similar to the regulations governing bugle, trumpet and drum signals. This kind of restriction seems to be a valid reason why some of the marches have fallen into disuse.The yardstick by which past generations judged marches was by their appropriateness as marching music, i.e., did the march make the listener want to get up and march? Tempos were firmly dictated and adhered to. As examples, defiles at one point were mandated at 113; 1846 regulations set ordinary marches at 95, maneuver marches at 108, and the double march at 120.These "numbered marches", where the numbers correspond to the number of the regiment to which they are assigned, often have historically interesting titles or dedications. Some are named for, or dedicated to, the regiment's patron-a nobleman of high rank. Some are based on a motive or theme of historical significance. Often the regiment's unique trumpet and/or drum signal is included in the march.Some of the marches, although assigned to one infantry regiment, have been adopted by others. A case in point is the "Erzherzog-Albrecht Marsch"of Karel Komzak (jr.). Composed in 1888 it is the regimental march of the 44th Infantry Regiment which was stationed at Kaposvar. But it is also used as the official march of the 9th Dragoon Regiment and the 5th Artillery Regiment. To add to the possible confusion, in the German Army March Collection it appears as 11/263.The "heart" of the Austrian and Slavic bands is the brass quartet consisting of first and second flugelhorns, bass flugelhorn, and what I will functionally call "tenor tuba". In marches the voice parts for which they are responsible roughly correspond to soprano, alto, tenor and bass, respectively. All other parts are doublings, either in unison or at the octave, or a rhythmic elaboration of the chord structure.Barring nationalistic tendencies, different pedagogy, and other similar excuses for not attempting to analyze what one hears, there are some definite characteristics that contribute to the uniquely different sound of Austrian and Slavic bands. The above-mentioned "heart" has a more mellow and broader sound than that produced by our modified comets. When trumpets are allowed to predominate, they are encouraged to do so with a brilliant sound. The use of many more instruments, including cylindrical brasses, on the off-beats serve to make them more prominent. In Austria particularly the valve trombone is used more frequently than the slide variety, contributing to a difference in low brass sound. The harder, crisper, shorter articulations create a tighter rhythmic feel and a more energetic rendition; generally slurs are avoided in favor of a true legato articulation. The use of so-called "German" clarinets creates a much more mellow sound, particularly in the upper register, than our French-styled instruments. The snare drum is generally thinner than those used for marches in American bands, but the snares are looser. The bass drum is comparable to the Scotch bass drum used by American marching bands, but the heads are not tight. Cymbals are of a small diameter.Austrian Military bands There are 10 Regular Army Bands in Austria dotting the geographic and geophysical landscape. Austria has a rich heritage of military music dating back several hundred years. There are four bands from the past which represent the wealth of military music in Austria including the following:84er Infanterie RegimentskapelleHoch- und DeutschmeisterOriginal Tiroler Kaiserj?germusikWiener Regimentskapelle IR 4Since 1769, the legendary Deutschmeister Regiment, which was first exempted from military service in 1696 in Donauw?rth in Bavaria, has been referred to not only as “Deutschmeister” or “Hoch- und Deutschmeister”, but also as “Infantry Regiment No. 4” because it has since then been one of the four private regiments of the Habsburg emperors. By imperial decree of 1781, the regiment was stationed in Vienna.The band, the history of which has always been linked very closely to that of the regiment, was founded in 1741 and soon became the Emperor’s “favourite band”.The history of the The Imperial Tiroler Kaiserj?ger Brass Band goes back to the days before World War I when Austria still was a great power. Kaiserj?ger – the Imperial Rifles – were an elite regiment recruited in the Alpine provinces of the Habsburg empire. It is their aim to act as ambassadors for their country, Austria, and the beautiful Alpine province of the Tyrol. They see themselves as part of Austria's musical tradition, which they want to preserve and to keep alive for future generations. Today, Austria may only be a small country – but musically, they may still rank as a world power. Regular Army bands Gardemusik WienMilit?rmusik BurgenlandMilit?rmusik K?rntenMilit?rmusik Nieder?sterreichMilit?rmusik Ober?sterreichMilit?rmusik SalzburgMilit?rmusik SteiermarkMilit?rmusik TirolMilit?rmusik VoralberWorld Book of Military Music HYPERLINK "E:\\B" BBand CountryName in UseItaly,Spain,AustriaBandaSwedenMusikkarJapanOngakutaiPolandKapelaPersia(Iran)BandmuzikTurkeyBandoFranceHarmonie (option is Bande)GermanyMilitarkapelle, or MilitarmusikHollandMuziekkorpsRussia BOeHHar My3LIKaA group of musicians playing various instruments together, in its broad definition may include strings. The term is specifically used to describe an ensemble of portable instruments of wind and percussion including woodwind and brass. The earliest true bands were octets, usually comprised of clarinets or oboes, horns, bassoons employed in pairs.The earliest reference to the term BAND is in a British Warrant book of 1660 which gives orders to a ‘band of Musick”(see below figure 1)Bandmaster XE "Bandmaster" In the British Armed Forces, a Bandmaster is always a Warrant Officer, with a commissioned officer who leads a band known as the Director of Music. Directors of Music are all former Bandmasters who have been commissioned.British Army line infantry and cavalry regimental bands were led by Bandmasters until the re-organization of bands and the creation of the Corps of Army Music in 1994. The larger corps bands, as well as those of the Foot Guards and Household Cavalry, were known as Staff Bands, and were led by a commissioned Director of Music with a Bandmaster as his deputy. In 1994 the number of bands was reduced and all bands became Staff Bands. Bandmaster is an appointment held by a Warrant Officer Class 1, who has the designation WO1 (BM) and wears a unique appointment badge of a crowned lyre in a wreath underneath the WO1’s badge (the Royal Arms of the United Kingdom). The senior playing musician of the band is the Band Sergeant Major (or Band Corporal Major in the Household Cavalry), a Warrant Officer Class 2.Royal Marines bands have been led by commissioned Directors of Music for many years. Bandmaster is an appointment which may be held by a Warrant Officer Class 1 (WO1 (BM)), who is equivalent to an Army Bandmaster, or a Warrant Officer Class 2 (WO2 (BM)), who is equivalent to an Army Band Sergeant Major and is sometimes known as the Assistant Bandmaster. The Corps Bandmaster is the senior Bandmaster of the Royal Marines and the chief non-commissioned adviser to the Senior Director of Music, Royal Marines.Royal Air Force bands have also traditionally been led by commissioned Directors of Music. The Bandmaster is a Warrant Officer and fills the same position as the Army equivalent (RAF WOs do not hold appointments as do those in the other services). The senior playing musician, the Band Sergeant, is a Flight Sergeant.Band of the Garde Republican XE "Band of the Garde Republican" Mention has been made of the disbandment of the Fanfares of La Garde Royale in 1848, but a few months later it was re-formed as La Garde de Paris and included twelve trumpeters under Trumpet-Major Jean Paulus, who composed a special fanfare for the presentation of Colors on the Champ de Mars, Paris in May 1852, by which time the Second Empire had been proclaimed by the new Emperor Napoleon III. The Military Governor of Paris, Marshal Magnan, publicly congratulated Paulus. Within two years the fanfare was enlarged to a full band and given the title of La Musique de la Garde de Paris. In 1871 it was changed to La Musique de La Garde Republicaine. France maintained her bands during the Crimean War (1854-56) and many went to the front. They gained high praise from her Allies whose own bands were organized far less effectively than the French. They continued to receive strong support, as a Decree of 1854 allowed a band of fifty-five for the Imperial Guard and bands of thirty-five for the Cavalry, with commissioned bandmasters. It was said that the music of the French bands at Inkerman did as much to drive back the Russians as the bayonet. Yet after the war in Italy (1859) there were drastic cut PAGE \* MERGEFORMAT 3s and in 1867 the cavalry bands were abolished. Even so, in that same year a Military Band Congress was staged at the Paris Exhibition. The following countries competed and received awards in the order given: Prussia, France, Austria, Bavaria, Russia, Holland, Baden, Belgium and Spain. The smallest band was Bavaria’s – fifty-one. Austria had seventy-six, but Prussia combined two bands to make eighty-seven players. The judges were Ambroise Thomas, Leo Delibes, Felicien Cesar David, Franz von Bulow, Hansluck and Kastner.France’s agonizing period from 19 July 1870 until 1 March 1871, from her declaration of war on Prussia until her acceptance of peace terms, has little relevance to this inquiry, except to observe that the country returned to its peacetime life rapidly. Even during the quickly ensuing blood-thirsty suppression of the Commune of Paris (when the barricades went up again) theatre and café life in the capital was hardly affected. The bands settled down again, the leaders being the Garde Republicaine under Paulus and the Mounted Guides under Cressinois. In 1872 the former represented France at the Boston Peace Festival. Sellenick took over from Paulus in 1873, to be succeeded by Wettge (1884), Pares (1893), Balay (1911), Dupont (1927), Brun (1945), Richard (1969) and Boutry (1973~ )- and names as famous in French military music as Sousa, Santelmann, Schoepper, Benter, Whiting and Gabriel in America, and Godfrey, Williams, Rogan, O’Donnell, Ricketts, Miller, Jaeger and Dunn in England. An American bandmaster named Cappa who visited Paris in 1889 described the ensemble of the Garde Republicaine as almost perfect. For well over a century it has been regarded as the premier bend of France and it remains one of the great bands of the world. Nevertheless, it cannot be denied that today in France there are others deserving of equal approbation, such as the major staff bands of the French Navy, Army and Air Force, and Les Gardiens de la Paix de Paris and La Police Nationale. These high standards of rendition arise from the meticulous organization of military music in France and the methods of personnel selection. With growing record production this is being increasingly appreciated outside France. Yet coverage on French radio and television is surprisingly limited. XE "Bands of the Household cavalry" XE "Bands of the Nineteenth Century" Bands of the Household Cavalry-DismountedThe bands of the British Household Cavalry are comprised of the Band of the Life Guards and the Band of the Blues and Royals. Both bands carry out similar duties as other bands of the Household Brigade of Guards. Both bands are tasked to carry out duties at Sandhurst, the Officers Training SchoolBands of the Nineteenth Century The nineteenth century was an important time for the development of wind instruments in general and subsequently the rise of the military (or wind) band throughout western Europe as exemplified by the bands of Britain. At the same time these developments began to give composers a new medium for large ensemble composition. Works by Band Music Early period XE "Band Music Early period:Traditional Romantic Music" XE "Traditional Romantic Composers:Early band Muisc" Traditional Romantic Composers[*]1815 Ludwig Spohr (1784-1859): Nocturne in C, Op. 341816 Beethoven: Military Marche 1820 Johann Nepomuck Hummel (1775-1837): Three Grand Military Marches[+]1824 Felix Mendelssohn-Bartholody (1809-1847): Military Overture in C, Op. 241836 Mendelssohn: Funeral March, Op. 1031840 Ludwig Van Beethoven (1770-1827): Ecossaise and Polonaise 1840 Hector Berlioz (1803-1869): Grande Symphonic Funèbre et Triomphale, Op. 15 1844 Richard Wagner (1813-1883): Trauersymphonie1846 Giacomo Meyerbeer (1791-1864): Torch Dance (No. 1)1860 Edvard Grieg (1843-1907): Trauermarsch 1865 Anton Bruckner (1824-1896): Apollo March- March in Eb1869 Camille Saint-Sa?ns (1835-1921) Orient et Occident1892 Pyotr Tchaikovsky (1840-1893) Marche Militaire[*]This piece was written for the wind band of Prince Günter Friedrich of Schwarsburg. It is in 6 movements: Turkish March, Menuetto, Andante con variazioni Polacca, Adagio and Finale. According to Richard Goldman in his book “The Wind Band”, the Spohr piece, “is the first interesting nineteenth century work composed for Wind Band and Turkish Music (i.e. percussion).” Spohr scored this work for 2 flutes, 2 oboes, 2 clarinets, 2 bassoons, contrabassoon, 2 horns, 2 trumpets, post horn, trombone, bass horn, bass drum, cymbal, and triangle. [+]This work is scored for a slightly larger band than the Spohr Band. The original scoring calls for 4 flutes, piccolo, 2 oboes, piccolo clarinet in F, clarinets in C, bass horn, bassoon, horn in C, trombone in C, bass trombone, percussion. Mendelssohn composed this work for the band at the Dobberan resort on the Baltic Sea. He wrote it at the age of fifteen. The French Government commissioned this work as a part of a celebration to commemorate the tenth anniversary of the French Revolution. According to Berlioz, “It seemed to me that for such a work the simpler the plan the better and that only a large body of wind instruments would be suitable for a symphony which was to be heard – the first time at any rate – in the open air.” XE "The British Band" Band Instrumentation Military Bands XE "Band Instrumentation Military Bands" The Following Chart will serve to illustrate the instrumental diversity of military bands. This is a generalization based on numerous photographs of bands in North America and in England and the Continent. Extant instruments are also included. Instruments such as tenor horns, sax horns are not included and are charted in the American Civil war band instrumentation. A short list of other instruments is added below the chart.YEAR1792181518461896191019201941195019752002Piccolos111211211Flutes23421421Oboes*12223321311Ab Clarinets22Eb Clarinets122211Bb Clarinets*32410121210816108Alto Clarinet1111Bass Clarinet22211211Bassoon*322223121Soprano Sax11Alto Sax2222222Tenor Sax1112211Baritone sax111111Alto Horns2French Horns2224443432Cornets24665Trumpets22226664Flugal HornsTrombones234433433Baritones11Euphonium12211211Tubas4433422Serpents1Ophicleides1Bass Drum*4111111111Cymbals111111111Side Drums*5123321311Timpani11111*1 Oboe doubling Cor Anglais, *2Clarinet division – Solo, 1st or repiano,2nd and 3rd *3bassoon Contra Bassoon, *4Early British bands had Janissaries or Black percussionists.*5 Side or military drums and in 1950 drum sets and other percussion instruments such as xylophone, bells and non definitive pitched instruments. Beating RetreatOriginally it was known as watch setting and was initiated at sunset by the firing of a single round from the evening gun.An order from the army of James II (England), otherwise James VII of Scotland dated to 18 June 1690 had his drums beating an order for his troops to retreat and a later order, from William III in 1694 read "The Drum Major and Drummers of the Regiment which gives a Captain of the Main Guard are to beat the Retreat through the large street, or as may be ordered. They are to be answered by all the Drummers of the guards, and by four Drummers of each Regiment in their respective Quarters". However, either or both orders may refer to the ceremonial tattoo.Band of the Royal Malay Regiment played at Beating Retreat. For the first time ever, a Foreign band was allowed to play at the Beating Retreat on 5 June 2008. This band was that of the 1st Battalion Royal Malay Regiment, who had been helping to guard London, by mounting guards at the palaces.Amongst their performance pieces were arrangements of number of well known pieces from Film.Modern British Ceremony Mounted Bands at Beating Retreat with Silver Timpani drums presented by King George III to the Blues, and William IV to the Life Guards regiments .These days, most armed forces in the Commonwealth perform some ceremonial form of the retreat and it is often used as a proving test for new band members as well as a practice for difficult drill moves such as the Spin Wheel. The ceremonies generally involve the marching of a band, the firing of cannon and other decorative presentations. In many cases a castle is used as a prop or a backdrop for the parade (as in the Edinburgh Military Tattoo).The London version takes place on Horseguards Parade, and is performed at by several military bands included the Massed bands of the Foot Guards, and the Mounted Bands of the Household Cavalry, as well as other performances which change each year. In 2008, the other performances were made by the Band of the Royal Malay Regiment, the Pipes and Drums of the Scots Guards, and the mounted Fanfare Trumpets and Timpani Drummers.Each Year on two successive summer evenings starting at 21:00 hours, Beating Retreat is performed on Horseguards Parade, with a salute to the Queen or another member of the Royal Family. Belgian Light Cavalry Bands XE "Belgian Light Cavalry Bands" The Three Regiments of Belgian Light Cavalry was created after the Belgian revolution of September 1830 As with other light cavalry regiments the JP(Jagers te Paard=Belgian Light Cavalry) had its own military band from 1830 to 1913.The 2nd Belgian Light Cavalry Regiment (2 JP) was created by a decree of the temporary government in October 1830 at Gent. The regiment had been placed under the command of the Colonel of Haene of Steenhuyse. On 22 December 1831, the Commander-in-Chief received the standard from the hands of King Leopold I in Louvain. During the First World War the regiment distinguished itself in the battle of Antwerp and in the trenches of the Yser. The regiment also participated in the battle of Reigersvliet in 1918. During the 2nd World War the regiment was active in the battles of the Gete and Leie.On 1 October 1948, the regiment was reformed as a reconnaissance unit in Siegen (Germany).The standard has the following battle honours: ‘Campagne 1914-1918′, ‘Anvers’, ‘Reigersvliet’, ‘Gete’ and ‘Leie 1940′. In addition the standard has the distinction of the `War 1914-1918′, `1940′ and the Colours 3rd class of the order of Leopold. The march of 2 JP was written by Jean Moortgat. Jean Moortgat was born on 27 March 1870 in Moorsel. In 1885, he became a light cavalry musician and in 1905 trumpet-major of 2 JP. After 1910 he became the bandmaster of the same regiment, and later of the 22nd and 2nd Regiment of Line Infantry prior to retiring in 1924 with the rank of Music Director – Captain. He died in 1943.After the 2nd World War this regiment had a non-official fanfare band in Ludenscheid (Germany). This fanfare band played regularly and sometimes in the traditional uniform of Belgian Light cavalry. The 4th Belgian Light Cavalry Regiment (4 ChCh) was created at the time of the reorganization of the army in 1913. This regiment participated during the First World War. During this war it received several recognitions for the 2nd Division. The regiment distinguished itself in the defense of Antwerp, the Leie and the trenches of the Yser.On 1 February 1961, the 4th ChCh was reformed, becoming part of the lst Belgian Corps in Germany. The standard has the following battle honours: ‘Campagne 1914-1918′ and ‘Anvers’.The march of 4th CHCH(Chasseurs) was been written by Jules Honnay. Jules Honnay was born on 23 May 1886 in Embourg. In 1906, he was recruited by the Band of the 7th of Line Infantry Regiment. He was promoted to Bandmaster-Assistant. He became Bandmaster after the creation of the Band of the 17th of Line Infantry Regiment. He also wrote the regimental march of the 17th of Line. Later, he became successively Bandmaster of the 2nd Grenadiers, of the 8th Line Infantry and finished his career in the Ist Carabiniers. Honnay won the first prize for harmony, counterpoint and fugue. The march ‘Un century has passe’ is one of his most known works. Honnay died in 1953. Belgian Military bandsThe Royal Band of the Belgian GuidesSince its founding in 1832 as a private music Chapel of the King, the identity of the Royal Symphonic Band of the Guides was founded on the following pillars:? The structure of a large band supplemented by a unique cavalry corps-trompetterkorps ? The classic repertoire emerged from a unique heritage of works that were specifically composed or edited for this Orchestra ? And finally, a succession of prestigious conductors. By these pillars the Symphonic band performs its duties according to the highest quality criteria.The musical richness of the Royal Symphonic Band of the Guides is that of a large band and a cavalry corps-trompetterkorps of international renown.The Royal Band of the Belgian Air Force Officially recognized as music of the Air Force on 1 January 1947 Royal in 1996, it is the second youngest Belgian military Orchestra and - currently - and is strong to preserve the unique character of youth. This ensemble of talented musicians have adopted some of the certain traditions of the Royal Air Force of Britan (RAF)which, symbolically,you may hear in its March, composed by Henri Mestrez, an evocation of its them. Its strength is to raise to the rank of art of living "Spirit" that characterizes generously the air component and to which it equates fully in all aspects of its mission. With the eclecticism of its repertoire and its dynamism, the Royal music of the Air Force is a clear rapprochement between the civilian and military world element, and a solid reference on the cultural and musical scene.The Royal Band of the Belgian Navy-Flexibility, efficiency and proximity.These watchwords have been music to the Belgian Navy (created July 1, 1947 and became Royal in 1997) one of the most popular military bands in our country.Its consecutive heads have contributed, each in their own way, the expansion of its repertoire, allowing him to now adapt to each circumstance, military or not, with as much brio, whether to interpret original works and transcriptions of classical or jazz standards, works own Belgian military music and light music compositions.The elegance of their uniform and esprit de corps to the sailors from around the world make the Royal music of the Navy Orchestra especially appreciated by the public. The presence of popular tunes such as "het loze vissertje" or "MOM, the p' boats tits" in its march reflect their popularityAs a reference place for wind orchestras, they bring their expertise to Belgian and international culture.Royal Military Academy bandDuring the Military Initiation Phase (MIP) 2002, several candidate student officers of the eleventh platoon took a modest start with the establishment of a music society.This band is a student band which has various ensembles including brass/reed and jazz.Bourgeois Colonel John R, USMC (Ret.), XE "Bourgeois Colonel John R, USMC (Ret.)," He joined the Marine Band in 1958 as a French hornist and later served as 25th Director from 1979 to 1996. During his tenure, the Marine Band further enhanced its reputation with five landmark international trips. These performances culminated in 1990 when he led the band on its first visit to the former Soviet Union following the end of the Cold War. Brazilian Military Bands XE "Brazilian Military Bands" During the colonial period of Brazil beginning in 1802 each infantry regiment established a military band paid for out of the privy purse of the King. Up until that time the regimental officers had paid for the upkeep of the bands. In1820 the strength of each band was fixed for the four infantry regiments at 12 players and the artillery bands had 16 musicians. The instrumental establishment included leader (playing clarinet) 1 Eb clarinet, 2 Bb clarinets, 2 horns, 1 trumpet,1 bassoon, 1 trombone,2 small (parade) drums and 1 bass drum. Additional instrumentalists could be added to increase the size to 17. This would include 1 piccolo, 2 clarinets, 1 trumpet, 1 bassoon and 1 serpent. The band of the Brazilian Air Force Academy was raised in 1935 with 25 musicians. In 1943 The Band of the Guards Battalion of the President was officially recognized. Later the Band of the Expedition nary Division was organized. The bands in Brazil were influenced by the Portuguese band system and in 1977 a special category of bands was introduced into the military forces. The bands were divided into two basic categories with five separate divisions. In the “band” category there are bands numbering from 30 to 81 musicians. In the Fanfare department 3 bands numbering from 30 to 56 musicians. The bands of the Brazilian Navy were first organized in 1872. In the first instance they were ship’s bands and played when the Naval ships traveled outside of Brazil. The band of the military academy was first recognized in 1913 with 120 musicians. Later in 1932 the military academy establishment was set at 122 musicians. In 1946 the ministry of defense created the bands in categories with “Bandas” with from 21 to 72 performers and “Fanfarras” with 21 to 26 musicians. The instrumentation of the bands varied accordance to their size. The Marine band, arrived in Rio de Janeiro on March 7, 1808 on the ships that brought the Royal family and the Portuguese court. The Royal Brigade of the Navyincluding theMarines accompanied the Court and when landing held a parade with the bands leading The people applauded confirming, the words of Napoleon Bonaparte who said : "place a band on the street and the people will follow,either to party or to war!".Brazilian history records the continued presence of a Marine band, recognized on the international music scene, as professor and Maestro Oswaldo Steps Cabral, author of symphonic poem Riachuelo, depicts the glories of the Navy of Brazil Our Bands have, yet, as a teacher and conductor, the Maestro Francisco Braga, author of the music of the hymn to the flag and a patron of Bands of the Navy of Brazil.The Marine band has appeared in several countries, such as participation in commemoration of 60 years of independence of Israel in 2008. In Brazil, notably in several capitals. This way, good military band music is widespread positive contribution to the country, achieves popularity in all classes, encourages a greater cultural synergy and praises, even more, the name of the Marine Corps and Navy of Brazil.Regular Army Bands Banda de Música da 5? Regi?o Militar - 5? Divis?o de ExércitoBanda de Música da 10? Regi?o MilitarBanda de Música do Batalh?o da Guarda Presidencial Marine Bands Banda de Música Comando-Geral do Corpo de Fuzileiros Navais Air Force Bands For?a Aérea Brasileira - Hinos e Can??es British Bands XE "British Bands" 1799 Grand Military Piece is composed by J. R. Hoberecht for the Harmoniemusik ensembles that had been popular and standard, in Britain and the rest of Europe. Harmoniemusik was a chamber wind ensemble famous in the court of Louis XIII of France in the seventeenth century which became the basis for instrumentation of military bands across Europe: 2 oboes, 2 clarinets, 2 horns, 2 bassoons. Flutes, English bass horns, serpents, ophicleides, trumpets, trombones, and percussion were occasionally added to the Harmoniemusik combination during the early years of the nineteenth century.1800 Numerous Military Bands arose across the country of various instrumentation, size and repertoire.1820 The Royal Artillery Band, a British military band established in 1762, serves as a good historical reference due to Henry George Farmer’s ‘History of the Royal Artillery Band”. 1839 Instrumentation of the Royal Artillery Band- see Royal Artillery band.1845 Wessel and Stapleton’s Military Journals are published, each subscription including music of a light character and some contributions of British composers. Other journals follow, but the variety of instrumentation between bands is only somewhat simplified. 1846-49 Royal Artillery Band’s Concert Program Most likely involved string instruments or was shared with an “orchestral band.” 1850 Concert Program and Instrumentation of the Royal Artillery Band.1854 Scutari fiasco embarrasses British Military Band system. At Scutari, in 1854, the British troops, comprising the army of the east destined for the Crimea, held a grand review on the birthday of Queen Victoria. There were some 16,000 men on parade, and while their appearance and marching were perfect, and the cheering deafening, our band struck up “God Save the Queen”, not only from different arrangements, but in different keys. (This event lead to re-evaluation of the British military band system and the formation of the Royal Military School of Music). 1855 Concert Program of the Royal Artillery Military Band. 1857 Royal Military School of Music is founded in the model of the French Ecole Militaire. 1863 Catalog of the Royal Artillery Band’s music library and instrumentation of the military band. 1865 Government takes over the Royal Military School of Music. Founded in 1857, the Royal Military School of Music served to provide uniform instruction for musicians in the service, while eventually ridding the British military of foreign band masters. Its influence resulted in the standardization of band instrumentation and repertoire. It commissioned most of the significant compositions for band at the turn of the twentieth century.1881Examination requirement added for admission to Royal Military School of Music. 1890 A commissioned officer is placed in charge of the Royal Military School of Music. 1901 The Spirit of Pageantry, a grand march by Percy Fletcher (1879-1932) was published. 1902 The Worshipful Committee of Musicians sponsors a contest for the best march written for the coronation of Edward VII. Concert Program of the Royal Artillery Band on March 22nd 1902. 1904 Lads of Wamphray’ March, was composed by Percy Granger (I882-1961). 1909 First Suite in Eb. [for Military Band] Op. 28 No. 1 by Gustav Holst begins a series of important commissions by the Royal Military School of Music. These commissions include: Gustav Holst, “Second Suite in F for Military Band,” and “Festival Choruses;” Dame Ethel Smith, “The Wreckers Overture;” Bertram Walter O’Donnell, “Three Humoresques”; Ralph Vaughan Williams, “English Folk Song Suite” and “Toccata Marziale.” Cecil Forsyth, Frank Bridge, Edward German, and Haydn Wood also contributed compositions. Most of these works were commissioned by either Hugh Somerville or J. A. C. Somerville, commandants of the Royal Military SchoolBritish Military Bands XE "British Military Bands" (1)Army School of Bagpipe Music and Highland DrummingThe Army School of Bagpipe Music and Highland Drumming is a British Army training establishment that provides instructions of Scottish bagpipe music to military pipers, drummers and pipe bands.HistoryFounded in 1910 as the Army School of Piping (later renamed the Army School of Bagpipe Music), the School is located at Inchdrewer House near Redford Barracks in Edinburgh, Scotland and is administered by the Infantry Training Centre, it is also affiliated with the Corps of Army Music. Generally regarded as the smallest unit in the British Army, the School is now commanded by a Director who is a qualified army Pipe Major and who usually holds the rank of Captain or Major (usually being commissioned from Warrant Officer rank on appointment). The Director is assisted by a Chief Instructor, who is the Senior Pipe Major of the British Army.The School provides courses at different levels to pipers and drummers of the British Armed Forces throughout the year, and qualified instructors are drawn from the pipesand drums of various units in the British Army. The School accepts students from Commonwealth armed forces, but not civilians. It has in the past provided instruction to various police band members, but this has not taken place for a number of years.The School forms part of the Piping and Drumming Qualifications Board, which is collaboration among the Piobaireachd Society, the Royal Scottish Pipe Band Association, the College of Piping, and the Piping Centre. Together, the Institute sets a standardized piping certificate program for students from around the world(2)British Military BandsBands of the Household DivisionThe Band of the Life Guards XE "Band of the Life Guards" The first record of the establishment of the Band was about 1795, and later in the Royal United services Journal for June 1831, referring to The Mounted Band of The Life Guards, it says, "After saluting and marching past the King, 'God Save the King' was played on the Russian Chromatic Trumpets..." these being the instruments used by the Band at that time.The trumpets had only one valve and were the forerunner of the three valve trumpet in use today. Traditionally a trumpeter from within the Band is on duty 24 hours a day to sound the same calls that were played when the regiment was first formed. Every person in the Household Cavalry Mou The muster rolls of the period shown many foreign names, mainly German, and a considerable number of these were mentioned as musicians under the heading of 'trade before enlistment'. In keeping with the style of the day, there were also several black musicians in the Band, and as late as 1840 the 2nd Life Guards still had three such serving. In 1811, a Trumpet-Major was added to the establishment of each of the Regiments. According to Standing Orders, they were responsible for the discipline and instruction of the Trumpeters and Music. With the appointment of a Trumpet-Major to be in charge, the Band assumed greater importance and prestige, and civilian musicians were employed as Bandmasters. They had no military rank until 1863, when authority was given for a 'Bandmaster Corporal with the rank of 1st Class Staff Corporal'. The first known civilian bandmaster was a Mr Bies who was originally a member of the Duke of Kent's Band. From 1820 to 1905 the Band was under the direction of Bandmasters (Warrant Officers). From 1905 the Senior Bandmaster of the three Household Cavalry Regiments, C.W.H Hall, was commissioned Lieutenant to the Second Regiment of Life Guards and was their first Director of Music. The Band today has 35 musicians and within its ranks there are many fine soloists. Most of the members of the Band play two instruments and have a varied repertoire from Bach through to the latest 'West End' Shows. They perform in London hotels as a marching display band, dance band and rock band. The Band can also supply a string quartet, brass quintet, woodwind quintet, not to mention a very spectacular fanfare team. Apart from tours to Cyprus, Bosnia and The USA, the Band tour extensively performing as a concert band, marching band, orchestra and mounted band. From State Investitures, Palace Banquettes, Royal Ascot and the Lord Mayor's Show, The Band of The Life Guards feature at many ceremonies where the pomp and pageantry of our heritage is highlighted by the woven tapestry of military music and State occasions. The Royal Horse Guards XE "The Royal Horse Guards" The RHG was amalgamated with the Royal Dragoons (1st Dragoons) to form the Blues and Royals (Royal Horse Guards and 1st Dragoons) in 1969.Formed in 1661 from members of the now disbanded cavalry of the New Model Army, particularly Colonel Unton Crook's Regiment, the Regiment that was to become the Royal Horse Guards was early on given the nickname of the Oxford Blues, in reference to the first Colonel, Aubrey de Vere, twentieth and last Earl of Oxford, and to their blue uniforms. It is recorded that from the outset the Regiment had kettledrummers and trumpeters. Records of the Band really begin in 1805. On St George's Day that year, King George III presented the Regiment with a set of silver kettledrums, and the same year the first recorded bandmaster was appointed by the Regiment. Herr Stowasser, one of the earliest examples of the 19th century trend to employ European bandmasters, served until 1848, the first of a line of long-serving leaders of the Band; between 1805 and its amalgamation in 1969, the Blues were to have just ten Bandmasters and Directors of Music. Herr Stowasser was followed by James Tutton, one of the founders of the Society of British Musicians, to be succeeded in turn by Charles Boos? in 1859, a brilliant clarinetist who had previously been bandmaster of the 9th (Queen's Royal) Lancers and of the Scots Fusilier Guards. In addition to his instrumental prowess, Boos? was an arranger of considerable ability and, having encountered difficulties in getting his music published, had founded the first Military Band Journal in England, writing on stone for lithographing before doing the printing himself. He was later to be awarded the Hessian Order of Merit. The next Bandmaster came from perhaps the most distinguished family in British military music; Charles Godfrey, who was to remain in his post for more than thirty-five years, was the younger brother of Dan and Fred, who held similar positions with, respectively, the Grenadier and Coldstream Guards. He was commissioned in 1899, and in 1903 His Majesty the King conferred on him the Royal Victorian Order. On Lt Godfrey's retirement, Mr J Manuel Bilton was appointed. His student career at Kneller Hall had been so distinguished that when the Director of Music, Charles Cousins, died suddenly in May 1890, the recently graduated Bilton took over the reins for seven months until a new director was appointed. His talent for composition was evident the following year at the Royal Naval and Military Exhibition in London, when he picked up three of the four available prizes with his entries: 'Te Deum', 'Jubilate' and 'Benedictus' for choir and orchestra; a Grand Concert Overture; and a concert piece showing the instrumentation of a brass, military and string band. His later overture 'My Old Stable Jacket', dedicated to Field Marshal Haig, remains popular. He was commissioned in 1917, and in 1921 the King of Spain created him a Cabellero of the Order of the Military Merit, 1st Class. (A Cabellero is the equivalent of a British Knighthood.) During the First World War, still under Bilton's leadership, the Band frequently visited France and Flanders, reviving the spirits of many thousands of Blues who were serving as Cavalrymen, Infantrymen and Machine Gunners. One veteran of that War was to be Bilton's successor as Bandmaster of The Blues: 'Paddy' Dunn, who had been awarded the Military Cross whilst serving with the 60th Rifles in France. Another distinguished musician followed, Joseph Thornborrow, the nephew of Lieutenant Colonel Hector Adkins, Director of Music at Kneller Hall for more than 20 years. In 1942, during Thornborrow's time at The Blues, Colonel Adkins was court-martialled and his nephew was chosen as his successor. The family connexion, however, counted against him amd the appointment was not confirmed, Thornborrow staying instead with The Blues, where he remained until his death in 1947. In latter years the Band became one of the most popular on radio and even appeared in a film entitled The Drum, in which for the first and last time they wore kilts. The Royal Dragoons (1st Dragoons XE "Royal Dragoons (1st Dragoons" ) The 1st, or Royal Regiment of Dragoons was raised in 1661 by the Earl of Peterborough for service in Tangier against the Moors, hence the original title, The Tangier Horse. It was recorded on 21 October 1661 that The Tangier Horse had three trumpeters, whose duty it was to convey the routine messages and orders used in camp life. There were approximately 86 calls in use, covering every aspect of a soldier's life from Reveille to Last Post, including such calls as Post Call (indicating that the mail had arrived) and Mess Call (indicating that it was time to eat). Partly to help remember the calls, and partly because it amused the troopers, words were written to many of the calls. Typical examples were: Sick Call - Come the sick, come the lame, All cures for your ills we've got, To free Tommy from pain.Fire Call - There's a fire! There's a fire! There's a fire! Run and get the engine boys, and put the beggar out.Returning from fighting the Moors, The Tangier Horse were re-designated as Dragoons, who, unlike orthodox cavalry regiments, used infantry style side drums instead of trumpets for relaying orders. Drummers were therefore introduced, though it was not to the total exclusion of the trumpeters. The change from Horse to Dragoons brought with it a new establishment and a warrant was issued to the Ordnance to provide four drums. Reports in the official history of the Regiment tell us that in 1684 there were two drummers, and later in the same year, two trumpeters and two Hautbois. In February 1698 a change was proposed which resulted in an establishment of six drummers and six hautbois. There was an allowance of two shillings per day for man and horse. During the Winter of 1701-02, there was an increase of a further two drummers, two hautboys and two other musicians, and soon after, in 1709-10, there is the first mention of kettledrums. During the mid 18th century, the dress of the drummers and hautboys was scarlet coats lined with blue and ornamented with Royal lace with a blue stripe down the centre; their waistcoats and breeches were of blue cloth. An order was issued in 1766 that the drummers were to be converted into trumpeters. Three drummers at a time, plus a Corporal, were despatched to London from various villages outside the city. The object was for them to 'learn their duty as trumpeters in obedience with HM's command'. Three more trumpeters were added to the regimental establishment in 1793, but the most significant step forward came in 1802 when Herr Friedrich Wiele was appointed Master of the Band. Herr Wiele had been in charge of the Royal Artillery Woolwich Band for 25 years and had a fine reputation as a conductor and band trainer. It is not known how long he stayed with the Royals. In 1833 the Trumpet Major and the Master of the Band were granted the rank of Sergeants. The Trumpet Major was responsible for the conduct and appearance of the members of the band, and the Master of the Band for the musical standards. (Evidently, however, these tasks were not considered sufficiently full-time, for it was also the duty of the Trumpet Major to carry the regimental mail to and from the Post Office, receiving one penny extra for every non-military letter delivered.) Very little is documented about the size of the Band in the late 19th century, but in August 1914 there is mention of 15 bandboys serving with the Regiment. In January 1924 the Regiment was re-organised and the Band became known as the Band Troop. During the late '20s and early '30s, they served in Egypt and India. They arrived home in 1936, and every effort was made to bring the Band up to standard to play at the seaside resorts, and on 16 June 1938 it broadcast for the first time on the wireless from the BBC's studios at Broadcasting House, London. With the threat of war looming, most of the members of the Band were ordered to Palestine with the Regiment, leaving just twelve boys as the nucleus of a new band. It was in Palestine on Waterloo Day, 1940 that the Regiment held its last mounted parade. Back in England, sheer determination on the part of both the bandmaster, Alfred Singer, and his young musicians brought the Band once more up to the required standard, and in January 1940 it was passed fit for broadcasting, subsequently becoming regularly featured on the wartime wireless. Possibly the musical highlight of this period was when, on 19 January 1942, the Royals became the first band ever to broadcast Bach's 'Toccata and Fugue in D minor'. In 1942 and 1944 the Band was inspected by the Director of Music, Kneller Hall, and on both occasions was awarded the highest possible grade: Outstanding. Soon after VE Day, the Band began a tour of the troops of the British Liberation Army. The first six weeks were in Denmark where the Regiment were stationed, playing in Copenhagen and other large towns in the area, and broadcasting on Danish Radio. Two weeks in the Kiel area completed the tour. In 1963 the Band visited the Far East, becoming the first British Band to play in the Philippines. The Blues and Royals (Royal Horse Guards and 1st Dragoons) XE "Blues and Royals (Royal Horse Guards and 1st Dragoons)" A new Regiment was formed in 1969 in Detmold by the amalgamation of The Royal Horse Guards (The Blues) and the Royal Dragoons (1st Dragoons). The requirement that all members of the new Band should be able to ride meant that only 13 bandsmen transferred from The Royals, of whom just three successfully passed the riding course at Knightsbridge. Major Jeanes, then serving as Director of Music of The Blues, took over the new Band. He was succeeded in 1973 by George Evans, who had previously served as Bandmaster with the Royal Dragoons and had spent the intervening five years with the Royal Artillery Mounted Band at Aldershot, before finally finding himself on horseback with the Blues and Royals in 1973. The mounted band usually consists of the Director of Music riding an officer's charger, the drummer riding Hercules (a skewbald), the six trumpeters riding greys and the musicians on blacks. The Band of The Grenadier Guards XE "Band of The Grenadier Guards" King Charles II restored not only Monarchy to England but patronage of the arts, not least by laying the foundationsth Grenadier Guards Band when he commissioned 12 hautbois (early oboe) players to the First Regiment of Foot Guards in 1685. The Regiment was to become known as the Grenadier Guards after their victory on the battle field at Waterloo.The return of the king and his court from exile on the Continent sounded the death knell for the Puritanical severity of Cromwell. The arts exploded into London under the court's continental influence. Charles's decision to maintain musicians in his Foot Guards regiment was also a reflection of this, and some of his musicians would have come from Germany where the Hautboisistenbande had originated 20 years earlier.The Grenadier Guards Band has been a witness to all London's key historic events both tragic and joyful. It raised moralduring the darkest hours of the second world war and its uplifting music ushered in a new beginning at the Coronation of our present Queen.Throughout its long history the Band has travelled abroad frequently. The first recorded visit was in 1701 when William III took three hautbois from the regiment with him on his visit to the Netherlands. Subsequent visits included Paris in 1815 after the Battle of Waterloo, Boston in 1872 and more recently Australia, the United States of America and Canada. There have also been performances in most countries in Western Europe.The British Grenadiers march is one of the most recognizable and memorable tunes in the world, part of our musical heritage.? One of the band's admirers during the 18th century was? George Fredrick Handel. He demonstrated his admiration by presenting the march from Scipio to the regiment before he included it in his opera of that name when it was first performed in 1726. George II gave Handel the task of scoring the Music for the Royal Fireworks, most commonly performed with strings, for the King's own musicians who were wind players from his foot guards. Handel would have undoubtedly come into contact with musicians from the Grenadier Guards, during the first performance at Vauxhall Gardens? in 1749.Throughout Britain's history the music of the Grenadier Guards has been the backdrop to our national life and identity. It represents our constancy, dignity and artistry.The Grenadier Guards trace their origin back to around 1656 during Charles II's exile; when a new standing army was formed on the Restoration in 1660, it included the King's Royal Regiment of Foot Guards. From the outset, drummers were included in the establishment, the King's Company being allowed three drummers and the remaining companies two each. In October 1662 the position of drum-major was created with the pay of one shilling and sixpence per day; at the same time a single fifer was added to the establishment at one shilling a day. In 1664, under the terms of a Royal Warrant, a musician by the name of Peter Vanhausen was engaged to instruct one man per company to play the fife. He was paid one shilling and sixpence per day, the fruits of his labour being the birth of the Grenadiers Band, generally considered to date from 1665. A warrant signed by Charles II on 3 January 1685 authorized the maintenance of twelve hautbois in the King's Regiment of Foot Guards in London, though there seems to have been some confusion over the funding of these musicians. It was initially suggested that false names be added to the regimental roll so that the players could be given a better wage, but state papers from 1686 refer to payments being made to drummers and hautbois, implying that the crown took a direct interest in the music of the senior regiment of foot guards. Eighty years later, there is mention in official documents of the purchase of liveries for the hautbois serving with a troop of mounted Grenadiers under the Duke of Monmouth. Gradually the instrumentation was expanded; according to St James's Evening Post two French horns were added in 1725, whilst bugle horns costing ?27 were purchased in 1772. In the mid-18th century military music was dominated by Germany, possibly thanks to the influence of the Duke of Cumberland, a man referred to by historian Fortescue as 'a soldier of the extremest German type.' From the London Evening Post of April 1749 we learn that: On Sunday last the English Band of Music belonging to the First Regiment of Guards were dismissed to make room for a band of Germans.The success of this musical migration is apparent from Dr Burney's Present State of Music in Germany in which he writes of his visit to Mannheim in 1772: The first music I have heard here is military. The retreat had only drums and fifes, and in the morning there was nothing worth listening to. If I had any inclination to describe in a pompous manner merely the effects of wind instruments in martial music, there had been no occasion for me to leave London, for in St James' and in the Park every morning there is an excellent band.By 1783 the instrumentation had settled down to that of the continental wind octet known as 'Harmonie Musik'. This comprised of two hautbois, two clarinets, two bassoons and two horns. The hautbois were the main melodic instruments, with clarinets taking a secondary role. A decade later comes the first mention of a bandmaster. The Musical Directory, London of 1794 gives 34 Tufton Street, Westminster as the address of Mr Elrington, flute player and bandmaster of the 1st Foot Guards. The same source mentions sixteen other members of the band, five of whom had the same address. The instrumentation was one flute, six clarinets, three bassoons, three horns, one trumpet, two serpents and one drums. Another report from the era omits mention of drums but does talk of 'Turkish Music', referring to the contemporary fashion for flamboyant percussion instruments. These instruments were played by black musicians, who, when it came to smaller items such as cymbals and tambourines, were often very young. The bass drummer, however, was invariably older with a formidable physique, as seen in the well-known lithograph by E Hull showing the big drummer of the Grenadiers in 1829. The first bandmaster to be named in the regimental records was Mr Blaney, who was almost certainly James Blaney, a clarinetist whose name appears in The Musical Directory along with Elrington. Mr Blaney took over in 1815 whilst the Band was with the British troops during the occupation of Paris. By 1848 the instrumentation had expanded to: 2 flutes, 1 piccolo, 3 Eb clarinets, 8 Bb clarinets, 3 bassoons, 4 French horns, a family of trumpets, 1 althorn, 3 ophicleides, 3 tambourines and drums. Later additions were saxophones, cornets, flugel horn, euphonium and bass. In 1856 Dan Godfrey, son of Charles Godfrey of the Coldstream Guards, was appointed bandmaster. Although only 25 years of age, he had studied at the Royal Academy of Music and had the reputation of being a first class musician. He was to remain in his post for 40 years. One of Godfrey's greatest contributions was the bringing of ever-greater audiences to military concerts, particularly with his performances in Hyde Park. He later commented on this development: The original proposal was that we should play on a Wednesday or Saturday. I urged that it would be better for us to play on a day when as many people as possible could come and hear us, and that Sunday would be best. I gained my point. I believe about 90,000 were present the first time we played, and I shall not easily forget the cheer I got when I went to my stand.In the summer of 1872, the Band visited the United States to take part in the International Peace Jubilee, held in Boston. This was the first time that a British army band had toured abroad and it took a debate in parliament to sanction the visit. The other guest band was that of the German Grenadier Regiment. On the occasion of Queen Victoria's Jubilee in 1887, the Queen had Dan Godfrey gazetted as a Lieutenant, the first bandmaster in the British army to be commissioned, albeit with an honorary title. The following decade Dan Godfrey finally retired and was replaced by Mr Albert Williams of the Royal Marine Artillery Band. Although very much a product of the Army - having joined as a boy knowing virtually nothing about music - Mr Williams had already passed the examination of Bachelor of Music at Oxford University and was later awarded a Doctorate of Music. On this occasion, in 1906, the entire Grenadier Guards Band travelled to Oxford at their own expense to witness the ceremony of the conferring of the degree, and to hear the Vice-Chancellor comment, 'I understand that you are a pioneer in the army in regard to the degree of Doctor of Music. I hope it will bear the fruit it deserves.' Dr Albert Williams In 1904 the Band once more visited the United States, this time extending the tour to include Canada. In 1919 the Band was in Canada again for the Canadian National Exhibition, where a fellow visitor was His Royal Highness, the Prince of Wales. After 44 years in the service, Dr Williams retired in 1921 in the rank of Captain. The King received him in audience and conferred upon him the honour of the Royal Victorian Order. In 1922 the Worshipful Company of Musicians made a presentation at which Sir Dan Godfrey, son of the previous incumbent and conductor of the Bournemouth Symphony Orchestra, offered high praise: 'Dr Williams was a musician of such culture as had never before occupied the position of Director of Music of the British Army.' The Band of the Coldstream Guards XE "Band of the Coldstream Guards" XE "Band of the Coldstream Guards" The Coldstream Regiment was formed in 1650 by George Monck, a General in Oliver Cromwell's "New Model Army" and can therefore claim to be one of the oldest regiments in the world. In 1661, shortly after the restoration of the monarchy, they were re-commissioned by King Charles II as Household Troops and from the town of Coldstream which lies just inside Scotland near Berwick-Upon-Tweed where it was first formed.From the earliest days the Regiment had drummers and a "Band of Music" from 1742. This was in fact eight civilian musicians who were hired by the month by Officers of the Regiment to provide music for the Changing of the Guard at St.James' Palace. When, in 1785, the musicians were asked to perform at an aquatic excursion to Greenwich, they declined on the grounds that the performance was "incompatible with their several respectable and private engagements." This was too much for the officers who asked the Duke of York, Colonel of the Regiment, for a regular attested band. He agreed and from Hanover in Germany sent twelve musicians under the direction of Music Major C.F. Eley. The instrumentation consisted of two oboes, four clarinets, two bassoons, two horns, one trumpet and a Serpent. The date of the band's formation was May 16th, 1785.In 1815, the year of the Regiment's distinction at Waterloo, the total strength of the band was increased to twenty-two by the addition of flutes, key bugles and trombones. In the same year the band went abroad for the first time when it was ordered to Paris for duty with the Allied Army of Occupation. As was usual in the British Army at the time, the Regiment's early bandmasters were of German extraction. Christopher Eley (1785-1800), John Weyranch (1800-14), James Denman (1814-18), and Thomas Willman (1818-25). In 1835 the first truly British Bandmaster Charles Godfrey took over. This event anticipated the general replacement of foreign Bandmasters in the Army by British musicians by about thirty five years, and it was under his Baton that the foundation of the musical and military expertise of today was started. In 1863 his son Frederick Godfrey took charge of the band, followed in 1880 by Cadwallader Thomas who retired in 1896. By the end of the nineteenth century the band had grown to thirty-five in number. Its importance had grown too; both within the Army and the British way of life. Queen Victoria decreed that all members of Household Division Bands would be known by the title of "Musician," as opposed to "Bandsmen" for the rest of the Army Bands.In 1869 John MacKenzie Rogan took over as Director of music and it was he who ushered the band into the the twentieth century. By 1900 the size of the band had grown to fifty-one musicians and during the years before World War I the band reached new heights of excellence in concert and on record. In fact, the band was one of the first British Army bands to make a recording.The Coldstream Guards Band became the first band to visit North America when it traveled to Canada in 1903, one of two western tours around that time. In 1907 at the invitation of the French Government, the band was the first within the Brigade of Guards to visit France. In 1920 when Robert Evans took over as Director of Music, the band had a strength of sixty-six. One of the duties he undertook was to take the Band to Coldstream, Scotland with the Regiment for the first time since 1660 to lay up colours. Throughout the 1920's the band continued to take part in state, ceremonial and a hectic round of public engagements all over the country, and as recording techniques improved, more fine records were produced. In 1926 the band again toured Canada, and on one occasion while in Calgary, they were transported in a fleet of Studebaker limousines!In 1930 James Causley Windram became the Director of Music and under him the Band did many broadcasts on BBC radio. A more unusual engagement was to don uniforms of the Napoleonic period for the pre-war film "The Scarlet Pimpernel." In 1936 the band was present at St. James' Palace for the proclamation of King Edward VIII and the following abdication, for that of King George VI. At the outbreak of the Second World War in 1939 the familiar scarlet tunics were replaced by khaki and during the war the band did important work encouraging the morale of troops and civilians throughout the country.It was on Sunday, June 18, 1944 that the greatest tragedy in the history of the Band occurred. The Band was playing in the Guards Chapel, Wellington Barracks when it was struck by a German VI Flying bomb. Over 120 people were killed including the Director of Music, Major Windram, and five musicians. Despite this disaster the Band continued to function until the new director of Music, Captain Douglas Alexander Pope was appointed. One of his first duties was to follow the Allied forces to Europe after D-Day. After the war the Band continued as it had done before with the usual round of state, court and ceremonial duties, plus the many varied private engagements both at home and abroad. It was in 1960 that the Band went to North America for a three month coast to coast tour, this was the first of what became a regular ten yearly event. The Band went again in 1970 ,1981 and 1991. In 1963, now Lieutenant Colonel Pope, who had also become senior Director of Music of the Guards Division, retired from the Army and Captain Trevor Le Mare Sharpe took over as Director of Music, he went on to become senior Director of Music in the British Army at The Royal Military School of Music, Kneller Hall. In 1974 Captain Richard Annison Ridings took over as Director of Music and he went on to become Senior Director of Music, Guards Division. Major Roger Graham Swift served in the post from 1985 to 1990, when Major David Marshall then took over until retiring in Late 1999. Major Marshall was succeeded by Captain Ian McElligott. The present Director of Music is Major Graham Jones. Today the Band is scaled for 49 musicians, who apart from "doubling" on other instruments, such as strings and keyboards, are medical assistants, and in the event of a full scale conflict would be called upon to be stretcher bearers and field hospital assistants.The last ten years have seen the Band involved with what is probably the most intense period of international travel in its entire history. Not only has the Band undertaken many duty trips, visiting either of two battalions stationed abroad, but has gone on many private and commercial tours "Flying the Flag " around the world.In 1984 the Band moved into the newly completed Wellington Barracks and for the first time since the band was formed has official accommodation. The accommodation comprises of full changing and official facilities and a fine practice room. Before this the Band had no permanent residence and at one stage rehearsed in a room above a public house in Chelsea!The Band of The Coldstream Guards has now been in existence for over 200 years of continuous service which makes it one of the oldest Military Bands in the world.The Band of The Scots Guards XE "Band of The Scots Guards" The Royal Warrant of 1685 authorizing the maintenance of hautbois in the Foot Guards in London did not apply to the Scots Regiment of Guards, which was at the time on the Scottish Establishment. Soon after, however, the Scots Guards moved to London, becoming part of the Household troops in 1707, and by 1716 they too had six hautbois together with three drummers. These drummers were employed as musicians, as distinct from the regimental drummers who had a military role, and were sometimes referred to as drum-majors.About this period the 'Musik' of the 3rd Foot Guards consisted of two hautbois, two horns/trumpets and two bassoons. Later two clarinets were added. How effective this band was is not known, but soon after the Grenadiers replaced their band with German musicians, the Morning Advertiser of 29 March 1749, reported that The Scots Guards too had changed their Band. Following the defeat of Napoleon in 1815, the three foot guards bands travelled to Paris. Just prior to their departure, the key bugle, known as the 'Kent Bugle', was introduced into the Scots Band. It proved to be a sensation in Paris and inspired Halany, the French instrument maker, to bring out a whole family of keyed bugles: the claritube (key bugle), the quintitube (alto ophicleide) and the ophicleide. On their return to London from Paris, the hired professional musicians then serving were dismissed and replaced by enlisted men. The new band consisted of 22 performers.The first two bandmasters of the Regiment were clarinettists, playing - as was the fashion prior to the Crimean War - along with the band and signifying changes in tempo by gesturing with the instrument. Their successor, William Hardy, was a virtuoso on the cornopean and similarly when on parade he marched on the flank of the front rank. Hardy had the reputation of being an outstanding arranger, but little was published and less has survived, save his 'Spanish Chant' (1891), which probably does not reflect his true ability. Indeed, the title itself is unrepresentative since the tune is actually 'Old Hundredth'! The next bandmaster, Carl Boosé, was one of the most influential military musicians of the century. Born in Hesse-Darmstadt, he had enlisted in a German band in 1830 and later found his way to Britain, where he established a reputation as a fine clarinettist. He moved from the 9th (East Norfolk) Regiment in 1842, and in 1845 that he made his greatest contribution, with the founding of Boosé's Military Band Journal. The arrangements he published in this periodical achieved such wide circulation that they helped standardize the instrumentation of military bands in Britain. He was decorated with the Order of Merit by the Grand Duke of Hesse-Darmstadt. On Boosé's departure in 1859, a competition was held to chose the new bandmaster; the winner was Charles Godfrey junior. Though only 20 years old, he was already an accomplished musician, having received tuition from his father, from Henry Lazarus on the clarinet and from Sir George MacFarren. He had also played at various London theatres and in Louis Jullien's orchestra. After ten years with the Regiment, he transferred to the Royal Horse Guards where he remained for almost 34 years. He was the founder and editor of the Orpheus Military Band Journal, published by Lafleur, and later of the Army Band Journal. His successor, J C van Maanen, was born in Nijmegen, Holland and received his musical training at the Royal Conservatory of Music at The Hague. He came to London in 1843 to join the orchestra of Her Majesty's Theatre conducted by (Sir) Max Costa. On Costa's recommendation, he was appointed bandmaster of the 52nd (Oxfordshire Light Infantry) Regiment in 1845 and, after various moves, became bandmaster of the Scots Guards in 1868. In 1875 he exchanged appointments with John Power Clarke as bandmaster of the Royal Irish Constabulary. Clarke had served with the 61st (South Gloucestershire) Regiment and the 7th Hussars as a bandsman but purchased his discharge in order to obtain a more thorough training. Between 1844 and 1875, when he became bandmaster of the Scots, he had served with seven regiments in addition to the Constabulary. The first Kneller Hall trained bandmaster was Edward Holland whose father had been bandmaster of the 24th (2nd Warwickshire) Regiment. Subsequent bandmasters were Henry Dunkerton and Frederick Wood. Under the latter the Band, by now 40 strong, visited Canada in 1912 to perform at the Toronto Exhibition and in adjoining towns. During the Great War it performed its tour of duty with the Brigade of Guards in France and Belgium - at Ypres and the Somme in 1916, at Ypres again in 1917 and at Cologne in 1918 - returning to London with the Brigade in 1919. In 1916 it was the only British band at the review of the Allied International Troops held in Paris on 14 July, playing with the Regiment's pipers. It formed part of the massed bands of the Brigade of Guards who played in Paris in 1917, and the following year the string band was chosen to play at the reception given by King George V at the British Embassy in Paris. In 1918 too it went to Italy with the massed bands, playing in Rome and Milan. Bandmaster Wood was commissioned as a Lieutenant in 1919 and appointed senior director of music, the Brigade of Guards in 1921. The following year the Band visited Canada, playing in most of the principal towns of the from Quebec to Victoria. In all, 56 concerts were given in 28 venues. In 1927 Lt Wood was promoted to Captain and was decorated by King George V with the Royal Victorian Order the following year. He retired in 1929. Horace Dowell served as director of music until 1938 when he retired in the rank of Captain He was followed by Sam Rhodes, one of the finest musicians produced by the army. As senior director of music, the Bbrigade of Guards from 1949 to 1959, he was promoted Lieutenant-Colonel in 1955 and awarded the MVO and the MMBE. He is remembered mainly for the slow march 'Golden Spurs'. Perhaps the most moving and symbolic performance of the period came at Rotenburg Airfield in Germany on 9 June 1945 for the final parade of the Guards Armoured Division, the Division that had played such a central part in the Allied war effort. When Field-Marshal Montgomery had inspected and taken the salute of the armoured battalions for the last time, the tanks were driven off the parade ground and over the hills behind to the sounds of the Scots and Welsh Guards Bands playing 'Auld Lang Syne'. After a few moments, the men came back over the hill, footguards once more, as the Bands struck up the regimental marches. The next Director of Music was James Howe, who had served in the Royal Scots under Lt-Col Rhodes when the latter had been the bandmaster. In January 1964 the Band together with the pipes and drums, preceded on a three month tour of New Zealand and Australia, spending three days in Hong Kong en route. The Bands arrived back in London on 19 April having travelled nearly 40,000 miles and given 147 concerts. A trip to Paris at the end of 1970 was made to receive an award for the best recorded disc during the year, and several concerts were given there. This was followed by a visit to the Persian Gulf to play to the troops. Major Howe was appointed senior director of music, the Household Division in 1970 and awarded the MBE in 1971. In December 1971 he represented the British Army at the 10th Military Music Festival in Belgrade along with Directors of Music from around the world. In 1972 the Band made an extremely successful tour of America and Canada lasting three months. Whilst there it took part in the Canadian National Exhibition. Major Howe retired on 11 November 1974. The day before, the Band had broadcast on the Radio 3 Bandstand programme, though his last major appearance had been at the Edinburgh Tattoo earlier that year. He was followed by Captain Duncan Beat, an ideal choice for the Scots Guards, his father having been bandmaster of The Argyll and Sutherland Highlanders, while he himself had previously been bandmaster to The Black Watch. The Band visited America as part of what was effectively a touring version of the Edinburgh Tattoo, playing at the Wolf Trap in New York State to capacity audiences for fifteen days. The director of music for the Tattoo was Lieutenant-Colonel Sharpe. Further overseas trips were undertaken in 1979, to Western Australia and to Canada for the National Exhibition in Toronto. In 1980 Major Beat was responsible for the music at the ceremonies in Scotland to mark the 80th Birthday of HM Queen Elizabeth, the Queen Mother. As a result he was appointed a Member (4th Class) of the Royal Victorian Order; this was later re-designated Lieutenant (LVO). At the end of 1982 he was appointed Chief Instructor, Kneller Hall and was replaced by Major Brian Hicks. The Band, accompanied by the pipes and drums of The Black Watch, made a very successful three-month tour of North America in 1983. Soon after the return to England, however, Major Hicks was forced to retire due to ill-health. Major Don Carson assumed command and in 1984 was musical director of the Edinburgh Tattoo. In 1986 he took the Band to Australia playing at Tattoos in Adelaide and Sydney. The same year he directed the massed bands of all three services at the opening ceremony of the Commonwealth Games in Edinburgh. He retired prematurely in 1988 to become head of woodwind and brass at Dulwich College in London. Captain David Price moved to the Scots in December 1987 and the following April was promoted to Major. In 1990 a section of the band flew out to Trieste to play for P&O and later the complete band flew to New York for the same sponsors. It was on the return flight that they heard that they were to go to the Gulf as medical orderlies. On 3 November 1990, Major Price and the Band arrived in the Gulf to fulfil their secondary role. This was the first time that a Guards Band had been so deployed in war conditions. In October 1991 they played alongside the Welsh Guards Band in Paris for the Prix de L'Arc de Triomphe. More recently they went to Monte Carlo to support Manchester's ill-fated bid for the Olympic Games. In March 1993 Major Price became Senior Director of Music, the Household Division and shortly afterwards was promoted to Lieutenant-ColonelThe Band of the Irish Guards XE "Band of the Irish Guards" The Irish Regiment of Foot Guards was raised by Army Order 77, 1900 'to commemorate the bravery shown by the Irish regiments in the recent operations in South Africa'. Mr Charles Hassell, then Bandmaster of the 4th Battalion, The King's Royal Rifle Corps, was appointed to form a band for the new regiment. Following the example of the established Guards bands, it was not long before the Band of the Irish Guards was undertaking overseas trips, visiting Canada in 1906 and again in 1913 to perform at the Canadian National Exhibition, Toronto. It also took part in the opening ceremony of the 1st Dominion Fair, on the west coast in British Columbia. During the Great War, the Band was attached to the Guards Division and made tours of France in 1916, 1917 and 1918. Whilst stationed in Arras in 1918, it had the honour of being invited by the Italian Government to pay a visit to Rome where it was received by Her Majesty, Queen Elenor. It also performed in Italy with the massed bands of the Brigade of Guards. Amongst other distinctions, the Irish Guards Band is the only band in the British army to have taken part in three Victory Parades at the end of the War, in Paris, London and Belfast. Mr Hassell was commissioned as a Lieutenant on 1 March 1919 and retired in the rank of Captain in 1929. He was succeeded by Lieutenant (later Major) James Hurd and then in 1938 by Lieutenant George Willcocks. 'Polly' Willcocks, as he was known throughout the musical world, was a talented musician and a stylish conductor. He was also a military musician who between the years 1915 and 1921 had seen service in France, Germany, Iraq, Persia, India and Italy. In October 1943 the full band of over 60 musicians toured various theatres of war to entertain the troops, returning in the spring of 1944. During the tour, which extended to Italy and South Africa, the Band travelled 13,000 miles and gave more than 300 concerts, playing to over 150,000 troops. There followed a tour of Northern Ireland and Scotland. Major Willcocks left the Irish Guards in April 1949, initially to take up a civilian post in Southern Rhodesia, though he was later to return to Britain to become director of music to the Ford Motor Works Company. He was relieved by Lieutenant Cecil Jaeger who, at the age of 35, was the youngest director of music that the Guards had ever had. 'Jiggs' Jaeger was one of the great characters in army music, known for being both a witty raconteur and a skilled musician. As a young bandmaster with the 4th Hussars in Vienna at the end of the war, his talent had been acknowledged in an invitation to conduct the Vienna Symphony Orchestra for a series of five concerts. In 1954 the Band visited Canada once more to play at the National Exhibition, and the tour was extended to include several cities in New England. Amongst the most prestigious concerts was one in the Boston Symphony Hall, where the Band was given a standing ovation on its debut. Between August and December 1957 the Band, accompanied by the pipes and drums of the 1st Battalion, travelled some 35,000 miles by air, visiting Canada, the United States, Honolulu and Australia. One of the Band's greatest successes internationally was a ten-day visit to Turin to play for the Italia 1961 celebrations. At the International Military Band Week, it faced competition from some of the finest bands of the world, including the Garde Republicaine from France, the Carabinieri of Italy, the Belgium Guides, the Swedish Life Guards and the American No 4 Army Field Band. The Irish Guards was one of the smallest of these bands, at just one third of the size of the world-renowned Garde Republicaine, but it was the Irish who stole the show. Together with the pipes and drums of The Royal Scots, they flew to Beunos Aires in November 1963 for a month's tour of South America, visiting Argentina, Uraguay and Chile. No fewer than 130,000 people, including the President of the Republic of Chile, attended the two concerts given in the World Cup Stadium, Santiago. Back home the Band responded to the changing cultural climate of the '60s with the classic Marching With The Beatles album, for which Lennon and McCartney's songs were arranged by Arthur Wilkinson. It also appeared in two of the most successful British films of the decade: The Ipcress File, in which 'Jiggs' can be seen announcing the overture to The Marriage of Figaro, and Oh What A Lovely War, in which he appeared complete with false moustache. In 1963 Jaeger was appointed Senior Director of Music, the Household Division, and was later responsible for the music arrangements at the State Funeral of Winston Churchill. After a tour of Canada in 1968, he relinquished the reins and took a sabbatical period prior to taking up the appointment as director of music, Kneller Hall. In June 1969, in a typically high profile engagement, he conducted the trumpeters from a lofty perch on one of the towers at Caernavon Castle at the Investiture of Prince Charles as Prince of Wales. In September the following year, he conducted the Bands of the Grenadier and Welsh Guards, together with the antiphonal trumpeters in the music of the Investiture in the Lower Ward of Windsor Castle as part of the Windsor Festival. It was his last performance: the next day he died at his home in Whitton. His ashes were placed behind a memorial plaque in the chapel at Kneller Hall. To choose a replacement for 'Jiggs', who had been with the Irish Guards for 21 years, was an unenviable task but the selection of Gerry Horabin was excellent. Captain Horabin was without doubt one of the finest natural musicians to have graduated at Kneller Hall since the War and was also an extremely charismatic character. Within a short time he had put his own stamp on the Band. Captain Horabin was promoted to Major on 17 March 1972 (St Patrick's Day) and appointed senior director of music, The Household Division on 12 November 1974. He retired prematurely in 1977 due to ill-health. The new director of music, Captain Michael Lane was a gifted musician playing violin, French horn, piano and organ. He was also a great teller of jokes and there was an endless stream of Irish stories at his concerts. A devout Christian, he was reputed to know every hymn and tune in the Ancient and Modern Hymnal. He was appointed senior director of music, the Household Division in 1987 and promoted to Lieutenant-Colonel. It was not to be a long incumbency; whilst visiting Kneller Hall on 19 September 1989, he suffered a heart attack, went into a coma and died at the Cambridge Military Hospital on 7 November. With the untimely death of Colonel Mick Lane, Captain Michael Henderson was transferred from the Royal Army Ordnance Corps to become the Band's seventh director of music. The Band of the Welsh Guards XE "Band of the Welsh Guards" The Welsh Guards are the youngest of the foot guards, being raised in 1915. On 8 September of that year, Mr Andrew Harris, of the Royal Artillery (Gibraltar) was appointed to be the first bandmaster, and in November the band itself was formed. The regimental history tells us that the funds to buy the instruments were provided by the City of Cardiff. With the prospect of having to live up to the high standards set by the existing guards bands, the Welsh Guards faced a tough challenge. Their first appearances on 1 March 1916, St David's Day, however, dispelled any doubts that may have been harboured; a guard mounting at Buckingham Palace followed by a performance at a Welsh Patriotic Meeting at the London Opera House with Lord Harlech and Major-General Sir Francis Lloyd in attendance, demonstrated clearly the musical quality of the new band. Coming together in the midst of The Great War, it was not long before the bandsmen were sent overseas. On 28 October 1916 they proceeded to France for duty with the Guards Division, meeting the 1st Battalion, then returning from the front line, a few weeks later and playing the guardsmen back to their billets. In May 1917 the Band, resplendent in full dress, formed part of the massed bands of the Brigade of Guards which gave concerts at the Trocadero and the Tuileries Gardens, Paris. Later the massed bands visited Italy performing in Rome and Milan; during the tour, each musician was presented with a silver cigarette case by Queen Elenor. In May 1918, at the request of the American Embassy, the Band played at the Memorial Service in Paris, and in July 1919 it took part in the great Victory March in Paris, where it had the honour of playing the Colours of the British Army through the Arc de Triomphe. Bandmaster Harris was commissioned as Lieutenant on 1 March 1919, and went on to become senior Director of Music, Brigade of Guards, finally retiring in the rank of major at the end of 1937. At his final appearance at the Albert Hall for the Festival of Remembrance, he was able to tell the audience that he would be sitting with them the following year as an old comrade having completed fifty years service. His legacy is a fine series of recordings, eighteen of which, dating from 1929-34, have recently been reissued on compact disc. Major Harris was succeeded by Lieutenant 'Tommy' Chandler who was to stay with the Welsh for eleven years, retiring in the rank of Major and as senior director of music of the Brigade. In the spring of 1945 the Band made a short tour of Europe playing at the Paris Opera House and the Cirque Royale in Brussels amongst other venues. The same year saw the last parade of the Guards Armoured Division, for which the Band of the Welsh joined the Band of the Scots Guards. The next director of music was Leslie Statham, renowned as a composer both under his own name and also under the pen name of Arnold Steck. One of his more popular marches is 'Drum Majorette', the original signature tune to the BBC's Match of the Day. In September 1948, the Band visited Canada to play at the National Exhibition in Toronto. It was estimated that the Band's 127 concerts were attended by nearly one and a half million people and during the course of the engagement the Band played 1174 programme items. The Band made a further visit to the Canadian National Exhibition following the Coronation in 1953. These trips were something of a return engagement for Major Statham, who had been featured as a solo pianist when the Kneller Hall Band had visited Canada in 1931. Major Statham retired from the service in 1962 to concentrate on a career as a composer and arranger. In 1965, the Band under Captain Arthur Kenney appeared at the British Week in Milan and two years later, together with the Pipes, Drums and Dancers of the Scots Guards, they visited America where they presented a Military Tattoo which included the Ceremony of the Keys, as performed nightly at the Tower of London. In July 1969 the Band played a prominent part in the celebrations connected with the Investiture of Prince Charles as the Prince of Wales. This was one of Major Kenney's last important engagements, for he resigned his commission in October of that year in order to devote more time to his interests in the world of civilian music. Major Desmond Walker took over, but less than five years later, he died suddenly at the age of 50, a few weeks before the Band was to embark on a three months tour of the Canada and America. Both he and the Band were at the pinnacle of success with recording contracts, frequent broadcasts and appearances at many major sporting events. He was due to appear at the Royal International Horse of the Year Show at Wembley when it was announced that he had died. Captain Derek Taylor was quickly appointed director of music and he took the Band on the American tour. Accompanied by the pipes and drums of The Argyll and Sutherland Highlanders they played in 73 principal towns and cities. A review in the Washington Star-News commented: The Welsh Guards have an unusually creamy, velvety sound when they play legato and a bright crisp sound when they are war-like . . .And the pipes and drums were also greatly appreciated, the Montreal Star reporting that 'The pipes were magnificent, and the lone piper's 'Sleep Dearie Sleep' awed with its tenderness.' The Band visited Houston, Texas in three successive years from 1984. Captain Peter Hannam took over the leadership of the Band in January 1986, and maintained the international connexions. In 1988 five overseas trips were undertaken: to Seattle for the retirement dinner of the chairman of the Boeing Corporation, to Sydney, Australia for the Boeings' Bicentennial Air Show, to Japan for an International Tattoo, to Paris as the first British contingent to take part in the Armistice Day Parade, and finally to Georgia in the United States. They also appeared that year for the first time at the Royal Tournament. In 1989 they visited Houston, Texas yet again. Included in the itinerary was a concert with the Houston Symphony Orchestra. In 1990 Peter Hannam became the first director of music in the Welsh Guards to be promoted to Lieutenant-Colonel. He also holds the distinction of having been awarded the BEM as a corporal in the Band of The Gloucestershire Regiment whilst on active service in Cyprus 1964-65, adding the MBE to his honours in 1992. At the time of his retirement in 1993, he was the last remaining national serviceman still serving in army music. Major Cliff Ross was with the Band for less than two years before being chosen to become the Principal Director of Music (Army) and moving to the newly constituted Headquarters Army Music, based at Kneller Hall. He was succeeded by Major Stuart Watts, previously director of music of the Grenadier Guards, and subsequently by Captain Philip Shannon from the Prince of Wales's Division (Clive). British Regimental Marches XE "British Regimental Marches" see regimental marchesEach unit of the British Army is represented by a regimental march. Included are British Grenadiers Ca Ira and God Bless the Prince of Wales. Marches are played during and after parades and following concerts. The Royal School of Music maintains the list of marches and the arrangements of each march requires official sanction. Marches come from various sources including folk songs and popular era song.Bugle Calls-Britain XE "Bugle Calls-Britain" Routine Bugle Calls for the Infantry and Mounted Infantry in Camp and QuartersOfficersCompany Sergeant Majors of InfantryCompany Quartermaster Sergeants (Colour Sergeants) of InfantryAll Non Commissioned OfficersOrderly SergeantsOrderly CorporalsBandDrummers or BuglersSignalersPioneersDoubleOrdersOrderly RoomPost CallWarning for ParadeQuarter Call (before Parade)Fall InDismiss or No ParadeParade for GuardFatigueDefaultersSickSchoolRationsParade for PiquetAlarm (for Troops to turn out under Arms)Fire AlarmOfficers’ Dress for DinnerOfficers’ DinnerSergeants’ DinnerMen’s Meal (1st Call)Men’s Meal (2nd Call)Salute for Guard (to be used on all occasions when bugles are required to sound a salute and the General Salute is not to be used)General Salute (for Field-Marshals, Generals, Lieutenant-Generals and Major-Generals)Reveille (also known as the Long Reveille)Rouse (also known as Reveille) Charlie ReveilleRetreatTattoo (1st Post)Last Post (Tattoo)Lights OutChargeAlarmForward or AdvanceWalkTrotGallopMarchHaltAnnul or As You Werea Troops Half-Rightb Troops Right Wheelb Troops Left WheelForm LineRetire or Troops Right (or Left) About Wheel or (for Artillery) Sub-Sections Right About Wheela Squadron Columnsb Squadron Columns to the Rightc Squadron Columns to the LeftPursuea Rally or Close to the Rightb Rally or Close to the Lefta Mass to the Rightb Mass to the LeftAttentionMarch at Ease or Sit at EaseStand To Your HorsesMountDismountFours or Sections AboutFrontTroop ColumnColumn of Troopsa Head of Column or Heads of Column, Change Direction Half-Rightb Head of Column or Heads of Column, Change Direction To The Righta Head of Column or Heads of Column, Change Direction Half-Leftb Head of Column or Heads of Column, Change Direction To The LeftSquadron Leaders – RightSquadron leaders – LeftContinue or Commence FiringStand Fast or Cease FiringDraw or Return SwordsCarry Swords or LancesSlope Swords or Sling LancesTrail LancesPrepare to Mount or DismountExecute Orders ReceivedChargeAlarmBugle Calls for Remembrance Day Services These Remembrance Day Service Calls are 600kb each.Last Post – 2 minutes silence – RouseLast Post – 2 minutes silence – Long ReveilleLast Post – 2 minutes silence – Naval or ‘Charlie’ ReveilleBugle Calls USAThe bugle was essential to all military communication until its displacement by electronics. The primary bugler was assigned to the headquarters staff, and kept close to the commander at the front. Soldiers were quick to learn the calls of the bugle, and on a routine day at least four, and as many as ten, were made.Today the sound of the bugle is heard across Army Forts from early morning to late at night. Literally, the bugle regulates the soldier’s day. In a bow to the modern electronic age, the calls are recorded, and then broadcast on schedule through loudspeakers located around the post. Bugle calls are musical signals that announce scheduled and certain non-scheduled events on an Army installation. Scheduled calls are prescribed by the commander and normally follow the sequence shown below. Non-scheduled calls are sounded by the direction of the commander. Individual calls sometimes have interesting histories and antecedents.The bugle was first used as a signal instrument in the American Army during the Revolutionary War. The bugle calls evolved from Continental Army contacts with the French and English armies during the Revolutionary War. These two nations have had the most effect on our present system of calls. In the early years of our nation’s independence, each arm and branch of the Army developed its own set of “sound signals” – drum beats in the Infantry; bugle calls in the Cavalry and Artillery.By the end of the Civil War the artillery, cavalry, and infantry were sounding bugle calls. In 1867, General Emory Upton directed Major Truman Seymour, 5th U.S. Artillery, to prepare a definitive system of calls with the object of eliminating the confusion evident during the Civil War. Major Seymour reviewed all the calls then in use in the Army. He discarded some, revised others, and finally fashioned the set of calls which have remained in use up to the present time. In 1867, bugle calls were standardized for all branches of the Army. The enlisted soldier’s life was regulated by bugle calls: the daily routine included breakfast, dinner, and supper calls; fatigue call, drill call, stable and water calls, sick call, and taps. On Sundays, the church call was added to the daily schedule.Times & Meaning5:50 AM – Assembly of Trumpeters for Reveille [First Call] The first signal for the soldiers to raise and shine. This call was historically sounded between 4:45 AM – and 6:00 AM – depending on the season. It bears a similarity to the French Cavalry call “La Garde a Vous.”6:00 AM – Reveille Upon the last note of this call, the flag was raised, and the morning gun fired and the men all had to assemble for morning roll call. It is the same as a French call which dates from the time of the Crusades.6:15 AM – Stable CallSoldiers in the cavalry would report to the stables to feed and groom their mounts.6:30 AM – Breakfast Call [Mess Call] 7:00 AM – Sick CallSoldiers who were ill were to report to the hospital for examination by the surgeon.7:30 AM – Fatigue CallThose soldiers appointed to a work party would report to their assignments.8:50 AM – Guard Mounting, Assembly of TrumpetersFirst call for “Guard Mount”, or the changing of the 24-hour guard detail.8:55 AM – Guard Mounting, Assembly of Guard DetailMen assigned to guard duty assemble in front of their respective barracks.9:00 AM – Guard Mounting, Adjutant’s Call The guard details were marched to the guardhouse where the Guard Mount ceremony took place.9:15 AM – Water CallHorses received their watering.9:55 AM – Drill, First CallPreparatory call for soldiers assigned to morning drill.10:00 AM – Drill, AssemblySoldiers would practice the Manual of Arms, bayonet drills and marching. New recruits would be taught more basic skills.11:00 AM – Recall from Drill Morning drill was to cease.11:30 AM – Recall from Fatigue Morning work parties were to cease at the sound of this call.12:00 Noon. Dinner Call [Mess Call] Dinner was the main meal of the day.1:00 PM – Fatigue CallAfternoon work parties.1:30 PM – First Sergeant’s CallCompany First Sergeant’s were to report to the post headquarters with their “Morning Reports” on the number of their men sick in the hospital, on guard duty, on drill or fatigue, or on special assignment.2:00 PM – Mounted Drill, Boots and SaddlesThis signal alerted cavalrymen to put on their riding boots and saddle their horses.2:30 PM – Dismounted DrillCavalrymen are to practice all movements on foot before attempting them on horseback. This drill also allows cavalry men to prepare for battle on foot.3:30 PM – Recall from Drill RM / MP3Afternoon drill was to cease.4:30 PM – Water and Stable CallHorses received their afternoon watering and cavalrymen repeated the morning care of their horses.5:00 PM – Recall from Fatigue RM / MP3Afternoon work parties were to cease at the sound of this call.5:15 PM – Assembly of Trumpeters for RetreatPreparatory call for Retreat Parade.5:30 PM – Assembly The entire garrison would turn out for the Retreat ceremony. The actual lowering of the flag and playing of Retreat would occur at sunset.5:45 PM – Adjutant’s Call The Captains march the companies (musicians playing) to the regimental parade grounds, where they take positions in the order of battle. After reporting to the senior officer present, the Retreat ceremony would commence.6:00 PM – Retreat The flag-lowering ceremony.8:55 PM – Assembly of Trumpeters for Tattoo9:00 PM – Tattoo “Tattoo” was the signal for the men to prepare for bed and to secure the post.9:05 PM – Assembly Bed check, the last roll call of the day.9:15 PM – Taps By the final note of “Taps” all lights were to be extinguished, all men bedded down in their bunks, and all loud talking was to cease.Additional Calls include:To The Colors– To the Color is a bugle call to render honors to the nation. It is used when no band is available to render honors, or in ceremonies requiring honors to the nation more than once. To the Color commands all the same courtesies as the National Anthem.Attention– Sound as a warning that troops are about to be called to attention.Carry On TO ARMS — Signals all troops to fall under arms at designated places without delay.Charge — WavChurch Call — It is exactly the same as the French “Church Call.” It predates the Seymour revisions of 1867, having been adapted from the “Sonneries de Chasseurs d’Orleans of 1845.TattooTattoo originated during the Thirty Years War, 1618-1648, and in German was called “Zapfenstreich.” At 9:00 P.M., as the call was sounded, all bungs (zapfen) had to be replaced in their barrels, signifying the end of nightly drinking. The provost guard then drew a chalk line (streich) across the bung so that it could not be reopened without evidence of tampering. Tattoo is the longest U.S. Army call, consisting of twenty- eight measures. The first eight are from the French call “Extinction de Feux” and the last twenty measures are from the British “First Post” – in turn adapted from an old Neapolitan Cavalry call “Il Silencio”.Retreat (also see Retreat 2)The bugle call sounded at retreat was first used in the French Army and dates back to the crusades. When you hear it, you are listening to a beautiful melody that has come to symbolize the finest qualities of the soldiers of nearly 900 years. Retreat has always been at sunset and its purpose was to notify the sentries to start challenging until sunrise, and to tell the rank and file to go to their quarters and stay there. In our times the ceremony remains as a tradition. When you are outdoors and hear retreat played, you face toward the flag if you can see it and stand at parade rest. If the flag is not within sight. then face toward the music.The History of TapsThe melody that gave the present day “Taps” was made during the Civil War by Union General Daniel Adams Butterfield, in command of a brigade camped at Harrison Landing, Virginia, near Richmond. Up to that time, the U.S. Army infantry call to end the day was the French final call “L’Extinction des feux”. General Butterfield decided the “lights out” music was too formal to signal the end of the day. One day in July 1862, he recalled the “Tattoo” music and hummed a version of it to an aide who wrote the melody down. Butterfield asked the brigade bugler, Oliver W. Norton, to play the notes, and after listening, he lengthened and shortened them while keeping the original melody. Thereafter, General Butterfield ordered Norton to play this new call at the end of each day instead of the regular call. The music was heard and appreciated by the other brigades, who asked for copies and adopted it for own use. It was even adopted by the Confederates.The first time “Taps” was played at a military funeral may have been in Virginia, soon after Butterfield composed it. Union Captain John Tidball, head of an artillery battery, ordered it played for the burial of a cannoneer killed in action. Not wanting to reveal the position of the battery, Tidball substituted “Taps” for the three rifle volleys fired over the grave.Major Seymour, in 1867, was evidently not aware of General Butterfield’s composition. The major did not include it in his system of calls, and it was not officially adopted until 1874. Considered to be the most beautiful of calls, Taps provides a fitting close to the soldier’s day, and when the time comes, to his or her final departure from the ranks. The melody was made the official Army bugle call after the war, but was not given the name “Taps” until 1874.Source “U.S. Army Military District of Columbia Fact Sheet”Taps’ LyricsWhile there are no official words to the bugle call “Taps”, the commonly used lyrics are:Fading light dims the sight, And a star gems the sky, gleaming bright.From afar drawing nigh — Falls the night.Day is done, gone the sun, From the lake, from the hills, from the sky; All is well, safely rest, God is nigh.Then good night, peaceful night, Till the light of the dawn shineth bright; God is near, do not fear — Friend, good night.Retreat (2) USARetreat is a daily ceremony held at all army installations as the national flag is lowered at the end of the work day. It is scheduled at a definite time in late afternoon: the precise time left to the discretion of the installation commander. At Fort Monmouth the time designated is 1700 hours (5:00 pm). The ceremonies of retreat in the afternoon, coupled with reveille in the morning constitute a dignified homage to the national flag from its raising to its lowering. The bugle call “retreat” is sounded just before the actual lowering of the flag. At the last note of this call, cannon is fired. Then, if a band is present, the national anthem will be rendered. In the absence of a band, the bugle call “to the colors” is substituted. As the anthem, or “to the colors” is sounded, the flag is lowered. The lowering of the flag will be regulated so as to be completed with the last note of the music. All personnel within sight or sound of the ceremony will come to attention and render the appropriate salute, facing the flag. Vehicular traffic will come to a halt, and the driver or individual in charge of the vehicle will dismount to render honors. The retreat ceremony is known to have been in use in the American army since the revolutionary war. At that time it was sounded by drums-the normal musical instrument found in the infantry units of that period. The history of the evening gun is much older. Initially it was not connected with a flag lowering. One legend has it that it was initially fired to drive away evil spirits. That would put its origin back in the middle ages when gunpowder was introduced into Europe, and much earlier in the orient. It seems logical in more modern times that the firing of a gun near sunset was intended to call the troops back to the fort or camp from their fatigue duties of the day. The booming of the cannon could be heard at a greater distance than the sound of either drum or bugle. Finally, a parade can be held in conjunction with the retreat ceremonyBulgarian Military bandsThe military brass orchestra of the Bulgarian Army known as “Vasil Levski" is the successor to the traditions of the first military brass orchestra in Bulgaria, which participated in the celebrations in Veliko Tarnovo, on the occasion of the adoption of the Tarnovo Constitution in 1879.With its diverse activities, military brass orchestra to NVU "Vasil Levski" contribute to the artistic and aesthetic culture of the military service in Bulgaria. They perform at a highly professional level and actively participated in military and civil events, as well as ceremonies at the University. Of Veliko Tarnovo and many other cities in Bulgaria.During different periods of the history of the military school and band have worked with famous American composers and conductors including Maestro Georgi Atanasov, Todor Lerman, Emmett, and in recent times Sally Papazov (1957 -1967), Ivan Denov (1967, -1982).and Plamen Kabak?iev (1982-). Beginning in 2000, the conductor of the military brass orchestra was Major Nicholas Kelly. The military band has a rich repertoire including classical and contemporary works of Bulgarian and foreign composers. They have issued two CD-first in 1997 and the second in 2007 in conjunction with the Orchestra of the 2nd light infantry brigade Tund?anska-??. Stara Zagora. By 2006, the Orchestra worked in joint cultural projects with a military brass band 2nd light infantry brigade Tund?anska-??. Stara Zagora, in the form of a University military Orchestra. The band has hosted an annual International Festival of military bands and has made numerous appearances both in the country and abroad.World Book of Military MusicHYPERLINK "D:\\C"CCanadian Military Bands XE "Canadian Military Bands" XE "Canadian Military Bands" TA \l "Canadian Military Bands" \s "Canadian Military Bands" \c 1 HistoryMilitary music under the French regime appears to have been limited to the sound of fifes, drums, and trumpets. When Pierre de Voyer d'Argenson, the governor of New France 1658-61, announced the intra missam on the main holy days, he had the fifes and tambours play, much to the annoyance of Bishop Laval, so Auguste Gosselin relates (Vie de Mgr de Laval, vol 1, Quebec City 1890). In the Carignan-Salières Regiment (which arrived in 1665, the first regular troops in Canada), each company had two tambours and one fife along with its 50 officers and soldiers. 'The drums placed at the head of each company were used to keep the marching in order, to quicken it, to slow it down, and to rally to the flag all the scattered men' (Régis Roy and Gérard Malchelosse, Le Régiment de Carignan, Montreal 1925). A few of the 'tambours' (drummers), Canada's earliest military musicians, are known by name: Fran?ois du Moussart, Gugnot dit Le Tambour, and Jean Casavan (sic), a trumpeter and an ancestor ofthe Casavant organ builders. After three years of frontier warfare the regiment returned to France, but some 400 men stayed in Canada. It was only under the British regime, in the late 18th century, that larger regimental bands were sent to Canada. For about 150 years bands remained the basis of instrumental ensemble performance in Canada, and band musicians (along with church organists) were the backbone of the musical profession. Their military employment provided a basic income that could be supplemented by teaching, playing church organs, dealing in musical merchandise, or perhaps repairing instruments. The predominance of bands over orchestras and chamber ensembles was due also to the fact that band instruments can be learned more quickly than string or keyboard instruments. Furthermore, the extrovert music and vigorous sound of bands, their suitability for rousing patriotic emotions, and their usefulness in enhancing non-musical events made them popular. The activities of the British regimental bands in Canada are documented amply in the travel literature and the diaries of the late 18th and early 19th centuries. A few quotations will suffice to draw a picture. On 2 Mar 1792 Mrs Simcoe, the wife of the first lieutenant-governor of Upper Canada, 'gave a dance to forty people at Quebec. The Prince was present... The Fusiliers... are all musical and like dancing, and bestow as much money as other regiments usually spend in wine, in giving balls and concerts, which makes them very popular in this place where dancing is so favourite an amusement' (The Diary of Mrs. John Graves Simcoe, 1791-1796, ed J. Ross Robertson, Toronto 1911, p 79). Elsewhere Mrs Simcoe reveals just how much was spent on the band. On 21 Nov 1791 she attended a subscription concert in Quebec City. 'Prince Edward's band of the 7th Fusiliers played, and some of the officers of the Fusiliers. The music was thought excellent. The band costs the Prince eight hundred pounds a year' (ibid, p 55). The program was mostly of Pleyel's music, including a symphony, a string quartet, and a concertante, and the Gazette (28 Nov 1791) reported that 'Beauty and Elegance partook of the most delightful Musical Fete ever remembered in this country, it being the first Winter Concert for the season. A more numerous band has not been seen together, nor a more numerous assemblage of ladies and gentlemen could not be well gathered together'. As in most such concerts, the band musicians were joined by civilian amateurs. Thus John Lambert, in his Travels through Canada and the United States of North America in the Years 1806, 1807, & 1808 (London, 3rd edn, 1816) confirms that at the occasional private concert in Quebec City 'the performers are some gentlemen of Quebec, assisted by a part of the regimental bands in the garrison'. Indeed, the Quebec City subscription concerts of the 1790s, the tentative Montreal orchestras of the 1890s, and the orchestras of many medium-sized cities in the mid-20th century would not have been able to function had they been unable to 'borrow' band musicians. Similar instances are documented in other cities. In Montreal the first battalion band of the 60th, or Royal American, Regiment played 'generally... for a couple of hours' on summer evenings on a public promenade ('Canadian Letters... 1792 and '93,' Canadian Antiquarian and Numismatic Journal, series 3, vol 9, 1912, p 106). Seventy years later Samuel Phillips Day reported from Montreal, 'The appearance of the troops on parade afforded much pleasure to the citizens; and when the military band performed on stated occasions in the Champ de Mars, the public was generally attracted thither' (English America, vol 1, London 1864, p 170). Bands outside the British regiments came into existence about 1820; early examples are the band of the Children of Peace in Hope (Sharon, Ont) and the Musique Canadienne of Quebec City. Within a few decades most towns and cities had bands, often associated with local fire brigades, temperance societies, or volunteer militia. Later in the century bands were sponsored by municipalities, by such associations as the St-Jean-Baptiste and the Orange societies, or by manufacturers for their employees, eg, the Taylor Safe Works Band of Toronto. About the turn of the century full-time Canadian military bands came into existence, and after that time the variety of ensembles grew: kiltie bands, Salvation Army bands, concert bands, broadcast and recording studio bands, Canadian Legion bands, football bands, cadet bands, and other varieties. Bands have been prominent among Canadian ambassadors of goodwill. Year after year Canadian bands have toured the USA, Europe, and other parts of the world, to participate in ceremonies, to enter contests, or to appear in festivals. BandmastersThe following are among the more prominent band directors1800-50 J.-C. Brauneis I, Richard Coates, Frederick Glackemeyer, Charles Sauvageau, Adam Schott, Fran?ois Vézina, James Ziegler Sr 1850-1900 John Bayley, Peter Grossman, Edmond Hardy, Charles Lavallée, Ernest Lavigne, George R. Robinson, Joseph Vézina 1900-50 L.F. Addison, Giuseppe Agostini, Fred A. Bagley, Edwin Bélanger, S.G. Chamberlain, H.L. Clarke, H.C. Ford, J.-J. Gagnier, René Gagnier, Joseph-Laurent Gariépy, J.-J. Goulet, Richard B. Hayward, Fran?ois J.-A. Héraly, E. Reginald Hinchey, Charles O'Neill, Paul Pratt, ?mile Prévost, Léon Ringuet, William F. Robinson, Spurgeon Sheppard, Henry Slatter, John Slatter, Charles F. Thiele, Alfred E. Zealley 1950- William T. Atkins, B.G. Bogisch, Martin Boundy, Howard Cable, Morley Calvert, Leonard Camplin, Frank Connell, Arthur Delamont, Armand Ferland, A.C. Furey, Gérald Gagnier, J.M. Gayfer, Clifford Hunt, Ronald MacKay, F.M. McLeod, Jean-Fran?ois Pierret, John Schoen, W. Bramwell Smith, Derek Stannard, Charles Villeneuve Composers and ArrangersIn addition to bandmasters themselves, other Canadian composers have written for band, especially Kenneth Campbell, Claude Champagne, Donald Coakley, Maurice DeCelles, Gordon Delamont, Robert Fleming, Harry Freedman, Graham George, A.W. Hughes, Lothar Klein, L.-P. Laurendeau, Calixa Lavallée, William McCauley, Paul McIntyre, Jack Sirulnikoff, Morris Surdin, John Weinzweig, Healey Willan, and Gerhard Wuensch. Festivals and CompetitionsBand festivals can be traced back to at least 1858 in Toronto. Bands competed in 1877 in Berlin (Kitchener), Ont, and the following year 19 military and civilian bands, from as far away as Stratford and Waterloo in the west and Quebec City in the east, competed in Montreal. The Waterloo (Ont) Musical Society in 1885 held a 16-band tournament, and this was followed by others in Ontario. Later competitions included those begun at the CNE in Toronto in 1921 and the Waterloo Band Festival, begun in 1932. See also Band festivals. Reserve BandsBands attached to reserve armed forces units and made up completely of spare-time musicians. The growth of Canadian reserve bands reflects the growth of the country's reserve forces. The Militia Act of 1855, which set up a volunteer force of up to 5000, is considered the foundation of the modern Canadian armed forces. The volunteer militia had a strength of 43,500 by 1869, and the last British regular units were withdrawn in 1871 (except for naval stations in Halifax and Esquimalt, BC), the same year the first Canadian regular units were formed. Prior to Confederation military music was provided by British army regimental bands garrisoned in Canadian towns. These bands achieved immense popularity through their appearances in concerts and parades. When the British regiments and their bands returned to England and were replaced by the Canadian volunteer militia a void was created in band music because of the difficulty in obtaining qualified musicians and bandmasters. Fortunately some remained in Canada and became active in training and organizing militia bands. Of the many ensembles formed during the next 100 years, only a few examples can be named here. The first enlisted band in Canada was that of the Independent Artillery Company of the militia in Hamilton, Ont, under the bandmaster Peter Grossman in 1856. In 1886 Grossman also formed the 13th Battalion Band, which later became known as the Royal Hamilton Light Infantry Band. By 1869 there were some 46 bands in the Canadian militia. A contemporary inspection report reveals the number of musicians and comments on their proficiency, eg: '29th Battalion Band: A fair band of 11 musicians; 45th Battalion Band: One of the best bands in the district, 21 performers; 65th Battalion Band: Brass band, 15 musicians, just organized'. Canadian bands had a part in military action before World War I. From the time of the Fenian Raids in the late 1860s comes this account of the militia leaving to defend their homes: 'The Volunteers of Peel county, Ont had been called out to help fight the Fenian invasion. The fife and drum struck up the tune of "Tramp, Tramp, Tramp, the boys are marching," the men began to cheer and sing and the train pulled out of Toronto and as we feared, toward the front' (William P. Bull, From Brock to Currie, Toronto 1935). During the Northwest (Riel) Rebellion 'the brass band 90th Regiment, Winnipeg, particularly during the last few months of the campaign, improved wonderfully and was the pride and joy of the force' (Ernest J. Chambers, A Regimental History of The 90th Regiment Winnipeg Rifles, no publisher; no place of publication, 1906). One of Canada's oldest and most famous bands, the band of the Queen's Own Rifles, was formed in 1862 in Toronto. Another early militia band was that of the Royal Regiment of Canada. Among the volunteer militia bands associated with the outstanding 19th-century Quebec bandmaster Joseph Vézina were those of the 9th Battalion Quebec Rifles, which he led 1869-79, and the band of the 'B' Battery of the Royal Canadian Artillery, which he led 1879-1912 (see Musical Canada, Feb 1932). The Governor General's Foot Guards Band of Ottawa was established in 1872 and continued to function through the two world wars and successive reorganizations of the post-war militia. The Band of the 19th St Catharines (Ont) Regiment was formed at the turn of the century under Lieut William Peel and later became the Lincoln and Welland Band. In 1964 it performed at Bergen-Op-Zoom in the ceremonies marking the 20th anniversary of the liberation of Holland. During the centennial celebrations in 1967 the band toured northern Ontario. Outstanding volunteer militia bands in Winnipeg have been the Royal Winnipeg Rifles, formed in 1883 and still active in 1991, and the 106th Winnipeg Light Infantry Band, organized in 1912. During World War I the bandmaster Thomas William James took the latter to England, where it merged with the 10th Battalion Band of the Canadian Expeditionary Force. It became the first Canadian band to serve on French soil. The regimental band of the 48th Highlanders of Canada was formed in Toronto in the fall of 1892 under John Griffin and achieved fame under Capt John Slatter, its director 1896-1946. The band of Hamilton's 91st Highlanders was formed by Harry Stares in 1903. The regiment changed its name in 1904 to the 91st Regiment Canadian Highlanders, and in 1920 it became the Argyll and Sutherland Highlanders of Canada. The band was active in the 1920s and 1930s. Another prominent ensemble was the Canadian Grenadier Guards Band under Capt J.-J. Gagnier, which numbered as many as 60 performers during the 1920s and 1930s. It was disbanded in 1970. At the beginning of World War I the Dept of Militia and Defence made no provision for regimental bands, but many militia units formed their own on an unofficial basis. In 1914 the establishment of every Canadian Expeditionary Force battalion was increased optionally by one bandmaster and 24 bandsmen. Many militia units were fortunate in securing the services of civilian bands enlisted as groups, eg, the 157th Battalion Band of Orillia, Ont. This type of patriotism was not confined to the Dominion; in Newfoundland almost the entire Ayr Burg Band joined the Newfoundland Regiment under its bandmaster, L.L. Worthington. At the military site of Camp Borden, Ont, in August 1916, 28 bands were present among over 40,000 soldiers. At that time the first evening tattoo ceremony took place in Camp Borden. Following World War I the Westminster (later Royal Westminster) Regiment Band came into being. Under Sgt Harry Moss it became important in the musical life of New Westminster, BC. The band appeared before George VI and Queen Elizabeth during their visit in 1939, has given summer concerts in the Queen's Park bandshell, and has played at numerous openings of the British Columbia Legislature and at the Peace Arch ceremonies in Blaine, Wash. Other noted bands of the 1920-39 period included the 1st British Columbia Regiment Band in Vancouver (Lieut C.J. Cornfield), and the London (Ont) Fusiliers (later no. 4 Royal Canadian Regiment Band). At the outbreak of World War II militia units were not authorized to enlist their bands for overseas service. However by 1940 it was decided to recruit musicians for training centres across Canada for the purpose of forming bands. Lieut A.L. Streeter was appointed music director for reinforcement units in England. After the war a reorganization of reserve bands was begun, and by 1951 106 30-piece military bands had been authorized. In 1990 64 bands were authorized for the Canadian Forces Primary Reserve. Of these, 10 were in the Atlantic provinces, 11 in Quebec, 25 in Ontario, 12 in the Prairie region, and 6 in British Columbia. Of those bands using standard military instrumentation 8 were Navy, 29 Army (1 staffed by unpaid volunteers), and 2 Air Reserve. There were also 23 pipe bands. and 2 bugle bands. The bands were employed in musical support duties including unit parades, formal dinners, community concerts, and a variety of local, national and international events. In 1990 several outstanding reserve band events took place including a band spectacular hosted by the 15th Field Regiment, Royal Canadian Artillery (Reserve) at Vancouver's Queen Elizabeth Auditorium in which 150 musicians including the regular force Naden Band participated in a concert which opened with an adaptation for band of Beethoven's Ode to Joy and concluded with a massed performance of military band and pipes and drums. A similar extravaganza in Toronto's Roy Thomson Hall celebrated the Royal Canadian Military Institute's 100th anniversary. Over 2000 musicians from all nine of Toronto's reserve bands took part. In 1979 a summertime reserve band made up of advanced musicians recruited from across Canada was formed to perform at the daily Changing of the Guard ceremony on Ottawa's Parliament Hill. Through the variety of its performance duties and a training program which has included participation in master classes the Band of the Ceremonial Guard has offered its members outstanding opportunities for professional development. Some of the instruments used in the early bands are entered under modern substitutes: eg, E-flat saxophone horns under Alto saxophones, B-flat saxophone horns under Tenor saxophones, and Sarrusophones under Bass (tuba). Regular Armed Forces BandsArmy BandsThe first regular armed forces bands were formed in Canada in 1899. Their main purpose has been to provide music for military or public functions. Prior to the unification of the Canadian forces in 1968, 17 regular military bands of the navy, army, and air force were authorized. After unification they were reorganized into nine larger bands with a total personnel of over 300. The first full-time army band was that of the Royal Canadian Garrison Artillery formed in 1899 at Quebec Citadel with Joseph Vézina as bandmaster. It was led later by Charles O'Neill. The Royal Canadian Horse Artillery Band was organized in 1905 in Kingston, Ont, with Maj Alfred Light as its leader. The first unit to receive authorization for a full-time band was the Royal Canadian Regiment. The band was formed in 1900 in Halifax by the British bandmaster Michael Ryan, was officially recognized in 1905, and took part in the coronation ceremonies for George V in 1911 and in the dedication of the Cross of Sacrifice at Washington, DC, in 1927. Lieut L.K. Harrison was appointed music director in 1924 and Lieut John Proderick in 1940. The Princess Patricia's Canadian Light Infantry Band was established in 1919, when the regiment became a permanent force unit. The band was recruited by Capt Thomas William James in Toronto and later moved to Winnipeg. In 1922 the newly organized French-Canadian Regiment, the Royal 22nd (called the Van Doos because of its French name, Royal Vingt-deuxième) received authorization to establish a military band, and Capt Charles O'Neill became its conductor. After the outbreak of World War II nine bands were authorized for fighting units overseas and in Canada. Lieut A.L. Streeter, formerly of the Princess Patricia's Canadian Light Infantry Band, was given the task of organizing military bands for the Canadian army. John Slatter was supervisor of army bands at Camp Borden, Ont. In 1942 there were 136 authorized active force bands in Canada and 69 overseas. The authorized band personnel numbered 5535. However, not all bands were operating or were up to strength. In 1944 10 full-time bands were maintained overseas, and 33 full-time bands and a nucleus of permanent bandsmen in spare-time bands were employed in Canada. In March 1947 all active or regular force bands were discontinued, and three bands were reconstituted - those of the Royal Canadian Horse Artillery (stationed in Manitoba, first at Camp Shilo, then in Winnipeg), the Royal Canadian Regiment, and the Van Doos. In 1950 the Princess Patricia's Canadian Light Infantry Band was re-established. The Royal Canadian Regiment Band was reorganized in 1947 in London, Ont, under Warrant Officer William Armstrong. Capt Joseph Purcell was appointed music director in 1953 and Maj Derek Stannard in 1963. The latter instituted the very popular 'Interlude for Music' concert series in Ontario high schools. With the 1968 unification of the forces the band was augmented, and its 65 players represented Canada in Paris at the 50th anniversary of the signing of the 1918 Armistice. In 1969 Capt John Collins became music director, and a year later the band moved from London, Ont, to Camp Gagetown, NB. It has performed in schools and public concerts across New Brunswick. When the Korean war, coupled with the demands of NATO, brought about a great expansion of the army, full-time military bands were increased in size, and several new bands were authorized for the active force. They included the following (with year of authorization and name of first music director; rank given is not necessarily that held at the time): 1951 The Canadian Guards Band, Camp Borden, Ont, later Petawawa, Ont/Capt James Gayfer:1952 The Royal Canadian Corps of Signals Band, Kingston, Ont/Capt B. Lyons1952 The Royal Canadian Artillery Band (Coastal), Halifax, NS/Capt E.R. Wragg1953 The Royal Canadian Engineers Band, Vedder Crossing, BC/Maj A. Brown1955 Royal Canadian Dragoons Band, Camp Borden, Ont/Capt E. Spooner1955 Royal Highland Regiment of Canada Band (Black Watch), Halifax, NS/Lieut D. Start1956 Royal Canadian Ordnance Corps Band, Montreal/Lieut G. Gagnier1956 Lord Strathcona Horse (Royal Canadians) Band, Calgary/Capt F.N. McLeod After the 1968 unification four army bands kept their identities: the Royal Canadian Regiment, the Princess Patricia's Canadian Light Infantry Band in Calgary, the Royal 22nd Band in Quebec City, and the Royal Canadian Artillery Band dissolved in Halifax and reconstituted in Montreal with a nucleus of musicians from the Black Watch Band, which had been disbanded in 1968. Officially recognized in 1969, the last-named band appeared regularly under Maj Charles Villeneuve at Man and His World, Dominion Square, and the PDA and toured Europe and the Middle East. (See also Campbell Free Band Concerts.) The Royal Canadian Corps of Signals Band in Kingston, conducted by Capt Maurice Ziska, became known first as the Air Transport Command Band and later as the Vimy Band. It has performed as a ceremonial band and a symphonic concert band and has appeared in major concert halls of the world, including the Concertgebouw in Amsterdam. Navy BandsPrior to World War II bands in the Royal Canadian Navy were voluntary and part-time. In 1939 a permanent force navy band was recruited in Toronto under the direction of Lieut Alfred E. Zealley, who had been music director for the RCN during World War I. This band moved to HMCS Stadacona naval land base in Halifax, NS, and proved so successful that in 1940 a second naval band was approved for the base at Esquimalt, BC, under the direction of Lieut H.G. Cuthbert. By the end of the war 14 naval bands had been formed. In their place, late in 1945, naval bands were authorized for HMCS Stadacona at Halifax and HMCS Naden at Esquimalt, and Lieut Stanley Sunderland and Lieut-Cdr Cuthbert were appointed to recruit the two bands. The Naden band gave several performances during the British Columbia centennial celebrations in 1958 and has appeared at Grey Cup celebrations when these have been held in Vancouver. Two additional bands were formed later, one at the naval air station HMCS Shearwater, at Shearwater, BC, and another at HMCS Cornwallis, at Cornwallis, NS, the new entry training base. The bandsmen were trained at the Royal Canadian Navy School of Music in HMCS Naden (see Canadian Forces School of Music), Esquimalt. Following unification in 1968 only two navy bands remained, the Canadian Forces Naden Band (then at Victoria, BC) and the Canadian Forces Stadacona Band at Halifax under Maj J.F. McGuire and later under Maj B.G. Bogisch and Capt George L. Morrison. The Stadacona band absorbed the Royal Canadian Artillery Band (Coastal) and members of the HMCS Cornwallis Band. The 40-member band has participated in the International Festival of Military Music in Maps, Belgium, in Canada Day celebrations in Brunssum, Holland, in 1972, and in the NATO festival in Stuttgart in 1974. In 1973 the band toured in Australia, New Zealand, and Samoa, and in 1976 it performed in the USSR. In Victoria the Naden Band performs the traditional Sunset Ceremony at the Legislative Buildings. Air Force BandsAn Air Force Band was formed at Camp Borden under Frank Tucker in 1929. During World War II several Royal Canadian Air Force bands were created from volunteer ensembles and from the ranks of professional musicians. The largest was the Central Band of the RCAF, established in 1940 and maintained at Ottawa under Flying Officer E.A. Kirkwood. Other bands included the Tactical Air Command Band, under Flight Lieut Carl Friberg, which served in Gander, Nfld, Montreal, and Edmonton. The first contingent of air force musicians - the RCAF Overseas Headquarters Band - arrived in England in 1942 under the direction of Sqn Ldr Martin Boundy. It was followed shortly afterwards by the No. 6 Bomber Group Band under Warrant Officer Clifford Hunt and the Bournemouth band directed by Flight Sergt Vowden. An extremely popular dance orchestra, the RCAF Streamliners, drawn from the headquarters band, appeared throughout England. The cessation of hostilities in 1945 brought about a reduction in personnel in air force bands, but the Central Band of the RCAF continued to flourish. The RCAF Tactical Air Command Band was known briefly as the Northwest Air Command Band and was stationed at Winnipeg in 1946. In 1947 it moved to Air Force Headquarters in Edmonton and reverted to the old name. In 1946 the Training Command Band was organized by Flight Lieut Clifford Hunt in Toronto. It was renamed the Air Transport Command Band in 1949 while a new Training Command Band was organized in Winnipeg. By 1964 only the Central Band of the RCAF in Ottawa and the Training Command Band in Winnipeg remained in service. After the unification of the armed services in 1968 the Training Command Band was joined by members of the Royal Canadian Horse Artillery band in Winnipeg, and in 1975 it was renamed the Air Command Band (director, Capt Terence Barnes). The Central Band of the RCAF in Ottawa was renamed the National Band of the Canadian Armed Forces in 1968 and the Central Band of the Canadian Forces in 1970. The band has toured Europe frequently and has made appearances at the Bern International Music Festival and at several NATO music festivals. It has toured in Canada and has appeared regularly in Ottawa at welcoming ceremonies for visiting heads of state and other dignitaries including the Pope and US presidents Reagan and Bush. During Reagan's 1981 visit the band premiered Louis Applebaum's Presidential Fanfares. Nine members of the band constitute the Canadian Forces String Ensemble (in 1991, 6 violins, cello, bass, and piano) which has regularly performed at functions of the Governor General and has been available as required to the Secretary of State and agencies of the Canadian government. On special occasions the ensemble has been augmented by flute and clarinet. The Central Band played on Parliament Hill each summer for the daily changing of the guard ceremonies until 1979 when those duties were assumed by the Band of the Ceremonial Guard, a summertime reserve unit. CeremoniesCanadian regular force bands have travelled extensively throughout the world and have maintained active performing schedules in their home regions, appearing in concerts, parades, and tattoos, often before Canadian service personnel stationed abroad. In 1962 six bands performed at the World's Fair in Seattle, Wash, for a massed band tattoo. During Canada's centennial year (1967) several bands played an active role in the 147 performances of the Canadian Armed Forces Tattoo in 40 cities across Canada. The following are typical of activities after 1979. The Stadacona Band's four-piece combo toured Norway, Sweden, and Denmark in 1981. The full band which has been the regular pit band for the annual Nova Scotia Tattoo visited Marseilles, France in 1983, in 1990 celebrated the 50th anniversary of music in the Canadian Navy and toured Europe giving special concerts at the International Music Parade in Karlsruhe, Germany. The Royal Canadian Regiment Band was the ceremonial band for the Silver Broom curling championships in Fredericton, NB in 1980, was duty band in New Brunswick for the royal visit of 1984, and in Holland took part in celebrations to mark the 40th anniversary of the liberation. The Royal 22nd Regiment band began daily summertime Changing of the Guard Ceremonies at the Quebec Citadel in 1981, performed on the Plains of Abraham on behalf of the Commission of the Battlefields in 1988 and in 1989 gave several performances in honour of their regiment's 75th anniversary. The Royal Canadian Artillery band in 1988 fulfilled 245 engagements, performing before some 107,000 spectators in Canada and Europe, then in 1989 provided the nucleus for a cross-Canada tour of Canadian Forces musicians. The Vimy band in 1983 in London, Ont premiered Pioneers by Kingston composer Norman Sherman, and in 1987 travelled to Europe, appearing at the Mons Music Festival, the NATO Music Festival in Kaiserslautern, Germany, and at a military festival in Saumer, France. The Air Command Band performed at the International Music Camp at International Falls, Minn in 1982, appeared at the Albertville Military Tattoo in France in 1983, and appeared across Canada in celebration of the RCAF's 60th anniversary in 1984. The Princess Patricia's Canadian Light Infantry band toured Australia in 1988 to help celebrate that country's 200th anniversary, taking part in a military tattoo and playing concerts in Hobart and Launceston, Tasmania and in Melbourne, appearing before some six million spectators in all. The Naden Band, which celebrated its 50th anniversary in 1990, released a recording titled The Golden Tribute and visited Vladivostok in the USSR Authorized MarchesThe following list, in order of precedence, indicates the official marches of the Canadian forces, both regular and reserve: The Canadian Navy Heart of OakThe Canadian ArmyArtilleryThe Royal Canadian Horse Artillery Royal Artillery Slow March, The British Grenadiers, Bonnie Dundee, Keel RowArmoured BranchThe Royal Canadian Dragoons Monsieur Beaucaire, Light of Foot Lord Strathcona's Horse Soldiers of the Queen 12⊇ Régiment blindé du Canada Marianne s'en va-t-au moulin The Governor General's Horse Guards Men of Harlech The Elgin Regiment I'm Ninety-Five The Ontario Regiment John Peel The Queen's York Rangers (1st American Regiment) Braganza Sherbrooke Hussars Regimental March of the Sherbrooke Hussars 1st Hussars Bonnie Dundee (for military band) The Prince Edward Island Regiment Old Solomon Levi The Royal Canadian Hussarss (Montreal) Men of Harlech The British Columbia Regiment (Duke of Connaught's Own) I'm Ninety-Five The South Alberta Light Horse A Southerly Wind and a Cloudy Sky The Saskatchewan Dragoons Punjab The King's Own Calvary Regiment (Calgary) Colonel Bogey The British Columbia Dragoons Fare Thee Well Iniskilling The Fort Gary Horse El Abanico Le Régiment de Hull La Marche de la Victoire The Windsor Regiment My Boy WillieArtillery BranchThe Royal Regiment of Canadian Artillery Royal Artillery Slow March, The British Grenadiers, Bonnie Dundee, Keel Row, 49th (Sault St Marie) Field Artillery Regiment A Hundred PipersMilitary Engineering BranchWings, The British GrenadiersCommunications and Electronics Branch1st Canadian Signals Regiment Corp March of the Royal Canadian Signals 'Begone Dull Care' Communications and Electronics Branch March MercuryInfantry BranchThe Royal Canadian Regiment The Royal Canadian Regiment (Tune: St Catharines) Princess Patricia's Canadian Light Infantry Medley: Has Anyone Seen the Colonel?, It's a Long Way to Tipperary, and Mademoiselle from Armentières Royal 22e Régiment (The Van Doos) Vive la Canadienne Canadian Airborne Regiment Milanolo The Canadian Grenadier Guards The British Grenadiers The Queen's Own Rifles of Canada The Buffs The Black Watch (Royal Highland Regiment) of Canada Highland Laddie Les Voltigeurs de Québec Les Voltigeurs de Québec The Royal Regiment of Canada British Grenadiers followed by Here's to the Maiden The Royal Hamilton Light Infantry (Wentworth Regiment) The Mountain Rose The Princess of Wales' Own Regiment The Buffs The Hastings and Prince Edward Regiment I'm Ninety-Five The Lincoln and Welland Regiment The Lincolnshire Poacher The Highland Fusiliers of Canada The Highland Laddie and Seann Triubhas (Whistle o'er the lave o't) The Grey and Simcoe Foresters The 31st Greys The Lorne Scots (Peel, Dufferin and Halton Regiment) The Campbells are Coming The Brockville Rifles Bonnie Dundee The Lanark and Renfrew Scottish Regiment The Highland Laddie Stormont, Dundas and Glengarry Highlanders Bonnie Dundee Les Fusiliers du St-Laurent Rêves Canadiens Le Régiment de la Chaudière Le Régiment de Sambre et Meuse Les Fusiliers Mont Royal The Jockey of York The Princess Louise Fusiliers The British Grenadiers The Royal New Brunswick Regiment A Hundred Pipers The West Nova Scotia Regiment God Bless the Prince of Wales The Nova Scotia Highlanders The Sweet Maid of Glenaruel Le Régiment de Maisonneuve Le Régiment de Sambre et Meuse The Cameron Highlanders of Ottawa The Piobaireachd of Donald Dhu The Royal Winnipeg Rifles Old Solomon Levi The Essex and Kent Scottish The Highland Laddie 48th Highlanders of Canada The Highland Laddie Le Régiment du Saguenay Le Régiment du Saguenay The Algonquin Regiment We Lead, Others Follow The Argyll and Sutherland Highlanders of Canada The Campbells are Coming The Lake Superior Scottish Regiment The Highland Laddie The North Saskatchewan Regiment The Jockey of York The Royal Regina Rifles Lutzow's Wild Hunt The Rocky Mountain Rangers Meeting of the Waters The Queen's Own Cameron Highlanders of Canada The Piobaireachd of Donald Dhu The Royal Westminster Regiment The Maple Leaf Forever The Calgary Highlanders The Highland Laddie Les Fusiliers de Sherbrooke Queen City The Seaforth Highlanders of Canada The Piobaireachd of Donald Dhu The Canadian Scottish Regiment Blue Bonnets Over the Border The Royal Montreal Regiment ?a Ira 2nd Battalion, The Irish Regiment Garry Owen The Toronto Scottish Blue Bonnets Over the Border The Royal Newfoundland Regiment The Banks of NewfoundlandThe Canadian Air ForceRCAF Marchpast Logistics BranchMarch of the Logistics Branch Medical BranchThe Farmer's Boy Dental BranchMarchpast of the Royal Canadian Dental Corps Land Electrical and Mechanical Engineering BranchREME Corps March Past Chaplain BranchOnward, Christian Soldiers Security BranchThunderbird Legal BranchWhen I Good Friends Was Called to the Bar Administration BranchOld Comrades Personnel Selection BranchSemper Intelligere Physical Education BranchAllsports March Intelligence BranchE Tenebris Lux The Royal Canadian Military InstituteCeremonial Music for Military bands XE "Ceremonial Music for Military bands" The earliest known record of ceremonial music in conjunction with military bands or military music is given by Roman historian Vegetius, in his work De Re Militari, he wrote: The music of the legion consists of trumpets, cornets and buccinae. The trumpet sounds the charge and the retreat. The cornets are used only to regulate the motions of the colors; the trumpets serve when the soldiers are ordered out to any work without the colors; but in time of action, the trumpets and cornets sound together. The classicum, which is a particular sound of the buccina or horn, is appropriated to the commander-in-chief and is used in the presence of the general, or at the execution of a soldier, as a mark of its being done by his authority. The ordinary guards and outposts are always mounted and relieved by the sound of trumpet, which also directs the motions of the soldiers on working parties and on field days. The cornets sound whenever the colors are to be struck or planted. These rules must be punctually observed in all exercises and reviews so that the soldiers may be ready to obey them in action without hesitation according to the general's orders either to charge or halt, to pursue the enemy or to retire. For reason will convince us that what is necessary to be performed in the heat of action should constantly be practiced in the leisure of peace. The Ceremonial Musicians of Late Medieval Florence follows the development of Florentine musical ensembles, describing their duties and repertories, placing them in their political and social context, and tracing their changes through the years of the Florentine Republic. From the 13th through the 16th centuries, the city of Florence was the most powerful in Europe. It was a center of finance and trade, as well as art and music. The Republic employed musicians to perform for the enormous number of ceremonial events each year. These musicians were the most visible (and audible) symbols of Florence, playing a major role in displaying the majestic image of the city. Their story, repertory, high-profile involvement in the daily life of the city, and close involvement with the Medici add a new dimension to the history of late-medieval Florence. The following illustrates early music which has a ceremonial connotation:Air from Water Music by HandelEntrance of the Queen of Sheba by Handel Prince of Denmark by ClarkeWhen James ascended to the throne of England in 1603 he was accompanied on his journey to London by his five trumpeters who were duly incorporated into the English royal trumpet corps. The origins of the Scottish trumpet corps can be traced to a band of winfd instrumentalists that arrived from Bologne in 1503 for the wedding of James IV and Margaret Tudor. Subsequently they were appointed to the court in 1505. Thus in Scotland with the absence of the Royal court the focus of ceremonial activity centered on institutions which served as symbols of the Royal goverence. Trumpets and other wind instruments were featured in municipal and military ceremonies. The trumpet offered a the desired effect to add luster to functionsof a diverse nature. The military band should be capable of playing ceremonial and marching music, including the national anthems and patriotic songs of not only their own nation but others as well, both while stationary and as a marching band. M ilitary bands also play a part in military funeral ceremonies. There are two types of historical traditions in military bands. The first is military field music. This type of music includes bugles (or other natural instruments such as natural trumpets or natural horns), bagpipes, or fifes and almost always drums, the latter two being organised into Corps of Drums. This type of music was used to control troops on the battlefield as well as for entertainment Each country had its national drum-march which was held to be as significant as blazonry on standards, until the enticement of a accompanying melody led to its demise. We observe the latter in several 16th century military marches which appear in a collection `My Ladye Nevells Booke' (1591) and includes 'The Marche of the Footemen', 'Me Marche of the Horsemen' and `The Irish March.' Indeed `The Marche before the Batell' in this collection must have been a recognized martial step since it appears in the 'Fitzwilliam Virginal Book (circa 1630) as the 'Earle of Oxford's Marche' which recalls the fighting De Vexes. In the latter century the craze for distinctive marches grew as a glance at the contemporary collections prove:Sir Thomas Fairfax's Marche (c.1656) The Scots Marche (c.1656) Prince Rupert's Marche (c.1656) Lashley's Marche (c.1666) Montroses's March (c. 1663)Of this group the `Grenadier's March' from Apollo's Banquet 1687 is performed even today as a slow march. One can be fairly certain that some of these marches were used by fifes and drums and oboes and drums, when the first British standing army was establishedFrance equally adopted the march idiom to their graceful step and Lully and another 17th century composer named Philidor became quite busy writing marches for the troops Of Louis XIV many of which have come down to us, such as:The Mousquetaires (c.1705) Gardes dela Marine (c.1707) Dragons du Roi (c.1709) Grenadiers a Cheval (c.1709)Cherubini and the brothers Gebauer also had kept busy composing marches to keep the French tricolour flying.During this period German military marches began to make an impact, particularly because they became a feature of their high military efficiency. Among the best known of these were:Der Alte Dessauer (c.1705) Hohenfriedberger (c.1745) Coburger (c. 1750)Elsewhere music was written by Beethoven, and Rossini. In 19th century Britain the regimental march and other native marches had drifted in and out of favour whilst the alien compositions seemed to find a welcome place. The main cause of this lay in the foreign bandmasters who were hired by many of the Regiments. The bandmasters ruled the band and their patrons, the officers. An attempt was made to rectify this situation in 1835 when the War Office ordered that no regiment was to use foreign marches at reviews, parades or guard mountings. But like many orders the instruction was observed at the time and then just as quickly pigeon-holed.After the debacle at Scutari during the Crimean War where bands that were present struck up God Save the Queen in several different keys the war office finally took up the question of both a training school for musicians as well as the standardization of all military marches and the national anthem. In 1882 all regiments and corps were required to submit to the Royal School of Music, Kneller Hall, their traditional march. The traditional march was the one which was in general use. Official recognition was given to marches that bore both a historic and ceremonial significance. The submissions revealed a motley crew of marches. In the general clean-up it was found that many regiments were using the same march in a variety of arrangements and keys. It was also discovered that many units were using tunes which were inappropriate. After a process of elimination some 59 marches were chosen for various regiments and corps, but without any provision for Household Cavalry and Cavalry of the line. Half of these marches were made up of traditional folk melodies, the remainder popular 19th century songs and one which had been composed by royalty. The marches were approved and published on April lst 1883. In order to maintain the marches in a semblance of order they were numbered and all were printed on specially designed march cards, many of which are still in use to-day.During the American Civil War most Union regiments had both types of groups within the unit. However, due to changes in military tactics by the end of World War I field musical had been mostly phased out in favor of the brass bands. These performed in a concert setting for entertainment, as well as continued to perform drill and martial events. In the United States, these bands were increased in instrumentation to include woodwinds, which gives us the modern military band in the United States, as well as the basis for high school and college marching bands and concert bands.Field music is still popular at ceremonial functions, with many organizations such as police, fire, and veterans groups maintaining pipe and drum, fife and drum, or drum and bugle corps.In the United States Army, the band is attached to the headquarters element and one of its duties is to provide security for the command post. Regular British Army musicians are all members of the Corps of Army Music. As a secondary role they are trained to work in NBC 'Casualty Decontamination Areas'. Modern-day military musicians often perform a variety of other styles of music in different ensembles, from chamber music to rock and roll. During World War II, The Royal Air Force Dance Orchestra, better known as The Squadronaires, served to entertain troops and support morale.The custom of Trooping the Colour dates back to the time of Charles II in the 17th. Century when the Colours of a regiment were used as a rallying point in battle and were therefore trooped in front of the soldiers every day to make sure that every man could recognise those of his own regiment. In London, the Foot Guards used to do this as part of their daily Guard Mounting on Horse Guards and the ceremonial of the modern Trooping the Colour parade is along similar lines. The first traceable mention of The Sovereign's Birthday being 'kept' by the Grenadier Guards is in 1748 and again, after George III became King in 1760, it was ordered that parades should mark the King's Birthday. From the accesssion of George IV they became, with a few exceptions and notably the two World Wars, an annual event.This impressive display of pageantry is now held on the occasion of the Queen's Official Birthday. It takes place in June each year to celebrate the official Birthday of the Sovereign and is carried out by her personal troops, the Household Division, on Horse Guards Parade, with the Queen herself attending and taking the salute. Since 1987, The Queen has attended in a carriage rather than riding, which she did before that on 36 occasions, riding side-saddle and wearing the uniform of the regiment whose Colour was being trooped. The regiments take their turn for this honour in rotation as operational commitments permit. Over 1400 officers and men are on parade, together with two hundred horses; over four hundred musicians from ten bands and corps of drums march and play as one. Some 113 words of command are given by the Officer in Command of the Parade. The parade route extends from Buckingham Palace along The Mall to Horse Guards Parade, Whitehall and back again.Precisely as the clock on the Horse Guards Building strikes eleven, the Royal Procession arrives and The Queen takes the Royal Salute. The parade begins with the Inspection, The Queen driving slowly down the ranks of all eight Guards and then past the Household Cavalry. After the event, the Royal Family gathers on the balcony of Buckingham Palace to watch an RAF flypast.The form of this tremendously popular event dates back to around 1700. During these early days of land warfare, 'colours' (the brightly-coloured flags of a battalion) were used as rallying points so they would be visible above the smog and dust of battle. The Roman Eagle was used in a similar way, thrown forward in the fight, in the knowledge that the men would follow to save it. It became customary to carry these colours down the ranks at the end of a day's march and to solemnly accompany them to the 'billet' where they were kept for the night. The billet represented the headquarters of a unit and the battalion's assembly point in an emergency. The aim of the ceremony was to familiarise each man with the coloured flags that identified his unit, and to guarantee all ranks would recognise their assembly point, especially when stationed in an unfamiliar town. Each morning, the colours were escorted from the billet back to their position in the battalion ranks. Consequently, the colours came to express the spirit of the regiment and were held in the highest regard.In time the Regimental Colour has taken on a greater significance. Its folds of emboidered cloth are an important object of reverence and a memorial to lost comrades.The aspects of the parade have changed very little since the age when it was known as 'Lodging the Colours'. The significant difference, however, is that only one colour, the Queen's Colour, is 'Trooped' by the Household Division today, wearing full dress, in honour of her Birthday. Hence it is also known as 'The Queen's Birthday Parade', although 21st April is the actual birth date of the Queen. The earliest records of 'Trooping the Colour' can be found in order books of the Grenadier and Coldstream Guards of 250 years ago."The Colours be always trooped at the mounting and dismounting of the guard, except in very bad weather" 18 Feb. 1749According to the Coldstream Order Book for 17 June 1768, the King ordered the Grenadier Battalion to mount guard 'on the day which His Majesty's birthday is ordered to be kept'. In 1806, on 3 June, 'The General and Staff Officers belonging to the District who are resident in or near London are requested to meet the Duke of Cambridge on the Parade at Horse Guards at 10 o'clock on the morning of the next Anniversary of the King's Birthday, to be fully dressed in Embroidered Cloths'.From 1807 to 1810 orders were issued for Parades on the birthdays of both the King and Queen, the one in June and the other in January. They were not held from 1811 to 1820 because of King George III's illness, except in 1813 for the Queen, but from the accession of King George IV they became, with a few exceptions and notably the two World Wars, an annual event.The guards, in the modern ceremony today, are assembled in two ranks, a reminder of Wellington's masterful tactics at Waterloo, a reminder too that these are soldiers that stand to give service for the Sovereign and Nation when called upon to do so.Colourful and spectacular as this parade is, it used to be on an even grander scale. The very largest Birthday Parade was held on Hyde Park in 1920 when there were 10 complete guards on parade. Going back further still, there was an age when the monarchs of Europe and the noble families from distant lands would gather in London to celebrate an Imperial Birthday.Ruffles and FlourishesRuffles and Flourishes are sounded to render personal honors and precede prescribed music for personnel being honored. Ruffles (played by the drums) and Flourishes (played by bugle or selected brass instruments) are played simultaneously. Ruffles and Flourishes are played in the concert key of B-flat when they precede the National Anthem, Hail to the Chief, and the General's March. Ruffles and Flourishes are played in the concert key of A-flat when they precede Hail Columbia and the Flag Officer's March. Sound OffSound off is the trooping of the line done by the band during a military parade or review. The Sound off is a three-chord (tonic, dominant seventh, tonic) cadence that precedes and follows the march played for the Sound Off sequence. The preceding Sound Off chord cadence is played in the same key as the beginning of the music. The second Sound Off chord cadence is played in the key of the music at the time of the cut off. Because of the bugle's limitations, it is not possible for them to render the Sound Off using the harmonic progression of which a military band is capable. Accordingly, the bugle is limited to a single-note progression (see the Unison Sound Off notated below). The harmonic progression can be used with multiple bugles.The following provides a listing where bands are employed for ceremonial occasions: FuneralsChanges of CommandArrival of Domestic and Foreign DignitariesTrooping of Colours and Presentations of ColoursFlag Days Days of RemembranceCelebration of national HolidaysHonours and AwardsMilitary GraduationsSalutes to national HeroesGuard Changing CeremoniesShip LaunchingNew Military EquipmentRetirement, or Awards CeremonyMorning Colors MusicMess Night Birthday BallBugle Calls A Cross Section of Composers of Ceremonial Music XE "A Cross Section of Composers of Ceremonial Music" GABRIELI, ANDREA AND GIOVANNI (Andrea Gabrieli, c. 1532/33–1585; Giovanni Gabrieli, c. 1554/57–1612), Italian composers and organists noted for the grandeur of their sacred and ceremonial music. Andrea Gabrieli and his nephew Giovanni Gabrieli were leading figures in Venetian music and influenced the development of seventeenth-century German music as wellGeorge Frideric HandelThroughout his career, Handel continually composed much wonderful instrumental music, including many fine organ concertos, a good amount of keyboard music, and celebratory music such as the suite of airs and dances known as the Water Music, written to accompany a royal barge trip down the Thames in 1717. There is also the Musick for the Royal Fireworks, composed in 1749 to celebrate the peace of Aix-la-Chappelle, which had been declared the previous year. Following the model of Corelli, Handel also completed two sets of concerti grossi, some of the finest examples of the genre from the late Baroque, an example of which is the Concerto Grosso, Op. 6 no. 5. Of course, he was obliged to compose much choral music for the court, too. Among these works are the anthems written for the Duke of Chandos, various odes, and the four majestic Coronation anthems from 1727. Now for a few march composers: Stuart A. Watts, sometime Conductor of the Band of the Honourable Artillery Company, for March of St George; Trevor W. Brown for March of the Lifeboat Men; Thomas Preston for the NATO Ceremonial March (1959: also for a NATO Ceremonial Hymn); F. Stovin-Bradford, composer of Flying Stations (1963), the Fleet Air Arm’s march; and Jimmy Hughes, for The London Boys (1962) Boris Kozhevnikov was a preeminent composer for the wind orchestras of the Soviet military. His Third Symphony is well known in the United States, but the rest of his compositions, and most of the Soviet wind band repertoire, remain unstudied and unperformed outside Russia. Composers such as Dmitri Shostakovich, Nikolai Miaskovsky, and Sergei Prokofiev wrote for the military ensembles, providing marches and programmatic works.From his earliest twenties an enfant terrible, for the last 30 and more years of his life an elder statesman, Sir William Walton enjoyed an extraordinary career. composer of many ceremonial works in tribute to British royalty.Chilean Military Bands XE "Chilean Military Bands" Over the years, the Symphonic Band of the air force of Chile has projected the image of the institution through its multiple presentations, delivering, not only culture, but that joy and excitement to the community.With numerous recitals at far and wide throughout the national territory, it is one of the letters that the institution has to integrate into the community. Cities, towns, municipalities and schools are part of the public that following each presentation ovaciona these musicians.Perhaps the most remarkable and at the same time recognized it is the opening night of the musical weeks of Frutillar, and this is the only day where the event entries are exhausted. Such recognition is a sample of the beloved and admired this grouping in the country.This band was born in the artillery air group, June 16, 1934. Sixteen members of this unit participated in the project while that at the same time, musicians of the Symphony Orchestra of Chile amenizaban events in the aviation school officers Casino. The number members was increasing with the passage of time and its success also, with the contribution of youth and the talents of musicians.It was from 1979 that he moved towards a more professional route, thanks to the recruitment of the director of bands in the German police, Lieutenant Colonel Artur Max Rosin. The purpose was to turn the group into a body of cultural dissemination of the air force of Chile. For the first time they appeared on recordings and in the musical weeks of Frutillar together with the Symphony Orchestra of the University of Chile.Over the years the band has been recognized by the excellence of its musicians, who rehearse intensively to improve performances each day. Without a doubt, one of the factors that make be acclaimed in every concert is its versatility and quality, able to pass through codes of classical music, popular songs and bands of films, with the ease that only pros know. Currently, the band is led by the well known band master, Negri Fabrizzio.Regular Army Bands :Ejército de Chile - Actividades Artísticas y Culturales Air Force Bands: Banda Sinfónica de la Fuerza Aérea de ChileComposers Original works for BandProminent composers for concert band XE "Composers Original works for Band" Early/Middle twentieth centurySome of the most important names in establishing literature written specifically for concert band in the early and middle 20th century were:Howard CablePercy GraingerPaul HindemithGustav HolstGordon JacobArnold Schoenberg – solely for his Theme and Variations, op. 43a (1943)John Philip SousaIgor StravinskyRalph Vaughan Williams Late twentieth century through the presentOver the last forty years, many composers have written major new works for wind ensemble. Some of these composers have risen to the forefront as being particularly important in the concert band’s development. Among these:Samuel AdlerLeslie BassettWarren BensonJohn Barnes ChanceMichael ColgrassJohn CoriglianoDavid GillinghamMorton GouldDavid HolsingerKarel HusaAnne McGintyJohan de MeijJonathan NewmanVincent PersichettiAlfred ReedH. Owen ReedGunther SchullerJoseph SchwantnerClaude T. SmithRobert W. SmithPhilip SparkeFrank TicheliDavid Del TrediciFisher Tull James Swearingen may also be considered as an important contributor to modern concertCorps of Army Music XE "Corps of Army Music" XE "Corps of Army Music" The Corps of Army Music is a corps of the British Army. It was formed in 1994 as an umbrella organisation to oversee the 29 new permanent army bands formed following Options for Change. In 2006, the regular army bands were re-organised again, with a reduction in total numbers:The four bands of the Royal Armoured Corps amalgamated into two.The Band of the Royal Irish Regiment disbanded from regular service.The Band of the Royal Regiment of Scotland formed by amalgamation of the Highland Band and Lowland Band.The new Minden Band of the Queen’s Division formed by amalgamation of the Minden Band and the Normandy Band.The new Band of the King’s Division formed by amalgamation of the Waterloo Band and the Normandy Band.The new Band of the Prince of Wales’ Division formed by amalgamation of the Clive Band and the Lucknow Band.It employs 1,100 musicians. The minimum term of service is four years, and the corps promotes itself to potential employees as a good opportunity to obtain a salaried post as a musician, something which is generally hard to find, possibly before embarking on a civilian career in music. A wide range of music is performed, not just marching band music.Regular Army bandsCavalry Infantry Support Arms Services Band of the Life Guards Band of the Grenadier Guards Royal Artillery Band Band of the Royal Logistic Corps Band of the Blues and Royals Band of the Coldstream Guards Band of the Corps of Royal Engineers Band of the Royal Electrical and Mechanical Engineers Heavy Cavalry and Cambrai Band Band of the Scots Guards Band of the Royal Corps of Signals Band of the Adjutant General’s Corps Light Cavalry Band Band of the Irish Guards Band of the Army Air Corps Band of the Welsh Guards Band of the Royal Regiment of Scotland Minden Band of the Queen’s Division Band of the King’s Division Band of the Prince of Wales’ Division Band and Bugles of The Rifles Band of the Parachute Regiment Gurkha Band (2)Corps of Drums/Pipes and DrumsIn addition to the regular bands, most infantry battalions maintain their own musicians, either in the form of the Corps of Drums (for English and Welsh regiments) or the Pipes and Drums (for Scottish, Irish and Gurkha regiments). The Corps of Drums of an infantry battalion will usually feature drummers, buglers and flautists, while the Pipes and Drums will be formed of bagpipers and drummers. These bands are descended from the drummers and pipers who led infantry regiments in columns, and who used their drums or bugles to sound orders on the battlefield. Unlike the regular bands, these are first and foremost fully trained fighting soldiers who form one of the battalion’s specialist units, such as the mortar, anti-tank or machine-gun platoon.(3)Territorial Army BandsPrior to Options for Change and the formation of the Corps of Army Music, most regiments, especially infantry regiments, maintained their own bands. This tradition has since passed to the Territorial Army, who maintain and operate regimental bands in the names of infantry regiments:Lowland Band of the Royal Regiment of ScotlandBand of the Princess of Wales’s Royal Regiment (Queen’s and Royal Hampshires)Band of the Royal Regiment of FusiliersBand of the Royal Anglian RegimentBand of the Royal Gibraltar RegimentBand of the The Royal Irish Regiment (27th (Inniskilling) 83rd and 87th and Ulster Defence Regiment)Band of the Royal Welsh – the only all-brass band remaining within the British militaryBand of the Duke of Lancaster’s Regiment (King’s Lancashire and Border)Band of the Yorkshire Regiment (14th/15th, 19th & 33rd/76th Foot)Band of 51st (Scottish) BrigadeThe Staffords BandThe Salamanca Band of The RiflesThe Waterloo Band of The RiflesBand of the Honourable Artillery Company150 (Northumbrian) Transport Regiment, Royal Logistic Corps BandRegimental Band (Inns of Court and City Yeomanry) of the Royal YeomanryLancashire Artillery Volunteers BandTerritorial Band of the Royal EngineersAt the time of writing, April 2007, the TA Bands have retained their independence from the Corps of Army Music. There are also several TA Bands that are privately sponsored within the army.Croatian Military bands XE "Croatian Military bands" Symphonic Wind Orchestra of the CAF, the Croatian representative orchestra, founded in 1991. as a continuation of the tradition of musical composition in the Croatian military forces. Professional construction of the Croatian Armed Forces made a precondition for the establishment of such a body of music. Over the years the orchestra has had the following names: Representative Orchestra National Guard, Army Symphonic Wind Orchestra, the Orchestra and the Army at the end of the Symphonic Wind Orchestra of the CAF. The process of creation is gradually unfolded, and began forming the Representative Orchestra of the National Guard 1991st year.BeginningsRepresentative Orchestra of the National Guard was established at the General Headquarters. It was the conscripts made up of professional musicians-reservists who felt that their musical abilities would contribute to creating the future of the Croatian Army Orchestra, and thus, in the midst of war, to contribute to the creation of the Croatian state. The band was led by esteemed conductor and musician, Joseph Jankovic. The first public performance, the orchestra gave was on parade with the National Guard on 28th May 1991at the stadium on Kranj?evi?eva Street in Zagreb.The Army Military Band was formed at the end of 1991 within the Ministry of Defence in order to be composed of employees - officers, NCOs and soldiers of the Croatian army. Among the peoplewhom were important in creating the military band were Kau?i? Francis, Stephen and Joseph Kataleni? Cmuk. The first rehearsals were held in August at Cesarec Hall in Zagreb, and later on the fourth floor of the HV Zvonimir in Zvonimirova 12.The Orchestra made their first public performance in Croatia, and ceremonial occasion was the performance held On 14 January 1992 at the presidential palace, on the occasion of the visit of President of Italy Franccesca Cosige Republic of Croatia with the Croatian recognition by Italy.First public auditionsDuring 1992. The Orchestra performed on the battlefields around the country. Its purpose is to maintain a high degree of combat morale of Croatian soldiers. The Orchestra was led Captain Joseph Cmuk who prepared the musicians for the first concert the first Christmas concert 1991. 1 December 1992 the band held their first public auditions. Turnout was high, and the orchestra received fifteen new, highly educated musicians - students and graduates of musicians from Music Academy in Zagreb. All of the new members had a desire to help develop the military orchestra and create a worthy representative body of the Croatian army.Their desire was to Introduce a new, more demanding repertoire and showcase works by Croatian authors such as suite from the era of the Joker by James Gotovca and in battle, to battle! Ivana pl. Zajc. The Minister of Defence on May 1st 1995. Revised the military band establishment by amalgamating the Representative Orchestra National Guard and Military Band of the Army and renaming the organization the Army Symphonic Wind Orchestra, based in Zagreb. This ensemble would be able to meet all military and protocol needs. The orchestra Commander appointed was - Tedi Lu?eti? , deputy Domagoj Frani?, chief conductor and leader Mladen Tarbuk Marko Poklepovi?, The Orchestra became one of the leading musical authorities in Croatia. In addition to protocol tasks, the symphonic season at the Concert Hall Lisinski, the Orchestra is developing an extensive concert activities across the Croatian. The backbone of the repertoire consists of original compositions for the military band , the Croatian premiere of the world's musical heritage, the works of contemporary composers and the premiere of Croatian authors. Within the orchestra, there are a number of chamber groups with different performances of chamber music season in the Croatian Music Institute, including the brass band, big band. Besides the chief conductor of the Orchestra world-renowned conductors have appeared including Dragan Sremec, Tomislav Uhlik, Miljenko Prohaska, Vladimir Kranj?evi?, Pavle De?palj, Niksa Bareza, Vjekoslav Sutej, Uro? Lajovic, K. ?ipu?, Walter Hilgers as well as many soloists: Radovan Cavallin clarinetist, oboist Branko Mihanovic, horn Radovan Vlatkovic, violinist An?elko Krpan, Dragan Sremec saxophonist, pianist Nina Patar?ec, trumpeter Stanko Arnold, Todd tubist Ro?ker, trombonist Branimir Slokar. Many Croatian composers have written new works for orchestra, among them An?elko Klobu?ar, An?elko Igrec, Marko Ru?djak, Mladen Tarbuk, Tomislav Uhlik, Igor Kuljeri?, Zoran Jurani?, K. Seletkovi?, Branimir Lazarin, Sanda Majurec crafts, Olja Jelaska, Antun Tomislav Saban, Davor Bobic, Josip Magdic, Vjekoslav Nje?i?, Frano Djurovic, Zoran Jurani?, Berislav ?ipu?, Davorin Kempf, Ruben Radica, Stanko Horvat et al.In addition to concerts in the musical season, the most important orchestra performances achieved on the Croatian Summer festivals (Rovinj, Zadar, Zagreb, Zadar, Hvar), Varazdin Baroque Evenings, the Eucharistic celebration on the occasion of the arrival of Pope John Paul II. in Zagreb 1995. and 1998., the International Music Festival in Opatija and Pula, the opening of the Dubrovnik Summer Festival 1997th and 1998. as well as Music Biennale Zagreb, on tour in Budapest, 1997th, the international festival Moscow autumn 1997., in Karlsruhe 1998th and Brussels 1999th year.Mature stageIn addition to concert activities, the Orchestra has successfully performed at numerous international festival of military orchestras Tattoo's (Cologne, Berlin, Stuttgart, Salzburg, Albertville, Neuchatel, Karlsruhe, Debrecen, Saumur, Rotterdam, Krakow ...), where he choreographed performances regularly motivatethe enthusiasm of the audience.In addition to numerous recordings for Croatian Television, the orchestra recorded for the American label Honey Rock. In December 1996. published the first album called Christmas Dream, in October 1997. CD Croatian Mass. (A. Klobu?ar: Pontifical Mass and F. pl. Lu?i?: Misa Jubilaris), 2004. CD coming Croatian marches in 2005. released CD''homeland''with love, taken together with Klapo HRM''SV. Juraj''.Orchestra has received a number of Croatian Music Award: Milka Trnina for the ultimate musical achievements in 1997. and award Lisinski Croatian Composers' Society to perform works by Croatian composers in 1998 In 2000 Mladen Tarbuk is appointed thechief conductor .and the orchestra entered a new phase in its development, while maintaining a successful musical of the season and a great protocol activities.Symphonic Wind Orchestra Armed Forces todayIn 2003. commander Miroslav Orchestra takes Vukovojac-Dugan, and as chief of the conductor 2003rd comes Tomislav Fa?ini. Orchestra Leader becomes Mario Komazin. The Orchestra continues an intense activity on protocol and other tasks in the Armed Forces, a gradually stronger and concert activities. With the concert season in Zagreb, and continue to perform at concerts and festivals around the Croatian: The Navy OrchestraThe Navy Band is an important factor in the musical life of the city of Split and Dalmatia. Founded in the days of the war they have developed into a prominent promoter of the cultural life of the community in which it originated.The Navy Orchestra fosters a very distinctive style, is therefore not surprising that in their designs can meet a wide range of compositions from different musical forms and styles. In doing so, the Navy band always highlights o the Croatian musical heritage, especially the Dalmatian melodies with which are tied Nerskidivo. The military Orchestra is distinguished by an enviable stability of intonation, especially it`s rhythmic motility. This is the reason that in their concerts and numerous public appearances they have managed to achieve a fruitful collaboration with the most prominent vocal and instrumental soloists, and the listener constantly gain the confidence and cordial response. Hundreds of actual concerts and other performances not least, testify to the reputation of the ensemble and provide a solid warranty and no doubt confidence in the future of this elite body of music. Since 2008 the orchestra is part of the Navy Armed Forces Orchestra.Czech Military bands XE "Czech Military bands" Central music of the CZECH REPUBLIC was founded. December 1950 as the representative body in the field of military brass music. The new Orchestra became a separate unit within the infantry battalion "of the Prague uprising" and had 120 musicians. At that time there consisted three groups of a smaller number of musicians in the Czech Air Force. It was possible if necessary, to connect and create jointly a larger Orchestra. Thus the Founding of the Central band of the Czech military coincided with the emergence of the CZECH REPUBLIC. The development of Czech (military) brass music represented a unique era in the history of Czech military bands, the first real opportunity to meet the highest artistic ideals. Indeed, the Orchestra, which was instituted, has become a quality military ensemble. The conditions were created for the systematic and deliberate work in the very beginning it became a unique implementation of the ancient and long-time dream of many generations of military leaders and musicians.The dream was to create a professional concert wind Orchestra, which was capable of a high artistic level to be presented to the broadest domestic and the foreign public the very best of Czech and world band music literature. After all, the quality of the Czech military musicians was legendary from the beginning of the 18th. Century. In addition to the application of Czech musicians in military music throughout the monarchy we find significant traces of Czech military musicians in Mexico as well as in the American civil war, Great Britain, Russia, Turkey and Egypt. A popular venue of Czech military musicians was Serbia and Montenegro. In the Austro-Hungarian army several thousand served continuously as musicians. To name a few of them, the distinguished Rudolf Newcomer, and above all the renowned Julius Fu?ík, these and many other unique musicians have added to the legacy of Czech military musicians.During the 60 years since its inception, the Orchestra and its members to overcome the many reorganisation or fundamental changes. However, the emphasis was always on the concert activity and artistic evolution, which became a crucial element for the unique status that the Orchestra gradually created. Their prestige as one of the world's best brass orchestras, the CZECH REPUBLIC very much vindicated in comparison with foreign military orchestras in the domestic and foreign festivals and shows. Among the most prestigious belonged, in particular, participation in festivals in Norfolk (USA, 2009), Quebec (Canada), in Oslo (Norway, 1999) and Stockholm (2006). In addition, their music is often performed in Germany, Great Britain, Austria, Poland, France, Belgium, the Netherlands, Switzerland, and Hungary. World Book of Military MusicD-E-FDanish Military bands XE "Danish Military bands" There are several Danish Military bands including8. Regiments Musikkorps Hjemmev?rnets Musikkorps ?rhus MUHVKHjemmev?rnets Musikkorps Nordsj?llandHjemmev?rnets Musik- og tambourkorps, VendsysselKongelige Livgardes MusikkorpsLivgardens Musikkorps VennerMarine (Navy)BandsMarinehjemmev?rnets Musik & TamburkorpsAir Force BandsFlyverhjemmev?rnets MusikkorpsDanish Military Music XE "Danish Military Music" Military music originally was used for signalling. The Army needed means of communication, whereby commands could be conveyed loudly and explicitly to the troops in the field. The Infantry used fifes and drums. The Cavalry (which was considered more distinguished) had trumpets and kettledrums. Later, the Infantry adopted the bugle and it was often boys of 14 and 15 years old that had the dangerous task of being field buglers. However, another use of the fifes, drums, trumpets and kettledrums arose through the need for ceremonial music. The music had an exhilarating effect on the soldiers. Military parades and other pageantry gained considerably with extra pomp and colour when the music sounded. During the 1700's an old folk music instrument, the Shawm (later replaced by the Oboe) was adopted. Now "real" melodies could be played, not just signals and fanfares. It was also discovered that it was possible, through holes and keys, and later after valves had been invented, to produce chromatic music (that is tones other than the so-called natural tones) on trumpets as well. At the same time Europe got acquainted with the janissary bands with their large array of rattles, cymbals, tambourines and giant drums of the Turkish army. Towards the end of the 1700's oboes, clarinets, trumpets, trombones, tubas, drums and the Turkish music combined into what we know today as the military band. Until in the middle of the1800's, Denmark followed the same evolution as the rest of Europe. Regiments competed in having as large, skilled and colourful bands as possible. Often the officers of the regiments paid out of their own pockets to the band. In 1842, however, the Army was restructured. The regiments were replaced by battalions as the new tactical units, organized in four brigades. This meant a reorganization of the military music as well. The many large and colourful regimental bands disappeared and four brigade bands were established. They were each staffed with 27 musicians and were full military bands with woodwinds, brass and percussion. The brigade bands were supplemented by 20 battalion bands. The Guards battalion band was staffed like the brigade bands but the infantry battalion bands had to make do with 17 musicians and only brass and percussion. The idea was to use the brigade bands in the garrisons whereas the brigade bands had to go to the front where they could "see the white in the eyes of the enemy!". Thus emerged the one and only unique Danish military music tradition, the pure brass band. It had as its only counterpart the field music of the American Civil War armies but only in Denmark has it survived. The two regimental bands left, outside of the Guards, still number 17 - 18 musicians and are pure brass and percussion. Musically, the small brass ensemble is of course the poor cousin of the full military band. However, it has given us a unique military music tradition with its own instrumentation, its own style of playing and its own distinct sound. (It should not be confused with the popular British brass bands because instrumentation and playing style differ considerably). During the 1800's the brigade bands disappeared and the battalion bands, in pairs, formed new regimental bands. With the exception of the Guards who retained their full military band, the instrumentation remained that of the battalion brass band. The military band was always an easy victim of the cost-cutting axe. In 1909, the Danish government came close to abolishing all military music but it was saved at the last moment. In the ensuing period the bands came down in size to having only nine musicians, though they were subsequently increased slightly. Disaster struck in 1932. Despite massive protests all Danish military bands were dissolved, leaving only the band of the Guards untouched. In 1940, large and skilled military bands came to Denmark, but they were German and highly unwelcome indeed. As a counterweight to the German musical presence, four Danish regimental bands were re-established with a fifth one added in 1953. Then once again in the years after 1970 cost-cutting reared its ugly head. The result was besides the full military band of the Royal Life Guards, Denmark has only two regular regimental brass bands left, both in Jutland. The Original 8th Regimental Band of Denmark XE "Original 8th Regimental Band of Denmark" Established in the middle of the 1800's the band of the 8th Infantry Regiment was one of the bands with pure brass and percussion. It was garrisoned in Aarhus, Jutland. Around 1860, the Band was lead by Bandmaster Collard. After 1878 Bandmaster Julius Bergmann was at the helm. In 1900, Ludvig Marguard Rasmussen (he later changed his name to Ludvig Markwarth) took over the baton. Bergmann and Markwarth were both brilliant musicians and bandmasters and the 8th Regimental Band gained fame as one of the best in Denmark. In 1913 there was increasing nervousness in Denmark over the political tensions in Europe and the Government decided to draw some regiments closer to the capital, Copenhagen. The 8th Regiment was transferred from Aarhus to Roskilde and the 7th Regiment was transferred from Fredericia to Slagelse. Strangely enough the two bands "changed regiment" during this relocation. (The 8th Regimental Band from Aarhus became the 7th Regimental Band in Slagelse. The 7th Regimental Band from Fredericia, under bandmaster Carl Schwartz, became the 8th Regimental Band, Roskilde.) The reason for the swap is unknown today. The 8th Regimental Band rapidly achieved success in Roskilde. Naturally they played at military functions - parades through the town and concerts at superior officers' residences. Besides their military duties the bandmasters and their bands were allowed, in uniform, to perform at private arrangements. The band concerts at "Tr?gaarden", a private restaurant, pulled large audiences. The concerts at the town square and in the park were equally highly popular. The 8th Regimental Band was a great asset to the Regiment and its garrison, the citizens of Roskilde, until 1932. Then the Band, along with the rest of the Danish military music establishment, was dissolved, never to come back. The present 8th Regimental Band The 8th Regimental Band in fact did reappear. In the spring of 1986, nine musicians convened under the name of Roskilde Hornorkester (Roskilde Brass Band) to play music from old books of music which some of the musicians had inherited from musicians of the former 8th Regimental Band. A conductor (Robert Svanes?e, formerly music director of the Royal Life Guards) was engaged and the number of musicians increased to the number of today: 19 musicians, a bandmaster and a drum major matching the old danish regimental band instrumentation of 1880. In May 1988 the Band (who till then only had performed in civilian clothes) gave a concert in the Danish Army Museum for the first time under the name of "The 8th Regimental Band" On that occasion the Band was dressed (out of the uniform collection of the Museum) in the infantry uniform, model 1848. The 8th Regimental Band is still a volunteer ensemble of professional and semi-professional musicians but functions as the Copenhagen Citadel's Band. The Band also takes pleasure in performing outside its "garrison," e.g. by playing summer concerts at the Mansion Garden in their old hometown of Roskilde. The Band has also appeared in Norway, Sweden and France and has contributed to several film and television programs. In the Vinter of 2006 the band participated in the german "Bundesmusikparade" the largest touring tattoo in Europe and performed in the cities of Magdeburg, Leipzig and Hamburg with great success. April 2006 the band was invited to Strasbourg and made a splendid "springconcert" at the "Pavillon Josephine" with the comrades from the military band "Fanfare de 1'er Régiment de Tirailleurs". The Band is structured as a typical regimental band from the period 1880 - 1932. The music chosen is mainly of that time, when a concert on the bandstand offered marches, overtures, waltzes, classical transcriptions as well as arrangements of the then contemporary popular music. Today's Band is dressed in the Danish infantry uniform 1880 - dark blue tunic with red shoulder boards (for musicians) and a kepi with red plume. Music Corps SouthMusic Corps was created in 1959 as "HOME GUARD REGION IV MUSIC CORPS". This name was in 1997 changed to HOME GUARD MUSIC CORPS FYN, and in 2006 was changed to SOUTH FUNEN in connection with the establishment of Total Defence South region. The name is per 1 January 2006 "HOME GUARD MUSIC CORPS SOUTH", which also is Denmark’s largest military bandMusic Corps consists today of 60 active members and is the military's biggest music Corps. All are voluntary home guard members and the user every Monday evening to together to practice. management of the music Corps is aware of the obligation to perform military music and pursue military music traditions, but also to music Corps must be in constant development and move with the times and time spirit. The Band of The Royal Life Guards The ensemble dates back to the founding of The Royal Life Guards, June 30th 1658, by King Frederik III. Thus The Royal Guards celebrated their 350 year anniversary in 2008.The ensemble is a concert- and marching band consisting of 36 professional musicians. The band, known for its daily parades in downtown Copenhagen, plays as well for The Royal Family’s festive occasions and for military parades. Furthermore the band performs concerts throughout Denmark and abroad with a repertoire ranging from classical to popular music, and, of course, the well-known marches. The Royal Guards motto:”Pro Rege et Grege” –”For King and People”Navy bands Marine hjemmev?rnets Music & tamburkorps is probably the country's oldest existing home forces Orchestra. (Randers Home Guard Band) The band began on August 28 1949 by the then Company Commander J Kj?r with 8 men and 1 instrument. They received support from the Randers City Council a start-up donation, and some instruments (3 Trombones and 1 Piccolo) which was borrowed, but later bought for $40. At the same time, they were joined by the former conductor of the KU-Orchestra Kaj Jespersen as the first conductor. SThe ensemble were called "Hjemmev?rnsDistrekt 23 Djurs country Music Corps", but in 2002, switched uniforms from green to Blue, and became "Mariner" and renamed "Marine Hjemmev?rnets Music Corps" after which a right was quickly added a tamburkorps(drum corps)The establishment is 15 in Tambur Corps and 33 in the wind orchestra. Air Force band The Music Corps was started on May 18. May 1956 by a group of enthusiastic members of the then Air reporting Corps, which was a part of Flies hjemmev?rnet. The name was Air reporting district Kolding Music Corps. Not just a catchy name, but on the other hand, an accurate designation of affiliation. In line with the modernization of the home guard is the name later changed to Fly hjemmev?rnets Music Corps. Music Corps workspace Music Corps is one of 16 home guard orchestras in Denmark (2011 numbers), and is the only brass band associated with Fly hjemmev?rnet. Primarily gives concerts in the Danish Superliga side s?nderjyske area, but over time held concerts throughout Denmark and also a number of concerts abroad. Directors of Music of the British Army XE "Directors of Music of the British Army" Originally bandmasters became commissioned with their appointment of director of music through Queen Victoria As part of the Jubilee honours, Dan Godfrey, Bandmaster of the Grenadier Guards, was commissioned as Honorary 2nd Lieutenant on 20 June 1887, his commission being signed personally by Queen Victoria. He had been appointed on 2 July 1856 and was to hold that position for a remarkable period of 40 years. His commission was a unique honour for a bandmaster, being very much a personal gift bestowed by the Queen, and so when he retired in 1896 his successor was appointed in the rank of Warrant Officer. Perhaps Dan Godfrey’s greatest memorial is his arrangement of themes from Meyerbeer’s opera Huguenots which has become part of the traditional music for the Queen’s Birthday Parade .The Royal Military School of Music was established at Kneller Hall in 1857 and was headed by a Commandant, with the musical side initially being headed by a civilian as Director of Music, a title first appearing in the Army List in 1882. When Charles Cousins died suddenly in May 1890 the post was temporarily filled by a student bandmaster, Manuel Bilton, until a successor was appointed. On 24 December 1890 Samuel Griffiths became the first soldier to be appointed as Director of Music at Kneller Hall, and was commissioned as Honorary Lieutenant. Lt Griffiths had previously served as Bandmaster of 2nd Battalion the Royal Scots (Lothian Regiment) (1874), and the Royal Military College, Sandhurst (1890).Like his predecessor, Griffiths also died in harness and the post was again temporarily filled by students until the appointment of Arthur John Stretton on 25 March 1896. Lieutenant Stretton, formerly Bandmaster of 2nd Battalion the Cheshire Regiment (1893), attained the rank of Lieutenant Colonel on 3 June 1918, the first director of music to do so. He retired on 22 September 1921. 1898. Bandmasters had held the rank of Warrant Officer since 1 July 1881 but outside of Kneller Hall, Dan Godfrey, now retired, had been the only bandmaster to be commissioned and this was purely an honorary rank.”His Majesty decided that the post should be filled by Kneller Hall, and His Majesty considers that Mr. Stretton, Director of Music to the Naval School of Music, a military bandmaster trained at Kneller Hall, a suitable candidate.” Thus, more or less by Royal command, Warrant Officer Charles Edward Stretton was appointed Bandmaster of the Royal Artillery Band. Three more Bandmasters were to be commissioned before the outbreak of the First World War, the first of these being John Mackenzie Rogan of the Coldstream Guards on 27 February 1904, apparently following a recommendation by King Edward VII. Born in 1852, he was appointed Bandmaster of 2nd Battalion the Queen’s Royal (West Surrey) Regiment 1882, transferring to the Coldstream Guards in 1896. He went on to attain the rank of Lieutenant Colonel.On 25 January 1905, Charles William Hemphill Hall, Bandmaster of the 2nd Life Guards, was commissioned, being the senior Bandmaster of the Household Cavalry following the retirement of Charles Godfrey the previous year. Charles Hall was born in 1858 and was appointed Bandmaster of The Royal Dragoons in] 884, moving to the 2nd Life Guards in 1896. Hall died in 1922 in the rank of Major.Albert Edward Williams was appointed Bandmaster of the 10th Royal Hussars (Prince of Wales’s Own) in 1888 and transferred to the Royal Marine Artillery in 1892. He succeeded Lt Dan Godfrey as Bandmaster of the Grenadier Guards in 1896 and achieved the degree of Doctor of Music in 1902. He was commissioned on 2 January 1907 with subsequent promotion to Captain.Thus in 1914, outside of Kneller Hall, there were three Army Bandmasters holding commissioned rank, John Mackenzie Rogan, Charles Hall and Albert Williams, and it was felt that there should be a different title to distinguish them from Warrant Officer Bandmasters. Following a suggestion from Mackenzie Rogan, the title of Director of Music, used at Kneller Hall since at least 1882, was taken into use, taking effect from 6 June 1914.The next Bandmaster to be commissioned was Charles Edward Stretton, as Director of Music of the Royal Artillery Band on 22 February 1917. He was born in 1871, the younger brother of Lt-Col Arthur Stretton, Director of Music, Kneller Hall, and enlisted into the Royal Artillery in 1886. He subsequently served as Bandmaster of lst Battalion, The York and Lancaster Regiment and as the first Musical Director of the newly formed Royal Naval School of Music, returning to the Royal Artillery in January 1907 as we have seen.Other than Kneller Hall, appointments as director of music were still very much personal honours, seemingly following the personal intervention of the Sovereign. This is supported by the fact that all of these gentlemen were appointed Members of the Royal Victorian Order (MVO) by the Sovereign, Mackenzie Rogan being promoted to CVO just prior to his retirement.This situation changed in 1919 when it was decided that the bands of the Household Cavalry, Royal Artillery, Royal Engineers and Foot Guards should all, in future, be led by directors of music, making a total of eleven such posts in the Army, including Kneller Hall.The following were appointed as Lieutenant, director of musicLieutenant George’ John Miller, 1st Life Guards (son of George Miller commissioned in 1898)Bandmaster 1 st Battalion the Duke of Cornwall’s Light Infantry (1898), Royal Artillery (Portsmouth)(1903), lst Life Guards (1907). He transferred to the Grenadier Guards in 1921, retiring in 1942 as Lieutenant Colonel MVO MBE.Lieutenant Joseph Manual Bilton, Royal Horse Guards, Bandmaster 17th Lancers (1890) and Royal Horse Guards (1904) retiring as Captain in 1927Lieutenant Robert Neville Flux, Royal Engineers – appointed direct from civilian life in 1904, retired as Major in 1932.Lieutenant Frederick William Wood, Scots Guards, Bandmaster Battalion, The York and Lancaster Regiment (1890), Scots Guards (1900), retiring as Captain, MVO, in 1929.Lieutenant Charles Hazard Hassell, Irish Guards, Bandmaster 4th Battalion the King’s Royal Rifle Corps (1892), first Bandmaster of the Irish Guards (1900), retired as Captain, OBE, in 1928. Lieutenant Andrew Harris, Welsh Guards, Bandmaster 2nd Battalion the South Lancashire Regiment (1900), Royal Artillery (Gibraltar) (1910), first Bandmaster of the Welsh Guards (1915), retired as Major, MVO, in 1938.The number of directors of music was reduced to ten in 1922 on the amalgamation of the 1st and 2nd Life Guards and was to remain at that number for the next 25 years. In 1929 the advanced certificate of music (psm) was introduced and this became a necessary qualification for promotion to director of music.The next significant date in the evolution of this post was 1 August 1947 when nine bands were granted the status of Minor Staff Bands and the respective bandmasters were commissioned as directors of music to bring the total to seventeen:Lieutenant David McBain, Royal Artillery (Mounted)Lieutenant Bruce Salmon, Royal Artillery (Portsmouth)Lieutenant Victor Hays, Royal Artillery (Plymouth)Lieutenant John Judd, Royal Corps of SignalsLieutenant James Dean, Royal Army Service CorpsLieutenant Lewis Brown, Royal Army Medical CorpsLieutenant Henry Jarman, Royal Army Ordnance CorpsLieutenant Denis Plater, Corps of Royal Electrical and Mechanical Engineers* Lieutenant Leslie Statham, Royal Military College* Denis Plater transferred to REME from the Royal Tank Regiment.The Band of the Corps of Royal Engineers (Aldershot) was formed in 1949 with the twentieth director of music post going to Captain Lawrence Dunn, and on 9 January 1950 the three bands of the Royal Tank Regiment were raised to the status of Minor Staff Bands and consequently the respective bandmasters were commissioned as directors of music: Lieutenant Thomas Davies, Lieutenant William Lemon and Lieutenant Albert Jarvis. The Royal Tank Regiments reverted to the status of regimental bands led by bandmasters in 1984.The first Director of Music of the Gurkhas was Lieutenant ‘Bill’ Bailey, appointed on 7 January 1951 to the Band of 2nd King Edward VIPs Own Gurkha Rifles (The Sirmoor Rifles). Lieutenant Harry Burge became the first and only Director of Music of the Staff Band of the Brigade of Gurkhas on 24 June 1957, commissioned into the 6th Queen Elizabeth’s Own Gurkha Rifles. The two bands amalgamated in 1970.The Staff Band of the Women’s Royal Army Corps was formed in 1949, their first Bandmaster, Lieutenant Frederick Goddard being commissioned as Director of Music on 5 January 1953. The first of the four ladies to direct the Band was Captain Jean MacDowall who was appointed on 3 January 1955. This was a unique appointment as Captain MacDowall had been a WRAC officer prior to her selection as a student bandmaster, thus making her the first director of music for several decades who had not served in a band. The Band’s last director of music was Major Ena ForsterAt Kneller Hall. Lieutenant Colonel Hector Adkins who had succeeded Lieutenant Colonel Arthur Stretton in 1921 relinquished his post of director of music in 1942, when according to the War Office “the post was offered to and rejected by every Director of Music in the Army as the appointment carried no extra rank or prestige and Directors of Music of Staff Bands were not prepared to forego their share of profits from paid engagements which acceptance of the posts involved. “The appointment eventually went to Bandmaster Meredith Roberts, who retired in 1954 as a local Lieutenant Colonel. Captain David McBain of the Royal Horse Guards was appointed to succeed him and there was much concern in the War Office that this post should be recognized as the senior in the Army and carry the rank of Lieutenant Colonel as of right, tThe incumbent not only had duties at Kneller Hall itself, but was required to assist in the inspecting of bands and his advice on military music would be sought from around the world, so there was general agreement that the rank was justified. However, there were already two Lieutenant-Colonel Directors of Music and it was felt that increasing the quota would be unfair to other Quartermaster officers. A further problem was that Quartermaster posts could not be designated to carry a specific rank as this was granted to the individual officer, not the appointment. A solution was eventually found in that by changing the title from ‘Director of Music’ to Chief Instructor and Advisor to the Inspector of Army Bands, it could become a regimental appointment rather than a Quartermaster appointment, and therefore could be designated as a Lieutenant Colonel’s post. There would be 25 directors of music with only 24 directors of music appointmentsOn 1 September 1959, Lieutenant Rodney Bashford was commissioned as Director of Music, Junior Leaders Regiment, Royal Armoured Corps (Bovington), and the first of the teaching Director of Music posts outside Kneller Hall.The number of appointments further expanded in the early 1970s with the creation of divisional directors of music for the Infantry, to oversee the recruitment and training for the regimental bands within their division. The first of these to be appointed was Captain Terry Kenny of the Queen’s Division, commissioned on 24 August 1970, and the first for the other divisions were: Captain Brian Smith, Scottish Division, 15 January 1974Captain Roy Fitch, Light Division, 1 February 1974Captain Gordon Turner, Prince of Wales’s Division, 4 February 1974 Captain Brian Hicks, Parachute Regiment, 14 March 1974Captain Donald Carson, King’s Division, 20 February 1975Since 1963 the post of Director of Music, Junior Musicians Wing, Guards Depot (Pirbright) had been a retired officer appointment, held by Lieutenant Colonel Douglas Pope OBE, and Major Jackson MBE, but when the latter retired for the second time in 1981, the post went to a serving director of music, Major Tom Griffiths MBE, who transferred to the Grenadier Guards from the Royal Army Ordnance CorpsPrior to the cutbacks in 1984, there were directors of music at Kneller Hall, Household Division (7), Royal Tank Regiment (3), Royal Artillery (3). Royal Engineers (2) other staff bands (8) and divisional training posts (8), a total of 32 posts since 1984 the many reorganizations. Particularly with regard to junior training, have resulted in numerous changes, with the phasing out of divisional posts and the creation of directors of music for the Royal Armoured Corps, Infantry (South). Infantry (North) and HQ BAOR, as well as at the Army Junior Schools of Music at Bovington and Pirbright. The post of Deputy Chief Instructor at the Royal Military School of Music was created in January 1986, the first incumbent being Captain Ray Maycock, and Captain Kevin Lamb set up the Training and Development Team in September 1991.At the head of Army music today is the Principal Director of Music (Army), Lieutenant Colonel with a further five director of music posts at Kneller Hall; the Senior Instructor, Courses Director, Officer Commanding Training and Development Team, Project Officer and an Officer to administer the Bursaries Scheme. The Army’s 30 bands are all now led by directors of music, assisted by a Warrant Officer Class One Bandmaster/Training Officer (except the Brigade of Gurkhas who has a Queen’s Gurkha Officer as Assistant Director of Music).Drums XE "Drums" The earliest known drum-like instrument is from Mezhirich, near Kiev, Ukraine, and dates back to approximately 15,000 years ago. The instrument was found at the site of the oldest known house, constructed of mammoth bones. They were found in 1965 by a farmer digging a new basement six feet below the ground. The drum-like instrument is a hollow mammoth skull with signs of wear from being hit by mammoth bones decorated with red paint.In the past drums have been used not only for their musical qualities, but also as a means of communication, especially through signals. The talking drums of Africa can imitate the inflections and pitch variations of a spoken language and are used for communicating over great distances. Throughout Sri Lankan history drums have been used for communication between the state and the community, and Sri Lankan drums have a history stretching back over 2500 years. Japanese troops used Taiko drums to motivate troops, to help set a marching pace, and to call out orders or announcements. Fife-and-drum corps of Swiss mercenary foot soldiers also used drums. They used an early version of the snare drum carried over the player’s right shoulder, suspended by a strap (typically played with one hand using traditional grip). It is to this instrument that English word “drum” was first used.Drum Majors XE "Drum Majors" A drum major is the leader of a marching band, drum and bugle corps, or pipe band, usually positioned at the head of the band or corps. The drum major, who is often dressed in more ornate clothing than the rest of the band or corps, is responsible for providing commands to the ensemble regarding where to march, what to play, and what time to keep. The commands may be given either verbally, through hand gestures, using a whistle or a baton, or with a mace in the military. In modern day high school and college marching bands, drum majors are responsible for leading the practices and performances of the band.The position of drum major originated in the British Army with Corps of Drums in 1650. Military groups performed mostly duty calls and battle signals during that period, and a fife and drum corps, directed by the drum major, would use short pieces to communicate to field units. With the arrival of military concert bands and pipe bands around the 18th century, the position of the drum major was adapted to those ensembles.Traditionally, a military drum major was responsible for:Defending the drummers and bandsmen (The drums and bugles were communication devices)Military discipline of all Corps of Drums membersThe Corps of Drums' overall standards of dress and deportmentCorps of Drums administrative workMaintain the Corps of Drums' standard of military drill and choreograph marching movementsThe drum major was also given duties in the battalion at several points in history, which included the administering of military justice (flogging), to any member of the battalion and collecting the battalion's post.In addition to the duties above, the British Army also included a royal appointment of Drum Major General, whose duties included inspecting all other Field Music as well as (per The Drummer's Handbook) granting drummers licenses without which, one would not be recognized as a drummer. This position faded in the 18th century.Drum majors are responsible for knowing the music of the ensemble and conducting it appropriately.What is "appropriate" conducting has evolved over the decades. During the 1970s and prior it was not uncommon for a stationary drum major to do a high-lift mark time on the podium for an audible and visual tempo; with the arrival of increasingly higher drum major platforms and thus greater visibility this has become both dangerous and unnecessary.In addition to memorizing the music (between six and nine minutes of music is typical for high school marching bands, college bands and drum corps and military bands may have that much or more, up to more than eleven minutes of music) a drum major must memorize dynamics as well as tempo in order to provide proper direction and cues, particularly in area where the drum major has some discretion, such as a ritardando(slowing down) or fermata(a hold).Drum majors have slightly different roles within the world of traditional show bands. Many college bands have drum majors who are very much part of the visual element of a field show. Rather than conduct as a corps-style drum major would, traditional drum majors often march on the field with the band, using a mace or baton to keep time and flourish their own movements. Drum majors in the Big Ten and HBCUs have a particularly prominent role. While most of them do not conduct at all, they lead the band onto the field, often after having several seconds for a short performance by themselves (a backbend is traditional in many schools). During dance routines, they often move along with the bands. As traditional drum majors have much more of a visual role than corps drum majors, there are often many more of them, sometimes up to ten drum majors to a single band.This is rarely seen in military bands except in massed band programmesThe drum major position is one of leadership, instruction, and group representation, but usually not administrative duties. A band director or corps director assumes administrative responsibility. In the absence of the Band Director, the Drum Major carries the authority of the director or instructor and assumes complete leadership over the band.There are a number of specialized pieces of equipment that drum majors use to more effectively execute their duties. These include a whistle, a mace or baton, their uniform, and podium(s).Drum majors often wear a uniform different than the rest of the band (which may either be a show-specific uniform, or a custom uniform based on the school's uniform or colors) and is a slight modification of the standard uniform. It can be as simple as extra shoulder decorations, a cape, different-colored plumes, or a chain on the helmet, or as complicated as a specialized chest section, and is designed to both help the drum major stand out when coming onto the field and to give distinction to the leader of the band. Some high school drum majors do not wear a different uniform, however, and are recognized by their field or parade position. It is mostly a director's discretion, and is more common only on the high school level.As marching bands have started to focus more directly on halftime shows and less on parades, the traditional use of the staff or "mace" has largely vanished from high school and college marching bands, in preference of hand movements, occasionally with the use of a conductor's baton or whistle. Military bands, however, retain the use of maces and batons for giving signals and commands.Some drum majors have also become more elevated over the years, having moved off of the field over the course of the 1970s and 1980s and onto small podiums, which in recent years have often become eight feet in height or larger. There may be supplemental podiums for additional drum majors, usually smaller in stature.Drum Major of the US Navy XE "Drum Major of the US Navy" The Drum-Major of the United States Navy band stationed in Washington DC is the premier drum-major of the United States Navy. He wears the full dress whites or Blues of the Navy and his mace is topped the symbol of the US Navy with an Eagle and Lyre.Dunn Lieutenant-Colonel Sir Vivian XE "Dunn Lieutenant-Colonel Sir Vivian" Dunn Lieutenant-Colonel Sir Vivian KCVO OBE FRSA (24 Dec 1908 - 3 April 1995) was the Director of Music, Portsmouth Division, Royal Marines1931-53 and Principal Director of Music, Royal Marines, from 1953 to 1968. He was the first military musician to be knighted.Francis Vivian Dunn was born in Jabalpur, India. Vivian’s father, William James Dunn, was bandmaster of the Second Battalion King’s Royal Rifle Corps and later director of music of the Royal Horse Guards. He studied piano with his mother, Beatrice Maud, and choral studies at Winchester. In 1923 he studied at the Hochschule für Musik K?ln and two years later he attended the Royal Academy of Music. He studied conducting with Henry Wood and composition with Walton O’Donnell. As a violinist, he performed in the Queen’s Hall Promenade Orchestra under Henry Wood, and in 1930 was a founder member of the BBC Symphony Orchestra under several famous conductors. Dunn was released from his contract with the BBC and on September 3, 1931 at age 22 commissioned as a lieutenant in the Royal Marines to be director of music for Portsmouth Division of the Corps. This post included directing the Royal Marines Band on the Royal Yacht. He took part in the royal tour of South America in 1947 aboard HMS Vanguard and in a Royal Marines band tour of the U.S. and Canada in 1949.His promotion to lieutenant-colonel and principal director of music, Royal Marines, came in 1953. Vivian and the Royal Marines Band then accompanied Queen Elizabeth and the Duke of Edinburgh on the SS Gothic for the post-coronation Commonwealth Tour. Upon completing the tour, the Queen appointed Dunn CVO, and in 1960 appointed him OBE.In 1955, Dunn was asked by Euan Lloyd of Warwick Films to compose the theme music for The Cockleshell Heroes (which was otherwise scored by John Addison).Upon retiring from his military career in December 1968, Dunn became a guest conductor with the City of Birmingham Symphony Orchestra. He also recorded with the Light Music Society Orchestra. In 1969, he received an EMI Golden Disc for sales of over one million Royal Marines Band records. In that year he was also elected as an honorary member of the American Bandmasters Association. In 1987 he received the Sudler Medal of the Order of Merit from the John Philip Sousa Foundation.In 1988, after serving as the Senior Warden, Dunn became the first military musician installed as the Master of the Musicians. Dunn composed and arranged over sixty pieces of music. Several are marches, many with Royal Marines connections. These include The Globe and Laurel (1935, rev. 1945), The Captain General (1949), Cockleshell Heroes (1955) and Mountbatten March (1972). He arranged numerous others including The Preobrajensky March attributed to Donajowsky (later to become the official slow march of the Royal Marines) and A Life on the Ocean Wave (the official quick march of the Royal Marines).Dunn married Margery Halliday in 1938. They had one son (Patrick) and two daughters (Leonie and Rosemary). Vivian Dunn died from lung cancer in Haywards Heath, Sussex on April 3, 1995. Marjery, Lady Dunn, died on June 26, 1998.Dutch Military Bands XE "Dutch Military Bands" The Band of the Royal Dutch Air Force is the youngest professional military band of the Dutch armed forces.After the Liberation in 1945 a fanfare-band was formed from servicemen of the Condo Air Troops. The Only professional men were the Bandmaster F J Vermeered, sergeant-Major C J Langenbarg and Drum-Major Th de Vries. The band consisted of forty musicians and there was also a Corps of Drums of twenty-six men. Some time later the servicemen musicians were replaced by thirty musicians of the shock Troope.? In 1951 the band became officially a professional band and so on April 1st 1951 The Band of the Royal Dutch Air Force was formed. The new Director of Music was 1st Lieutenant H F W van Diepenbaek. He increased the number of musicians to fifty one and six students instead of thirty and the Corps of Drums got twenty-four men. The first public performance was in the Riviera Hall in Rotterdam. Many performances were to follow and soon the name of Lt Diepenbaek and the Royal Dutch Air Force Band became widely known.In 1976 Major H F W van Diepenbaek retired and Captain H W A Ch Warnas became the new Director of Music and he in turn was followed by Captain, now Major, L van Diepeninigoi. Nowadays the band plays at tattoos, parades, guards of honour, official military engagements and also gives concerts. Its fame has spread and it is held in great esteem not only in Holland but also internationally.All the musicians are professionals and have studied at a conservatorium. At the moment the Band has fifty-six musicians: 2 flutes/piccolos; 17 clarinets; 2 oboes/alt-oboes; 2 alto saxophones; 2 tenor saxophones; 4 French horns; 4 trumpets; 4 cornets; 4 trombones; 3 baritones; 5 basses and 4 percussion.Edinburgh Tattoo XE "Edinburgh Tattoo" The first Edinburgh Tattoo took place in 1950. The original stands were erected in 1950 and provided seating for 7,000. There were eight items in the programme.More than 12 million people have attended the Tattoo. The annual audience is around 217,000.Around 100 million people see the Tattoo each year on international television. Approximately 70 per cent of each audience is from outwith Scotland. Half of these are from overseas.Each year 100,000 people visit the Tattoo's new attraction at the top of the Royal Mile. The Spirt of the Tattoo - the compelling story of Edinburgh's Military Tattoo, featuring an interactive exhibition, movie theatre and gift shop. The first commercial twelve inch stereo LP record of the Tattoo was released in 1961.2009 marked the Tattoo’s eleventh successive sell-out season, generating some ?6.2 million in box office receipts. Around 35 miles of cabling (the distance from Edinburgh to Glasgow) is required.The event was first seen in colour on TV in 1968.From 1950 to 1991, there were four producers - Lt Col George Malcolm of Poltalloch, Brigadier MacLean, Brigadier Sanderson and Lt Col Dow.Major Michael Parker then took over as producer for the 1992, 1993 and 1994 Tattoos. He was succeeded by Brigadier Melville Jameson in 1995, who in turn was followed by Major General Euan Loudon in March 2007.The first overseas regiment to participate was the Band of the Royal Netherlands Grenadiers. The year was 1952, and there were also performers from Canada and France. The first lone piper was Pipe Major George Stoddart. He played in every performance for the first eleven years. His son, Major Gavin Stoddart, followed his father as lone piper at the Tattoo and became Director of Army Bagpipe Music for 12 years.Hollywood movie producer Mike Todd, the fourth husband of film star Elizabeth Taylor, made a documentary programme on the Tattoo in 1950.Not a single performance of the Tattoo has ever been cancelled.The Tattoo is set up and run for charitable purposes. Over the years, it has gifted some ?5 million to service and civilian organisations..At the last official independent count, visitors to the Tattoo contributed an estimated ?88 million to the Scottish economy.The Tattoo has always been staged at Edinburgh Castle. Rehearsals take place at Redford Barracks in Edinburgh.Over 40 countries have been represented at the Tattoo.Estonian Military band XE "Estonian Military band" The Eesti Kaitsev?e Orkester(Reguler Army band)The main functions of the Orchestra is to make sure that the music is played on all national and military ceremonies and to welcome visiting statesmen, as well as to play concerts for both the military and public.They are a very popular military band with 45 members made up of professional musicians, and has have issued ten CDs. Each year the band appear in over 180, engagements as a part of numerous festivals. In addition they perform in military band tattoos, Their dance orchestra is kept busy with performances playing in several venues in Estonia.Fanfara dei Bersaglieri XE "Fanfara dei Bersaglieri" The Beraglieri was formed as a Light Infantry Regiment and is regarded as an Elite unit of the Italian Army. The band was formed in 1848. The feature of this band is the rapid pace of the music for which they actually run and the jaunty flower hats which are worn with their forest green uniforms. They are known for the power of their brass and trumpet players.Fanfares XE "Fanfares" A fanfare is a short piece of music played by trumpets and other brass instruments, frequently accompanied by percussion, usually for ceremonial purposes. The term is also used symbolically, for instance of occasions for which there is much publicity, even when no music is involved. Fanfares originated in the Middle Ages; although popular depictions of ancient Rome frequently include fanfares, the evidence is slight. In 18th century France the fanfare was a movement with energy and repetition of notes, and fanfares of the modern description date from the 19th century, when they were composed for British coronations (such as Hubert Parry’s I was glad for Edward VII) and other important occasionsFanfare Trumpets XE "Fanfare Trumpets" The instruments can be described as elongated trumpets and valve trombones. The instruments that form this hybrid sub-family of instruments are known as fanfare trumpets. The family consists of the Eb Soprano trumpet which is an elongated soprano cornet but it is rarely used except in solo capacity. The Bb trumpet is the main workhorse of the family, the Bb trombone, and the G trombone which has some difficult valve fingerings. The instruments are usually divided into at least 3 trumpets and 2 trombones as well as 1 G trombone. Herald trumpets as they were referred to become the norm following the Second World War especially in Britain. Very soon many nations began equipping their bands with sets of fanfare trumpets and the United States services bands in Washington employed them for VIP arrivals. In Canada they were not provided for by the military but purchased through regimental funds. They have been used effectively with both large and small groups and a number of European nations have been seen to have fanfare trumpets on numerous occasions. Finnish Military MusicFinnish Military bands XE "Finnish Military bands" The Military bands are a part of the Finnish Defence Forces. There is a total of thirteen military bands in Finland. They are relatively small in size, but are often reinforced with other local professional wind players.Kaartin Soittokunta (The Guards' Band), Helsinki. 40 musicians + 2 conductors.Panssarisoittokunta (The Armour Band), H?meenlinna. 20 mus. + 1 cond.Laivaston Soittokunta (The Navy Band), Turku. 20 mus. + 1 cond.Ilmavoimien Soittokunta (The Air Force Band), Jyv?skyl?. 20 mus. + 1 cond.Savon Sotilassoittokunta (The Band of Savo), Mikkeli. 20 mus. + 1 cond.Oulun Sotilassoittokunta (The Military Band of Oulu), Oulu. 20 mus. + 1 cond.Rakuunasoittokunta (The Dragoons Band), Lappeenranta. 14 mus. + 1 cond.Pohjanmaan Sotilassoittokunta (The Osthrobothnian Military Band), Vaasa. 14 mus. + 1 cond.Satakunnan Sotilassoittokunta (The Satakunta Military Band); Niinisalo. 14 mus. + 1 cond.Karjalan Sotilassoittokunta (The Karelian Military Band); Kontioranta. 14 mus. + 1 cond.Kainuun Sotilassoittokunta (The Kainuu Military Band); Kajaani. 14 mus. + 1 cond.Lapin Sotilassoittokunta (The Military Band of Lapland); Rovaniemi. 14 mus. + 1 cond.These are all fully professional orchestras with occasional support from conscripts: In addition; there is a large military band consisting only of conscripts with professional conductors called The Conscript Band of the Finnish Defence Forces. Its strength is about 60-70 musicians, it operates in Lahti and is concentrated on making marching shows and large-scale concerts.Military music and bands began with the organization of tactical units in the Finish military in 1555. The units each had two pipers and 2 drummers. By 1632 there was the addition of cavalry trumpets and kettle drummers to squadrons. With the end of Swedish rule in 1809 enlisted battalions were formed and gradually the number of musicians increased to 20 for each battalion. A balanced instrumentation for military band was introduced in 1820. Finish military music suffered a setback in the early 1900’s but following t the Great War wherein Finland gained its autonomy the White Guards band of Finland was resurrected and remains a living part of the fabric of military bandsFrench Military Bands XE "French Military Bands" Regular Army Bands Fanfare du 6ème Régiment du GénieFanfare du 27e Bataillon de chasseurs alpinsLa fanfare de l'école d'application de l'artillerieMusique de la Légion étrangèreMusique de la région Terre Sud-OuestMusique principale de l'armée de TerreMusique Militaire de l'infanterie, LyonMusique des ParachutistesMusique des Transmissions Marine Bands Le Bagad de Lann BihouéMusique des ?quipages de la Flotte de BrestMusique des ?quipages de la Flotte de Toulon Air Force Bands La Musique de l'airMusique des Forces Aériennes de Bordeaux The band of the EAA maintains the image of the Artillery school and the prestige of the armoured corps the band is also a repository of the traditions of the second Empire horse artillery. She is currently one of the three bands of artillery. The band has Non Commissioned officer and 17 committed volunteers in the army, including two reservists and two women. The band is a trumpet band providing the traditional cavalry fanfares with bugles, low trumpets and percussion.The Airborne band are ambassadors for the Southwest land area (RTSO) and the airborne troops, the music of the RTSO is the worthy heir of the artillery school whose origins date back to 1888 and will have existed for more a century and Toulouse. It is part of the major musical formations of the army. The band is Comprised of 55 musicians, all professionals, and headed by a Chief of music.The main music of the Army (MPADT) was created , in 1945 at Rochefort, as the band of the colonial troops. Later to become successively music of the colonial troops and then main music of the troupes de marine in 1958.In 1978, by Decree of the Minister of defence, it became part of the larger formations of the armed forces who are now five. In 1997, with the increase of the professionalization of the army training the band took the role of the army's main music. It is based since 1991 at Versailles-Satory. They are the representatives of the army, and this musical ensemble contributes to the prestige of many official ceremonies at major events in the capital and the provinces, it enhances the brightness of the patriotic ceremonies. The main military band of the army is the arrivals band for high officials of the State. She is frequently asked to represent the France abroad (USA, Canada, South Korea, Israel, Tunisia, Bulgaria, Russia.The 27th Alpine battalion is represented by a band which incorporates a traditional instrument of the pastures, the Alphorn which was able to attract the favour of the public and allows to complete the scope of his musical repertoire. It is the ancestor ofthe family of corns after shells, animal horns, horns Etruscan terracotta fallopian tubes of the ancient Rome, The Alphorn is used by shepherds in the mountains. Its origin is so distant that no one could claim to know of its ancestry. The instrument were used for the recall of the herds, also as a means of communication to announce good or bad news. The sound of the Alphorn in the mountains, with the wind as ally, may be up to ten kilometres. The body of the instrument is divided into three parts:There are 18 musicians in the band including several women.?the body in spruce ?mouthpiece in boxwood,?the Corolla and the mouth in rosewood.Their tone and their length are the same as those of our hunting horns: pitched in Bb and 4.65 metres.The Bagad(Bagpipes) of Lann - Bihoué is an Ambassador for Breton folk music and one the highly sought after public relations vehicles of the Navy, not only throughout the France, but abroad. The bagad can perform in aubades(evening services), parades and concerts. They participated in very diverse events: parades, carnivals, nautical and folk festivals, official or private receptions. The instruments played by thirty pipers are the Scottish bagpipe, the bombarde (typically Breton), and finally a battery of percussion. Whistle-blower bombarde and bagpipes and drummers are young boys and girls military, recruited for one to four years and chosen as much for their musical competency for the quality of their presentation and their behaviour. The bagad of Lann-Bihoué is a traditional set of Breton music, a bagadof the French Navy and the only French military bagad still existing. It was established in 1952 on the basis of Lann-Bihoué Naval Aviation near Lorient. This training represents the Navy and the Celtic culture with a diverse and multicultural repertoire in various national and international events.The 30 pipers, who sign a contract of one year renewable three times, write and arrange themselves 90 minutes of the Repertoire of the bagad At its inception in 1952, the Bagad consisted of a few volunteers who met on their free time. But over the years, the Group expands to resemble Scottish Pipe bands . It was formalized by ministerial decision on 11 September 1956. Therefore, the conscripts come do their military service within the bagad, who will then have the mission to represent the French Navy and the breton cultural heritage. The bagad is composed of thirty-two people. A Bagad Penn, which is akin to a General Manager; a petty officer, responsible for the military life of the Group; 29 Pipers, across the three desks: bagpipes (9 in 2007), bombarde (11) and battery (5); Finally a flagship, playing also an instrument (violin or diatonic accordion for example). Like any military training, an officer is in charge of the group.The music of the crews of the fleet have distant origins: even before the revolution, the flagships had music that was involved with the fifes and drums, ceremonies and receptions color ceremoniesThe military bands were composed of musicians commissioned for the duration of their departure, while the fifes and drums belonged to the crews of its own ships On July 13, 1827 were created two professional military bands one in Brest, the other at Toulon.These ensembles contribute to the cultural influence of the Navy, while maintaining the French musical heritage for orchestra and wind, as well as creating exciting new works.The Band of the air force is a unit of prestige based in Paris, the city of air and air base 117 "Cne Guynemer. BattSince the creation of theair force band , in 1936,it has been composed of drums, Bugles, trumpets and French horns. Established in October 2005 and presented to public for the first time military and civilian, on January 15, 2006; the band has various segments including a concert band, and big band jazz ensemble. There is alsoa drum section within the band.French Foreign Legion Bands XE "French Foreign Legion Bands" The French Foreign Legion was created in 1831 by King Louis-Philippe. The principal characteristic of this elite corps is that it consists of non-French soldiers. Since its creation, the Foreign Legion has participated in many famous battles and campaigns: North-Africa, World War I and II, Indo China, Algeria and more recently the Gulf War and Yugoslavia. Their most famous battle honour is Cameron, Mexico. On 30 April 1863, 3 officers and 62 soldiers resisted for a whole day against 2,000 Mexican revolutionaries. At the end of the day, only five survivors were taken alive. The Legion commemorates this battle every year at their Headquarters at Abusage (near Marseilles).The Bands? La Musique Principale de la Legion Etrangere: Aubagne (France) ? Band of the 3rd Foreign Regiment: Guyana consists of two NCOs and about nineteen musicians. The Band is also the mortar-platoon of the Regiment. Band of the 5th Foreign Regiment: Tahiti. The Regiment and also have military duties? Band of the 13th Foreign Brigade: Djibouti consists of between seven and fifteen musicians. They only play traditional calls and few marches. ? Band of the 1st Foreign Cavalry Regiment: Orange (France) Consists of two sergeants and sixteen musicians. They perform at military ceremonies in Consists of a director and about fifteen musicians. They are also responsible for the Anti-Aircraft Platoon of the Regiment.? Band of the 2nd Foreign Parachute Regiment: Calvi (Corsica) Consists of around 22 musicians. They only perform at Regimental functions.La Musique Principale de la Legion EtrangereLa Musique Principale de la Legion Etrangere (The Principal Band of the French Foreign Legion) was formed 9 March 1831. The Band consisted of a director and 27 musicians but by 1860 had grown to strength of around 40 musicians. The conductor in that era was Monsieur Wilhelm composer of the music of the famous French Foreign Legion marching song ‘Le Boudin’ (literal translation being ‘blood sausage’). The origin of the song is unknown. A string orchestra was formed in 1887 and by the turn of the century had built up a fine reputation. Today the band consists of 100 musicians Fucik Julius XE "Fucik Julius" The Czechoslovakian composer Julius Fucik was born in Prague in 1872 and studied both bassoon and percussion. He entered the military service in 1891 serving with the 49th Austria-Hungarian Regimental band at Krems on the Danube west of Vienna. He left military service in 1895 and returned to Prague as the 2nd Bassoonist with the New German Theater Orchestra. During this period he wrote numerous compositions for a woodwind group comprised of 2 clarinets and bassoon. In 1896 he was appointed the conductor of the Prague city orchestra and the Danica choir in the Croatian town of Siask.Fucik began his career as a military bandmaster in 1897 with the 86th infantry regimental band in Sarajevo, Yugoslavia. During this period he wrote the superb march Entry of the Gladiators which will celebrate it’s hundred and ten year anniversary in 1997 and has still maintained its popularity as both circus and concert march.In 1900 Fucik was transferred with his band to Budapest, where there were nine regimental bands. The competition for public approval was enormous as well as a challenge to produce new and worthwhile music. Fucik was a master of band arrangements and with his band of fifty musicians he was able to provide symphonic scores which increased the popularity of his band. In 1909 he returned to Czechoslovakia and became director of the 92nd Regiment band one of most superb bands of that era. He appeared in concert many times in Prague and eventually performed in Berlin to crowds estimated to over 10,000 people. This was the beginning of the Golden Age of military bands and he became renowned for his compositions and arrangements.He left the Army in 1913 and formed a music publishing firm known as Tempo-Verlag, publishing both band journals and orchestral works. He also published music for small salon groups, which are still in existence today.His success became short lived as in 1916 with the dark shadow of the war hanging over all of Europe, he became ill and died at the early age of forty-four.He wrote over 400 compositions. His output was amazing considering his short lifespan. The marches he wrote are among the finest ever written. His music has been recorded by numerous bands and orchestras around the world.The march Entry of the Gladiators (Thunder and Blazes) was arranged for military band by Canadian Louis-Phillipe Laurendeau in 1910. The Entry of the Gladiators had as its original title “Grande Marche Chromatique” but Fucik was so fascinated by the culture of Roman Gladiators entering an amphitheatre that he changed the name. Because of its tempo and the ability to create in one’s mind a circus atmosphere, it became a theme for the circus and rodeo worldwide. It is an American circus term a “SCREAMER” and the march appears on numerous circus collections including the Mercury label Eastman Wind Ensemble under Frederick Fennel called “Screamers”. Some of his other popular works include the beautiful Marinarella Overture, Donausagen Waltz, the bassoon solo, Old Bear with a Sore Head, Winter Storms Waltz, Herzogewina March, The above appear on an old recording from the Teldac Album 14714 and are on a tape(CD?) Stereo Quiontessence P4C 7038.Although not as well known in North America, Fucik certainly earned his place as one of the most well known and beloved military musicians of Europe.World Book of Military MusicHYPERLINK "D:\\GI"G-IGerman Military Bands XE "German Military Bands" Regular Army Bands Ausbildungsmusikkorps der BundeswehrBig Band der BundeswehrGebirgsmusikkorpsHeeresmusikkorps 1Heeresmusikkorps 2Heeresmusikkorps 10Heeresmusikkorps 12Heeresmusikkorps 300Musikkorps der BundeswehrStabsmusikkorps der BundeswehrWehrbereichsmusikkorps IWehrbereichsmusikkorps III Marine Bands Marinemusikkorps NordseeMarinemusikkorps Ostsee Air Force Bands Luftwaffenmusikkorps 1Luftwaffenmusikkorps 2Luftwaffenmusikkorps 3Luftwaffenmusikkorps 4The Staff band of the BundeswehrThe staff band of the Bundeswehr is employed mainly for the Protocol of the Federal President, Chancellor, Federal Minister of defence and other outstanding solemn events. including the arrivals of visiting dignitaries.The band of the Bundeswehr in Siegburg, GermanyThey are the musical ensemble, who represents the main task of the armed forces on the great concert stages in Germany and abroad in a special way in public. In the diverse range of programmes ,where many great composer are celebrated in works for wind Orchestra. The Big band of the BundeswehrThis is a musical group, dealing with modern popular music, as well as special stage shows both in the service of public relations s and popularizing contemporary trends which has great appeal fo young people. They have developed into a well-known name both within the military and among the public. For this task, they use special instruments such as guitars and electronic pianos, which very well suits the style of the music they perform.The training band of the BundeswehrIn the training band, the Central musical teaching equipment of the Bundeswehr, we make out up to 200 young musicians and musicians who are committed for at least 12 years, to become professional orchestra players and military musicians The Wehrbereich band I (WBMusKorpsI) is used for the musical accompaniment of the Bundeswehr troops. In addition, the band maintains a lively concert activity inGermany and abroad, which aims to promote in particular the link between army and population. The military band have appeared in music festivals in France, Belgium, Denmark, England, the United States, Poland, Estonia, Finland, Sweden, Slovenia, Czech Republic and the Netherlands took part as "sounding Ambassador" his homeland of Mecklenburg-Western Pomerania and parks concerts in Kazakhstan and Kyrgyzstan.The Wehrbereich band IIIWhether classical, film music, swing, or pop-the some 60 professional musicians and their experienced conductor Oberstleutnant Roland Kahle to master all of these musical genres with ease. For nearly two decades, the renowned Orchestra delights audiences at home and abroad. Gala, solemn military ceremonial and chamber music, the ensemble has proven again and again his extraordinary versatility and the high musical standards. The spectrum ranges from adaptations of classic works of original compositions for symphonic wind Orchestra to swing, pop and film music. Of course, also the international literature of March is an important part of his repertoire for the Bundeswehr Orchestra. Numerous concert tours have led the German orchestra and others, on the United States, Canada, France, United Kingdom, Belgium, Sweden and the Netherlands.The band 1 of the 1st Armoured Division of Hanover. It was organized on January 1st 1956 and became to be known as the military band 1. They acquired very quickly a good name and sound in Lower Saxony,where they performed in Germany which was their main main area of employment. They also travelled extensively becaming the Ambassadors of the 1st Armoured Division and the Lower Saxony State capital of Hanover with their concert appearancesThe military band 2 began at the July 1956, to provide military band music. The ensemble represent the 2nd Infantry Division in Kassel They initially were known under the name of band IV. They were renamed their present name on January 4th.1959 \they express the opinion that they are the only Hessian band of the Bundeswehr and have built a very close ties with the location they perform .The military band 10 of Ulm is the area of application of Heeresmusikkorps 10 and includes the whole territory of the 10th armoured Division. The buses of the band are on the road from Lake Constance in Switzerland and from Germany to the Bavarian Forest. The military band 12 - the military bands from Franconia- named after the 12 in Veitsh?ch home beheimateten formerly known as the Panzer Division. In 1962 the band was assembled in Fürstenfeldbruck as number 5 air force band. After a short guest performance of 2 years in Nuremberg, the Orchestra was moved 1966 to the seat of Divisionsstabes and placed under the Commander of the forces of Division. In the autumn of 2002, the HMK 12, shortly before their 40th birthday, became the new Division for airmobile operations at which time the military band were attached to the division.The military band 300 was formed in the year 1956 in Idar-Oberstein. Captain Friedrich Deisenroth was the first head of the then 23 musicians of the band that had the name IV BAfter several changes in location as well as name changes the band became the military band 300 of the special operations division.The military band 300 performs mainly in Rhineland-Palatinate and Saarland, as it is responsible as the only army band for these States. The Bands of the Air ForceThe air force performs its tasks in close conjunction with the other services and organizational areas of the Bundeswehr and traditionally in multinational structures with allies, as well as in cooperation with friendly forces. The four air force bands, which reflect the range of military music in the air force provide music support for both the military and public with numerous performances. The Air Force band 1 NeubibergThe air force bands 1 was established in 1958 and is in the Neubiberg, Germany, a municipality on the southern outskirts of Munich. The Air force band 2 Karlsruhe The band is well known by The population in the Badnerland, as well as in the Saarland and in the adjacent regions and are well aquainted with "Air force bands 2". The band has earned many friends since its inception in 1956; and not only intheir hometown of Karlsruhe, but throughout the operational area, that extends from Lake Constance to the Eifel.The Air Force band 3 MünsterThe air force bands 3 of Münster was established as an air force bands December 7th 1956 in Münster/Westphalia where it is stationed.The employment area of the original Musikkorps when renamed air force bands 3, in 1959comprises the entire Northwest German area and stretches from the Dutch border to the Harz. The Air Force bands 4 Berlin The band were known in early 1991 as air force band 5 in Berlin and situated in Biesdor In 1994 moved to Berlin-Gatow and renamed to effectively January 4th 1994 as air force band 4. The bands of the NavyThe Navy bands have a wide range of achievement by working in partnership in the not only in the Bundeswehre regional system , but in the long term as representatives of the German Federal Republic Navy The military ensembles iare Highly mobile and flexible the Navy offers short-term, flexible options of enlistment.The Navy band of the Bundeswehr have a strong presence both within the navy but as well in their public presentation in the context of the performance of their military-musical work.The German Navy band Nordsee Deeply connected with the naval tradition , the Navy band Nordsee, was established on the January 6th 1959 and immediately became the able representative of both the Navy and the city of Wilhelmshaven which is its maritime location. The German Navy band OstseeThis band is stationed with school ship "Gorch Fock" as the military band which represents the German Navy in Ostsee and the Marinestandort of keel as musical "ambassadors in blue". German Military Music –Cadence, Numbered marches XE "German Military Music –Cadence, Numbered marches" The period around 1800 was a turning point in military music. Hitherto, for foot troops there had been only the slow march of 75-80 paces per minute. This was not intended for marching but for the attack. At this pace the closed battalion squares moved towards the enemy, halting briefly to load and fire, then they moved forward again. The same pace was employed on parade but the ranks were wider than the closed square, and the effect was solemn and ceremonious. Opposite those on parade stood the six hautboyists, playing, supplemented by the entire corps of drumsIt was not intended that the new quick march, 108 paces per minute, should be used for the attack, but for marching on roads at a uniform pace. Regiments acquired ‘music groups’ (Musikchoere) of thirty or so men; Janissary percussion for the necessary rhythm and a bandmaster to conduct than. These had been raised primarily to play the slow march on parade, but now they were needed for both the slow and quick marches. The bands therefore needed music urgently.For quick marches there was nothing, and what slow marches had existed earlier, had been lost during the seven year French occupation and the subsequent three year War of Liberation. The outlook was gloomy. Therefore when the King of Prussia Friedrich-Wilhelm III handed over to his Regiments, by means of Cabinet Order no. 10 of February 1817, the scores of 36 slow and 36 quick marches it was quite astounding. The slow marches were numbered consecutively in Collection No. I, and the quick marches in Collection No. II. They were assigned to the Army and entitled ‘Armeemarsche’ (AM) - Army Marches. But from where did 72 marches appear so suddenly?They came directly from Russia! Moscow not only (sic) had had to live through Napoleon's victorious campaign of 1812, but the capital of the country St Petersburg (now Leningrad) had stayed untouched. Here in St Petersburg there was a young German from Bohemia. Since 1809, at the age of 28, he had been the Imperial Russian Director of Music at the School of Military Music, as well as the conductor of the guards’ bands in the city. His name was Anton Doerfeldt. He had composed marches as part of his duties and had collected others, including Austrian and Prussian, which he had arranged into the Imperial Russian Army March Collection, which in 1815 contained about 70 slow and 70 quick marches.The King of Prussia first heard of this collection probably at the end of October 1815, when the Russian Emperor Alexander I visited his friend and comrade in arms in Berlin. It was agreed that the King of Prussia should receive a copy of the Russian Army March Collection. A commission was set up in Berlin, to which both bandmasters of the Guards, Weller, of the 1st Regiment of Foot Guards, and Krause, of the 2nd Regiment of Foot Guards, belonged, who now selected 36 slow and 36 quick marches for the Prussian Army. The music was printed by the Berlin music publisher Adolf Martin Schlesinger.In 1817, these 72 marches were the beginning of the ‘Koenigliche Preussiache Armeemarsch Sannilung’ (the Royal Prussian Army March Collection), which during the next hundred years grew to contain 101 marches in Collection No. I and 244 in Collection No. II, which has now became a German Army March Collection. It is a cultural asset which today is still in one piece and still played!At the start of the Royal Prussian Army March Collection in the year of 1817, the scores of 36 slow marches (Collection No I) and 36 quick marches (Collection No II) were handed over to the forces. These pieces, all marches numbered 1 to 36 came from imperial Russian Army March Collection, from which they had been chosen the year before. Many of them were of Russian origin, 23 were composed by Anton Doerfeldt (1781-1829), the Bandmaster of the Russian Guards in the capital of St Petersburg (now Leningrad).The instrumentation used in 1816 was obviously different to that of today. The clarinets played the melody together with the oboes which had led earlier and were supplemented most beautifully by three or four flutes. The bass part was played by the bassoons, strengthened occasionally by the deep trombones. The few trumpets and hunting horns played natural notes, calls and supported the rhythm; valves had yet to be invented. This may help to give an insight and perhaps understanding of the march music of that time. (1)At the time when the first scores were being delivered to the bands of course the first valved trumpets were coming on to the market. Finally, their strong tone took over the melody, which was just what was needed for the outdoor performances and marching. But they drowned out the woodwind and unbalanced the tone pattern. Additional valved instruments were sometimes in one key and sometimes in another. The supply was in confusion and new instruments expensive. Poverty was widespread in Prussia after nine years of occupation and war. Scores for valve instruments were non-existent and so were the bandsmen to play them. Existing scores had to be transposed into other keys. The young bandmasters were overworked.Moreover, the commanders of the thirty eight infantry regiments and the six Jeager and sharpshooter battalions, who alone bore the complete responsibility for their bands, got no help either. They were busy with the demobilization of their volunteers and reservists as well as the reorganization of their units, particularly the re-armament and re-training necessary after the recent combat experiences. Consultation with their bandmasters revealed that most bands were not at all competent, that they lacked enough musicians or that they were in need of better musicians - that was when they actually had a bandmaster to ask! But the instrument makers continued to produce new instruments, even before the manpower problem had been resolved. Then relationship between woodwind and brass was disrupted. Were the instrumentation and parts for the existing marches out of date? Whatever the answer, they still had to be played on parade and on the march.To all this confusion, one man brought some order: Georg Abraham Schneider. He played in a quartet with one of the Aides-de Camp, Colonel von Witzleben, the future Prussian Minister of War, who brought this man to his sovereign’s attention.Georg Abraham Schneider (1770-1839), a musician who at one time worked at Rheinsberg for Frederick the Great’s brother Prince Heinrich until his death in 1802, after which he and his family had lived from hand to mouth during the fifteen hard years of Napoleon’s domination of Central Europe. In the mean-time, he had been highly regarded as the indispensable court composer and solo French horn player at the Royal Opera House in Berlin, as well as a renowned conductor, administrator, music teacher and tutor. His impartial and well balanced personality and his sound judgment won him many friends everywhere.Thus, on 8th July 1819, the King awarded him the office of Director of Music of the Guards and Grenadier Corps in Berlin. And so, as whatever knowledge came available, or decisions were taken in Berlin also spread outwards into the provinces, the tireless Schneider became the organizer of military music.Later Schneider wrote of this activity: ‘I had hoped to achieve a certain uniformity in the output of military bands by central management. With this in mind, at the start I attended all the rehearsals of the individual bends but I soon realized that all bandmasters were competent, worthy and well trained musicians who only needed guidance to obtain the best results by their own efforts.’He continued: ‘Instead of the direct supervision, which I realized was unnecessary and superfluous, due to the competence of our bandmasters, I found another area of activity which was even more pleasing to me because it fitted in very well with my work in the theatre. On the personal command of His Majesty, I worked for a year almost exclusively on the arrangement of army marches and had them circulated officially: examined by order the newly appointed bandmasters for the entire army; reported on and appraised every matter referred to me by the War Office; submitted for approval, music, instruments and inventions.’Schneider ends with this remark: ‘...without any compensation for such work, other than the remuneration already referred to.The mounted troops, the cavalry, were unaffected by the introduction of the Army March Collection in 1817. They had signaling trumpets on which the marches received from Russia could not be played. It was not until 1824 that a royal command from King Friedrich Wilhelm ordered Collection No. III -Marches, Fanfares etc of Trumpet Music for the Use of the Prussian Cavalry. Due to the widely available brass instruments with valves, the mounted troops were freed from the limitations of fanfare music.In the selection and arrangement of the items for AM III, twenty of them had already been prepared by the young trombonist in the Royal Orchestra, Wilhelm Wieprecht (1802-1872), another admirer of military music, technically brilliant and gifted, who became Schneider’s successor in 1838. . Wilhelm Wieprecht became a bandmaster and played a very important part in the evolution of Germany Army Bands and music. He is discussed under Military musiciansThe musical setting of early German Army MarchesThe early marches form Parts I and II of the Prussian-German Army March Collection are formal compositions in 2/4, and common cut time for full wind ensembles. They have two or more parts each of eight, sixteen or more bars. Like folk music, the melody is easily recognized. The harmonization is stressed simply, but the progress of the music is often enlivened by surprising modulations. The rhythms are diverse and expressive. Any opportunities for dynamic and instrumental shading are used to the fullest extent.The instrumentation is transparent - four flutes, of which two or three are piccolos; two oboes; one F flat (or F) and two B flat (or C) clarinets; two bassett horns; two bassoon; a double bassoon; four horns (bugles?); two trumpets; one or three trombones; a tuba and 'Turkish music' (side and bass drum, cymbals and triangle) - and the character of the music was derived from chamber music. Certain parts, notably the woodwind, were often very difficult to perform, demanding the skill of virtuosi.Following the trend set by minuets written after 1750, some marches had melodious and tranquil trios added to them which were played by fewer instruments and usually in the same key, not in the subdominant which later became the convention (bear in mind that valve trumpets had not been invented at the time in question). This gave a rest to the trumpets, percussion and some of the woodwind. However, the trio did not become an established feature of every march until later. In some marches there is a rondo form with a transition to Part A. Codas were rare. The technical potential of woodwind instruments was exploited fully as the range of the open (non-valved) horns and trumpets was still limited. Percussion was arranged as for chamber music - even with solo parts - but in no way was it used to accentuate the rhythm'The classical triumvirate of Hayden, Mozart and Beethoven often exerted their unmistakable influence on other, unknown composers, but there were also other styles to round off the musical spectrum, such as the Italian (Rossini), Slavonic, folk music and more interestingly, the minor keys of gipsy music. The shape and the structure of marches had not only to achieve their adoption for military use, they also needed to be played for entertainment par excellence . On the other side of the coin, the marches in Part III (of the Amy March Collection), the cavalry marches, served an exclusively military purpose. They were intended to be played by brass instruments of the" band" trumpet family. Predominantly in 6/8 time, they stand apart from those in 4/4 time Collection), the cavalry marches, served an exclusively military purpose They were intended to be played by brass instruments of the "band" trumpet family. Predominantly in 6/8 time, they stand apart from those in 4/4 time. The arrangements call for six to eight trumpets of different pitches and positions, mainly E flat, one or two cornets in E flat or B flat, two so-called 'Kent horns' (named after the Duke of Kent, these bugles, originally with five valves, were used by the British Army for sounding calls), "corni tenore bassi" (tenor and bass horns), basses The arrangements of these marches need extensive adaptation to suit the range of brass instruments available today if the original sound pattern is to preserved.In these marches, in both the flow of the melody and in the rhythms, triplet predominates; the first voices are written fairly high, requiring high quality musicianship and stamina. The length of many items is remarkable exceeding normal limits. The added trios are particularly melodious. Generally, apart from the necessary transpositions and the elimination of previous printing errors, the re-arrangements of these marches have been confined to correction of the rhythms and the restoration of dynamics.A Brief Introduction to the Prussian and German March Collections "In order to assist the regiments of the Army in the choice of good military music, I have commanded a collection of proven musical pieces to be prepared and a set of them is to be supplied to each regiment." It was to this decree of King Friedrich Wilhelm III of Prussia, issued in 1817, that the Prussian Army was indebted for its famous collection of military marches (Armeem?rsche). Prior to this, due to the scarcity of printed musical scores, Prussian military musicians were largely dependent upon a repertoire which was passed down by word-of-mouth, a situation which inevitably resulted in the loss of a considerable number of musical compositions over the years. As organized, pieces in the Prussian March Collection were divided between "Slow Marches for the Infantry", "Quick Marches for the Infantry" and Cavalry Marches, with each piece in the collection receiving the numerical designation AM I, II or III, respectively, depending upon its type, followed by an Arabic numeral denoting its number within its category. Thus, the march Herzog von Braunschweig, as a "slow" march for infantry, was numbered AM I, 9; the Marsch des Yorck’schen Korps, as a "quick" march for infantry, was numbered AM II, 37; and the Parademarsch Nr. 1 "M?llendorf", as a cavalry march, was numbered AM III, 51. The collection was continually augmented until, by 1916, it had grown to a repertoire of 536 separate compositions, among which were included not only Prussian, but also Hanoveranian, Saxon, Hessian, Badener, Württembergian, Bavarian, Austrian, Swedish, Italian, Swiss and even Russian and British military marches! In the early 1930’s, the Prussian tradition of cataloging Armeem?rsche was revived by the German armed forces which redesignated march compositions as Heeresm?rsche, which were given numerical designations beginning with HM I, HM II and HM III respectively. which are today but little known, but are among the most illustrious in the repertoire, as well as definitive versions of the oft-pGrogan Colonel Jack H XE "Grogan Colonel Jack H" First appointed Commander and Conductor of the US Army Field Band he ii a native of Anson Texas. He studied under Frederick Fennell at University of Florida in Miami. He joined the active service in 1969 as a lieutenant and served in various postings until his appointment as Commander of the US Army Field band in 1991. He retired in 1999.Growth of Military bands in Britain Regimental music in its earliest form was created by soldiers with trumpet, fife, and drum. It was not until the first part of the eighteenth century that military bands began to make their appearance. They usually consisted of eight instrumentalists comprising two oboes ,two clarinets, two bassoons, and two horns. The bands were privately maintained by the officers in Britain and civilians often were hired to lead the band were known as the Master of the band. Many of the bandmasters were foreigners because band music had advanced faster in Germany and France.Guild of Ancient Fifes and Drums XE "Guild of Ancient Fifes and Drums" The Guild is perhaps largely unknown to the world of military musicians. It comprises mainly professional percussion and flute players from principal orchestras, augmented by a few Corps of Drums Society members. The Guild, accoutered in 16th Century uniforms, play music ranging from the earliest of these isles, to music of today, together with the occasional, amiable foray into the re-established, internationally famous tradition of drum and fife in Basle, Switzerland; (whence Britain is thought to have copied the fife). The Guild’s Basle fifes are compatible with concert piccolos and its melody instrument Hellenic Military bands-(Greek) XE "Hellenic Military bands-(Greek)" The military band has had a major role in the support of the Greek military for centuries. There are today a Army Navy Military bands and a Air Force band. The Hellenic Air Force Band was founded in Athens in 1946, and is under the command of the Hellenic Air Force General Staff. It consists of senior and junior officers - high-level musicians, who studied at various conservatories of the country and were admitted into the ranks of the Air Force, after passing certain examination. The responsibilities of the band are receptions of the foreign heads of state and prime ministers, accompanying ceremonies at the Presidential Palace and Tomb of the Unknown Soldier. In addition, the band participates in the receptions of heads of Armed Forces and the delegates of the Air Forces. The Hellenic Air Force Band) takes part in national parades, processions, both public and on major religious holidays. In addition, the band takes part in the ceremony of the taking of oath by school graduates of the Air Force Academies. The band has participated in several international military festivals (France, Korea, USA, Italy, and Malta). Every three years the band participates in the 5th Avenue parade in New York, dedicated to March 25th, 1821 (The Independence Day of Greece). The band performs not only on military and official events, but also participates in various municipal concerts with Greek and foreign classical repertoire. A small part of the band consist the orchestra which takes part in social and recreational activities performing in nursing homes, associations for the disabled, etc.History of Military Music(17 Parts)(1) WHEN we read of “military music”, we instinctively visualize “the pomp and circumstance of glorious war”. It is true that the term strictly belongs to the music of the armed throng, but the expression in this sense, is almost a misnomer, since it has come to signify any combination of wood-wind, brass and percussion instruments, as distinct from the so-called “string band” or orchestra. Indeed, it has been claimed that the phrase “wind band” would be more acceptable because the brass band could also find inclusion under such a label. So nevertheless, the fact remains that the modern military band, in its wider significance, was cradled, nurtured and developed to its present perfection under the need and stress of martial array. Yet, strange as it may seem, we have no modern history of its development. Over half a century ago, a well-known army bandmaster J.A.Kappey, pointed out how serious was this flaw in our histories of music. “While historians”, he wrote, “reveled in descriptions of the grandeur of ecclesiastic compositions, of the music of the princely palaces or the royal playhouses, the music of the people has been passed over with almost contemptuous indifference, and it seems as if they were, so to say, ashamed to mention the poor cousin who found inspiration in the open air, or went ‘a-soldiering’. “Since those days, our ideas of the military band have changed materially, and its music has, finally, come into its own. In feudal days, kings and those of a like estate took unto themselves the trumpet’s blast as a royal prerogative, and nobody save those of the courtly circle dared to sound the silver, snarling trumpets”. Thus trumpet bands were developed by the elect, and courts the world over used their brilliant fanfares, not merely as “sonorous metal blowing martial sounds”, but as a recognized part of regal insignia. The incisive flourish at a King’s oral proclamation became as confirmative an essential item as the impressed seal; upon an indicted royal decree. Those of lesser social dignity had to be content with the coarser-sounding horn. Needless to say, both of these instruments played an important part in time of war, where their potency in conveying signals and in daunting the enemy is often paraded in martial annals. In castles and fortified towns, other military musicians kept watch from towers and blew horns when danger threatened. They were called “Waits” in Britain, a name that still survives in the nocturnal musicians who serenade at Christmas time. It was no different on the Continent. In the Netherlands we read that “die Wachter blaest sines horen”; in Flanders that the Wettes did a like duty; in Germany that the Turmer or tower-men sounded their horns at specific hours, which was precisely the function of the Waits in England. In the actual military array proper of Western Europe, only trumpets and horns were used until the eleventh century, and this is what we see with the Crusaders when they took the field against the Saracens. In the French Romans d’Alexandre (1180) we read of cors, buisnes and grailes. It was no better with the English, whose valiant king Richard marshaled his warriors to the sounds of the tuba, lituus and buccina. In the opposing Saracen army there was a much wider range of instruments in the trumpet (nafir), horn (buq), reedpipe (zamr), shawm ( surnay), drum (tabl), kettledrum (naqqara), cymbals (sunuj), and bells (jalajil)). Further, their players were organized into a band which played unceasingly during the conflict for tactical purposes. As a result of the impingement of Oriental ideas on the Occident we find the latter adopting this new use of military music together with such instruments as the anafil, naker, and sonajas, whose very names tell of their Arabic origin. As we have seen, it was only the king’s trumpets which sounded in battle, but now all kinds of shams, reed pipes, horns and drums were employed separately as a military band. If the former conveyed the “signs of war”, it was the latter which inflamed the souls of the warriors and created fear and in the enemy. Although Chaucer tells us that there were the instruments in the battle that “blew terrible sounds”, they were also used in combination by wandering minstrels who roamed through the countryside, and could be heard in courtyards and in castles and market squares. It was in the hands of the minstrels that the entire aspects of music changed. They were the first “road bands” touring through many countries picking up exotic musical forms and fresh ideas for lyrics , the music, and the rhythm .Their work was met with a formidable foe in the church and state who became alarmed because their interests were undermined by the newcomers who provided popular music as opposed to secular. Out of this repressive order grew the music Guilds which eventually became the source for the various combinations of trumpeters, minstrel groups and town bands. In Germany the Guilds were very well supported by patrons. The members were trained in various musical duties and required special diplomas after four years of study to gain acceptance to the Guilds. The minstrel guild system played a very big part in the development of wind music and the wind ensemble. The princely houses of Europe had very well defined instrumental combinations. For example King Edward III of England had as his “Musik”, 5 trumpets, 2 clarions, 5 pipes, 3 waits and a drum available for outdoor music. Under Edward IV court minstrels consisted of thirteen players, trumpets, shams and small pipes. The trombone (sakbut) made its appearance later in the realm Henry VII where there were 9 trumpets, and shams. The trombone was the natural bass instrument for this combination. A brief review of “Military Music” attests to the influence of the Renaissance in Europe. The rebirth of the classical art of war led to the return of the ancient concept of martial music and the replacement of regal trumpets and leather-lunged minstrels with instrumentalists attached to units of cavalry and infantry. Military textbooks within the period of the Renaissance are abundantly filled with information as to what was required of military musicians. The Swabian infantry of Maximilian had a drummer and fifer in each company of foot and a trumpeter in each troop of Horse. In the realm of Francis I of France there were two fifers and 4 tambourines allowed to every thousand men. In England the allocation was more generous as in 1557 a regiment of foot might have a drum and fife band of twelve players. There was much in the pomp of war to keep such combinations busy. The playing of marches was a necessity and was described in Garrard’s Art of Warre (1591) when he said “According to the stroke of the drum,…so shall they go, just and even, with a gallant and sumptuous pace, for by doing so they shall be honoured and commended of the lookers on, who shall take wonderful delight to behold them. This reference is the first notation on what is known today as a Ceremonial parade. Classical music contained several snippets of military music. The music heard in Jannequin’s Bataille 1515 contained French Cavalry calls. Many of the marches were unpretentious and were simple tunes and airs which had a spirited melody and with the addition of rhythmic figurations made them popular among troops. The growth of military band music also had an impact on the rise of the town bands in Europe. As early as the fourteenth century the waits or watch-tower musicians were combining with the pipes to provide entertainment for the citizenry. This led to the pipers being termed “bandsmen” for the town bands and began to include, fifes, shawm, cornett and crumhorne (a double reed instrument) trombone and drum. A drawing by Durer at Nuremberg of a town band at about 1423 shows a shawm, 2 bombards (very early Tuba) 2 trombones, a fife and a drum. In the Netherland we find 6 to 9 stadspipers.(2) The Oboe Ensemble in German Military and City Music up to 1720Shortened version of the first two parts of a degree thesis at Schola Cantorum Basiliensis on “The Oboe Ensemble in Germany from the Beginnings to ca. 1720.”(. Many thanks for this fine translation from Jesse A. Read, bassoonist and Baroque bassoonist at University of Victoria, British Columbia, Canada. Renate Hildebrand’s article first appeared in the special wind instrument-oriented magazine TIBIA . . . from TIBIA No. 1/1978 (Moeck Verlag Musikinstrumentenwerk, Celle, W. Germany) TIBIA has kindly given us permission to reprint this article in English for the first time. Ed.)It is a little known fact that the oboe and bassoon developed as solo instruments preceding their now well-known soloist-virtuoso status of the High Baroque and Classical periods. The areas of court, military, and city music deserve special attention, for here the members of oboe ensembles were joined together in “Hautboistenbanden” which had special responsibilities and social status as befitted performers of High Baroque “entertainment” music.The schalmei (shawm), whose use in military music of course went back much further, was used in the Brandenburg-Prussian army for the first time in 1646 four schalmeis served under the Great Elector–two schalmei, one alto pommer and one bass dulcian. This arrangement is typical until the 18th century as well in the bodyguard of the Prince of Zeitz. Von Fleming wrote this in 1725 about reed instruments in the army: “The schalmei are still in use; only four men are used: two descants, one alto and one dulcian.”In the second half of the 17th century the French developed the oboe from their schalmei. Developments were made in fundamental points and it was thenceforth called the “hautbois” by the French. For the reed instruments, the decisive step in development was made at the same time as modifications in recorders (Block-and Querfl?te) and in bassoons. These developments brought these instruments into use in “Art” music. The oboe and bassoon were now more flexible than their forerunners, less through the insignificantly narrower bore as through the modified form of the bell and the reduction of the tone hole size and especially through the embouchure by which the tightly stretched lips grasped the more refined reed and could thus better modulate the tone.Since only the instruments of the two reed families with the greatest potential for development continued to be made, some range was lost. Because of the considerable and unwieldy length, the lower-pitched instruments of the pommer family were always less flexible from the point of view of technique and sound than were the higher-pitched members, whereas with the higher-pitched dulcian instruments, different problems were encountered; it was more difficult to build the smaller doublebore instruments, their range was narrower and their sound and intonation worse. So in the 17th c. people returned to the most successful members of the instrument families which had been developing in the meantime these had already been built in their best forms as the first examples in their classes: in the Middle Ages the schalmei, then the alto pommer, and in the 16th c. the dulcian as a bass instrument.Since the tradition of ensemble structure according to instrument families was still alive, and the double-reed instrument families of oboe and bassoon are closely related, a new ensemble with two oboes, alto oboe, and bassoon arose from these two groups. This corresponded to the ensemble with two schalmei, alto pommer and dulcian which was already common at the beginning of the 17th century.At the court of Louis XIV, mostly marches, dance tunes, and airs were played with the new oboes in the above mentioned arrangement, with, however, a doubling of the voices. In the 1680’s French oboists with their new instruments and their ensemble structure came to Germany most of them as court musicians. Up to that time the oboe was unknown in French military music. Later however, the oboe made its appearance there, after the French oboists had become familiar with the German schalmei in the army.An account from the year 1690 runs: “A few years ago, French schalmei players, known as ‘hautboisten’ became known and were used in battle.” In 1681, “four German schalmei players” and a “French hautbois”” played in the infantry regiment of Anhalt-Dessau. Whether he played the principal voice or whether he was intended for the instruction of the descants, or both, is not known. In 1695 in the army of the Bavarian Elector Maximilian Emanuel II, the infantry regiments had progressively changed to six oboists; however, the old schalmei ensemble was retained until the middle of the 18th century. Von Fleming wrote in 1726: “The regimental pipers were for a time also called schalmei pipers, and at the time such instruments which gave a clear tone were played in front of the regiment so as to encourage the ordinary soldier all the more. Subsequently they were, however, difficult to play, and at close range unpleasant to the ear, so instead of the German schalmei [1], the French oboe became popular, and is now used almost everywhere.”Later, until the second half of the 18th c., there were six regimental oboists in Prussia, Bavaria, and Austria, according to von Fleming:“Subsequently however, the oboe came into its own, so now there were six oboes, since the oboe sounded not so harsh as, but much sweeter than the schalmei. In order to improve the harmony even more, there were now two descants, two taille, and two bassoons,” so that it is clear that “oboe” had become the generic term for the instruments from descant to bass, just as later “Hautbois” is strictly a military term. “Taille” refers in this context to the alto oboe. In a bill from the instrument maker Jacob Denner to the G?ttweig Monastery (Kloster G?ttweig), “bassoon” was written in beside the bass oboe and also beside the bass members of the blockfl?ten and chalumeaux, as almost always the “bassoon” as the bass member of an oboe ensemble was distinguished from “fagott”, the bass member of an ensemble which included strings.An original composition “for Oboists of the Court and Battlefield, arranged for four or more instruments playing” is “Die Lustige Feldmusik” by Johann Phillip Krieger, written in 1704 for two oboes, alto oboe and bassoon. With six voices, it was necessary to double the two oboe voices or the first oboe and the bassoon. Two other works for oboe ensembles, whose arrangement is known, but whose music is missing, are the “Ouverture a 4″ for “two oboes, one taille and one bassoon” by P. Wieland (ca. 1700), and the “Ouverturensuite a 4″ by Ph. Heinrich Erlebach (1657-1714) for two oboes, taille, and bassoon. The pitch distribution of such a four-voice piece corresponds to a piece for instruments of the violin (not the gamba!) family and thus enables the same music to be played on different instruments — an important circumstance for the oboists.The Sonsfeld music collection in the possession of the Prussian General Friedrich Otto Freiherr von Wittenhorst-Sonsfeld (1678-1755) contains almost exclusively works from the early 18th century, in which several oboes and bassoons are required, in most cases accompanied by a trumpet. The six part-books of the manuscript collection bear the initials G. v. L. which very probably can be taken to mean that they once belonged to the Prussian General Georg von Lilien. A further notation on the part-books specifies under the respective instruments, the reed instruments first: Hautbois I. . . Hautbois II. . . Hautbois III. . . Taille . . . Bassoon I. . . Bassoon II. . . It therefore has to do with ouverturensuites and concerti, in most of which a trumpet plays above an oboe ensemble movement. For the vast majority of 52 works, no composer is given. The most common arrangement is trumpet, three oboes, taille, bassoon (or two bassoons). Occasionally two violins or two horns are added, or the taille is left out; in one case even two flutes and two cornets are combined with two oboes and two bassoons, in exceptional cases there are only reed movements without trumpet.About 1720 a six-voice movement with two oboes, two horns and two bassoons made its appearance, indicating an exchange of tenor oboe for the horns. The earliest surviving infantry marches are written for this arrangement. This was the arrangement until the end of the 18th century, notably in Telemann’s Suite in F, in Haydn’s Divertimenti Hob. II No. 7, 15, and 23 and Mozart’s Divertimenti KV 213, 240, 252, 253, 270 and 289. The four-oboists band which made its debut at the Dresden Court Festival in 1719 had a simple four voice arrangement with three reed-players and one horn. Even before 1719 J. G. Store had written a march for two oboes, horn and bassoon. Von Fleming writes: “In the Royal Polish and the Elector of Saxony’s infantry it is arranged that with the six oboists yet two horn players must join, which produces a right pleasant harmony.”Later the horn was joined by the clarinet which was invented at the beginning of the 18th c. The usual arrangement in the second half of the 18th c. then was: two oboes, two clarinets, two horns and two bassoons. The Mozart Serenades KV 375 and 388 and Haydn’s “Feld-Parthien Hob II 4143 was intended for this arrangement. In the Musikalischen Lexicon by H. Chr. Koch (1802) is found the heading, “Hoboisten, hoboistenchor”. The entry reads: “A beautiful wind music consisting usually of two oboes, two clarinets, two horns and two bassoons.”To this Von Fleming adds: In the Royal Prussian and Brandenburg Elector’s regiments, a trumpeter on foot instead of a horn player goes ahead,” which, incidentally indicates the social decline of the formerly privileged trumpeter.The oboists who were on the staff of the infantry regiments, played most importantly in the personal service of the commanders, who, in Brandenburg-Prussia until 1707 and even later, paid them out of their own pockets. Von Fleming writes about this service: “Every morning in front of the commander’s quarters, the oboists play a morning song, a march which he likes particularly, an entree and two minuets which he is particularly fond of; and in the evenings this is repeated, or whenever the officer has guests or calls an assembly, and they listen to violins and cellos and sweet flutes and other instruments. . .”Military oboists came mostly from the “Stadtpfeifereien” (henceforth translated as “town musician groups”) and played many other instruments, and were frequently interchangeable (einsetzbar). Occasionally they even appeared in court chapel music ensembles. This is mentioned, for example, in 1704 at Sonderhausen and in 1706 at Schwerin. Reinhard Keiser writes to the court of Wurtemberg, that he has in mind a combining of the two good regimental bassoonists for his Suite for 8 oboes; and in the “Pageant of the Gods” in Dresden in 1695, seven bassoonists of the local sovereign’s own guards assisted 35 others.In Leipzig the regimental oboists played outside the military at funerals, and in Sonderhausen at soldier’s funerals the Hautboistenkorps was especially important. Von Fleming reports on the burial of an officer: “The oboists walk before the body playing a dirge on muffled oboes.” A further function was, naturally: “The trumpets, drums, fifes and oboes encourage the soldiers in battles and attacks, they control marching advances and retreats.”As already mentioned, until now the regimental oboists were of the civilian school, the best of whom were sure to seek places in the court, chapel, and city music ensembles. Those who went to the military as a rule were not the best. There was less demand (in the army) and the job was poorly paid. Mattheson cannot deny himself a parting shot: “However, the oboes were not played in the most delicate way (in the field or among the public where it is not so precisely taken) so I would rather hear a good Jew’s harp or kazoo.” And von Fleming: “the trumpets, oboes and others of the same, which make too loud a noise, are damaging to the head and the health, they impair the lungs and deform the face; the cheeks and the eyes become swollen.”In order to improve the level of playing King Friedrich Wilhelm of Prussia founded the “Hautboistenschule” in 1724 in the military orphanage in Potsdam. The first head of the school was Gottfried Pepusch, a brother of Johann Christoph. He was a member of the Brandenburg court chapel ensemble until its dissolution, and then remained as Staff Oboist and had many pupils, six of whom went to Hannover in 1701-2. Oboists were sent to Berlin for further instruction also, five by the Margrave von Ausbach.As with court and free oboe bands, so also in the regimental bands “the first oboist had to understand composing, the music so much the better to order.” The Dessau March, for example, was composed by an oboist.Unfortunately, nothing particularly concerning the oboe’s history can be gathered from the extensive information on town musical groups, so that it can be assumed that the oboe was adopted with very little fuss. In 1690 Kuhnau writes in his novel Musicus Vexatus that besides the importance of mastery of the trumpet, bomhart (pommer), cornet, trombone and dulcian, there was demanded a reasonable skill on the oboe and stringed instruments. Indeed in a report of the laying of a foundation in Glaucha in 1698, the town musicians marched with schalmei and bagpipes, nevertheless, after 1700 the schalmei was no longer mentioned in the town pipers groups.Linked with this is an interesting regulation of the prorector in Halle in 1703: “After nine o’clock in winter and ten o’clock in summer, all loud music, whether on horns, trumpets, and drums or oboes or post-horns is forbidden.” Also in Halle, in 1698, the Scheinhardtsche Companie was famous for attending luncheon tables with violins, oboes, horns, trumpets, kettledrums, and “French schalmei.”The different instruments had particular tasks in the town music groups. For example, trombones were played, but never required, while strings were reserved for other special tasks. On the other hand, the oboe took on such a universal importance, that groups of musicians called themselves simply “hautboistenbanden” even though they played other instruments also, in order to show that they were available to play with the newly fashionable instrument, outdoors, in houses and churches on both solemn and gay occasions.The town music group was, of course, an extended training school for the new generation of musicians. Besides stringed instruments the wind instruments were nevertheless their own domain. For example, the pupils at the Thomas school in Leipzig received wind instrument instruction from the town musical group, but instruction on the other instruments from Thomas-Kantor. A supplementary article to the Guild Records set out in 1662 by the Elector of Saxony forbade organists to instruct their pupils on wind instruments, since this was the role of the town musicians. Most of the court and regimental musicians had received their five to six years instruction in the town musicians ensemble.The town musicians saw to it carefully that they would have no competition. In 1689 it was ordered in Chemnitz that schalmeis were to be played only by town musicians. In addition, in 1702 King Friedrich I of Prussia bestowed the privilege of public oboe playing on the “Hyntzschen Companie” which caused the town musicians great loss. At the time there were about 30 oboists in Halle, however they were only permitted to play the oboe for private occasions or outside the city gates as long as they were excluded from the privilege. Here, as a schoolboy of Zachow, who himself came from a town musicians group, Handel learned to appreciate the oboe and probably composed his trio sonatas for two oboes and basso continuo.The chapter on town musicians should not be ended without mentioning the Denners, father and son, Johann Schell, and other Nuremberg makers of woodwind instruments, who were contemporary with the town musicians of Nuremberg, which in part explains the quality of the Nuremberg instruments. The spontaneous expansion in Germany of the originally French oboe is essentially thanks to these instrument craftsmen. The oboe parts of Bach’s works show to whose ability the town pipers owe their success.The so-called “stadtoboists” deserve mention. Such musicians of the city “miliz” were designated for the first time in 1716 in Frankfurt: “six oboists in their fine uniforms walked before the troops playing Telemann’s March.” In Leipzig in 1720 the Stadtmiliz employed oboists as well as drummers and flautists, about 1750 this group was called the “Stadthautboisten.” As a rule the group consisted of six men, as in the military groups and was put together mostly from dismissed regimental musicians, who had to be given a place in civilian service. Their duties included playing for the guard, and for festivities and processions of the town. They could play privately in taverns by the city gate. In the second half of the 18th century we no longer find these (miliz) musicians in the city records, just as free oboe ensembles, in Halle for example (see above) are no longer mentioned outside of particular occasions.FOOTNOTES[1] The idea of German schalmei arose in the 17th c. and referred to instruments which were described by James Talbot in 1700 thus: “They are used in the German army, but have a sweeter sound than the schalmei of other countries. They have only six key holes, no key for the lowest tone, but instead a fontanelle, and the lowest tone with six covered holes is C’.” Such instruments are preserved in many museums, among them Brussels, Nuremberg, Basel and Leipzig. [Return]LITERATUREBaines, A.: James Talbot’s manuscript, in: The Galpin Society Journal I, 1948.Beinroth, F. W.: Musikgeschichte der Stadt Sondershausen. Innsbruck, 1943.Brand, H. J.: Die ehemalige Hoboistenschule im K?niglich Potsdamschen Milit?rwaisenhaus. Deutsche Milit?rmusiker-Zeitung, 51. Jahrgang (1930), Nr. 49.Braun, W.: Entwurfeiner Typologie der ‘Hautboisten’, in: Salem, W., Der sozialstatus des Berufsmusikers vom 17.-19. Jh. Kassel, 1971.Fleming, H.: Der volkommene teutsche Soldat. Leipzig, 1726.Meyer, K.: Geschichte de Mecklenberg-Schweriner Hofkapelle. Schwerin, 1913Nickel, E.: Der Holzblasinstrumentenbau in der freien Reichstadt Nürnberg. Munchen, 1971.Panoff, P.: Milit?rmusik in Geschichte und Gegenwart. Berlin, 1938.Rau, K. W.: Geschichte der Chemnitzer Stadtpfeifer. 1932.Reschke, J.: Studie zur Geschichte der brandenburgischpreufischen Heeresmusik. Diss. phil. Berlin, 1935.Reschke, J.: Zur Geschichte der deutschen Milit?rmusik der 17. und 18. Jahrhunderts. deutsche Musikkultur II, 1937.Schering, A.: Musikgeschichte Leipzigs, II. Leipzig, 1926.Seraukyk W.: Musikgeschichte der Stadt Halle. Halle, 1935 ff.Sievers, H.: Die Musik in Wolfenbüttel-Braunschweig, in: Die Musik in Hannover, Hannover, 1961.Sittard, J.: Zur Geschichte der Musik und des Theaters am württembergischen Hoff, II. Stuttgart, 1891.Walther, J. G.: Musicalisches Lexicon. Leipzig, 1732.Werner, A.: St?dtische und furstliche Musikplfege in Zeitz. Bückeburg und Leipzig, 1922.(3) The Genius of Mozart.FRANCE was not only leading the wind-instrumental world at the opening of the eighteenth century but she was looked upon as the fount of this art. Both England and Scotland had been influenced as we have seen, in their adoption of oboe bands. Even Germany was is affected by Gallic military modes, at least in its music if in nothing else. Yet the lands beyond the Rhine were already displaying themselves to advantage in the higher branches of the art, and were certainly busy in improving their bands, so much so that they were soon to leave France behind Many changes had been forced upon instrumentation. Cromornes and cornetts had passed out of use by the turn of the century, although, Gluck; was using cornetts much later. With the oboe becoming a simpler instrument to play it soon was able to push itself in a melodic sense to the forefront. The bassoon also became a very useful instrument replacing the bombard instruments and also the trombone fell into neglect. The alteration in the coiling of the tube of the horn (and this was why it became known as the “French horn” gave this instrument new and useful position in wind bands. . . The greatest novelty was the emergence of the clarinet an instrument said to have been “invented” in 1696. When all these band instruments appeared in the military band is not certain yet one feels instinctively that most of them spent their prentice years in open-air bands before they were patronized by indoor orchestras. Unfortunately we are denied complete documents from French sources regarding the state of military music during the first half of the eighteenth century. German army band of 1706 consisted of2 oboes, 2 trumpets or horns, and 2 bassoons, plus drums, but by the mid fixed by Frederick the Great, which was quite familiar to Mozart and Beethoven. In Britain there is fund of documents about regimental bands although not so complete in the earlier years as available elsewhere. As late as 1731 the band of the Honorable Artillery Company was confined “one curtail, three oboes, and no more”. In 1746 there is reference in a parliamentary report to the music, hautbois and fifers of the Foot Guards. Probably it referred. To other fixed by Frederick the Great, which was quite familiar to Mozart and Beethoven. In Britain there is fund of documents about regimental bands although not so complete in the earlier years as available elsewhere. As late as 1731 the band of the Honorable Artillery Company was confined “one curtail, three oboes, and no more”. In 1746 there is reference in a parliamentary report to the music, hautbois and fifers of the Foot Guards. Probably it referred. To other it is not until 1762 when the famous Royal Artillery Band was formed in Germany that we get a precise instrumentation of 2 trumpets, 2 French Horns and 4 Hautbois or clarinets.The Artillery band increased in size to 10 players in 1792 and twelve in 1798. Many of the British Regiments had at least 8-10 musicians in their ranks. Cavalry bands also moved with the times and adopted oboes into their bands along with trumpets and kettledrums. Also they were augmented by bassoons. In 1767 the Horse Guards as they had very strong combinations which included trumpets, oboes, bassoons and drums. A rather stimulating combination even without a trombone-but in 1769 two bassoons was added. At the same time it must be under-stood that excepting the Royal Artillery, the Life Guards the Horse Guards the Horse Grenadier Guards and the Foot Guards, all “Bands of Musick” in the army were unofficial although tolerated. This was also the rule in France to some extent. Here, military bands, and even military music in general, had deteriorated. The Uhlans of Marshal Saxe in 1741 the Gardes Francaises and a regiment of Croats had bands of horns, bassoons and cymbals. Whilst a Harmonie-Musik formula was still the rule, the Instruments were frequently doubled, as in 1762 when the French Guards had the performers in their bands increased from eight to sixteen, and in 1738 to twenty-four. Thus far we have been able to comprehend the growing strength and the widening instrumentation of the military band. This name had now come to mean, in Britain, the army band, because the latter had quite eclipsed the old town band, which had almost died out. In most instances the membership of army bands consisted of hired professionals, a position which stood military musicians in good stead occasionally. When the Swedish garrison of Demmin capitulated in 1759 the ARTICLES OF SURRENDER READ “The hautbois and musicians being paid by the officers, shall be at liberty. In one of Marlborough’s campaigns, when the oboes of a French regiment were ordered to strike up battle music to cheer their comrades they couldn’t be found. It appears that after the first shots had been fired the oboes their exit. Evidently they were pleased with the “pomp”‘but not the “circumstance” In Britain, it is said, the first band of enlisted musicians 1st Foot Guards (Grenadiers) in 1749. The rising importance musically of the military band brought the definite recognition of its leader or director who, throughout the eighteenth and the first half of the nineteenth century, led his band with his instrument, often the oboe. He was dubbed the Master Musician or Music major in Britain Kapellmeister in Germany, and Capo- Musica in Italy. In Britain and the United Kingdom of there was a craze for foreigners as bandmasters usually Germans and Italians. Among these aliens were some names of eminence. The famous astronomer Sir William Herschel, a Hanoverian, was bandmaster of the Durham Militia John Kohler an instrument maker was bandmaster of the Lancashire Volunteers; Johann Logier, an early musical textbook author was in a similar position in the Kilkenny Militia the appeal of the military band because of its portability was lending to its success. True, the primary purpose of these institution army duties, that is to provide music for the marching and lifting the spirits of the soldier in battle, and to brighten and comfort soldiers in their bivouacs and in barracks. Yet there was considerably more to the new art form. Kipling once wrote “there no greater asset to recruiting than the band”. Since the officers supported regimental music by contributions to a “band fund”, they took every opportunity of using the regimental band for their own pleasures, even to have the band perform on civic or private occasions. In other words, they began to enter the orbit which had been the purview of town bands. In many centers of music the bands began to have regular subscription concerts. This fact is born out by the programs of the Royal Artillery Band in England. The Terraces of Versailles held numerous concerts featuring first the French Gardes du Corps and later colossal bands of the National Guard who played for the festivals of the Republic. The actual music played by military bands of the period does not reveal any drastic departure from the music which preceded it. The most important element being the march, and this was practiced in two, if not three forms the slow march, which the Germans called the parade march the quick march which the French called the pas redouble and the double quick march which was called the pas de charge. The slow march was taken at 80 paces to the minute in Britain. Examples of the slow march can be found in March books from the past including a book called WARLIKE MUSIC … a collection of marches and Trumpet tunes. The contributors to this collection included the venerable Mr. Handel, and the book contains slow marches which were from the realm of opera including SCIPIO and RINALDO.The quick march with a tempo of M..M. =100 was in 2/2 or 2/4 (6/8 marches were mostly in vogue in Britain) Prussia originated the quick march in the 6/8 meter and the idea spread rapidly through Europe. The custom of units employing distinctive folk songs as regimental marches both in quick and slow time began during this period (circa 1760-1800) The marches were often in the 6/8 meter and were performed during regimental occasions. Most of these marches have been preserved. In Germany prized its historic marches -Der alte Deassauer(1705) Hohenfriedberger(1745) and Coburger(c 1750).Austria also developed some glorious marches including The Prinz Engen March Pappenhiemer and the Musketiers von Friedland.Despite the artistic progress of the military band the movement had not attracted the great composers. Reinhard Keiser (1674-1739) the creator of German opera was the first to patronise the wind ensemble by composing two suites for military band most likely based on his operas and dated 1715 noted as Kayserliche FriedensPost. Nicholas Hasse is the composer of an AUFZUG (fanfare style) for 2 trumpets and two kettledrums (1750).The British Museum houses several early numbers for military band including Handel’s overture to his Fireworks Music (1749) scored for 3 trumpets, three horns, 3 oboes, 2 bassoons with a contra-bassoon and kettledrums. In browsing the score one is taken with the massive tutti scoring that must have given listeners an earful at this very early period.C.P.E. Bach wrote numerous compositions for the smaller Harmonie Musik combination of six, as well as for seven and eight players. Johann Christian, the London Bach, composed marches for this type of band, whilst Michael Haydn did a Turkish March for twelve instruments and percussion. His brother, the greater Haydn, contributed divertimenti and Feldpartien items for the military band, and when in England he wrote two marches for the Prince of Wales, afterwards George IV, and another two for the Volunteer Cavalry of Derbyshire. The divertimento was, like the partita, a suite of several movements, whilst the equally favored Military Concerto was an instrumental solo, usually with variations. The only other music of the concert type for the military band was for the most part arrangements from operas and oratorios. One recalls how this is illustrated in the second act of Mozart’s great opera where Don Giovanni’s hand of Harmonie-Musik entertains him at dinner with extracts from current operas including Figaro. On the whole it cannot be said that there is anything arresting in the wind-band music of the period. Gluck might have done something, and we know that he was invited to contribute to French military music. Of course he may have been made aware of France’s slow development in this sphere, and Rousseau had been cruelly contemptuous of this music. Even later, if one peruses the marches of Pugnani (and he was director of military music to the Duke of Piedmont), the suites by W. F. E. Bach a grandson of Johann Sebastian-or the works of Sussmayer the friend of Beethoven, it is crystal clear that no great progress had been made in wind-band music since Lully’s time. It was not until Mozart’s genius streaked across the sky that one discerns fresh ideas in the treatment of the instruments of the wind band. His ten years’ experience (1773-82) in composing a score of divertimenti and serenades and the like for the wind ensemble had enlightened him on the wider capabilities and the greater beauties of its instruments. That for which he scored was the ordinary town band–2 oboes, 2 horns, and 2 bassoons–although after 1781 he preferred clarinets to oboes, except when he used both. Occasionally he added 2 cor anglais or 2 basset horns, Even the cavalry band instrumentation fascinated him, 5 -or 6 trumpets and a pairs of kettledrums, with 2 flutes these latter were probably fifes, which had become popular with cavalry bands, even in Britain.”I have now no light task to get my opera (Il Seraglio) arranged for military hand,” wrote Mozart in July 1732 ”You cannot Imagine the difficulty of arranging an opera for military hand, to make it fit for wind instruments without sacrificing any of the effects.” Whatever the difficulties in this task of arranging, Mozart was certainly a master hand at scoring in this domain—a trail which he was to blaze for others, It was just as well, perhaps, that Mozart at this particular time to break down the conservative notions of writing in the monotonous vertical treatment of military literature up to that point. In any case, there had been scarcely any recognition of the precise characteristics of individual instruments in pre Mozart days. The use of clarinets in his symphonic works and his concerti for clarinet changed the entire perspective for the military band. The employment of the full dimensions of this instrument was one of the most important catalysts in the development of the wind band. There were other vital changes coming to the military band, for the most part extrinsic, but fortunately the Salzburg master had already settled what was intrinsic before these changes came. (4) Different Drummers TWO factors which brought a forceful crescendo to the military band were the so-called Janissary Music and the inordinate military and social zeal aroused by the French Revolution,The Oriental influence was nothing new in the field of Military music. We have seen the Saracen influence in the middle Ages. At the Renaissance, the French) envious of the kettle drums of the Hungarians, already borrowed from the Turks, introduced them into West as timballes These Tamballes, were reserved for royalty arid corps of elite cavalry, although artillery had them mounted on a chariot. Oboe bands, as we know, were also an Eastern plagiarism, and in the early eighteenth century further borrowed plumes from the Turks found favor. Janissary Music which meant the adoption of the bass drum, the deep but portable kettledrum and the tambourine, together with cymbals, triangle and “Jingling Johnny”, the last word being a popular imitation of the Turkish name chahana. The credit for having introduced this battery of percussion and concussion into Europe usually goes to Poland which, in the 1720′S, had received a full Turkish band from the Sultan. Russia, ‘not to be outdone, sought a similar favor of the Sultan in 1725, Prussia and Austria following suit, and by the 1770′S most other countries had fallen under the sway of Janissary Music. Later borrowers dispensed with hiring Ottoman performers Negroes being employed in their stead because these had long been employed as trumpeters and drummers in European armies. In the British army we see cymbals in the 24th Foot (1777), with bass drum and tambourine added in the Royal Artillery (1782), and a Jingling Johnnie and tambourines in the Coldstream_Guards (1785).These “blacks” as they were designated on the muster rolls displayed great ability and agility in the handling of these percussion instruments. Dressed in the most outlandish Eastern style and by performing their rhythmic functions they added not only to the gaiety of nations but to the rehabilitation of military music from a military point of view. In 1786 the British War Office had actually forbidden the “band” to be used for parading, but the new exotic craze helped to bring about the restoration of the musically cadenced step. Many of the March books of the period reveal that the instruments employed and music were Turkish in content. The military band did not retain sole possession of Janissary Music. Mozart used this medium in the Opera SERAGLIO (1781) and Haydn in the MILITARY SYMPHONY (1794) Hector Belioz is quoted as having said that the “alien instruments” had come to stay as they were cradled in the orchestral score but having been born in the military band.One of the contributory reasons for the emergence of military band instruments other than the simplistic instruments associated with what was called HARMONIE-MUSIK was the necessity to develop tonal colours and balance within the military band. The addition of percussion and the advancement of wind instruments made this condition possible.When the French Revolution broke out in 1789 military music in France was at low ebb. Within a year France became the military music luminaries of Western Europe. The watch words of the revolution ,”Liberty, Equality, and Fraternity” were but grand slogans which needed to have some cultural attachment to make the message clear to the populace with sights and sounds. It was then that the French devolved the Grand National festivals. The raison d’être to celebrate the revolution became the monster parades and outdoor concerts with massive bands and choirs all singing and playing to praise and further the philosophical doctrine of Mirabeau and Voltaire.An outstanding part of the open-air fetes was played by the newly-formed band of the National Guard. Raised in 1789 by Bernard Sarrette with 45 performers who were taken over the following year by the Paris Municipality. In 1792 the band was suppressed and although the band had limited success it became the focal point for the establishment of the ECOLE ROYALE de CHANT (later the Conservatory of Music) and the school was the mainstay for the provision of military musicians for the numerous French military bands which began to become established. The instrumentation of bands during the revolutionary period is of importance to the history. Of military music itself. As planned by the Conservatory the military band of 1779 consisted of I flute; 6 clarinets, 3 bassoons, 1 trumpet, 2 horns, 1 serpent, with bass drum and cymbals... The massed bands for the fetes were of enormous dimensions.As planned by the Conservatory the military band of 1779 consisted of I flute; 6 clarinets, 3 bassoons, 1 trumpet, 2 horns, 1 serpent, with bass drum and cymbals... The massed bands for the fetes were of enormous dimensions. . On one occasion there were 10 flutes, 30 clarinets, 18 bassoons, 4 trumpets, 2 curved tuba, 4 buccins 12 horns, trombones, 8 Serpent; with 10 side-, bass and kettle drummers, cymbals and triangle beaters.Indeed, for spectacular effects, three hundred drummers could be mustered for a prodigious roll when needed. In this instrumentation one observes the temporary eclipse of the oboe by the clarinet. This was because the latter instrument, played with the reed uppermost and an embouchure produced a clarino (high trumpet sound. The clarinet also had a very good range from the chalameau (low register)’ to the sopranino register. Then there was the Small F flute as help in the higher registers, and Berlioz thought that such an instrument would be serviceable in ordinary orchestras lastly, and more importantly, there was the addition of the trombone and serpent so as to give greater weight to the foundations of the wind ensemble.The reaction to the radical changes in French bands was not .long in making itself in making itself manifest elsewhere. Germany not wishing to usurped immediately created a Guards band with an instrumental establishment of 1 piccolo 2 clarinets, 2 bassoons 1 trumpets, 3horns, 1 serpent and 6 Schlaginstrumente(percussion). Britain also saw the value of a balanced instrumentation although influenced by the French Model as seen in Grenadier Guards band of 1794 with 1 flute, 6 clarinets, 3 bassoons, 1 trumpet, 3 horns, 2 serpents and the Janisserary percussion. It was agreed that by 1794 France, Germany and Britain certainly were at the leading edge of military bands worldwide.Returning to the hub of the military band world band world in France, we see that the band of the National Guard numbered twenty-seven. Cavalry bands were eventually raised and handsomely furnished with 16 trumpets, 6 horns and .3 trombones, to which kettledrums were added in cuirassiers and carbineers. The newest band which was raised was the Consular band which eventually took the place of the National Guard band and won fame under directors Michel Gebauer and Mathieu Blasius. and the oboe had been restored Under the Empire (1804), with Napoleon, a larger band was allowed the Imperial Guard It was for this combination that Paer composed his four Grande Marches for Napoleon’s wedding with Marie Louise in 1810.What contributed most to France’s pre-eminence in military music was the requirement for it. Secondly, it had composers of the mettle of Gossec, Catel and Mehul and Cherubini living and working in France. Thirdly, the band of the National Guard was composed of some of finest wind band players in Europe”. The output for the military band was enormous. In addition to the innumerable quick steps and other parade band and marching music, as well as the settings of patriotic songs, there were symphonies, suites and overtures of the first rank composed for this combination. Gossec was already a pioneer in music before the Revolution broke out, having been the first to broach the symphonic form, to use a military band with an orchestra, and to demonstrate the value of the Clarinet and trombone in the latter. The Revolution, with its clear cut with the past, provided a medium for new and vibrant works from his facile pen.In terms of “form”, the symphonies of Gossec take first place. There is one in ‘C which comprises one movement only; another, in F, of two movements. They may not be what we know discern as symphonies but, the three movements were quite an engaging and animated work. His Marche Lugubre, written for the translation of the body of Voltaire (1791), with those preludial notes ‘for ‘the gong and kettledrums, is a somber, moving dirge. Of greater consequence are the symphonies of Catel, who shared honors with Gossec in directing the bands. His symphony in F, written in the Hayden style is an exhilarating piece of writing, whilst the one in C displays some daring modulations, almost modem in their audacity. A symphony by Louis Jadin is even more, advanced in its bolder harmonies and, incidentally, reveals a striking prophesy of what Felix Mendelssohn was to write in the Scherzo of the “Reformation” Symphony.The overtures by the composers of the Revolution are even better than the so-called symphonies. Two by Catel are of some importance, especially the one in F but another, in C, by Louis Jadin, is superior in many ways, with some unconventional touches in harmony and a quaint rhythmic shadowing of the Finale in Beethoven’s Symphony in C minor. Lastly, there is an overture in F by Hyacinthe Jadin a brother Louis Jadin which stands an easy first among the overtures of the revolutionary “period. Practically all of this music has passed out of use but remain as outstanding treasures of military band music. Ca Ira attributed to the drummer Becourt is an outstanding example of music which has withstood the test of time. It remains a well known and often played march.Turning to Germany the great composers of this era also lent their hand to the creation of band music. Dittersdorf, Franz Hoffmeister, Pleyel, Franz Kummer began writing for the band combinations. Some of the music was forgettable but it was important material to add to the repertoire. Beethoven also saw the military band as a good medium. Most of the music falls within the period which closes with the events of 1815. His earliest compositions include the Rondino and the Octetor Parthia in Eb (1872 which was the originally written as String Quartet (opus 4). He followed these works with his sparkling tattoo music (ZAPFENSTRICH) of 1809the one in F having been written for the Bohemian Landswehr. These were followed by the Polonaise Ecossaise and the March in F (1810). The march for 2 clarinets, 2 horns and 2 bassoons although undated was a fine composition for the period. His march in D written in 1816 is an example of his finest writing for the wind ensemble. The full score for this march indicates that save for the omission of the trombone it is very much equal to modern instrumentation(no saxophones of course) He also employed the F clarinet which had been used in the French Bands previously. It was useful as an outdoor backup for flutes. The march is certainly in advance of anything previously. Beethoven wrote to publisher and said” this march could be played by several bands united, but even if one band lacked instrumentation it could be easily utilized by leaving out some of the parts”. He foresaw the versatility of bands and their ability to adapt themselves with small or large combinations. A hundred and fifty years passed before formula band writing was discovered.Band music in Britain had also begun to expand with the Royal Artillery band mustering thirty-eight performers in 1812 including boys and Janisserary. The Coldstream Guards had risen from twelve in 1785 to twenty-two in 1815. The King’s regulations also were changed to allow line bands to have as many as twelve performers by allowing one bandsman per company. Bandmasters were now beginning to have more attention paid to their merits as leaders such as George McKenzie of the Royal Artillery while John Mahon and Edward Hopkins became the leaders of the Scots of Third Guards band. One of the attractions of Life in 18th century London was the “Guard Mounting” at St James Palace which began around 1818.There also sprung up another universal type of band and that was the bands for militia, volunteers, Yoemanry and fensibles. These bands which were formed mostly in Britain were of very high quality. In many instances they were led by well known local musicians. The abundance of new music also helped to create healthy atmosphere for the bands. It is also interesting to note that much of the music from this period was published and in reviewing the scores we find that the composers were very serious about their work and the quality. The music also tells us that the performers were of very high standards particularly in works that were arranged from orchestral sources.Thus we can see a pattern emerging which shows that the developing musical instruments in tandem with the literature and the evolution of the military musician were entering a new sphere and a new world was dawning for the military band.(5) New Sounds From its coming to its going the nineteenth century was teeming with new devices and ideas in. the realm of instruments, and most of innovations were bornIn addition, pioneered in the military band. While the entire family of the woodwind was chromatic by this time, the brass, except the trombone, was confined to the harmonics of their tubes. Before 1798 John Hyde. The trumpet major of flit London and Westminster Light Horse had introduced his slide trumpet. This bridged the gap between the natural harmonics. Yet there was still room for improvement this was partly accomplished in 1810 by James Halliday, the bandmaster of the Cavan Militia, who, with live keys on his Kent Bugle completely revolutionized the military band, especially after John Distin of the South Devon Militia. Band had added two more keys to the Royal Kent~Bugle ‘The importance of this system grew under the hands of Halary of Paris who made a choir of these instruments the baritone of which was the ophicleide. It was not very long before these innovations were adopted into the orchestra. Halary also made a contrabass ophicleide which had a capricious existence, most bands contenting themselves with the old serpent, although its contorted shape made it uncomfortable on the march Regibo had cancelled its serpentine form when be produced the Russian bassoon in 1789 and this, in time was followed by the bass horn designed and produced by Frichot and Astor in London about 1800. Although the improved serpents were easier to handle, their tone was little better than that of their predecessor–”essentially barbarous”, as Berlioz put it. Of greater value was the. Adoption of the E flat and B flat clarinets, which opened the way to a wider choice of keys than the eternal colors of F and C.In British military bands the instrumentation, pitch, and even the dress, which was most ornate, were matters which commanding officers and bandmasters decided for themselves. Officers, who purchased their commissions in those days, were responsible for the upkeep of their bands; most of the bandmasters were still civilians and foreigners. Yet bands were flourishing, despite official restrictions by the War Office. Regimental bands, except of the Royal Artillery, which was not controlled by the War Office, and was restricted by regulations to ten players and a bandmaster in 1821. Two years later, fourteen performers were granted. The Royal Artillery Band, which was exempt from this, order already numbered thirty-nine in 1820. This ensemble under George Mackenzie and the Court Military Band of George IV directed by Christian Kramer were considered the best military bands in the kingdom. The development of bands in the United States also shared the same predicament. The famous Marine Band, which dates from 1799, had the very early military band format in 1800 of fifes and Drums. . Seventeen years later the Military Academy Band at West Point had only 2 flutes, 5 clarinets, 2 horns, 1bugle, 1 trumpet, 1 trombone; 1bassoon and drum but by 1821 it mustered twenty players. For regimental bands in general, the regulations of 1834 only allowed a chief musician and ten bandsmen. By 1841, there was an increase to 12 bandsmen, and by 1847 to sixteen.France also had a begrudging war office, which in 1820 put the clock back half a century by limiting bands to eight performers. There were no military band schools until the Gymnase Militaire was founded in 1836, when Thieres turned down Berlioz who had applied for the position of director. The job went to Frederic Berr, whose good work was carried on by Michael Carafa. Belgium, which had raised a military school of music earlier in the century (circa 1817), appointed Joseph Snell (Snel) as the first Director. Austria is not known to have any service bands prior 1807. There is a good deal of evidence to indicate that there were Bohemian Regimental Bands and that they were very efficient Among the most notable bandmasters was Frederic Starke who was later known for his Military band Journals which numbered in the thousands. His guides for military music give us an opportunity to examine the instrumentation for this period. The greatest forward movement in band music during the early part of the 18-century came from the celebrated Wilhelm Wieprecht and his reorganization of military music in Prussia. He made excellent recommendations concerning instrumentation and proportions of bands. He was able to show the advantages of using horns and trumpets equipped with valves. His early success took place in the 1830’s. Weiprecht was responsible for the complete transcription of all the Beethoven symphonies for military band. While the keyed bugle and ophicleide had widened the scope and usefulness of brass it was as indicated earlier the invention of the valve system that led to the prestige that the modern military band enjoys. The Englishman Charles Clagget is usually credited with conducting the first experiments with the valve mechanism about 1813. There is conjecture however that the brass valve system were actually developed by the Germans Friedrich Bluhmel and Heinrich Stoelzel in the period 1814-1818.. Both of these men were mechanics as well as musicians and the patent was incomprehensible because of the lack of drawings. Eventually Bluhmel bought out his partner. Weiprecht had experimented with the keyed bugle developed around 1810 by James Holiday and improved by British bandmaster John Distin. However, it was his interest in the valve and his work in Silesia with the Stoelzel and Bluhmel that led to the application of the discovery. The most well known of all keyed bugle players was the American Ned Kendall who achieved fantastic success with the instrument while a member of the Boston based Patrick Gilmore’s band and he came to notice about 1835. Valved brass instruments were certainly being used in Prussia, where it was applied to the trumpet. In addition, composer Spontini claimed that France borrowed the invention in 1823. The patent taken out in 1824 by instrument maker John Shaw underscored the success of the rotary piston valve throughout Europe. What is unmistakably certain is that the cornet a piston was used at Paris in Rossini’s William Tell in 1829 and this was the instrument, which took the world by storm. In Germany, Wilhelm Wieprecht continued to pioneer the valve system and introduced the first bass tuba in 1835, an event which rang the knell for the serpent and the bass horn. A more significant development of the device showed itself in France at the hands of Adolphe Sax who introduced in 1842 a homogeneous family of valved brass instruments called saxhorns followed by another group the saxtrombas, in 1845.Meanwhile the woodwind had also progressed. Boem had perfected the flute, although it did not immediately affect the military band. Bandmasters, with a conservative tenacity, still held to their old conical-bore instruments. On the other hand, Wieprecht was using the bathyphon a double bass clarinet in Germany in 1839 and Sax in France had invented the saxophone about a year later. The clarinet, in the development of its key system, became the first of the reeds pushing the oboe into second place. Two of those who contributed to its mechanical fitness were French military bandsman Lefevre, who added a sixth key, and Klose, who applied Boehm’s rings to the instrument. The German military clarinetist Anton Kastner however was the first performer to insulate the instrument with corks thus ending the pervasive clacking sounds. He also experimented with side key alternatives, which were an exceptional discovery, but this did not take hold for several years after his death.By detailing the mechanical advances in wind instruments we gain a vantage point from which to judge, with greater ease, the movement which took place in a complete overhaul of instrumentation in Germany and France under Wieprecht and Sax respectively. It led to a bitter rivalry between the two each being particularly anxious to further his particular breakthrough. In the efforts towards reorganization, Wieprecht had already taken the bull by the horns, but in 1845, he made a further sweep of older instruments, installing cornets, tubas and bathyphons. The Guards were given forty-six performers and ordinary infantry regiments thirty-seven. In the same year, France called a special commission to deal with modernizing its bands. It included Adam, Auber, Carafa, and Halevy. Onslow and Spontini. The upshot was that the infantry were allotted fifty-four players. and cavalry and chasseurs thirty-six. The new instruments of Sax were introduced, but the victory was short lived since Revolution of 1848 brought about a return to the old instrumentation After much paper warfare, in which Berlioz blazed away in fury at the “inferiority of” French bands, Sax was returned to favor and won such prestige that he brought about the closing of the military school of Music. which he1ooked upon as the stronghold of retrogression. It was replaced by special military-music classes at the Conservatoire.In dealing with this radical reform during the first half of the century one must mention those who contributed to its practical application. They were the bandmasters which Austria claimed not a few brilliant- notably Gung’l the waltz king, and also Joseph R. Sawerthal. Prussia too had outstanding men besides Wieprecht. Those deserving of mention are August Neithardt. Wilhelm Heiser, and Karl Faust. Incidentally, it was from army bands that two great clarinetists Carl Barrmann, for whom Weber and Mendelssohn wrote concertos. and Hermststedt, for whose deft fingers Spohr wrote a like work. Following the great chef’s de musique of the Revolution, France continued to produce such men as Berr, Klose, Kastner and Paulus. The celebrated conductor Habeneck used to boast of his bandsman days. After the brilliant, Snell, Belgium had an excellent bandmaster Valentine Bender. In Holland there was Hutschenruijter, who was also an indefatigable writer for the military band In Britain there were still many foreigners as bandmasters but the Guards and Royal Artillery held their own with native products in the well known and very much respected W G. Collins (Royal Artillery), H A. M. Cooke (2nd Life Guards), Charles Godfrey (Coldstream Guards), Edward Hopkins (Scots Guards), John Mahon (Scots Guards), James Waddell 1st Life Guards, and T. L. Willman (Co1dstream Guards) The first military band music journal published in Britain (1845) was edited by Carl Boose (Boosey) of the Scots Guards, The next year, Charles Godfrey of the Coldstrearn Guards began to edit a similar journal produced by Jullien Later, A. J. Schott of the Grenadier Guards fathered a journal published by Schott & Co. These journals helped to standardize military band scores in Britain. Before this, every band had its own model. The journals were also the spawning ground for some great band arrangers including Will Kappey and Charles Godfrey. The development of band music owes much to the creation of the band journal. The original compositions and transcriptions as well as arrangements became a symbol of the solid character of the bands. The later journals also helped to raise the standards in the music publishing industry, as the British publishing houses were fanatical about the part and score editing. This phenomenon was evident in the Boosey and Chappel Army editions of the music journals. Journals were paid for by subscription and new music arrived at the door of the military bands on a regular basis. Some outstanding instrumentalists from military bands lived in those days were trumpeters John Harper of the East India Volunteer Band and John Distin of the Grenadier Guards whilst Henry Lazarus a real artist on the clarinet came from the Coldstream Guards.Both outdoor and indoor concerts for the military band had now become quite common, much to the joy of the populace. In France, there had come a lull in the outdoor performances of bands. By 1827, however we read of the massed spectacle of nine bands in Paris, and after the 1830 revolution its annual commemoration brought about a regular assemblage of bands, that of 1833 numbering 230 performers. The eminent musician Francois Fetis conducted 430 military musicians in massed bands in Brussels in the same year. Wieprecht in Berlin, not to be outdone staged 1,000 bandsmen to prove the military-might of Prussia. Hector Berlioz, in his memoirs, tells of massed bands, which played under his baton in 1840. He says “I planned a great symphony (Symphony Funebre et Triomphale) to be played in the open air… by a military band of 200, but the effect was spoiled by the National Guard marching off before the finish to the rattle of fifty side drums. In Britain, a massed band concert of the Guards and Artillery in 1851 brought together some 350 performers. The Times of London commented on “an execution…so admirable, the energy of the conductors… and the unequivocal satisfaction of the auditors”. In 1854, the Royal Artillery band made the first concert tour by a military band in the country. Such displays, as these were the only opportunities, which the tolling multitude had of hearing the best mellifluous music. It had so wide and deep an influence on the people at large that worker’ bands began to show their timid heads, which heralded the beginnings of the well-known Black Dyke and the Besses 0′ the Barn bands in the second decade of the century. The latter began as a reed band, but with the rise and popularity of the cornet, the reed elements in these bands faded out and the pure brass band emerged. The first of these is said to have been Walkers and Hardrman’s Band of 1833, which had twenty-four players. Rivalry between these bands soon arose, and contests for superiority resulted. The Musical World of 1837 suggested that these contests should be extended and tat prizes might be offered as in France.When the full effects of the Sax inventions had spread abroad the brass-band world felt equal to the occasion and the first national contest was held in Manchester in 1853. Much of the same enthusiasm developed in Germany among the working class and August F Anacker made a name with his miner’s band. At this time band, music came under the influence of Henry Distin, the son of the bandmaster who had popularized the keyed bugle. He championed the use of the saxhorns and along with his family toured the continent and America bringing these instruments into even greater importance.In America the invention by Allen Dodworth of the over-the-shoulder, brass instruments gave the band movement a very big kick-start. The instruments were manufactured in Vienna and were designed for use by military bands. The earliest known military band was the Marines in Washington, but a later band was the Boston Brigade band. A brass band was formed in Salem in 1806. The instruments of Dodworth were created for the express purpose of military bands marching at the head of a column and the sound being directed backward for the marching soldiers.(6) The Golden Age Begins THE year 1854 heralded the outbreak of the Crimean War, a serious development which halted progress for a spell in military bands in Britain and France,Up to that date; these countries had seen their bands at the peak of excellence and influence, but when war came the situation changed causing a dramatic transformation in the role of the musicians.. During the Peninsular War, British bands had been in the battle line cheering the soldier on to victory. In the Crimean War these bandsmen were turned into the ranks as stretcher-bearers for the ambulance, whilst their bandmasters many of whom were civilians took their departure. The Guards bands and other ’staff bands which remained at home were left intact, but the dispersal of bandsmen played havoc with military music in the Crimea, and at Varna, in 1854, the scratch- bands mustered by the British for a grand review before the allied army made a poor show against those of the French.After the signature of the Treaty of Paris in 1856 the Commander-in-Chief, the Duke of- Cambridge decided to put an end to state. of. Affairs under which regimental bands were in the hands of commanding officers who were a law unto themselves in what concerned regimental music. He decided to abolish the civilian and foreign bandmaster, and bring all regimental bands under War Office control. His first step was to establish the Royal MilitarySchool of-Music at Kneller Hall for the express purpose of training bandmasters and bandsmen for the British army.This institution opened its doors in I857, and the following year the “Ancient Philharmonic” pitch was made general throughout the army. In 1862 it was ordered that enlisted bandmasters would take precedence over civilians. After 1872 all bandmasters had to obtain the Kneller Hall diploma, and by 1874 their pay and allowances were regularized, together with a substantive rank which, in 1881 became that of a warrant officer. One of the early professors at Kneller Hall was Thomas Sullivan, an ex-army bandmaster and the father of Sir Arthur Sullivan. Another was Apollon Barret, the inventor of the Barret action on the oboe. Up to the close of the nineteenth century the so-called “staff bands” were permitted to choose their own bandmasters, but always subject to the diploma rule. Among these bands the most outstanding was that of the Royal Artillery, which had been augmented to over seventy performers in 1856, and a few years later to eighty. By the nineties it numbered, including supernumeraries, over one hundred, the largest band in the world. The bandmaster, James Smyth, had the patronage of men like Balfe, Benedict, Costa, Gounod and Jullien. Greater still was the fame of this band under Ladislao Zavertal (1881-1906)) who raised its performances to an artistic excellence which led the Commander n-Chief to say that “its superior did not exist in this or any other country”. The band of the Grenadier Guards under the famed Dan Godfrey also commanded the attention of the wider world, especially at the Peace Festival at Boston, U.S.A., in 1872. His successor Albert Williams maintained, if he did not widen, this esteem. From the opening of the nineteenth century the Coldstream Guards Band had an enviable reputation for the purity of tone in its clarinetists, a distinction sustained from the days of Fred Godfrey in the sixties to Mackenzie Rogan in the nineties. The Scots Guards Band also had a run of good conductors from Charles Godfrey who followed Henry Dunkerton. The former transferred to the Royal Horse Guards Band in 1869, where he stayed over thirty years, bringing the best music to both the royal functions and the park bandstand. With the 1st Life Guards Band under James Waterson, Van den Heuval and Joel Englefield, and the and Life Guards Band under Carli Zoeller and Leonard Barker, these Household Cavalry musicians, dressed in their gaudy regal accouterments of purple and gold, were always prime favorites at state and official displays. Among other “staff bands” which deserve mention were those of the Royal Engineers which was at its best under Joseph R. Sawerthal and Joseph Sommer, and the bands of the Royal Marines at Portsmouth, under George Miller, J. A. Kappey and Frank Winterbottom respectively.These bands were not only in demand on state and national occasions, but were in request at innumerable exhibitions, concerts and other engagements throughout the land. Sometimes they would be massed, assembling some three hundred or more performers, as in the Grand Military Concert at the Crystal Palace in 1854. At other times they would combine for purely spectacular purposes as in the Grand Military Tattoo at Windsor Castle in 1897. Nor were the so-called bands of the “line” forgotten in public and private music making. They too had their share of engagements at concerts and displays, and in parks and spas. Indeed one is constrained to say that they played just as valuable a part in music as the “staff bands”, since in accompanying their regiments on service abroad they not only brought pleasure to their comrades stationed in foreign climes but, as Mackenzie Rogan points out in his Sixty Years of Army Life they made a solid contribution to maintaining the prestige of the British Empire.France, during the Crimean War, maintained her bands at the front, and delighted in repeating the adage that their music at Inkerman contributed as much to drive back the Russians as did the bayonets. A decree of 1854 had given them as good bands as ever-fifty-five for the Imperial Guard and thirty-five for the cavalry-with the bandmaster as a commissioned officer, which was more than the British conceded to their bandmasters. The war with Italy brought drastic cuts in bands, and in 1867 those of the cavalry were abolished. Yet in this same year Paris staged its great military musical congress at the Exhibition. Prussia, France, Austria, Bavaria, Russia, Holland, Baden, Belgium and Spain sent competing bands who won rewards in the above order. The smallest band was that of Bavaria with fifty-one performers, whilst the largest was that of Austria with seventy-six, although Prussia pooled its two bands with eighty-seven players. The judges for this festival were some of the most well known musicians of the era and included Felicien David, Ambroise Thomas, Leo Delibes, Hans von Bulow, Hanslick and Kastner.In 1872, after the Franco-Prussian War had taken its toll, bands settled down to their old constitution. Paulus with the Paris Guard and Cressinois with the Mounted Guides were at the top in France, and the former won laurels at the Boston Peace Festival in 1872. Sellenick then took control from Paulus and was succeeded by Gustave Wettge. In the eighties and nineties the latter created a perfect furor in Britain by the refined playing of his hand. Perfect. The Garde Repulicaine Band under Gabriel Pares was declared one of the most amazing ensembles of the century.The Germans showed their mettle at the 1867 Paris concourse when Prussia massed her two Guards hands under Wieprecht and carried all before them. His colleague, J. Heinrich Saro, with the Franz Regiment Band, created quite a sensation at the Boston Peace Festival of 1872 and received a gold medal in appreciation. After the Franco-Prussian War, military music rose to great heights in the German Empire, and its famous Prussian Cuirassier Guard Band-which Hanslick said was the finest in the world-certainly set the pace in Western Europe. Although its cavalry bands were restricted to brass, a few of this type made their mark even abroad, notably that of the Bavarian Field artillery under Carl. Germany did not possess a school of military music, but in 1887 a department for this was opened at the Berlin High School of Music, with F. W. Voight as superintendent. Almost from its inception, the Conservatory of Music at Prague had prepared students for the profession of military music, the result being that some of the finest bands in the Austrian army were under the control of Czechs, and among them Wenceslas H. Zavertal and Carl Sebor, whilst famous Hungarians as bandmasters were Keler Bela and Franz Lehar. Belgium took up the question of reorganizing her bands in 1863 when a commission headed by Gevaert and Mahillon was appointed. Its recommendations were not unlike those of France in 1845. The band of the Guides under the baton of Frederick Staps was the most famed of Belgium’s bands. When it visited Scotland in 1888 it comprised sixty performers with soloists verging on virtuosity. Holland had two worthy bandmasters in her National Guard of those days Cornelius Coenan at Utrecht, and Carl van den Linden at Dordrecht. In Norway, a few celebrated musicians had charge of army bands, including Friedrich A. Reissiger, the brother of the composer, and Ole Olsen who became inspector of music of army bands.During the last quarter of the nineteenth century, the United States of America jumped to the forefront of the world of military music. Doubtless the ordinary regimental bands were inferior but there were some extraordinary combinations which gained merited esteem. The first of these was the band of the 22nd Regiment (New York Militia) under that amazing entrepreneur Patrick S. Gilmore. He had already organized the music at the Peace Festivals of 1869 and 1872 at which he assembled thousands of players. Adopting similar showmanship when he toured the famous 22nd in Europe with sixty-six performers, he took audiences by storm. Less spectacular, although a far greater musician, was Arthur A. Clappe’, who had been bandmaster of the Canadian Governor General’s Foot Guards. In 1888 he took charge of the band of the United States Military Academy, on which he left his mark, for he was unrivalled as a teacher and trainer. His greater contemporary was the “March King” John Philip Sousa. He came to the when he was bandmaster of the Marine Band in 1880 but when he formed his own combination of forty-nine masterly players in 1892, with which he toured the world, Sousa won undying fame. Two other American bandmasters also deserve recognition-Frederic N. Innes and Victor Herbert. As ancient Ovid taught us, there is nothing stronger than custom; and it was that which troubled the military band in Britain, where so many clung to the ideas of pre-Sax days. Despite the introduction of the euphonium, Mandel, in his Instrumentation of Military Bands (circa 1859) Kneller Hall textbook-was still accepting the ophicleide and the bass horn. On the other hand the trumpet rightly continued to find a place alongside the more popular cornet even in the brass band, and both combinations favoured the E flat soprano cornet and the flugelhorn. Both the E flat bombardon and the BB flat bass had become fixtures. The oboe had been vastly improved at the hands of Barret of Kneller Hall, the mechanism to be soon applied to the clarinet. As early as 1848 the E flat alto saxophone was taken into the Royal Artillery Band; the B flat tenor followed about six years later. That they did not secure a permanency is evident from the fact that they were removed before 1863 and replaced by the tenor and bass clarinets, the saxophones not being again recognized until the twentieth century, although elsewhere they had found a footing. The sarrusophone, invented by a French bandmaster in 1863, also made its appearance in this same band in the sixties, but although the contrabass of this instrument gave the lowest note in the wind, it never became a permanency in this country. In France, Belgium and America the saxophones, in full choirs, remained a feature.Of course Kneller Hall, as the Royal) Military School of Music is popularly named, ought to have been the overruling authority in matters of instrumentation. We must remember, however, that although this school began its teaching in 1857, it was twenty years before it received official financial recognition, and another twenty years elapsed ere one could say that it had a commanding influence on military music. The first two directors-Schallehn and Mandel-were Germans with old-fashioned notions. Charles Cousins, who followed, had not the initiative. This latter did not come until Samuel C. Griffiths took control (1890), when his book on The Military Band became the textbook. He was followed by Arthur J. Stretton (1895), Hector E. Atkins (1921), the author of another textbook on the band, and Meredith Roberts (1943). Today Kneller Hall continues to train bandmasters and musicians for the British Army.Although of more recent date, much the same may be said of the States’ Army Music School in its beneficent influence on American music. In the early days there was only a rough-and-ready school for men, and it was not until 1911, under the persuasion of Damrosch America inaugurated its Army Music School at Fort Jay New York, under Arthur A. Clappe himself a Kneller Hall graduate. This school was primarily for the training of bandmasters, although a course for bandsmen was introduced later. It did excellent service during the First World War but for reasons of economy, was closed in 1928. When the clouds of another were blowing towards the States in 1941, it was found necessary to this school which did magnificent work during the last war. (7) Bands of the Nineteenth CenturyThe nineteenth century was an important time for the development of wind instruments in general, and subsequently, the rise of the military (or wind) band throughout Western Europe as exemplified by the bands of Britain. At the same these developments began to give composers a new medium for large ensemble composition. Works by Traditional Romantic Composers1840 Ludwig Van Beethoven (1770-1827): Ecossaise and Polonaise1815 Ludwig Spohr (1784-1859): Nocturne in C, Op. 34 1816 Beethoven: Military Marchec. 1820 Johann Nepomuck Hummel (1775-1837): Three Grand Military Marches1824 Felix Mendelssohn-Bartholody (1809-1847): Military Overture in C, Op. 24 1836 Mendelssohn: Funeral March, Op. 1031840 Hector Berlioz (1803-1869): Grande Symphonic Funèbre et Triomphale, Op. 151844 Richard Wagner (1813-1883): Trauersymphonie1846 Giacomo Meyerbeer (1791-1864): Torch Dance (No. 1)1865 Anton Bruckner (1824-1896): Apollo March March in Eb1860 Edvard Grieg (1843-1907): Trauermarsch1869 Camille Saint-Sa?ns (1835-1921) Orient et Occident 1892 Pyotr Chaikovsky (1840-1893) Marche MilitaireWorksSpohr: NoctornoThis piece was written for the wind band of Prince Güntter Friedrich of Schwarsburg. It is in 6 movements: Turkish March, Menuetto, Andante con variazioni, Polacca, Adagio and Finale. According to Richard Goldman in his book “The Wind Band”, the Spohr piece, “is the first interesting nineteenth century work… composed for Wind Band and Turkish Music (i.e. percussion).” Spohr scored this work for 2 flutes, 2 oboes, 2 clarinets, 2 bassoons, contrabassoon, 2 horns, 2 trumpets, post horn, trombone, bass horn, bass drum, cymbal, triangle. Hummel: The Three Grand Military Marches.This work is scored for a slightly larger band than the Spohr. The original scoring calls for 4 flutes, piccolo, 2 oboes, piccolo clarinet in F, clarinets in C, bass horn, bassoon, horn in C, trombone in C, bass trombone, percussion. Mendelssohn: Military Overture Mendelssohn composed this work for the band at the Dobberan resort on the Baltic Sea. He wrote it at the age of fifteen. Berlioz: Grande Symphonie Funèbre Triomphale The French Government commissioned this work as a part of a celebration to commemorate the tenth anniversary of the French Revolution. According to Berlioz, “It seemed to me that for such a work the simpler the plan the better and that only a large body of wind instruments would be suitable for a symphony which was to be heard – the first time at any rate – in the open air.” Berlioz scored this piece for 208 players with the option of adding a chorus in the third and last movement. At a later date, Berlioz also added optional strings. Berlioz describes the first performance, “Habeneck would again liked to conduct, but I prudently reserved that function for myself I had not forgotten the episode of the snuff box.” He continues, “Despite the volume of sound produced by a wind band of this size, very little was heard during the procession. The only exception was the music played as we went along the Boulevard Poissonniere, where the big trees- still standing to this date – acted as reflectors. The rest was lost.” Wagner: Trauersymphonie Wagner composed this work for the transfer of the remains of Carl Maria von Weber to Germany. Wagner based the symphony on two themes from von Weber’ 5 Euryanthe. The piece is scored for a band of seventy five pieces plus muffled side drums. Grieg: Trauermarsch Grieg composed this work on the occasion of the death of his friend Richard Nordaak. Grieg originally composed this piece for piano in the key of A minor. He later scored it for band and transposed it to G minor. (8) The British Band1799 Grand Military Piece is composed by J. R. Hoberecht for the Harmoniemusik ensembles that had been popular, and standard, in Britain and the rest of Europe. Harmoniemusik was a chamber wind ensemble famous in the court of Louis XIII of France in the seventeenth century, which became the basis for instrumentation of military bands across Europe: 2 oboes, 2 clarinets, 2 horns, 2 bassoons. Flutes, English bass horns, serpents, ophicleides, trumpets, trombones, and percussion were occasionally added to the Harmoniemusik combination during the early years of the nineteenth century.1800 Numerous Military Bands across the country of various instrumentation, size and repertoire1820 The Royal Artillery Band, a British military band established in 1762, serves as a good historical reference due to Henry George Farmer’s ‘History of the Royal Artillery Band”.1839 Instrumentation of the Royal Artillery Band1845 Wessel and Stapleton’s Military Journals are published, each subscription including music of a light character and some contributions of British composers. Other journals follow, but the variety of instrumentation between bands is only somewhat simplified.1846-49 Royal Artillery Band’s Concert Program Most likely involved string instruments or was shared with an “orchestral band.”1850 Concert Program and Instrumentation of the Royal Artillery Band.1854 Scutari fiasco embarrasses British Military Band system. At Scutari, in 1854, the British troops, comprising the army of the east destined for the Crimea, held a grand review on the birthday of Queen Victoria. There were some 16,000 men on parade, and while their appearance and marching were perfect, and the cheering deafening, our band struck up “God Save the Queen”, not only from different arrangements, but in different keys. (These events lead to re-evaluation of the British military band system).1855 Concert Program of the Royal Artillery Military Band.1857 Royal Military School of Music is founded in the model of the French Ecole Militaire.1863 Catalog of the Royal Artillery Band’s music library and instrumentation of the military band.1865 Government takes over the Royal Military School of Music. Founded in 1857, the Royal Military School of Music served to provide uniform instruction for musicians in the service, while eventually ridding the British military of foreign band masters. Its influence resulted in the standardization of band instrumentation and repertoire. It commissioned most of the significant compositions for band at the turn of the twentieth century. 1881Examination requirement added for admission to Royal Military School of Music.1890 A commissioned officer is placed in charge of the Royal Military School of Music.1901 The Spirit of Pageantry, a grand march by Percy Fletcher (1879-1932) was published.1902 The Worshipful Committee of Musicians sponsors a contest for the best march written for the coronation of Edward VII.Concert Program of the Royal Artillery Band on March 22nd 1902.1904 Lads of Wamphray’ March, was composed by Percy Granger (I882-l961). 1909 First Suite in Eb. [or Military Band] Op. 28 No. 1 by Gustav Holst begins a series of important commissions by the Royal Military School of Music. These commissions include: Gustav Holst, “Second Suite in F for Military Band,” and “Festival Choruses;” Dame Ethel Smith, “The Wreckers Overture;” Bertram Walter O’Donnell, “Three Humoresques”; Ralph Vaughan Williams, “English Folk Song Suite” and “Toccata Marziale.” Cecil Forsyth, Frank Bridge, Edward German, and Haydn Wood also contributed compositions. Most of these works were commissioned by either Hugh Somerville or J. A. C. Somerville, commandants of the Royal Military School of Music. (9) The Music of the People Britain and America have many things in common, including their inordinate interest in the military band. This becomes increasingly evident when a more comprehensive outlook on instrumentation was sought between them as early as 1920.. Publishers in Europe and England began to issue for the American Band Instrumentation (40 to 50 players) as well as for the Symphonic Instrumentation (6o to 8o players). Indeed, so adaptable is the British publisher that he actually issued alternative parts suitable for French and Belgian bands whose instrumentation, in terms of completeness, was second only to that of America. To appreciate adequately the rise of the British school of instrumentation, and its own particular treatment in scoring, one must turn back the pages of history.By the close of the nineteenth century, the instrumentation of British military bands had become static, and there was no appreciable change in the early years of the present century. Still, there were some excellent bandmasters who contributed to the prestige of their charge. Among them were J. Manuel Bilton (Royal Horse Guards), George Miller (Grenadier Guards), Charles W. H. Hall (2nd Life Guards), Robert G. Evans (Coldstream Guards), Frederick W. Wood (Scots Guards), Charles W. Hassell (Irish Guards) Andrew Harris (Welsh Guards), F. j. Ricketts (Royal Marines), and Edward C. Stretton (Royal Artillery). The Royal Family had long appreciated the eminent services of these bandmasters and in 1887; Queen Victoria conferred an honorary commission on Dan Godfrev of the Grenadier Guards. Eleven years later, she promoted four staff bandmasters to the full commissioned rank, and since then the position of Director of Music commissioned rank-has been created for certain staff bandmasters.Yet, this excellence of British bands was maintained in spite of much that could be considered old-fashioned in instrumentation and scoring, which for a long time was a handicap. In the absence of original music, bands had to be content, in the larger forms, with arrangements. The older arrangers were skilled and experienced men-notably the Godfrey family In Britain, owing to the fact that hand performances were mostly outdoor, arrangers were compelled, especially under British climatic conditions, to adopt a tutti technique more often than they would have done had they been scoring for the concert hall only.Even as late as 1910 that admirable composer and arranger for the military band, Albert WilliamsSaid:” Don’t score too thinly for open-air performances; remember it is not an Academy picture, it is a fresco painting.” Much was tried to prevent this overstress to suit outdoor conditions by cues but this was not always successful because of imbalance and improper instrumental tonality. The future however became very bright as concert halls and the sheltered band stands became more available to the military band, and the composers and arrangers were able to present their scores more to their individual tastes and requirements. American, French and Belgian scoring for the band already revealed an outlook more liberal and progressive than what was found in British scores. The older conception, such as that which remained in Britain, viewed the clarinet family as one would the strings of the orchestra the newer outlook brushed this aside, and choirs of instruments of similar timbre-clarinets, saxophones, trumpets came to be treated as separate entities, a plan which brought much richer coloring to the score. There is no doubt that the American and Belgian influence began new wave of military and concert band arrangements. The employment of instruments in groups as well as the introduction of numerous percussive effects helped to take wind band scoring into new and exciting era. The creativity of the writers now began to accelerate particularly in America. The revolution began at the turn of the century. Composers began to recognize the growing resources available to them and just as in the orchestra, the advent of new instrumental family members helped bring new mediums for composition.The military band as an ensemble now became a vehicle for more than just military marches. Even some of the orchestral music became strongly influenced by the military band instrumentation. If we review Stravinsky’s Sacre du Printemps (1913), we are inclined to wonder why there are strings included in the score at all. We are unable to determine what may have been in his mind but we can with analysis discern a fresher coloration particularly in the brass and reed dimension. Honnegar in his Le Roi David (1921) produced a marvelous effect with the almost exclusive use of brass and reed combinations. The transcriptions of these numbers as well as many others written in the same scope were infinitely better than the original orchestral versions because the strings were in fact an adjunct to the composition as a whole. Stravinsky also wrote a Symphony for wind instruments, although not in our formal acceptance of the term, as well as the Volga Song for the same. Even before this, Rimsky-Korsakov had composed a Concerto for Clarinet and Variations on a theme by Glinka for the military band. Richard Strauss also has a place here, although his contribution was but marches for the Prussian Guards. Then Albert Roussel and Florent Schmitt devoted their genius to this new medium of the band with overtures and waltzes. Henry Hadley with his overture Youth Triumphant and Ralph Vaughan Williams in his Toccata Marziale Gustav Holst contributed two impressive works with his Suites in Eb and F. later writers include John Philip Sousa, Edwin Franko Goldman Leo Sowerby and Morton Gould. The Celtic Set by Henry Cowell and Percy Grainger’s compositions have become a lasting memento of their contribution to the military band library. Other great world class composers and their military band music will be discussed in other chapters of this history. The two world wars revealed the utmost value of army bands in particular It is true that the day had passed when regiments marched into the smoke and din of battle with colors flying ,trumpets sounding and drums beating but the cheer and heartening of martial music still played its part in another held, just behind the fighting line. During the 1914-18 War, the British staff bands and others took their turn at this duty. Only those who know that national and regimental traditions are linked up with military music can appreciate how the playing of an army band revived the spirits of the tired and wounded behind the lines. Looking at a diary of one of these tour bands we can realize what of duty of this sort implied. A two months’ journey thousand miles or more took this band to ninety-six different centers whilst a second tour meant eighty different camps and one hundred and twenty-one performances.I America also realized the importance of its army bands, and when it declared war in 1917, it immediately promoted its bandmasters to the commissioned rank and raised the number of bandsmen in each regiment from twenty-eight to forty-eight, whilst the Army Music School had to work overtime so as to provide bandmasters and bandsmen to fill the vacancies.After the close of the war in 1918, America formed the United States Navy Band under Charles Benter, which was soon to number eighty-six performers. Two years later the United States Army Band was raised out of the old American Expeditionary Force Band of the 1917-18 establishments. It won some European fame in 1929 during its visit to Spain under the baton of W. J. Stannard. Yet, it was World War II that enabled this combination to earn distinction and gratitude for its fine work, artistically and socially, behind the battlefront. Many may recall the Army Band under Thomas F. Darcy giving concerts for the wounded and weary in North Africa in 1943, and later in Britain. Few bands could boast of such a galaxy of soloists as Darcy’s combination. Another band of musical warriors was the Royal Artillery Band under director Owen Geary, whom toured I5, 000 miles over the parched African terrain to bring comfort to the troops in distant camps as well as giving concerts at Tunis, Gibraltar and Naples.Thus, we have seen how the military band in the concert hall and the open air has a particular beauty just as much as the orchestral sounds which often frequent the outdoors and the indoor stage. Bands do display an elegance and symmetry even more pleasing at times than the effects of an orchestral combination admittedly, it is military music which beckons the public, the crowd, but it is not necessarily an inferior art on that account. The one thing, which has made the band an obvious attraction, is its instrumentation and technique, both of which make for lucidity of expression and clarity of rhythm. It requires no great effort on the part of a listener to determine what they enjoy. It is music very often in it’s most simplest and basic form. Some melody, some rhythmic passage, something which allows the foot to tap. It is merely entertainment, but how artistically it is performed. The music of the masses, in a popular form can often convey a message, which is unalterably majestic. The driving passion of drums, the thunderous evocation of brass coupled with the spiraling and sonorous sounds of the woodwinds create a sweet compulsion of music. A picture painted and sculptured in brass and wood is indeed the music of the people. The music of the military band and the profession of the military musician is a culture which has evolved from minstrels and troubadours and is as vibrant today as it was 500 years ago. (10) The Turkish band In studying the history of military music one often comes across the expression ‘Turkish music’. What it actually means is the campaign music of the Janissaries. Sultan Orkran (l326-l359) was the first to employ Janissaries as his personal guards. The word is derived from two Turkish words: veni (new) ehir (army). Strictly speaking, “Turkish music” is synonymous with the characteristic sound and rhythm produced by kettle drums, cymbals, tambourine, triangle and the Schellanbaun or “Jingling Johnny”. The purpose of such clashing noises was not merely to turn their own warrior wild but, primarily, to strike terror into the hearts of the enemy with the ear-splitting row.This type of martial music was heard early on in Europe, during the Turkish wars of conquest in the West, which ended at the gates of Vienna in 1529 and1683. It was also heard in more peaceful circumstances. In the History N”’seu, in Vienna, there is an account, dating from about 1665, of the arrival in Vienna of the Turkish Ambassador which describes the Turkish band as:“The Turkish military hand of shams, small kettle drum’, then also four trumpeters (whose trumpets were in the form of trombones, hut narrow and short), two of brightly ringing cymbals of silver (in the shape of two dishes- so they were struck one upon the other, by which means a great ringing sound was made). The drummers, whose drums were draped with red cloth, beat their drums at the front with a stick like a knobbled, crooked root and at the rear with a little stick or rod.” The prominence of percussion in the Turkish military bands, as we ought to call this basic Collection of instruments used in Janissary music, confirms the great Significance of rhythm in the culture of the Levant. To the West, the Near East is the nearest self-contained culture. The frequent Contact, in peace and in war, brought about a very intensive cultural exchange – above all in music – from which Europe gained the most. The traces of these Contacts are extremely easy to follow because the musical tradition of the Near East is so completely different from that of the West.This can be demonstrated by small examples, such as the description of a fresco from the middle of the 11th Century on a staircase in the Cathedral of St Sophie in Kiev, in which Byzantine jugglers and musicians are depicted. On the frontispiece of the 9th Century Golden Psaltery in St Gallen there is a picture of King David playing a stringed instrument and musicians with finger cymbals. There are similar percussion instruments in illustrations from the 9th to 11th Centuries, in which may often be seen a smaller pair of cymbals fastened to the end of a sprung fork. They were swung from one hand whilst the other was playing another instrument. The two-handed pair of cymbals came some time later. All evidence of Near Eastern culture, which may be pursued right up to the classical music of medieval Spain.There can he no doubt that the instruments of the Ottoman were intended to demoralize their enemies, as is described in an entry in a Turkish diary for 18 July 1683 during the Siege of Vienna: “each time after prayers, at sun-down, at night and at dawn, the bands played so that the earth and heaven trembled from the great noise of the drums, oboes, pipes, hand drums and cymbals which were like the roar of cannons and muskets…” And on the afternoon of 25 July there took place before the city walls ” a clashing of cymbals, little bells and shams as if they were playing a dance, or were preparing for a grand festival…” This was combined with an attack by the besiegers, in response to which and to inspire morale, the defender of the city, Ernst Ruediger von Starhemberg a couple of days later “had the trumpets and kettle drums played right merrily” from the Corinthian Bastion.There was already in the early middle Ages a Western institution the purpose of which, to urge on their own troops at the critical moment, was directly comparable with the Turkish band. This was the bell carriage, also known as the flag carriage, (Italian: Carrocio, German: Glockenwagen or Fandenwagan), a Palladium which was also the army’s symbol of honour. It consisted of a wagon on which a bell was hung from a frame, pulled by luxuriously harnessed oxen. This was rung whenever danger threatened or when the whole army had to attend a religious service. Here the banners were also stored. They were regarded as the army’s most sacred property to the defense of which armed troops were summoned by the field calls of the trumpeters. Of the Italian carriages, that of the Milanese was particularly splendid. In 1138, the Archbishop of Milan, Aribert, described its design and furnishing as a real showpiece.There were during the retreat of the Turkish Army into the Balkans at the end of the 17th Century quite a number of instruments from the Janissary bands fell into the hands of the victorious troops. At the Battle of Petrovaradin in 1697, the Starhemberg Regiment captured a complete Turkish “banda” as they stood end requisitioned them straight into Imperial Service.This kind of ‘campaign’ music’ appealed to European rulers and generals, so gradually bands were established in the Turkish style, at first from released Turkish musicians who amazed the population everywhere they went.In this way the Turkish band had found its way by 1699 (1720 according to another source) into the military music of Poland through the Prince Elector of Saxony and King of Poland, Augustus the Strong. In 1725 it had reached Russia and Austria in 1741 through Maria-Theresa – as is well known, after the historic march past of the Trenck Pandur Regiment on their way to Silesia – and, at roughly the same time it was introduced into Prussia by their only artillery regiment. We may safely assume that those ‘bandas’, which were not made up of captured Turkish musicians, did not imitate or seek to imitate real Janissary music.The existing bands (shams or oboes, bassoons, horns and, later, trumpets) supplemented with the percussion of the Turkish music, were often simply called Turkish bands’. Around 1800 they were at the height of fashion. Their strong rhythm provided by the bass drum, side drum, cymbals and triangle appealed to us. This percussion ensemble was also specified in the original scores of the prescribed performances of Prussian Army marches.Later the triangle, an instrument without a range of notes, was replaced by the Glockenspiel, or Lyra, which provides its own unmistakable range of sound. By the middle of the i9th Century the Schellenheum (Jingling Johnny) which was also known as ‘Mohammed’s Banner’ had lost its usefulness as a rattling instrument and it became in Germany and Russia alone the traditional insignia of the band. But it is an undisputable fact, as the author himself can testify, that the rhythmic jingling of the little bells and chimes of a band’s Schellenbaum, whilst playing a parade march at full blast, provides a memorably stirring experience. The Turkish band, supplanted with the hitherto unknown piccolo, extended into classical music, firstly in the so called ‘Turkish operas’, for example Gluck’s ‘The Pilgrim from Mecca’ with one drum (1764), ‘Iphlgenia on Tauris’ with cymbals; triangle and drum (1779), Mozart’s ‘The Flight from the Seraglio’ with the same instruments (1782) and Weber’s ‘Abu Hassan’ (1812).In Mozart’s time the upright drum was played on both sides by one man using a wooden baton like ‘a knobbled crooked root’ on the right and a bundle of brushwood, the ’switch’, on the left. The latter was really a predecessor of the side drum which was unknown at that time in its present form. A glance into the orchestra pit at the opera house during a performance of ‘The Flight from the Seraglio’ would confirm that the drum is still played in the same manner today, except that a normal wooden drum stick has replaced the baton end instead of the brushwood, there is a bundle of thin sticks. Cymbals also became thinner and of a smaller diameter.‘Turkish music’ was not only a way of expressing the oriental flavour which had enjoyed such popularity after the Turkish wars; it was also a means of portraying the warlike and military. For example in Haydn’s ‘Symphonie militaire of 1794 and Beethoven’s ‘Wellington’s Victory or the Battle of Vittoria’ of 1813 which has an additional side drum and rattle to illustrate the noise of battle. At the first performances of this work on 8th and 12th December 1813, soon after the Battle of Leipzig, Beethoven himself stood on the rostrum. The Turkish band of that orchestra was played by three young, and later quite celebrated, musicians; Johann Nepomuk Hummel, the piano virtuoso, Giacomo Meyerbeer, the composer of grand opera, and lgnaz Moacheles, who arranged the piano part of Beethoven’s ‘Fidelio’.The popularity of the Turkish band was such, that in about 1800, even piano-fortes were equipped with a so-called ‘Janissary feature’ which sought to reproduce the Ottoman bells and cymbals, and, by heating a clapper on the sound board, the sound of the bass drum was imitated.To end let us take a stroll in Vienna’s Prater. Even today, the ponies in the Hippodrome will only start to trot when the orchestra’s Turkish band starts to play!From a translation by Mr. Peter Bull from a booklet called ‘HISTORISCHE ARMEEMARSCHE’.Editors Note: The later practice of displaying their Sacred Property evolved into the use by Western Armies of Trooping the Colours, Presentation of Colours, and Laying up of Colours (11) Regiment des Gardes Suisse’s 1616-1792When considering military music we distinguish instruments used to transmit commands – drums, fifes, bugles and trumpets – from those of the hand with its variety of instruments to enhance military ceremonial and entertain the soldiers. The differences also marked by bugle calls (signals) being sounded by company personnel, whereas the band musicians are administered by the unit headquarters, with their own rates of pay and terms of service.Armies have always used instruments for orders and field calls. During the Burgundian Wars of 1474-1477 (1) mercenaries of the Swiss Gantons were organized as regimental units which were sub-divided. The unit was the Banner and the subunits the Fahnlein numbering from 50 to 150 men. Each banner was accompanied by 3 musicians who played the fife, the drum and the bagpipes. These were paid by the Commanding Officer. The wind instruments for the cantons of Lucerne and Uri were, however, the ‘harsthorner’.Although German mercenaries ware the first to adopt the fife, it was also used by Swiss mercenaries in France. It is also generally agreed that the fife was re-adopted in France for the regiments of Francis I (1494-1547). The ‘tambourin was encased in wood and was about 2 feet high in diameter: carried on the left side of the body, this was also adopted. Although used in earlier times, it was in the reign of Francis I that the French military forces were supplied with fifes and drums from ordnance. It is clear that from its formation the French royal household Regiment of Swiss Guards had drums and fifes. In March 1640 there was one instrument of each kind per company. Twenty-five years later these were augmented by three drums (May1665). Later the establishment became 1 drum and 5 fifes. In May 1692 the ‘Mercure Galant’ reported the presence of 40 drums of the Swiss Guards at the siege of Namur . In spite of successive ordinances regulating salutes and signals for the Corps of Drums in French regiments, the Swiss Guard retained their own original ones and was this distinct from other Royal troops. Precise details of the established ordnance of the Corps of Drums in the Regiment are lacking, but by an Order of May 1754 a Corps of Drums was made obligatory for all French regiments. An earlier Order of 6 June 1745 records the establishment of a drum-major for each headquarters. However, it must be recognized that such an appointment had existed before that date, the title having been given to the chief drummer of a regiment by a decree of 4 November 1651. When the Swiss Guard carried out Guard Duties ‘Outside the Louvre’ (3) a company of 100 Swiss also formed a part of the guard ‘Inside the Louvre’. In their magnificent Spanish style uniforms (there would come a time when they would be vilified as ‘untellable lackey-soldiers’), the hundred Swiss would march in front of the King with their fife and three drums. They played when the King attended Mass; also on the mornings the sovereign took Communion, usually on the eves of Easter and Christmas; and when he attended the ceremony of touching the sick (4). The General Salute was written only for the Blessed Sacrament, the King and the Queen. The drums were beaten, without rolls, for the daupoine and marshals of France. In 1758 the drum-major was paid 600 livres (1 livre = 1 franc), a sergeant-major 540 and a captain 6000. By an ordinance of 25 April 1767 the size of the drum was defined as 33 centimetres high and 37 in diameter. In future the barrel would be of brass, weighing 3? kilograms. It was on 24 August 1762, in the recommendation of the colonel, the Duc de Brion, that the King authorised the formation of a band of musicians for the French Regiment of the Guard, which already had a small band of 4 oboes, 2 bassoons and 2 horns. Officially the band would in future comprise 4 oboes, 4 clarinets, 4 horns and 4 hassooms. It is possible that the Swiss Guard had maintained some musicians, but no unit could include musicians in the rolls of authorised personnel. Musicians, whether supernumerary or under contract, were paid by the colonel and/or from officers’ contributions. We can date the organization of the band of the Swiss Guard from the end of 1762. Brigaded with the French Royal Guard, the Swiss also had 16 musicians and the authorized number of instruments. In an ordinance of 28 April 1763 and a regulation of 1 June determining the reorganization of the Regiment, one notes the mention of the drum -major, whose pay was 800 livres. Also the establishment of 16 musicians in the headquarters, each to be paid 900 livres a year, plus 166 livres as clothing, instrument maintenance and heating allowances – makes a total budget of 2666 livres for the allowances. We note for 1769 the mention of Cholet as drum-major and his son as junior drum~major. We now find the marching column being headed by the regimental pioneers (in 1808 to be designated sappers) and the artillery, with the drums, fifes and band following. This change is illustrated in the pictures of Noreau the Younger and in the water colours of Louis La Paon.With those of the French Guards, the band of the Regiment took part in official festivals, notably those of 16 May 1770 for the marriage of the future Louis XVI (5). Chroniclers noted that the two bands of the Brigade of guards rendered fanfares and were dressed in Turkish fashion and ‘making a great noise’. The band of the Turkish Janissaries was very much in vogue in Europe at that time and had been copied to some extent by the addition of cymbals, triangle and the ‘jingling johnnies’ – all visible in the bands, hut not in the rolls of accounts of the Treasury. Records of the band organization are contradictory. In 1774 the headquarters company held 16 official musicians (and 21 instruments) quartered at Versailles but, on the other hand, one finds that the band accompanying the guard mounting numbered 21 musicians, including 10 clarinets. Yet it is also stated that in 1774, the same year, there were 12 clarinets, 2 trumpets, 4 or more flutes, horns and bassoons, led by the music-major. In another document we read of 16 authorized musicians of the headquarters company and also the military band comprising 23 men. After 1774, however, the names of 16 instrumentalists are recorded. Around 1780 the journals refer to evening concerts given by the hands of the French and Swiss Guards on the terrace at Versailles and in Paris; also of ‘serenades sur le boulevart’ (sic). This custom was a foretaste of music ten years later for the great public festivals which were to be so dear to the revolutionaries, aiding the development of the military band and leading to improvements in the making of wind instruments. Both Guards bands took part in the rendition of the Te Deu’m in 1783 at Notre Dame de Paris on the occasion of a consecration service for the treaty Which granted independence to the young American Republic (6). Louis S. Norean (1740-1814) in his ‘Nouveau Paris’, published in 1799/1800, records that the Swiss Guard took part in the preparation of the Champ de Mars for the festival of the Federation on 14 July 1790 (7), saying “they arrived to the sound of their band”. By then the regulation drum had been re-standardized. In the Regulation of 1 October 1786, well known to uniformologists for military dress and details, we read that the bass drum must be 32.5 cms high and 37.9 cms in diameter. In referring to the drum we mention that the children of members of the Guards were, from the age of 7, ‘enfants de troupe’. Clothed in the colours of the colonel, they were fifers or drummers and subject to military discipline. The repertoire of the bands of the Guards was chiefly derived from arrangements of music from opera-comique or songs, such as ‘a Belle Gabrielle, Malbrouk, Aupres de ma Blonde and others. The Swiss Guard marched past to the sound of rolls ‘a’ la Suisse’ and then to La Marche de Colin-Tampon, whose slow rhythm corresponded to that slow tempo for a march past which endured for many years but is now used only by the French Foreign Legion. We know of several marches played by the band of the Swiss Guard, including two by Andre Philidore (curator of the Royal Music Library); two by Michel Delalande (1657-1726); one by Michel Corette (1709-1795); one by an officer of the Regiment, Christian Zimmermann of Lucerne, and one by Martini (under his real name Schwarzendorff – 1741-1816) composer of the famous Plaisir d’Amour. His march gained a prize, having been won in competition when chosen by theDuc de Choiseul(8) It was forbidden, under the pain of death for members of the Swiss Guard to sing the celebrated Ranz des Vaches because this melancholy song, recalling their homeland caused nostalgia which might encourage desertion or even suicide. This fact(9) is confirmed by J Rousseau (1712-78) in his Dictionnaire de La Musique. In 1792 12 musicians were quartered at Courbevoie. The band was not present in the Tuileries on 10 August. Not so the drummers and fifers attached to the companies, who suffered the cruel destiny of the massacre. The musicians were then imprisoned in the Palais Bourbon, but we may suppose that they were later freed. A famous bandmaster in Revolutionary and Napoleonic times, Michel Gesture, had entered the band of the Swiss Guard as in instrumentalist at the age of 14. He was a Chapel Royal alto at 20 and in 1791 was a member of the band of the Paris National Guard. Later he became bandmaster of the Consular Guard and then of the Grenadier Regiment of Foot of the Imperial Guard. Served in all the campaigns of the Corps but was among those lost in the Russian Campaign of 1812. He composed over 200 works for military band. (1) Burgundian Wars: The conflict arising from c)Charles the Bold (Duke of Burgundy) disputing the overlordship of Louis XI of France.(2) Neaur was besieged in 1692 and 1695. In the first siege victory went to the French hut they were expelled by the English and Dutch in the second.(3) Louvre: A Royal Palace in Paris.(4) Touching the sick: Evidently a similar ritual to that concerning the ‘King’s evil’ in England, a scrofulous disease formerly supposed to be healed by the touch of the King. (5) Louis, the Dauphin, married the Princess Marie-Antoinette, daughter of the Emperor Francis II and Maria Theresa of Austria. (6) American Republic: France had played a vital part in the American War of Independence arid without her massive military and naval assistance it is hardly conceivable that the colonies would have become independent as early as the Eighteenth Century. (7) 14th July 1790: This was the first anniversary of the fall of the Bastille, the first great event of the French Revolution, but Louis XVI was still on the throne. It is ironic that royal troops should have been employed to help prepare the venue for a grand revolutionary celebration, but such cooperation was clearly prudent. (8) Etienne Franc, Choiseul-Amboise (1719-85) a favorite of Madam de Poutry Adour. He became a Lieutenant-General in 1748 and later, in 1758 theForeign Minister. He remained in office until 1770, when’ La Pompadour’s successor, Madame Diary, procured his dismissal. (9) Ran de Vaches: The doleful omens connected with a Swiss pastoral song recall similar fears associated with a short violin composition widely played in Europe in the years between the two World Wars, under such tit (depending on the country) as Irauriger Sonntag, Fmsamer Sonntag, Sombre Dimance and Gloomy Sunday. This tune, as well, was said to induce suicide( and it has been alleged that one country banned it. (12) The History of Danish Military MusicMilitary music was originally just a method of communication and when, during the course of the 16th and 17th century, warfare developed to be more theoretical and complex then it had been previously, the need for unmistakably loud and clear signals for the move forward, retreat or attack was needed. Although the Roman Armies used trumpeters and drummers Lur was played by the Vikings, and these were mainly used ceremonially. Originally the Infantry used fifes and drums as their way of signaling and the Cavalry trumpets and the kettledrum. These were also used on ceremonial occasions, especially those of a Royal nature. At a later date the Infantry started to use the bugle and it was often young boys that played both the bugle and the drums and there are not many Danes that have not seen the Monument or -heard of “The Little Bugler”. (Little Hornblower!). During this century the advent of radio naturally rendered the bugle and drum signals superfluous but the sounds of the Reveille and Retreat can still be heard at certain Garrisons and occasionally members of the Royal Family or High Ranking playing. Many of these Historical Regimental signals can be found as part of the official march of these Regiments. During the 16th century the ‘shawm’ began to emerge as a military musical instrument and it was then that the musical side became more important as the rather brittle sound of the shams could hardly be used as a signal. The shawm was later replaced by the ‘hautbois’, (known now as the oboe) and the musicians that played these instruments were called ‘Hautboys’. Later this term was used to describe all military musicians irrespective of whether or not they played this particular instrument. The 17th century brought important changes, in that the discovery was made that by adding holes and flaps to a trumpet tones other than a natural ones could be provided. This meant that melodies could be played using whole and half notes. The other significant innovation was the arrival in Europe of the Turkish musical tradition with its cymbals, rattles, tambourines and drums. During the beginning of the 18th century all of these instruments were merged together, oboes, trumpets, drums and the Turkish Janizarian music to that we know today as the wind hand. Up until this time Danish military music did not differ too much from the rest of Europe but let us now concentrate on the developments in Denmark. At this time during the beginning of the 18th century -Danish regiments competed with one another in producing the biggest, best and most colorful hand as possible. More often than not it was the Officers of the Regiment that paid out of their own pocket to maintain the bands. A number of the members of the hand were German in origin and many musicians and composers who were later to become famous started their career in a military band. Carl Nielsen and Hans Christian Lumbye to name two of the most well known. In 1842 guide lines were drawn up by the Danish Government for military music in Denmark, uniforms were standardized unfortunately at the expense of the many varied and colourful uniforms. But there was also a cut back on the number of military bands. The end result was five brigade bands and the band of The Royal Danish Lifeguards. The complement of the six bands consisted of thirty-five musicians each and all were wind bands with brass and woodwind, but there were also twenty battalion bands of sixteen musicians each and these were brass only. It was here that the very special Danish military music tradition began and has continued until the present day, where the Regimental ‘Musikkorps’ consist of less than twenty members and are still all brass. Musically there is a disparity when comparison is made with a complete wind band but this meant that a very special Danish military music tradition was provided with its own instrumentation, style and composers. A tradition that was also adopted by a number of civilian hands during the beginning of this century and it should be noted here that the Danish brass tradition cannot be compared to the British type brass bend. Both instrumentation and not least the playing ‘style’ are very different. It is true that in 1842 the cutbacks were critical but at least there were more than six hundred musicians involved in military music – today there are only about one hundred left. It was the Royal Lifeguards ‘Musikkorps’, the five brigade hands and the smaller battalion bends that were musically to play an important role during the Schleswig-Holstein wars of 1848-49 and in 1864. After the war of 1864, further cuts were made in the defence budget and once again military music was badly affected, in that in 1867 the number of hands was halved. The five brigade hands disappeared completely and the Royal Lifeguards remained as the only wind band. Many of the battalion bands were axed and of the remainder these were reduced to nine musicians. Permission was granted though so that two bands could play together ‘on special occasions’. Changes were also made in 1880. The Royal Lifeguards were retained but the remaining bands were re-organized into ten regimental bands of twenty musicians, apart from the Artillery and the Mounted Bands that only received a quota of ten. Once again apart from the Lifeguards, these were all brass. Less than 30 years later, in 1909, everything went completely wrong. The Parliament decided that all Danish military music was to be disbanded and that as from 1st April 1911 all Danish military musicians were to be given their discharge. It was not particularly wise that more than a year was to pass before this was implemented, as this time was naturally used in protesting against the decision. These protests came not only from the military musicians themselves but also by prominent people from all walks of life. Military music was, for a lot of people, their first taste of ‘live’ music. Radio and records were still in its infancy and most people could not afford to go to Symphonic Concerts and to the Opera but the march through the town by a military bend, followed by concerts in the market place or the local park could be enjoyed by everyone and were extremely popular and fulfilled the musical requirements of the population; and they were free! The protests against the decision by the Government culminated in January 1911 in a huge demonstration through the streets of Copenhagen to the Parliament at Christiansborg He Government refused to bow to the wishes of the demonstrators and protestations. Military music was to be abolished and in March 1911 the regimental bands gave farewell concerts throughout the land. Amazingly, when the dismissals had already come into effect, telegrams were sent out from the Ministry of War on the 1st April to all military musicians saying that their discharge had been cancelled. Military music in Denmark had been reprieved. Reductions though, were inevitable and the regimental bands were reduced to nine musicians and three in reserve (either conscripts or musicians on contract). The Mounted Band and the Artillery had to make do with just nine permanent musicians. This situation was to continue for some ten years and caused a number of problems. Notwithstanding the individual musician’s prowess, how could 10 – 13 band members produce a sound that really carried -a forceful sound? This was felt in particular during the celebrations of the re-unification of the South of Jutland with Denmark in 1920. The local population had been used to the big German military wind bonds numbering over fifty and these were now being replaced by a Danish military hand, all brass, of only thirteen musicians! An agreement was reached that resulted in two regimental bends playing together to form a more acceptable 25 – 26 piece band. During 1922 conditions improved a little in that the number of musicians was increased to fifteen. This meant that some hands could expand with a couple of clarinets and a flute. Then in 1932, the situation from 1909 was finally realized and this time there was no reprieve. One hundred and seventy-four musicians lost their jobs, only the Lifeguards Band were allowed to continue as before. This period was to last for ten years and both the population and the National Defence Forces sorely missed their military music. This was a time when one could meet a company of soldiers marching behind a loudspeaker van playing marches, an undignified sight and a parody of military pride. 1941 brought the re-introduction of military music in Denmark, possibly as a counter balance to the presence of the big, well playing bands of the occupying German Forces, Four regimental bands were formed, each of fifteen musicians. During the last Sunday in April 1941, a concert was held in a park in Copenhagen to celebrate the return of military music and was seen by over fifty thousand people. On the 1st May, the bands were re-united with the Garrisons and they were welcomed wholeheartedly. During the period from the 29th August to Liberation in 1945, these bands continued to function but as ‘Civilian’ hands. In 1953 one more hand was re-established, hut in 1973 another one was disbanded. The tradition from 1842 of all brass hands have been kept, apart from the Royal Lifeguards, which has survived all these crises. The situation today is that Danish military music consists of The Royal Danish Lifeguards Band in Copenhagen, the hand of The Life Regiment of Zealand in Ringsted, the band of the Life Regiment of Funen in Odense, the band of the Slesvig Regiment of Foot in Fladerslev and the band of The Princes Life Regiment in Viborg. Apart from this, the Navy has a Fanfare Band, which in spite of its name is in fact a complete all-brass hand. These musicians are either conscripts or on short-term contracts. This also applies to the Fifes and Drums of the Royal Danish Lifeguards. Since its formation in 1949, the Territorial Army or Home Guard has formed a number of ‘Musikkorps’, some as wind bands and others as brass. Many have a high musical standard and often fill the gap left by decades of reductions of the professional hands and it is not unusual to see a military parade being led musically by a Territorial Army Band. It should also be noted here that the only hand associated with the Danish Air Force is in fact a Territorial Band as is the Women’s Naval Service Band and also the Women’s Army Corps, who have their own Fife and Drum Band. Finally it should be mentioned that many amateur orchestras, company bands, Boys and Girls Guard Bands, Boys Brigade and Scout Bands often play military music, though of varying quality. One of the most distinguished, is of course, the Boys Band of the Tivoli Guards, with a very high musical standard. (13) An Outline of the Evolution of Military bands in FranceIn common with military bands generally those of France have their origins in the music of War, and beginning with a romantic example, we mention the sound of Roland’s horn at Roncevalles, in AD 778. This French soldier, killed by the Basques during Charlemagne’s invasion of Spain, subsequently became the hero of the 11th century Chanson de Roland. At Hastings (1066) a Norman warrior, Taillefer, rode out from the ranks and entertained his comrades with some of its verses, dispatching two foes apparently not appreciative of music, before being slain himself. It was a Norman custom to sound trumpets if they triumphed in battle, or at a siege, and we may conclude that the practice was not confined to Norman France alone. However, this feudal custom was the prerogative of royalty and nobility. In France, as elsewhere, trumpeters were members of royal household and usually exempt from the normal military service. Their training and employment was often regulated by the trade guilds. As a rule trumpeters headed any royal procession or progress, even by water as on one historic occasion. On Nay 18 1588 when England was threatened by the Spanish Armada, Queen Elizabeth decided to visit her troops assembled at Tilbury. Both London and Tilbury being on the River Thames, the Queen’s Majesty entered her royal barge, hard by St James’s Palace, preceded by her musicians blowing loudly on silver trumpets, and the procession of barges proceeded down river on the ebb tide, cheered by the citizens who lined the foreshore, this stretch of the river being tidal. For use in battle the primary instruments ware the horn or bugle (the Roman bucan) and the drum, made of wood or metal with skin or parchment strained and tightened by crossover cords. Their function was to sound calls sod rallying signals; to frighten or annoy the enemy; to encourage troops on the march, and to set the pace. Relieving Orleans in 1429, Joan of Arc made a triumphal entry to music, probably played on tambours (drums) and trumpets or bugles. We know that the tune was a Scottish air, which France had adopted and called La Marche de Robert Bruce. In the medieval wars Scotland and France usually united against their hereditary foe, England. This tune is more wide known as Scots Wha Hae Wi’ Wallace Bled, from verses written after a lapse of about four centuries by the poet Robert Burns (1759-96). Sir William Wallace, a Scottish patriot who had been executed in 1305, was a staunch henchman of Robert the Bruce, who is said to have used the tune at Bannockburn (1314). Le Marche de Robert Bruce is still played by French Service bends and it has been recorded by La Musique Principale des Thoupes de Marine, in tones more dulcet than Joan of Arc and the Orleans populace would have heard. The passage of time saw the development and growth of regiments and armies in Europe and, with these, the introduction of core varied instruments that emanated chiefly from Asia, via those countries of Eastern Europe exposed to the depredations and invasions of the Ottoman Empire. The first example to arrive in France is believed to be a kettledrum from Turkey, presented to the Court of France by an embassy from Hungary, in 1471. It was described as a ‘tambeur des Perses’, but the Persian name was ‘timbale’ and by that name the instrument has been known in France ever since. Another Turkish innovation, the fife, was first seen in the hands of Swiss Mercenaries in France towards the end of the 15th century. Fifes came into use fairly quickly, but they were not used for drill purposes but as ‘instruments of pleasure’. Poring the reign of Francis I (king from 1519-1547) the large bends of trumpets sod kettledrums were favored, but by 1588 there had had been a marked change. On Nay 12 1588 a later king, Henry III, gave the people of Paris the opportunity of indulging in what was to become one of the capital’s most popular pastimes in the ensuing centuries – the erection of barricades. The king had ordered his Swiss and French Guards to take up positions at vantage points in the city. The outcome was a disaster that sent the king scurrying off to Chartres, but an account of the day’s events includes a reference to the Guards marching along the Rue St Honore to ‘the rolling thunder of 20 tambours and the shrill squealing of a score of fifes’. Another very important introduction was the oboe, derived from the Turkish zurna. In archaic English this double wood reed woodwind instrument was called the hautboy (pronounced 0 Boy!), from the French "hauthois". Coming to the 17th century we find further innovation and development. Louis Quatorze (1638-1715) is justly praised for the enhancement of military music but he was only five when he became king and there had been noteworthy progress during the reign of his father, Louis Treize, who had assumed the royal power in 1617. The infantry fife and drum bands had remained but the trumpet and drum were of prime importance to the cavalry. The King’s Trumpeters only numbered four, plus a kettle drummer but, in addition, there were the musicians of the Garde du Corps, amounting to 28 trumpeters and four kettle drummers. Of far greater musical importance was the King’s Hauthois Band, of eight hautbois (2 treble, 2 alto, 2 tenor and 2 bass), two cornettes and two trombones. It seems that the idea came from the shawm, zurna and drum bends of the Turkish Janissaries. Before the end of the reign several regiments had hautbois bands, and this may be regarded as a turning point for the military band as we know it. Nevertheless, the trumpet retained its prominence and before leaving Louis Treize we refer to two trumpet fanfares of this period -La Guet (a watch or look-out) and La Cavalquet (a mounted scout). During the infancy of Louis Quatorze the country was ruled by Cardinal Mazarin, as France had been ruled in the previous reign by another cardinal, Richelieu. After Mazarin’s death, in 1661, Louis never appointed another first minister but took full control himself, in concert with his own saying, “L’e’tat c1est moi’. He took great interest in the music of his regiments and saw the bands were organized to his liking. He engaged the celebrated Jean-Baptiste Lully to supervise the army bands and to compose suitable music. The King’s Musketeers were allowed three hautbois and five drums per company, and by 1672 the Dragoons were similarly equipped. The Garde du Corps had its bands playing in choirs, viz. using music written in four parts. Among the military music written by Lully (1639-87) was La Marche des Mousquetaires du Roy which has been recorded by La Musique da la Garde Republicaine. There is also a fanfare version and this can be heard on record by the Fanfare Trumpets of the French Air Force. Louis Quatorze was succeeded by his great-grandson, Louis Quinze, whose indolence and frivolity were coupled with misgovernment and unsuccessful wars, leading to increasing discontent and laying the foundations for the French Revolution, which finally erupted in 1789. By then military music had reached low ebb in France, but it was to have a phenomenal revival during and after the Revolution, when the pre-eminence of French bands caused astonishment and admiration in the rest of Europe. The Revolutionary leaders seem to have had little to learn as regards the value of audio-visual instruction in educating the new citizenry and consolidating the revolution. The process often took the form of great national fetes, such as the Fête Funbrés for Mirabeau and Voltaire, or such philosophical and doctrinal events as the Fête de la Federation and the Fête de la Raison. Held in the open air, with monster bands and choirs, they were spectacular. An outstanding feature at these fetes was the band of the National Guard, massed with other bands. This band had been raised in 1789 by Bernard Sarrette, with 45 performers and in the following year was taken over by the Paris Municipality. The massed bands for the fetes were enormous. At one there were 10 flutes, 30 clarinets, 18 bassoons, 4 trumpets, 2 tubae curvae, 2 buccins (bass trombones 12 horns, 3 trombones, 8 serpents, 10 percussion, bass, side and kettle drums; cymbalists and triangle beaters. 300 drummers could be added for the more prodigious occasions. The National Guard and their band also attended the numerous ceremonial plantings of ‘Trees of Liberty’ by the mayors of the various communes and we read of the accompanying brilliant ceremonial music’. The National Guard was not a police force but it had obligations to help maintain public order. In Paris it was commanded by one not unknown in America, Marie Joseph Gilbert du Motier, marquis de La Fayette, until his hurried departure for Austria in 1792 after his attempt to restore the monarchy. Returning essentially to the military music scene, the regiments of the Revolution soon discarded much of the music of the old regiments, whose fine uniforms gave way to the blue great-coats of the new demi-brigades. The popular revolutionary songs were played by the bands and we can have a taste of them by listening to some verses of La Garmagnole, then to be combined instrumentally with the rabble-rousing Ca Ira and to be followed by the emotive La Marseillaise, which Rouget de Lisre (1760-1836) wrote for France’s Rhine Army but was adopted by all revolutionary France. Two years after the Paris Municipality had taken over the band of the National Guard they decided to disband it, to economize. Fortunately, Sarrette was able to create from it the Ecole Gratuite de Musique de la Garde Nationale Parisienne, which in 1795 was amalgamated with the old Ecole Royale, at the Conservatoire de Musique. Both the Ecole and the Conservatoire was the mainstay of military music in those stirring times and supplied all the French armies with their bandsmen. As recommended by the Conservatoire at this time a military band comprised one flute, six clarinets, 3 bassoons, one trumpet, two horns, one serpent sod bass drum and cymbals. There had been a temporary eclipse of the oboe by the clarinet, because the latter instrument, played with the reed uppermost and open embouchure (as in jazz bands today), produced a clarino high trumpet tone. The trombone and serpent gave greater weight to fundamentals. In spite of the various forms of administration which succeeded each other in the unsettled final decade of the 18th century in France – the National Assembly, National Convention, Committee of Public Safety, Directory and Consulate -military music never flagged and the emergence of Napoleon Bonaparte was to ensure even greater vigour. Much had been owed to such composers as Gossec and Nehul. The latter, in collaboration with the poet Marie-Joseph Chenier, had written the famous Chant du De-part to commemorate the fifth anniversary of the Fall of the Bastille. It rivaled La Marseillaise in popularity. (14)part 2 An Outline of the evolution of the Military band in FranceIf the turning point in the development of the modern military band was the hautbois hand, then the turning point in the career of General Bonaparte was the French Revolution: a lesser upheaval would not have provided him with the impetus he required to gain a crown. His great opponent and ultimate vanquisher, the Duke of Wellington, had learnt to play the violin as a youth but he appears to have left decisions on Army music and bands to his subordinates – although a request to be included in the Line at Waterloo, from an untried battalion of the 14th Regiment of Foot, was granted only after the Duke had observed them parade to the beating of The Grenadiers March. The Corsican had very firm views on army bands and their function and his interest in military music is reflected not only in the splendid formal marches written whilst he was First Consul and then Emperor, but in orders that he issued, tastes he expressed and even jokes he cracked with his veterans – his ‘Grognards’ – about their songs. Before he left on the Egyptian expedition he gave special attention to the formation of good bands. In Cairo he ordered noonday concerts by regimental bends, stationed in public places near the hospitals, where they were to play 1various airs which will cheer the sick and recall to their minds the finest hours of past campaigns’. Sometimes he could demand the near impossible, as when he asked Lebrun and Rouget de Lisle ‘to compose a hymn based on a familiar tune like LA MARSEILLAISE or ~ DU DEPART to be used in combat and contain sentiments for any and all circumstances of war’. Some marches had been composed for use in battle. LA MARCHE DE LA GARDE GDNSULAIRE has had several arrangers but original composer is never indicated. The march is said to have been performed at the Battle of Marengo (1800), the ‘Pas de Charge’ being in the trio. The outcome was an important victory for France hut it is ironical that the dispositions he had made caused Bonaparte to he surprised by the Austrians and he was saved only by the staunchness of the Guard and the brilliant action of a subordinate. Characteristically, Napoleon took full credit and named his celebrated charger after the battle. Furgeot’ a arrangement of the march has often been recorded by leading French bands. The Consulate had come into being in 1799 and as First Consul and General, Bonaparte suppressed the cavalry bends for a time, saying that by discharging the cavalry bandsmen the saving of horses would enable him to raise four extra regiments of horse. During the five years of the Consulate the Band of the Consular Guard, led by Gebeuer and Blasius established a high reputation. In the meantime, the high clarinet in F had been introduced and the oboe restored. In 1802 the Gendarmerie de Paris was formed, a military body which carried out certain internal duties of a police nature. Its title underwent such changes as La Garde Municipale and La Garde Royale, until its suppression by the Provisional Government after the February Revolution of 1848. It had a Batterie-Fanfare (drums, bugles and/or trumpets) dating from 2 October 1802, and in 1804 a Fanfare de Cavalerie (mounted trumpet corps) was formed. In the same year Napoleon crowned himself Emperor of the French. A larger bend for the Grenadiers of the Guard comprised twelve clarinets, two clarinets in F, two piccolos, four oboes, four bassoons, four horns, two trumpets, two trombones, two serpents, one bass drum and two pairs of cymbals. It was headed on the march by drums and fifes. Cavalry bands were re-established and handsomely furnished with sixteen trumpets, six horns and three trombones, to which in the cases of cuirassiers and caribiniers, kettle drums were added. The years of the First Empire, and the decade before, were a golden age for the military bend in Prance. Indeed, one questions whether any other country has ever enjoyed such a stimulating period. The bands lacked virtually nothing materially and the important factor of morale must have been braced by the fact that they were a necessity to the military and social structure. Even so, the claim that it was a golden age for bands cannot be sustained without the recognition that the cardinal requirement had been present — worthy music. This need was met in abundance by a group of fine composers such as Gossec, Catel, Mehul, Gebauer, Charubini and others. Their output was enormous. Quick steps and other items for military evolutions and arrangements of patriotic songs were to be expected bat there were also suites, overtures and symphonies of the first rank composed especially for the military bend. Francois Joseph Gossec (1734-1829) was already a pioneer before the Revolution and had been the first to regard the military band orchestrally; also to demonstrate the benefits of the clarinet and trombone in the orchestra. Mozart referred to him as ‘his very good friend and a dry man’ and he has been called the ‘founder of symphonic music in France’; he might equally be called the founder of French chamber music, as he wrote eighteen string quartets. With its positive cleavage from the past, the Revolution gave him his opportunity. Very active in composing in his early days, he made his first authentic instrumental arrangement of LA MARSEILLAISE. In terms of symphonic form, those of Gossec take first place, but Catel is more original and Louis Jardin bolder and more advanced in conception. Regrettably, little of their music, and music for bend by Mehul and Cherubini (whom Napoleon disliked, as being too independent!) is ever played. The bend music of these ‘composers of the Revolution’ deserved a better fate at the hands of the later conductors of bends, whose programs suggest a preference for transcriptions from the popular classics, opera, the theatre and the dance. Perhaps one day a musician with a sense of history will be inspired to revive some of this unique music written for the bends of the Revolution and the First Empire. From the time the first Napoleon left the stage at Waterloo (1815) until the end of the Second Empire (whose fall was caused by the Franco-Prussian War of 1870/71), military bends remained very much a part of the French scene, reflecting the country’s martial ardour and desire to re-capture ‘La gloire’, as well as her colonial aspirations. As the years progressed a greater diversity developed amongst the Army bends and the heavy stateliness of the earlier marches no longer predominated. A regiment or battalion had its military band (L’Harmonie) but it also had a separate musical unit known as a ‘clique’. With Infantry regiments the clique comprised drums and fifes, bat in the Light Infantry and Chasseur (rifle) regiments the clique used a bugle termed a cornet’ (not to be confused with the present day cornet in bends) which was a small bugle shaped like a hunting horn. In the days of the First Empire these bugles had only been used for field calls in battle or on maneuvers bat, through ~ de corps’, they became the chosen marching instruments of such regiments: such was the origin of their use as we know it today. In 1830 France began her protracted conquest of Algeria, involving thousands of troops for many years and these campaigns speeded the official adoption of bugle bands. A company of the 8th Chasseurs distinguished itself at SIDI BRAHIM in 1845 and the march named after it by an anonymous composer and played by a Chasseurs clique is typical of the style. In the same year France appointed a special commission to enquire into the modernizing of its bends and its members included Auber, Carrefois, Onslow, Spontini and Adam. As a result the Infantry were allowed fifty-four players per bend and the Cavalry and Chasseurs thirty-six. It involved the introduction of the new instruments of Adolphe Sax, who was strongly supported by King Louis-Philippe. The change was short lived as with the 1848 Revolution the king abdicated and the bends were ordered to return to the old instrumentation. However, Hector Berlioz blazed away furiously at what he regarded as the inferiority of the former French band instrumentation and, with the assumption of power by Louis Napoleon, Sax was entirely beck in favor again. In fact his prestige was such that he brought about the closing of the Military School of Music, which he regarded as reactionary. It was replaced by special music classes at the Conservatoire. Mention has been made of the disbandment of the Fanfares of La Garde Royale in 1848, but a few months later it was re-formed as La Garde de Paris and included twelve trumpeters under Trumpet-Major Jean Paulus, who composed a special fanfare for the presentation of Colours on the Champ de Mars, Paris in May 1852, by which time the Second Empire had been proclaimed by the new Emperor Napoleon III. The Military Governor of Paris, Marshal Magnan, publicly congratulated Paulus. Within two years the fanfare was enlarged to a full bend and given the title of La Musique de la Garde de Paris. In 1871 it was changed to La Musique de La Garde Republicaine. France maintained her bends during the Crimean War (1854-56) and many went to the Front, to gain high praise from her Allies whose own bands were organized far less effectively than the French. They continued to receive strong support, as a Decree of 1854 allowed a bend of fifty-five for the Imperial Guard and bands of thirty-five for the Cavalry, with commissioned bandmasters. It was said that the music of the French bends at Inkerman did as much to drive beck the Russians as the bayonet. Yet after the war in Italy (1859) there were drastic cuts and in 1867 the cavalry bends were abolished. Even so, in that same year a Military Band Congress was staged at the Paris Exhibition. The following countries competed and received awards in the order given: Prussia, France, Austria, Bavaria, Russia, Holland, Baden, Belgium and Spain. The smallest bend was Bavaria’s – fifty-one. Austria had seventy-six, but Prussian combined two bends to make eighty-seven players. The judges were Ambroise Thomas, Leo Delibes, Fe icien Cesar David, Franz von Bulow, Hansluck and Kastner. France’s agonizing period from 19 July 1870 until 1 March 1871, from her declaration of war on Prussia until her acceptance of peace terms, has little relevance to this inquiry, except to observe that the country returned to its peacetime life rapidly. Even during the quickly ensuing blood-thirsty suppression of the Commune of Paris (when the barricades went down) theatre and café life in the capital was hardly affected. The bands settled down again, the leaders being the Garde Republicaine under Paulus and the Mounted Guides under Cressinois. In 1872 the former represented France at the Boston Peace Festival. Sellenick took over from Paulus in 1873, to be succeeded by Wettge(1884), Pares (1893) Balay (1911), Dupont (1927), Brun (1945), Richard (1969) and Boutry (1973~ – and names as famous in French military music as Sousa, Santelmann, Schoepper, Benter, Whiting and Gabriel in America, and Godfrey, Williams, Rogan, O’Donnell, Ricketts, Miller, Jaeger and Dunn in England. An American bandmaster named Cappa who visited Paris in 1889 described the ensemble of the Garde Republicaine as almost perfect. For well over a century it has been regarded as the premier bend of France and it remains one of the great bands of the world. Nevertheless, it cannot be denied that today in France there are others deserving of equal approbation, such as the major staff bands of the French Navy, Army and Air Force, and Las Gardiens de la Paix de Paris and La Police Nationale. These high standards of rendition arise from the meticulous organization of military music in France and the methods of personnel selection. With growing record production this is being increasingly appreciated outside France. Yet coverage on French radio and television is surprisingly limited. (15) The 24th Regiment bandThe earliest reference to a 24th regimental band appears in ‘Records of the 24th Regiment’ and reads: “Dublin, 16th May 1771 – the regiment has a band of music”, but how effective this was may be open to doubt when one sees in a Return of Musicians for 1801 (Appendix A) by Mr. Hugh McBride, Master of the Band, that the Band consisted of 11 bandsmen, 2 fifers and a drummers, the youngest being 11 years old with four years’ service and the oldest 50 with 36 years’ service!! In another List of Bandsmen dated 1812 (Appendix C) there are interesting features in the remarks column alongside the musicians’ names one reads “Very lame and not likely to be much better” and another “not likely to play”!! Perhaps one should say “from little acorns big oak trees grow”. In 1840 the bend are described as being dressed in white double breasted coates, collar cuffs and turn backs of green, large epaulettes of green worsted, white stripes on trousers and shako ornamented with a red bell. In about 1873 white clothing for the hand was discontinued. Prior to 1881 when the Regiment first became associated with Wales, the Regimental march was The Warwickshire Lads after its connection with that county in earlier years. This march was composed by Charles Dibdin about the year 1768. From 1881, the quickstep of the Regiment was The March of the Men of Harlech, an old tune which appeared as a Welsh Harp Air in the 1794 edition of Edward Jones’s ‘Relics of the Welsh Bards On 16th March, 1878, the band of the 1/24th was left at King William’s Town to be drilled in artillery and left that station with two seven-pounder muzzle loading guns for Itelezi and Mount Kempt where they did good service with the newly arrived 2nd Battalion of the Regiment. An extract from a letter from Horse Guards dated 5/6/78 and signed by R.C.H. Taylour, O.A.G., reads: “H. R. H. has specially noted that two guns were manned by the bend of the 1st /24th Regiment during the action on April 30th , and he considers that the cheerful spirit thus evinced for the general good and benefit of the public service is must creditable”. In the Zulu War of 1879 the band of the 1st Battalion was in the camp at Isandhlwana which was annihilated, one of the six soldiers of the 24th who survived the battle being Bandsman E. Wilson (a copy of his personal account of the action and subsequent escape from the field of battle is held in the Regimental Museum). Prior to the Zulu attack the bandsmen had been detailed as ammunition carriers, cooks and stretcher bearers, and Wilson was one of the latter. The 2nd Battalion also lost members of their bend on that fatal day including their Bandmaster, Harry T. Builard. A rather interesting point is brought to light concerning the Bandmaster of the 1st Battalion, who, as a result of his status, and unlike his counterpart Bandmaster Bullard of the 2nd Battalion, was not present at the battle of Isandhlwana. This man, C. G. Burck, became Bandmaster in 1871 and served with the 1st /24th in various stations prior to accompanying the Battalion to South Africa. The reason why Burck failed to accompany his Battalion on active service remained obscure until research indicated that he may well have been a civilian and not a member of the Regiment. It had long been the practice of certain regiments to engage civilian Bandmasters, usually German or French nationals as they were often considered to be better musicians, the payment for these men being borne by the Officers’ Mess funds. An Army Order of 1814 prohibited foreigners employed as Bandmasters from taking part in military operations, and in the case of Burck this may have been a lifesaver. Following the Army Reform Act of 1881 and the possible rescinding of the order of 1814, or perhaps as the result of being granted British nationality, C. G. Burck was appointed to the rank of Warrant Officer on 5th September, 1882, and continued to serve as such until 4th September, 1889. An old Sergeant-Bandmaster of the 1st Battalion from 1869 to 1878, Harry Rattray, became the oldest Chelsea Pensioner of the Regiment. He was killed through enemy action on 16th April, 1941, when Chelsea Hospital was damaged in the London Blitz. He was in his 102nd year. At the age of ninety he composed a march entitled The March of the Clansmen of the Braemar Gathering which was inspired from a photograph of three veteran members of the Braemar Gathering in 1929. In 1914 the 1st Battalion Band went to France with the Regiment and during the retreat from Mons cane under heavy shell fire which caused many casualties in the Band. A unique distinction to the Regiment is that the Bandmaster of the 2nd Battalion, Mr. P. O’Donnell (1882) had three sons who all joined the Regiment and went on to become Directors of Music. At one time the three brothers, P.S.G. O’Donnell, R. P. O’Donnell and B. Walton O’Donnell were simultaneously Directors of Music Royal Marines; one at Chatham, one at Portsmouth and one at Plymouth and all three brothers received the M.V.O. Kneller Hall has on two occasions been commanded by officers of the Regiment. Colonel Farquhar Genie in 1893 and Colonel Campbell-Miles 1951-1955. Four of the most outstanding of the Regiment’s Bandmasters over the years have been Charles Ancliffe (1st Bn. 1900-18) whose Nights of Gladness waltz is world famous; D. J. Plater (2nd Bn. 1923-26) who was renowned for his march compositions. He became Director of Music Royal Tank Regiment in 1926 where he stayed until 1947 when he became the first Director of Music R.E.M.E.; Major W.G. (Polly) Willoocks (2nd Bn. 1926-37) who became Director of Music Irish Guards. During Polly Willcocks period with the 2nd Battalion this bend was without doubt one of the most outstanding hands in the whole of the British Army. In successive years 1932, 1934 and 1935 they had a Kneller Hall Inspection Report of Outstanding, a feat believed to be unsurpassed; and Lieutenant Colonel S.V. Hays who went on to become Director of Music in 1978, Director of Music Honourable Artillery Company. On the outbreak of the war in 1939 Bandmaster Hays and the Band Boys of the 2nd Battalion, stationed at Londonderry at the time, were sent to Brecon and immediately set about forming a new bend known as the Infantry Training Centre Band, which became a first-class band and toured extensively in Wales and England and visited the 2nd Battalion in the front line in Holland. In 1947 the 2nd Battalion went into suspended animation and the War Office directed that this band should join the 1st Battalion, the 1st Battalion Band having become defunct over the war years. In November 1947 Bandmaster Hickman, a few bandsmen and a number of hand boys set sail for Cyprus to form the 1st Battalion Band. In 1955 Mr. Hicknan was succeeded by Bandmaster Ollie Whiting who was to be the last Bandmaster of the 24th Foot for in June 1969 the 24th amalgamated with the 41st Foot to form The Royal Regiment of Wales. Bandsmen have always been known as the “Gentlemen of the Regiment”. The following appears in the 1905 edition of 2nd Battalion Standing Orders: “Bandsmen being better educated, and in a position superior to the rank and file, must remember that more is expected of them. Their conduct should be beyond reproach and in their dress and bearing they should be the smartest men in the Battalion. A bandsman who was awarded a Regimental entry will be struck off the establishment of the Band for at least three months.” LIST OF BANDMASTERS 1st Battalion 2nd Battalion Mr. J McBride 1793-1802 Mr. P Waters 1865-1878 Mr. J Clarke 1863-1869 Mr. H Bullard 1878-1879 Mr. H A Rattray 1869-1878 Mr. R Goodings 1879-1884 Mr. G Tamplini 1878-1882 Mr. A Preece 1884 Mr. G C Burck 1882-1889 Mr P O’Donnell 1884-1905 Mr. J A Caborn 1889-1890 Mr. F Ripp 1905-1906 Mr. C W Ancliffe 1900-1918 Mr. J C Roberts 1906-1915 Mr. T Taylor 1918-1922 Mr. H Fenner 1915-1923 Mr. J L Gecks 1922-1934 Mr. D J Plater 1923-1926 Mr. C Eldicott 1934-1941 Mr. G H Willcocks 1926-1937 Mr. W J Hickman 1946-1955 Mr. S V Hays 1937-1946 Mr. 0 R Whiting 1955-1969List of Bandsmen 1/24th – 1812Sgt Crofswell 1st Clarinet & Bassoon occasionallyJ Brett 1st Clarinet & Flute occasionallyJ McGuire 1st ClarinetHenry Herold 1st ClarinetEdward Worrall 2nd ClarinetJumps Smith 2nd Clarinet (very lame and not likely to be much better)James Butler 1st Bassoon (on leave at present)Michael McGuire 2nd Bassoon (likely to be a good hand)James Love learning the BassoonM. Hinton Bass Horn (likely to be a good one)W Routh 1st FluteW Patten learning the FluteJ Herold 1st HornW Harrison 2nd HornSamuel Miller learning the 2nd Horn – not likely to playWm Collins Trumpet & Bugle (failing)J Johnson TambourinePaul Maurice Bass DrumDan Frederick Cymbals (16) The Black Musicians of the British Army Perhaps the Crusades had given Negroes and other foreign percussionists a place in Western music. A 14th century British Museum manuscript snows a Negro as a cymbalist who, at the same time, carried a pair of kettledrums on his back for the drummer standing behind. At the College of Arms is the Westminster Tournament Roll (February 1509/10) which shows six mounted trumpeters, one of them wearing a green turban (the only one wearing headgear) being a coloured man. Two hundred years ago it was the fashion amongst many regiments to employ drummers from Africa and the West Indies. From reports of Generals visiting garrisons at various times, one learns that they were rattling good drummers too. The verdict of Major-General Sir William Howe, when inspecting the old 29th Foot at Dover in 1774, reported the fact that the drummers and fifes “beat and play well.” One may well believe that, in the carrying out of their strenuous duties, these drummers made their presence felt , since there were no less than ten of them. Seventeen years later, another General put the same regiment through its paces at Windsor, bluntly remarking in his report that “The drummers black, beat and play well.” The 1st Bn The Worcestershire and Sherwood Foresters Regiment, to give the 29th its present day designation, had always made a specialty of its black drummers, an innovation which originated in rather curious circumstances. Admiral Boscawen happened to be the brother of its Commanding Officer in 1759, and at the surrender of Guadaloupe, seized the happy idea of securing ten boys, all of whom were eventually enrolled as drummers in his brother’s regiment. Some sixteen years later, a few survivors of this original group still remained with the regiment and in the estimation of a certain Colonel, they were all remarkably good drummers, a fact which probably stood as much to the credit of the British Drum-Major as to his pupils. Neither patience nor wisdom need be brought to bear in the tuition of drum “banging”, but in the “playing” of that primitive instrument a fair amount of both is necessary. When stationed at Tralee in 1824, the 29th had eleven boys specially brought over from Africa to fill the vacancies of its band. For over eighty years this regiment adhered to the custom of retaining black drummers, the last of who passed away in the early 1840’s. Africa was not the only land to which the military authorities looked for likely candidates for bands. The West Indies was also a good source of drummers as well. It was from this archipelago that the old 38th, now the Staffordshire Regiment, obtained most of its drummers, not altogether a matter for surprise considering the regiment was quartered there for almost sixty years. When its turn for departure came in 1765, it retained a squad of three black boys, but whether all the chosen ones relished the idea of leaving their native soil is not recorded. Since the archives of certain regiments reveal the fact that at various times a “slave’ was posted to the drums, one may infer that the transfer in many cases was a blessing in disguise for individual concerned. The Royal Fusiliers was another marching regiment in which the foreign element was rather prevalent, all its drummers being blacks during the last nine years of the last century. The cymbals and triangles had their place with “the drums and fifes,’ and these members of the percussion family of musical instruments were sometimes played by quite juvenile black musicians. The bass drummer was invariably a burly black gentleman of imposing physique. In E Hull’s well known lithograph of the big drummer of the Grenadier Guards in 1829, one has a representation of a typical specimen of his type just in the act of producing his best from his instrument, and attired in white trousers, scarlet tunic, and a tall, gaily bedecked turban, the head-dress worn by most of his profession. The retention of the tiger and leopard skin aprons of the big drummers is a survival of the era when some of the drummers from Africa took the skins of wild beasts with them when they joined the British Army. joined the British Army. Their fantastic uniforms were brought into greater prominence their outlandish evolutions when marching at the head of their regiments. Unfortunately, very little is known of any of the particular Black musicians of that era. However a man known as John Baptist is said to be the last of his fraternity in the Scots Guards. As a mark of distinction, a silver collar was worn by the last black drummer of the Grenadier Guards. Francis by name. This worthy drummer joined the great majority in 1838, the following year the Coldstream Guards dispensed with black musicians. These black Guardsmen were familiar figures to the Londoners of those days, since their presence was necessary in the Court of St James’s at the daily ceremony of the Changing of the Guard. Lest it might be supposed that the black musicians were all drummers and only to be found in infantry regiments, attention is called to the fact that the Royal Artillery at one time had black tambourine and cymbal players, the Turkish “Jingling Johnnie” being also left to the tender mercies of a dark-skinned minstrel, whilst among the last of their kind in the service of the Crown were three black trombone players of the 2nd Life Guards, a circumstance which shows that the brethren of the redoubtable Francis were not unrepresented in the saddle, since the Household Cavalry had their African trumpeters as early as 1742, and in some of the old London prints a black kettle-drummer is depicted at the head of the band. His uniform was not unlike that still worn on ceremonial occasions by the bandsmen and trumpeters of these regiments, a three-cornered hat, however, taking the place of the blue velvet “jockey” cap now in vogue. Among the many fine military paintings hanging in Windsor Castle is an equestrian study of a black trumpeter in this very showy attire. An Army Inspection Return of 1776, shows that a black kettle-drummer was employed by the 3rd Hussars at that period. “Bush” Johnstone of the 4th Hussars, was well respected and like the kettle-drummer and the trumpeters of the same regiment, he was an Indian, and, during the regiment’s twenty-year stay in the “Shiny East”, he held a proud position immortalized by Thomas Hardy, the Trumpet-Major. ‘Bush’ paraded for the last time with the old 4th Light Dragoons in 1842, when it is fairly safe to assume that the coloured element in our cavalry had disappeared. Rumor has it that a few Militia units could boast of one or two black mulatto musicians as late as the Crimean War, but in confining this survey of the innovation as practiced in the Regular Army, one is met with all manner of conflicting statements concerning the identity of the last black drummer, the manner of his exit, and the year in which he made his last bow to an admiring world. The early 1840’s could only muster a handful of these gentlemen, and the death in India on 15 July 1843, of George Carvell, the last black drummer of the “Ever-sworded Twenty-ninth”, removed one of the very last of this unique section of British Army musicians.Horn band XE "Horn band" In about 1751 the court of Empress Elizabeth of Russia employed band composed exclusively of hunting horns, reach instrument playing one tune in the ensemble. Made up of 16 to 36 players, (most often recruited from among the hundreds of servants of the court, who were rather unmusical...), each was trained to play a single unique note (one man, one tube, one note!). It was a kind of living organ with people in the place of keys. Entire pieces (including opera overtures!) could thus be played, and the scores resembled rolls for mechanical pianos. It was Czech hornist Johann Anton Maresch (1719-1794), student of Hampel and engaged at the Russia court, who in 1751 came up with the idea and developed this musical curiosity to satisfy the wishes of the Empress Elisabeth (1709-1762). (See Johann Christian Hinrichs, "Entstehung, Fortgang und ietzige Beschaffenheit der russischen lagdmusik", St. Petersburg, 1796; reprinted in facsimile edition by the Zentralantiquariat der DDR, Leipzig 1974; the instruments are preserved in the St. Petersburg Musical Instrument Museum).Hungarian Military Bands XE "Hungarian Military Bands" Hungarian military bands have served within the units of the Hungarian Defence Forces for nearly 250 years, preserving and popularizing the spiritual and cultural values and traditions of the armed forces and of Hungary. The Hungarian Defence Forces Central Orchestra is a musical formation with a long-time tradition in this special cultural mission.The history of the HDF Central Orchestra began when its legal predecessor, the 1st ‘Honvéd’ Infantry Regiment’s Band was formed in 1896. This event marked the establishment of Hungary’s first independent professional military band in Budapest.The band was assigned tasks similar to those of the contemporary Central Orchestra. Led by some legendary military conductors the nation-wide celebrated band became an orchestra of European renown. Following World War II, the orchestra functioned as the 1st ‘Honvéd’ District Central Band until 1947 led by Capt. Géza Pongrácz, who was first conductor, then later became principal conductor, then continued performing its service tasks as the Central Orchestra of the Ministry of Defence until 1956, conducted by Capt. Gy?rgy G?rgey. Due to various reorganizations, after 1956 the orchestra was merged into the service bands set up at that time, so the central orchestra was discontinued for some years.The top leaders of the Ministry of Defence proposed that an orchestra be set up again in 1961 which was to be assigned several tasks related to state protocol ceremonies, outstanding social events and international cultural relations. This was how the Hungarian People’s Army Central Orchestra was formed in 1962, which performed the tasks assigned to it by the army until the change of regime in 1989. During this period, the following military conductors led the orchestra: Maj. Ferenc Koltai, Capt. Henrik Auth (later principal conductor as a colonel), Maj. István Lovász, Lt. Col. ?rpád ?dry, Lt. László Dohos (later principal conductor as colonel), Maj. László Marosi.Changing only in name, the orchestra has been active since 1989 up to the present, known as the Hungarian Defence Forces Central Orchestra. During this period, the orchestra had the following conductors: Lt. Col. László Marosi, Lt. Col. István Zagyi, and Maj. Tibor Kovács since 2004.Since its formation in 1962, the orchestra has received lots of invitations to make guest appearances abroad around Europe, where it worthily represented the Hungarian military traditions and the cultural values of their country. The band library of the Central Orchestra was established simultaneously with the formation of the orchestra. Its tasks include providing the service and concert repertoires of the orchestra and supplying sheet music scores to every Hungarian military band directed by the HDF Principal Conductor’s Office as well as to foreign bands participating in Hungarian military musical festivals.The library of the HDF Central Orchestra is one of the biggest collections of wind music in Hungary, including approx. 3000 pieces of sheet music scores. One can find here the transcripts of the most popular symphonic works, and many compositions written originally for wind orchestra. The categorization of the sheet music store is based on 14 genres: 1. Symphonic overtures 167 pcs.2. Symphonic Pieces 283 pcs.3. Operas and Ballets 137 pcs.4. Operettas and Folk Dramas 65 pcs.5. Airs, Choral Works 95 pcs.6. Wind Orchestra, Symphonic Band 222 pcs.7. Songs and Church Vocal Music 111 pcs.8. Solo Pieces 143 pcs.9. Hungarian Folk Music, Art Songs 89 pcs.10. Waltzes 133 pcs.11. Other Dances 81 pcs.12. Marches 817 pcs.13. Fanfares, Funeral Music 155 pcs.14. Musical, Film, Jazz, Pop Music 184 pcs.Three eras may be distinguished according to the periods of acquisition: 1. Sheet music scores from before World War II Among these, we can find many curiosities, including hand-written scores by famous military conductors in the early 20th century, (Richárd Fricsay Sr., Sándor Figedy-Fichtner), as well as several old scores from famous sheet music publishers (Breitkopf & H?rtel, Cranz). 2. Scores acquired between 1945 and 1999 Among these scores, we can find some works dedicated to the orchestra by Frigyes Hidas and Kamilló Lendvay, as well as some magnificent arrangements by Ern? Keil and Ferenc Tóth.3. New scores After 1989, having an independent budget the orchestra was given an opportunity to order some 400 scores from foreign publishers, most of them arranged for big symphonic bands.Civil orchestras currently cannot check out any scores, but we hope this valuable collection will become available for them later. Sheet Music History Being the oldest musical groups in our country, Hungarian military bands had an enormous influence on Hungary’s cultural life. One cannot question the role of the military bands in mass communication during the 1800’s. In that era, the bands frequently changed garrisons together with their regiments, so the orchestras and their conductors got in direct contact with the musical life of the bigger towns, while they also had an opportunity to listen to and observe the cultures, music, melodies and dances of other nations. Military music popularized the most beautiful and latest melodies of composed music to a wide audience, and transcribed them in scores. This flow of musical information may have been fostered by the fact that the composers of the era liked to arrange their popular operas and other compositions for military bands, because this helped their works to achieve popularity soon in Hungary and around Europe.Regular publishing of musical compositions was rudimentary, some compositions appeared only as hand-written pieces. The sheet music store of the HDF Central Orchestra has saved a lot of these valuable manuscripts, which we preserve for posterity by handling them with special careIndian Military bands XE "Indian Military bands" Since the termination of British power from India the various bands of the Indian Army had to be re-oriented to render them truly Indian. The task was not easy as with the division of the country many bandsmen of various units opted for Pakistan. Under the distinguished patronage of Gen. K.M Kariappa, OBE the then Commander-In-Chief of the Indian Army, a Military School of Music was established in Pachmarhi in 1950. Here the bandsmen of the bands of the various defence forces are given training in playing the various instruments used in the Military bands. In the early years our bandsmen had to play western martial tunes as suitable native material scores did not exist. Gradually over the years a small group of composers sprang up who composed martial music appropriate for our Bands, based on the folk-lore of the regions which contributed most to the strength of the Indian Defence Forces. Thus the folk lores of Punjab, Rajasthan, Marwar, Garhwal and Konkan coast have given inspiration to the Indian composers.International Military Music SocietyHistoryThe International Military Music Society is an association of national branches and individual members. The goal of the society is to encourage interest in all aspects of military and wind band music, and to foster world wide communication between its members.OriginThe decision to found a society devoted exclusively to specific musical interests was taken in 1976 by members of the Band Section of the Military Historical Society, when Mr. George Brinckley and Mr. HarryPlunkett were authorized to proceed with preliminary enquiries and arrangements. It had been decided to authenticate the new society by appointing an Honorary President, of prominence in military band circles. The present holder of the appointment is Knight 1st Class. Royal Norwegian Order of Merit Trevor J. Ford, LLCM, p. ASMCDevelopmentThe early enrolment of members was principally from the United Kingdom and Canada followed by the inception of branches in Continental Europe, The United States and Australia. The society was at first administrated from London, but in 1985 the Netherlands Branch proposed an international governing body, having regard to 75% of the membership from the Continent or overseas. The present International Committee came into force on 1st January 1988, on the basis of one representative member from each branch.IMMS TodayIn more recent years the society has expanded further to include branches and members from all over the world. The present membership amounts around 1300 from 38 different countries.In addition to this central IMMS web site there are also national web sites for France (immsfrance.fr), Italy (immsitalia.it), Netherlands (imms.nl), Poland (imms.pl) and United Kingdom (imms-.uk). All members receive the IMMS magazine, "Band International", which is published in three editions each year. The society is at present working on several different projects such as a jubilee CD in which every member country will be represented and also a cross-reference index for all the editions of Band International since its inception. It will also be noticed that branches, which do not have their own web site, are represented with their own page in this central IMMS web site.Instruments of the Military bandGlossary XE "Instruments of the Military band" Instrument Nomenclatures by countryRemarksAlto HornFrance:alto,saxhorn altoItaly:GenisGermany:altflugelhornTC tenor clef,BC bass clefBaritoneFrance:Sweden,Holland:baryton,bass Si bItaly:flicorno tenore(TC),euphonio(BC)Spain,baritonoBass DrumFrance:gran caisse,Swedand and Italy:gran cassa,Germany:grosse trammel,Spain:bomboBass(Tuba)France:contrrebass,Germany:kontrabasse,Sweden:tuba or bassoGermany-bass tuba bombardon,Bass ClarinetItaly:clarone,Germany:bass klarinette,Spain: clarinet bajoBassoonSweden: fagot t or basun,France:bassoon,Germany,fagot,Spain:bajon or fagottoBellsSweden:klockspel orklocka, Germany: glockenspiel, Italy:campanettaSpain:campanaBrassesSweden:bleckinstrumenten,France:cuivres,Holland: fanfare,Germany:blechinstruments,Italy:stromentiBrass BandClarinetSweden:klarinett or clarinetto,France(Si b) clarinette,Spain:clarinet,Italy:clarinetto,Germany:klarinetteOld English:clarionetConductor’s ScoreSweden:partitur or direction,France:partitionCornetFrance:cornet(a pistons)Holland and Germany:kornett,Germany: piston in b or Soprano cornet,Sweden:kornett or cornetto,Italy:cornetto,Spain:cornetaCymbalsSweden:piatti,Italy:piatti or cinelli,France:cymbals,Germany:becken,Spain,cimbalos or platillosDrumHolland:trom,Spain:tambour,Sweden:trummaEnglish HornItaly: corno inglese,Germany:englisches horn,Spain: corno ingleseEuphoniumSee BaritoneFlugelhorn France:bugle, Germany:flugelhorn,Italy:flicornoFluteFrance:grande flute,Sweden:flojt,Germany:flote,Italy:flauto,Holland:fluit,Spain:flautaGlockenspielIn Britain,US and Canada this term , from German , is often used to specify the bells mounted upright ona lyre frame, for use by marching bands, Horn(French Horn) France:cor,Sweden :corno or valthorn,Germany(ventil)horn,Italy:cornoMuteFrance:Sourdine,Sweden:sordin, Italy:sordiniCon sordini:mutedOboeFrance:hautbois,Holland:hobo,Sweden and Italy:oboe,Germany|:hoboePercussionFrance:batterie,Sweden:trummoror batteria or slagverk,Holland:slag,Spain slagverk,Holland:slag,Spain :percussion,PiccoloFrance:petite flute,Sweden:flauto piccolo,Germany:kleine flote or pikelflote,Italy:flauto piccolo or octtavino, Spain:flautinReedsFrance:anches,Swedn:tungaSaxophoneFrance:saxophone,Holland:saxophoon,Sweden:saxofonSnare DrumFrance:petite caisse,Germany:kleine trommel,Italy:tamburo militaire,Spain:tamboreString BassFrance:contrebasse a cordes,Sweden:contrabass,Italy:contrabasso,Spain:contrabajoTimpani or KettledrumsFrance:timbales,Sweden :puka,Germany:pauken,Italy:timpani,Holland:trommelvlies,Spain:timpanoTromboneFranceandSweden:trombone,Germany:posaune,Holland:schuiftrometTrumpetFrance:trompette,Sweden:tromba,Germany:trmpette,ItalyTromba,Holland:trompet and uitbazuinen, SpaintrompetaWoodwindFrance:boisThere are two types of historical traditions in military bands. The first is military field music. This type of music includes bugles (or other natural instruments such as natural trumpets or natural horns), bagpipes, or fifes and almost always drums. This type of music was used to control troops on the battlefield as well as for entertainment. Following the development of instruments such as the keyed trumpet or the saxhorn family of brass instruments, a second tradition of the brass and woodwind military band was formed.The term "military band" is not, however, confined to military organizations, nor does it necessarily imply that the ensemble is a marching band. It is the correct term for a wind ensemble comprising both woodwinds, and brass, together with percussion, with an instrumental complement that was always typical in service bands. It is the inclusion of woodwind instruments that makes a military band different from a brass band, and the two terms should never be confused.There is a certain amount of confusion between the terms 'military band' and 'concert band' (or 'symphonic wind band'). The latter may play music written for military band, but describes a larger (usually non-military) ensemble that includes all symphonic instruments, except for bowed stringed instruments.(1)Military Field Music: European TraditionsMusical instruments have played an important role in the military of many cultures for thousands of years. In Euro-American culture, drums ordered the daily lives of the average soldiers, providing cadences for marching and signals for battle, as well as marking routine activities such as meal and bed time. The drum most associated with the military was a snare drum. Known as a side drum because it hangs on a sling at the player's side, the cylindrical instrument has two skin heads: the batter head (top), which the drummer beats with two sticks, and the snare head (bottom), so named for the gut twine that when placed against the head gives the instrument its characteristic "buzzy" sound.Israeli Military bands XE "Israeli Military bands" XE "Israeli Military bands" With an army as informal and as simply outfitted as the Israeli Army , one could say that our real area of investment and focus - the army's real bequeathment - is in their military bands and variety ensembles (not to be confused with the actual IDF Military Orchestra). Whereas other armed forces and their enamourers closely inspect and analyze their regalia, with Tzahal, both the troupes and their military and civilian listeners pay close attention to the quality and execution of the pieces. The great dedication given to our bands is probably due to the nation-building role they represented, in producing music to entertain the soldiers which in turn also influenced the country's culture.The origins of the IDF's military bands begin with the troupe called "Mi Ein Ze" ('From Where is That'), which entertained the Jewish soldiers of the Jewish Brigade during the Second World War. That band was succeeded by the "Chizbatron" troupe of the Palmach, which existed during the period of the War of Independence.The first IDF band was that of the Nachal infantry brigade - "Lahakat ha'Nachal" - established in 1951. It achieved success quickly by introducing a younger and fresher approach to traditional Israeli folk music up to that time, and its influence spread broadly as former members subsequently formed commercial bands which pursued music in a similar style to that of the Nachal Band. Given the centrality and Zionist symbolism of the army in the years following the victory of 1948, many of Israel's finest songwriters and producers contributed material to the IDF bands, such as Nomi Shemer, Chaim Hefer and Yossi Banai. The first decades of the military bands, particularly the Nachal Band, produced a generation of future music stars, including Yehoram Gaon, Arik Einstein, Shalom Hanoch and others. The apex of the bands' creativity and influence was probably the period between the victory of the 1967 Six Day War and the period of the 1973 Yom Kippur War.With the changing tastes in Israeli music and the sobering aftermath of the Yom Kippur War, the influence and vitality of the military bands waned. In 1983 the Chief of Staff, Rafael Eitan, disbanded the troupes saying that they were no longer reaching out to the ordinary soldier. Two years later the bands were resurrected, although after a brief time their presence again waned. Military bands still exist today, although in more modest sizes (called "Spirit Teams" - "Tzevet Hovi", in Hebrew), and instead of creating original music they mostly present covers of existing Israeli songs.Different bands which have existed (each one is called a "Lahaka" - band - in Hebrew):The Nachal BandThe Northern Command Variety EnsembleThe Central Command Variety EnsembleThe Southern Command Variety EnsembleThe Navy Variety EnsembleThe Air Force Variety EnsembleThe Artillery Corps BandThe Education Corps BandThe Field Corps BandThe Armoured Female Recruits BandThe Border Guard BandThe Golani Spirit TeamThe Nachal Spirit TeamThe Combat Engineer Spirit TeamThe Parachute Brigade Spirit Team Italian Military bandsThere are several military bands in Italy. The Fanfare "Nino Tramonti - Mario Crosta", reached the amilestone of 44 years and is one of the models for the Italian military bands. The band originally known as the 3rd Bersaglieri eventually took the name Lonate Pozzolo and thence the present name. Starting with the first appearance, at the national meeting in Ravenna of 1967, the Group has no known stops and introduced the Fanfare to all National Rallies and to the most important events in Italy and abroad. The Fanfare has a full schedule of parades, concerts, carousels in such cities as: Geneva, Locarno, Porrentruy, Neuch?tel (Switzerland)-Stuttgart, Hanover, Bergen Belsen (Germany), Lille-Paris, St. Etienne, Vichy, RC Lens, Marseille, Nice, Annemasse, Aix-en-Provence, St. Amand Montrond, Chateaudun, Douai, Mandelieu, Thonon (France)-Heerlen (the Netherlands) Vaduz (Liechtenstein)-Tokyo (Japan)-New York, San Francisco, Reno (USA)-St. Petersburg (Russia)-Valletta (Malta)-Luxembourg ... these and many other stages that have marked these 44 years. The Fanfare Bersaglieri was Founded in 1986, in collaboration with the unit of the world famous Bersaglieri. They advanced with surprising rapidity as they became part of the Bersaglieri environment and became acknowledged as most well known and significant Fanfare of Italy, resulting in sensational success They are now among the most valued fanfare nationally and boasts a staff of 40 musicians. They perform in countless cities and municipalities in both Italy and abroad. They appear very often among those participating in numerous annual ooccasion of "San Remo in bloom" They broadcast on national channels Rai in 2002 and are the winner of first prize for best bands, and in 2004 one of the most popular groups at the feast of the "Mandorlo in Fiore" of Agrigento.Many Nations request their participation its participation, particularly on the occasion of the Festival of international interest such as tattoos and music festivals. They have been the feature band in Barcelona , Paris and Nice bringing the spirit of the bersaglieres overseas, in 1995 the played in the streets of New York in celebration of Columbus Day.There are numerous tours abroad: with one of the the latest in Poland in 2001, in the Czech Republic and France in 2002.Keeping the faith to the style and traditions the fanfare of the Bersagliere and constantly work to improve musically In the continual search for improvement, the Fanfare has found an opportunity to engage in the construction of the splendid carousel designed by current capofanfara, which made it famous in 2005 in the Netherlands at the famous Military Tattoo Festival of Hearlen, and in the subsequent year to the Military Tattoo Festival of Dresden in Germany.Fanfara Bersaglieri Jesi & Ostra was established in November 1981 on the initiative of organizing a group composed of the Executive Council of sections Bersaglieri di Jesi and Ostra and by the late Maestro Carlo Rheinufer.?The agreement between the group was perfect and within a few months, with the accession of Valenti components of bands of the town of Jesi and Ostra, as well as other players and fans of the young students ' Musical Orientation course "conducted by M° Carlo Rheinufer the fanfare became a reality.?The baptism of the Fanfare on 22 May 1982 when they participated in national meeting of the Bersaglieri in Pesaro, where they paraded through the streets with great confidence and mastery, competing as a veteran with the leading Northern Italy's Fanfare, cradle of tradition.?Under the stimulus of success, backed with passion by riflemen and spurred by the inexhaustible vein, the fanfare improved their Repertory and participated in the following months, in several concerts-performances in many cities and they were greeted with much enthusiasm by the audiences.From 1981 to date is a continuous improvement of Fanfare due to the great work of accomplished masters (Rheinufer Carlo Ruggieri, Rinaldo Strappati, Giampiero, Porfiri Mauro Cappelletti Romualdo, Andrea Gabriel Petrelli, Holes present teacher), and drummers, the willing and always with the desire to improve themselves and the group, composed of fully instrumentation of 38 musicians They have performed numerous occasions More than l from North to South, from Viareggio to Bari from Verona to Sorrento from Naples to Lorrach (Germany) in Brindisi, from Sens (France) in Trieste, from Vicenza in Markt Schwaben (Germany), Genoa, Torre del Greco and many other European cities, becoming one of Italy's most favourite military bands.The Band of the Arma dei Carabinieri is known throughout the world for the variety of her repertoire, for formal perfection of his performances and the charm that arouse with their orchestral, with their magnificent composure, profound musical craft. In Piedmont, as a result of the new order given to the army by King Charles Albert in 1831 that an establishment be made for 18 musicians for Regiments of the line and 24 for the Company bodyguards of S.M.". Subsequently it was determinate that all regiments were regulated in matters relating to the service of "military music", which was adopted throughout the army. It was in those years that the Carabinieri had its earliest trumpeters, the original core of musicians who, with subsequent rearrangements in and supplied tools, gave birth at first (in 1862)Fanfareto "" and later came the "Band" which, through successive refinement, assumed the current character of military music.The "trumpeters" Carabinieri CorpsThe draft Constitution of the Carabinieri Corps included a roll of 8 "trumpeters", but only for a "Interim measure and in the decade after 1850, the employment of trumpeters was increasingly generalised, so that the Committee of the body (corresponding to the current General command) was to increase the number and improve the organization.Thus were born the 14TH and the Fanfare of the 7TH Legion correspond to School Students in Turin and the Legion of Naples. At the other legions were formed nuclei trumpeters.The founding act of the musical formations can be identified from the Royal Decree of June 18, 1862 on the "rise of the Corps of Carabinieri Reali" which recognized "must ... increase the strength of the Staffs of all Legions waves ... employing some men serving as trumpeters".The Decree followed the circular of Committee No. 10 of 25 July 30, 1862, which were issued provisions on the application of the same decree. As well the decree established the characteristics of the uniform of the carabinieri musicians.With circular No. 12337 of October 20, 1883, by the subject "Education for the restoration of trumpeters", the General command of trumpeters doubled the number for each Legion, established students trumpeters to become trumpeters once acquired necessary skills and awarded two trumpeters to each command. In 1884 the Fanfare of the Legion Students Carabinieri (new name taken by 1867 from the FOURTEENTH Legion, always in his home in Turin), in analogy to what was prescribed for the music of infantry regiments and the fanfare of Cavalry units, was equipped with 19 wind instruments and percussion 5. The same year, the fanfare for the first time gave a public concert. They played in Turin, on the occasion of the General Italian Exposition, earning a diploma for the "organization technique and artistic demonstrated efficiency."The Navy Band The Music Corps of the Navy is one of the oldest Italian ensembles and its Constitution in 1870 through the creation of a stable and organic structure at the Department of La Spezia.From 1965 to 1991 they were employed by the Maritime Department of Taranto and later moved to Rome, where they currently reside. The Navy Band is made up of 102 musicians, all non-commissioned officers in permanent service in actual, Conservatory graduates. The Repertoire spans every musical genre, from the original band music to classic, lyric-symphonic, jazz and light. The Navy Band is called upon to play its institutional activities both in Italy and abroad and to the peculiar ability to represent, through music, a picture of the Navy increasingly engaged at an international level in the fields of social and humanitarian aid, has been awarded, in 2004, by the International Centre for peace among peoples of Assisi of "Knighthood of Peace" Among the countless successes, from the most recent performances include:?in 2010 in Spain with concerts in the city of Madrid;?in 2001, and in 2009 in Mons in Belgium at Nato's Supreme command;?in 2003 and in 2006 in New York during the celebrations of Columbus Day;?in 2002 in Auckland (New Zealand) on the occasion of the America's Cup sailing "Louis Vuitton Cup";?in 2002 the tour to Egypt in the important centers of El Alamein and Alexandria, and again in Kiel and Hamburg, Germany, Vienna and St. P?lten in Austria and the major national venues including the Auditorium di Milano and the Accademia Nazionale di Santa Cecilia Auditorium Parco della Musica in Rome, Teatro San Carlo in Naples, the Auditorium Paganini in Parma. The Band of the Guardia di Finanza is born officially in 1926, bringing together into a single structure the different instrumental fanfare that since 1883 had been established .Currently is a complex artistic ensemble consisting of 102 musicians from various Italian conservatives, carefully selected through a national competition.During their long and intense concert activity, the Band performed at the most prestigious musical institutions in Italy, such as the Accademia Nazionale di Santa Cecilia (with whom he collaborates regularly and in September 2008 he appeared as "stage band" the rappresentazione della Norma by Vincenzo Bellini under the direction of Nagano), la Scala in Milan, the San Carlo in Naplesthe Teatro dell'Opera di Roma, the Massimo in Palermo, la Fenice in Venice, the Petruzzelli of Bari, the Rossini of Pesaro, the Bellini in Catania and Ariston in Sanremo. Historical concerts which for years has held in the basilica of Maxentius in Rome. In 2007 and 2008 performances were included in productions of Verdi Festival in Parma.The body has repeatedly collaborated with some of the most famous Italian and international orchestras, such as that of RAI in Rome, the Maggio Musicale Fiorentino-which in 1991 was featured worldwide in a concert directed by Zubin Metha-and that of the Spoleto Festival dei Due Mondi, which together with the choir of Washington participated in 1993 at the closing concert of the Festival-which is also broadcast on international television-under the direction Steven Mercurio. They have Repeatedly travelled abroad, the Band has made successful tours in Germany, Luxembourg, Switzerland, Belgium and France. In 2001, in 2002 and in 2007 was invited to New York on the occasion of the celebrations for the Columbus Day, during which, in 2002, held a recent concert at Ground Zero, a symbol of the American national consciousness, which until then had featured the only Boston Symphony Orchestra.In November 2005 they gathered an extraordinary success in Abu Dhabi, UAE, holding a concert in the presence of the highest offices of State Deputy.The blend and the sound quality and interpretive sensitivity make the band one of the most prestigious internationally and ensure the continued success of audiences and critics. Their vast repertoire also includes original compositions and transcriptions, ranges from early music to contemporary and can be considered among the most significant and comprehensive on the subject., Banda dell'Esercito italiano "Italian Army Band are seen on u tube where this band often appear in concert band programmes and have accompanied numerous Italian singing stars.The world class Modena International Military Tattoo is held annually and is a highlight of European military festivals-(See tattoos and Festivals.OriginalDopo l'intenso inverno di prove sotto la guida musicale del giovane Ruggieri e trascinata dal Capo-Fanfara Giancarli, coadiuvato dal bersagliere Turchi, eccola presente in modo impeccabile, da Aprile ad Ottobre, a ben 18 servizi, fra i quali si distinguono i Raduni dei Bersglieri ad Acqualagna (Pu) , Loreto (An), quello di Verona in onore dell'ultimo componente entrato a far parte della FanfaraWorld Book of Military MusicJ-LJamaica Military Band XE "Jamaica Military Band" The Jamaica Military Band is known throughout the Jamaica Defence Force as the 'JMB', they are the oldest continuous-service unit in the JDF. The First Battalion, Jamaica Regiment, has longer antecedents, being directly descended from the ancient Jamaica Militia of 1662, but with several changes of designation through the years of the 20th century. The band's longevity goes back even further because it was originally the Regimental Band of the first and last-surviving of the old West India Regiments, which was disbanded in 1926 after 131 years service. As the WIR Band, its final performance was at Trafalgar Park House, then the official residence of the commander of British troops in Jamaica (and now of the British High Commissioner) in the presence of the future King George VI and the late Queen Mother, who died only five years ago at the age of 101. It is the WIR origin which resulted, in the mid 19th century, in its nearly unique zouave uniform (the only other military unit in the Commonwealth which wears it is the band of the Barbados Regiment).On December 8, 1926, the then mayor of Kingston brought a motion in the Legislative Council of Jamaica for the retention of the band. The JMB was the first to publicly perform the new Jamaican National Anthem just weeks before Independence in 1962. The performance took place at the Lyndhurst Methodist Church Hall, with the anthem arranged for military band and also conducted by a young band corporal, subsequently Major J. B. Williams, OD - and a long-serving JDF director of music.In 1977, on its 50th anniversary the band was honoured by the Kingston & St. Andrew Corporation with the Freedom of the City award and presented with the Keys of the City of Kingston. That year it also visited the United Kingdom, taking part in The Queen's Silver Jubilee Celebrations.The band has also performed in various Caribbean countries, and in the United States and Canada. Janizary or Janissary(French:Janissaire,Italian:Gianizzero, German:Janitscharen)Cymbals,gong,`jingling johnnny,bass drum,tambourine,trianagle,were used in the bands of the feudal army of Turkey, the Janissaries. These instruments spread to Europe primarily when the Crusades returned home. Historically the term applies specifically to this type or group of percussion instruments and instrumentalist, and included the entire percussion section.Japanese Military Bands XE "Japanese Military Bands" Japan Ground Self-Defense Force Central BandThe Japan Ground Self-Defense Force Central Band was formed as the National Police Reserve Force Band on 2 June 1951 with 47 members selected from all over Japan. Its name was later changed to the National Safety Force Band, and subsequently to the present one. It is currently stationed at Camp Asaka, Oizumi Gakuen-cho, Nerima-ku, Tokyo and has 112 members including the Commander.The Central Band is under the direct command of the Minister of State for Defense. Its most important mission has been to perform at welcome ceremonies for national guests at Asaka Gest House since 1957. Another important mission for the Central Band is participating in various national events. It performs many important roles such as playing fanfares and national hymns at ceremonies and parades. The Central Band plays over 120 concerts and other activities each year and has travelled to more than 900 cities and towns. Every performance attracts large audiences. The Central Band is also responsible for the musical education of GSDF musicians. This education includes basic, intermediate and advanced courses for non-commissioned officers and basic courses for officers.Japan Maritime Self-Defense Force Band TokyoThe Japan Maritime Self-Defense Force Band Tokyo has its origin in the Maritime Safety Agency Band which was established in January 1951. In 1956, the Band was re-organized under direct command of the Minister of State for Defense under its present name. It performs various activities including concerts, ceremonies, international events, television and radio performances and it has also recorded on compact disc.Japan Air Self-Defense Force BandThe Japan Air Self-Defense Force Band is located in Tachikawa-city, Tokyo, as a unit under the Minister's direct command, and gives more than 130 musical performances per year. These are national events, such as the funeral ceremony of the Emperor Shows, and the wedding parade of the Crown Prince and Princess, or international events, such as the 18th Olympic Games in Tokyo, the Winter Olympics in Sapporo, an international exposition and so on. Since 1961, the Band has been trying to expand its repertoire of classical and wind instrumental wind music and original compositions. It now has a repertoire of more than 5,000 pieces. Popular music taken from musicals and films, specially arranged by Mr. Naohiro Iwai, a famous producer, and the performance on stage are gaining popularity amongst the public. Likewise the Band's performance on compact disc. The Band has some excellent performers. For instance, TSgt Shoichiro Hokazono (euphonium was presented the best performer prize out of all of the top performers of each section of "The Japanese Wind Instrument and Percussion Instrument Musical Contest in 1992"; a composition by MSgt Masse Yabe (flute) `The March April May' was chosen as one of the set pieces for "The Japanese Wind Concours in 1993".. "The Colonel George S Howard Citation of Musical Excellence" (known as the Sousa Prize) was awarded to JASDF Band by the John Philip Sousa foundation in 1993 this is the first time the swam has been made to a Japanese Band Kenya Navy Band XE "Kenya Navy Band" The Kenya Navy. started in the late 1980's with the first Drum Major, Corporal Mwanzia. Today, Thed band developed steadily, overcoming a myriad of obstacles to produce the formidable and fully fledged Marching Band .In December 1986, a batch of fifteen Privates under Training (PUTs) from the Naval Training School (NTS) were nominated to form the Naval Corps of Drums. The group underwent a drummer's course for one year at the School of Music at Langata Barracks, after which they returned to the Kenya NavalBase, Mtongwe and took up their respective roles as the Kenya Navy Corps of Drums. They participated in various parades with WOI Mwanzia (then Sergeant) as the Drum Major. In January 1999, an additional twenty-seven PUTs from the NTS were nominated to join the Kenya Navy Band and underwent a basic music course at the School of Music , Langata for duration of one year. After completion of the course in 2000, the young Band personnel returned to Mtongwe Base to start a journey of learning of music under the guidance of Captain H J Ochieng’ The Kenya Navy Band has participated in major national events successfully, including all National and ASK Show Parades, the first All African Military Games (CISM) 2002 in Nairobi, passing out and Commanders Divisions Parades, March and Short Range Exercises and last but not least, landed invitations by various non-governmental organizations to promote their culture and awareness crusades in Mombasa and Nairobi. In the Keny the Navy military band fulfils multi-tasking in the diverse generic roles, such as performing in the Military bands, folk group or even functions of entertainment. Furthermore a considerable amount of peacetime activity involves giving dedicated music support to selected charities and authorized fund-raising initiatives. The Kenya Navy Band under the highly professional direction of the Director of Music, is establishing national reputation by not only performing Military Band Music of an exceptional standard, but also by helping to create a specifically Kenyan Military Music Culture. The talented Director of Music, Captain H Ochieng has made an important and valuable contribution to this particular cultural development by arranging and composing works incorporating popular and vernacular African Music elements. Discipline in the Band is a primary value if any measure of success is to be attained. As accepted in the music profession, it has far - reaching effects on the mental development and for proper concentration in the theory and practical apprenticeship, as well as familiarization with and the right use of the instruments. Although parades may be considered the core function of service military bands, other indispensable tasks include: general concerts, band festivals of public interests which are co-odinated by government institutions, municipal authorities, cultural authorities, performance in support of other government departments, memorial services, and Christmas carols service etc. The Navy Band is moving uniformly forward together. It is one of the most attractive Departments in the Kenya Navy formations. The Bandsmen are aiming beyond the horizon, taking into account that this is only their third year since inception as a complete Band. Their "Motto" is "Give way, the indomitable ones in white are coming".Last Post XE "Last Post" The bugle call Last Post is inextricably part of the end of day traditions which include Beating the Retreat and Tattoo.Retreat is the older custom dating back to the 16th Century and consisting of prolonged drum beating at sunset to warn the night guard to mount and also to give notice that the gates of the town walls were about to close. This custom was also part of the end of day battle procedure when volleys were fired and a hymn played in honour of those who had fallen during the day. At this time of evening the colour would be trooped. Today this latter activity is replaced by the lowering of the National Flag.There is some confusion over the ‘post’ calls. It seems that the ‘First Post’ and 'Last Post' came into being in the early part of the 19th Century. The ‘First Post’ was sounded as the orderly officer, the orderly sergeant and a drummer (with a bugle) started the Tattoo. They then marched from post to post with the drummer beating his drum. Upon reaching the final post the drummer would sound the Last Post. (This is why drummers carry a bugle.)The Last Post was really the end of the day (a hard day’s fighting and a hard night’s drinking).This bugle call has been passed down through the centuries in many countries of the world as an accompaniment to the impressive rites of a soldier’s farewell - the closing bars wail out their sad valediction to the departing warrior.Line bandIn Britain the expression “Line band” was used to denote a military band which was attached toa regiment as opposed to a Staff band or bands from the household guard. Staff bands were bands which represented units such as the Royal Artillery , Royal Engineers and Royal Signal Corps. Before World War 2 sveral regiments of the British Army maintained large and bands of the line which included well know units such as the Regiment of Royal Fusileiers and the Gordon Highlanders.many of the numbered Regiments also had fully established military bandsLehar Fránz Seniorb 1838 d 1898 Prussian bandmaster. He began his military career at age 19 and advanced rapidly through the ranks. He eventually became the bandmaster of the Regiment bearing the name of the Grand Duke of Baden. Lehar served at several garrisons during his career including Vienna and Budapest. His son Franz Lehar Junior became a world renowned composer of Light operatic works and waltzes.Lithuanian Military bands XE "Lithuanian Military bands" Lithuanian Army OrchestraLand Forces BandNational Defense Volunteer Forces Big BandThe Lithuanian Army Orchestra formed in 1991, on the 6th of October. . The Lithuanian Army Orchestra takes part in high ranking state official “red carpet” ceremonies, other formal National and Lithuanian military ceremonies and on National Holydays, concerts for society, sacred music. Orchestra has 60 musicians. In 1991 the orchestra recorded its first audio tape. Later orchestra has recorded and produced many records on the National Radio & TV, CD’s. The orchestra is deemed to be one of the best military bands in Europe and there is great demand from conductors of bands from other states to take part in concert programs with them. The Lithuanian Army Orchestra has already performed under the direction of Belgian, the U.S., Latvian and Dutch conductors. The orchestra has already participated in the 32 International European Festivals of military bands. The orchestra maintains creative contacts with military bands of the U.S., Belgium, Hungary, and many other countries.The military Land Forces band from Alytus performs in all prestige events of the town and country. This band continues the traditions of their predecessors Ulan's Regiment band between I and II World War. The band was established in 1994. There are 37 musicians, the band took part in many festivals, events and welcoming foreign guests. They visited almost all units of Lithuanian Army, performed many concerts, defile for the society and devotions. They honorably represented Lithuania in some foreign countries - France, Italy, Belgium, Germany, Poland, Switzerland,Hungary,Latvia, Romania, Finland. There inside military band is ceremonial band, brass quintet and dancing band as well. The military Land Forces band has recorded a few CD.National Defense Volunteer Forces (NDVF)? Band? was the first military wind band gathered in 1991 after the Reestablishment of Independence of Lithuania. The first public appearance of the then Voluntary national Defense Service Band took place as soon as March of 1991 to commemorate the 11th of March, the Reestablishment of Independence Day, in Vilnius, the Independence Square. The Band was officially founded on April, 1991. Likewise, the Band was to the represent Lithuania Army after the Reestablishment of Independence in The Festival International Military Bands 1992 in France. ? Louisbourg(Canada)Military Music XE "Louisbourg(Canada)Military Music" In 1757 Marshal Saxe of France observed that there was nothing "more common, than to see a number of persons dance together during a whole night, even with pleasure; but, deprive them of music, and the most indefatigable amongst them, will not be able to bear it for two hours only; which sufficiently proves, that sounds have a secret power over us, disposing our organs to bodily exercise, and, at the same time, deluding, as it were, the toil of them." The usefulness of music in ordering the movement of large numbers of men while lessening the drudgery attached to such movement has been long known to the military of all nations. It is difficult for anyone to remain unmoved by a martial air performed by a marching band. But while fifes, horns or bagpipes may provide the melody which lingers in our heads long after the band has passed, it is the drum with its solid tone, audible above all other sounds, which regulated the movement of our feet. Even those with no ear for music respond to its persistent beat. As Saxe noted, the movement is "so natural, that it can hardly be...avoided". He noticed "in beating to arms, the soldiers have fallen into their ranks in cadence, without being sensible to it...nature and instinct carrying them involuntarily...". Brought to Europe by the Turks during their invasion of the continent in the middle ages, the drum first appeared in France when the English army under Edward III captured Calais in 1347. Before long the drum was adopted for use in the French army. In describing the usefulness of the drum Thoinot Arbeau, a 16th century dance master, declared that "if three men are walking together and each wishes to go at a different rate...they will not be in step...That is why, in a military march, the French have employed a drum to beat the rhythm according to which the soldiers must march..." However, it was not only in the march that the drum proved useful to the military. Since its sound travelled far and could be heard despite other noises, the drum became "the very tongue and voice of the Commander ..." as he issued orders to his troops whether on the march, in camp or in garrison. Within the army of each country a series of beats evolved which conveyed instructions to the soldiers from their officers. A drummer had to be able to perform each of these calls with precision. An error, particularly on the field of battle, could result in utter confusion, panic or even defeat. Since some calls had more than one meaning, depending on when it was beaten, each soldier had to be able to recognize not only the call itself, but what it meant at a particular time. Drummers were expected to learn the calls employed by rival armies so that they might keep their officers informed of the enemy's movements. When a troop was in garrison in a fortress or town, it was not only the soldiers who were affected by the drum calls. Civilians residing in the area soon found their lives regulated to a degree by the same calls. They, like the soldiers, would be awakened by the sound of reveille. They would know when the town gates were being opened or closed to traffic, when special announcements were to be made, or when they were expected to carry a lantern on the streets or face arrest. Even calls which applied only to the military served, because they were part of a prescribed routine, to notify their civilian neighbours of the time of day. The importance of the drum as a means of communication gave a certain prominence to those who played it. Drummers usually received a higher rate of pay than their fellow soldiers, were often lodged separately in less crowded quarters, and were able to avoid some of the more tiresome duties of soldiers. The most visible sign of his special status was the drummer's colourful uniform. It was important for a commander to be able to spot his drummer easily. For this reason the drummer wore a uniform, often elaborately trimmed, which would easily distinguish him from the body of the troops. While undoubtedly a source of pride to its wearer, this uniform could prove a disadvantage in battle. What better way to throw the opposing force into chaos than to prevent it from receiving its orders. When the "voice" of the commander, unarmed and easily visible, was silenced, the advantage belonged to the enemy. The troops stationed at Louisbourg prior to 1745 belonged, for the most part to the Compagnies Franches De La Marine ln 1744 there were eight companies in Louisbourg, each containing two drummers. Though such companies stationed in France also included a fifer in their ranks, there was only one fifer in Louisbourg to serve all eight companies. The Compagnies Franches also had a drum major. Picked from among the sergeants the drum major was responsible for the drummers in the same way as sergeant was for his company. During the years before the first siege, Louisbourg's drummers were paid as ordinary soldiers (This was changed while the troops were in France between 1745 and 1748, and the drummers who returned to Louisbourg received a higher rate of pay). They did have separate living quarters, however, and their uniform, trimmed with the livery of the king, must have helped them feel like part of an elite corps. There were also four drummers and a fifer at Louisbourg who were members of the Karrer Regiment, a mercenary unit in the service of France which was commanded by a Swiss colonel, Franz Adam Karrer. Their uniform of red and yellow, trimmed with their Colonel's livery would have been even more striking than the one worn by the Compagnies Franches. During the years the detachment of the Karrer Regiment was in Louisbourg numerous disputes arose between its commanders and the authorities of the colony of Ile Royale. It is interesting to note that several of these arguments involved the drummers and what or when they would beat. One additional drummer was attached to Louisbourg's only artillery company, authorized in 1743. Members of this company wore the same colours as the drummers of the Compagnies Franches - red pant-socks and vests, with a blue coat trimmed with red, the trim on the drummers' coats setting them apart. The drummer of the artillery company wore red and blue also but the colours were reversed. His coat too carried the livery of the king. It is evident from the ratio of drummers to fifers (21 to 2) that, at Louisbourg, the fifer and his melodies were of little importance. An observer, writing in the 17th century, stated that the fife was "only an instrument of pleasure...and it is to the voice of the Drummer the soldier should wholly attend..." Certainly at Louisbourg this was the case. Nothing is known of the duties of the two who were stationed there. Their use was probably largely ceremonial or at least confined to occasions when the massed drummers were called to perform. The drums in use during the mid-18th century were rope-tension snare drums of oak or walnut Usually as high as they were wide, the drums did not exceed 30 inches (75 centimeters) due to the difficulty of finding skins large enough to use as drum heads. Calf, goat or sheep skins could be used. These skins became limp in dampness making the proper execution of rolls very difficult. The drums ordered for the Compagnies Franches at Louisbourg were painted blue and sprinkled with gold fleurs-de-lys. They had two catgut snares and heads made from goat skins rather than the preferred sheep. ?Luxembourg Military Band XE "Luxembourg Military Band" The Luxembourg Military Band known locally as the Musique militaire grand-ducale, was founded in 1842 and has been a major contributor to Luxembourg's musical heritage. In addition to official performances for the Grand-Duke, the national government and the army, the band frequently gives concerts in and around Luxembourg City.[1]HistoryIn 1815, when the Grand-Duchy of Luxembourg was created by the Vienna Congress, the need began to emerge for a national army. As a result of political difficulties, it was not, however, until 1842 that two infantry battalions finally came into being. The 1st Battalion, stationed in the abbey city of Echternach founded the country's first military band under the leadership of Franz Ferdinand Hoebich on 29 December 1842. Initially some 25 musicians were involved but the band grew from year to year. The 2nd battalion, garrisoned in Diekirch, was founded on 6 December 1847 under the leadership of Jean-Antoine Zinnen who is remembered for composing the music for the Luxembourg national anthem. Since June 1868 when the 2nd Battalion was disbanded, only the band of the 1st Battalion has remained. With some 60 musicians, it now takes the form of a big band. Since 1986, the bandmaster has been Lieutenant-Colonel André Reichling. The band's official activities consist of performances for the grand-ducal court and for the national government on the occasion of state visits and receptions. Its military activities include playing at parades at the grand-ducal palace and for the changing of the guard.The big band gives some 50 public concerts a year, mainly in locations inside Luxembourg itself but occasionally abroad. The members of the band are professional musicians, most of whom have studied at conservatories or universities abroad. While they are soldiers, apart from basic training they have no military duties. The band's extensive repertoire stretches from military music and marches for brass bands to many pieces from which selections can be made on an à la carte basis to satisfy the particular wishes of the audience for whom they are to be performed. The band also splits up into various formations such as chamber orchestra, brass band, instrumental ensemble, wind quintet, clarinet quartet, saxophone quintet, Dixie groups or bugles and drums. Together these groups give over 200 performances per year and take part in some 150 rehearsals. The home of the Military Band is Luxembourg's Conservatory where they frequently perform in the main auditorium. Ernie Hammes has been a member of the band since 1987 and since 1994 he has been the leader and first trumpet in the Big Band.World Book of Military MusicM-N-OMarches XE "Marches" Marches can be written in any time signature, but the most common time signatures are 4/4, 2/2 (alla breve [although this may refer to 4/2 time up until the time of Brahms] or cut time), and 6/8; however, some modern marches are being written in 2/4 time (although this is not always considered standard). The modern march tempo hovers around 120 beats to the minute (the standard Napoleonic march tempo); however, many funeral marches conform to the Roman standard, 60 beats to the minute.In addition to the instrumentation, time signature and tempo, other features are characteristic of most marches (though many exceptions exist). Marches usually consist of several strains or sections, usually of 16 or 32 measures in length, and usually repeated at least once during the course of the march. Marches generally have a strong and steady percussive beat reminiscent of military field drums. Marches frequently change keys once, modulating to the subdominant (and occasionally returning to the original tonic key). Or if it begins in a minor key, it modulates to the relative major. Marches frequently counter melodies introduced during the repeat of a main melody. Marches frequently have a penultimate dogfight strain in which two groups of instruments (high/low, woodwind/brass, etc.) alternate in a statement/response format. In most traditional American marches, there are three strains. The third strain is referred to as the "trio".A military music event where various marching bands and units perform is called tattoo.HistoryMarches were not notated until the late 16th century; until then, time was generally kept by percussion alone, often with improvised fife embellishment. With the extensive development of brass instruments, especially in the 19th century, marches became widely popular and were often elaborately orchestrated. Composers such as Wolfgang Amadeus Mozart, Ludwig van Beethoven, and Gustav Mahler wrote marches, often incorporating them into their operas, sonatas, or symphonies. The later popularity of John Philip Sousa's band marches was unmatched.The March tempo was adapted by Napoleon Bonaparte so that his army could move faster. Since he planned to occupy the territory he conquered, instead of his soldiers carrying all of their provisions with them, they would live off the land and march faster.March music originates from military, and often is played by a marching band. The most important instruments are various drums (especially snare drum), horns, fife or woodwind instruments and brass instruments. Marches and marching bands have even today a strong connection to military, both to drill and parades. Marches, which are played at paces with multiples of normal heartbeat, can have a hypnotic effect on the marching soldiers, rendering them into a trance, This effect was widely known already in the 16th century, and was employed to lead the soldiers in closed ranks against the enemy fire in the 16th and 17th century wars.Types of military marches by example include: EnglandFranceGermanyUSASlow March or Parade MarchPas OrdinaireParademarschQuick marches at a slower pace-75 paces per minuteQuick MarchPas RedoublesGeschwindmarsch120 steps per minuteStorm March or Double Quick MarchPas de ChargeSturmmarsch160 paces per minute or double-timeAmerican march music XE "American march music" The true "March music era" existed from 1855 to the 1940s as it slowly became shadowed by the coming of jazz. Earlier marches, such as the ones from Ludwig Van Beethoven, Wolfgang Mozart, and George Frideric Handel tended to be part of a symphony or a movement in a suite. Despite the age of these marches, the history it holds and its performance in the United States, they are generally not thought of as "typical American march music".American march music cannot be discussed without mentioning the "March King," John Philip Sousa. Some of his most famous marches include Semper Fidelis, The Washington Post March, The Liberty Bell, and Stars and Stripes Forever. Another popular march composer utilized by American High schools and colleges was Karl King.A specialized form of "typical American march music" is the circus march, or screamer, typified by the marches of Henry Fillmore and Karl King. These marches are performed at a significantly faster tempo (140 - 200 beats per minute) and generally have an abundance of runs, fanfares and other "showy" features. Frequently the low brass has one or more strains (usually the second strain) in which they are showcased with both speed and bombast. Stylistically, many circus marches employ a lyrical final strain which (in the last time through the strain) starts out maestoso (majestically -- slower and more stately) and then in the second half of the strain speeds up to end the march faster than the original tempo.European march music XE "European march music" Many European countries and cultures developed characteristic styles of marches. Some of the styles and characteristics are:British marches XE "British marches" British marches typically move at a more stately pace (ca. 112-120 beats per minute), have intricate countermelodies (frequently appearing only in the repeat of a strain), have a wide range of dynamics (including unusually soft sections), use full-value "stingers" at the ends of phrases (as opposed to the shorter "marcato" stinger of American marches). The final strain of a British march often has a broad lyrical quality to it. Archetypical British marches include those of Kenneth Alford, such as the well-known Colonel Bogey March.Scots-Irish Marches XE "Scots-Irish Marches" Scots-Irish move at a similar paces with British marches, but are distinctly different from them in that they incorporate traditional instruments of the Scots and Irish, as well as their respective Celtic and Scot harmonies. Notable Scots-Irish march performers that carry on the indigenous march traditions are The First Battalion Irish Guards, The Gordon Highlanders, Scottish Military Tattoo, and contemporaries Flogging Molly, and the Dropkick Murphys.Marches can be written in any time signature, but the most common time signatures are 4/4, 2/2 (alla breve [although this may refer to 4/2 time up until the time of Brahms] or cut time), and 6/8; however, some modern marches are being written in 2/4 time (although this is not always considered standard). The modern march tempo hovers around 120 beats to the minute (the standard Napoleonic march tempo); however, many funeral marches conform to the Roman standard, 60 beats to the minute.In addition to the instrumentation, time signature and tempo, other features are characteristic of most marches (though many exceptions exist). Marches usually consist of several strains or sections, usually of 16 or 32 measures in length, and usually repeated at least once during the course of the march. Marches generally have a strong and steady percussive beat reminiscent of military field drums. Marches frequently change keys once, modulating to the subdominant (and occasionally returning to the original tonic key). Or if it begins in a minor key, it modulates to the relative major. Marches frequently counter melodies introduced during the repeat of a main melody. Marches frequently have a penultimate dogfight strain in which two groups of instruments (high/low, woodwind/brass, etc.) alternate in a statement/response format. In most traditional American marches, there are three strains. The third strain is referred to as the "trio".A military music event where various marching bands and units perform is called tattoo.European march musicMany European countries and cultures developed characteristic styles of marches. Some of the styles and characteristics areBritish marchesBritish marches typically move at a more stately pace (ca. 112-120 beats per minute), have intricate countermelodies (frequently appearing only in the repeat of a strain), have a wide range of dynamics (including unusually soft sections), use full-value "stingers" at the ends of phrases (as opposed to the shorter "marcato" stinger of American marches). The final strain of a British march often has a broad lyrical quality to it. Archetypical British marches include those of Kenneth Alford, such as the well-known Colonel Bogey March.Scots-Irish MarchesScots-Irish move at a similar paces with British marches, but are distinctly different from them in that they incorporate traditional instruments of the Scots and Irish, as well as their respective Celtic and Scot harmonies. Notable Scots-Irish march performers that carry on the indigenous march traditions are The First Battalion Irish Guards, The Gordon Highlanders, Scottish Military Tattoo, and contemporaries Flogging Molly, and the Dropkick Murphys.German marches XE "German marches" German marches move at a very strict tempo, and have a strong "oom-pah" polka-like/folk-like quality resulting from the bass drum and low-brass playing on the downbeats and alto voices such as "peck horn" and the snare drums playing on the off-beats. This provides a very "martial" quality to these marches. The low brass is often featured prominently in at least one strain of a German march. To offset the rhythmic martiality of most of the strains, the final strain ("trio") often has a lyrical (if somewhat bombastic) quality.Notable German and Austrian march composers include Franz von Suppe, Richard Strauss, Richard Wagner, Georg Fürst (Badenweiler Marsch), Carl Teike (Alte Kameraden), and Johann Gottfried Piefke (Preu?ens Gloria).French marches XE "French marches" French military marches are similar to German ones. Examples would be Saint Cyr, Marche de la 2eme DB/March of the Second Armored Division, Le Regiment de Sambre et MeuseDutch marchesDutch marches are quite different from their main European counterparts. Typically they feature a heavy intro by the trombones, euphoniums, drumms, and sousaphones, followed by a lighter section, a lighthearted trio and a reasonably fast and somewhat 'bombastic' conclusion. Some well known Dutch march composers are Willy Schootemeyer, Adriaan Maas, Johan Wichers andHendrik Karels.(musical examples of Dutch marches: Dutch Royal Constabulary and Royal Dutch Marine Corps)Italian marches XE "Italian marches" Italian marches have a very "light" musical feel, often having sections of fanfare or soprano obligatos performed with a light "coloratura" articulation. This "frilly" characteristic is contrasted with broad lyrical melodies reminiscent of operatic arias. It is relatively common to have one strain (often a first introduction of the final strain) that is played primarily by the higher-voiced instruments, or in the upper ranges of the instruments’ compass. A typical Italian march would be "Il Bersagliere" (The Italian Rifleman) by Boccalari.Spanish marches XE "Spanish marches" The most characteristic Spanish march form is the Pasodoble. Spanish marches often have fanfares at the beginning or end of strains that are reminiscent of traditional bullfight or flamenco music. These marches often move back and forth between major and (relative) minor keys, and often show a great variation in tempo during the course of the march reminiscent of an exaggerated or prolonged Viennese rubato. A typical Spanish march would be Amparito Roca by Jaime Texidor.Czech marchesCzech (Bohemian) march composers include Franti?ek Kmoch and Julius Fu?ík, who wrote Entrance of the Gladiators.Turkish marches XE "Turkish marches" Modern Turkey's march is ?stiklal Mar??. It has power and anger with an aggressive tune. But generally, old Turkish marches at the times of the Ottoman Empire are aggressive in the lyrics and more confident in the tunes, but still frightful to enemy, e.g. Mehter Mar??. It is notable that Mozart and Beethoven also wrote popular Turkish marches.Authorized marches of the Canadian Forces XE "Authorized marches of the Canadian Forces" \t "See Canadian Regimental Marches" see Canadian Military bandsMilitary cadence(also see chart above) XE "Military cadence(also see chart above)" XE "Military cadence(also see chart above)" The steady, regular marching step was a marked feature of Roman legions. Vegetius, the author of the only surviving treatise on the Roman Empire's military, De Re Militari, recognized the importance of "constant practice of marching quick and together. Nor is anything of more consequence either on the march or in the line than that they should keep their ranks with the greatest exactness. For troops who march in an irregular and disorderly manner are always in great danger of being defeated. They should march with the common military step twenty miles in five summer-hours, and with the full step, which is quicker, twenty-four miles in the same number of hours. If they exceed this pace, they no longer march but run, and no certain rate can be assigned." Military marching of foot formations into a battle was a common practice in most European countries for centuries, and was even carried over into the new world as recently as the American War of Independence. Since then, it has been phased out by advances in military equipment and tactics; however, Foot drill remains an important part of military education and training.The following commands specify different types of marchingQuick March: This is an instruction to begin marching at the Quick March speed with the left foot. The standard pace is 120 beats per minute with a 30in. step, although there are variances to this, based on the individual regiments, the pace given by the commander, and the speed of the band's rhythm: British light infantry and rifle regiments, for example, Quick March at 140 beats per minute, a legacy of their original role as highly mobile skirmishers. Highland Regiments, which march to bagpipe music, march at 112 paces per minute. The way the march is performed is based on the regiment's nationality. Western Bloc nations typically lift their opposite arm up to the breast pocket, kept straight and used similar to a guided pendulum. Eastern Bloc nations frequently used the Goose Step, or keep their legs straight during the entirety of the step. Both of these are actually functional, as they maintain individual pace, unit pace uniformity, and actually help the soldiers march in their relatively elevated pace. The United States command is "For-ward, MARCH." Arm movement is kept to 9 inches to the front and 6 inches to the rear (6 inches and 3 inches, respectively, in the U.S. Navy, Marine Corps, and Air Force) while marching, while the interval between ranks and files is both 40 inches. The light infantry version of the march is also used by the Spanish Legion during parades.Slow March: This is a ceremonial pace, used for funeral marches and when a unit's colours are marched out in front of the troops. The feet are kept parallel to the ground and the arms are never used. In the United States forces, usually only the band executes a slow march. In Spain, Latin America and the Philippines this is done during religious processions whenever a military band joins it. This march style is the official parade march in the armed forces of Bolivia and Ecuador and the military academies and schools of Venezuela, done with the goosestep during parades and ceremonies. The standard pace is 60 paces per minute.Half Step March or Cut the pace: This is a U.S. march pace. It is at the same tempo as Quick Time, but instead of 30 inches, the step is 15 inches.Double March: This is essentially a moderate jog at approximately 180 paces per minute. It creates a travel speed of approximately double that of Quick Time, designed to be used even when carrying heavy burdens. This is often erroneously used to describe a sprint or an ordinary run. The U.S. command is "Double Time, MARCH." This is also used by the elite airborne units and special forces of the National Armed Forces of Venezuela on parades and ceremonies.Easy March: This is an unrestricted march at approximately Quick Time. This is designed for field marches and other rough conditions, though is not used in combat areas. The U.S. command is "Route-step, MARCH."Mark Time: This is essentially a stationary march with the knees coming up parallel to the ground or the foot dangling six inches off of the ground. The time of what they were previously marching is kept or Quick March is used if no time is supplied. This is designed to maintain the time of large parades when portions need no forward speed, but is also used as a common punishment for physical training because of its tiring nature. United States service members move the knees upward approximately 6 inches.Step For -Ward or Forward or Forward, March: This causes troops marking time to resume a normal march. If it is implicitly used (as when the marking time is used to align formations or to wait for the former rank to pass when entering "Column of Route" from a depth-style formation) the (typically) Right Marker stomps his foot to signal it to the rest of the troops.Military Signals XE "Military Signals" Fanfares or music calls and signals that have a meaning for military troops have been employed since very early times. Many ancient people seem to have engaged musical instruments in war for military signals(also see calls). The trumpet and drum in Britain and France as well as the fife in Germany have been the primary instruments for military signals. In a study by Daniel A. Russell Professor of Acoustics & Director of Distance EducationGraduate Program in Acoustics, The Pennsylvania State University he stated that the The Roman historian Vegetius, in his early work De Re Militari, wrote: “The music of the legion consists of trumpets, cornets and buccinae. The trumpet sounds the charge and the retreat. The cornets are used only to regulate the motions of the colors; the trumpets serve when the soldiers are ordered out to any work without the colors; but in time of action, the trumpets and cornets sound together. The classicum, which is a particular sound of the buccina or horn, is appropriated to the commander-in-chief and is used in the presence of the general, or at the execution of a soldier, as a mark of its being done by his authority. The ordinary guards and outposts are always mounted and relieved by the sound of trumpet, which also directs the motions of the soldiers on working parties and on field days. The cornets sound whenever the colors are to be struck or planted. These rules must be punctually observed in all exercises and reviews so that the soldiers may be ready to obey them in action without hesitation according to the general's orders either to charge or halt, to pursue the enemy or to retire. For reason will convince us that what is necessary to be performed in the heat of action should constantly be practiced in the leisure of peace. The most important musical instrument in the Roman Military was the tuba or straight trumpet. The tuba/trumpet was usually made from copper or iron and was a conical bore straight tube about 120-140 cm in length and came in three pieces with a mouthpiece. The tuba/trumpet was used at sacrfices, processions, triumphal processions and funerals. However, it was primarily used to announce troop movements during battle, and it was intended to be played a loudly as possible. Julius Caesar is reported to have used trumpets to withdraw his troops from battle, and his Gaulish opponent Vercingetorix also used it. The second most important Roman military musical instrument was the cornu. This was an enormous instrument, curved into a large letter G with a crossbar for support. An original instrument unearthed in Pompeii was 320cm long, 140cm in diameter and had a detachable mouthpiece approximately 13.5 - 18.5cm long. In the military the cornu was primarily used to direct the movements of soldiers under a certain sign. In civilian life, the cornu was used to call the Roman people to assemble at important meetings, and later became associated with announcing the presence of the emperor. It was also played at the theater and gladiator fights. The buccina was similar to the cornu, except that it had a slightly smaller bore and a more flared bell opening at the end. The buccina was used to signal changes of watch during the night, wake up calls and for announcing mealtimes. Buccina players were not as high ranking as the soldiers who played tuba/trumpet or cornu - in addition to their musical responsibilities they also had to dig graves and cut wood”.The first known military signals in written form are found in “La Bataille”a composition by Jannequin which was published in Antwerp in 1545. The same year the book ‘Rules and Ordynaunces for the warre” was published in England, included trumpet signals. Since military signals were usually passed down by rote we are unable to establish the source or the earliest usage but historical notation in handwritten form does exist in several national archives in Europe and in Britain. Marches of Kenneth AlfordA selection of Alford Marches XE "Marches of Kenneth Alford" \t "See Alford Kenneth J and Rickets" The Thin Red Line, The Vedette, Colonel Bogey, the Great Little Army, On the Quarter Deck, The Middy, The Voice of the Guns, The Vanished Army, The Mad Major, Cavalry of the Clouds, Dunedin, Old Panama, HM Jollies, The Standard of St George ,By Land and Sea, Army of the Nile, Eagle Squadron.Marches of John Philip SousaA Selection of Sousa Marches:Stars and Stripes Forever,Semper Fidelis King Cotton,Washington Post,The Thunderer,The Liberty Bell,The Thunderer,High School Cadets,King Cotton,US Field Artillery,Fairest of the fair,Hands across the Sea,The gallant Seventh,Manhatten BeachMassed bandsFirst performed in Britain in 1851 for Chelsea Pensioners at the Royal Hospital and was under the patronage of Queen Victoria and Prince AlbertMassed Bands in ItalyMassed military band programs have been held in Rome and Modena since 1993Military BandA military band is a group of personnel that perform musical duties for military functions, usually for the armed forces. A typical military band consists mostly of wind and percussion instruments. The conductor of a band commonly bears the title of Bandmaster or Director of Music.The military band should be capable of playing ceremonial and marching music, including the national anthems and patriotic songs of not only their own nation but others as well, both while stationary and as a marching band. Military bands also play a part in military funeral ceremonies.There are two types of historical traditions in military bands. The first is military field music. This type of music includes bugles (or other natural instruments such as natural trumpets or natural horns), bagpipes, or fifes and almost always drums. This type of music was used to control troops on the battlefield as well as for entertainment. Following the development of instruments such as the keyed trumpet or the saxhorn family of brass instruments, a second tradition of the all brass military band was formed.During the American Civil War most Union regiments had both types of groups within the unit. However, due to changes in military tactics by the end of World War I field musical had been mostly phased out in favor of the brass bands. These performed in a concert setting for entertainment, as well as continued to perform drill and martial events. In the United States, these bands were increased in instrumentation to include woodwinds, which gives us the modern military band in the United States, as well as the basis for high school and college marching bands and concert bands.Field music is still popular at ceremonial functions, with many organizations such as police, fire, and veterans groups maintaining pipe and drum, fife and drum, or drum and bugle corps.In the United States Army, the band is attached to the headquarters element and one of its duties is to provide security for the command post. Regular British Army musicians are all members of the Corps of Army Music. As a secondary role they are trained to work in NBC 'Casualty Decontamination Areas'. Modern-day military musicians often perform a variety of other styles of music in different ensembles, from chamber music to rock and roll. During World War II, The Royal Air Force Dance Orchestra, better known as The Squadronaires, served to entertain troops and support morale.In the United Kingdom, massed military bands perform at Trooping the Colour, an annual ceremonial held every June on Horse Guards Parade to mark the official Queen's Birthday celebrations.The term "military band" may also be applied to civilian marching bands that play military-style music, march in mostly straight-line formations and have similar instrumentation.Military Band Journals XE "Military Band Journals" In the 19th and 20th centuries, several world publishers of band music printed many of their works in "journals". The journals published in Britain were initially sold by subscription with the numbers usually running in sequence. Jullian's Military Band Journal was the first to issue Journals which were available in a numbered sequence. The Jullien Journals featured works from Opera and were mostly the overtures with various arias transcribed for military band instruments. Jullien was eventually taken over by Boosey whom became the most well known and respected publisher of military band journals in the world. Boose anglicized their name in 1846 and undertook to produce numerous military band journals. Their publications had numbers assigned to each and many were the featured songs and shows of the era. As an example in 1867 no.3 in the 43rd series was the selections from La Vie Parisienne by Offenbach. The journal was published until 1931 and contained an enormous variety of music from almost every milieu. They also marketed five additional journals, which included music for young bands, supplemental march journals and military band church journals. Much of the work was done by arrangers whom were on staff or retired British bandmasters. Some of the Directors of music from the Guards bands supplemented their earnings by producing arrangements for the journals. At the height of the golden age of military bands Boosey's published over 500 arrangements and transcriptions of band music. The Chappell Army Journal first issued their military band music in 1858 and continued the practice well on into the 2oth century. Some of the music was from well known shows which included modern Broadway musicals such as The Music Man and West Side Story. All of their publications were by subscription. Chappell’s Army Journals were completely devoid of printing errors or inconsistent harmonies such as existed in earlier military band journals. Much of their work remains to this day and may still be purchased through Edwin F Kalmus in Boca Raton in Florida USA. The Hawkes Company entered the military band journal field possibly as early as 1851. Although they produced over 300 journals the numbering system was difficult to determine. The quality of the music was excellent and they introduced a number of time honored pieces of music and marches. The LaFleur journal which was subtitles the Orpheus Military Journal was founded by Charles Godfrey. Many of the arrangements were by Albert Morelli but several other arrangers were employed. The editing in some of the journals was suspect and there were a number of printing errors in the later works. Boosey and Hawkes merged in 1931 and began to produce the Quarto series of military band music which lasted until 1981. The market for the military publications softened in the years after World War 2 because the number of military bands was drastically reduced. The American publisher J.W. Pepper of Philadelphia also entered the military band journal field. In 1876, James (J.W.) published a variety of journals, the most noteworthy being the "Musical Times" and "Brass and Reed Band Journal."Both journals featured quickstep marches and instrumental instructional materials. Business expanded to include the sale of musical instruments when Pepper's first retail store opened for business at 832 Filbert Street in Philadelphia in 1877. Encouraged by the company's success, a New York retail outlet was established in 1880. This location facilitated an affiliation with world renowned instrument maker, John Distin. With Distin's help, Pepper moved aggressively into the instrument manufacturing and importing business. Another location followed in Chicago in 1886. The 1880s saw numerous patents secured for Pepper instruments and their various components. One of particular note is an improved bass drum pedal, which is the precursor of the system still prevalent in today's drum set design. Many of these instruments are on display in the National Headquarters in Paoli, Pennsylvania. The company published and developed relationships with many leading composers through the turn of the century, including John Phillip Sousa, Charles Ives, Arthur Pryor, Max Drefus, T.B. Boyer, F. Von Blon, Harry Von Tilzer, W.P. Chambers, H.W. Petrie, and Pepper's most prolific arranger/composer. Military Band RecordingsIn Britain and in continental Europe, military bands of the various army regiments and some naval establishments formed the backbones of many record catalogues, from the earliest days of the industry until the end of World War I. Their repertoires, which covered a great range of popular and light classical material in addition to marches, was later undertaken by studio orchestras and then by established symphony and concert orchestras. The popularity of military bands in the U.S. during the latter 19th and early 20th centuries was immense. Such bands flourished in communities across the nation, playing all categories of popular music in addition to marches. The early record companies, cylinder and disc, gave high priority to band music. An Edison recording session of June 1889 brought forth six numbers by Duffy and Imgrund’s Fifth Regiment Band, an ensemble that returned about 20 times to the Edison studio by 1892. The 12-piece band of Patrick S. Gilmore was recorded by Edison on 17 Dec 1891, doing 19 numbers of various types, some featuring cornetist Tom Clark. Voss’ First Regiment Band was another Edison group of the period. The first Edison Diamond Discs made by military bands were done in 1913, by the National Promenade Band and the New York Military Band; later by the Edison Concert Band (the material recorded was dance and pop as well as march). Columbia signed John Philip Sousa and his United States Marine Band to an exclusive contract as soon as the firm began to make entertainment records in 1889. The 1891 Columbia sales list included 27 marches plus 23 other orchestral items. Sousa had a new ensemble in the 1895 catalog, the Grand Concert Band, featuring the famous trombonist Arthur Pryor. A list of Columbia brown-wax two-minute cylinders issued from 1896 to 1900 shows the United States Marine Band playing “Washington Post March” (#1; 1896), followed by close to 100 other numbers. Many were marches, e.g., “Columbia Phonograph March” (#58) and “Columbia Phonograph Co. March” (#63); others were waltzes, overtures, operatic potpourri, medleys of national airs, patriotic songs, and even “Safe in the Arms of Jesus” (#378). Sousa’s Grand Concert Band made many Columbia cylinders from 1895 to 1900, including popular songs, marches, and two solo items by Arthur Pryor. The year 1896 also saw the beginning of a series by the Washington Military Concert Band, Gilmore’s Band, The Old Guard Band (New York), and the Twenty-third Regiment Band (New York). Columbia continued to record military bands when it phased into the disc format (from 1902; Columbia cylinder sales ceased in 1912). A house group, the Columbia Band, made a series of overtures and operatic excerpts in 1904 and continued to 1909. Many other bands were recording for the label too: Prince’s Military Band, Rena Military Band, British Grenadiers Band, etc. The interest in band music continued into the electrical recording era (1925–), with the Grenadier Guards Band and the Highland Military Band among others on Columbia. Berliner’s earliest seven-inch discs included material by Sousa’s Band, Victor Herbert’s 22nd Regiment Band, the United States Marine Band, and various unnamed bands. More than 1,000 Berliner discs with bands or band members as soloists had appeared by 1900. Sousa’s Band had six sessions for Victor in October 1900, making 167 takes, of which 84 were released. Their repertoire included marches, gallops, waltzes, polkas, musical show tunes, etc. “Hands across the Sea March” started the first session, released as number 300. By the end of 1902 another 375 releases were credited to the Sousa Band. Kendle’s First Regiment Band was in the Victor studio 11 times in 1901 and 1902; other bands of the period on Victor were Kilties Band of Canada (with bagpipes), the American Band of Providence, Rhode Island (directed by cornetist Herbert L. Clarke), and Pryor’s Band—a Victor house organization established in 1903. The Pryor Band output was unmatched by any group: more than 2,000 titles emerged from 5,000 takes. In Williams 1972 it is suggested “that the Pryor recordings began to represent the bread and butter sales of the company.” Sousa’s was more famous, but less active in recording. The Garde Republicaine Band, of France, made Victor records in New York in October 1904, producing 20 titles. After 1912 there was less work by the Pryor and Sousa bands, as Victor formed a new house organization, the Victor Band. This group ran into the dance craze of the pre–World War I period, and recorded mostly in that genre. The Marine Band was with Victor for two sessions, in one of which (15 Oct 1906) it recorded the first U.S. version of Scott Joplin’s “Maple Leaf Rag.” When the Original Dixieland Jass Band made its famous first disc on 26 Feb 1917 (Victor #18255), the realm of dance and pop music began to pass from military bands to jazz/pop/swing ensembles. Although the wartime interest in military matters sustained further recording of marches, there was a quick decline of public interest in the military band in the 1920s. Records by the Victor Band were fewer each year: down to four in 1930, and none in 1931. Only a few more discs came out in the 1930s from one band or another. There were still about 100 titles listed under Band Music in the 1940 Victor catalog. In the late 1940s Columbia was listing fewer than 40 singles and four or five band music albums, mostly by the Goldman Band and the Band of H.M. Grenadier Guards. With the advent of LP, a new flowering of military band music appeared. During the 1950s around 90 military or marching bands made records; among them were old familiar groups like the Band of the Coldstream Guards, the Garde Republicaine, the Goldman Band, and the Grenadier Guards. Interesting new groups included German military ensembles, and others from Sweden, Spain, Austria, Wales, and Holland. Much of the LP repertoire has carried into CD fromat, and CD format has also brought reissues of early material such as Herbert L. Clarke directing the Sousa Band (1909–1921). Recordings Military band- Early Historical XE "Recordings Military band- Early Historical" Performed by: Edison Grand Concert BandRecord format: Edison Concert cylinderRelease number: B-517Release date: December 1900NPS object catalog number: EDIS 4795 Kaiser Frederick marchPerformed by: British Military BandComposed by: Carl FriedemannRecord format: Edison Gold Moulded cylinderRelease number: 13061 (5)Release date: 1905NPS object catalog number: EDIS 38237Semper fidelis marchPerformed by: United States Marine BandComposed by: John Phillip SousaRecord format: Edison Amberol cylinderRelease number: 4M-140 (A- ..7)Release date: June 1909NPS object catalog number: EDIS 35806Stars and stripes forever marchPerformed by: Sousa’s BandComposed by: John Phillip SousaRecord format: Edison Amberol cylinderRelease number: 4M-285 (A- ..22)Release date: November 1909NPS object catalog number: EDIS 36682Santa Lucia marchPerformed by: His Majesty’s Irish Guards BandComposed by: LotterRecord format: Edison Gold Moulded cylinderRelease number: 10561 (A- .6)Release date: July 1912NPS object catalog number: EDIS 37943 Hungarian rhapsody no. 2 – part 1Performed by: Edison Concert BandComposed by: Franz LisztRecord format: Edison Diamond DiscMatrix number: 2567-A-1-2 [7-1]Recording date: 1913Release number: 80135-RRelease date: August 1914NPS object catalog number: EDIS 43462William Tell overture – part 2Performed by: Sodero’s BandComposed by: G. RossiniRecord format: Edison Diamond DiscMatrix number: 5577-A-7-1Recording date: 1917Release number: 80128-LRelease date: March 1914NPS object catalog number: EDIS 43455Military marches were also popular during this period, and were represented by The U.S. Field Artillery March, Sousa’s arrangement of E. L. Gruber’s song The Caissons Go Rolling Along, played by the New York Military Band, and by True to the Flag March, performed by the United States Marine Band.*Instrumental Selections on the Edison Diamond Discs (1912-1929)–Selections: True to the Flag March (F. von Blon)–United States Marine Band, 192212th Street Rag (Euday L. Bowman)–Imperial Marimba Band, 1921The U.S. Field Artillery March (John Philip Sousa)–New York Military Band, 1926Company Edison’s National Phonograph Company Cylinder # 8247 Category Band Title U. S. Army Lancers, 1st Figure Performed by Edison Military Band Circa 1906 (re-make of the 1902 release) Announcement “United States Army Lancers played by the Edison Military Band.” In late 1902, Edison released an unusual series of four U.S. Army lancer figures – parade maneuvers for cavalry – on five cylinders (the 4th figure requiring two cylinders).Although unusual by today’s standards, at least the first two figures were fairly good sellers. Originally recorded by the Peerless Orchestra, they were later re-issued by the Edison Military Band.The music was written by prolific composer and arranger Theodore Moses Tobani, who most famously wrote “Hearts and Flowers”. Theodore Moses Tobani wrote an enormous number of concert band pieces . His arrangements registered in the thousandsMilitary Band Tragedies1. Montevideo July 1st 1942Every member of the 2/22 Battalion Regimental Band was originally a Salvation Army Bandsman. Of the twenty-four who enlisted, only one survived their deployment to New Britain in 1941.Jack Stebbings was killed on the 23 January 1942 while riding. William Haines and Ronald Cook died at Tol Plantation on 4 February 1942. A. Creed lost his life on one of the mountain tracks of New Britain. Frederick Meyer died on 27 April 1942 of illness at a mission station and Stanley French died on 15 February 1942.Bandmaster William Gullidge and bandsmen Wilfred Trigg, Raymond Cairns, Kenneth Drew, Albert Fry, T. Henderson, Harry Harvey, Mervyn McPherson, Francis Meddings, B. Morgan, Stanley Parker, Harold Pannell, John Robertson, N. Smith, M. Thomas and Reginald Watkins were listed as being on board the Montevideo Maru when it was sunk on 1 July 1942.The only survivor was Fred Kollmorgen."The Salvation Army band, or the Battalion band, as it became known continued to add colour to army life at Bonegilla. Occasionally the band would march around the camp in the early morning playing bright and happy tunes. On a few of those occasions the drummer, a short, rotund man with a big brass drum balanced out in front of him, would march along wearing only a towel. What a sight! The band, being Salvationists, naturally took part in the life of the local Salvation Army Corps. Some opposition arose from the military hierarchy regarding their playing at the Salvation Army open air meetings. Eventually the order came through that no Army personnel were to stand at street meetings. After that they marched around in big circles during the street meetings until they were finished".USS Arizona BandOn December 7, 1941 the entire membership of the band of the USS Arizona was lost when the battleship was attacked by the Japanese. The band, trained as a unit, was one of the best in the 14th Naval District and often gave much pleasure to music-lovers. The musicians graduated from the Navy School of Music May 23, 1941. On May 26, 1941, the band left the receiving ship Navy Yard, Washington, D.C. and boarded the USS Arizona on June 17, 1941.The band was under the direction of Musician First Class Fredrick W Kinney, of Bremerton, Washington. He was a veteran of the United States Navy having joined in 1927.All Capital ships had bands and at 0800 every morning they played the National Anthem. This is what the bands aboard the ships at Pearl Harbor were about to do on 7 December 1941, but at 0750 everything changed ~ forever ~ and all 21 members of the USS Arizona's band were lost at, or on their way to, their battle stations below decks. onDecember 7th 1941US Navy band loss in plane crash 1960On 25 February 1960 19 members of the Navy Band were flying from Buenos Aires to Rio de Janeiro to join the rest of the band at a reception for President Dwight D. Eisenhower and Brazilian President Juscelino Kubitschek. As the Navy transport plane approached Rio de Janeiro in a dense fog, it collided in midair with a Brazilian airliner above the city's harbor, not far from the landmark Sugarloaf Mountain. Among the 61 people killed were 19 members of the Navy Band, including the assistant leader, J. Harold Fultz, and most of the string section. Three U.S. sailors playing cards at the back of the airplane were the only survivors. [2] The crash was the single worst event in the band's history, and devastated the remaining members of the band. Despite their losses the surviving musicians completed their South American tour.Royal Marines Band School Bombed 1989The Deal barracks bombing was an attack by the Provisional Irish Republican Army (IRA) on a Royal Marines barracks in Deal, England. It took place at 8:27 am on 22 September 1989, when the IRA exploded a time bomb at the Royal Marines School of Music building. The building collapsed, killing 11 marines from the Royal Marines Band Service and wounding another 21.The Royal Marines School of Music is a professional training centre for musicians of the Royal Marines Band Service, the musical army of the Royal Navy. It takes students at school-leavers age of 16 and trains them for 32 months to become both professional musicians and battlefield medics. Originally created at Portsmouth in 1930, it moved to Deal in 1950 and in 1989 was still there as part of the Walmer Barracks. A similar attack had been made on a band in London in 1982.The site is now a memorial garden. The surviving barracks at Walmer were converted into flats when the base was decommissioned in the late 1990s, and the School of Music is once again based in Portsmouth.Every year the Royal Marines Band from Portsmouth visit the memorial bandstand in Deal to pay their respects to those who died in the bombing. In July 2009, a memorial concert and re-dedication ceremony was held at the bandstand on Walmer green, The Hyde Park and Regent's Park bombings occurred on 20 July 1982 in London, England. Hyde and Regent’s Park 1982Members of the Provisional Irish Republican Army (IRA) detonated two bombs during British military ceremonies in Hyde Park and Regent's Park. The explosions killed eleven military personnel: four soldiers of the Blues & Royals and seven military bandsmen of the Royal Green Jackets. Seven of the Blues and Royals' horses also died in the attack. One of the seriously injured horses, Sefton, survived; afterwards he featured on many television programmes and was awarded "Horse of the Year".A memorial sign of Regent's Park bombing.The first attack was a large nail bomb hidden in a blue Austin car parked on South Carriage Drive in Hyde Park, along the route used by the Household Cavalry – the Queen's official bodyguard regiment during the Changing of the Guard between Buckingham Palace and Knightsbridge. Three soldiers of the Blues and Royals were killed instantly, and another died on 23 July from his injuries. The other soldiers in the procession were all badly wounded and shrapnel and nails sprayed into the crowd of tourists assembled to watch the parade, causing further injuries. Seven of the regiment's horses were also killed or had to be put down because of their injuries.Bomb experts believed that the first bomb was a remote-detonated improvised explosive device, which was exploded at just the right point to catch the parade.The second explosion occurred just over two hours later, when a bomb hidden underneath the bandstand in Regent's Park exploded during a performance of the music from Oliver! by the Royal Green Jackets band to a crowd of 120 people. Here too, the crowd was peppered by shrapnel from the iron bandstand, causing dozens of injuries amongst the audience, as well as killing or wounding the entire band. The blast was so powerful that one of the bodies was thrown onto an iron fence 30 yards away, and seven bandsmen were killed outright.The second bomb was thought to have been placed under the bandstand weeks in advance, with a timer set to the date and time of the advertised concert.The Military Band of the Chinese People's Liberation Army, The band was founded in July 1952, is the only one large wind band in China. It is directly under the General Political Department of the PLA.The Military Band aims at the nationalization, specialization and popularization of its art, and is characterized by its excellent performance, great variety, fresh style, compliance with all tastes and tremendous momentum. Its performing styles include various ensemble playing, duo, quartet, sextet, octet, solo of all wind instruments, vocal solo, part singing, march play and some other talk-shows. More than 200 works and l00 artist from the Military Band have won prizes in competitions home and abroad. Representative works include Symphony poem-Storm, Good Message arrives in Remote Village from Beijing, Funeral march, Long Live the Great Country, Shoulder to Shoulder with the Civilians, Athlete March Song, Cavalry March, Reba, Song of Ethnic Group and Dance Music of Ah Xi. In recent years, the Military and has paid visits to Japan, Thailand, France, Finland, Singapore, Italy, Holland and the regions of Hong Kong and Macao for competition and performance.The Military Band has produced a number of artists of attainments, conductor including Liu Yubao, Lu Shuzhong, Cheng Yiming, Ma Wen, Yu Hong; composer including Li Tongshu, Li Yansheng, Zheng Lu, Wei Qun, Ji Cheng, Yan Xiaoou, Wang Hesheng; instrumental play performers Niu Zhanying, Sun Dafang, Zhu Yaozhou, Li Fu, Lu Jisheng, Luo Yanxi, Qi Jingquan, Pang FenCheng, Zhao Weiming, Li Changhu and singer: Han Zhiping.Military Band Instruments XE "Military Band Instruments" Modern Military band genealogyA small band of two dozen players could consist of flute and piccolo player, an oboe, six or seven clarinets, alto and tenor saxophones and a bassoon in the woodwind. It is rare to find the concert instruments of bassoon and oboe played on the march, the players of these instruments usually double to play bass drum and cymbals; when mounted they may well play some other instrument such as a saxophone.For brass there could be two French horns, four of five comets, three trombones, euphonium and two basses and one percussion player (side drum). In a mounted band there would be a kettledrummer, no oboe, the French horn players would play tenor horns or extra comets, and there would probably be no bassoon. In the past some cavalry regiments had little woodwind in their bands. The British brass band is a very different combination and whilst it has no woodwind it has instruments that do not often appear elsewhere.Percussion instruments are those you hit such as drums, cymbals, xylophone, etc., and may be auto phonic or membrane instruments of either definite pitch or indefinite pitch. Wind instruments are those you blow and I would suggest as a simple distinction that the brass are those where the sound is generated by the vibration of the player’s lips together with a cup-shaped mouthpiece. The others are woodwind as most of them were once made from wood. This puts the saxophone, whether made from brass or plastic, firmly in the woodwind group, and the serpent, made from wood or leather, in the brass. WoodwindsFlutes – the flute. A very old and simple instrument, it is a thin tube 26 to 27 inches long and 3/4in. or so internal diameter with one end plugged up. There is a mouth hole half an inch from the plugged end and down the side of the instrument is a series of six or more holes which can be closed by fingers or keys. The sound is produced by blowing across the mouth hole to split the jet of air on the far side of the hole. There are various sizes of flutes and in Ulster whole bands of flutes and drums are popular. That is where James Galway became a flautist.A half-size flute is a piccolo. A fife is a small flute with no keys. The keys on all woodwind instruments were developed in the last century so that they could be played in tune and so that three fingers could cover four or more holes.There is another group of woodwind without reeds that is a development of the whistle. This is the recorder family in many sizes. Flageolets and tin whistles are all of this group and it would be quite wrong to suppose that marching soldiers have never been cheered on their way by tin whistles. Actually, a recent record by the Green Howards does feature a descant recorder (yes, the one you learnt at school) published by “Music Masters.”Now although the flute chased the recorder out of the 18th century orchestra because it could make a louder note, it is a quiet instrument until it reaches its third or top octave. Hence the smaller fife became the military instrument and today a small band will ask the flautist to take the piccolo for outdoor work and leave the flute for concerts. At its high pitch the piccolo is easily heard playing dancing, sparkling little tunes of its own way up above the whole band. Note, for example, the famous piccolo solo in the second part of Sousa’s “The Stars and Stripes for Ever.” The piccolo can be heard right through to the end.Sometimes the flute is helped out by a small Eb clarinet (see clarinet).The fife, having no key work, is a more robust instrument for active service and is still in use in drum and fife bands. Will modelers please keep the instrument nice and thin! Use a piece of wire. Until after Waterloo most flutes and fifes were made of boxwood – a light brown wood, with ivory or brass ferrules and such key work as there was in brass. Then black wood such as grenadilla or cocus wood was used. For several years metal has been replacing wood -gold for James Galway, but silver plate for most flutes – but not fifes.. Imagine the flute held straight out in front like a recorder with the left-hand above the right. Then swing the in5tru-ment to the right so that it is almost parallel to the shoulder. It is supported by the first joint of the first finger of the Left hand and by the right thumb. The hand positions on the woodwind were almost fixed by 1800, up till then the few keys there were could be worked by either hand. All the other band instruments can be fitted with a small lyre-shaped spring clip two inches across to hold books or cards of music 6in. x 4in. 7in. x Sin. The clip has a stalk to fix into a socket on the instrument or a ring fitting round it. But the poor flautist has no place to fix his music lyre so it is put on a leather arm or wrist band on the left arm. With a bit of movement it can be adjusted to hold the music where the player can see it.The OboeThis spelling has replaced the older “hautbois” and “hautboys” which mean “high wood” in French. It is a treble wooden instrument that came from France in 1674 as a development of a folk instrument that had been around a long, long time. By 1678 the Horse Grenadiers had six – and then dragoons got one and a drum for each troop. In 1684 a Royal Warrant gave 12 to the Foot Guards and fictitious names were put on the strength so that the players could have higher pay. The term “hautboys” meant “bandsmen” until 1834.As we saw, flutes and recorders have no reeds. All the other woodwind make their sound from cane reeds beating either against each other or against a mouthpiece. Oboes have-two reeds 3/8in. wide fixed to a 21/2in. metal tube or “staple” which fits into the conical wooden instrument, 23in. long – i.e. 25V2in. over all. The cone shape tapers from 3/6 in. at the staple to l 1/2in. at the bell (internal measurements). Two reeds and a narrow conical tube. Back in the 18th century it was the best wind instrument for playing tunes out of doors; it made plenty of noise and was fairly robust in construction and sound. Again it was boxwood until after Waterloo when black crocus wood began to be used and the few brass keys were replaced by more of white metal.The wind bands of 1800 were two oboes, possibly two clarinets, two horns and two bassoons. During the 19th century both French and German makers and players developed more refined instruments with highly complicated key work, but delicate in reeds, construction and tone. So much has this development occurred that small bands today do not always take an oboe on the march, but let the player play the cymbals. Indoors it provides a separate very distinctive voice. It is not an easy instrument to control and so good players are not plentiful. I’m afraid some military bands today omit it altogether even on records. Adam Carse* says”the nerve center of the oboe lies in its reed. and in the bore is its soul.” Atarah ben Tovim knows “few con-tented oboists.” and adds “but again. a neurotic child who needs an excuse to worry. could find the oboe good therapy. Finding or making reeds. alone. can be a full time occupation.” It is no longer the raucous thing it was 200 years ago.A slightly larger sized instrument is the cor anglois. Don’t translate that or you get “English horn” and it is neither English nor a horn. Large bands use it indoors where it is given sad melodies such as Dvorak gave to it in the “Goin’ Home” theme of his New World symphony. The staple that holds the reeds is curved and the bell is not bell but egg shaped.The SarrusophoneIn 1856 M. Sarrus brought Out this family of eight different-sized instruments to replace oboes and bassoons in French bands. They had. like them, double reeds. but were made of brass with a broader conical bore. though not quite as broad as the saxophones. They didn’t survive. possibly because whilst they were powerful enough in the lower registers they were too weak higher up. French and Italian bands used them a bit, especially the larger bass size.ClarinetsThere is a whole family of clarinets from a small one in E flat to enormous contra basses. The one that is the mainstay of the band and. with the coronets. responsible for most of the melody is the clarinet in B flat. If you do not understand the term “in B flat.” and you want to. look up “transposing instrument” in a musical dictionary. Otherwise Just use it as an indication of size.Towards the end of the 17th century J. C. Denner invented the clarinet in Nurnberg. It was called “clarionet” — i.e. a little clarion or trumpet. There is one reed beating against a wood. ebonite or plastic mouthpiece. The tube is cylindrical. The B flat clarinet reed is about halt an inch wide and 21 2in. or 50 long and is held on to the mouth-piece by a metal clip. The instrument is 26in. long and 516in. internal diameter. It was boxwood with brass keys and the reed bound on with thread until early in the last century. Now it is black wood or ebonite. Metal ones have been made for band use. but they have never been popular in Britain.It is the sound of several clarinets together that give the modern band its characteristic tone. A cornet can be louder, and lots of other instruments take solo parts. especially for concert work. but it is the clarinets in three or four parts that are the core of the band. A band of 24 would have six or seven B flat clarinets. The leading “solo clarinet” player will be expected to play anything asked of him perfectly and to have full control over the whole of the amazing range of tone that the instrument can give.The E flat clarinet is a smaller instrument used largely to double flute parts. Larger alto, bass and contra bass clarinets do appear at times. A curved metal tube connects the mouth-piece to the main tube and the metal bell at the bottom is again curved up. Some people mistake them for saxophones. but they are not — the bore is strictly cyndrical and usually the main tube is of black wood. A sling round the player’s neck takes the weight.SaxophonesNote the spelling the fourth letter is “o”. Adolphe Sax. a Belgian. patented his new instrument in Paris in 1846. He made it specifically for the military band to bridge the gap that had developed between the woodwind and the brass with the numerous improvements that had been made to the latter. So that he could get a louder sound than the established woodwind gave. he chose a broader bore and large keyholes that had to be covered by padded keys. A clarinet style mouth-piece with one reed was joined to a conical brass tube. One reed and a broad conical tube.At first Sax had two groups of saxophone. one for the orchestra and one for the band. but the first group never flourished and saxophones that do appear in orchestras from time to time come from the band group. There are seven sizes though the smallest and largest are rare. The two smallest. the E flat sopranino and B flat soprano. are straight The soprano is 23in. long and tapers from just over in. to nearly in. plus a bell. A 24-man (or I must add woman. for not all military bands are male) band will have at least one each of the next two sizes E flat alto and B flat tenor. The E flat baritone is a frequent member of larger bands. but the bass and contra bass being large and cumbersome are not found. All the sizes from alto downwards have one or more bends at the mouth-piece end and have the bell curled up and forward. They are supported by a sling round the player’s neck.French bands took up the new instrument straight away. the British took longer. Jazz was first played on instruments from the armies of the American Civil War and that is how the saxophone got in to jazz right from the start.The saxophone in all sizes is a powerful reed instrument, though the tone and style in the band are not those of jazz. It does fill the gap between the other woodwind and the brass. In order not to use the term “woodwind” to include the saxophones. the terms “reeds” is often used. but as flutes are included in the “reeds” this term is just as false. Alto and tenor saxes can take solo parts or they can help the horns in holding notes in the middle registers. They play counter melodies with the bassoon or euphonium or the baritone may play the bass line.BassoonA word from French “box son ” low sound. The Germans and Italians call it the “fogot” or “fogotto” because it looks like a faggot or bundle of sticks. It goes back to the 16th century. The actual tube is eight feet long. but it is doubled back on itself so that the whole instrument is only about 50 inches long. Two reeds, much bigger than oboe reeds fit around a brass tube of 1~in. internal diameter called the crook. The crook bends up and down into the first wooden portion — the tenor joint. This goes down to the butt. The butt is one piece of wood with two tubes bored, one coming down from the tenor joint and one going up to the long joint. The bottom allows for continuity of the air column of the instrument and is then closed by a cork. The long joint goes up to the bell joint which is I~ 2in. internal diameter. Thus we have a two-reeded instrument with a conical tube like the oboe. Maple or rosewood is used — a nice warm color. The bell joint has been made of brass, but not often. It is now topped with an ivory ferrule, or what looks like ivory. The keywork, formerly brass, is now plated. An oddity on German-style bassoons is a wooden rest to fit between the right thumb and first finger allowing the hand to steady the instrument. but allowing both thumb and fingers to be used for key work. In most other woodwind the right thumb has no duty other than to hold the instrument. A sling round the player’s neck takes the weight.The tone is quite unique. Because of its length some finger holes are bored through thick wooden walls of the tube on the slant so that whilst fingers can reach to cover the holes or the outside, the holes are far enough apart inside to sound the correct pitch. Even so, it is a difficult instrument (partly the double reed again) and has to be kept in tune by the player. Pianists and organists can blame the tuner for faulty notes. Other instrumentalists have to find special fingerings and lip muscle movements to get their notes in pitch and of good tone.Coleridge in “The Ancient Mariner” writes of the “loud bassoon.” Unfortunately it is not loud, especially as it goes up the scale and so today some small bands do not take it on the march, but let the player take the bass drum. In concert work a band of 24 will have one, bigger bands two. It takes the bass line, sometimes on its own for light woodwind work. It takes counter melodies in the tenor register and adds little phrases at the end of a line when no other instrument is moving, and has its own solos. Listen to John Downey’s “The Edge of Space” to hear what a bassoon can say. It is far more than a clown, though it can be that too.Bag Pipes Bag Pipes in their various forms have become prominent members in the field of military bands. They are found all over the world in diverse forms, but it is the Scottish Highland form that is used in all British style bands except where the Irish use a slightly different Irish instrument. we say “British style” because Gurkhas, Pakistanis, Canadians and many other former and present Commonwealth bands use the Highland pipes.A mouth pipe blows into a sheepskin bag through a non-return valve. The left arm keeps pressure on the bag sending air through three drone pipes (two in Irish pipes) and one chanter pipe. The chanter pipe is conical and has two reeds and eight finger holes. The player no longer worries about lip and tongue control for he has none. All is done by very complicated finger work. The scale of the pipes is based on the minor scale; the Highland bagpipe scale is of nine notes with a flattened 7th note (like playing all white notes on the piano from G to A). They can play “Over the Sea to Skye,” but not the National Anthem. Furthermore, some notes are slightly sharp to the European scale. This makes them quite different from all other instruments and so they are not part of the band — they do not fit in.There is no doubt that beautiful arrangements can be produced with care by the arranger. In 1971, the Royal Scots Dragoon Guards issued a record of “Amazing Grace,” a tune played on the pipes with the band and a number of other tunes have been recorded since. Another form of pipe has recently made are-appearance into the military band. This is the Aeolian or Northumbrian pipe, played by pressure of the arm on bellows attached to the bag. Each battalion of the old Royal Northumberland Fusiliers had a Northumbrian pipe player attached to it, but fell ‘:into disuse during WWII. Recently a piper has re-emerged and attached to the 1st Battalion Royal Regiment of Fusiliers.The brass instruments are louder than the woodwind. They are instruments where the sound is generated by the vibration of the player’s lips producing a column of air when placed against a cup or cone shaped mouth-piece.The BugleLike the fife, the bugle is not a real military band instrument, though it can play with the band and, unlike the pipes, is more in tune with the band. It is a conical tube of broad bore. Just as with the woodwind, the cone or cylinder shape and the comparative bore of the tube is important. It is made of copper or brass and may be silver-plated and highly ornamented. The 4? feet of tubing is coiled into an oval and widens to a 4in. to Sin. bell. It came with the Jagers (hunters) from Germany who brought it with them along with their green uniform to influence our light infantry and rifle regiments. Note the old shape of the bugle in the light infantry badges.Unfortunately the instrument can only give five notes. Nevertheless, they are loud and clear. It is a simple and robust instrument and in B flat has been used as a signaling instrument since the Crimean War. Bugle and drum bands exist, but as I say, the tunes are limited to five notes.HornsFrench horns came from the French hunting field just as bugles came from Germany. Actually most of Europe used one or both instruments and in recent years television let us hear the nine hunting horns of the Prince of Thurn and Taxis celebrating his birthday. The horns entered the orchestra and band in the 17th century and their technique was soon stretched to the utmost. Being of longer tube and narrower than the bugle they could sound more notes in the higher registers.It was discovered in 1764 that notes difficult to play in tune could be modified by putting the hand in the bell and cupping the fingers. This technique is also used to modify the tone. French horn players always keep the right hand in the bell and modern horns have the valves operated by the left hand, unlike the other brass.The bell is about 11 in. diameter and there is about 12 feet of tubing in a 14in. circle. The mouth-piece is much more conical than the other brass. The bore is narrow until the rapid flare out to the bell. This gives the horn its peculiar tone -from soft and cooing to a raging flash. Many horn players do not wish to be associated with the “heavy brass” – comets and trombones -considering their style and duties more closely bound to the woodwind.A small band will have one pair of French horns, larger bands, two or three. They fill in the middle harmonies, blend the brass and wood-wind sounds together and often hold notes over from one bar to the next to give continuity of sound. They are soloists and also work as a section or a larger group enlarged by other instruments.A word about valves. I’ve spoken of the limitation of bugles to five notes, and that horns only had more notes in the upper register. During the last century many inventors produced ideas for adding valves to brass instruments. Now the standard arrangement is for three valves. When the middle one is depressed it brings into use an additional length of tubing that makes the instrument sound one semitone lower. The first valve brings in enough tubing to lower it one tone and the third valve enough for one and a semitone. The Prussian Guards band was the first to become enthusiastic about valves under Wilhelm Wieprecht in 1825. Civilian orchestras were more conservative and the players, not under orders, kept on longer with the natural instruments with which they were familiar.TrumpetsWay back in the mists of the past man found he could make a noise with his lips against a hole at the end of a tube made of a tree branch, an ox horn with the tip burnt off, or even someone’s leg bone that had been opened Out to remove the marrow. That was the start of the brass, even before man could work metal.By the Middle Ages we had a narrow cylindrical tube opening out into a bell in its last quarter and with a cup-shaped mouth-piece. This was the trumpet. It was largely an official instrument for heralds, armies, processions, watchmen and the church. In Germany its use was supposed to be controlled by the Imperial Guild of Trumpeters and Kettledrummers. It was kept for noble (i.e. military and state) purposes.The notes that could be produced were few in the lower octave, but an eight-foot long tube in oval coils could sound consecutive notes in the higher register. It was here that Bach and Handel found it in the 18th century orchestra, where specialists in the top register known as the “clarino” register played the marvelous “obligati” that accompany the voice – “Let the Bright Seraphim” (with soprano voice) and “The Trumpet shall Sound” with the bass voice. During the 19th century the instrument altered, the length of a trumpet in B flat became 4ft. 6in. and three valves were added. That is the modern trumpet in orchestral and jazz use. It does not normally appear in British military bands and not at all in brass bands. The comet is used instead.There are trumpets in British military use. Firstly the signaling trumpet of the cavalry, Royal Horse Artillery and the Royal Air Force. It is in E flat and is coiled to give an overall length of26in. to the instrument. Trumpet Major A. E. Close of the Life Guards has made a record and cassette of the trumpet calls for the Army. The Household Cavalry Trumpet has fewer coils (two instead of four) to make a longer instrument. Both types of trumpet may also carry a banner when used ceremonially. Then there are the fanfare trumpets. Superficially they resemble the old straight trumpets with banners hanging down, but have valves and coils. They are in E flat, B flat, B flat tenor and G. They are called “Aida” trumpets, and are generally associated with the Kneller Hall trumpeters.Incidentally, the German trumpet in orchestras and bands has quite different valves, larger diameter tube coiled to a wider coil than British and French trumpets. It is held with coils horizontal and not vertical as ours are.Cornet and Flugel HornThe treble brass voice in the modem British military band is in B flat cornet. The cornet, flugel horn and orchestral trumpet are of the same pitch and that means a tube of about 4ft. 6in. long for all three instruments. “Cornet” means “little horn” and it still reckons to be more conical than the trumpet. It came into being in the 19th century and has always had valves. The flugel horn came from Austria in the 1930s. Flugel means “wing” in German and I think it was so named because a wing or outside (as in football) man played it.All three instruments start off with a bore of 5A6in. to %6in. and end in a bell of Sin. A foot from the bell the flugel will be one. diameter, compared with less than 3/4in. in the trumpet and cornet. The mouth-piece of the trumpet is more cup-shaped and that of the flugel more conical with that of the cornet in between. In appearance the trumpet’s coiling is longer and narrower compared with the squatter cornet. The flugel is more open and has the valves nearer the mouthpiece so that it can become much broader in the last third. It is really a valved bugle. This gives it a distinctive mellow tone and encourages its use in the brass band in sad “Send in the Clowns” type solos.As for the difference between the B flat cornet and the B flat trumpet, Philip Bate on page 87 of The Trumpet and Trombone says “The tone of the cornet, while warm and appealing when well-played, lacks the heroic quality of the true trumpet.” Norman del Mar (AnatomyoftheOrchestra, p.276) says “The smooth mellower tone quality of the cornet has also come to have less significance in the present refinement of orchestral brass playing.” Adam Carse: Musical Wind Instruments after various nasty quotes (e.g. Mahan, “The cornet is a true bastard”) says on p.250; “It is not the instrument that deserves such epithets.”Harry Mortimer in his autobiography On Brass tells on p.76 how Sir Hamilton Harty when conductor of the Hall~ Orchestra asked him to take his cornet and trumpet into a side room of the Manchester Art Club and play a trumpet piece six times whilst a jury of orchestral experts listened. No one could tell correctly which instrument he used each time and most were wrong every time. The quality of tone and style depends on the player’s technique and desire rather than on the slight physical differences between the instruments.A military band of 24 would have four or five comets used on two or three parts. They share the main melodies with the clarinets and also play on their own in contrast to the woodwind. There are no flugel horns in British military bands, though they are used on the continent. The instruments of the Italian Bersaglien are of the flugel horn type. There is one in a brass band, and they are used in jazz. There is a small cornet in E flat that has one part in the brass band to strengthen the top notes and to add flute-like phrases. It is not used in the military band.The tenor horn in E flat and the baritone in B flatWith the invention and then development of valves in the last century many people invented new instruments. Adolphe Sax who invented the saxophone in the 1840s at the same time gave his name to a series of brass instruments he called “saxhorns”. He was only one of many makers. There were law suits over infringement of patents. Anyway, a series or rather two series of instruments grew up, one of which was of much wider bore than the other. Both have mouthpieces shaped between the cup of the old trumpet and the cone of the French horn. Both bores are conical. The range is from E flat – in unison with the B flat clarinet, soprano sax and soprano cornet – to as big a contrabass as could be lifted. Only one or two of broad and narrower bores are in common use.Today, the British, particularly through the firm of Boosey and Hawkes, have established themselves as leading manufacturers of such instruments. (Boosey first published scores of Soldiers Songs and Marches for full band in 1846). The larger brass are all of an upright pattern with the lower part in front of or above the right shoulder. They have three piston valves worked by the right hand and in the larger sizes may have a compensating valve (see musical dictionary) worked by the left hand.Many foreign makes have different types of valve and slope the instrument to be in front of the left shoulder. The bells have been directed all ways, some forward, to left, to right and some facing back. Names have been and are, just as numerous and confusing. It is really necessary to state pitch as well as name, as the “alto” of one country becomes the “tenor” of another.The E flat tenor hom, as we call it, is 7ft. of tubing starting at %in. and expanding to l?in. a foot from the bell which is 6in. or 7in. across. It is much broader of bore than trumpet, cornet and French horn. The tone blends well with the cornet and more particularly with the flugel, and with the larger brass. It is not distinctive, and whilst it does some solo work in the brass band, it cannot penetrate any but the lightest accompaniment. It is much easier and lighter than the French horn and may just about be played one-handed. Therefore, the Household Cavalry favor a pair when mounted. Otherwise British military bands do not use it. In brass bands there are three.Conn have made a variety of the tenor ham in America called the Mellophone. It has the bell facing forward like a trumpet and was designed for jazz use. Gordon Higginbottom, the English tenor horn virtuoso, uses it at times with brass bands and I think it may appear in military use, though not in British bands, only American.The B flat baritone – an octave lower than the cornet – is of similar proportions to the tenor horn, but is 9′t. of tubing. It is essentially a “filling in” instrument and very rarely has a solo. It left the military band at the end of the twenties, and parts for it that I found in some R.A.F. music during the last war we gave to the tenor sax -also in B flat.TrombonesPercy Scholes tells of a Shah of Persia who when taken to a concert in Britain enjoyed watching magicians who swallowed brass rods and pulled them up again.” This was the trombone.The instrument seems to go back to the 15th century and a 1551 example exists. Called the “sackbut” it lacked all the stays of the present instrument and the bell was much more gradual. It was an instrument of processional music and much liked by the Church, especially on the Continent. It was played quietly to blend with voices.The Germans are going to be roused at the Day of Judgment by the trombone. Where the Bible says in First Corinthians, Chapter 15, verse 52, “The trumpet shall sound, the dead shall be raised incorruptible,” Luther’s translation has “the trombone shall sound.” Hence Handel wrote a wonderful trumpet obbligato to go with these words, whereas Brahms in his “German Requiem” has a trombone choir.In the 18th century the trombone almost disappeared and for the Handel Celebrations of 1784 they had to go to His Majesty’s Private Military Band for players and instruments.The tenor trombone in “B” flat consists of about nine feet of tubing with two hairpin bends,-the internal diameter of less than half-an-inch in some models can be up to 9A6in. in others. The bell develops rapidly like a trumpet. The sides must be parallel so that one of the hairpins can slide to and fro over two parallel open-ended tubes. Thus the slide can lengthen the amount of tubing in use to seven positions just as valves do in the other brass.I would suggest to modelers and manufacturers that apiece of bent wire will make a better trombone than some of the ugly thick castings one sees. A separate sprue may be needed to make the bell.During the 19th century and until after World War II the British, but not the French, also used a longer lO ft tubed brass trombone in G. A wooden handle fixed by a swivel to the slide enabled the player to reach the seventh position. Since the fifties this has been replaced by a trombone with an extra coil or two of tube over the player’s left shoulder with a thumb valve to bring it into use when needed. Thus it is a ‘B” flat tenor until depressing the valve puts it into “F”. A broad bore is used. The lyre to hold the music card is at the end of a seven-inch bracket fixed to the stationary bit of tube by the mouthpiece. The mouthpiece is deep and fairly conical.French, Italian and Belgian bands have fancy trombones with red, green and gold serpent’s heads with gaping mouths instead of bells. The slide that so impressed the Shah is not invariably part of the trombone. Diverse types have been made with valves like the rest of the brass. They have been found easier, especially on horseback where the horse would not be disconcerted by the moving slide over his head. They are still in use on the continent, but rarely anywhere in Britain.Trombones are the only wind instruments that are generally used in all three combinations of orchestra, military band and brass band. Parts are written for first and second and tenor bass. They have a majestic sound and can be quiet or, especially if horns are added, can proclaim a theme powerfully against all the rest of the band. Note the Tsarist National Anthem at the end of Tchaikowski’s 1812 Overture. They also take solo parts. They can glissando or slide from one note to another with perfection by moving the slide whilst the note is still being played. Hear this in The Old Grey Mare.Euphonium The euphonium takes its name from the Greek to mean sweet sound”. The Americans and Canadians call it the “baritone” and confuse us. It is nine feet of tubing coiled in an oval with the bell in front of the player’s right shoulder. It has three valves for the right-hand and the better ones have a compensating valve (see musical dictionary) for the left-hand. The conical bore is broad especially after the last bend. It is folded to give an instrument 23in. long with an 11 in. bell. It developed in the l830s.Will model makers please note that there is only one size of euphonium. A narrower nine-foot instrument is a baritone, a shorter instrument is a tenor horn and a longer one is a bass. (They are all part of the saxophone family).The tone is horn-like but fuller, and it cannot give the trumpet like rasp that the trombone can. It plays the bass part or takes the main counter melodies in the tenor register just as the cello does in the orchestra. Bassoons and lower saxophones may reinforce it in these parts. There are two parts for it in the brass band and usually one in the military band score. The military wear covers over the lower half of the instrument. See what I say about basses.Serpent and friendsIn the Middle Ages there existed a series of instruments made of wooden pieces bound with leather, holes down the side like recorders, and with ivory mouthpieces something like a trumpets. They were “comets”. The largest size developed in the 16th century and was given four bends so that it looked like a fat snake. The cup-shaped ivory mouthpiece led to a ?in. diameter brass tube. This fitted into the instrument itself, made of very thin wooden sections bound together by leather and increasing in size up to 4in. It was eight feet of tube. The outside was painted black and the inside red. The end could be bound with brass and there were six finger holes in the side of the tube.The Army got it from the Church and added finger keys in the late l8thcentury.Strenthening stays were fitted and it was supported by a sling round the player’s neck. The Army held it on the slope to the right so that the player could march. In theory it cannot be played in tune, but it was the only bass available with a less reedy, but stronger voice than the bassoon. Actually, by lip work and skill, it did play its part until new instruments superseded it in the 19th century. One method of improving on the serpent was to make wooden instruments of two straight conical tubes and join them at the bottom like an enlarged bassoon butt. Finger holes and keys were made on the sides and the cup mouthpiece was fixed by curled brass tubes to the wooden portion. Some had serpent heads instead of a bell. The bass horn and Russian bassoon were names given to these attempts to find a better bass.OphicleideThe Ophicleide takes its name from the Greek for “keyed snake”. Then, in 1817 Jean-Hilaire Aste, known as Halary, invented a new instrument that he patented in France in 1821. Like Sax, later in the century, he made his instrument in many sizes, but it was the bass in “B” flat that was most useful. Nine feet of conical brass tubing given a hairpin head at the bottom and two halves laid close together side by side, the wider part longer than the other. Into this narrower section led three feet of tube coiled in a circle from the mouthpiece, which was a brass cup. It was 7/8 in. in the coils from the mouth. piece expanding to l?in. where it entered the main tube. This tube expanded to 2′/2in. at the hairpin bend and 8 in. or 9 in. at the bell. The whole instrument was 3ft. to 4ft. overall. Large holes on the sides were closed by padded covers. The materials used did tend to perish and to leak.It was, nevertheless, an improvement on the serpent and though it rarely entered the orchestra, military and brass bands welcomed it. In Brass Instruments Baines says, on page 198, that the last British bandsman to play one was “Bandsman Lydyard of the 1st Battalion of the Connaught Rangers marching with his band across India down to Bombay in 1914, to embark for Europe.”Bass – or tuba, or bombardon and the Helicon and SousaphoneAs valves developed for the brass, so valved bass instruments replaced the side-holed instruments such as serpents and ophicleides. Firstly, they gave a better and stronger note and secondly, they were more robust. Large key pads on the ophicleides were difficult to keep air-tight. Furthermore, it was now possible to build large instruments that could double the bass of the bassoon, trombone and euphonium an octave lower, just as the string bass doubled the cello. Again Wieprecht was to the fore in using them and again Sax to the fore in making them, though Cerveny of Bohemia influenced development in Austria and Germany as much as Sax influenced French, Belgian and English makers.Britain has two sizes of bass for brass and military bands. The smaller in “E” flat, an octave below the tenor horn, is l4ft. of tubing coiled ovally to form an instrument just under 3ft. long and ending in a l5in. bell. The larger in “B” flat two octaves below the cornet and one below the euphonium has l8ft. of tubing. Both have deep cup/cone mouthpieces and are broad-bored conical instruments with three valves for the right hand and maybe a compensating valve for the left hand. Thirty-six-foot long tubes have been made, but have not gained their place. These instruments are called “brass basses” or “basses”. Note the spelling it is Bass not “Base”. Bombardon is another name. “Tuba” is the name used in the orchestra where it is used as a fourth member of the trombone choir. Sometimes orchestras use neither of the two band sizes, but one in between, in “F”.British instruments slope up to the right with the bell above the player’s right shoulder. Army bandsmen have black, white or brown covers for the lower part of the instrument to prevent rubbing on brass buttons. They may also wear an apron to match their uniform.German instruments have the bell above the left shoulder. Stowasser made a circular bass in Vienna in 1549 that went round the player’s body and rested on the left shoulder, with the bell above and in front of the head. They called it a “Helicon”. Conn of America make a similar instrument that they developed in 1898 for John Philip Sousa (1854-1932), director of the American Marine band. It is the Sousaphone and can be had with a 26in. fibre-glass bell. British bands have used circular basses. Simkin has a picture of the Royal Marine Light Infantry in the 1890s.A military band of 24 would have two basses and a brass band would have four – two “E” flat and two “B” flat. They play the same line except where the “B” flat drops an octave lower. For concert work the military band often replaces one bass by a string bass. Here I may mention that British military bandsmen can play more than one instrument and can thus form dance bands and small orchestrasPercussion InstrumentsA percussion instrument is any object which produces a sound when hit with an implement, shaken, rubbed, scraped, or by any other action which sets the object into vibration. The term usually applies to an object used in a rhythmic context or with musical intent.The word "percussion" has evolved from Latin terms: "percussio" (which translates as "to beat, strike" in the musical sense, rather than the violent action), and "percussus" (which is a noun meaning "a beating"). As a noun in contemporary English it is described in Wiktionary as "the collision of two bodies to produce a sound". The usage of the term is not unique to music but has application in medicine and weaponry, as in percussion cap, but all known and common uses of the word, "percussion", appear to share a similar lineage beginning with the original Latin: "percussus". In a musical context then, the term "percussion instruments" may have been coined originally to describe a family of instruments including drums, rattles, metal plates, or wooden blocks which musicians would beat or strike (as in a collision) to produce sound.Anthropologists and historians often speculate that percussion instruments were the first musical devices ever created. The human voice was probably the first musical instrument, but percussion instruments such as hands and feet, then sticks, rocks, and logs were almost certainly the next steps in the evolution of music.Percussion instruments play not only rhythm, but also melody and harmony.Percussion is commonly referred to as "the backbone" or "the heartbeat" of a musical ensemble, often working in close collaboration with bass instruments, when present. In jazz and other popular music ensembles, the bassist and the drummer are often referred to as the rhythm section. Most classical pieces written for full orchestra since the time of Haydn and Mozart are orchestrated to place emphasis on the strings, woodwinds, and brass. However, often at least one pair of timpani is included, though they rarely play continuously. Rather, they serve to provide additional accents when needed. In the 18th and 19th centuries, other percussion instruments (like the triangle or cymbals) have been used, again relatively sparingly in general. The use of percussion instruments became more frequent in the 20th century classical music.In almost every style of music, percussion plays a pivotal role. In military marching bands and pipes and drums, it is the beat of the bass drum that keeps the soldiers in step and at a regular speed, and it is the snare that provides that crisp, decisive air to the tune of a regiment. In classic jazz, one almost immediately thinks of the distinctive rhythm of the hi-hats or the ride cymbal when the word "swing" is spoken. In more recent popular music culture, it is almost impossible to name three or four rock, hip-hop, rap, funk or even soul charts or songs that do not have some sort of percussive beat keeping the tune in time.Because of the diversity of percussive instruments, it is not uncommon to find large musical ensembles composed entirely of percussion. Rhythm, melody, and harmony are all represented in these ensembles.Military Band Scores XE "Military Band Scores" The standard form of the score of military band music is broadly standardized with the woodwinds at the head and the brass and percussion following. The early band scores had doubled parts on the scores such as solo and 1st clarinets and cornets. This was often a poor system because when the parts were individually printed they were difficult to read. Many of the scores that were provided by publishers were condensed scores, leaving it up to conductor to distinguish where a line would begin and end. Numerous problems existed with this score format. A continuous series of notes were notated but would be shown in the context of such remarks as clarinet and horns after beats continue. The usual arrangement for full band scores is the piccolo, followed by flutes, Oboes, Eb clarinet, Bb clarinets1-2-3, alto and bass clarinet, bassoons, saxophones-alto, tenor, and baritone. The horns are doubled into 1-2 and 3-4. Band scores showed cornets 1-2-3 and trumpets 1-2. Tenor Trombones are listed 1-2 and a bass trombone is also a single staff. Euphoniums and tubas are also on single lines followed by percussion, snare, cymbals, bass drum and timpani. Miller George Johnb.1826 d. 1886 He became a band master (civilian) in 1858 after serving in various British Army bands as a cornetist. He was bandmaster of the 63rd Regiment band when Kneller Hall, the Royal Military School of Music was established he refused to enlist in the army and his position was taken over by a Kneller Hall graduate.Moldavian Military Bands XE "Moldavian Military Bands" The mission of the Presidential Orchestra of the Republic of Moldovia is to accompany important official ceremonies.The Presidential Orchestra of the Republic of Moldova is in charge of accompanying arrivals and departures of officials and delegations from abroad, diplomatic accreditation. It also takes part in state holiday events, military parades, festivals, charity concerts for veterans, pensioners, citizens of the Republic of Moldova, monument inauguration, military exercises, oath ceremonies, ceremonies of laying flowers to monuments and graves of heroes.Monaco Military bandCompagnie des Carabiniers du PrinceThe Palace Guards of the Prince have a musical band consisted of twenty-six rifle-musicians under the command of a sergeant-Chief. Since 1978, their training took the name "Band of the Prince's Guard Corps." Part of the Unit, the band is not trained in hand with the sole purpose of music. The Carabinieri who compose, receive the same training as their comrades. They participate in all services granted to the Company. The diversity of the repertoire of the band allows it to perform at official ceremonies and sporting events and public concerts. Since 1989, HSH the Sovereign Prince does not hesitate to send them abroad: Saumur , N?mes , Albertville , Lugano , Düsseldorf , Turin , Lisbon , Seville , Geneva , Hanover , etc.. The military has a band consisting of 26 musicians; within the main band a small variety orchestra which includes state trumpeters and a brass ensemble (for religious music) have been formed as well as being a marching band for ceremonial purposes.[4]The military band performs public concerts and also plays at official occasions, sports events and international military music festivals.Musique de la Gendarmerie Mobile XE "Musique de la Gendarmerie Mobile" The Gendarmerie Mobile is a military constabulary band in France The band was formed in 1791 and has a long history of musical excellence. There are eighty-two musicians in the band whom are selected by audition. The band plays a variety of French nationalistic music. Music of War - Battle Music XE "Music of War - Battle Music" General Music List This is a representative list which has connotations of War and Battles.Name/ Composer/ RemarksNameComposerRemarks1812 OvertureTchaikovskyClassic Overture with Guns633 SquadronGoodwinMarch Celebrates the famous Dam Busters Squadron74th Farewell to GibraltarUnknownPipe MusicA Bridge To FarAndersonArnhem Bridge/MovieA Hundred PipersLady NaireCrimean WarA Life on teh Ocean WaveRussel/SargeantRoyal MarinesAbide With MeMonke/LyteFallen ComradesAces HighGoodwinBattle of BritainAidaVerdiTel-el-kebirAlamein (El)StanleyAlamein-MarchAll Through the NightAnnonWelsh Folk SongAlmaPriceAmazing Gracehymn/Pipes and DrumsAnchors AwayMiles/ZimmermanUS? NavyArmy Goes Rolling AlongGruber/Sousa/ArbergCaissons /US ArmyAuld Lange SyneBurnsRemembranceBalaklavaUnknownBalaklava-The charge of the Light Brigade 1854Battle Cry of FreedomRootBattle Hymn of? the RepublicHowe/SteffeUS Civil WarBattle of BritainGoodwinBattle of Britain-RAFBattle of the SommeUnknownSomme WW1Blaze AwayHoltzmanManila BayBlue Bomnnets o’er the BorderScottPiper LaidlawBluebells of ScotlandTraditionalFolk Song-Tenting SongBonnie Blue FlagMacarthyUS Civil War SongBonnie DundeeScottBonnie Prince CharleyBlack Horse TroopSousaUS Cavalry MarchBoots and SaddlesBrighamBritish GrenadiersTraditionalBritish/Canadian Regimental MarchBy Land and SeaAlfordSlow marchCavalry of the SteepesKnipperThe French RevolutionCeler Paratus CallidusPandoCanadian Mobile CommandChildren of The RegimentFucikMilitary MarchCoburg MarchHaydn/AlbertSlow marchCock of The NortUknown Pipe MusicTirah CampaignCockleshell HerosDunnMovie /Special Service BritainColditz MarchFarnonCastle EscapeColonel BogeyAlfordTraditional Military MarchThe Dam BustersCoatesWW2 Raids on The MohneseeDixie’s LandEmmettAmerican Civil WarDixie, Land of CottonHughes/HewittGeneral Robert E LeeDumbarton’s DrumsUnknownMany RegimentsEl CapitanSousaUS Military marchEternal FatherWhiting/DykesThe Naval HymnFare Thee Well InniskillingLever/AdamsSpanish Civil WarFehrbelliner ReitermarschHenrionBattle of Fehrbellinger 1675Garb of Old GaulReid/BrakinSlow MarchGoing HomeDvorakSymphonic/Pipes/Golden SpursRhodesSlow March-BritainGraf Zeppelin MarchTeikeLighter Than Air/AircraftGreat Escape ( The)BernsteinWW2 EscapeGreat Little ArmyAlfordWW1 marchHail to The ChiefScott/sandersonUS Presidential Greeting MarchHands Across? The SeaSousaSpanish American War 1898Heart of OakBoyce/GarrickTraditional Naval marchHere’s a Health unto her MajestyBarrowMedical Corps march-UK/CanadaHigh FlightMageePoem with Airman’s PrayerHighland LaddieBurnsTraditional Pipesand Mil bandHoch and DeutschmeisterErtlRegiment of Same nameImjim RiverGossipKorean WarImperial EchoesSafroni-MiddletonBBC-WW2Invincible EagleSousaUS Military marchJack TarSousaUS navy WW1King CottonSousaMilitary marchKoniggrater MarchPiefkeAustro/Prussian War 1866Land of Hope and GloryElgarTraditional -British Patriotic SongLast PostTraditionalTrumpet Call RemembranceLet Erin RememberBunting/MooreIrish PatrioticLiberty BellSousaAmerican PatrioticLoch LomondTraditionalCartisle 1745March LorraineGanneFrench MarchMarch MilitarieShubertMilitary MarchMarching Through GeorgiaSherman’s March to the SeaMarine Corps Hymn(US)UnknownUS MarinesMen of ActionHemingMilitary marchMen of HarlechRegimental march/Britian/CanadaMinstrel BoyMooreIrish Patriotic MusicMountbatten MarchDunnDedicated to Lord MountbattenNational EmblemBagleyPatriotic MarchNew Colonial MarchHallMilitary Street MarchNibelungenR. WagnerConcert MarchNijmegen marchKimberleyWW2Old PanamaAlfordMilitary march re Panama CanalOn the Quarter DeckAlfordNaval marchOrb and SeptreWaltonBritish RoyaltyOver ThereCohanUS Army WW1PathfindersLockyearWW2 AircraftPiobaireachd of Donald DhuScott/HummellInverlochy 1431Post Horn GalopKoenigMusical “special” for post hornPreobrajensky MarchDonajowskiCzarist March/UK MarinesPrussen Gloria MarchAustrian-German Military marchRadetsky MarchStrauss Sr.Austrian Army in Italy 1848Ride of the ValkeriesWagnerBritish parachute RegimentsRoad to The IlesPopular Pipes MarchRoyal Welch FusiliersSousaThe Boxer RebellionRule BritanniaArne/AugustineBritish Naval and Patriotic SongSabres and SpursSousaUS Cavalry MarchSambre et MeuseCezinoFrench Military marchScotland the BraveTraditionalNumerous RegimentsScottish SoldierTraditionalPatriotic SongScrew GunsKiplingArtillery /Regimental SongSemper FidelisSousaUS MarinesShe Wore a Yellow RibbonUnknownUS CavalrySink The BismarkParkerWW2 /Naval EncounterSoldiers of the QueenStuartBoer WarSoldier’s ChorusGounodOperaSons of the BraveBidgoodMilitary marchStandard of St GeorgeAlfordBritish Military marchStars and Stripes ForeverSousaUS March and Patriotic SongStedfast and TrueTiekeGerman patriotic MarchSunsetTraditionalCeremonySussex by the SeaWard-HiggsBritish Regiment 14/21 SussexTapsButterfieldUS Trumpet Call(The)Thin Red LineAlfordBalaclavaThundererSousaMilitary MarchTrafalgarZehleThe Battle ThereofUnder The Double EagleJF WagnerAustriaUnder The White EnsignDunnRoyal NavyUS Air Force march-Wild Blue YonderCrawfordUS Official? MarchVanished ArmyAlfordWW1 1918-Poetic MarchVillage BlacksmithLongfellow/WeissOrdnance Corp CanadaVimy RidgeBidgood1917-Battle-WW1Viscount NelsonZehleAdmiral NelsonVoice of the GunsAlfordWW1Volga Boat SongRussian TraditionalBattle of Leningrad WW2Wait For the WagonKnaff/BuckleyService CorpsWaltzing MatildaPatersonAustralian Patriotic SongWhen Johnny Comes Marching HomeGilmoreUS Civil War Song-MarchWhen The Saints Go Marching InBlack/PurvisSong of HopeWith Sword and LanceStarkeMilitary marchYankee DoodleAmerican Revolution 1792Ye Banks and BraesBurns and MillerScottish TraditionalYellow Rose of TexasUnknownFrontier Soldiers SongZachmi Dil(Wounded Heart)NW Frontier Netherlands Military Bands XE "Netherlands Military Bands" The military music of the Royal Netherlands Army consists of 4 orchestras. The music Corps provide the musical support of ceremonial and Protocol activities within the army, but also beyond. Thinking of command transfers, be?digingen, commemorations, State visits and Prinsjesdag. In addition, the Orchestra concerts and take part in tattoos at home and abroad.RepertoireThe repertoire contains military marching music, original music for harmonies and fanfares and light music. In addition to appearances in the standard orchestral experience the musicians also in smaller formations such as big band and ensembles of varying composition.The 4 orchestrasRoyal Netherlands Army Fanfare Corps ' Ridden Weapons ' (FKKLBW)Harmony Orchestra Royal Military Chapel ' Johan Willem Friso ' (KMKJWF)Regimental Drum fanfare fanfare "Garde Grenadiers and hunters ' (RFGGJ)Drum fanfare Corps National Reserve (FKNR) Royal Netherlands Army Fanfare Corps ' Ridden Weapons ' (FKKLBW)The only full-time professional military fanfare Orchestra in the world. As ceremonial Orchestra has both a solid if refined orchestral sound. The fanfare occupation lends itself preeminently for outside performances and tattoos a good and full performance.In the concert hall put the FKKLBW fanfare from his original repertoire. The repertoire can be adjusted to the needs of the target group. The Orchestra also plays light music with the addition of a complete combo occupation (bass guitar, double bass, keyboards and guitar). The light music program consists of both jazz, pop, film, as folk positionThe fanfare orchestra consists of 6 executives and 40 musicians. The staff:Commanderconductortamboer-ma?treroad manageroffice employee2 drum/driversOrchestra manager: more information about the composition at Captain R.F.J. Sloekers FRY. Or Sloekers@mindef.nl (06) 53 16 73 70 The fanfare Corps will work several times a year along with prominent soloists from home and abroaThe Royal Military Chapel ' Johan Willem Friso ' (KMKJWF) wants to the wide range of possibilities of a modern harmony Orchestra on high level. This does the Orchestra by a balanced and surprising programming to offer. The KMKJWF is as a military Orchestra for a large part of her time actively for the Royal Netherlands Army. TasksThe schedule includes the musical setting of military ceremonial activities and giving relationship concerts. In addition, the chapel a representative task. On behalf of the armed forces takes care of the KMKJWF regular concerts and tattoos, at home and abroad. Also, the KMKJWF at official receipts of the heads of State and ambassadors.Fanfare of the National Reserve CorpsThe Fanfare of the National Reserve Corps (FKNR) is one of the 4 orchestras of the Royal Netherlands Army. The fanfare Corps is in 1986 as a drum corps founded in Breda. The Orchestra is, via a drum fanfare occupation, a highly valued fanfare Corps.The orchestra consists entirely of reservists and counts, when all function places are occupied, 50 musicians. The base of the Orchestra is the Bernhard's barracks in Amersfoort. The conductor of the FKNR is first lieutenant Theo Bleeker. Captain Gert Versteeg is Commander of the FKNR. PerformancesThe FKNR occurs mainly for the National Reserve Corps, the Royal Netherlands Army and the Ministry of defence. For example:be?digingencommand-transfersdiploma and medal ceremonyreceptionsconcertsprice ceremonypromotional activitiestattoosopen days Important, annually recurring performances are: Prinsjesdag, a parade in the Hague on the occasion of the national Veteranendag and the Nijmeegse Vierdaagse. In addition, shall enter into the FKNR for civil organizations involved in the Office Military Music Koninklijke landmacht or when the Inspector force Military Music musical support have requested. Performances abroadThe FKNR cared for several appearances abroad. The musicians performed in Russia, Germany, France, Luxembourg, Belgium, Bosnia and Herzegovina and in the Netherlands Antilles. The end of 2010 was the FKNR to see in the National Indoor Arena of Birmingham (GB) during the 2010 Birmingham Tattoo.Brass ensemble and comboFor special occasions, such as memorial services or funerals, the Orchestra has a brass ensemble. This ensemble varies in occupation and can be adapted to the occasion where played. Since a number of years is also the combo of the FKNR active. This combo consists of 6 musicians and popular music from many genres. The combo is ideally suited for receptions musical listen. Although the naming suggests otherwise, the RFGGJ a brass ensemble with percussion. The primary task is the musical support and guidance of military ceremonial and protocol, such as command-transfers, be?digingen beret ceremony or promotion ceremonies. The ensemble is operational since september 5, 2005. The human and instrumental occupation is such that concerts also to the possibilities. A total of 21 musicians playing trumpets, horns, trombones, tenor Tubas, bastuba's and percussion. The musical director is in the hands of a fixed conductor, first lieutenant Harry bridges.Part of Royal Military Chapel Johan Willem FrisoThe RFGGJ is part of the Royal Military Chapel ' Johan Willem Friso ' (KMKJWF). The Orchestra is controlled by the management of KMKJWF. With some regularity RFGGJ occurs together with the chapel on the RFGGJ is especially as a stand-alone unit herlands Air Force OrchestraThe Royal Netherlands Air Force has its own orchestra and drum band. The RNLAF Orchestra and Drum Band perform ceremonial music at military functions and formal occasions, as well as concerts and theatrical productions throughout the year. The Orchestra and the Drum Band also perform jointly, for instance at the National Tattoo. Each year, the Orchestra performs about 40 concerts, 40 theatre shows and some 25 ceremonial music functions (at inspections of guards of honour, transfer of command ceremonies, etc.) The Drum Band performs about 170 times a year. The Drum Band mainly performs at military ceremonies, marching events, tattoos, as well as smaller-size concerts."Versatile – Musical – Flexible"The Drum fanfare is a compact wind Orchestra with 22 young musicians. The musicians take care over 180, most ceremonial, appearances per year. Partly due to their composition is the Drum fanfare flexible and musically versatile.Plays the Drum fanfare coral music at Memorial services, marches in military ceremonies and the group creates each year a new tattoo show. During concerts is played much contemporary music, ranging from operations of popular pop songs to jazz and latin. In the Drum fanfare Plus occupation-with drums, bass guitar, electric guitar and keys – this light music well to his right.The Drum fanfare further provides a 7-man combo for music at parties or receptions within defence and a brass ensemble.Highlights in their travels abroad to Cura?ao; performances for embassies in Budapest and Copenhagen; concerts for soldiers and civilians in Bosnia and Croatia; performances in Malaysia and Romania (support State visit of h.m. the Queen); Rome (the Pope) and tattoos in London and Albertville.Highlights in the Netherlands include many engagements around the Nijmegen and; guidance of a children's musical in the Agnietenhof to Tiel and all kinds of tattoos as: Delft and Alkmaar. The Drum fanfare is working with the Orchestra including during erewachten at Palace Noordeinde, Tattoo Breda and on of FormMarine Band of the Royal Netherlands NavyThe marine band is versatile, musical calling card of the Royal Navy. This band is formed by 54 professional musicians who both Orchestra and in ensemble form performances at home and abroad.Musical accompaniment ceremoniesThe primary task of the marine band is musically and performed military ceremonial of the Royal House, the Royal Navy or Defense in General. Examples include: upon receipt of the heads of State or ambassadorscommemorationscommand-transfersbaptism of naval vesselsConcertsSince its founding in 1945 is the marine band best known to the public by the many successful concerts, radio and television appearances, plate-and cd-recordings and tattoos. Regularly update national and international soloists here.Highlights in own country The annual National tattoo, the opening of the States-General on Prinsjesdag and the Corps concerts in concert hall De Doelen in Rotterdam are the highlights in their own country.Internationally knownThe own ' sound & drive ' of the Orchestra is characteristic and legendary in the international military music world. This is the chapel also borders a welcome guest. In addition to in almost all European countries, the marine band, among others, occurred in the United States, Russia, Japan, the Netherlands Antilles and Dubai.The current Marines chapel was founded on 1 August 1945. The Orchestra is a continuation of the music Staff of the Royal Navy, which in 1864 was founded by William III.Before the Navy had its own harmony Orchestra, musicians already went there aboard naval vessels. From 1799, ship commanders officially got permission to musicians and reel to entertain the crew during long sea voyages.Ships with 56 artillery pieces were a chapel of 6 musicians yards, against a payment of 18 guilders per month. So came sometime that complete music companies are on board. The crews found it wonderful. In 1864, by Decree of King William III in Den Helder, a music company formed in a fixed composition and with solid ground under their feet.Removal and restorationAfter the outbreak of the second world war, the music Staff of the Royal Navy, such as the official name when ushered in, lifted. Some time after the liberation of Netherlands reported 18 former members of the Staff music located in Rotterdam. On the initiative of the then commandant of the Marine Corps, the Minister of the Navy to re-establishment of a music Corps. This happened on 1 August 1945. The official name of the company was then marine band of the Royal Navy.New Zealand Military bands XE "New Zealand Military bands" The New Zealand Army Band is one of the most diverse musical entertainment establishments in New Zealand today.As soldier/musicians they hold a unique position in the New Zealand Army. Their duties include performing at State and Ceremonial occasions. However the scope of performance that the New Zealand Army Band undertakes is immense and varied. Often they are able to show their ability as versatile performers promoting the New Zealand Army at home and around the world.Essentially a traditional brass band, the Band has incorporated into its ranks a complete rhythm section enabling the band to broaden their repertoire to perform modern music. The band also includes a number of smaller ensembles that are adept at performing to specific audiences. The New Zealand Army Band's performances are as varied as their invitations; Arts Festivals, International sports fixtures, school and public concerts.But mostly the New Zealand Army Band has earned international recognition and reputation as one of the finest marching bands in the world. This standard is continually sustained through a regime of rigorous drill and rehearsal, evidenced by invitations to appear at numerous, prestigious world events.The band has a busy schedule throughout the year with engagements for both military and public events, here in New Zealand and overseas.Royal NZ Artillery Band is commonly known as the Artillery Band, the Band has a history of over 140 year's continuous service as a Territorial Force (part time) unit of the NZ Army.Founded in 1864, it is believed to be New Zealand's oldest continuous-serving military band. When the Auckland Militia was formed in 1858 a band was established, consisting mainly of men from the 58th and 65th regiments who had taken their discharge in Auckland. In 1864 the Militia received their first artillery pieces and the band began its association with artillery which continues to this day.The band represents the NZ Army, performing at a wide variety of events from military parades to formal balls and dinners throughout the Auckland area every year. The band also provides background music on formal occasions, and members participate at national contests annually. In 2006 the band participated in the Year of the Veteran Pageant in Wellington and in 2008 the band travelled to Australia to participate in Reserve Force Day commemorations. The band has a playing strength of 35, all of whom are attested members of the Territorial Force (TF) of the NZ Army. TF soldiers serve in their spare time, usually in the evenings and at weekends, in addition to their normal jobs. The members of the band come from a wide variety of civilian occupations but all are proud to be members of one of the oldest established bands in New Zealand, the "Gunners Band".The Central Band of the RNZAF was formed in May 1935 and made its public debut on 12 May 1937, leading a procession through Wellington marking the coronation of King George VI.? It functioned as a full-time unit during World War II but was disbanded after the war. In 1951 the Band was reformed as a territorial (part-time) unit and it has remained this way to the present day.The Band currently has a membership of 65 territorial musicians. Membership includes people from all walks of life: many are professional freelance musicians, students and recent graduates?from the New Zealand School of Music in Wellington, music teachers or work in another field altogether. Under the command of Air Staff, there are two regular Air Force staff and one civilian, who oversee the management and administration of the unit. Weekly rehearsals are carried out, but uniforms are worn only on official or ceremonial occasions, such as concerts, Guards of Honour, government functions and other parades. With its considerable membership and instrumentation, the Central Band is the largest and only full symphonic band in the country. As such, the band presents major concerts, records regularly for New Zealand public radio and has released Long Playing (LP) and Compact Disc (CD) recordings. Apart from full symphonic band performances, to cater for different occasions, the Central Band also has a brass quintet, a full swing band, a jazz combo, a saxophone ensemble and an eight person Herald Fanfare Trumpet ensemble. The RNZAF Base Auckland is located at Whenuapai on the northern western outskirts of Auckland. The origins of military aviation in Auckland can be traced back to the 1930’s when an Air base at Hobsonville for Seaplanes and an Air field at Whenuapai were established. With the outbreak of WW 2 these Bases grew quickly into the operational bases supporting the war effort in the Pacific.?? Volunteer bands were soon established at Hobsonville and Whenuapai and provide music for parades and social events. It is from these volunteer War Time bands that the RNZAF Base Auckland Band traces its history. In 1965 Whenuapai and Hobsonville stations were amalgamated to become RNZAF Base Auckland.Today the Band is a 32 strong Reserve Force unit and fulfils a wide range of parades and ceremonial events, public concerts, tattoos and pageants, beatings retreat, major sports matches and local events.? In 2007 the Band had a very successful trip to Hong Kong were they were the invited guests of the Hong Kong Tourism Board. In Hong Kong the Band performed in the Hong Kong Chinese New Year Parade and a series of concerts.3.RNZAF Base Ohakea is in the heart of the Manawatu, just north of Palmerston North. The base band had its beginnings in July 1940 when local regular force servicemen, using neglected instruments from Bulls, formed a band for parades under the direction of the Station Warrant Officer. Today’s base band at Ohakea comprises of reserve force musicians supplemented by a small number of regular force volunteers. The base band undertakes a wide range of activities for the RNZAF in addition to their primary role of a ceremonial band playing at Flying Graduation Parades and other base ceremonies. These include public and school concerts, Military Tattoos, sporting fixtures, civic and service mess functions and receptions.The Base Ohakea band is a brass band consisting of 25 to 30 musicians. It also performs in smaller groups; a brass quintet or quartet for receptions and other functions, as a Drum Corp when required for ceremonial purposes and providing buglers for commemorative occasions and services.The Royal New Zealand Air Force Base Woodbourne Band was formed in the 1940’s, and has established itself as a respected ceremonial band and a musical entertainment group. The Band’s main role is to provide music for Base Parades and on Base functions, however, it also enjoys a respected musical reputation for performing at Festivals and Public concerts. Essentially a traditional Brass Band, the ensemble is frequently augmented by a rhythm section and vocalists, thus enabling the Band to provide many diverse styles of music. The Base Woodbourne Band is comprised of reserve Air Force musicians and supplemented by Regular Air Force volunteers. The RNZAF Base Woodbourne Band is led by Bandmaster Flight Sergeant Ron Abelson.The Band of the Royal New Zealand Navy is a full time professional military combination, which is responsible for providing music for the ceremonial, training, public relations, recruiting and entertainment requirements of the Navy. The Band occasionally performs at non-Navy events, such as monthly concerts at the Bruce Mason Centre, Returned Service Association concerts, and various charity concerts around the country.The Navy Band is based at HMNZS PHILOMEL, Devonport, Auckland. The daily routine is similar in total time to that of other service personnel, but usually includes after hour performances during evenings and weekends. When not performing, the Band is rehearsing and preparing for future commitments.Naval musicians do not serve at sea, however, from time to time there is a requirement to travel both Nationally and Internationally.Other military bands in New Zealand include Band of 7th Wellington & Hawke’s Bay BattalionPipes & Drums of 5th Wellington, West Coast & Taranaki Battalion. The Royal New Zealand Navy Band and the New Zealand Army Band are full-time Regular Force units. All others are Territorial Force (Reserve) or volunteer units.Norwegian Military Bands XE "Norwegian Military Bands" The Norwegian Armed Forces’ staff band is Norway’s largest professional wind ensemble, with 39 permanently employed musicians.The band does a lot of concerts in the eastern part of Norway and is also the Armed Forces’ most important band of representationThe Royal Norwegian Navy band is one of the Norwegian Armed Forces’ five bands. The band is a unique and popular ensemble, and is doing concerts both in Norway and abroad.From being the city of Horten’s local military band, the band has had significant artistic improvement, and is now leading Norwegian wind ensemble. In 2009 the band did more than 150 concerts. The Norwegian Air force’s band is located in Trondheim, but now has a solid position as a national concert and event organizer. The band master most musical genres and do concert both for the Armed Forces and the civilian audience. The band is constantly working to improve their musical skills and has released several recordsThe Armed Forces’ Band North is located in Harstad and is Norway’s northernmost professional band. The band employs 34 musicians and works closely both with the Armed Forces in the North.The Armed Forces’ Band West is located in Bergen and is a central participant in both local and national cultural events. In addition to doing many concerts for the civilians, the band works closely with the Navy in Bergen. The band has marked themselves within several genres, especially temporary music, and maintains a high artistic standard. His Majesty's King’s Guards are the royal family’s guards and are located in Oslo.The unit is mostly known for their skills in music and drill, and is the only band in the Armed Forces which exclusively employs conscripts. The musicians participate in concerts, drill shows and parades both domestic and abroad.The Norwegian Guard Veterans Drill Contingent is a veteran association consisting of personnel who has served as either conscripts or officers in the world famous Band and Drill team of His Majesty the King`s Guards from 1963 till today. Bottom of FormWorld Book of Military MusicP-RPersian Military band music. XE "Persian Military band music." XE "Persian Military band music." The eighteenth century would have sounded rather different if composers had employed Persian instead of Turkish music:Xenophon and others report: “In battles, Iranians played certain sounds that made the enemy fearful and escape, such as the sound of stones falling from the mountain or the sound of a waterfall or the horrible sound of the flood or the howl of terrible beasts of prey.” These sounds were recorded on paper and were taught to the soldiers. In his book “Alfehrest”, Ibn-e-Nadim has recorded 380 such sounds and Massoudi has recorded 160 sounds. During the Sassanid period, in the fifth century AD, Barbud employed 30 sounds for music. Naturally, he should have recorded his inspirations and performed them for his audience, since if he did not, he could not play them again. Farabi had two books about music that had been missing previously. One of the books, recently discovered, is called “Iqaa” (which means beats in music) and the other is called “Ahsae Iqaa” (counting the beats). Both of these works have been translated into Persian and parts of these books have appeared in the Central Asian and Caucasus Magazine (scientific publication no. 2 of the Foreign Ministry). Farabi said some fashion of note writing was popular in the old Iranian art and the rest was invented by himself. Farabi was puzzled as to why the origin of music was attributed to Greece when all indications showed that this branch of art had its roots in Persia. Farabi recorded all the musical pieces of his period and described the ancient note recording method in Iran. About 2,000 musical works and melodies and relics of that period have been passed on to us including pieces from Barbud, Armove and Maraghi. Of course, some pieces from great musicians, who lack any historic significance, were found in Farabi’s books. These musical notes could be performed and played at present.Perspectives on Military Music and Bands XE "Perspectives on Military Music and Bands" XE "Perspectives on Military Music and Bands" Historical SignificanceThe military band is a band of wind instruments differing in its constitution from other wind bands, such as the waits and the brass band. The term ” military band ” is applied primarily to bands associated with the armed forces, but also to civilian bands of similar instrumentation. (At times bands consisting entirely of brass instruments have been formed by regiments in Britain and abroad, but they are considered elsewhere, the generally accepted connotation of the term ” military band ” being the combination of woodwind brass and percussion instruments.)The history of the military band in Britain, being similar to that of its evolution in other countries, will here be outlined as typical; but reference will frequently be made to conditions elsewhere. The first British army band appeared in 1678, but it is necessary to look farther back to discern the influences, which contributed to this musical entity. These were two in number the wait and the royal band (King’s Musick). Both these groups grew from a common origin: the minstrels of the towns and cities became the waits, and the minstrels of the court became the royal band. An allusion to the former is seen in a record of 1442 mentioning payment to the “town minstrels” of Hull and, twenty-eight years later, an instance of the latter is found in the thirteen court minstrels of Edward IV, ” some with the shalmes and small pipes “. The Lord Chamberlain’s records Of 1503 give five names as those of players on ” Sakbusshes and Shalmoyes “, and. six years later are found four players on the ” Sakbutts and Shalmes of the Privee Chamber “. The Earl of Northumberland’s household book (c. 1512) alludes to the visit of the king’s ” Shames “. The shawm, with its modern counterpart, the oboe, formed the basis of the wind band for four centuries until ousted from principal place by the clarinet.By the beginning of the 17th century the waits and the royal band each had similar instruments. In the treble register were recorders, flutes, shawms and cornetts; the middle register comprised tenor shawms, curtails (early bassoons) and sackbuts (trombones), together with cornetts, and recorders of lower pitch than the normal instruments;and the lowest register consisted of double curtails and double sackbuts with, occasionally, a large cornett. There is no record of all of these being found in any single band, the constitution of each differing according to the size of the group and to the musicians available. But such combinations formed the foundation of the modern band, flutes, sackbuts, together with the modern counterparts of shawms and curtails, still taking an important part in the present military ensemble. The recorders, owing to their weak tone, have disappeared and the cornetts are now represented by their ” descendants “, the valved brass.In 1663 the fifes and trumpets which had provided the martial music of the ” Companies des mousquetaires ” in the French army were replaced by hautbois, and shortly afterwards the number was fixed as four for each company. French composers of the time, including Lully and members of the Hotteterre and Philidor families, wrote special music or arranged traditional tunes for these groups.This practice was copied by the British army, and the year 1678 may be considered momentous, for it is the year of the institution of the military band in England by the first official recognition in the army of instruments (other than fifes, trumpets or drums), the Lord Chamberlain’s records containing references to the appointment of “hautboys” to the strength of the troops of Horse Grenadier Guards; and it is interesting to notice that a few years later, according to the records of the Grenadier Guards, twelve hautboys were authorized as part of the establishment of the companies of the King’s Regiment of Foot Guards in London, a fictitious name being included on the roll of each of the other companies of the regiment with the object of securing higher pay for these musicians.It is noticeable that cornetts and sackbuts were not introduced into army bands of the period despite their popularity, the next addition being the bassoon (in its early form). This acceptance of the natural bass of the group, replacing the lowest pitched oboe, was no doubt a further imitation of the wind groups of the French army, a picture of ” Les Douze Grands Hautbois ” of Louis XV showing twelve players, ten with oboes and two with bassoons. in this picture are several members of the Hotteterre family, and its date (1722) is also that of an order issued in England to the Honourable Artillery Company when ” one hautboy and one bassoon ” were added to the strength of the company.There is no definite evidence regarding the exact time of the addition of horns to the military band, but it was probably during the early part of the 18th century. About the same time there appeared one or two trumpets as occasional (and later regular) members of the group, these martial instruments having hitherto been used only in their own separate entity of trumpets and drums. As was the practice in the orchestra, they were crooked in keys suitable to that of the music played, and the simple harmonic structure employed enabled their use throughout the military tunes of the time.Between 1760 and 1770 the clarinet became an integral part of the instrumentation of army bands. A clause in the Articles of Agreement for the ” Band of Musick ” of the Royal Regiment of Artillery (1 762) provided for ten wind instruments, this number conflicting with a previous clause fixing the number of players as eight, who, incidentally, were also required to be capable of playing stringed instruments-the beginning of almost two centuries of history of this band both as a band combination and as an orchestra There were two trumpets, two horns, two bassoons and “four hautbois or clarinetts”. General Monckton’s March for the 17th Regiment o. Foot (1762) includes clarinets, and in the same year the King of France granted to the Swiss Guards a band of four oboes, four clarinets, four horns and four bassoons. A military march in the Fitzwilliam Museum, by William Beckford, dated 1770, is scored for two oboes, two clarinets, two horns and bassoon, but probably two players were used on the bassoon part.The influence of continental wind bands on those of Britain was still considerable. In1763 Frederick the Great fixed the strength of Prussian army bands at two oboes, two clarinets, two horns and two bassoons, a combination accepted by several composers of the classic period for works for wind octet. The influence was carried across the Atlantic by the British troops engaged in the American war, and the result is seen in the constitution of an American Marine Band Of 1799, which had the usual two oboes, two clarinets and two horns, but only one bassoon. It will be observed that trumpets do not appear in any of these combinations.General Monckton’s March, , has really only five parts, for the pairs of oboes and clarinets are each playing in unison and the general tendency is for these two parts to proceed in parallel motion, all built upon a simple harmonic structure. When the oboes and clarinets were each divided into first and second it was often the custom for the oboes and clarinets to duplicate each other, probably to ensure that the absence of oboes, which were not found in all bands, should not affect the balance of parts.The opening bars from the second of two marches written by Haydn in 1795 for the Derbyshire Yeomanry show that the band for which it was composed had no oboes. The two marches in question may not have been actually arranged by the composer, whose contribution may have been only the pianoforte version, but it is interesting to note the same prevailing tendency, that of parallel movements in thirds and sixths. The inclusion of a single trumpet was another custom of the time as will be seen in the march written by John Parry about five years later . Another instance of the use of one trumpet is found in the list of a band of Hanoverians sent to replace the bandsmen of the Coldstream Guards in 1785, the latter (who were not attested men) refusing to attend a water party arranged by a newly appointed lieutenant-colonel. The Hanoverian band consisted of two oboes, four clarinets, one trumpet, two horns, two bassoons and one serpent.’The addition of the serpent to lengthen the bass line will be noticed in the case of Haydn’s march (though another version of the same march has no part for that instrument) and of this Hanoverian band. A serpent part also appears in a military march by Samuel Wesley, supposed to have been written for one of the Guards’ bands in 1777 .This was the natural outcome of the gradual increase in the size of bands due to the popularity of the clarinet as the principal member of the wood-wind family in the military band. Altenburg in ‘Die Klarinette’ (1904) alluded to the great increase in the number of clarinets in French bands over a period of fifty years, from two in 1762 to nineteen in 1810. This increase was to some extent the outcome of a desire to rectify the balance of wind and percussion instruments which had been disturbed by the introduction of ” Turkish Music “, a fashion which had traveled from Turkey, via Prussia, to England. Towards the middle of the 18th century black drummers had been introduced into military bands and there followed black players on other drums, cymbals, tambourines and the lowest register consisted of double curtails and double sackbuts with, occasionally, a large cornett. There is no record of all of these being found in any single band, the constitution of each differing according to the size of the group and to the musicians available. But such combinations formed the foundation of the modern band, flutes, sackbuts, together with the modern counterparts of shawms and curtails, still taking an important part in the present military ensemble. The recorders, owing to their weak tone, have disappeared and the cornetts are now represented by their ” descendants “, the valved brass.In 1663 the fifes and trumpets which had provided the martial music of the ” Companies des mousquetaires ” in the French army were replaced by hautbois, and shortly afterwards the number was fixed as four for each company. French composers of the time, including Lully and members of the Hotteterre and Philidor families, wrote special music or arranged traditional tunes for these groups. This practice was copied by the British army, and the year 1678 may be considered momentous, for it is the year of the institution of the military band in England by the first official recognition in the army of instruments (other than fifes, trumpets or drums), the Lord Chamberlain’s records containing references to the appointment of “hautboys” to the strength of the troops of Horse Grenadier Guards; and it is interesting to notice that a few years later, according to the records of the Grenadier Guards, twelve hautboys were authorized as part of the establishment of the companies of the King’s Regiment of Foot Guards in London, a fictitious name being included on the roll of each of the other companies of the regiment with the object of securing higher pay for these musicians.There is no definite evidence regarding the exact time of the addition of horns to the military band, but it was probably during the early part of the 18th century. About the same time there appeared one or two trumpets as occasional (and later regular) members of the group, these martial instruments having hitherto been used only in their own separate entity of trumpets and drums. As was the practice in the orchestra they were crooked in keys suitable to that of the music played, and the simple harmonic structure employed enabled their use throughout the military tunes of the time.Before the turn of the century the flute had been added to the military band, the Grenadier Guards in 1794 having one flute, six clarinets, three bassoons, two horns, one trumpet, serpent and drums. John Parry of the Royal Derbonshire wrote a series of marches .Each march bearing (as title) the name of one of the regiment’s officers. The same instruments are employed in each march, except that the flutes are sometimes in Bb and at other times in Ab (though they are misnamed as ” flutes in C ” or ” flutes in B ” respectively). Expression marks are sparsely used, being merely f or p, and these usually appear only between the clarinet staves.This addition of the flute towards the end of the century is also evidenced by a number of military marches (in the printed music of the B.M.) written by Guest during the period 1795-1810 Parts for flutes and clarinets were included, but no oboe parts.It will be seen that greater progress was made during the 18th century than at any other time, a hundred years having seen the band grow from a group of oboes and bassoon(s) into a complete musical entity of flutes, oboes, clarinets, bassoons, horns, trumpets and serpent. There is no reliable evidence as to the date of the return of the trombone since its discontinuance after the days of the ” hautboys and sackbuts “, but it probably occurred about the close of the century. Parke’s ‘ Musical Memoirs’ allude to trombones in the Coldstream Guards band of 1783,but regimental records disagree. A work for military band in the Royal Music Library (dated 1805) by Henry Pick has a part for ” serpent or trombone “, and the marches by Henry Dibdin, also of this period, have trombone parts. Continental bands were also using the trombone, French line regiments in 1802 having one flute, one clarinet in high F, sixteen clarinets in C, four bassoons, two serpents, two trumpets, one bass trumpet, four horns, three trombones and drums. Prussian bands of the time were smaller: two flutes, two or four clarinets, two oboes, two bassoons, one serpent, two trumpets, two trombones and drums.The Chart below illustrates the bands in the period of 1828-45Royal Band of George IVRoyal Artillery bandThe Military band of the Russian Imperial CourtFlutes424Oboes335Clarinets121121Bassoons434Serpents224Trumpets448Keyed Bugles-3-Ophicleide-2-Bass Horns--3Trombones654Percussion255Total423953Keyed bugles, bass horns and ophicleides were the next instruments to be added, but the previous comparative tables of three bands of the second decade of the century show that they did not receive immediate acceptance by all bands. It is also noticeable that two marches of the period by Bishop (in the B.M.) have parts for serpent but not for keyed bugle, bass hom or ophicleide.Keyed bugles provided a valuable addition to the ” treble brass “, enabling melodic work to be played in that department in a regiser which had hitherto been covered only by trumpets without valves, and thus limited to notes of the harmonic series. Despite the introduction of the ophicleide and bass horn, serpents were still retained in many bands.The band of the Duke of Lancaster’s Own Yeomanry had., in 1828, the following instruments:3 Flute, piccolo, Eb clarinet, 8 Bb clarinets, 3 bassoons, horns, 2 trumpets, trombone, 2 serpents and drums.. Clarinets in Bb had now replaced clarinets in C, the same step having been taken on the continent, as the following extract from Kastner’s ‘ Manuel Generale de musiqu militaire ‘ indicates:The invention of the valve, besides contributing so greatly to the increase of amateur bands in many countries, had an equally important effect upon military bands. Keyed bugles were soon replaced by cornets, and the trumpets and horns, hitherto confined to “open” notes, adopted the valve. The woodwind section of the band had already become stabilized as at present, but the bass section, with its ophicleides, bass horns and serpents, was not strong enough to balance the brass and woodwind above them. This weakness is apparent in the following list of the 48 players of the Royal Artillery Band of 1839: one piccolo, two flutes, two oboes, three Eb clarinets, fourteen Bb clarinets, four bassoons, four trumpets, three cornets, two horns, four trombones, one ophicleide, two bass horns, two serpents and four percussion.In 1838, in Prussia, Wilhelm Wieprecht took over the task of reforming Prussian bands and the result is seen in his constitution of an infantry band:2 Flutes 2 oboes, clarinet in high Ab, 2 Eb clarinets, 8 Bb clarinets, 2 bassoons, 2 contrabassoons, 4 horns, 4 trumpets, 4 cornets, 2 tenor horns (baritones), euphonium, 4 trombones, 4 bombardons (basses) and 5 percussion.Apart from the use of the high clarinet in Ab and the contrabassoons, the main difference between this band and that of the Royal Artillery of approximately the same strength lies in the use of tenor horns (baritones), euphonium and bombardons. In the Prussian band we have a complete team, including a quartet of French horns, good ” tenor voices in the baritone and euphonium (used today to reinforce the basses or to play solos or ” countermelodies in the tenor register) and the bombardons.,The constitution of French regimental bands was fixed by a decree of 1845, but despite the inclusion of many instruments of the saxhorn family, including four Eb basses in a band of fifty, two ophicleides still remained. As the newest of the Sax inventions, saxophones also appeared, a curious instance of the introduction of the new keyed instruments together with the retention of the old.The gradual adoption of valve instruments is illustrated by a few entries taken from a handwritten list evidently kept by the successive storemen of the Grenadier Guards band and produced for the annual inspection of the instruments by the commanding officer. The initial entry of 1848 gives the following list:2 flutes and ” picolo “ [sic], 2 oboes (one doubling on corno inglese), 3 Eb clarinets, 8 Bb clarinets (on doubling on corno bassetto), 3 bassoon, Bb trumpet2,4 hrns horns, 2F trumpets, bass trumpet, althorn (baritone) 3 trombones (in C, Bb and G respectively), 2 ophicleid, bombardona and 5 percussion.In this entry the name of George Miller, the first of a family of military musicians appears as the player on the Bb trumpet, and in the following year he is entered as playing Bb cornet with the notation “bought send hand” In 1850 a former ophicleide player now has a bass tuba. In 1851 the euphonium makes an initial appearance. In 1853 a bugle is listed this probably being a flugelhorn. In 1856 tenor horns are entered but very soon they were discarded. A list of the Artillery band in 1857 shows two flugelhorns. The saxophone became an noticeable feature as the Grenadiers acquired one in 1864. But it was a very long duration before the instrument became solidly entrenched in the military band.British military bands derived lasting benefit from two developments which both occurred in the middle of the 18th century. The first was the introduction of the military journals which were regularly published and numbered original and arranged (transcribed) music for military band. The editions were edited by well known bandmasters and musicians and became the standard fare for bands in Britain and around the world. The second was the formation of the music class at Kneller hall in Twickenham which began in 1857. The school became the focal point for the ordination of bandmasters and subsequently also a marvellous teaching school for pupils that were already trained as musicians in line bands of the British army.The real reason behind the organization of the school has been obscured by time but some of the suggestions put forward are three occurrences the sudden application by musicians and bandmasters at the outbreak of the Crimean war which resulted in the rapid disintegration of many military bands,(b) the poor display by British bands in comparison with those of France during a review at review at Scutari of troops intended for service in the Crimea., and (c) a massed band debacle when the British bands performed God Save the Queen in several different keys.The following table shows the instruments in two British bands of the same date and, for comparison, that of the Belgian Guides:InstrumentationGrenadier Guards 1888Scots Guards1888Belgium Guides1888Flutes and Piccoolos322Oboes212Eb Clarinet422Bb Clarinets141212Alto Clarinets1--Bass Clarinets12-Bassoons224Contrabassoon1--Soprano Saxophone--2Alto Saxophone--2Tenor Saxophone--1French Horns444Cornets652Trumpets225Flugelhorns--2Eb Tenor Horns--4Baritones112Euphoniums414Trombones336Basses655Percussion323Total574464Noticeable features of this list are the inclusion of the contrabassoon in the Grenadiers’ band and the absence of saxophones in the British bands, despite the fact that (according to Rose, ‘Talks with Bandsmen’) several line bands were using them, including the 4th Dragoon Guards, 16th Lancers, 2nd Royal West Surrey Regiment, 2nd Norfolk Regiment, Lancashire Fusiliers, Border Regiment and Oxfordshire Light Infantry.The Continental bands began the development of sax teams to bridge the gap between the clarinets and brass. The saxophones also helped to develop the rich inner sonority to military bands, which was a critical fault of the early bands.By the end of the century the practice had grown up of arranging works so that they could be played by an ” engagement ” band of dimensions less than the full band, involving the cueing of such parts as the 2nd flute, 2nd Eb clarinet, 2nd oboe, 2nd bassoon, 3rd and 4th horns and trumpets. The string bass was also used in many bands.Subsequent developments in British and other European bands may be briefly mentioned: alto clarinets have disappeared; the bass clarinet is used only for special purposes; saxophones, particularly the alto in Eb and tenor in Bb and baritone in Eb, are now essential. Bb trumpets have replaced Eb trumpets; the baritone has been abandoned in most European bands as no longer essential; the Boehm flute is now employed in place of the former military flute in D. North American bands have similar instrumentation but most bands have bass clarinet and also the electric bass has been added as another dimension.The following lists show the constitution of some bands before the outbreak of the second world war:La Garde RepulicianeBelgiun GuidesMexican PoliceRoyal CarabinieriGerman InfantryFlutes44692Oboes2322-Cor Anglais1111-Eb Clarinets42211Bb Clarinets142020248Alto Clarinets-244-Bass Clarinets2222-Contra BassClarinets-2---Bassoons24232Soprano Saxophone-Used on occasion-as required---Alto Saxophones2----Tenor Saxophones2579-Baritones Saxophones2----Bass Saxophones1----Sarrusophone1----Soprano Cornet Eb--1--Bb Cornets33532Bb Trumpets-4222Eb Trumpets4-222Flugelhorns5334-French Horns45464Baritones33222Euphoniums23221Trombones65543Basses810884Percussion44462Total7686849397Military bands formerly played at high pitch. This was introduced in 1858 (as the ancient Philharmonic ” pitch) by the Duke of Cambridge. There had been no standard pitch for military bands before. The ” low ” pitch now used was adopted in 1929The programme repertory of the military band, besides splendid arrangements of most of the standard works for orchestra, now has a number of works specially written for the medium. It is obviously not possible to give a list of these, but the first and second Suites for military band by Holst, and Vaughan Williams’s Toccata Marziale are excellent examples. The specific works for military band number in the thousands. In recent years band music in in America has made a tremendous leap forward and most music arranged and composed for band can be played by both military and concert bands.The ” conductor’s copy ” in military band music has usually consisted of a condensed three-line part, or even a cued solo clarinet part of works of a simple character, but full scores (some having as many as thirty staves) originally issued for a few works have now become universally employed.An instrumentation list for present day British/Canadian/American/German/Italian/French/Dutch staff bands is given below, but it must be borne in mind that changes may take place and may involve allocation of the number of instruments for various ensembles (i.e. parades, concerts)BandThe US Air Force Concert Band- Bolling Field 1999The Central Band of the Canadian Forces1999The Plymouth Band of the Royal MarinesBritain1997The Johan Willem Frisco Kapelle-The Netherlands1998The Singapore Armed Forces(SAF) Central band1999The German Army Staff BandsFlutes Piccolos522224Oboes311213Eb Clarinets---1-1*Bb Clarinets14797927Bass Clarinets1--1-1*Alto Saxophones322232Tenor Saxophones211122Baritone Sax111111Bassoons211113Horns634468Trumpets86641010Trombones844344Euphoniums/Baritones212222Basses222357Percussion433465OtherCelli 2,String Bass 2,Harp 1Piano 1E/Bass 1Flugel Horns 32 Flugel HornsRemarks* as required?Cornets 4 Trumpets 6Total663638415272The rise of military bands in America and Canada had a very similar development as those in Europe and in Britain. In America the Civil war of 1861-65 was the catalyst for the military band movement with almost every unit in both the Confederate and Federal Armies having a band.(see Civil war bands)Piling of the Drums XE "Piling of the Drums" The ancient ceremony of the Piling of the Drums had its origins where new banners or colors were presented. Colors have always been regarded with great reverence. Historians record that Colors have been associated with religion from the earliest times. Israelites carried the social standard of the Maccabees which bore the initial letter of the Hebrew text. These early associations linking religion with the battle flags and standards have their counterpart in the ceremonial attached to Colours today. Many Commonwealth countries adopted the British custom for the consecration of the Colors prior to the presentation to the Units. The drums are traditionally piled to provide an altar for the consecration. The drums are brought forward and piled in the center. The pile consists of five side drums in a circle with the emblazoning the right way up, facing outwards. The bass drum is laid on the side drums and a tenor drum on top, both with the center of the emblazoning facing the person blessing the Colors. The Colors are then draped on the pile for the consecration, the pikes resting on the hoop to retain the Colors pikes in position. There is no drill laid down for the piling drums, but the drummers concerned normally turn to their left and right and marches out in a single file, forming a circle around the designated spot, turn inwards and arrange their instruments in the center. After the Colors have been consecrated, the drums are recovered in the same way. The Colors after being blessed by the various religious leaders, is handed over to the visiting dignitary , who will present the newly consecrated Colors to the CO / Commander of the Unit. The Colors are then trooped.Pipe band XE "Pipe band" A Pipe Bandis a musical ensemble consisting of pipers and drummers. The term used by military pipe bands, Pipes and Drums, is also common.The most common form of pipe band, the Scottish pipe band, consists of a section of pipers, a section of snare drummers (often referred to as ’side drummers’), several tenor drummers and a singlebass drummer. The entire drum section is known collectively as the drum corps. The tenor drummers and bass drummer are referred to collectively as the ‘bass section’ (or in North America as the ‘midsection’). The band follows the direction of the pipe major; when on parade the band may be led by a drum major, who directs the band with a mace.Standard instrumentation for a pipe band involves 6 to 25 pipers, 3 to 10 side drummers, 1 to 4 tenor drummers and 1 bass drummer. Occasionally this instrumentation is augmented to include additional instruments (such as additional percussion instruments or keyboard instruments), but this is typically done only in concert settings.(1).History of the Pipe BandA military Remembrance Day parade in Ottawa, Ontario.The pipe band began life in the military, but its origins are obscure, and historical records exist mostly in hints gleaned from contemporary regimental records that had no direct interest in pipes.It is known that pipers served in regiments from the earliest times; the Royal Scots have records referring to pipers dating back to the early seventeenth century. Where pipers were employed as pipers (rather than just happening to be a soldier that also was able to play), they were employed by the officers of the regiments as private pipers. This situation continued until the 1840s, whenQueen Victoria’s enthusiasm for all things Highland was instrumental in the War Office’s decision that each battalion of the Highland Regiments be allowed five pipers and a Pipe Major, which continues to be all that the British Army provides funds for to this day. Any additional pipers in the battalion pipe band were and are equipped today by funds from the Officers’ Mess Fund of the battalion.By this time, pipers were already playing together with drummers, probably modeling themselves on the fife and drum bands which had existed in Switzerland since the fifteenth century. Drumming is, of course, as ancient as the concept of formed military units, and their original purpose on the battlefield was to signal tactical movements and keep cadence on the march.By the end of the Crimean War, pipe bands were established in most of the Scottish Regiments. The first civilian organizations to adopt pipe bands were police and fire brigade bands;[1] even today, several forces maintain bands that play to a very high standard.By the time World War I broke out, the pipe band represented a popular image of Scotland, both internally and externally.Military pipers were killed and injured in significant numbers in the Great War, before the War Office banned the practice of playing in the trenches in 1915.[citation needed] The ban was often not observed; Canadian piper James Richardson was awarded the Victoria Cross for playing in action in 1916. Pipes have occasionally played into battle, notably at El Alamein, Dieppe, the Normandybeaches, and the crossing of the Rhine. The Calgary Highlanders went into action for the first time at Hill 67 in Normandy with company pipers playing; it was the first and only time the Regiment did so.[2] Military pipers have also served in both Gulf Wars.(2). Military Pipes and DrumsIn military and para-military organizations the term Pipes and Drums is used when referring to an ensemble of Highland bagpipes and drums, but the majority of modern military bands are quite similar to their civilian counterparts in their instrumentation and music. Many of the same standard tunes are found in both the military and civilian pipe band repertoires, and many similarities exist in terms of musical style, historical and musical influences, and dress and deportment.Unlike civilian pipers, however, pipers in military bands have additional military responsibilities. Nowadays, musicians in British Army bands are normally required to take on a secondary role in the battlefield as medics. However, in most cases the pipes and drums in a Scottish or Irish infantry regiment constitute a machine gun platoon (as the Corps of Drums does in an English or Welsh infantry regiment). As a result, in addition to being musicians, members of the pipes and drums must also be qualified fighting soldiers. Unlike musicians, who belong to the Corps of Army Music, the pipers and drummers belong to the regiment in which they serve and are Soldiers first and foremost.The British Army runs its own pipes and drums training facility, the Army School of Bagpipe Music and Highland Drumming, in Edinburgh, Scotland. To be qualified as a Pipe Major or Drum Major in the pipes and drums of a regiment of the British Army, candidates must successfully pass a series of courses at the school.(3).Pipe Band MusicThe music played by pipe bands generally consists of music from the Scottish tradition, either in the form of traditional folk tunes and dances or music from the Western tradition that has been adapted for pipes. Examples of typical pipe bands forms include marches, slow airs, up-tempo jigs and reels, and strathspeys. In recent years there has been a great deal of emphasis placed on new forms, especially the suite. A good example of a suite for pipe band is Don Thompson’s composition Journey to Skye (1987).In conventional pipe band music, each section of instruments has a different role in the music. Generally speaking, the pipers deliver the melodic and harmonic material, while the side drummers provide a rhythmically interactive accompaniment part. The tenor drummers provide the fundamental rhythmic pulse and the bass drummer anchors the rhythms, providing a strong and steady beat. The roles of each section are broken down further below.(4).The Pipe SectionSince the bagpipe is the only pipe band instrument capable of producing distinct, variable pitches, the pipers are responsible for providing all of the melodic material in the music. Generally speaking, all of the pipers play a unison melody on their chanters, with their drones providing the harmonic support and filling out the sound. These unison melodies are often quite complex and demanding. It is this complexity that provides much of the musical interest.When harmony is written within the pipe section, it is usually a two-part harmony, and is usually scored in a 2:1 ratio (with two thirds of the players on the melody and one third of the players on the harmony part). Because of the limited range of the chanter, the harmonic possibilities are somewhat limited, but well-written harmony in a pipe band setting can be quite effective. Pipe band harmony is sometimes referred to as ’seconds’, although this simply refers to a second part and not to the interval of a second. In fact, intervals of a second are rarely found in pipe band harmony parts, except in passing. Instead, it is the consonant intervals which are stressed, such as perfect fourths and fifths, and even more commonly, parallel thirds and sixths.In contemporary arrangements, a merge between harmony and melody known as ‘counter-melody’ has been aired. A counter-melody is similar to a harmony part, but is distinguished because it has a melodic line of its own. Counter-melody can take a completely different thematic approach and can dramatically change the flow and atmosphere of the melodic unison. This technique is relatively new in the pipe band circuit, and in most cases require skill and timing to achieve in full unison.(5). The Drum CorpsThe drum corps of a pipe band consists of a section of drummers playing Highland snare drums and the bass section (see below). In the early days of pipe bands, rope tension snare drums were common, but as the technology evolved, so did the music. Pipe band drummers now play on drums with very tight, knitted kevlar heads, designed for maximum tension to create a very crisp and strident sound. Due to technological innovations and changing aesthetics, this crispness has become an integral part of the pipe band sound. Since today’s drum is so facile as a result of its design, players are often able to execute extremely complicated and technically demanding rudimentary patterns.The pipe band drum corps is responsible for both supporting the piping with a solid rhythmic foundation and sense of pulse, often creating an interesting contrapuntal line unto itself. The line played by the drum corps (referred to as the ‘drum score’) is usually based on rudimentary patterns and can often be quite involved, with solo, unison and contrapuntal passages throughout. A popular pattern in many scores is for the lead drummer to play a phrase, and the section to play in response. This technique is known as seconds.While standard practice in pipe bands is for the pipe section to perform the traditional or standard arrangements of the melodies, including even the gracenotes, drum scores are very often composed by the lead drummer of the band. In competition, one of the adjudicators grades a band on how creative their scores are and how well they fit the piping – this aspect of the judging is known as ‘ensemble’.(6). The Bass SectionThe bass section (also referred to as a mid section) usually consists of a section of tenor drummers and a bass drummer. Their role is to provide rhythmic support to the entire ensemble. In this respect, the bass section allows the drum corps to delegate their timekeeping responsibilities and allows more freedom in the drum scores.Generally, the bass drum provides a steady pulse, playing on the downbeat and on the strong beats of the bar, and the tenors support that pulse, often adding supporting beats, accents and dynamic interest.Tenor drums in their modern form are a relatively new addition to the pipe band. While pipe bands of yesteryear would often include tenor drummers, they would usually be “swinging tenors”, players who would swing their sticks for elaborate visual effect but who would rarely play. Today’s tenor drummers play pitched drums, and careful thought is given as to which pitches to use and at which times. In some cases, five or six tenor drummers have been used, providing a palette of individual pitches for use in a variety of musical situations. The swinging also known as flourishing has developed somewhat into an art form, with drummers playing and swinging in unison or sequential flows.(7).Competition & The World Pipe Band ChampionshipsCompetition is a primary focus for many pipe bands throughout the world. Since 1930, when the Scottish band association (today known as the Royal Scottish Pipe Band Association) was formed, there has been an event known as the World Pipe Band Championships held in Glasgow every August. For competitive bands, the title of World Champion is highly coveted, and this event is seen as the culmination of a year’s worth of preparation, rehearsal and practice.The entirety of the World Championships takes place on one day in August, on Glasgow Green. Typically, several hundred bands attend, traveling from all over the world. Bands arrive early and are required to perform in a qualifying round which takes place in the morning. The top bands at the end of the qualifying round play in a second event in the afternoon to determine an aggregate winner. To win, Grade One bands must perform in two events, a March, Strathspey & Reel event (known as a “set” or “MSR”) which consists of three pre-arranged tunes, and a Medley event, which consists of a short selection of music chosen and arranged by the band. The rules for the medley contest are very open, requiring only a minimum and maximum time frame (between 5:30 and 7 minutes) and a minimum of different time signatures that must be played as well as two 3 pace rolls played at the beginning of the tune (also known as an attack).In addition to performing at the World’s, most internationally competitive bands participate in a season of events that are generally held during Scotland’s summer months. While events of this type are usually held at Highland Games, band competitions in Scotland, Ireland and Northern Ireland are often large enough to be held as events unto themselves. The grading and organization of these events is generally consistent with the World Championships and the events are typically administered by the governing Pipe Band Association.(8).Pipe band grading systemPrizes at the World’s are awarded in the following eight categories:Grade OneGrade TwoGrade Three “A”Grade Three “B”JuvenileGrade Four “A”Grade Four “B”Novice JuvenileIn the United States, there is also a fifth grade.In the Novice Juvenile and Juvenile categories, band members must be under the age of eighteen, with the exception of one “adult” player, often an instructor, who may serve as the Pipe Major or Pipe Sergeant. The remaining categories have no age restriction, but are based on proficiency. Grade One is the highest of these categories, and Novice is the lowest. Grading and eligibility are overseen by the RSPBA, and bands must apply for downgrading or upgrading.Because of time constraints, the RSPBA uses “A” and “B” designations in Grade 3 and 4, for major competitions. By doing this, bands are grouped based on prior-years’ performances, and can receive promotions within their respective grade. It is also important to note that these vary slightly throughout the world. For example, in the Republic of Ireland Grade 4 “B” is known as Grade 5, in North America, many regional associations have implemented Grade Five, an entry-level Grade, intended to help bands familiarize themselves with competition and in Australia and New Zealand there is no Novice grade at all.(9).Progressive Pipe BandsThe future for pipe bands is unclear. Currently, there are many pipe bands which perform in parades and other public events as a primary activity. These bands are sometimes referred to as “street bands”. Some military bands fall into this category as well, playing for regimental functions in lieu of, or supplemented by, competitions and/or concerts.In the competitive pipe band community, some bands are starting to find the competitive system musically stifling, although it does demand high standards. Some advocate making the transition to aBreton model, where competitions are more flexible and with fewer restrictions.Instead of giving up on the competitive model, a number of bands have instead turned to the concert stage to supplement their competitive activities. Performing in this setting allows a greater degree of musical flexibility and creativity, and encourages the inclusion of additional instruments and performers, to expand the musical possibilities. Notable examples of these endeavors by competitive pipe bands include the Simon Fraser University Pipe Band’s Carnegie Hall concert of 1998 and the recent recordings by the 78th Fraser Highlanders Pipe Band. Their albums The Immigrant’s Suite (1989), Live in Canada – The Megantic Outlaw Concert (1991), Flame of Wrath (1998), and most recently, Cascade (2003), showcase their attachment to traditional pipe band music and their desire to break out of the compositional mold and venture into undiscovered territory.Police Bands XE "Police Bands" Antwerp Police bandThe Royal Symphonic Band of the local police Antwerp is a band consisting of 60 musicians, both policemen as citizens. Since 1901 they have represented the city of Antwerp and the Antwerp police force in particular. They have had the honour of performing numerous times for the Royal family of Belgium and to play, as well for various military and civilian festivities and ceremonies .Brazilian Police bands Banda de Música do 3? Batalh?o Polícia MilitarBanda de música Polícia Militar TocantinsBanda de Polícia Militar do Espírito SantoBanda de Música da Polícia Militar do ParanáPolícia Militar Governo do Estado do Ceará - Banda de Música Major Xavier TorresPolícia Militar Governo do RN - Banda de MúsicaPolícia Militar de Minas Gerais - Banda de MúsicaPolícia Militar do Paraná - Banda de MúsicaPolícia Militar de Roraima - Bandas de MúsicaPolícia Militar de Santa Catarina - Banda Sinf?nicaBandas de Música Polícia Militar do Estado de Minas GeraisDuas Bandas de Música em Belo HorizonteBanda de Música no 2?BPM – Juiz de Forav Banda de Banda de Música no 4?BPM – UberabaBanda de Música no 6?BPM – Governador ValadaresBanda de Música no 7?BPM – Bom DespachoBanda de Música no 8?BPM – LavrasBanda de Música no 9?BPM – BarbacenaBanda de Música no 10?BPM – Montes ClarosBanda de Música no 11?BPM – Manhua?uBanda de Música no 12?BPM – PassosBanda de Música no 14?BPM – IpatingaBanda de Música no 15?BPM – Patos de MinasBanda de Música no 17?BPM – Uberl?ndiaBanda de Música no 19?BPM – Teófilo OtoniBanda de Música no 20?BPM – Pouso AlegreBanda de Música no 21?BPM – UbáBanda de Música no 23?BPM – DivinópolisThe Cleveland(Britain) Police Band The band was officially formed in 1971 Cleveland Police grew from a number of separate police forces following amalgamations in the 1970’s. Originally named Teesside for a number of years, in 1964 sections from North Yorkshire Police, Durham Police and Teesside were joined to become Cleveland Constabulary.Estonian Police bandThe police and border guard. amalgamated in January 2010 beginning with a compliment and 38 members of the former police and border guard wind orchestra The band is made up of completely professional musicians. The original Estonia Border Police band was o set up in 1992.Hong Kong Police Band The Hong Kong Police Band consists of both a Silver Band with 60 musicians and a Pipe Band with a strength of 24. The Police Band is commanded by the Director of Music, Superintendent, with the aid of Chief Inspector, Deputy Director of Music and Senior Inspector, Bandmaster. They are responsible to the Head of the Foundation Training Centre, Police College, Senior Superintendent who is also the officio President of the Band. The Band is based in purpose built accommodation, Peter Moor Building, in the Aberdeen Campus of Police College. It consists of barrack rooms, practice rooms, offices and storage facilities.Originally formed by serving officers in 1951 as the Police Silver Band under the direction of Director of Music, Mr. W. B. Foster MBE, it had only 21 musicians. As the Band grew in strength, it became increasingly more difficult to reconcile police duties with musical rehearsals and engagements, and it was decided that the Band would have full-time musicians, as they are today. In 1954, the Police Pipe Band was formed to function separately or in conjunction with the Silver Band. The Mackintosh tartan, which the pipers wear, was adopted in recognition of a former Commissioner of Police, Mr. Duncan William MacIntosh and is worn by kind permission of the clan chief.The Band plays an important part in the Force’s public and community relations programme and fulfils over 600 engagements each year. These performances include Force parades, Police Night, Officers’ Mess functions and concerts. The Band also plays for official events like the Flag-raising Ceremony of the HKSAR Establishment Day, the National Day, State Dinners and the Honours and Awards Presentation Ceremony at the Government House. In addition, the Band participates in various functions organized by the Hong Kong Tourism Board, the Trade Development Council, Government departments and numerous charity organizations.The Band has gained an international reputation in countries such as Australia, Canada, United Kingdom, Switzerland, Germany, Japan and the United States. Past tours included San Francisco, Zurich, Los Angeles, Manchester and the London ‘Hong Kong Festival’. In 1996, the Band was invited to perform at the Royal Tournament and the Edinburgh Military Tattoo in the United Kingdom for the third time. In 1998 and 2002, the Band was invited to Singapore to participate in the Singapore Police Week. Other past tours included the performances for the ‘Hong Kong Week’ programme of the International Horticultural Exposition in Kunming, and Shanghai Tourist Festival in 1999 as well as the ‘Hong Kong Showcase’ Promotion in Beijing in 2000. The Pipes and Drums were again invited to perform for the World Tourist Organizations Parade in Osaka, Japan in 2001.For the years 2002 and 2003, we performed at the People’s Great Hall in Beijing, Shenzhen Coliseum, ‘Fujian-Hong Kong Week’ and ‘Hong Kong Month’ Consumer Show in Beijing where we had significant cultural contribution between Mainland and Hong Kong. In 2004, the Band was invited to perform for various overseas promotion events including ‘Shanghai Tourism Festival’ and the Opening Ceremony of Guangzhou Office, Hong Kong Tourism Board. The performances were all well complimented by the people of Mainland China.In 2006, the Band was invited to perform for the Opening Ceremony of Hong Kong Tourism’s Chengdu Office and participate in the performances of the Centenary Celebration of Jinan University in Guangzhou as well as the 11th World Police Band Concert organized by Mainichi Newspaper, Japan and held in Hong Kong with other cities’ police bands including Beijing, Seoul, Tokyo, Paris and New York. In 2007, the Band performed again in Chengdu for the Gala Concert of 10th Anniversary of the Establishment of the HKSAR organized by the Hong Kong Economic & Trade Office in Chengdu with a great success. Also the Band was invited to participate in the 12th World Police Band Concert in Yokohama, Japan and performed with other police bands from five major Asian cities including Beijing, Shanghai, Seoul, Tokyo and Singapore.In 2008, the Band was invited to perform for the Opening Ceremonies and Medal Presentation Ceremonies of both Olympic and Paralympics Equestrian Events, which were well complimented and gained international reputation. Furthermore, the Band participated in the performances again for both the Mainland Gold Medalists Extravaganza and Variety Show for the Visit of Zhen Zhou VII Delegation at Hong Kong Stadium. In 2009, the Band was invited to perform for the Nanchang Tattoo Festival in October and established friendship with Britain, USA, Russia and PLA Army Bands. Furthermore, the Band participated in the Opening Ceremony of the East Asian Games in Hong Kong and the PSB’s Chinese New Year TV Show at the People’s Great Hall, Beijing, which was highly complimented by the public. In September last year, the Band was invited to participate in the 10th Zurich Police Music Festival and performed with various bands from Switzerland, South Africa, USA, Britain, Netherlands and Australia, which again gained international applause. Moreover, the performances of the ‘Hong Kong Week’ programme for the Shanghai Expo last October and the concert performances for the Asian Games at Guangzhou last December attracted millions of spectators and audiences. The Band was honoured to have the opportunity to gain great success in both prestigious international events. Services Provided by the Hong Kong Police BandSilver Band (Military Band)The Silver Band (Military Band) plays quite a wide variety of music ranging from marches, light classical selections, modern up-to-date songs and local pop tunes. This combination is ideal for cocktail receptions, dinners, concerts and parades. The Band has an excellent reputation as one of the finest ceremonial and functional bands in Southeast Asia.Humberside Police Concert Band(Britain)The versatility of the Humberside Police Concert Band is known throughout the country and abroad. Originally known as the Kingston Upon Hull Police Band it has performed regularly at concerts and ceremonial occasions since its formation in 1861, with the exception of a break during the Second World War. In the last few years the Band has visited Germany on three occasions and in 1990 visited La Grande Motte in France and Hasselt in Belgium. All visits were immensely successful and the Band welcomed the opportunity to be at the forefront of developing relations with our European neighbours. In September 1993 the Band was invited to perform during the British Week in Luxembourg in the presence of The Princess of Wales. October 1996 saw the Band once again going abroad this time to Belgium where they undertook two concerts.The band has also played for Her Majesty The Queen on a number of occasions, including the Silver Jubilee celebrations, the opening of The Humber Bridge and the Golden Jubilee celebrations of 2003. During the 1990’s the band performed as guest band on ‘The Rock’ at The Army School of Music, Kneller Hall. This followed a number of successful joint concerts with various military bands from the Army Band Service, including, the Blues and Royals, The Irish Rangers and The Royal Corps of Transport.These memorable massed band concerts saw the band’s musicians performing at venues such as The Fairfield Halls, Croydon and The Guildhall, Preston. Sadly, the reduction in the number of army bands has meant an end to this type of concert but in more recent years the band has joined other Police Bands in a variety of performances, including a series of appearances with The West Yorkshire Police Band and an invitation to perform at the National Festival of Police Music which took place at National Indoor Arena in Birmingham.Finally, in July of 2002 and 2003, members of the Humberside Police Band were joined by colleagues in The West Yorkshire Band to perform at the internationally famous 4-Day Marches in Nijmegan in The Netherlands. This five day walking festival is attended by over 40 000 participants and the bands are used at the opening ceremony and to support the walkers along their daily routes. It is very unusual for civilian bands to be invited for two consecutive years and this has to be to the band’s credit. The Band comprises on average of 35 musicians, the majority of whom are volunteer, civilian members, who come from as far a field as Lincoln and Wakefield. The band’s new Musical Director, Brent Read, was recently appointed to the post after spending 28 years as a serving band member, 25 of those as their solo clarinet player. More recently he acted as the Band’s assistant musical director, often deputising at rehearsals and concerts. Brent hopes to use his many years experience as a band member to build on the Band’s former successes and continue to move the band forwards. The Band undertakes about 35 engagements per year mainly in the Humberside Police area. These comprise of concerts, civic parades and ceremonies, dinners and performances at various outdoor venues for a whole variety of events and occasions. In addition to this the band rehearses twice per week, on Thursday evenings and Sunday mornings, in the Bandroom at the Police Training Centre in Hull. Los Angeles Police Concert BandEstablished in 1914, the LAPD Band was comprised entirely of sworn officers and played for police graduations, civic functions, and Los Angeles schools. Volunteers assisted the band as their performance needs changed. Following the passage in 1978 of Proposition 13, active police officers had to dedicate their duty hours to enforcement, and, in response, the band was disbanded. Subsequently, a group of civic leaders, headed by Bob Ahmanson and Gene Rodenberry, formed an all-volunteer band under the direction of John Campbell. Soon after the formation, John Campbell retired. Established in 1914, the LAPD Band was comprised entirely of sworn officers and played for police graduations, civic functions, and Los Angeles schools. Volunteers assisted the band as their performance needs changed. Following the passage in 1978 of Proposition 13, active police officers had to dedicate their duty hours to enforcement, and, in response, the band was disbanded. Subsequently, a group of civic leaders, headed by Bob Ahmanson and Gene Rodenberry, formed an all-volunteer band under the direction of John Campbell. Soon after the formation, John Campbell retired. Following a series of directors, the band's current director, Don Holcomb, was appointed. During the course of its history the band made many changes, but it was during the 1980s that it evolved into the 75 member ensemble it is today. Many of its members are professional musicians who play regularly in local symphonies, radio and television programs, movie studios and prominent "big bands." active and retired professional players from studios, big bands, symphonies, educational professionals as well as talented amateurs. In 1992, Don Holcomb was appointed band director. Under Dr. Holcomb's leadership, the band's venue has expanded to include a variety of performance styles as it now represents the Department and the City of Los Angeles around the country and the world. Aside from police department, fire department, military and civic performances, the band's role of ambassador has taken it to Mexico, Sweden, Italy, Washington D.C., Ohio and Sacramento. The band has played for such events as the dedication ceremony of the California State Police Memorial and the dedication ceremony of the National Police Memorial in Washington, D.C., where the band was selected the official band of the the ceremonies. The Malta Police Force BandThey were was established by the Commissioner of Police, Lieutenant Colonel Harry William Bamford in 1919, which band was formed up of bands men emanating from Kings Own Regiment and the Malta Royal Artillery under the charge of its first Director of Music MRO.E.MAGRO, being an ex-director of the Commander-in-Chief orchestra in Malta. Due to exigencies, it had unfortunately been disbanded for several instances , since then and it was last re-activated way back during 1994, on the 180th anniversary of the foundation of the force, when it made its debut in the presence of a well known Russian band and the famous "Banda Dell' Carabienieri" during a march past and Guard of Honour at the Palace Square Valletta. Over the past eight years, the band performed on numerous occasions throughout the Maltese Islands-not less than two hundred in number-which performances were enthusiastically received by those in attendance. During December 1999, the Malta Police Force had the opportunity to participate for the first instance in a massed-band display with the Armed Forces of Malta Band, at the Capital City of Valletta in order to mark the 25th anniversary from when Malta became Republic. The band has a compliment of fifty musicians which are regular members of the force, haling from nearly all the corps' several branches, under the baton of its Director of Music, Senior Inspector Anthony Cassar, who happens to be the fifth director since when the band was established. Its role is to fulfil several commitments in support of the Malta Police Force on several ceremonial occasions, whilst other services are rendered during National festivities in Malta and Gozo, throughout commitments organised by the Local Councils and the Cultural and Tourism Ministries, not mentioning various charitable fund raising activitiesThe Milwaukee(USA ) Police bandConsidered to be the oldest police band in the United States the band began In the fall of 1897, a number of police officers came together at the original Second District Station to practice whistling. Subsequently one of the whistlers, Officer William Stupenagel, organized some of the officers into a small band to which he was appointed bandmaster. Soon the band, having grown in size and stature, was too large for the district station and relocated to the abandoned morgue on Broadway St. where it was granted official status by Chief John Janssen. On April 9, 1898, the band played its first concert as the “Milwaukee Police Band” before members of the department.On October 7, 1922, the band met John Philip Sousa at the train station and played for him when he came to Milwaukee to perform with his band. Later that evening, the Milwaukee Police Band performed Sousa’s march “Gallant Seven” with the Sousa Band at the Milwaukee Auditorium. On November 17, 1923, the band performed a second time with the Sousa Band, again at the Milwaukee Auditorium. The Milwaukee Police Band, now comprised of 67 officers, joined the 80 member Sousa Band in playing a Sousa favorite, “Sabres and Spurs”. Sousa presented Chief J.G. Laubenheimer and the Milwaukee Police Band with an American flag with streamers embroidered with Sousa’s name and date of presentation. This flag is currently on display the Milwaukee Safety Academy along with other items and photographs depicting the band’s rich history.In November 1924, the band made its first appearance at the municipal Christmas tree lighting ceremony. To this day the band has never missed a tree lighting ceremony. On March 22, 1925, the band was joined by the New York City Police Band, who was on a national tour, for a benefit concert before an estimated 8,500 people at the Milwaukee Auditorium. It was during this time period that a local composer, Howard B. Weeks, wrote the "Milwaukee Police Band March". The original manuscript rests in the archives of the Police Band located at the Safety Academy.On February 2, 1940, Dr. Robert O. Brunkhorst became the first civilian director of the Milwaukee Police Band. He was a dentist by profession, but also a highly respected musician. He conducted not only the Police Band but also the Tripoli Shrine Band. Under Dr. Brunkhorst’s direction, the band became a regular feature on WISN radio. Several 78-rpm audio discs from those broadcasts are on display at the Safety Academy.From 1956 – 1974, in addition to the concert band, 6 band members also performed in the “Police Combo”. The combo performed at various civic locations, including hospitals and schools, as well as special occasions, including concerts at the Milwaukee Auditorium, the children’s Christmas party, Chiefs of Police conventions and on PBS – Channel 10.In 1962, John Paulish, a city maintenance supervisor, became director. Director Paulish was an accomplished musician playing in the Tripoli Shrine Band and the American Legion Band. During Mr. Paulish’s tenure the elementary school concert program began. In 1964, Mr. Paulish was succeeded by Perry F. Chalifoux, a professional trumpet player who had led his own orchestra in the city since the mid 1920’s. Under Mr. Chalifoux, the band made annual trips to the Veterans Home in King, Wisconsin and also played Christmas concerts at the boy's home in Plymouth, Wisconsin.In 1980, Officer Dennis Benjamin was appointed director by Chief Harold Breier. While Officer Benjamin was director, the elementary school program was enhanced to include a "McGruff" character and an Elvis impersonator carrying an anti-crime, anti-drug, and positive self-esteem message to area school children. In 1986, the format of the band’s annual fall concert and dance was changed to a ‘concert only’. For years, the concert and dance had been held at the Milwaukee Auditorium. With the change in format came a change in venue; the concerts were now held at the Historic Pabst Theatre. The Milwaukee Police Band Jazz Ensemble was also formed to offer a more versatile program by performing big band swing music of the 1930's and 1940's.In July of 1988 the Milwaukee Police Band played a joint concert with the Minneapolis Police Band at the Milwaukee County Zoo. In July 1989, the band traveled to Minneapolis where the band combined with the Minneapolis Police Band and the Winnipeg, Ontario Police Band and marched in the famous Aquatennial Parade. In 1990, a high school awards program was developed with the help of Dr. Nicholas J. Contorno and Marquette University. Students from area high schools were selected to perform with the Milwaukee Police Band in a concert at Marquette's Varsity Theater. On November 15, 1991, Chief of Police Philip Arreola presented the band with a Chief of Police Superior Achievement Award.On May 16, 1992, the Milwaukee Police Band appeared in Cleveland, Ohio at the Greater Cleveland Peace Officers Memorial Dedication Ceremony. Police pipe bands, choruses, military bands, and dancers from throughout the United States and Canada took part in this event. In October 1993, the Band was invited to appear at the Wisconsin Music Educators Association Music Conference in Madison, Wisconsin where they demonstrated their approach to youth programs.In July 1998 the Milwaukee Police Band celebrated its’ 100th anniversary as the “Oldest Police Band in America”. They were invited to Washington D.C. for our nation’s Independence Day Parade, and proudly marched down Constitution Avenue.In May 1999, Lieutenant Karen Dubis and Officer Bobby Lindsey were appointed co-directors of the Milwaukee Police Band by Chief Arthur Jones. This was the first time in the band's history that a two-director format was utilized. Lieutenant Dubis was the band's first female director and Officer Lindsey was the band's first African American director.March 2000, saw the expansion of the Milwaukee Police Band Youth in Arts Program to include a concert at Marquette Varsity Theater with new activities. Younger children were included in the program and paired with police officer-musicians who mentored and performed with the students at the All City Biennial Music Festival. The band members presented special awards to the student participants.Since 2000, the Milwaukee Police Band has achieved several great milestones including marching in Milwaukee's own Great Circus Parade (July 16, 2000 and July 15, 2001)), the South Shore Water Frolics (July 14, 2001 – received “Best Band in Parade” honors), Marshall Field's Jingle Elf Parade in Chicago (November 21, 2001 and November 28. 2002) and Kettle Moraine Days Parade (June 24, 2007). The band also traveled to Florida to perform on Walt Disney World’s Tomorrowland stage in the Magic Kingdom and marched in the “Share a Dream Come True” parade (April 2003). On July 29, 2008, the Band performed at the Midwest Airlines Center for the FBI National Academy Conference.The Band continues to perform regularly at the Law Enforcement Officer’s Memorial, recruit graduation ceremonies, the Law Enforcement Mass of Blessing at St. Josephat’s Basilica, the MPAA Police Picnic and other civic functions.Since 2003, Lieutenant Dubis has been the sole director of the Milwaukee Police Band. Under Lieutenant Dubis’s baton, the band continues in their efforts as “goodwill ambassadors” for the Milwaukee Police Department. They cherish the opportunity they have been given to do their part in contributing to the quality of life in this fine community.The Band is funded solely by the Milwaukee Police Athletic Association with occasional private donations. No city monies are utilized to fund the Band's operations. The civilian and police members who perform with the band volunteer their time and talent.Minneapolis (USA)Police BandThe Minneapolis Police Band was formed in 1917 by Major General George Emerson Leach and Arthur Bolte. Leach had been commanding general of the U.S. Army's Rainbow Division in World War I and was elected mayor of Minneapolis after retiring from the Army. Bolte, a musical instrument salesman, thought he could sell a lot of instruments if he could start a city band. Mayor Leach believed that the Police Department needed a better image; hence, the police band was formed. Bolte became the first band director in 1917 and served until 1922. The band's first performance was in the Armistice Day Parade in November, 1918.The Minneapolis Police Band consists of a concert band, a marching band and a swing band. The bands participate in 30 to 35 engagements a year. The marching band has been the official escort band for the Minneapolis Aquatennial Parade since the parade began in 1940. The band has traveled through the U.S. and Canada and has won many awards and trophies. The 17-piece Minneapolis Police Swing Band has been entertaining audiences for over 20 years with the great sounds of the famous swing era. The band has performed at many local events, as well as in Winnipeg, Milwaukee, and Cleveland. You're sure to recognize many of the band's selections..."In the Mood", "Sentimental Journey", and others.During its first two years, the band was composed of police officers only. In 1919, civilian members were allowed to join the ranks, and in 1969 the first women were admitted. Today, active and retired officers and civilians join together in making music year-herlands Police bandsTrompetterkorps der Koninklijke MarechausseeTrumpet Corps of the Royal Netherlands MarechausseeNew York Police bandThe police department band was first organized in 1901 by a group of twenty patrolmen. These talented public servants met frequently, and a few years later in june of 1904 appeared at the head of the then popular, but long since discontinued, annual police parade. Membership in the police band increased with the years and the band continued to grow both in stature and prestige. As it's fame mounted, succeeding city administrations took cognizance of our musical cops both in their role as entertainers and as morale builders for the department. Eventually the police band became the official band of the city of New York. in 1925, at the request of the international association of chiefs of police, the band set forth on a nation wide concert tour and a few years later, took a leading part in the first presidential inauguration of Franklin D. Roosevelt. In 1953 the police band was composed of 65 men and performed at 95 engagements. on february 8, 1954, police commissioner Francis Adams, announced that the police band would be discontinued in order to augment the patrol force.In 1991, then, first deputy police commissioner Raymond W. Kelly requested the re-formation of the police band. By the fall of 1992 the New York city police band had performed at the start of every major parade in the city. The band is composed of 65 active uniform members of the police department. In 1993 the police band received its first of many performance awards at the New York state firemen' parade. the police band has appeared on the "tonite show" with Jay Leno and has performed in every Macy's thanksgiving day parade since. the police band has also performed at all ticker tape parades for the city including the New Yorky Yankees world championships and New.york. Rangers Stanley Cup Championship. In 1996 the police band was invited to perform for the Japanese government in the cities of Tokyo and Chiba. this was the first gathering of police bands to form the world police band concert series. In 2003 the police band was invited by the government of Japan and performed at the 400th anniversary of the Edo government with concerts in Tokyo and Fukashima.Iin 2005 the police band performed in Japan for the World Police band concert festival. Performances at the Aichi 2005 Expo, Yokohama Toyota city, Tokyo opera house and Chiba. in 2006 the police band performed in Hong Kong, China for the 10th anniversary of the World Police band concert series. in 2008 the police band performed in Koriyama, Fukushima pref. citizen culture center. They participated in Shinjuku artist's culture parade and outdoor concert in Mitsui plaza. the police band also performed in Tokyo Shibuya orchard hall along bands from Tokyo, Beijing, Seoul and Vietnam. In 2009 police band performed in Sapporo, Japan.The police band performed in Quebec city for the International Military Music Festival in 2005 and 2007. National Police Orchestra of PolandThe Orchestra play the police was founded in 1968. Its core was the kilkuosobowy band, which has gradually grown. Since the beginning the band has dynamically developed, reaching a high level of the art, which was reflected in the recognition of the jury at the ministry reviews of orchestras. In 1984, 1986, 1988 they were honoured with the Laura Zdobywa?a t cup (Cup of the Minister of Internal Affairs). At that time they collaborated with the Warsaw Philharmonic Orchestra artists performing, Operettas and joint concerts.In addition to the main wind orchestra they have It’s a band Singer, Big-Band and a cabaret style ensemble. From the very beginning of its musicians have performed at various ceremonies of State, , religious and other mass events.The tradition of the police band includes appearances for the inhabitants of Warsaw. The Orchestra has repeatedly represented the Polish Police outside the country, touring, inter alia, in Denmark, Belgium, the Czech Republic, Belarus and Russia. Its members take part in international meetings of music in Kraków. Every year the Orchestra supports his participation on many social occasions an national holidays. In its repertoire features marches , orchestral music, the transcriptions , religious songs, as well as the numerous modern development of standards for music entertainment. Hugely popular are the parade demonstrations.The band's musicians have on numerous occasions represented the Polish police outside the country, including concerts in Denmark, Belgium, Czech Republic, Belarus and Russia, yet they still value their well-kept tradition of playing performances for the ordinary residents of Warsaw. Its musicians annually take part in the International Congress of Music in Krakow and donate all the proceeds of their performances to a number of charities for the sick and disadvantaged. The band's musical repertoire includes marches, concert pieces, transcriptions of orchestral music and religious songs, as well as a great deal of other developmental music. Being the official representative band of the Policja, the group's musicians are often invited to play parade music for important events on national holidays such as the 3rd May Constitution Day.On the 40th anniversary of the Police band, 22nd January 2009, a large concert was held at the Bajka theatre in Warsaw. Royal Bahamas Police Force BandThe world famous Royal Bahamas Police Force Band has been, for a long time, a major cultural icon throughout the Commonwealth of the Bahamas. The rhythmic beats and harmonic tones that the sharply dressed military musicians produce are crowd pleasers for local and international audiences. The RBPF Band was formed in 1893 by Commandant F.C. Halkett. In his Annual Police Report for that year, Halkett informed the Bahamas' Assembly that he was "successful in forming certain members of the Force into a Band sufficiently creditable to be able to perform once a week for the amazement of the public, and which has become a public institution." The expenses incurred in its formation were defrayed entirely from money in the Reward Fund, without government or public expense. Halkett also noted that the group's practices or public performances did not hamper the discharge of their duties as police officerlice Ba Consisting of only twelve trained musicians (players) and two musicians at the beginner's level (learners), the Band performed at official functions as well as weekly concerts that were opened to the public. The Band would host concerts each Friday evening at the Garden of Remembrance, known then as the Library Green. During several performances and concerts exercises, civilian musicians assisted the Band, as the number of full time members was rather a small. These civilians were normally called upon to assist whenever the group had to attend a marching engagement. During the early 1900s, the growing necessity for the instruments resulted in Mr. Leon E.H. Dupuch, founder and editor of The Tribune, raised funds to obtain new instruments. The Band was officially recorded and recognized as a full time division of the Force on September 3, 1958, under the command of Superintendent D.J. Morgan, as the Director of Music. Its members moved from Police Headquarters and operated from the Force's Oakes Field compound. Royal Canadian Mounted Police BandThe Royal Canadian Mounted Police was organized in 1873 as the North West Mounted Police to provide protection for the settlers in Manitoba, the areas further west, and the Yukon. In 1876 its first band was formed at Swan River, Man. The instruments were purchased by the 20 players themselves and shipped from Winnipeg by dog-team. The band made its debut 24 May, Queen Victoria's birthday, under the direction of Sergt-Maj Thomas Horatio Lake. This volunteer band flourished intermittently until the outbreak of the South African War in 1899. Approximately seven other bands existed during the first 30 years of the force's history. The band at Fort Qu'appelle under Sergt-Maj Fred A. Bagley performed at a notable event in 1881, the signing of the treaty between the federal government and the Indians of the Blackfoot confederacy, the Assiniboine, and other tribes, on the banks of the Bow River near Calgary. In 1886 at Calgary Bagley founded the North West Mounted Police 'E' Division band, which achieved excellence. In addition to its regular concerts in Calgary it also played on special occasions at the Banff Springs Hotel, which was opened in 1888. The 'E' Division band dispersed on Bagley's retirement from the force in 1899. Both the Calgary and the Regina station police bands participated in one of the most glittering local events of that era, the grand ball held in 1889 on the occasion of Governor General Stanley's visit to the Territories. As the West grew, so did the duties and responsibilities of the force. The North West Mounted Police became the Royal North West Mounted Police in 1904, and this in turn was merged into a new national police force, the Royal Canadian Mounted Police, in 1920. The earliest attempt to establish an official RCMP band was made in 1934. However, owing to the Depression, approval for a part-time band was granted only in 1938. The director of this band, located first in Regina and later in Ottawa, was Staff-Sergt Joseph T. Brown (formerly of the Governor General's Foot Guards Band of Ottawa). One of the band's first performances occurred 25 May 1939 during the visit of George VI and Queen Elizabeth to Canada. The band also appeared in New York at the 1939 World's Fair. Throughout the war years it played in many concerts and parades across Canada in connection with the Victory Loan program and the war effort; in 1944 it was on duty during the Quebec Conference. In 1949 Sergt E.J. Lydall (its leader on its Prairie tour the previous year) replaced the retiring Inspector Brown as music director. A second part-time RCMP band was organized in 1949 in Regina under Cpl C.C. Bryson. Both units continued to be active in their respective areas, and they merged for special occasions. In 1951 the Ottawa band played an important role at performances during the visit of Princess Elizabeth and Prince Philip. In 1953 Coronation ceremonies in Canada's capital were co-ordinated by Inspector Lydall, and the massed bands were led by the RCMP Ottawa Band on Parliament Hill in a dazzling display of pomp and pageantry. The RCMP bands flourished throughout the 1950s, but operation on a part-time basis was difficult. Government approval of a full-time band was granted in December 1958. This band, with headquarters in Ottawa, began extensive tours of Canada and the Territories. In 1961 it covered over 11,000 km by land, appearing in cities from Dawson Creek, BC, through the Prairie provinces, to Thunder Bay, Ont. The following year the band toured the Maritimes and Quebec and introduced a popular series of concerts and retreat ceremonies at the Supreme Court building in Ottawa during the summer months. The band made two CBC TV appearances in 1964 and took part in the International Band Festival in Moose Jaw, Sask, in 1965. Canada's centennial year, 1967, was a busy one, as the band joined the RCMP Musical Ride and toured Canada. The majority of Musical Ride performances (which originated in the 1880s) have used recorded music or employed local bands when the troupe is on tour in Europe or North America. In 1967 Superintendant E.J. Lydall retired, and Inspector W. Bramwell Smith was appointed supervisor of music for the force and served as music director of the band until 1975. In 1967 the RCMP sent its musicians across the Arctic for the first time, touring the full band to centres accessible to large aircraft. After a successful tour of the USA in 1968 the band was featured in a CBC TV Christmas special. In 1970 it made a memorable series of appearances at Expo 70, Osaka. In the course of nine days it was heard live by over half-a-million people and was viewed on TV by millions of Japanese and Canadians. An annual winter concert series at the NAC begun in 1968 continued until the mid 1970s. In 1973, with the RCMP Centennial Review, it the band appeared in some 20 cities across Canada. During 1974 it appeared at the Ontario Place Forum, Toronto. Kenneth Moore was appointed music director for the RCMP 1 Dec 1975 and was succeeded in 1986 by Inspector Charles Hendricks. In 1976 the band sent a group of musicians to Old Crow, YT, the forerunner of a permanent 12-piece ensemble established in 1977 to travel to remote areas of the provinces and to communities of the Arctic accessible only by small aircraft. Among the hundreds of noteworthy appearances the band has made after 1980 are those occasioned by Alberta's 75th anniversary (1981), the World University Games in Edmonton, the visit of the Prince and Princess of Wales (1983), the ACTRA awards ceremony (1985), Expo 86 in Vancouver, the Commonwealth Conference, the Calgary Winter Olympics, the International Association of Chiefs of Police conference in Toronto (1987), the Cystic Fibrosis Telethon (1989) and the visits of USSR President Gorbachev and Queen Elizabeth II (1990). Notable visits outside Canada include those to Nashville, Tenn (1980), Germany and South America (1984), Chicago (1987), and Australia (1988). An annual (from 1978) commitment to the CFCF Montreal Childrens Hospital Telethon is typical of the band's work on behalf of charitable organizations. In 1991 the RCMP band was continuing the demanding schedule which has been typical of the musical ambassasor of Canada's national police force. The RCMP band was disbanded in 1994. The Singapore Police Force Band It was formed in 1925 and was known as ‘The 2nd Straits Settlements Police Band' then. Mr. F. E. Minns, an officer of the 2nd Sussex Regiment Band that was stationed in Singapore at Tanglin Barracks was appointed as the first Bandmaster of the Band.The first batch of bandsmen were recruited directly from the British and Indian Regimental Bands in India as there were very few locals at that time that could read music.The band that was subsequently formed comprised 33 bandsmen who were all either Punjabis or Sikhs and consisted of a single Side Drum, a Bass Drum, an 11-piece Woodwind Section and a 20-piece Brass Section. The band did not operate during the war.When Singapore was liberated in 1945, the Band was renamed ‘The Singapore Police Force Band'. This was when local bandsmen were first enlisted. The Band had a total strength of 32 bandsmen and 20 boy learners.The Singapore Police Force Band's strength had grown to 56 and was composed of 75 percent Malay bandsmen.Singapore merged with Malaysia and the Band came to be known as ‘The Royal Malaysia Police Band, Singapore '. 1986 - With the retirement of Mr. Ridzwan Mulok, Mr. Idris Mohd Yusof was appointed as the Director of Music. 1991 - Mr. Idris Mohd Yusof led the Combined Singapore Police Band across the famous grounds of the historic Edinburgh Castle during the Edinburgh Military Tattoo. Being one of the world's most prestigious arts festivals this distinguished event draws military bands from all over the world and the participation of the Singapore Police Force Band confirms its status as an ensemble of international standard.St Lucia Police bandThe St. Lucia Police Band was formed in June of 1947, by Bandmaster Nathaniel Joseph Griffith, along with six (6) vibrant young men within the ages of 12 to 14 years and a small compliment of regular policemen. Fame and stature were brought to the Force through the Band by Bandmaster Griffith’s affluent leadership as a qualified musician. The “Band Boys” as the Band was termed, soon became a household name throughout the length and breath of St. Lucia. Eleven years after setting the Band on a solid foundation, Mr. Griffith accepted an appointment with the Trinidad Police Band, handing over to Mr. Randolph Beckles.Although the Band had already passed its infant stage, it became an establishment of the Royal St. Lucia Police Force in 1965, eighteen (18) years after its inception. Subsequent to the first visit to St.Lucia by her Majesty Queen Elizabeth the Second, on the 12th of June 1966, the Band attained “Royal Status”. In April of 1971, Cadet Officer Carlos Mynns took over command of the Band as Bandmaster, following his return from the Royal Military School of Music, Kneller Hall. Mr. Mynns was promoted to A.S.P. and Superintendent as Director of Music in quick succession by virtue of his Qualifications. During that period there were dramatic changes in the rank and structure of the Band to the extent of new instruments being introduced. Unfortunately, Superintendent Carlos Mynns passed on while in service, on the 30th of January 1991. After the death of the then Director of Music, Carlos Mynns, Assistant Superintendent Gerard Emmanuel, assumed the responsibility of leadership for a brief period. In 1991, Superintendent Rudolph Valentine Charles was recalled from retirement to take over the reign of command, where he introduced women in the Band for the first time. In 1994, he handed over to Superintendent David Myers who had just returned from the Royal School of Music, Kneller Hall. After 56 years, the Band has grown from 7 to 43 members inclusive of administrative staff. The demand for the services of the Band, ranges from Military Parades, Cocktail Parties, Formal Dances, School Concerts, Public Concerts and even the Formal Opening of Public Facilities etc. Despite the limited resources available to the Police Band especially in the area of proper musical instruments, Band members are still able to perform to a very high standard on every occasion.Presently, the Band is under the capable command of Superintendent Gregory Piper, succeeding Mr. David Myers who is now retired.The Royal St. Lucia Police Band, throughout its fifty seven year history, has also appointed eight (8) Drum Majors to lead the band for parade purposes. St Paul (USA)Police BandThe Saint Paul Police Band was formed with three police officers in 1923. The band now consists of police officers as well as civilians, and consists of both a marching band and a concert band. It participates in about 20 parades per year and performs concerts and rehearsal throughout the year. Vienna Police band The establishment of the oldest police Orchestra in Europe, the police music of Vienna, was on 9 April 1909 by the approval of Central Inspector Tobias and the Chief of police of Karl von Brezowsky. After attempts had been made to set up a Vienna Police band, was not achieved due to unavailable musicians, by 1909 it was achieved. Police Rayonsinspektor Franz Glanzl was entrusted with establishing a College of music, which corresponds to only the care of the artistic features of the members of the body of the guard and not exceed the scope of a local Orchestra.For the first time presented the "Viennese security guard chapel" with an appearance in "Weigl's Katharinenhalle" at the Fete of the Vienna security guard of the public.Waterloo(Canada) Police bandThe Ceremonial Band of the Waterloo Regional Police Service was formed in 1977 and represents Community Policing at its finest. The compliment of the band is 50 musicians and a 15 member Colour Guard.The Band is unique in that it is the only Brass and Reed, Military Style band, attached to a Police Service in Canada Members are volunteers from within the Police Service and the community at large, ranging in age from 18 to 60 years of age. They proudly wear the uniform of the Waterloo Regional Police Service.Band and Colour Guard membership is open to men and women who are citizens in good standing and prepared to dedicate themselves to maintaining the high standards for which the Waterloo Regional Police Service has become known.The band performs in street parades, memorial services, military tattoos and concerts, having won a number of awards for outstanding performances in Canada and the United States. The band continues to perform yearly at Police Memorial Services in Ottawa on Parliament Hill and also in Toronto at Queens Park, with additional performances at the Police Memorial Service in Cleveland, Ohio, USA.Auxiliary Inspections, Citizen Awards Nights and Police Open House presentations are also annual performances provided for the Waterloo Regional Police Service.The Band performed in England in 1996 as guests of the Lancashire Constabulary. They have also performed in Frankenmuth, Michigan; Cincinnati, Ohio; Owensboro, Kentucky; and Myrtle Beach, South Carolina; to mention only a few of the excursions where the Band represented not only the Region of Waterloo, but also Canada.The West Yorkshire (Britain) Police Band The band has entertained the public for over a century in one guise or another. The origins of the band begin with the Bradford City Police Band which was formed in 1899, with Leeds City Police Band following some fifteen years later. In 1974 the Leeds and Bradford forces amalgamated to form part of The West Yorkshire Metropolitan Police, and both bands merged at that time to become The West Yorkshire Police Band.Initially the band was military in style, with woodwind, brass and percussion. In 1984 a new ethos was agreed and from that date the band has been styled in the traditional Brass Band format. Originally composed of only serving Police Officers, the band now also draws from the wider Police Family, retired Police officers, and members of the public.Since its inception, the Band has entertained audiences across West Yorkshire and the UK and most recently as its reputation has grown has gone International, in aide of charitable organisations channelling proceeds to the West Yorkshire Police Community Trust, The Forget me Not Trust and the British Legion to name but a few. The West Yorkshire Police Community Trust focuses its grant programme on the promotion of a Safer Community with over ?100,000 being awarded through grants.The West Yorkshire Police Band primarily perform for the entertainment of the community within West Yorkshire. Our concert programme varies from classical to rock to solemn and uplifting and cater for all tastes.The band has taken part in the D-Day celebrations on the 6th of June with the Normandy Branch of the Royal British Legion . The Band has led the parade on the 65th Anniversary at Pegasus Bridge a pivotal point in the landings at D-Day and appeared in concert at venues in the Normandy area.The Band has one of the few remaining Police Fanfare Trumpet Teams in the country, which can vary in size from four to twelve persons. The Team have performed at numerous ceremonial events including the annual opening service for The North Eastern Circuit of Judges, Magistrates and Members of the Legal Profession at York Minster.In 2006 they played at Wakefield Cathedral for the visit by Her Majesty the Queen to distribute the Maundy Money. Members of the team have also been guests of the Last Post Association in Iper, Belgium to perform at the Last Post Ceremony under the Menin Gate and in surrounding cemeteries and memorials including Tyne Cot and Theipval.They participate in parades in either Leeds or Bradford each year for Remembrance Day and have done passing out parades for a number of police forces within the UK. The Band took part in parades in both Huddersfield and Wakefield to commemorate the 60th Anniversary of the ending of World War 2. We also travelled to Holland and performed at the famous Nijmegen Marches. In 2005 the band appeared as a massed band with South Yorkshire Police Band at The Lord Mayor of London ParadeIn September 2006 the Band were invited to play at a memorial event marking the fifth anniversary of the 9/11 atrocity in New York playing at the site of the British Memorial Garden, Hanover Square in Manhattan. Whilst in America the Band also performed for the local community and newcomers group of Long Valley, New Jersey who kindly provided members of the band with accommodation during their stay.They performed for the 10th Anniversary and were invited back to New York once again. Polish Military Bands XE "Polish Military Bands" Polish military bands reach back, as early as ancient Egypt and Rome. The oldest historical; sources which prove the existence of military bands in Poland date from 1411. Bands were known to exist in King Sigmundus the Old played during the Vienna Congress of 1515. In 1658 a decree was issued ordering a formation of permanent military bands which consisted of: two drummers, five trebles (a high pitched shrill flute ,forerunner to the piccolo), four oboes and a piper. French style wind bands made their appearance at the Saxon Royal Court with the infantry regiments having two clarinets, two flutes, two oboes, two horns, two bassoons and janissary drums. Cavalry regiments had trumpeters. At the time of the Duchy of Warsaw the infantry corps had military bands consisting of ten musicians. In the 1800’s prior to the Polish November 1830 insurrection there were military bands numbering from fifty to a hundred . Following teh revolt bands were eliminated and although some were raised again prior to World war I, the bands were abolished during the war . Although attempts were put in place to reestablish Polish military bands it was not until a Military School of Music was founded in 1930 that real progress was forthcoming. The school developed both instrumentalists and bandmasters. The school was able to provide bands for celebrations and through generous gifts maintained both uniforms and instruments.With outbreak of World War II bands were officially disbanded but even under German occupation bandmasters were able to raise bands in Western European countries. Following the war the Polish military military bands began to organize and there was a an expansion in the number of musicians and bands. Among the many that were organized was the Polish national Orchestra with 90 musicians and several District Orchestras each containing 60 musicians. Smaller garrisons had three types of orchestras each with 25 to 36 musicians. The principal role of the bands representing the Armed Forces and bands of the Air Force and Navy is to participate in military and diplomatic ceremonies, play concerts, provided music for visiting personages and to participate in national and International Festivals. Portuguese Military bands XE "Portuguese Military bands" Regular Army BandsBanda Sinfónica do ExércitoBanda da Regi?o Militar NorteBanda da Regi?o Militar SulBanda da Zona Militar dos A?oresBanda da Zona Militar da MadeiraSymphonic Band ARMYThis band is one the oldest musical formations of the Portuguese army. The Army band has had a long and historical background as a Infantry Band. They were incorporated into the modern Portuguese Army on March 25th 1988 as the Symphonic Army band. In 1806 the units were numbered, beginning with of Infantry Regiment No. 1.By 1826 the regiment employed 12 musicians under the direction of a Spaniard. King Miguel determines that the Regiment in 1832 changed its name to Lisbon Infantry Regiment, the band is retained but is reduced to 10 music, under the direction of an Italian musician. In 1890, in appreciation of King D. Carlos, for the loyalty of the band and wanting to give his wife Queen Amelia, a particular proof of esteem, that the unit be named No. 1 Regiment Infantry of the Queen. The band gives concerts on the anniversary of the entry of liberal troops in Lisbon on July 24 of each year and still brightens festivals and public concerts in military Jardim da Estrela and Tapada da Ajuda.With the abolition of the monarchy in 1910, the Regiment is again named the Infantry Regiment No. 1. Under the leadership of Maximian Rebelo the band takes an active part in the First World War war effort.. By 1950, a band considered. First Class, with a workforce of 60 musicians ,performed concerts either in the public gardens of Lisbon and on National Radio. With the aging of the barracks in Bethlehem, the Regiment moved to Amadora, taking ith their band. After 1975 it is renamed Queluz Infantry Regiment, when they move to the barracks opposite the Palace, and the band has been installed there in December 1974 (the area where it still stands today).The merger in July 18, 1977 Band of Hunters with the band's fifth riq, resulting in the Band of the Military Region of Lisbon, which has taken part since 1978 in Festivals of Military Bands, having visited to Luxembourg to participate in the celebrations of 135. anniversary of the band that of that Duchy.In a study requested the Inspectorate of the Army Band and Fanfare (IBFE) resulted in the order of 21 March 1985 approving the General VCEME organic framework and rules of operation of the Army band, which for various reasons were not put into practice by Order 25/ 25 March 1988 Thy are the major representative of the Army and the unit includes string players, woodwind and percussion with an organic framework set at 105 musicians Since its creation, its reputation and identity are increasingly reinforced by the extraordinary and progressive increase in requests for performances. In his tours around the country, we highlight the successes achieved in concerts conducted in EXPO98 in the 1st International Festival of Military Bands - Mafra 2001 / 2 and 3 (joint action with the Military Band English "The Blues and Royals"), and the Spanish Air Force's central command, in the Azores, the Teatro Maria Matos, S. Louis, the Trinity, Coliseu dos Recreios, National Palace of Queluz, finally, in hundreds of locations from the Minho to the Algarve. Other successes obtained in travel abroad, including France, where he took part in the Portuguese Week promoted by the city of Biarritz in 1988 and in June 1989 to Saumur, the International Festival of Military Bands. In Marine BandsIn 1807 the royal family accompanied on his trip to Brazil. Going to many countries, including England, Belgium and France, accompanied the King Ferdinand II on board the corvette "Mindelo" by performing a series of concerts in Bordeaux.In 1903 the "Band of the Marines" are the ones that made the first recordings made in Portugal, a total of 26 subjects (and many other records) a copy of which exists in our country and the remaining 25 in the archives of EMI in England.Of their travel abroad and islands are:- In 1922, presidential on a ship "Port", accompanied the President Dr. Antonio Jose de Almeida in the official trip to attend a celebration of the Centenary of the Independence of Brazil, performing several concerts in Rio de Janeiro;- In 1982, he moved to the island of Madeira integrated into the Navy Day ceremonies in the city of Funchal, and France, where he participated in eleven bands of various nationalities in the International Festival of Military Bands of Paris;- In 1983, he moved to the Azores integrated into the Navy Day ceremonies in the city of Ponta Delgada, and held concerts in nine islands;- In 1988, he moved back to the island of Madeira, where he participated in the XI Festival of Military Bands of Portugal;- In 1992, went twice to the Azores, and France, the town of Chateaudun, where he attended the 5th International Festival of Military Music;- In 1994, he moved to the USA / Norfolk, where he participated in the XII International Festival of Azaleas in national representation, in which over 20 bands.In 1999 he was awarded the Gold Medal for Distinguished Service First S. EX. Nd Admiral CEMA.- In 2007 we embarked N.R.P.s. "Sagres" and "Jo?o Roby" to participate in Navy Day celebrations, the Azores, where he performed several concerts and all military ceremony on the islands of Faial, Terceira and S. Miguel.- In 2008 went to Bremen - Germany where he participated at the 44th Musikschau der Nationen for a week and perform two shows daily, with nine Military Bands from all continents, for a total of about 25,000 spectators.- Also this year, went to the islands of Madeira and Porto Santo, to participate in Navy Day celebrations, where he performed several concerts and all military ceremonial.Over time the Navy Band has developed a work of great public interest, both in terms of military ceremonial and protocol state, as in the cultural sphere, where he has performed concerts throughout the Portuguese territory and abroad. It has been marked by a constant evolution and innovation, as exemplified in the exchange of knowledge by including elements outside their organic framework, in their public presentations. This case are joint performances with the Metropolitan Orchestra of Lisbon and several choirs, and solo instruments and voices. Air Force Band of the Air Force was established in 1957 depending on the then Secretary of State for Air. Subsequently, through various acts, the band was placed on the dependence of Staff of the Air Force, through the Base Command Lumiar. Throughout its existence, several concerts have proved eminently high level soloists, their artistic and technical instruments and the dignity at the direction of their teachers.. Consisting mostly of performers have moved to the forefront. The band corresponds to the numerous requests that are directed toward actions of various kinds. In addition to the military missions in nature markedly (Guards of Honor, parades and other), has achieved many successes playing works by world-recognized composers in concerts of the highest level in Portugal and abroad, in national representation, particularly in Germany, Belgium, Holland and England. In its national and international travel, the band has contributed as a cultural element to the enrichment of all the music Portuguese, honoring the Air Force, the Armed Forces and Portugal.For an exemplary and highly professional as their elements have fulfilled the tasks assigned, since its inception, the Band was awarded the gold medal for distinguished services.Prussian and German March Collections XE "Prussian and German March Collections" “In order to assist the regiments of the Army in the choice of good military music, I have commanded a collection of proven musical pieces to be prepared and a set of them is to be supplied to each regiment.” It was to this decree of King Friedrich Wilhelm III of Prussia, issued in 1817, that the Prussian Army was indebted for its famous collection of military marches (Armeem?rsche). Prior to this, due to the scarcity of printed musical scores, Prussian military musicians were largely dependent upon a repertoire which was passed down by word-of-mouth, a situation which inevitably resulted in the loss of a considerable number of musical compositions over the years. As organized, pieces in the Prussian March Collection were divided between “Slow Marches for the Infantry”, “Quick Marches for the Infantry” and Cavalry Marches, with each piece in the collection receiving the numerical designation AM I, II or III, respectively, depending upon its type, followed by an Arabic numeral denoting its number within its category. Thus, the march Herzog von Braunschweig, as a “slow” march for infantry, was numbered AM I, 9; the Marsch des Yorck’schen Korps, as a “quick” march for infantry, was numbered AM II, 37; and the Parademarsch Nr. 1 “M?llendorf”, as a cavalry march, was numbered AM III, 51. The collection was continually augmented until, by 1916, it had grown to a repertoire of 536 separate compositions, among which were included not only Prussian, but also Hanoveranian, Saxon, Hessian, Badener, Württembergian, Bavarian, Austrian, Swedish, Italian, Swiss and even Russian and British military marches! In the early 1930’s, the Prussian tradition of cataloging Armeem?rsche was revived by the German armed forces which redesignated march compositions as Heeresm?rsche, which were given numerical designations beginning with HM I, HM II and HM III respectively. Luckily for the enthusiast of military music, the West German armed forces undertook in the nineteen fifties, ‘sixties and ‘seventies, with various fits and starts, a systematic effort to record for posterity many of the pieces in the Prussian and German March Catalogues, being closely paralleled by the military musicians of the DDR, who “rediscovered” the heritage of the German march fairly early on and produced numerous recordings of their own. Brandenburg Historica is proud to present some of the best results of these endeavors, which have produced first rate performances of many of those marches which are today but little known, but are among the most illustrious in the repertoire, as well as definitive versions of the oft-performed “old standbys”.Queen’s Piper XE "Queen’s Piper" One of the most unique appointments in British military music is that of piper to HM The Queen. The duties of The Queen’s Piper require that he plays for Her Majesty every morning (Monday – Friday), from 9am – 9.15am. Thereafter, he escorts the Queen from her private apartments to her public reception room.The accommodation for The Queen’s Piper in Buckingham Palace overlooks the Mall and has housed all the sovereign pipers since 1842.Other duties include meeting the Queen’s visitors at the Grand Entrance and remaining with them until they are introduced to the Queen. Visitors include the Prime Minister, visiting dignitaries, Presidents and Ambassadors.The Pipe Major also travels with the Queen to Windsor during Royal Ascot week and at Easter. He returns home to Scotland with the Queen for three months during the Royal Family’s summer break at Balmoral, where duties range from playing at dinner to standing by The Royal Family during the Gillies Ball and announcing the traditional Scottish dances.Radio Broadcasting in North America for Military bands XE "Radio Broadcasting in North America for Military bands" During the 1920’s through the mid 1930’s there was relatively insignificant recorded music by bands across North America .The earliest known series of broadcasting began on June 7th 1922 by the United States Marines band from the Anacostia Naval Air Station. The radio concerts were aired weekly and in 1923 were moved to the band hall at the Marine Barracks. The radio station was WRC of Washington DC and they increased power so that the programs could be heard by most of the East Coast of the US and as far north as Halifax Nova Scotia. In November 1923 the Royal 22nd band of Quebec City played a concert at the Orpheus Theatre, which was broadcast on the early radio station CKAC. The concert was picked up as far away as California and Texas. The same band inaugurated the Canadian Pacific Radio network (later the Canadian Broadcasting System) from Quebec City in 1931. Frank Simon a cornet soloist with the Sousa band initiated two programs of band music for WLW and WSAI in Cincinnati. In 1928 The Edwin Franko Goldman band began a series of twice-weekly broadcasts on NBC and these programs reached over 150 million listeners. Early broadcasting was by nature simple procedure .All broadcasting was live and the studios often were very small and poorly baffled to reduce outside sounds. The idea of selecting various sections of the band to offer a recording balance was not yet universally accepted. It was not until the introduction of the boom microphone said to have been invented by the eccentric millionaire Charles Bedaux that groups of instruments could be identified. The application of microphones was strictly left to the discretion of the sound engineer who often placed one single directional microphone in front of the band and the lows and highs disappeared into one block of massed sound.Military bands were recorded as early as 1899 but the intrinsic value of various sections such as brass and woodwind and percussion were never fully realized until the advent of stereo radio and FM (Frequency Modulation 1947). During the late 1920’s and until the war in Europe and the Pacific war much broadcasting was given over to the big bands of the famous leaders, such as Benny Goodman and Glenn Miller. The emergence of the American |Federation of Musicians also placed a restriction on the appearance of military bands across North America. Both in Canada and the USA, professional military bands had to obtain a waiver to appear on radio and it was not always forthcoming. The war created a relatively new phenomenon, the transcription broadcast. Transcription Broadcast Systems, also known as Green Schneider RKO, was founded in New York City, New York in 1939 by Raymond Green and Henry Schneider. Transcription Broadcast System broadcast several popular radio shows in major American cities including Chicago, Miami, Houston, Los Angeles and New York City. By 1942 the network had been broadcast in seventeen countries. The value to both military bands and big bands was that the live show could be recorded in the USA and re-broadcasted to troops throughout the Europe and the |Pacific theatres of war. Most stations had dual record players and while one show was being played on shellac recording another could be ready for broadcast. Several military bands were able to participate in the transcriptions because their contribution was part of the war effort. The most important aspect of military band music during the war years and into peacetime was the advent of the V-Disk or Victory Disk. These were unbreakable phonograph records which were distributed by military organizations and enabled broadcasts to the far flung troops of the US Forces. Many US military bands appeared on the recordings including the Air Force group known as “The Serenade in Blue” and programs with the Army Air Force band under Glenn Miller called “I Sustain the Wings”. The Armed Forces radio Service (AFRS) created several military broadcasts featuring such shows as the Voice of the Army and Your Navy Show. Woman Service personnel contributed enormously to the war effort and were particularly effective in the Woman’s bands which were formed beginning in 1942. The Spars band of the US Coast Guard appeared on numerous occasions in concert on WWDC in Washington. The Victory Disks comprised nearly all of the records in the United States and Canada because of the Musicians strike, which began in July 1942. By 1949, television had all but reduced radio broadcasting to second place in the consciousness of Americans and performances by military bands were rarely if ever heard, with the exception of special occasions such as national holidays and state funerals Regimental Marches –The Culture of XE "Regimental Marches –The Culture of" Regimental and corps marches have often been examined in their relation to the development within a certain context. As a rule when British or American marches are discussed they are usually done so with a characterization of folk songs and ballads that relate to regimental origins. There is however a good deal of inventive composition in the tradition of the marches. The cultural mainstream of marches has diverse origins across both Europe and North America. Where did it all begin? What was the historical foundation and why was the use of rhythmic meter accompanied by music necessary. The time line which has been cited in numerous publications often refers to records dating back to biblical times. An example would be the siege of Jericho by the children of Israel "when the armed men went forth led by the priests who blew trumpets.”It is known that the Israelites employed instruments such early flutes, drums and trumpets. Instruments that were played however we may understand were quite rudimentary. The first concrete evidence we have that marches began to have regimental identity is seen as they were related to various members of the British and Scottish royalty or gentry. The Earl of Oxford’s Marche (1630) and Sir Thomas Fairfax’s march (circa 1656) are but two examples of direct association. One of the earliest marches still in existence today is the march from the French Revolution Ca Ira(1793)the Montreal Regiment and The Prince of Wales Own Regiment of Yorkshire. The refrain of this march came from the French Revolution. This tune is unique in that it is the only regimental march gained in battle. The march British Grenadiers dates back to 1740 but appears to have first been sung orally in 1780.After the battle of Waterloo the 1st Guards were designated Grenadiers and the unit immediately adopted the march as their regimental march. The derivation of the word Grenadiers came from the fact that companies of men were trained to throw grenades. Thus other British units such as the Royal Artillery who also had companies of Grenadiers adopted the British Grenadiers as their march. The march has however become inseparably connected to the Grenadier Guards.In Britain regimental marches became the rage during the last part of the 18th century. Many of the units began the practise of adopting as their march a tune which was pleasing and could be arranged for a band to play. British military marches were very much admired in Europe because the music was tuneful and brisk. It was said that the British marches were the modal for all of Europe. A good rationale can be given for the enchantment for the marches was that they sang very often sang the praises of women. Marches with names in the vein of the Brown Haired Maiden, Lass of Richmond Hill and the Maid of Glenconnel. Place names were also very popular vis-à-vis: Barren Rocks of Aden, Caledonian, Men of Harlech and Fare Ye Well Inniskilling.It was however another significant event across the sea in North America that served to place a focus on regimental music was the American Civil war of 1861-65.At no other time in world history was there such an outpouring of march music which became the rallying cry of both the Union and the Confederacy. The panoply of military music was extensive. General Robert E Lee once remarked that “without music there would be no army”.?? Music played a very big part in the life of the soldier on both sides during the Civil war.? The outpouring of patriotic music was essential to building morale and to cement the bonds of soldiers.? Loyalty through music was nothing new, the ear piercing fife and clatter of drums as well as the sombre wail of the bag pipes had stirred the spirit and imagination of soldiers for decades. Therefore the music of the Civil war capped off generations of Regimental music. The March music was in such abundance that even today as musicologists and historians study authentic music of the period 1861-1865, it is a daunting task. Some of the marches which made their way into the Regimental family of marches were two Songs of the Confederacy Dixie The Land of Cotton and The Yellow Rose of Texas The Union march Garry Owen, also known as Garyowen, Garry Owen and Gary Owens, is an old Irish quick-step that can now be traced back to the early 1680's. In 1867, Garry Owen was adopted by the 7th Cavalry Regiment as the official Air (tune) of the Regiment, and the historical nickname given to the 7th Cavalry Regiment and troopers. It became the Official tune of the 1st Cavalry Division in 1981. Garry Owen has become undoubtedly the most famous of all the regimental marches in the US Army.As the British regiments increased so did the number of regimental marches. The hand written copies in various forms were handed back and forth with a variety of instrumentation and most importantly in numerous keys, often causing consternation among bandmasters. It was discovered that some units had two or three marches employing one or the other for a variety of events and that some units were using marches which were inappropriate. By 1882 the chaos was so substantial that the War Office ordered that all units submit a march to the Royal Military School of Music, Kneller Hall which each unit felt was both traditionally and culturally significant The submissions revealed a motley crew of marches. After a process of elimination some 59 marches were chosen for a number of various regiments and corps. In 1883 the marches were published. They were numbered and printed on sturdy cardboard cards some of which are still preserved to this day.In Canada following confederation the Canadian Militia units began to adopt British marches, to reflect their British heritage. The Scottish units frequently celebrated their tradition by employing pipe band marches such as Scotland the Brave and Highland Laddie (Hieland Laddie). Later originality became the substance of the regimental marches in Canada with the introduction of the march for the Royal Canadian Regiment and the Princess Patricia’s Light Infantry. In the case of the PPCLI march, three well known tunes were cobbled together to form a medley. A Brief Introduction to the Prussian and German March Collections(see entry under Prussian march collection) is quoted below from the Brandenburg Historica web site:"In order to assist the regiments of the Army in the choice of good military music, I have commanded a collection of proven musical pieces to be prepared and a set of them is to be supplied to each regiment." It was to this decree of King Friedrich Wilhelm III of Prussia, issued in 1817, that the Prussian Army was indebted for its famous collection of military marches (Armeem?rsche). Prior to this, due to the scarcity of printed musical scores, Prussian military musicians were largely dependent upon a repertoire which was passed down by word-of-mouth, a situation which inevitably resulted in the loss of a considerable number of musical compositions over the years. As organized, pieces in the Prussian March Collection were divided between "Slow Marches for the Infantry", "Quick Marches for the Infantry" and Cavalry Marches, with each piece in the collection receiving the numerical designation IS I, II or III, respectively, depending upon its type, followed by an Arabic numeral denoting its number within its category. Thus, the march Herzog von Braunschweig, as a "slow" march for infantry, was numbered AM I, 9; the Marsch des Yorck’schen Korps, as a "quick" march for infantry, was numbered AM II, 37; and the Parademarsch Nr. 1 "M?llendorf", as a cavalry march, was numbered AM III, 51. The collection was continually augmented until, by 1916, it had grown to a repertoire of 536 separate compositions, among which were included not only Prussian, but also Hanoveranian, Saxon, Hessian, Badener, Württembergian, Bavarian, Austrian, Swedish, Italian, Swiss and even Russian and British military marches! In the early 1930’s, the Prussian tradition of cataloguing Armeem?rsche was revived by the German armed forces which redesignated march compositions as Heeresm?rsche, which were given numerical designations beginning with HM I, HM II and HM III respectively. Luckily for the enthusiast of military music, the West German armed forces undertook in the nineteen fifties, ‘sixties and ‘seventies, with various fits and starts, a systematic effort to record for posterity many of the pieces in the Prussian and German March Catalogues, being closely paralleled by the military musicians of the DDR, who "rediscovered" the heritage of the German march fairly early on and produced numerous recordings of their own. Brandenburg Historica is proud to present some of the best results of these endeavours, which have produced first rate performances of many of those marches which are today but little known, but are among the most illustrious in the repertoire, as well as definitive versions of the oft-performed "old standbys". Some of which included Preussens Gloria, Parademarsch der 2. Garde-Infanterie Division and Regimentsmarsch der Hannoverschen Garde du Corps”.Clearly wars and battles impacted on the traditions of military units throughout history. Epic conflicts and minor scuffles time and again were fêted in song and eventually became the regimental or corps march past. As example Punjaub March by Charles Payne became the march of British Cavalry units who were serving in 1898 in the Punjaub during the uprising. The D day landings by Canadian parachutists during WW2 and they selected the Twentieth Century movie theme of the march by Paul Anka “The Longest day” as their regimental march. Similarly marches were named for items of clothing with names like the Buffs due to buff facings on breeches and stockings on the Royal east Kent Regiment, and Blue Bonnets Over the Border which refer to blue woollen caps worn in 17th century Scotland.The culture of Regimental marches is undoubtedly a tradition of tale, epics and evolution. The expression within the marches is one of honour, courage, and thoughts of home. The identity of serving personnel both present and past has a very human side. The “old march” has a way to not only to bring back memories but to stir the soul, not just of war, but of comrades past. The cultural history of marches is a concept which has never been fully explored because the music is not just a constant or historical stimulant it is phenomena which relates to ideology, nationality, and ethnicity. Regimental marches have become the particular expertise of Canadian author Ian Pearson and he has thus far found 615 marches that were employed by British and Canadian troops from 1600 to the present. Regimental Marches A Time Line XE "Regimental Marches A Time Line" DateWorld EventMusic as an Art Military cultureRegimental MusicApproximately 1400 BThe Battle of Jericho is an incident in the Bible's Book of Joshua,(Joshua 6:1-27) the first battle of the Israelites during their conquest of Canaan. According to the narrative, the walls of Jericho fell after Joshua's Israelite army marched around the city blowing their trumpets.Flutes(ugab)Trumpets (hazozra)Drums(tof)Instruments employed to signal arrival ofa n enemy-Rams horns 400 BCAncient Cretan and Lcedaemonian Culture introduces aulos (pan flutes)and a marching rhythm is employed into battlePan Pipes, Trumpets forged in silver-rudemtary drums with animal skins stretched over the drums and simple beating patternsNo set instruments-crude forms of oboes350 BCPlato’s theory of education introduces the idea of a marching pace in tandem with each syllable for each step for Spartan Youth as they march into battle.300 BCRome Rises to powerA wide use of wind instruments including brass.-Trumpets and tubas -The most ancient type of tuba was a Roman buccina used as an infantry bugle. It had a spiral form.Centurions and Roman Legions Archaeological evidence in existence that Roman Legions marched to a prescribed formula of drum cadence, flute and trumpet sounds and shouts of words after each rhythmic pattern1346Battle of Crécy and Neville’s CrossFifes, early oboes, trumpets Paintings of period show troops being led by pipes and drumsNo evidence of actual music but possible drum cadence 1667Anglo-Dutch wars(1652-1674)Drums,trumpetsFlutes,oboesTrombonesTroops march into battle in single line of battleDumbarton’s Drums The oldest regimental march as such is undoubtedly Dumbarton’s Drums of The Royal Scots. Samuel Pepys has recorded in his famous diary under the date 30th June 1667, that he heard the regimental play it at Rochester. The Earl of Dumbarton was Colonel of The Royal Scots from 1645 to 1681.1687 Marches Taken from Playfords Musical Companion Flags are used for signalling Begone Dull CareRoyal Signals Regiment1709Great Northern War (1709-1721)Various composers from the end of the Baroque period to the classical era-George Frederick Handel –clarinets are introducedToops in block Formations of Infantry. Artillery forces are employed in great numbersMarch of the Russian Regiments Preobrajensky march1779French Revolution-British Navy strength increases Flutes, oboes,clarinets,trumpets,hornsdrums-paintings of the periodMen of War Ships of the line carried as many as 100 CannonsHeart of OakComposed by Dr Willam Boyce-Royal Navy 1781Battle of Yorktown -British bands had drums – Fifers of the French Army The battle which the French troops and American Colonial troops fought and won over the BritishYankee Doodle, The World Turned Upside Down1805US Marines Italian Musicians for the Marine bandBattle of Derne United States Marines March1809Peninsular War(1808-1814) Military band instruments with addition of Serpents(marines Over the Hills and Far away- The Rifle Brigade1811Battle of Arroyo Dos Milinos Royal Marines (1810-instrumentation –flute,clarinets,horns,trombonesserpent,trumpets and drums-from a paintingJohn Peel-The East Kent Regiment 1815The Battle of WaterlooDrums,Fifes and trumpets(bugles)French, British, Prussian and Dutch TroopsPrussian Glory, British Grenadiers,Holland Netherlands Marsch van de Heer van der Duyn1848Italian Austrian War(1836-1848)Italian Uprising Commander –in-chief in Italy Radetsky March The Radetsky Hussars,1st Kings Dragoon Guards 1861-1865American Civil WarNumerous Union and Confederate brass bands with Sax Horns and bell back brass instrumentsCountless evidence of playing troops into battle on both sides1879 Defence of Rourke’s Drift -Full Instrumentation less saxophonesAnglo Zulu Wars Men of Harlech24th of Foot The Life Guards9th/12th LancersWelch Guards1882Units of British Army Submit marches for review-Royal Marines select marchRoyal Marine bands are often employed on ships59 marches seleceted in 1883-Royal Marines adopt Life on a Ocean wave as the Regimental March1897Boer Warsaxophones are in use in various Keys Pitched battles in which British, Canadian and Australian troops are pitted against South African irregulars‘Cock of the North ‘-played by pipes at the storming of Dargai Heights1906United States Navy Begins Turbine Battleship programme with 2 battleshipsWashington based bands have as many as 100 musiciansUnited States begin discussions on armament programUnited States Navy March is composed Anchors Aweigh1908 American Infantry units serving in the Philippines cross the Zambales MountainsWind and percussion instruments modernized with Besson and Company introducing the “prototype “ system Balkan Wars begin 1912The US Army March is created The Army Goes Rolling Along1918Formation of the Royal Air ForceSousaphones are standard instruments in US BandsWorld War IEndsRAF March Past is composed-Adopted by RCAF 19241919Canadian Regimental Marches codifiedBands are drastically reduced in size worldwideArmistice is signed on November 11thCaptain John Slatter of the 48th Highlanders publishes Patriotic band Book 1927US Send Naval ships to China to bring US Citizens homeBands are featured on radio broadcasts in USA and BritainLindbergh flies solo across the Atlantic US Guard march Semper Paratus is introduced1939World War II begins September 1stBands are reduced only to be resurrected almost immediatelyGermany marches into PolandThe official march of the United States Army Air Corps is introduced- Wild Blue YonderRetreat Ceremony XE "Retreat Ceremony" Similar to the tattoo is musical relic of the old ceremonial past which has had a revival in recent years. The original “retreat” had its origins in the conveyance of the signal to retire to the rear during a battle. During the 17th century the retreat in the form of a signal usually drums to indicate the closing of the barriers of a town or camp. It was played at sunset.. It was similar to the Tattoo but the two ceremonies differed in that the drummers were placed on the ramparts and beat retreat …warning that the gates are going to shut. The Tattoo was usually to be beaten at 10:00 pm in summer and 8:00 in winter that in fact the gates were now shut.In modern times the retreat ceremony serves a twofold purpose. It signals the end of the official duty day and serves as a ceremony for paying respect to the flag. Because the time for the end of the duty day varies, the commander designates the specific time for the retreat ceremony.In the USA The retreat ceremony may take place at the unit area, on the base parade ground, or in the vicinity of the flagstaff. If conducted at the base parade ground, retreat is a part of the parade ceremony. If conducted within the unit area, it is usually a ceremony not involving a parade. If the retreat ceremony is conducted at the flagstaff, the units participating may be formed in line or they may be massed, depending upon the size and number of units and the space available. Although retreat ceremonies are different according to tradition in many countries the ceremony of each retreat has its focal point, the gathering of troops and band or bands to honor their flag. Most Tattoo performances today include the retreat ceremony as the finale. The ceremony of Beating Retreat is often a massive display of bands as exemplified by the Liberation Of Holland Beating Retreat in May 1995. There were 6 bands from Canada 1 band from the United Kingdom and 4 bansd from Holland. The ceremony began with a four gun salute followed by an opening fanfare . The bands then marched on to the the parade ground , This was followed by an impressive display of massed pipes and drums. The military bands now made their entrance and perforemd displays. The retreat ended with the playing of the last post and rouse with the National Anthems of all of the countries that participated..Rogan, John, Mckenzie, XE "Rogan, John, Mckenzie," b. 5 February 1852 d.1932.Well known and respected band director of the Coldstream Guards served for 50 years as musician and bandmaster in the British Army. On his jubilee a concert to honour him was organized by Sir Thomas Beecham at Queens hall on February 5th 1917. Retired with the rank of full Colonel.Rogue’s MarchA military quick-step march traditionally employed in England to accompany an expelled army member to the barrack gates;”humility heaped upon the offending military person via music” The first evidence of the use appears in the mid-18th century ina written form. However the music probably dates back much earlier. The practice has long been discontinued.(1)Royal Garrison Regiment bands XE "(1)Royal Garrison Regiment bands" The Royal Garrison Regiment was raised during the Boer War with the aim of providing a fresh source of trained manpower by re-enlisting ex-soldiers. These personnel were signed on for two years with the option of re engaging to complete 24 years from their first attestation. Pay was that of the rank that the man had held in the Reserve, with an additional 2d per day garrison pay. The intention was that these new battalions would release regular line regiments from garrison duty, with the newcomers being available for service in the garrisons of South Africa and other outposts of the British Empire.Originally there were to have been eight battalions, but only five ever materialized, the first four in the latter part of 1901 and the fifth in 1902. Each of the five was provided with a regular established band. Shortly after their formation, the 1 st, 3rd and 4th battalions proceeded over seas to Malta whilst the 2nd went to Gibraltar. In 1904, all four were sent to South Africa along with their bands. The 5th Battalion meanwhile proceeded to Halifax, Nova Scotia in 1902.In order to form the bands as quickly as possible, bandsmen from the cavalry and infantry were encouraged to transfer in, and similarly three of the bandmasters – WOls Griffiths, Guyton and Cooper (1st, 4th and 5th Battalions respectively) – were already serving bandmasters. There was a suggestion that these bands would ulti mately be elevated to minor staff band status, but in the event the Regiment was to disappear almost as quickly as it had emerged, and the proposal came to nothing. In 1906 all five battalions returned home and the 2nd, 3rd, 4th and 5th were disbanded. The 1st survived a little longer but in 1907 the Royal Garrison Regi ment ceased to exist and was never again resurrected. Most of the bandsmen were absorbed into other bands. (2)Regimental MusicThere is no mention of an official regimental march in the archives of Boosey and Hawkes, publishers of all authorized marches, or at the Royal Military School of Music. In view of the fact that the Royal Garrison Regiment had close affiliations with the Royal Garrison Artillery, it has been assumed that they used `British Grenadiers’, but there does not appear to be any evidence to substantiate this.(AWT) Royal Artillery band XE "Royal Artillery band" The oldest of all British military bands, is the Royal Artillery Band, which also has the distinction that its musicians are double-handers, performing on both stringed instruments and wind instruments. The orchestra is the oldest symphony orchestra in Britain, as both band and orchestra were formed in 1557 at the Battle of St. Quentin, and continue to this day. The Royal Artillery Band is the senior State band of the British Army, and an unusual detail to the ceremonial uniform worn by its musicians, is that each musician wears a sword. The band swords were presented to the band, by Queen Victoria. The 'sister' bands of the Royal Artillery are, in order of seniority, the Band of the Royal Engineers, and the Band of The Royal Signals. These three bands are placed right of the line, and before those of the Household Cavalry, and the Guards Division.Royal Marine Band ServiceThe Royal Marines Band Service is the musical wing of the Royal Navy. It currently consists of five Bands and its headquarters is the Royal Marines School of Music at HMS Nelson in Portsmouth dockyard.HistoryThe development of music in the Royal Marines is inextricably linked with the evolution of British military bands. Lively airs and the beat of the drum enabled columns of marching men to keep a regular step. The drum was the normal method of giving signals on the battlefield or in camp. As long ago as the days of Drake and Hawkins the drummer's rhythm would advertise the changing watches or beat the men to quarters.Without doubt, groups of musicians existed in the Service before 1767, when Royal Marines Divisional Bands were formed at the naval dockyard-bases of Chatham, Plymouth and Portsmouth and the naval gathering-point of Deal in the Downs, and Marine bands (along with professional bands paid for by captains) provided music on board ship before and during battles of the Napoleonic Wars (eg during the long sail into action at the Battle of Trafalgar). The modem history of the Service, though, begins late in the 19th century, when the task of forming a Royal Naval School of Music to provide Bands for the Royal Navy was assigned to the Marines, with the School being founded in 1903. From then on the Band Service became an integral part of the Corps. Its original home was Eastney Barracks Portsmouth; where it remained until 1930 when it was transferred to the Royal Marines Depot, Deal.After the outbreak of World War II, it moved to Malvern, then it divided with the Junior Wing moving to the Isle of Man and the Senior Wing to Scarborough before reuniting at Burford in 1946 and finally returning to Deal in 1950. The amalgamation of the Divisional Bands with the Royal Naval School of Music to form today's Royal Marines Band Service also took place in 1950 when the headquarters and training establishment were re-named the Royal Marines School of Music.At aprox 8.20am on the 22nd of September 1989, the Royal Marines School of Music at North Barracks, Deal was bombed by the IRA. this resulted in the death of 11 bandsmen including musician Robert Simmonds and the injury of 22 other marines. The memorial garden is situated in the grounds of the old barracks where the bomb went off. This was built in remembrance of the I I that died and was then restored after an arson attack a number of years ago. Every year the families and friends of those that died join together at the garden to pay their respects and lay flowers in a memorial service. In 1996 the School of Music was moved to HMS Nelson in the Portsmouth dockyard.Royal Nova Scotia International Tattoo XE "Royal Nova Scotia International Tattoo" From a two-day event in 1979 to a ten-day entertainment extravaganza in the year 2000, The Nova Scotia International Tattoo has developed into an annual event that attracts capacity audiences from around the world. The Tattoo’s unique combination of military and civilian performers, bands, pipes and drums, dance, drama, gymnastics, comedy and military displays has developed a devoted audience. What started as a production that featured local talent has grown to include international acts from around the world. As of the 1999 production, the Tattoo had hosted talented performers from Canada, Australia, Bermuda, Denmark, Estonia, France, Germany, Japan, The Netherlands, New Zealand, Norway, Portugal, Russia, Sweden, Switzerland, the United Kingdom, the United States and the list grows every year.HistoryThe Tattoo’s of today can trace their history to a military tradition that began in 17th century Holland. To recall British Soldiers, who were billeted with the townspeople, from the local inns and pubs, a drummer marched through the streets calling out “Doe Den Tap Toe”. This call was a signal for the innkeepers to turn off their taps and for the soldiers to return to their billets. This phrase was shortened to “Tap Toe” and eventually anglicized to “Tattoo.”The tradition was carried back to England where it became a daily routine, altered by the addition of other musicians. As Tattoos evolved in Britain, various elements were added; military drill displays, musical rides, simulated battle scenes and historical pageants lent colour and excitement. From a simple drill, a form of local military entertainment was created and eventually garrisons were providing short concerts for the benefit of the townspeople each evening. Early in the 1900s, the Tattoo developed into a form of high quality entertainment. Tattoos were staged to stimulate interest and recruiting in the peacetime army. The Canadian ConceptLieutenant Ian Fraser, under the tutelage of General Robert Moncel, modified the European style Tattoo through an approach to production which came to be called the “Canadian Concept.” The first Tattoo produced in this manner was “Soldiers of the Queen”, performed in Fredericton, NB in 1959. Elements from various European productions were combined for variety and theatrical elements such as lighting, costumes and proscenium stages were introduced to make the show more spectacular.Ian Fraser developed his unique style of production with “The Canadian Tattoo” which was presented at the Seattle World Fair in 1962. The outstanding success of this show led to Ian Fraser’s appointment as Producer/Director of the “Canadian Armed Forces Tattoo” produced during Canada’s centennial in 1967. Fraser added a creative storyline, professional civilian designers and extensive theatrical lighting, but at the same time, he retained the traditional bands, music, display and competition.For Nova Scotia’s initial Tattoo in 1979, A Gathering of the Clans which was opened by Her Majesty Queen Elizabeth The Queen Mother, civilian performers were successfully combined with the traditional military performance for the first time. A Gaelic choir, the Men of the Deep, highland dancers, pipes and drums, and numerous dance clubs brought to the Tattoo a presentation of the Province’s cultural heritage.Each Tattoo after that has been a new event, a completely different show. Under the direction of Ian Fraser, the Tattoo has expanded and taken on new creative dimensions in order to present a unique and spectacular performance each year. It has evolved into a breathtaking spectacle of pomp, pageantry, energy and spirit. Four full-time staff assist Ian Fraser year-round. At production time, the number of people working on the show, in addition to the hundreds of volunteers, grows to 60.The Tattoo now carries an annual theme – “Bond of Friendship” – which represents the coming together of the military and civilian communities, individuals and nations. In addition to this annual theme, several Tattoo's have featured sub-themes including such names as The Immigrants (1988); The Battle of Britain (1990); Battle of the Atlantic (1993); D Day (1994); VE Day (1995); The Militia Story (1996); The Battle of Vimy Ridge/ Canada and the UN (1997); the 125th Anniversary of the RCMP (1998); and the 250th Anniversary of the Founding of the City of Halifax (1999). The 2000 Tattoo featured a tribute to the Canadian Forces over the past 100 years.The Tattoo is proud of its international participation. The United States was the first international country to join the show. The Quantico Marine Band played at every NS Tattoo from 1980 to 1996. The Tattoo has also enjoyed the presence of the American All Star Dancers in 1985, the US Army Herald Trumpets and the US Navy Band Country Current in 1994, the US Army Drill Team in 1995, the Old Guard Fife and Drum Corps in 1996, the US Atlantic Fleet Band in 1997 and the US Continental Army Band in 1998. Germany also enjoys a long-standing relationship with the Tattoo. The Band of the German Air Force, Luftwaffenmusikkorps 2, appeared at the Tattoo in 1983. Since then, there have been appearances by military bands, dancers, the Motorcycle Display Team of the Berlin Police Force, The Flying Grandpas of the Hamburg Police Force, the Flying Saxons, the Gym Wheel Show Group and even the Hamburg Police Dog Team.In 1993, the Tattoo was delighted that The Song and Dance Ensemble of the Northern Fleet of the Russian Federation joined the production. This amazing group, which featured a band, dancers and a choir, is regarded as one of the finest performing groups in the Russian Armed Forces.The Tattoo was honoured that, in 1999, the Central Band of the Japan Air Self Defense Force chose the Nova Scotia Tattoo as their first place to perform outside of Japan. In fact, it was the first performance of a Japanese military band outside of Japan since the Second World War. The Nova Scotia Tattoo is the product of hard work and dedication of civilians, volunteers, professionals, youngsters, office workers, stage crews, designers, drivers, sailors, soldiers, airmen, military brass and government officials. It is at once festive, glorious, meditative, heroic and solemn. It is a traditional form of entertainment which, in a uniquely Nova Scotia way, has become a tradition itself.Today the show is a world-renowned annual event. Each year many loyal performers return to join with ever increasing numbers of international bands and display groups. The participation of local and international performers, combined with the enthusiasm of hundreds of off-stage workers, has given the Tattoo the international reputation it enjoys today.Royal Tournament XE "Royal Tournament" The Grand Military Tournament and Assault at Arms was held at the former Royal Agricultural Hall, in Islington from 21 to 26 June 1880. The Tournament was effectively a series of competitions contested by the officers and men of the regular and auxiliary units of the Army. Although crowds didn’t flock to the Tournament in the first year, it was held again in 1881 and subsequent years.More audience friendly acts were added including music from military bands, re-enactments, Musical Rides by the Cavalry and Musical Drives by the Artillery. Crowds began to flock to performances at the Agricultural hall and during the early 1900s the show outgrow its home and moved to the west London venue of Olympia. The Royal Navy and the Royal Air Force also became involved. The show was renamed a number of times until it finally became the Royal Tournament.After the Second World War, the Tournament once again moved to a larger stage and opened its doors to the public at the Earls Court Exhibition Centre in 1950. With the exception of the war years, the Tournament was staged every summer from 1880 to 1999. On Monday 2 August 1999, the Royal Tournament closed for the final time, after the ruling Labour party in the wake of the 1998 Strategic Defence Review decided it would be a good cost-cutting measure. The decision was further compounded by the financial loss incurred by the 1998 Royal Tournament. However, other events such as Trooping the Colour, the Edinburgh Military Tattoo and Royal International Air Tattoo have continued to remain an active part of British military pageantry. Nevertheless the Royal Tournament entered the history books as the First, Oldest and Biggest Military Tattoo in the World.Rudyard Kipling XE "Rudyard Kipling" “The Soul of a Battalion” From a speech given on January 27th 1915THE MOST USEFUL THING that a civilian can do in these busy days is to speak as little as possible, and, if he feels moved to write, to confine his efforts to his cheque-book. But this is an exception to that very good rule. We do not know the present strength of our New Armies. Even if we did, it would not be necessary to make it public.We may assume that there are now several battalions in Great Britain which did not exist at the end of last July, and some of these battalions are in London. Nor is it any part of our national scheme of things to explain how far they are prepared for the work ahead of them. They were quite rightly born in silence, but that is no reason why they should walk in silence for the rest of their lives. At present, unfortunately, most of them are obliged to walk in silence, or to no better accompaniment than whistles, concertinas, and other meritorious but inadequate instruments of music which they provide for themselves.In the beginning this did not matter so much. There were more urgent needs to be met; but now that the New Armies are what they are, those who cannot assist them by joining their ranks, owe it to them to provide them with more worthy music for their help, and comfort, and honour. I am not a musician, so if I speak as a barbarian forgive me. From the lowest point of view, a few drums and fifes in a battalion are worth five extra miles on a route-march—quite apart from the fact that they swing the battalion back to quarters composed and happy in its mind no matter how wet and tired its body may be. And even where there is no route-marching, the mere come-and-go, the roll and flourish of the drums and fifes round barracks is as warming and cheering as the sight of a fire in a room.Or a band, not necessarily a full band, but a band of a few brasses and wood winds is immensely valuable in districts where troops are billeted. It revives memories; it quickens associations; it opens and unites the hearts of men more surely than any other appeal. In that respect it assists recruiting perhaps more than any other agency. The tunes that it employs and the words that go with them may seem very far removed from heroism or devotion; but the magic and the compelling power are there to make men’s souls realise certain truths which their minds might doubt.More than that. No one—not even the Adjutant—can say for certain where the soul of a battalion lives; but the expression of that soul is most often found in the Band. It stands to reason that a body of twelve hundred men whose lives are pledged to each other’s keeping must have some common means of expressing their thoughts and moods to themselves and to their world. The Band can feel the mood and interpret the thought. A wise and sympathetic bandmaster—and most that I have known have been that—can lift a battalion out of depression, cheer its sickness, and steady and recall it to itself in times of almost unendurable strain. You will remember a beautiful poem by Sir Henry Newbolt describing how a squadron of `weary big Dragoons’ were led on to renewed effort by the strains of a penny whistle and a child’s drum taken from a toyshop in a wrecked French town. And I remember in a cholera camp in India, where the men were suffering very badly, the Band of the 10th Lincolns started a Regimental sing-song one night with that queer defiant tune, `The Lincolnshire Poacher.’You know the words. It was merely their Regimental march, which the men had heard a thousand times. There was nothing in it except—except all England all the East Coast—all the fun and daring and horseplay of young men bucketing about the big pastures by moonlight. But, as it was given, very softly, at that bad time in that terrible camp of death, it was the one thing in the world which could have restored—as it did—shaken men to pride, humour, and self control. This is, perhaps, as extreme case, but by no means an exceptional one. A man who has had any experience of the Service can testify that a battalion is better for music at every turn—happier, easier to handle, and with greater zest for its daily routine if that routine is sweetened by melody and rhythm, melody for the mind and rhythm for the body.Our New Armies, as we know, have not been well served in this essential. Of all the admirable qualities they have shown none is more wonderful than the spirit which has carried them through the laborious and distasteful groundwork of their calling without a note of music except what that same indomitable spirit supplied—out of its own head. We have all seen them marching through the country or through London streets in absolute silence, and the crowd through which they pass as silent as themselves for lack of the one medium that could convey and glorify the thoughts which are in all men’s minds today.We are a tongue-tied breed at the best. The Band can declare on our behalf, without shame or shyness, something of what we feel, and so help us to reach a hand towards the men who have risen up to save us.In the beginning, as I have said, the elementary needs of the Armies over-rode every other consideration; but now we can get to work on other essentials. The War Office has authorised the formation of bands for some of the London Battalions, and we may hope to see that permission presently extended throughout Great Britain. Of course we must not cherish unbridled musical ambition, because a full band means forty pieces, and on that establishment we should require even now a very large number of bandsmen. But I think it might be possible to provide drums and fifes for every battalion, fife bands at depots, and a proportion of battalion bands at half or even one-third establishment. But this is not a matter to be settled by laymen. It must be seriously discussed between bandsmen and musicians present, past, and dug-up—who may be trusted to give their services with enthusiasm.We have had many proofs in the last six months that people only want to be told what the New Armies require, and it will be freely and gladly given. The Army needs music—its own music, for, more than any calling, soldiers do not live by bread alone. From time immemorial the man who offers his life for his land has been compassed at every turn of his services by elaborate ceremonial and observance, of which music is no small part—carefully designed to prepare and uphold him. It is not expedient nor seemly that any portion of that ritual should be slurred or omitted now.Russian Military bands XE "Russian Military bands" Russian FederationBands in the Russian Federation are also of the headquarters element, and also provide musical support to the different units of the Armed Forces of the Russian Federation. The military bands here also provide musical support in civil and military events, in a wide range of groups and ensembles. Some can even continue the old Russian military band traditions by donning the old imperial military uniforms of the Russian Empire, especially the uniforms of the bands.HistoryIn the days of the Imperial Russian Armed Forces, military bands followed the German style military bands, with the addition of the chromatic fanfare trumpet. Some but not all Russian marches then were made in Germany as the rest were locally composed military marches. They would usually have a conductor, and a drum major using his mace or a bugle major playing the chromatic fanfare trumpet.By the time that the Russian SFSR (and later Soviet) Armed Forces came into being in 1918, military bands began to change for the better. With the establishment of the NKVM Central Military Band by Semen Chernetskiy in 1927 came the birth of today's Russian and ex-Soviet Union military band culture. In the 1930s the typical Soviet Massed military bands that perform on May 1, November 7 and from 1945 onward, May 9, would be composed of a Military band and a Drummers Band and later a Corps of Drums marching past and until the 1970s would later join the military band in place.Soviet military bands in the 1930s and 1940s tend to have a drum major, a conductor and an optional two to three deputy conductors in the front of the band.Instrumentation and positioning of Soviet Military bands in the 1930s-1940sChromatic Fanfare TrumpetsTrombonesMarching Percussion Snare DrumsBass DrumsCymbalsTurkish CrescentsGlockenspielsTrumpetsCornetsFlugelhornsClarinets (soprano/alto/bass)OboesFlutes and PiccolosHornsWagner TubaEuphoniumsAlto and Baritone hornsTubasHeliconsSousaphones (rain catcher type)Auxiliary Drum Band (from 1945 onward)The Soviet military bands of the pre-war days played not only on May Day and Revolution Day, but in the National Sports Day parades at the Red Square, the various sports competitions and other occasions and after the Second World War, at Victory Day celebrations across the USSR. In the 1930s, the Turkish crescent holders were shaking during the sports parades, but in the 1940s, they were not shaking them.By the 1950s, Soviet Military bands evolved in instrumentation. Their positioning, especially in the Moscow bands, changed for the better as newly composed Soviet Military marches soon created the Soviet military band sound common to Westerners during the Cold War days.A conductor and one to four drum majors and several bandmasters led the military bands of the Soviet Union into a new decade of progress for Soviet military music.Instrumentation and positioning of Soviet Military bands of the late 1940s-1950Chromatic Fanfare TrumpetsTrumpets, Cornets, FlugelhornsSaxophones (Alto/tenor/Baritone)Marching percussion Snare drumsGlockenspielsTurkish crescentsBass drumsClash cymbalsClarinetsOboesFlutes, PiccolosHornsWagner tubasEuphoniumsTrombonesBaritone hornsTubasInstrumentation and positioning of Soviet military bands from the 1960s – 1970’sChromatic Fanfare TrumpetsFront snare drums (Leningrad MD bands)Trumpets, Cornets, FlugelhornsSaxophonesMarching percussion Snare DrumsTurkish crescentsGlockenspielsBass DrumsClash cymbalsHornsTrombonesClarinets, OboesFlutes, PiccolosWagner tubasBaritone HornsTubas1977Same instruments, but with the addition of a single Sousaphone in the Moscow military bands.1981 onwardUnder the leadership of Major General Nikolai Mikhailov from 1976 to 1993 as Overall Director of Music of the Military Bands Service of the Ministry of National Defense of the USSR, what would become the modern military bands of the Commonwealth of Independent States and the Russian Federation were born and rose to greatness and international appeal.The military bands in the last 10 years of the USSR and the first 2 years of the CIS would be composed of:Chromatic Fanfare Trumpets, Field DrumsTrumpets, Cornets, FlugelhornsMarching Percussion Snare DrumsBass DrumsClash CymbalsTurkish CrescentGlockenspielsTrombonesHornsClarinets and OboesFlutes and PiccolosSaxophonesWagner Tubas, Baritone hornsEuphoniums, Tubas and SousaphonesBeginning in 1981 through the collapse of the Soviet Union, field drummers were added to the orchestra during the famous Red Square parades in between the chromatic fanfare trumpet players.Instrumentation and formation of Russian Military bands in the 1990s-2000s1995With the advent of the Armed Forces of the Russian Federation Military Bands Service, Major General Mikhailov's term as its first Director of Music ended in 1993, and was replaced by Lieutenant General Viktor Afanasbev, who was later replaced by the current Sr. Director of Music, Lt. Gen. Valery Khalilov, who was then a Colonel, in 2002.The 1995 Victory Day Parades at Red Square and Moscow's Poklonnaya Hill created the modern Russian Military band we know today. The Afanesbev band formation in the 1990s is as follows:?Chromatic Fanfare Trumpets, Field Drums?Trumpets, Cornets, Flugelhorns?Marching Percussion oSnare drumsoBass drumsoClash cymbalsoTurkish crescentsoGlockenspiels?Trombones?Horns?Clarinets, Oboes, Saxophones?Flutes and Piccolos?Wagner Tubas, Baritone horns, Euphoniums, Tubas, SousaphonesIn 2000, the formation setup was partially revised so that the field drums and fanfare trumpets are now clearly separated, with the fanfare trumpeters at the sides and the field drummers now holding the center of the band, with the Directors of Music in between the two groups of field drummers. This is the formation used today in Moscow, but in other Russian cities band formations tend to differ in usage.Admiralty Navy Band-The Oldest Band in RussiaThe history of the goes back to the time of Peter the Great. Three months before Saint-Petersburg itself was founded, in February 1703, Peter I ordered the draft of twenty-nine singers from the Moscow Royal Choir in order to teach them to play oboes for the Admiralty. The destiny of these musicians is not known for sure, but the most likely version is that the twenty-nine musicians from Moscow were the ones who appeared in Saint-Petersburg a year later. If this version is correct, the birthplace of the Admiralty Navy Band is Moscow.In autumn 1704 the General Admiralty Building in the Northern capital was founded. The music of oboes and drums mixed with the sounds of hammers and creak of capstan engines accompanied the construction of the Russian Fleet.It seems that the new Navy music was initially rather poorly received, because the Tsar ordered the band to play “an hour before the noon” at the Admiralty building to make the band prepare and practice their performances. However, the task was carried out with such a success that the ordinary exercises turned into daily “before noon” concerts. Later, when the Admiralty tower was completed, the band moved there to perform concerts, which were accompanied by a noon volley of a signal cannon. Such concerts became one of the main sights of old Saint-Petersburg.By the order of Peter the Great on 19 February 1711 (Old Style) the band received official status as The Chorus of the Admiralty Battalion. This order establishing military choruses (as military bands were then called) in the Russian Navy and Army turned out to be a cornerstone in the further development of military wind music.Until the end of 18th century, there were concerts at the Admiralty tower. But time goes by. During his short reign, Tsar Paul I commenced a rebuilding of the Admiralty under management of Adrian Zakharov. The shipyard was replaced – and the Admiralty Battalion was disbanded. The concerts were stopped for a while. But in Russia there is nothing longer than temporary things. This stop is still present. The new Admiralty building itself was finished only during Tsar Alexander’s reign.Nevertheless, there is an anniversary for the band connected with the name of Paul I. In 1798, after the Admiralty Battalion was disbanded, a Naval College of Ship Architecture was founded. For the next 200 years the history of the band was connected with that of the College.In the middle of the 19th century the College moved to Kronstadt – a citadel of the Russian Navy. In Kronstadt, N.A.Rimsky-Korsakov, acting as the first Inspector of the Naval Bands of Russia, conducted the Admiralty Band as well as other bands of the Kronstadt port. Nikolay Rimsky-Korsakov organized a massed band of the Kronstadt port and conducted concerts for the benefit of the sick and injured. For those concerts the composer wrote his Variations for Oboe, Concerto for Trombone and Concerto for Clarinet. But, during rehearsals, the great composer didn’t like the latter composition and excluded it from the concert program.The College was still located at Kronstadt during the Disavowal of Tsar Nikolas II, the revolution of 1917. After the revolution, the College was restructured and moved to Saint-Petersburg under the golden capstan of the Admiralty.Before World War II the Naval College’s band was renowned as one of the best in the USSR Navy. In 1938 the band was headed by Colonel G.N. Stepanov and from August 1939 by Colonel S.P. Rotmil (1883-1943). In 1940 he was replaced by a brilliant musician Lieutenant-Colonel A.B. Tsvetkov. From 1950 until 1960 Major S.D. Polansky conducted the band.From 1960 to 1976, the band was headed by V.M. Barsegian, a very talented conductor and composer. That was a legendary period of prime when the Admiralty Navy Band became the absolutely best in the garrison. Vartan Michailovich Barsegian left to us a great musical heritage which still embellishes the band’s repertoire.Unfortunately there were also dark pages in the band’s history. In 1976 Major Barsegian was suddenly replaced by Lieutenant M.F. Borzhkov. His disgraceful work caused a lot of damage to the band which went through this period owing only to the mastery of the musicians and to the First Sergeant Nathan Vladimirovich Idson, a brilliant clarinet player and band manager who was acted as the band conductor in 1978 to1985.Since 1985 the band has been led by Commander A.A. Karabanov.Starting in 1991 the Admiralty Navy Band made tours in Europe – Belgium, United Kingdom, Germany, Denmark, Spain, Italy, Holland, Finland, France, Sweden, Switzerland – this became the geography of the band’s tours.For their highly professional accompaniment of Queen Elisabeth’s II visit to Saint-Petersburg the band was rewarded with a Diploma of Gratitude of the President of the Russian Federation. And during a two-month tour in 1995 the British press called the Admiralty Navy Band “one of the best touring bands of the world”.During celebrations of the 300th anniversary of Saint Petersburg, The Admiralty Navy Band was invited to play in the State Hermitage for more than forty (!) heads of state – the members of the Saint Petersburg Summit. For this performance, The Admiralty Navy Band is rewarded with an Honor Diploma of the State Hermitage. The Hermitage’s Director M.B. Piatrovsky said that the Band “is the most cultured military band in Russia.”The band performed the music of composer V. Panchenko for the film “The Peculiarities of National Fisheries” in 1999.Also, The Admiralty Navy Band was the first Russian military band presented on the Internet. Since 1997 the band’s life has been on-line (in Russian) at anband.pl.ru. In 1998 the Admiralty Navy Band was transferred from the Naval College and once again, as it had been nearly 300 years before, was stationed at the Saint-Petersburg Naval Base.The many avid listeners of the Band include Queen Elizabeth II of the United Kingdom, Queen Beatrice of the Netherlands and King Karl-Gustav XVI of Sweden. as well as several crown princes and princesses. Prince Nikolai Romanovich Romanov and Prince Mikhail Romanovich Romanov, progeny of the Russian Emperor, are frequent guests at the Admiralty Navy Band concert The modern Admiralty Navy Band of the Saint Petersburg Naval Base is a highly professional band of naval musicians. It is distinguished by a high performing level, delicate intonation, beautiful sound and endless repertoire. The band plays ceremonial and ancient military music, classical, modern and dance music. The Band’s performances in the best concert halls of Saint Petersburg has become a key part of the city’s concert life. The Admiralty Navy Band is a permanent participant at the international festivals held in Saint Petersburg, such as “Palaces of Saint Petersburg”, “Admiralty Music” and “The Festival of Military Bands”.Every year foreign military musicians are invited as guest conductors to perform with the Band:February 1998 – main conductor of the UK Royal Navy Bands, Commander Richard Waterer, at the Capella Hall – a program of “British Music”.June 1999 – main conductor of the Royal Navy Band of the Netherlands, Major Morris Hammers, at the Grand Philharmonic Hall – a program of modern music for a symphonic band.February 200 – conductor of the Hamburg Police Band, Christine Kresge, at the Capella Hall – “From Mozart to Jazz” with sololoist Jiggs Wigham from germany on trombone.March 2002 – main conductor of the Defense Forces of Estonia, Captain Peter Saan, at the Capella Hall – a program of Estonian music “Capriccio Estogniol”.February 2003 – chief conductor of the Royal Navy Band of Sweden, Lieutenant-Commander Andreas Hanson, at the Grand Philharmonic Hall, “Swedes on the Neva River”, a 300th anniversary performance.February 2004 – chief conductor of the Defense Forces of Estonia, Major Peeter Saan, and chief conductor of the Navy Band of Finland, Captain-Lieutenant Timo Kotilainen, at the Grand Philharmonic Hall, The Music of Battles”.March 2004 – Dr. William Malambri of the United states of America, at the Grand Philharmonic Hall, a program entitled “Nostalgia”World Book of Military MusicS-USan Marino Military band XE "San Marino Military band" The Republic of San Marino military band Set up in 1843, it is a part of the Regular Militia and wears the same full-dress uniform.It takes part in official ceremonies and in the main festivities of the Republic, as well as performing institutional services.The Military Band is conducted by an Officer with Maestro-Conductor functions.The Military Band has also successfully played outside the country on numerous occasions. Schools of Music- Military XE "Schools of Music- Military" Kneller HallThe Royal Military School of Music, Kneller Hall, was founded in 1857 by the Duke of Cambridge, following an appalling show by the British military bands at a grand review during the Crimean war. The method of forming British bands had been completely ad hoc, left to the whim of commanding officers; in addition, then as now, bandsmen became hospital orderlies in the front line, so it was little wonder that the cacophonous British sounds at the grand review of allied troops drove the Duke of Cambridge to action.According to Henry Farmer,The final humiliation came at Scutari in 1854 when at the Grand Review in honour of the birthday of Queen Victoria, with some 16 thousand men marching past in perfect order, our band later struck up ‘God Save the Queen’ not only from different arrangements, but in different keys and this before the General Staff of the Allied Army.After the Peace Treaty in 1856, the Duke as Commander-in-Chief of the British Army determined to restructure the training of military musicians, and with commendable speed and efficiency the Royal Military School of Music opened to train musicians and bandmasters for the British army in 1857 Despite the initial reservations of many regiments, within twenty years a circular from the War office could proudly declare that there are now nearly 120 Military Bandmasters in active employment, all of whom have qualified at Kneller Hall, while there are only 35 left of the old class of civilian bandmasters.Years of steady development followed, with a musical mix largely of entertainment and ceremonial, for which successive Directors of Music, and the student bandmasters as part of their course, wrote marches and fanfares. The concert programmes in the last century were catholic, ranging from classical to contemporary; the first surviving programme, dated June 1888, includes music by Handel, Mozart, Meyerbeer, Wagner, Saint-Saens, Gung’l, Thomas and Stainer.Links with the music profession, through the staff and formal and freelance work in London, have always been strengths of Kneller Hall and are continued today. As Mackenzie Rogan records, the students were expected to attend the opera at Covent Garden or Her Majesty’s Theatre twice a week….We also had complimentary tickets for the Monday ‘Pops’ at St James Hall.Musically, the most ambitious period was that of the early twenties, inspired by the then Commandant, Colonel J A C Somerville who had succeeded his elder brother Cameron Somerville in 1920. Somerville was very outspoken; in an article in The Army Quarterly he claimed that civilian taste in music had improved under the influence of Sir Henry Wood (who visited Kneller Hall in 1923) but that this progress had not been matched by the military.Republic of Ireland Defence Forces School of MusicThe idea for the establishment of an Army School of Music was first mooted in November, 1922. General Richard Mulcahy, the then Chief of Staff, said “ ... I want to have bands that will dispense music and musical understanding in the highest terms to the people...”. Under the direct supervision of General Mulcahy and Dr. J.F. Larchet, musical adviser to the Army, the project was begun.Army Bands No.s 1,2 & 3 in Cathal Brugha Bks 1929The first requirement was for expert military musicians to take on the task of training bands. Approaches to the French Garde Republicaine Band, the leading wind combination in Europe at the time, proved unsuccessful. Enquiries in Germany were more fruitful. One musician in particular, Col Wilhelm Fritz Brase, was an obvious choice. Brase had one of the most celebrated reputations in German military band circles before the 1914-1918 war. He was a distinguished graduate of the Leipzig Conservatoire and had also studied at the Berlin Academy. By 1907 he had become "Royal Music Director" and in 1911 he was appointed Director of the Band of the First Grenadiers, one of the most coveted positions in German Military Music. He conducted his final massed band concert at Christmas 1917 before the Kaiser, Generals Von Hindenberg and Ludendorf and the German General Staff.When the proposition to come to Ireland was put to him, he accepted and specifically asked that Christian Sauerzweig, also a German military musician, should be asked to come as his assistant. Sauerzweig, a multi-instrumentalist, had graduated from the Royal Academy in Berlin with the rarely granted note “Excellent’’. While in Berlin, he had frequently performed with the Berlin Philharmonic Orchestra, and was in particular demand for the oboe d’amore and oboe da caccia parts in the works of Johann Sebastian Bach.These two musicians arrived in Ireland on the first of March 1923 and set about the organisation of a music service. A process of recruitment was initiated, and after a month Colonel Brase reported to GHQ that a band was now formed and could play hymns and a few marches. By October 1923 he felt that his band was strong enough to give a public recital at the Theatre Royal, Dublin. This was an unqualified success. In January 1924 the entire operation was transferred from the Curragh, Co. Kildare, to Beggars Bush Barracks, Dublin. Between 1924 and 1936 a school and three further military bands, all under the Corps title of The Army School of Music, were established. General Mulcahy’s idea of bringing music and performances of a worthy standard to the civilian population was nurtured, and in time flourished. In addition to the routine work of military ceremonial, a wide range of recital work was undertaken. Pioneer work was done in initiating schools concerts. Army conductors and instrumentalists played a fundamental role in orchestral concerts and in opera and ballet performances throughout the country. Colonel Brase died in 1940 and was succeeded by Colonel Sauerzweig, who served as Director until 1947. The office of Director then passed to Irish musicians who inherited an established tradition and structure. The first of these, Colonel James Doyle, joined the Army as a cadet in 1923 and held the appointment between 1947 and 1971. Colonel John Brennock served as Director between 1971 and 1981. The next two Directors, Colonel Fred O’Callaghan (1981–1987) and Colonel Jim McGee (1987–1988) had served as boy musicians before being commissioned, and Colonel Mc Gee had the distinction of having the longest ever service (almost fifty years) of any member of the Defence Forces. He was succeeded by Colonel Neil O’Brien. 1997 saw a reorganisation of the Defence Forces which also included a reduction in overall strength. The bands of the re-titled Defence Forces School of Music did not remain untouched by this process.?The Band of the Curragh Command, (formerly The Army No. 3 Band and latterly The Band of the Curragh Training Camp), a unit with a long history of service, was unfortunately lost. This Band was established in 1925 and until its disbandment was an integral part of the civilian and military communities of the Curragh Camp.The Army Number 1 Band retained its title and remains co-located with the Directorate and school at Cathal Brugha Barracks, Dublin. The Band of the Southern Command (Collins Barracks, Cork) was renamed The Band of 1 Southern Brigade, and the Band of the Western Command (Custume Barracks, Athlone) was retitled The Band of 4 Western Brigade. The US Navy School of MusicThe U.S. Navy School of Music was founded at the Washington Navy Yard by order of the Chief of the Bureau of Navigation on 26 June 1935. The school was originally run by the U.S. Navy Band, with members of the Navy Band teaching classes and private lessons in addition to their regular performance duties with the band. After the commencement of World War II, these duties were deemed too onerous for the Navy Band personnel and the school was separated from the band and relocated to the Anacostia Naval Receiving Station in Washington, D.C. on 24 April 1942.Inclusion of Other Services in training included the Marine Corps who were given an allocation for 15 students in 1946 and the first Marine Corps students enrolled in 1947. The school was renamed "U.S. Naval School of Music" to reflect the fact that the school now trained not only Navy personnel but all personnel of the naval service.In 1950 the Army reached an agreement with the Navy to begin training Army musicians at the Naval School of Music. The first class of 150 Army students began training in January 1951.On 13 April 1961 the Secretary of the Navy announced plans for the US Naval School of Music to be relocated to Little Creek Naval Amphibious Base. On 12 August 1964 the doors to the Naval School of Music in Washington, D.C. were secured, and students enlisted in the navy band would spend 150 days at the academy, fine-tuning their skills to motovate the nation. The USS Caddo Parish and the USS Monmouth County proceeded to Little Creek loaded with musical instruments and Army and Navy personnel. Each ship had a band aboard to play honors as it passed George Washington's tomb in Mt. Vernon, Virginia. This was the first time an Army band performed honors on a Navy ship for president George Washington. The ships landed at the base on the morning of 13 August 1964. The school was renamed "U.S. Armed Forces School of Music" concurrent with the move. One of the highlights of the move of the School of Music was the dedication ceremony concert, which included Arthur Fiedler, conductor of the Boston Pops, conducting the School of Music Concert Band.The US Army School of MusicThe earliest formal training for U.S. Army musicians was at the "School of Practice for U.S.A. Field Musicians" at Fort Jay (then known as Fort Columbus, an infantry recruiting post on Governors Island in New York harbor. A second, lesser known school was established at the western infantry recruiting post at Newport Barracks Kentucky. Musical training was first held at this location in 1809, but training wasn't formalized at Governors Island until the mid-1830s. Between the end of the Civil War and the beginning of the twentieth century, training was often sporadic and not standardized.In 1911, Frank Damrosch, director of the Institute of Musical Art (later renamed The Juilliard School), and Arthur A. Clappe, a graduate of the Royal Military School of Music, began a formal school for Army bandmasters at Fort Jay. By 1914 the school had added a course of basic musical training to the program of instruction. The school grew rapidly, along with Army bands as a whole, during World War I.In February 1920, the Army Music School at Fort Jay was designated a Special Services School of the Army. In September 1921 the school was moved to the Army War College, Washington D.C. This ended the affiliation with the Institute of Musical Art, which lasted 10 years and provided the Army with many outstanding leaders; among the school's graduates during the Fort Jay years was composer Percy Grainger. The school was closed by the Army in 1928.The Army re-opened the school and re-established a three-month warrant officer band leader training beginning 10 June 1941 by the Adjutant General and functioned under the supervision of the leader of the United States Army Band. It was originally located in the United States Army Band Barracks, Army War College and subsequently moved to Fort Myer, Virginia. Students were selected from enlisted men who had the following general qualifications: a. At least three years service in a Regular Army band, b. Physically qualified and possess the moral and general qualifications necessary for appointment as Warrant Officers, and c. Not over 45 years of age.On 24 July 1943 sites were approved by Lt. General Somervell for two band training units. One was located at the Signal Corps Replacement Training Center, Camp Crowder, Missouri, and the other at the Quartermaster Replacement Training Center, Camp Lee, Virginia. Becoming operative about 1 September 1943, the Adjutant General assigned 20 enlisted men on alternate weeks beginning with the weeks during July and August 1943 who were "earmarked" for the bandsman course. Approximately 160 bandsmen were trained during each training cycle. One commissioned officer was in charge of the course. The training was run concurrently with the regular basic training of soldiers.The band training units were organized by the Chief of the Music Section, Special Services Division and music officers were placed in charge of each installation. The training program and all curricular material was prepared by the Music Section, Special Services Division. After training what the Army considered to be enough bandmasters, the school was again closed on 1 January 1944. Bandsmen for the Army received on-the-job training for the next several years and there were no advanced-level course for bandmasters or senior enlisted leaders.The Army began consolidating musical training with the Navy in 1951, but maintained separate, Army-only bandsmen courses at several other locations until January 1956. Since 1956 the Army has conducted musical training only in conjunction with the Navy School of Music. Combined training of music warrant officers and enlisted bandsmen at the Band Training Unit, Camp Lee, Virginia.The Navy retains control over training and administration and "owns" the curriculum; the commanding officer, executive officer, and training officer (with the exception of one Marine Corps officer) have always been Navy officers. The Army contingent was designated "U.S. Army Element School of Music" in 1951; however, due to recent force-structure realignment, the Army contingent was redesignated "U.S. Army School of Music" in 2005.In October 2010 the Army deconsolidated activities from the Navy and Marines. Though all three services share facilities, faculty and administration, the curriculum changed to meet the need of a fast-paced Army. The Advanced Individual Training (AIT) was reduced from approximately six months to just less than 10 weeks. To fall in order with Army Force Generation (ARFORGEN), a modular strategy to sustaining global commitments, bands organize by small units called Music Performance Teams (MPTs.) The teams consist of the command team, the ceremonial unit, the popular ensemble, brass section and woodwind section. Some bands have more MPTs than others to create a larger organization according to deployment needs. Training has begun to move away from large wind ensembles except for marching bands. Though the concert band is still the choice for large stages, smaller venues of the deployed theaters dictate that smaller groups are most effective.The concept of the MPT was developed to facilitate transporting musical groups to the patrol bases, forward operating bases (FOBs), Contingency Operating Bases (COBs like COB Speicher) and any other troop operated position. The Army bands must fit in convoys of trucks or in helicopters to move through areas of operation to put on shows. An MPT is not a set instrumentation, but a team of instrumentalists and/or singers who are tasked to perform in a certain genre. Army bands deploy genres of American blues, country music, bebop, Dixieland jazz, gospel music, R&B, Salsa music, bluegrass music, rock music or barbershop quartet--and any style that the talent at hand can develop. The School of Music is developing their program to emphasize the diversity of music by training leaders to organize, rehearse and perform in small ensembles tailored to meet the troops' current interests. In this manner, an Army Band is not just the music of John Phillip Sousa, but is also today's top 40 in many genres.Scots Duty XE "Scots Duty" The Old Drum and Fife Calls of Scottish RegimentsIn the seventeenth century, if not earlier, Scottish regiments had their own particular martial music, including calls, which was different from that used by English and Irish troops. In the eighteenth century this music was known as Scots Duty, contrary to English Duty, and the actual notation of both of these duties, dating from the years 1750-60, has been preserved. The earlier history of this particular music cannot be traced with any degree of certainty, but as the army was rather conservative in most matters of routine in those days, it is more than likely that both Scots Duty and English Duty, as mentioned above, contain elements at least of what was practised in the seventeenth century.Singapore Military bands XE "Singapore Military bands" The Singapore Armed Forces Bands (commonly known as the SAF Bands) form the musical arm of the Singapore Armed Forces. Playing a vital role in ceremonial parades and ceremonies, the SAF Bands provide musical support for parades such as the National Day Parade, SAF Day Parade, Passing Out Parades, Change of Command Parades and other duties. Other than discharging Ceremonial Duties, the SAF Bands also present concerts which aim to bring music to the populace. They also seek to build up the band's music repertoire into an extensive array of styles and variety.Through the years, the SAF Bands have worked with several distinguished conductors and soloists including Frank Renton, Steven Mead, John Sharpley, Evelyn Glennie, Jan Van der Roost, Toshio Akiyama, Yasuhide Ito, Eric Whitacre and Hardy Mertens. More recently, the Bands were conducted by Philip Sparke, Frank Ticheli, James Barnes, Roger Swift and Prof. James F Keene of the University of Illinois.The SAF Bands have recently represented Singapore at international music festivals. These include the Toowoomba Carnival of Flowers street parade in Australia; the Festival International de Musiques Militaires in Saumur, France; the Kuala Lumpur Military Tattoo in Malaysia; the Brunei International Tattoo 2006 in Bandar Seri Begawan, Brunei Darussalam; and the Wonju Tattoo in Wonju, South Korea.Singapore Armed Forces Central Band is the premier band of the Singapore Armed Forces, and consists of a core of professional regular musicians, supplemented by Full-time National Servicemen (NSF) fulfilling their conscript duties. The Central Band is made up of members of the former Republic of Singapore Navy Band performs as a concert band, a marching band as well as a ceremonial band. It is further able to perform in a variety of smaller configurations, of which include a brass quintet, a combo & stage band, ceremonial fanfare trumpeters and a clarinet quartet. The SAF Central Band is most often seen in the public eye at major parades like the National Day and SAF Day parades. On a more regular basis, the band stages three concerts a year as part of its In Harmony and Chamber Repertory series.The SAF Central Band is led by Director of Music, Military Expert 4 (ME4) Muhd Yusri and Senior Director of Music, ME5 Philip Tng. Its Band Sergeant Major (BSM) is ME3 Ong Wee Hong, assisted by Assistant BSM - ME2 Clarence Tan. The Band was formerly called the 2 Singapore IB Band and later renamed the Republic of Singapore Navy Band before the 1994 merger.Singapore Air Force Ceremonial Band The SAF Ceremonial Band A was formerly known as the Singapore Infantry Regiment (SIR) Band, the oldest of the five bands having been formed in 1958. With the restructuring of the bands in 1994, the SAF Ceremonial Band A evolved as one of the two Parade bands of the Singapore Armed Forces. The band's duties include most official parades like the monthly Istana Changing of the Guards Ceremony, Officer Cadet School (OCS) Commissioning Parades, Guard of Honour (GOH) Parades for visiting dignitaries and other internal SAF ceremonies.The SAF Ceremonial Band A is mostly made up of Full-time National Servicemen (NSF), supplemented by several specialists, and led by a Director of MusicSAF Ceremonial Band This was formed in 2009 as the third ceremonial band of the Singapore Armed Forces. It shares duties with the other ceremonial bands on duty.Sousa John Phillip XE "Sousa John Phillip" b1854 -d1932Sousa said a march ‘should make a man with a wooden leg step out’, and his surely did. However, he was no mere maker of marches, but an exceptionally inventive composer of over two hundred works, including symphonic poems, suites, songs and operettas created for both orchestra and for band. John Philip Sousa personified the innocent energy of turn-of-the-century America and he represented America across the globe. His American tours first brought classical music to hundreds of towns. While Sousa’s fame as a bandmaster needs little comment, far less is known about his formative years as an orchestral composer, conductor and violinist.Born in Washington DC on 6 November, 1854, Sousa developed with startling quickness. Fame was no accident. Sousa’s father was a trombonist with the United States Marine Band. By the age of six, his musical talent had become apparent and he was enrolled for a year of solfeggio with a local Italian teacher. The boy was found to have absolute pitch, and thus deemed sufficiently gifted to begin basic training in harmony and the study of the violin. These early school days coincided with the great events of the American Civil War, then swirling around the Washington area.By the age of eleven Sousa organized and led his own ‘quadrille orchestra’. The rest of his orchestra consisted of seven grown men and quickly became a popular dance orchestra in the Washington area. The following year, 1866, he changed music teachers, beginning studies with George Felix Benkert, who had trained in Vienna with the famed theorist Simon Sechter, with whom Schubert planned lessons and whose most famous student was to be Anton Bruckner. Benkert greatly encouraged the young Sousa, allowing him the sort of sophisticated training in composition, harmony, counterpoint and orchestration in Washington that was generally presumed available only in Europe. At the same time, Sousa played first violin for Benkert’s Washington Orchestral Union, as well as performing for regular Tuesday evening string quartet concerts at the home of the Assistant Secretary of State William Hunter. Hunter was an avid classical musical devotee, and for these sessions he imported numerous scores from Europe. He warmly fostered Sousa’s career and was to provide him an invaluable entrée into Washington’s official community. At the age of nineteen, Sousa was already an active violinist in theatre orchestras, including Ford’s Theatre and the Washington Theatre Comique (vaudeville). Soon his great talent, extensive training and natural leadership attracted notice, and he assumed duties as an orchestral leader. Since these responsibilities often required the preparation of special materials, he augmented the theatrical productions with numerous incidental pieces and arrangements.In 1875 Sousa left Washington, touring the Middle-West for a season as the concertmaster and leader for Noble’s acting troupe. He arrived in Philadelphia just as the 1876 Centennial Exposition was beginning. Now 21 years of age, he promptly landed a job in the first violin section of the official centennial orchestra playing for guest conductor Jacques Offenbach. After the Exposition, he remained in Philadelphia for the next three seasons, leading various theatre orchestras. In 1878 he was asked to provide orchestrations for an American performance of Gilbert and Sullivan’s Sorcerer. The following year, he composed his first operetta Katherine, and prepared the orchestrations for he American Introduction of HMS Pinafore. Pinafore received its Broadway première with John Philip Sousa conducting. The same year, at the age of 25, he was chosen to become Director of the United States Marine Band in Washington. He began leading the Marine Band in January 1880, beginning a fabled 52 year career as a bandmaster.Despite his success with bands, Sousa never gave up his fascination with the musical theatre. It was his goal to become an American version of Gilbert and Sullivan combined. In all he composed fifteen operettas. His El Capitan of 1895 is believed to have been the first musical by an American composer to enjoy a successful run on Broadway. In many ways, Sousa’s compositions were the equal of Sullivan’s music, but his lyrics sadly never matched the inspirations of Gilbert’s, nor did his attempts at collaboration ever produce a truly worthy librettist. By the turn of the century, his popularity on Broadway began to be eclipsed by the musicals of Victor Herbert, and later by those of Berlin, Kern and Gershwin. Sousa, the classicist was caught in the on-rush of the romantic era. Today, happily for us, the classicist has left a legacy of enduring classics.Sousa’s associations with the theatre music of Gilbert and Sullivan and with Offenbach had became central to his musical thought. Like these European masters, he fluently composed in the light music and dance styles of his day, using existing classical frameworks. Mozart, however, was Sousa’s ideal composer. His biographer Paul Bierley notes that Sousa’s personal scores of Mozart’s operas had obviously been read and re-read for pleasure. Mozart’s opera scoring techniques are wonderfully evident in Sousa’s orchestrations.From 1880 Sousa’s career was dominated by his association with military bands. In other circumstances he might have found a place in the theatre, with which he was associated after his discharge in 1874 from the Marine Band at the age of twenty. He had enlisted as a boy of thirteen and returned as a conductor of the United States Marine Band in 1880, continuing there until 1892, when he left to set up his own band, under his own name. With Sousa’s Band he won an international reputation, with regular tours throughout the United States and visits to Europe. His band came to an end in 1931 and he died the following year.Many aspects of Sousa’s life as a bandmaster reflected his experiences in the musical theatre. His ‘potpourri’ style of programming was based on the same structural ideas that make a successful theatrical production. Superb programming was a hallmark of his phenomenally successful forty years of band touring. Many themes from his operettas found their way into his great marches and concert music. His early days in the theatre also developed his unerring instinct for popular taste. His band mimicked the sound of a symphony orchestra, and no finer band that Sousa’s was ever heard. Sousa modified the existing military band by decreasing the brass and increasing its woodwinds, and by adding a harp to create a truly symphonic sound.Gleaned also from the musical theatre was his musical salesmanship. Sousa pleasingly packaged classical standards and orchestral treatments of popular fare, establishing a standard style reflected today in the pops concerts of American symphony orchestras. Sousa never spoke at his concerts, preferring non-stop music that spoke for itself. His band played Parsifal excerpts ten years before it was introduced at the Metropolitan Opera, yet combined it with such fare as Turkey In The Straw, ultimately doing more to champion good music than any other American orchestra of the era. Throughout his career, much of Sousa’s output was created simultaneously for theatre orchestra as well as for band, including such marches as The Stars and Stripes Forever, El Capitan, Washington Post, and Semper Fidells, universally acknowledged as the best of their genre. (see list of well known Sousa marches)Sousa astounded Europe by introducing ragtime on his 1900 tour, touching off a fascination with American music which influenced such composers as Debussy, Ravel, Stravinsky, Grainger and Milhaud. The principal commodity Sousa sold however, was pride in America and American music. In the quarter century before radio, improved electronic records, and finally, the miracle of talking pictures. Sousa and his Band and Sousa and his music, was America’s greatest musical attraction.South African Military Bands XE "South African Military Bands" There are 10 regular force military bands in the Republic of South Africa. Including 8 Army bands the SA Navy band and the SA Air Force band.South Africa Army Band of Cape Town, South Africa Army Band of KroonstadSouth Africa Army Band of KwaZulu Natal,South Africa Army Band of Polokwane1 Medical Battalion Pipe Band,The Drums and Pipes - Cape Town HighlandersSA Irish Regimental Pipes & Drums,SA Irish Regimental Pipes & Drums.Marine South African Navy Band SA Air Force Band The popular South African Army Band of Kroonstad was formed on 1 April 1997, and serves a large geographical area in the central interior of the country, although they do also travel northwards and towards the coast, for instance, to participate in the CT Military Tattoo!“The band currently has thirty-seven members and the Director of Music is Major D.H. Fourie. The Assistant Director of Music is Captain A. Mostert and the Bandmaster is Warrant Officer Class 1 C. Steyn.” 1 Medical Battalion Pipe band. The band is based in Durban, South Africa, and consists primarily of civilians and reserve force members of the South African National Defence Force. We are made up of a Grade 2 Band, a Grade 4 Band and a Novice Juvenile Band. All in Durban!The band has had a run of three consecutive GRADE 3 SA CHAMPIONS OF CHAMPIONS titles from 2006 - 2008 until our promotion to Grade 2 in 2009.The Drums and Pipes of the Cape Town Highlanders have been part of the regiment since its inception in 1885. Bandsmen have been involved in all the major campaigns of the Regiment. In peace time, the Band supports the Regiment in its ceremonial and recruitment paradesThe SA Irish Regimental Pipes & Drums maintains an active Pipe Band of some 24 members under Pipe Major Craig Herwill.The S A Irish Pipes & Drums, as the band is known today, has its roots in a time long, long before our own. For the band the story begins in 1939 when the Irish Battalion was formed, under the leadership of Pipe Major Fred ('Pipey') Symons. The Regimental Pipe Band was dissolved in 1942, following the de-activation of the Irish Regiment in South Africa. At the end of the war, P/M Symons assumed the same leading role in the Irish Association Pipe Band. 'Pipey' Symons has, on many occasion, been described as "a gentleman in every sense of the word". He was also an outstanding instructor, and some of his most accomplished pupils are Pipe Majors and leading pipers in South Africa today. P/M Symons was a driving force in the re-emergence of the Regimental Pipe Band In 1977. Two bands henceforth existed within the compass of the Irish regiment, comprising musicians of both the Association and the Regiment. Other figures who played a prominent role in the consolidation of the Regiment's bands were Drum Majors David Marx and Alfred Haswell. Both had served in the band of the World War II Battalion.D/M Marx manifested his soldierly qualities at the Regimental Pipe Band's first parade, which was at the Royal Scottish Gathering, in Johannesburg in 1978. During the event, as the band played a variety of tunes, they suddenly found themselves being jeered by the crowd and bombarded with cans and other missiles. Mr Marx never wavered for a moment, and led the band away. It later transpired that the band had played "The Sash"; a tune specifically associated with the Protestant Orange faction in Northern Ireland. Unwittingly they had sparked off sectarian hostility in the crowd. Today, both the "Wearing of the Green" and "The Sash" are playedThe Pipe Bands of the S A Irish Regiment are unique among pipe bands in South Africa today, insofar as they only ever been under the command of three Pipe Majors: Pipe Majors Symons; Mulinder and Herwill. Pipe Major Craig Herwill still leads the Band today. The Regimental march is based on two tunes: "South Down Militia" and the "Wearing of the Green". It is sometimes assumed that Killaloe is the Regimental march but this is not actually the case, although it is a tune that has been played more successfully by the bands over the years, having first been played at the Barberton Ceremony of 1972. Today, the band plays a significant role as a military and ceremonial instrument and adds its distinctive look and sound to special commemorations of events like The Battle of Sidi Rezeigh and Armistice Day.It also appears at less formal occasions, and plays an important part at St Patrick's Day celebrations and the like. The S A Irish Pipes and Drums is also a formidable competition band, having won most of the pipe band competitions in which it participated in 2001, and having been awarded Champion of Champions in it's grade for that year. 2002 sees the band promoted to Grade 3, and stronger in numbers, commitment and enthusiasm than in many years previously. The South African Navy Band- The Internationally acclaimed South African Navy Band,? the premier band of the South African National Defence Force (SANDF), has been a regular visitor on the international military music scene since 2002. The Band has performed in Germany, The Netherlands, Russia, England, Scotland and Burundi. It has also travelled the length and breadth of South Africa having performed at all the major venues and in some of the most rural areas.The band is comprised of 47 versatile musicians who are able to adapt to the Band’s many varied musical requirements. The Band’s primary function is to provide music for ceremonial occasions. This has included providing music for the inaugurations of past Presidents Mandela and Mbeki, openings of Parliament, the Presidential Fleet Review held in Simon’s Town in 2009, and the Navy’s own parades. The SA Navy Band is the most multitalented band in the SANDF having various ensembles that can provide music for almost any occasion. These groups include the Concert and Parade Bands, a Marimba Ensemble, Chamber Group, Stage Band, Dance Band and smaller background music groups. This all from the same 47 musicians … certainly great versatility in the art of military music. 2008 was one of the busiest years for the Band as it successfully completed 200 musical engagements during the calendar year. This is no mean feat as the Band also has to find time to rehearse for upcoming engagements and continue rehearsing new music for future performances. The repertoire of the Band is diverse and representative of the many different cultures that make South Africa such a wonderfully unique country. The South African Navy Band plays a vital role in promoting the South African Navy, the People’s NavyThe Republic of South African Air Force band Perform as a full symphonic wind band at prestige evenings held by the SAAF and Defence Force Do community outreach concerts at schools, old age homes, for charity organisations The band is Comprised of several "sub-sections", which are available for performances: Dance band Jazz band Saxophone quartet Brass quintet Woodwind quintet Piano and keyboard Various solo instruments with backing singers! Spanish Military Bands XE "Spanish Military Bands" ArmyBand of Guerra's Brigade of infantry light King Alfonso XIII of the Legion The Brigade of light Infantry “King Alfonso XIII" of the Legion has an ensemble in this case called a military band, which consists of instrumentalists and vocalists. The first legionary’s musical school was created in 1920. During the Civil war they created the largest band which ranked third in history with nearly 150 instrumentalists. At the end of the war they organized three military units, each of which was assigned a band of music, and in 1950, is another one was added to form 4 infantry units with associated bands.In 1954 these four bands were dissolved to create a single band of 90 performers attached to the second Brigade of the third regiment. This ensemble had a long career until 1989 that in which the band was renamed going to become the band of the military Government of Ceuta.Up to 1981 the music of the Legion is moved to various locations but in 1995 the military band was created in the Legion Brigade, which in 1996 adopted the name of "King Alfonso XIII". Banda and South Regional Command Battalion Military bandThis band is the continuation of the historical band of the regiment Soria 9, which began in 1876; they have had various names and who belonged to various regiments. This is a group linked to the Seville Holy week celebrations of whose processional marches have made numerous recordings. Its directors include Peter Gámez Laserna, Pedro Morales Mu?oz, Manuel López Farfán and Abel Moreno Gómez, all composers of processional marches. Now they alternate each year with the band of the air Tablada barracks musically accompanied by the brotherhood of the Entombment of Christ.The Military band unit of the Academy of Infantry Academy of Toledo is composed of 31 members and directed by Celio Crespo Esparza. In addition to its involvement in military employment they have, developed an important cultural role in Toledo and its province, which has been recognized by the Provincial Council. The band has also made several recordings which include marches and works of music of the infantry Academy military life. The band celebrates issues of their centuries-old tradition which dates back to 1850 with the creation of the school of infantry with a band of trumpets and drums. In 1874 it was considered essential to give it a complete section of music that over the years has participated in many actions has been made in the Salazar. The present day was organized in 1944, and the band has continued to develop its professional standard.The Band of the Battalion of the Cuartel General of the Division mechanized Brunete No. 1. This music unit currently has 31 professional musicians, led by Joseph Boyer Gómez and develops its activities not only in Burgos, but also in numerous concerts in the North of Spain. It is to highlight their participation in the cycles of concerts organized in collaboration with the Provincial delegation of Burgos.This band inherited a long tradition of military bands that dates back to the first half of the 19th century with the national militia, time that formed the military music in Burgos dedicated to brighten up the festivities and dances in the Paseo del Espolón in Burgos. This band has been considered by the people as their own musical ensemble and, although having frequent name changes have continued with the passage of the years to bring the basis of a cultural contribution and music teaching in Burgos.The band that is entity of General No 2 was so named in July 1996. Your band consists of a Director of Music Captain, a Deputy Lieutenant, NCO major, NCOs, and musicians constituting a total of 34 members. The band develops their Music in conjunction with the military unit General No. 2providing numerous musical activities. In addition to their specific military role participation they also appear in numerous symphonic concerts and special concerts on the occasion of the armed forces week cycles. They have made recordings for Radio 2 FM Radio Nacional de Spain, for Spanish audiences. As well they have played in various European cities concert tours. They also participate regularly in the international contest of music bands of Valencia. As the vast majority of the active units of music, the military band of the General Headquarters of the force of the Army originated in earlier formations. In this case dating from 1942 where it belonged in the No. 31 Infantry Division. In 1944 they became the regiment 20 Guadalajara, and from 1965 and until 1996 was the music unit of the Maestrazgo Division No. 3.Civil Guard unit band have tasks which are similar to those carried out by groups of other armed forces bands.The Civil Guard Corps since its inception in the year 1844 has had musical formations of infantry and cavalry but it was not until 1859 that they appeared for the first time. Their existence. In 1949 and as a result of the merger of the Carabinieri and the Guardia Civil bodies they also unified their respective bands, causing two units: the first third mobile, located in Madrid, and the guard College youth in Valdemoro. Currently the two units of music have become integrated thus forming one military band of the Directorate General of the Civil Guard.The band of the Real Esta Guard (Royal Guard Unit) composed of a symphonic band, marching band; fifes and bagpipes; brass band and a chamber group the band originated from the music of the Royal Corps of Halberdiers formed in 1875 and restored in 1975 with the name of the band and music of the Royal Guard. In 1980 they became known as the Royal Guard music unit.Navy Bands The third South of Armada Los of the Spanish Navy is responsible for providing protection for their installations, with each of them having a military band, whose mission is to participate in ceremonies both civil and military organized in the area. The musical ensemble of the Trecio South of the Navy is currently staffed by 30 musicians and its director is Ramón Benito Pérez. Its scope is the maritime zone of the Strait, where in addition to its functions meets a very important socio-cultural function for dissemination, development and education in music lesta area.The band was formed at the end of the 18th century probably 1789.This was the date from which the first news that there were musicians with bands of maypoles(likely wooden fifes), and drums in the earliest regiments of infantry of Navy, although it was not until 1893 when, at the request of the Minister of Navy, Almirante Cervera is created which can be regarded as predecessor of the current band. The unit is traditionally participating in processions of Holy week in the town of San Fernando. Among its directors have been renowned musicians such as Germán ?lvarez-Beigbeder and Manuel Verdeguer Gandulf.The Band of the Military Naval School is currently composed of 44 musicians that combine their work at the naval school with various types of performances, including their recent collaboration on the anniversary of the city of Santander and in the performances carried out in Vigo during the Volvo Ocean Race. They also participated in festivals and leading several military parades.The current band of music of the military at the naval school was created in 1940, when the school was in San Fernando There were later in 1943 moved to Marin. Its mission is directed by the interior of the Escuela Naval Military administration needs, but they also make appearances outside of the aforementioned school with a wide repertoire ranging from the military and popular music to the Symphony. Its current director is Francisco García Hurtado.Band of the Association of Marine Madrid (Marine Infantry)The band was first organized in 1950. They have done enormous work for the dissemination of truly remarkable military music. They have also introduced new contempory works as well as lyrical symphonic music and traditional music. Participated in concerts .One of the more prominent facets of this formation, particularly at the international level, is his participation in the most important festivals of military music military in Spain and in other Nations. They excelled with their performance in the international pageant of bands of military music held in Valencia in 1970, which won the 1st prize. They have made extraordinary appearances in the Belgian cities of Roselare, Ostend, Koksidje and Bruges.The infantry group of Madrid originated in 1944 and are the unit responsible for providing security and protection to individuals and units of the Navy, as well as representing military arrivals in the area of Madrid. The ensemble was created in 1950,and consists of a selection of commissioned musicians and professional performers , serving both at musical events as well as for military troops movements, in the event of a civil nature. Their main employment is to contribute to the dissemination and knowledge of the musical activity of the Navy and the Navy infantry. From the date of its foundation it has followed a more complex path, driven by the work of its directors and the diversity of its activitiesAir Force The Band Air Base Zaragoza Air Base is currently composed by 24 members and has a band of trumpets and drums of 9 performers. Since its inception in 1996 until January 2006 the unit was directed by Manuel Ruiz Gómez, This group combines presentation in military and civilian concerts with the teaching in the school of technical security, defence and support (ETESDA) where it is responsible for the formation of the different promotions of military professionals in the field of music. Likewise this music unit has participated in various new compositions and in particular folk music and made recordings. This group originated in the music unit of the 3rd air region, based in Zaragoza was created in 1971. In 1996 it was renamed the air command music unit of Levante (MALEV) until the dissolution of the same in 2004 when it happens to take its current name.The band of the air command of the unit CentroEsta unit is formed by 80 musicians, currently being its director is Antonio Sendra Cebolla. The military band offers concerts in various areas of both Spain and abroad. They have made numerous recordings, including the first record of the anthem of the air force.The origin of this unit is that it was created in 1940 for first Legion of troops of aviation, installed in the company of honours of that unit. Later it was known as the 11th Squadron band. Subsequently it was integrated in the grouping of troops and services no. 1, then moved on to the headquarters of the Central air command. Now named the music unit of the MACEN they fit in the grouping of the Getafe air cantonment and is popularly known as The Aviation band.Other bands include the following:Banda Academy of Music General MilitarOrganismo: ArmyRegion: AragonMusic Unit of the Chief of Sub-inspection of Canarias Organismo: ArmyRegion: CanariasMusic Unit of the Battalion Headquarters of the General Command oCeutaOrganismo: ArmyRegion: CeutaVarious Artists northern third of the ArmadaOrganismo: ArmadaRegion: GaliciaSurrey Yeomanry Association Band XE "Surrey Yeomanry Association Band" The Band was formed in 1964 as the official band of the Surrey Yeomanry (Queen Mary’s Regiment). Successive defence cuts and re-organization of the military led to the disbandment of the Surrey Yeomanry regiment and its band, but by the unanimous wish of its members the band kept together - at first in an unofficial capacity and then under the auspices of the Regimental Association.The Band continues to be affiliated to the Regimental Association, although they play no part in managing or running the Band. A few of the original members are still playing in the Band; the rest of the members have joined since and have no connection with the Regiment or the Army. The Band is now managed as a regular concert band, but the name remains as a reminder of the Band’s origins many years ago.Swedish and Finnish Regimental Marche XE "Swedish and Finnish Regimental Marche" XE "Swedish and Finnish Regimental Marche" sHakkapeliittain MarssiOne of the Finnish cavalry's battle marches, the Hakkapeliittain Marssi ("March of the Hakkapeliitta"), became popular with military bands and is one of the oldest currently played. It was given lyrics (in Swedish) in 1872 by Zacharias Topelius and is commonly known as the "March of the Finnish Cavalry during the Thirty Years War". The Prussian army officially adopted it for use in1891; it is now a standard of the German marching band repertoire.The march is the official regimental march of the Swedish 19th Infantry regiment, "I19". The Swedish cavalry regiment "K1" also claims the march as "theirs" because of their heritage from the Finnish cavalry in the late 1700th.The Finnish composer Uuno Klami developed a free orchestral version of this theme under the title "Suomalaisen ratsuv?en marssi" ("March of the Finnish Cavalry" op. 28) in 1939. The Finnish poet Eino Leino published another "Hakkapeliittain Marssi" as part of a collection by the name of T?htitarha ("Garden of stars") in 1912.Swedish Army BandThe Swedish Army Band is a wind band consisting of about 50 musicians. The band was formed in 1982 with the name The Swedish Army Music Platoon and was at that time the first military band in Sweden made up of conscripts.After enlisting, the soldiers-to-be must audition for a place in the Swedish Army Band. The training, lasting eleven months, consists of both "ordinary army life" during basic military training and of musical education. The band begins its training in January and is released in December every year.After about three months of training the emphasis is on performances - The Swedish Army Band plays at the changing of the Guards, on the occasions of state visits and it also gives concerts on various places in Sweden. Every year the Swedish Army Band is invited to international military music festivals or tattoos.From the autumn of 2006 the Swedish Army Band will include 15 professional members who also act as instructors of the conscripts.Swiss Military Bands XE "Swiss Military Bands" The four orchestras of the Swiss Army Bands (Symphony wind orchestra, Central Band, Concert Band, Brass Band und Big Band) are the figureheads of our Military Band and outstanding cultural champions. As Swiss Army Band they perform as cultural ambassadors of our powerful militia armed forces at special events in Switzerland and abroad. After completion of recruit school, the military musicians are assigned to one of the 16 orchestras (refresher course bands) or an ensemble of the Swiss Army Band. The refresher course bands are formally assigned to the land forces or the air force and to the brigades and territorial regions. The Centre of Competence for Military Bands is responsible for training and engagements of the refresher course bands. The 11 wind orchestras and five brass bands do one 3-week refresher course every year. The refresher course bands are regionally assigned and deeply rooted in the population. Their relations with the public are cultivated with concerts in all parts of the country. Outstanding cultural champion The orchestras of the Swiss Army Bands are the figureheads of our Military Band and outstanding cultural champions. These orchestras are present at significant Swiss events. The orchestras perform at international events as Swiss Army Band and thus contribute significantly to understanding among the nations. The Swiss Army Band consists of the Symphony Wind Orchestra, the Central Band, the Concert Band, the Brass Band und the Swiss Army Big Band. Small ensembles are formed as needed within the Swiss Army Band. Thus, we find for instance the Swiss Army Gala Band and the Swiss Army string ensembles, which widen the musical spectrum. With the Swing4you the Big Band has an original Swiss Army Men’s Vocal QuartetEvery year 240 young musicians benefit from their training in the three recruit bands. During 21 weeks, trumpeters, tambours, drummers, and infrastructure soldiers are prepared with respect to both professional and human qualities for their tasks in the Swiss military band. Main subjects are instrument training, ensemble and orchestra courses, music theory as well as lessons in rhythm and movement. As conclusion, the military musicians receive the much sought instrument diplomas of the Swiss Wind Music Association SBV. In parallel, cadre may obtain a conductor's diploma. The wide scope of training enables the orchestra to competently fulfil the variety of tasks such as the musical accompaniment of official receptions, promotion celebrations, flag ceremonies and engagements for the armed forces, Confederation and public. With indoor and outdoor concerts, workshops and musical parades the recruit bands also form an important musical link between the population and the armed forces. Tattoo XE "Tattoo" A military tattoo is a military drum performance. It dates from the seventeenth century when the British Army was fighting in the Low Countries (Belgium and The Netherlands). Drummers from the garrison were sent out into the towns at 21:30 hrs (9:30PM) each evening to inform the soldiers that it was time to return to barracks. The process was known as Doe den tap toe and encouraged the innkeepers to "turn off the taps", stop serving beer and send the soldiers home for the night. The drummers continued to play until the curfew at 22:00 hrs (10:00PM).Over the years, the process became more of a show and often included the playing of the first post at 21:30 hrs and the last post at 22:00. Bands and displays were included and shows were often conducted by floodlight or searchlight. Tattoos were commonplace in the late 1800s with most military and garrison towns putting on some kind of show or entertainment during the summer months. Between the First World War and the Second World War elaborate tattoos were held in many towns, with the largest in Aldershot.On 21st June 1880 the first ‘Grand Military Tournament & Assault at Arms’ was staged at the Royal Agricultural Hall*, Islington. This event began as a series of competitions between the Regular and Auxiliary soldiers of the Victorian Army. Held annually in Islington until 1905, the event gradually evolved from purely competitive displays to include Massed Bands, Musical Rides and Musical Drives as well as Historic Pageants and Battles. The “Tournament” as it was affectionately known is widely regarded as the first of the ‘modern tattoo’s’.In May 1906 the newly renamed ‘Royal Naval & Military Tournament’ moved to Olympia in West London. The Tournament remained at Olympia until after the Second World War when it moved for the final time to Earls Court. Many of the Acts that have gone on to entertain crowds at Military Tattoo’s around the world can trace their origins to the Royal Tournament which finally marched into the History Books on 2nd August 1999.Military Tattoo’s, Fate’s and Tournament’s were held across the empire in the latter part of the 19 th Century and the early parts of the 20 th Century. Most garrison towns staged some sort of event during the summer months. The largest of all Military Tattoo’s was held at Aldershot between the First and Second World War’s.The first being held on Cove Common in 1922 before moving to Rushmoor Arena in 1923. Each performance began with community singing before the main performance at dusk. The show’s included displays of Massed Bands, Historical Re-enactments, Spectacular Fireworks and displays of Modern Warfare. The Tattoo’s at Aldershot continued until 1939 with audiences of up to 500,000 spectators. Sadly Tattoo’s didn’t return to Aldershot after the war years.In 1950, however a new Tattoo was born in Edinburgh. Performed on the Castle Esplanade as the centrepiece of the Edinburgh Festival, the Tattoo is quite unique. Over the years, a successful formula has been developed including the Massed Pipes & Drums, Highland Dancers and Massed bands. The Edinburgh Tattoo now attracts visitors from around the world and is broadcast in many countries.SSAFA Searchlight Tattoo’s were also staged throughout the 1950’s. These shows were performed to large audiences at the White City Stadium in Shepherd’s Bush, West London. Searchlight Tattoo’s were staged in a number of Garrison Towns following the Second World War including Colchester, Tidworth and Cardiff.As well as British Tattoo’s many successful Tattoo’s have been staged across Europe. The Dutch National Tattoo has been held annually in the Netherlands since 1954 and the Berlin Tattoo was staged by the British Army until the 1990’s. More Tattoo’s have been developed in recent years including The Birmingham International Tattoo, Swedish and Norwegian Tattoo’s as well as Nova Scotia and Virginia.One of the best known Tattoos is held on the Esplanade in front of Edinburgh Castle each August and forms the centerpiece of the annual Edinburgh Festival. The Edinburgh Military Tattoo was first staged in 1950; it combines the traditional sounds of the bagpipes and drums with the modern aspects of the armed forces. Another well-known Tattoo was the Royal Tournament which was held annually in London from 1880 to 1999. The Royal International Air Tattoo is the world's largest military air show, open to the public.The indoor Royal Nova Scotia International Tattoo is the largest annual tattoo in Canada, featuring in 2007 over 2000 performers from around the world, including Switzerland, Belgium, Germany, the Netherlands and Norway.The largest tattoo in the United States is the Virginia International Tattoo, held every year in Norfolk, Virginia. Over 850 performers play traditional music and many international acts join every branch of the Armed Forces for a spectacular show.Other world class Tattoos and music include:The Quebec Military Tattoo- Quebec City CanadaThe Hamilton International Tattoo-Hamilton CanadaSpasskaya Tower- Moscow RussiaWindsor Castle Tattoo -London EnglandMalta Military Tattoo-Valetta Malta Birmingham Tattoo-Birmingham EnglandEdinburgh Military Tattoo-Edinburgh ScotlandRoyal Nova Scotia International Tattoo –Halifax Canada Luxembourg International Tattoo-Luxembourg CityThe Voorthuizen Military Tattoo-Holland (2010 Celebration)The Basel Tattoo-Basel SwitzerlandThe Netherlands Military Tattoo- Rotterdam, Breda and 'S-Hertogenbosch Berlin Military Music Festival-Berlin GermanyFulda Military Tattoo-Fulda Germany Norwegian Military Tattoo-Oslo NorwayThe Danish Military Tattoo-Copenhagen DenmarkThe Southjutland International Military Tattoo-Held in South of DenmarkThe Hamina Tattoo- Hamina FinlandThe Kingston Heritage Tattoo-Kingston CanadaThe Ysad International Military Tattoo-Ystad Sweden Virginia International Tattoo Norfolk VA, USAThe Heartland International Tattoo-Chicago Ill, USAAustralian Federation Tattoo-Bendigo, State of Victoria AustraliaThe Las Vegas International Tattoo-Las Vegas Nevada USA Brunei International Tattoo-Brunei ()Royal Brunei Armed Forces Golden Jubilee)Pacific Tattoo-Victoria Canada(2012)Festival Internazionale Bande MilitariModena, ItalyTeike Carl Albert Hermann XE "Teike Carl Albert Hermann" Born the son of a blacksmith in Stettin-Altdamm, Pomerania, Teike was the fourth of 14 children in his family. He began studying music when he was 14, playing a variety of instruments. When he was 19, he joined the army of Württemberg as a musician in the 123rd K?nig Karls Regiment. He was stationed in the Swabian city Ulm, where he also played French horn and percussion for the orchestras of local theaters.Teike began writing military marches, including one in 1889 that would eventually be named "Alte Kameraden" ("Old Comrades"). Upon his bandmaster's disapproval of that composition, Teike resigned from the army. A publisher purchased the song from him for twenty German Goldmark. "Alte Kameraden" later became one of the most popular marches in Germany.Teike became a police officer in Ulm and married his landlord's daughter. They moved to Potsdam in Brandenburg in 1895, where he continued work as a police officer until illness led to his resignation in 1908. He eventually began working as a postal employee in Landsberg an der Warthe in East Brandenburg, where he died in 1922.Deutsche Art Marsch, published by TRN and edited by J.R. Watson, is an accessible march playable by a good junior band or any high school band.Turkish Mehter Bands XE "Turkish Mehter Bands" The word Mehter means large and exalted. The bands are considered the oldest in existence dating from 2500 years ago and recorded by Turkish historical documents. The instruments which were described in the Orhun inscription were called "kübürge" and "tug". The instrumentalists formed into groups with tugs tomruk (drum) ceng (bell). Later in the 12th century the Turkish trumpet called "Nay-i Turku" was introduced. It was played during battle and the drums along with flags were the symbol of Turkish sovereigns. Today large groups of Mehter bands exist in Turkey. They perform on instruments which although renamed are the basis of the ensembles. The instrumentalists are recognized by wearing different uniforms to identify the group. The Bursa Mehter ensemble play for a number of functions each year. Some classical composers were influenced by the Mehter melodic music including Mozart, Beethoven and Gluck. Uniforms-Bands XE "Uniforms-Bands" Distinctive dress worn by members of the same organization usually military bands, uniforms appeared during the 17th century in European armies. Worn for recognition, economic reasons and esprit de corps, it also gave an overbearing impression. Uniforms gave military bands an efficient, orderly and powerful look, differentiating them from an armed mob in civilian clothes. To take advantage of these measures, King Louis XIV of France had his entire army, then the largest in Europe, adopt uniforms in the 1660s.Uniforms appear to have first been worn in Canada by the officers and men of the Carignan-Salières Regiment in 1665. The Compagnies franches de la Marine had, as did most French infantry units, a grey-white uniform with blue cuffs and lining. After 1760 and for over two centuries, Canadian military band uniforms closely resembled British military band uniforms in style, colours and cut. RCN and RCAF uniforms were generally similar to those of their British counterparts until unification in 1968. The new unified Canadian Forces green uniform had a more American-influenced style, which was retained when different uniforms for land, air, and sea services were introduced in 1985.Bands of pipes and drums usually adopted various tartans to represent units such as the Black Watch and the many Household Guards pipe bands. Uniforms on the continent were often stylized from the normal dress with the addition of lanyards, dress belts and special headdress. Traditional dress such as employed the Turkish Mehter bands often gave bands a distinctive appearance. Bands in the United States often wear several uniforms, one for each special occasion and for the service which they represent. Uruguayan Military bands XE "Uruguayan Military bands" The band of the 3rd Brigade of Infantry located in the city of Salto was founded on August 1st 1953. The original combination consisted of 38 musicians including 12 trainees. The first bandmaster was Don Daniel Berlitz.Since its inception there has been 14 directors of music. In addition to countless performances the band have won numerous awards in competition- The band of the Brigade of infantry no. 3 is currently category 'A', with a total of 38 Members fulfilling functions military protocol and also works in public relations in the field of the Brigade. Within the formation of the band of musicians works: band Protocol, band concerts and show band. - The Repertoire of the band of musicians is mostly military. The Repertoire of the wind orchestra is designed for public presentations and also liven up social events, and performing running dance music. - In the passing of the years our band amalgamates with units in all activities; It They also provide support for various community endeavours , working together with the civilian community thus building a strong relationship with the populationThe band of the battalion of engineers was created in 1935 its founding Instructor was Sergeant Lucius Fleitas, this band participates in both internal and external ceremonies and it is also in support of the different towns of the Elizabethan city of Paso de los Toros.They participated in conjunction with the band of the Brigade of cavalry No. 1 at the 1995 America's Cup.Also in that year they part in the international horse riding competition in the city of Tacuarembo and Festival of military bands in the city of Montevideo with the Divisionaria band. In 2009, the band of the battalion participated in the important 50 years of floods in Paso de los Toros. Today at 74 years since it’s foundation the band has 36 musicians and continues in the same manner of working with selfless sacrifice, adding musical performances with the folk group Tres Fierro and Orchestra Bainco century XXI.The band of musicians of the Brigade of infantry no. 4 was created on October 6, 1939, its founder was master first lieutenant Camilo Amaro Silvosa. It has a total of 31 members serving the military or to support the development of community relationsThis band of musicians works according to the requirements as a military band in concerts, show band or as a folkloric group, and they are involved in events of the Department of Treinta y Tres, Lavalleja and Rocha private and public institutions. "On special occasions it has became effective band of musicians of the"Treinta y Tres Orientales"infantry battalions" machining N ° 10 and "Gral.Leonardo Olivera" of mechanized infantry no. 12, which doubles its capacity. In 1963, this band of musicians, under the direction of Tte.2? (B.M.) Dante Díaz, reached 2nd place in the competition of bands and brass bands of the army.The Uruguay Air Force band was created in 1962 and have 35 members and has become extremely popular throughout the country.USS Arizona BandThe most recognized and decorated band associated with US Navy bands in Hawaii was Unit Band 22. This was the band stationed aboard the USS Arizona at the time of the Japanese surprise attack on Pearl Harbor on December 7th 1941. The entire band ARIZONA band was killed while passing ammunition under turret # 1... The names of the band members as well as all those that served on the Arizona are forever engraved in the memorial at Pearl Harbour as the eternal watch for all ships entering the harbour.United States Army Brass Band XE "United States Army Brass Band" The US Army brass band is one of several components of the United States Army band (Pershing's Own). The band is located at Fort Meyer Virginia. The band was established in 1981 and is patterned in the likeness of the traditional brass bands popular around the world. The band is drawn from the larger ceremonial. The band uses the British instrumentation and performs music of the standard brass band repertoire.United States Military Academy Band XE "United States Military Academy Band" The United States Military Academy Band, the U.S. Army’s oldest active band and the oldest unit at West Point, traces its roots to the Revolutionary War. At that time, fifers and drummers were stationed with companies of minutemen on Constitution Island, across the river from West Point. In 1778, General Samuel Holden Parsons’ 1st Connecticut Brigade crossed the Hudson River and established West Point as a permanent military post. After the American Revolution, Congress disbanded most of the Continental Army, but “the 55 men at West Point,” members of the 2nd Continental Artillery, remained. Among their ranks stood at least one drummer and one fifer, who alone maintained the tradition of military music at West Point.With the establishment of the United States Military Academy in 1802 came an increased demand for military music. As the academy grew, it needed fifers, drummers and buglers to drill the new cadets and provide an audible order to their duty day. In 1817 the ensemble was named the “West Point Band,” and by this time was performing on a full range of instruments, which included two bassoons, two Royal Kent bugles, a tenor bugle, ten clarinets, three French horns, a serpent (an early bass horn), cymbals, a bass drum, eight flutes, and two trumpets. In 1866 it received the official title of the “United States Military Academy Band.”Today’s band consists of four components: the Concert Band, Hellcats (the drum and bugle field music unit), the Jazz Knights, and the Support Staff. They combine to form the Marching Band. The unit fulfills all of the official musical requirements of the academy, including military and patriotic ceremonies, public concerts, sporting events and radio and television broadcasts, as well as social activities for the Corps of Cadets and the West Point community. The Soldier-musicians of this organization are recruited by the Army and selected through a competitive audition process especially for service with the United States Military Academy Band. They represent a cross-section of the nation’s finest music schools and conservatories.As the senior premier musical representative of the United States Army, the band has appeared at many historical events. It performed at the dedication of the Erie Canal; at the Chicago and New York world’s fairs; and for the funerals of Ulysses S. Grant and Franklin D. Roosevelt. In conjunction with the 1952 academy sesquicentennial, the band sought out leading contemporary composers to contribute works evocative of West Point. The resulting musical gifts from such celebrated musicians as Morton Gould, Darius Milhaud, William Grant Still and Roy Harris soon became a standard part of the international wind band repertoire.As the Military Academy bicentennial approached, the band again encouraged important American composers to write new works. The band commissioned Kimo Williams to create a piece depicting the famous Buffalo Soldiers, whose distinguished service included West Point. Other recently premiered compositions include James Kessler’s Hudson River Rhapsody for oboe and band; Samuel Adler’s Dawn to Glory; and When Johnny Comes Marching Home written by Robert Starer for piccolo and band. Daniel Welcher’s contribution, Perpetual Song is a tribute to J.S. Bach and Dimitri Shostakovich. Eric Ewazen has written, to date, the largest work for the Academy Band and the bicentennial. Ewazen’s piece, Legacy, is a symphony in three movements and is a tribute to West Point, the United States of America, and all who have served their country. The third movement …of Home and Country was performed at the 54th Midwest Clinic. On March 15th, 2002, the band formally led the Military Academy into its third century with a Carnegie Hall performance that featured this important new music.The United States Marine band (The Presidents Own) XE "The United States Marine band(The Presidents Own)" For more than two centuries, the United States Marine Band has been part of events that have shaped our nation. Established by an Act of Congress in 1798, the Marine Band is America’s oldest continuously active professional musical organization. Our primary mission is unique—to provide music for the President of the United States and the Commandant of the United States Marine Corps. Now in their third century, the Marine Band continues a tradition of excellence that earned the title “The President’s Own” from President Thomas Jefferson. As the only musical organization charged to perform for the President, “The President’s Own” views its rich history as a foundation for an even greater musical future. Whether in White House performances, public concerts, or national tours, the music of the Marine Band is the music of America. The Marine Band celebrated its 210th in 2008 anniversary with Living History concerts. Learn more by visiting the Living History page. "The President's Own" History JULY 11, 1798 In the nation's capital of Philadelphia, President John Adams signed an Act of Congress establishing the United States Marine Band. The original "32 drummers and fifers" were deployed on ships, sent to other Marine Corps posts, and some were retained in Philadelphia to provide music for the leaders of the government. AUGUST 21, 1800The Marine Band presented its first public concert in the new capital city of Washington "on a hill overlooking the Potomac" near the future site of the Lincoln Memorial. Early citizens thronged to hear the "Marines’ band of music." JANUARY 1, 1801The band made its White House debut in the unfinished Executive Mansion at a New Year’s Day reception hosted by President and Mrs. John Adams.MARCH 4, 1801The Marine Band performed for Thomas Jefferson’s inaugural. Jefferson, an avid music lover and amateur violinist, is credited with giving the Marine Band the title "The President’s Own." Since that time, the band has played for every presidential inaugural. MARCH 4, 1809The Marine Band performed for James Madison’s Presidential inaugural ball, the first ever held. The President, First Lady Dolley Madison, and their guests were serenaded with popular songs and dances of the period.JULY 4, 1828The Marine Band performed for the groundbreaking of the C & O Canal with President John Quincy Adams in attendance. Newspapers reported, "Airs from the Marine Band lightened the toil." MAY 29, 1829As President Andrew Jackson departed a ceremony celebrating the laying of the cornerstone of the first lock on the C&O Canal, the Marine Band played "Hail to the Chief." This was the first documented use of "Hail to the Chief" by the Marine Band to honor a President of the United States. JULY 4, 1848The Marine Band participated in ceremonies celebrating the laying of the cornerstone of the Washington Monument. 1850s-early 1900sThe following excerpts are from David M. Sullivan’s "The United States Marine Corps in the Civil War—The Second Year":"The Marine Corps, in order to ensure a steady supply of field musicians, was a practitioner of the apprenticeship system. Boys enlisting to become fifers and drummers were bound by a contract of indenture until they were twenty-one years old. They learned their skills under the strict supervision of the drum major, who, by the terms of the contract, took the role of 'master.' Their classroom was the parade ground at Marine Barracks, Washington. After a training period of anywhere from a few months up to a year, they were rated 'drummer' or 'fifer,' and assigned to duty at one of the posts of the Corps or shipped out with a guard of Marines going to sea.When hostilities began, the School for Music Boys at the Washington Barracks consisted of twelve fledgling drummers and fifers. … Once the boys were taught the basics of the fife and drum, training in the calls that would be required once they were posted to duty began. Among the many calls that Musics were expected to become proficient in were: reveille, guard, muster, mess, liberty, general quarters, morning and evening colors, retreat, and tattoo.In addition to their musical training, the boys received formal classroom schooling."The School for Music Boys lasted from the early to mid-1850s to the early 1900s. Many of the apprentices joined the Marine Band upon completion of their contract. Several graduates include 15th Drum Major John Roach, 22nd Drum Major James Culleton, and 17th Director John Philip Sousa.NOVEMBER 19, 1863The band accompanied President Abraham Lincoln to Gettysburg for the dedication of the National Cemetery and his immortal Gettysburg Address. During the Civil War, the Marine Band lifted spirits with concerts on the South Lawn and in Lafayette Park across from the White House.OCTOBER 1, 1880Twenty-five-year-old John Philip Sousa was appointed 17th Leader, a post he held for 12 years. During this time, the band made its first concert tour, premiered many of Sousa’s most famous marches, and produced some of the first phonograph recordings ever made.OCTOBER 28, 1886John Philip Sousa and the U.S. Marine Band led President Grover Cleveland and more than 20,000 marchers down 5th Avenue and Broadway on the way to New York Harbor for the unveiling ceremony of the Statue of Liberty, Liberty Enlightening the World. MAY 17, 1922Music of "The President’s Own" reached homes across the nation when the first Marine Band radio program was broadcast. Other broadcasts continued, including "The Dream Hour," which began in 1931, running for 24 years, ending in 1954. At that time it was the longest running program on radio. MAY 20, 1943The band performed a special wartime concert on the White House South Lawn for President Franklin D. Roosevelt and British Prime Minister Winston Churchill. Despite a steady rain, Roosevelt and Churchill stayed throughout and sang "The Battle Hymn of the Republic" with the band at the conclusion. NOVEMBER 25, 1963 As the nation mourned, and the world watched, the Marine Band, at the request of Mrs. Jacqueline Kennedy, led the funeral procession of President John F. Kennedy. MAY 16, 1973The Marine Band enlisted its first female member, a French horn player from Saginaw, Mich.NOVEMBER 26-27, 1985The Marine Band performed its first ever concert overseas at De Doelen Concert Hall in Rotterdam, Netherlands. JULY 4-5, 1986Amid fireworks and celebration, the Marine Band performed in New York City for the rededication of the Statue of Liberty, recreating the band’s performance under John Philip Sousa for the original unveiling ceremonies 100 years earlier.FEBRUARY 6-23, 1990Combining music of Sousa with images of Lenin, the Marine Band toured five cities in the former Soviet Union, becoming the only American military band to tour the USSR before its transformation into independent states. JUNE 8-10, 1991"The President's Own" performed for approximately 200,000 people attending the June 8 National Victory Parade in Washington, D.C. It also participated in the June 10 Operation Welcome Home Parade in New York. The celebrations honored the men and women who served in Operation Desert Storm.OCTOBER-NOVEMBER 1991"The President's Own" marked the centennial of its annual concert tour, initiated by 17th Marine Band Director John Philip Sousa in 1891. JANUARY 20, 1997The Marine Band participated in its 50th Presidential Inauguration. From President Jefferson to today, "The President's Own" has participated in inaugural events for more than 200 years.APRIL 24, 1997Dr. Frederick Fennell conducted a full concert by the Marine Band at the Joseph Meyerhoff Symphoniy Hall in Baltimore. The event marked the first time a guest conductor led an entire performance of "The President's Own."JANUARY 26, 1998National Symphony Orchestra conductor Leonard Slatkin guest conducted "The President's Own" in concert at DAR Constitution Hall in Washington, D.C., kicking off a series of events marking the 200th anniversary of the band. MAY 24, 1998"The President's Own" was the first musical institution inducted into the American Classical Music Hall of Fame in Cincinnati. Events included a gala performance by "The President's Own" at the Music Hall in Cincinnati. JULY 11, 1998The Marine Band celebrated its 200th anniversary with a command performance at the White House and gala concert at the John F. Kennedy Center for the Performing Arts in Washington, D.C., attended by President Bill Clinton and First Lady Hillary Rodham Clinton. Also in 1998, the Marine Band produced its special 10-disc Bicentennial Collection. APRIL-MAY 1999The Marine Band welcomed guest conductors James Sinclair and Gunther Schuller to the podium.JUNE 8, 1999President Bill Clinton promoted Marine Band Director Timothy W. Foley to the rank of colonel in an Oval Office ceremony, marking the first promotion of a Marine Band director by the President of the United States.APRIL 16, 2000Guest conductor Frank Battisti led "The President's Own" in concert at George Mason University's Center for the Arts in Fairfax, Va. AUGUST 21, 2000 The Marine Band celebrated 200 years of Washington, D.C., performances. The band moved to Washington in 1800, when the nation's capital was relocated from Philadelphia. JANUARY 20, 2001The Marine Band marked its 200th year of participating in the Presidential Inauguration, performing for the Inaugural of President George W. Bush. JULY 12-14, 2001"The President's Own" performed at the Luzern Culture and Convention Center in Luzern, Switzerland, in conjunction with the World Association of Symphonic Bands and Ensembles conference. The Marine Band premièred composer David Rakowski's Pulitzer Prize nominated work, Ten of a Kind, which the band had commissioned in 2000. SEPTEMBER 11, 2002The Marine Band performed at Ground Zero in New York for the one-year anniversary of the World Trade Center attacks. JULY 12, 2003Academy Award-winning film composer John Williams conducted "The President's Own" for its 205th Anniversary Concert at the John F. Kennedy Center for the Performing Arts in Washington, D.C. MARCH 20, 2004Minnesota Orchestra Director Osmo V?nsk? guest conducted "The President's Own" United States Marine Band at the Clarice Smith Performing Arts Center of the University of Maryland in College Park.APRIL 17, 2004Former Lincoln Center Jazz Orchestra Conductor and renowned Duke Ellington scholar David Berger guest conducted the Marine Jazz Orchestra at the historic Lincoln Theatre in Washington, D.C.JUNE 9-11, 2004The U.S. Marine Band and Marine Chamber Orchestra participated in the state funeral of President Ronald Reagan. The band marched in the funeral procession on Constitution Avenue in Washington, D.C., on June 9, and the chamber orchestra performed at the funeral service held in Washington National Cathedral on June 11. JULY 17, 2004First Lieutenant Michelle A. Rakers was appointed as the first female Assistant Director in the history of"The President's Own." AUGUST-SEPTEMBER 2004"The President's Own" moved from its historic home at Marine Barracks Washington, 8th and I Streets, in southeast Washington, D.C., to the new Marine Barracks Annex, located just around the corner at 7th Street and Virginia Avenue, southeast. NOVEMBER 6, 2004 "The President's Own" celebrated the sesquicentennial (150th) anniversary of the birth of its most famous member, John Philip Sousa, and Commandant of the Marine Corps General Michael W. Hagee dedicated the band's new rehearsal facility the "John Philip Sousa Band Hall."DECEMBER 5, 2004At the request of 2004 honoree Academy Award-winning film composer John Williams, "The President's Own" performed for the 2004 Kennedy Center Honors. National Symphony Orchestra Director Leonard Slatkin conducted the band for the event, held at the John F. Kennedy Center for the Performing Arts in Washington, D.C. MAY 1, 2005"The President's Own" performed with the Washington Choral Arts Society at the new Music Center at Strathmore in North Bethesda, Md.NOVEMBER 5, 2005The Marine Band concluded a year-long celebration of the sesquicentennial of John Philip Sousa's birth with the unveiling of an eight-foot bronze statue of "The March King" in front of the Marine Barracks Annex in southeast Washington, D.C.MARCH 19, 2006National Symphony Orchestra Music Director Leonard Slatkin guest conducted the Marine Band in a gala performance at The Music Center at Strathmore in North Bethesda, Md. The concert included the Washington, D.C., première of John Corigliano’s Circus Maximus.JANUARY 2, 2007The Marine Chamber Orchestra participated in the State Funeral for President Gerald Ford, 38th President of the United States, at the National Cathedral in Washington, D.C.APRIL 23, 2007Guest conductor and composer José Serebrier led the Marine Band in a gala concert at The Music Center at Strathmore in North Bethesda, Md., featuring the première of Serebrier's "Night Cry," as well as his arrangement of Georges Bizet's Carmen Symphony.JUNE 14, 2007The Marine Band, along with the Oak Ridge Boys, participated in the grand finale of the National Association for Music Education's (MENC) National Anthem Project on the National Mall in Washington, D.C. The event was broadcast to schools nationwide and thousands of students joined in singing "The Star-Spangled Banner."JULY 3, 2007President George W. Bush promoted Marine Band Director, Michael J. Colburn, to the rank of colonel in an Oval Office ceremony, making Col. Colburn only the second Director in the Marine Band's history to be promoted by a Commander in Chief.JULY 20, 2007The Marine Band performed as the featured ensemble for the Texas Bandmasters Association convention in San Antonio.APRIL 26, 2008President George W. Bush became the first President of the United States to conduct the U.S. Marine Band when he led the band in John Philip Sousa's march, "The Stars and Stripes Forever," during the White House Correspondents Dinner.JULY 20, 2008Conductor and composer John Williams returned to guest conduct the Marine Band for the band's 210th anniversay concert at the John F. Kennedy Center for the Performing Arts in Washington, D.C. NOVEMBER 2008Colonel Michael J. Colburn and several principal musicians from the Marine Band traveled to Singapore as guest artists for the Singapore Armed Forces Central Band's 50th anniversary. The event marked the first Marine Band sojourn to Asia.JANUARY 20, 2009The Marine Band participated in both the inaugural ceremony and parade for 44th President of the United States Barack Obama before an estimated crowd of 1.4 million. SEPTEMBER 9, 2009The Marine Band supported CBS News as it honored legendary newsman Walter Cronkite at a special tribute in Avery Fisher Hall at Lincoln Center in New York, attended by President Barack Obama and former President Bill Clinton. Musicians That Shaped The Marine band HistoryMarine Band Family LegaciesCarusiThe earliest occurrence of a father serving along side his son occurred in 1805 when Gaetano Carusi enlisted in the band from Catania, Sicily. He served with not just one son, but two: Samuel and Ignazio. Gaetano Carusi was the leader of a band in Catania and was persuaded to enlist in the U.S. Marine Corps for service with the Marine Band. Along with his sons and 13 other members of his band and their families, Carusi sailed from Catania to America and arrived in Washington in September 1805. Pulizzi The other members of the Catania band may have contained additional father and son groups including Francesco Pulizzi and his son Venerando. Venerando Pulizzi went on to serve as leader of the band from October to December 1816 and again from 1818 to 1827.SousaOne of the most famous father and son pair in the Marine Band is Antonio Sousa and his son John Philip. Antonio Sousa joined the band in 1854 and served as a trombonist in the band until 1879. In 1868, Antonio had his son John Philip enlisted in the Marine Corps as an apprentice musician. Marine Barracks became John Philip’s school and the Drum Major of the band, John Roach, was responsible for his education. He was taught basic subjects such as reading, writing, arithmetic, and basic music training on several instruments. Sousa is believed to have become a full member of the band, leaving apprentice status behind in 1872, and he served an additional three years before leaving the Marine Corps to pursue his own career in music. He returned in 1880 as Director of the Marine Band and served until 1892. George was a younger brother of John Philip, born on Feb. 7, 1859. He served with the band for 30 years. He enlisted as an apprentice musician on Jan. 30, 1877, just seven days before his 16th birthday. He mostly served as a percussionist, but for the last 10 years of his career he also served as librarian and was known for his system of cataloging the band’s large music collection.SantelmannNo family has had longer or more profound influence on the Marine Band than the Santelmann family. William H. Santelmann joined the Marine Band in 1887, after auditioning for John Philip Sousa on violin, clarinet, and baritone. In 1898, he was named Director of the band and he served in this position until 1927, the longest tenure of any Marine Band Director. In 1923, his son, William F. Santelmann, was accepted into the band and served as a violinist and baritone horn player. He served under his father for the next four years, until his father’s retirement. Following in his father’s footsteps, William H. Santelmann was named the 21st Director of the band in 1940. He led the band for the next 15 years, retiring in 1955. Together, the Santelmanns led the Marine Band for a total of 44 years, a period of time well over one-quarter of the band’s history at the time.SevenhuysenOther father and son relationships existed in the band during the Santelmann era. A native of the Netherlands, Theodore A. Sevenhuysen moved to the United States in 1884 when he was 19. After serving in the U.S. Army for 13 years, he joined “The President’s Own” in 1893 as a bassoonist and violinist. He served until his retirement in 1915. His son, Theodore A. Sevenhuysen Jr., followed in his father’s footsteps, pursuing a career in music and becoming a member of the Marine Band in 1921. He played trumpet in the band and retired in 1950. Although their careers did not overlap, the Sevenhuysens did perform together with the band on one occasion, a special concert in 1924 celebrating the 25th anniversary of the reorganization of the Marine Band in 1899. The senior Sevenhuysen was invited back to perform with the band on this special occasion.Harpham The 20th century saw a number of brother-teams serving together in the band. One of the earliest and most notable was the Harpham brothers. Dee S. Harpham, a trombonist, joined the Marine Band in 1933. His brother, Dale L Harpham joined the band just two years later after studying trombone with a number of notable teachers including his brother. Dale had a long and colorful career with the band, serving as a trombonist and cellist, and trombone soloist. In 1955 he was named Assistant Director of the band, a position he held until 1972 when he was named Director. He retired in 1974 as a lieutenant colonel.SaverinoThe name Saverino is almost legendary within the membership of the Marine Band. Louis and his brother Angelo were well-known as excellent tuba players and served as principal players and soloists. Louis was born in 1915, one of eight musically talented children of Angelo and Pauline Saverino. After graduating from the Eastman School of Music he joined the Marine Band in 1939 and retired in 1964. He played a number of instruments including tuba, double bass, and bass clarinet. During his career he was also active as a composer and arranger, writing numerous marches, solo pieces, and original band compositions. Angelo, born in 1920, joined the Army during World War II and served in Europe with distinction, earning a Bronze Star for heroism. After the war he joined the Marine Band, playing tuba and double bass from 1946 to his retirement in 1963. ErdmanAnother legendary family in Marine Band history includes the three Erdman brothers, Fred, Jim, and Tim. Fred played the cornet, joined the band in 1955 at age 19, and immediately became a featured soloist. During his 30-year career it is estimated that he gave more than 1,500 solo performances. He retired in 1985.Jim played trombone and joined “The President’s Own” in 1956 at age 17. He also followed in the band’s tradition of outstanding trombone soloists highlighted by former members such as Robert E. Clarke and Robert Isele. After a tremendously successful career as principal and soloist, he retired in 1976.Tim played the cornet in the band from 1970-79. He occasionally performed solos and was featured with Fred and Jim in performances of John Morrissey’s Concerto Grosso for Two Trumpets and Trombone.FrankeFor violinist Staff Sergeant Christopher Franke, life as a member of “The President’s Own” is nothing out of the ordinary. A third-generation member of the Marine Band, both Chris’ parents and his grandfather made their career as musicians in “The President’s Own.”Chris’ father, principal euphonium Master Gunnery Sergeant Philip Franke, and mother, former Marine Chamber Orchestra violist Master Sergeant Susan Franke, both joined the band in 1981. However, the Marine Band family legacy began when Susan’s father, former Marine Band trumpeter/cornetist Master Gunnery Sergeant David Johnson, joined the band in June of 1956.A graduate of the Eastman School of Music at the University of Rochester, Johnson remained a band member for 30 years and had the opportunity to work alongside his daughter and son-in-law toward the end of his career. For some, working alongside a relative might seem challenging, but both Susan and Phil said they thoroughly enjoyed the experience. Susan and her father David have been the only father/daughter connection in the Marine Band's history. Even though Susan and her father have retired from the Marine Band, they, along with Phil, are very excited and happy to have Chris follow in their tracks. For Chris, winning the audition for “The President’s Own” has been a dream come true and something he has looked forward to his entire life.BarclayThe father and son tradition was renewed in 1988 when John Barclay joined the Marine Band. John's father, Robert, played clarinet and violin in the Marine Band from 1950-57. Robert Barclay, Jr., began his music studies in Chester, Pa., with his father who owned a music store. He continued his studies at Temple University in Philadelphia and the Philadelphia Musical Academy. He succeeded his father as concertmaster of the Wilmington Symphony Orchestra in Delaware during the 1949-50 season before joining the Marine Band in 1950. Major John Barclay began his musical instruction at age 5 with Robert. After graduating from Bonanza High School in Las Vegas in 1986, he attended the University of Southern California in Los Angeles and joined “The President’s Own” in January 1988. He was appointed E-flat clarinetist in 1990. In 1996 he was named Operations Assistant and Assistant Drum Major. Three years later, he was appointed Administrative Assistant to the Director, while retaining his Assistant Drum Major duties. Major Barclay served as the band’s 33rd Drum Major from November 1999 to February 2001, when he was appointed to his current position. He was commissioned a captain in August 2001 and was promoted to his current rank in March 2005. BurianAssistant Director Major Dennis Burian (Ret.) and his son Gunnery Sergeant Douglas Burian served alongside each other from 1997 to 2001. Major Burian, served “The President’s Own” United States Marine Band on active duty for 32 years. He currently is the head of the Marine Band Branch at Headquarters Public Affairs at the Pentagon. He joined the Marine Band in 1969 as a clarinetist. Before being named Assistant Director in 1988, he served 10 years as Operations Chief and leader of the White House Dance Band and one year as Operations Officer. In this position, he served as the band’s operational liaison with the White House and Marine Corps Headquarters and was directly involved in scheduling the band’s commitments. In 1996, he was appointed senior Assistant Director and Executive Officer and promoted to his final rank. In addition to conducting the Marine Band and Marine Chamber Orchestra at the White House, in the Washington, DC, metropolitan area, and across the country, he performed at the White House with numerous celebrities, including Neil Diamond, Frank Sinatra, and Sammy Davis, Jr. He is a member of the prestigious Gridiron Club and the Military Order of the Carabao.Major Burian graduated from William Allen High School and attended West Chester University in West Chester, Pa. He earned bachelor’s and master’s degrees in music from The Catholic University of America in Washington, D.C.Major Burian conducted his final concert with “The President’s Own” in August 2001. His retirement ceremony was held on September 14, 2001, in John Philip Sousa Band Hall at Marine Barracks, Washington, D.C.Operations assistant GySgt Douglas R. Burian joined “The President’s Own” United States Marine Band in July 1997 as a cornet/trumpet player and joined the operations staff in June 2008. GySgt Burian graduated in 1991 from DeMatha Catholic High School in Hyattsville, Md., and received a bachelor’s degree in music from Centre College in Danville, Ky., in 1995. In 1997 he earned a master’s degree in music from the University of New Mexico in Albuquerque, and received his doctoral degree in trumpet performance at the University of Maryland in College Park in 2008. His most notable trumpet instructors include “The President’s Own” cornetist Roy Griffin, Vince DiMartino of Centre College, Jeff Piper of the University of New Mexico, and Chris Gekker of the University of Maryland. GySgt Burian has been featured twice as a soloist with the band and orchestra, in 1999 and 2001.ToursMarine Band concert tours began in 1891 under the leadership of John Philip Sousa. Sousa had taken the band on short trips to perform in nearby cities such as Baltimore and Philadelphia, but no extended concert tour had been attempted. Sousa’s initial requests for permission to take the band on such a trip were denied. The band’s extremely busy concert schedule in Washington, D.C., and the responsibilities at the White House were cited as reasons for the denial. But Sousa persisted and eventually presented his request directly to President Benjamin Harrison. In his autobiography, Marching Along, Sousa recalls what transpired. He wrote:My years in Washington had taught me that if you wish to see the President, see his wife first. So I asked for Mrs. Harrison. She liked the idea of a tour and promised to speak to the President about it. Next morning I was summoned to see the President. As I entered the room, he rose, shook hands cordially, and leading me to one of the windows which faced the Potomac River, said, “Mrs. Harrison tells me that you are anxious to make a tour with the band. I was thinking myself of going out of town, and”—with a smile—“it would be tough on Washington if both of us were away at the same time. I have thought it over, and believe the country would rather hear you than see me; so you have my permission to go.”The 1891 tour took “The President’s Own” to 32 cities and towns in New England and the Midwest. The band performed two different programs: one for matinees and another for evening concerts. Both included Sousa’s unique blend of popular music and orchestral transcriptions, as well as his own compositions. Although the audiences clamored for Sousa’s marches, he included them only as encores, offering his audiences what he called the “solid fare” of Richard Wagner, Georges Bizet, Giuseppi Verdi, Franz Schubert, Hector Berlioz, and others.Sousa launched the band’s second concert tour in 1892, this time through 37 cities to the Pacific Coast and back. When this tour proved even more successful than the first, Sousa decided to leave “The President’s Own” to form his own civilian band.After Sousa left the Marine Band in 1892, “The President’s Own” made only five tours—1901, 1907, 1911, 1912, and 1915—before traveling yearly between 1920 and 1931. The band suspended its tours during the Depression years of 1932-1934, but took to the road again in 1935 and continued until 1942. During World War II, the band played many additional performances in Washington, D.C., and at the White House to boost wartime morale. The Marine Band’s national concert tours resumed in 1946, and have continued every year since.The early leadership of the Marine Band consisted of both a Drum Major and a Fife Major, who wore identical uniforms. The Drum Major was considered the Leader of the Marine Band, while the Fife Major's responsibility was to train the fifers. The first leader of the United States Marine Band was William Farr, who is listed in historical records as having served as Drum Major from January 21, 1799.After the retirement of Drum Major Raphael Triay in 1855, then-Fife Major Francis Scala became Drum Major. On July 25, 1861, President Abraham Lincoln signed an Act of Congress to reorganize the Marine Band. This act abolished the rank of Fife Major (and in 1881 the fife was removed from Marine Corps instrumentation entirely), created the positions of Leader of the Band/Principal Musician, Drum Major, and authorized 30 musicians. Scala was the first Marine Band musician to receive the title "Leader of the Band"; John Roach was selected as Drum Major.The earliest recorded Second Leader of the United States Marine Band was Salvador Petrola. Marine Band cornetist Walter F. Smith, who performed under 17th director, John Philip Sousa, became the first official Second Leader when an Act of Congress established the positions of First Leader and Second Leader of the Marine Band in March 1899.During the Dwight D. Eisenhower administration, the titles First Leader and Second Leader were replaced by Director and Assistant Director. When Albert F. Schoepper was appointed as Director in 1955, a second Assistant Director was added to the Marine Band leadership. Today, the Assistant Director positions are designated in two titles: Senior Assistant Director and Executive Officer, and Assistant Director.Today, the Drum Major serves as the senior enlisted member of "The President's Own" and is responsible for the band's appearance, ceremonial drill, and military decorum. He is charged with directing the band in ceremonies, including the inaugural parade, and regularly leads the band in review for Presidents and visiting heads of state and other dignitaries.United States Navy BandsSince its official designation in 1925, the United States Navy Band has grown into a diverse organization of multiple performing units. The organization features six performing ensembles: the Concert Band, the Ceremonial Band, the Commodores jazz ensemble, Country Current country-bluegrass ensemble, the Cruisers contemporary entertainment ensemble, and the Sea Chanters chorus. There are also several chamber music groups. The multiple ensembles help to meet the public demand for different types of music as well as the needs of Navy recruiting.The United States Navy Band is composed of 172 enlisted musicians and four officers, under the direction of Capt. Brian O. Walden.The Concert Band is the Navy's premier wind ensemble. The Concert Band, along with the Ceremonial Band, was part of the original Navy Band in 1925. The group plays concerts in the Washington, DC area as well performing a month-long national tour each year. Ceremonial BandThe Ceremonial Band performs ceremonies in and around the Washington, DC area. Their main mission is performing for funerals at Arlington National Cemetery. Additionally, the Ceremonial Band performs change of commands, retirements, patriotic openers, wreath-layings and arrivals.. Music has been a part of Navy life ever since that unknown fifer and drummer reported for duty aboard the USS Ganges, commanded by Captain Robert Dale, USN, and set sail from Delaware Bay in 1798, only 30 days after the Navy Department was formed. Captain Dale's order on May 11, 1798, read in part: "The Lieutenant of Marines, when appointed, will immediately proceed to enlist twenty-one privates, 1 serjeant, 1 corporal, and 2 musicians, to serve as Marines, in the Navy of the United States." The pay of a musician in those days was listed as "Seven dollars a month." Music did much to soften the rigors of shipboard life in those times. As chantymen sang songs depicting life at sea, sailors working on deck joined in singing the refrain. During the next century, music continued to grow in inportance as an integral part of naval tradition. The first "real band" in the U.S. Navy, however, was deliberately shanghaied. In 1802 while the USS Boston was in port at Messina, Sicily, a local band came aboard and treated the American crew to a concert. The Captain was so pleased that he immediately set sail for America with the band still aboard. Bands continued to become a valuable section of the crew on many Navy vessels, including the Constitution, Constellation, and other ships deeply involved in the history of our young and growing country. As the needs of the Navy took on new dimensions during the 1800s, so too did Navy musicians. The development of more shore-based bands led to the creation of the Naval Academy Band, which grew in size and importance during the Civil War. The first authorized band for midshipmen was actually provided by fifer William Bealer and drummer John Jarvis. This "Band of Music," as the two were called, began the tradition of music as a most important part of Academy life. Other band units on ships and at shore stations played a major role in promoting morale among sailors and civilians alike. By the turn of the century, a need for qualified musicians throughout the Navy led to the establishment of the first Musician Training School at St. Hellena, Va., in 1902. A Navy orchestra made up of students performed nightly concerts aboard a decommissioned frigate, the Richmond, for the Skipper and the general public. There was little training at the school in these early days and it served mainly as an assembly point for bands en route to ships that had requested such groups. During this period musicians were enlisting under two different programs. In one, if they enlisted as an apprentice musician but failed to qualify, they were retained in the Navy as a regular seaman. If, however, they enlisted as a "landsman for musician" and failed to make the grade, their enlistment was terminated and they returned to civilian life. The best known landsman for musician was the Navy Band's second leader, Commander Charles Brendler. With qualified musicians now being sent to the fleet, the stage was set for the creation of what would become the United States Navy Band. In 1903 the forerunner of the Navy Band arrived for duty at the Washington Navy Yard where Bandsmaster Brenner directed a unit of sixteen men that established Navy music in our nation's capital. The next significant step in the development of the Navy Band occurred in 1916 when a seagoing band led by Bandmaster E. Totino was ordered to the Navy Yard to join a seventeen-piece band of the presidential yacht Mayflower, under the direction of Bandmaster Henry Peterson. This combined group of 34 musicians was known as the Washington Navy Yard Band and assigned rehearsal spaces at the Receiving Station on the west side of the yard near the coal pile for the yard power plant.It was Admiral Arthur Willard who in 1918 realized the public relations potential of the band and took an active interest in promoting them in and around the Washington area. The increased activity of the band created the problem of suitable rehearsal space that Adm. Willard solved by permitting the band to rehearse mornings in the Sail Loft. Every morning thereafter, until the Navy quit making sails in the 1930s, the Sailmakers cut and stitched their canvas to the rhythms and melodies of band music. That same year saw the ranks of the band swell to around eighty members due to the World War I draft. The increase in men and talent made it possible to start a small orchestra within the band.During the war years some great centralizing force was needed to bring the American nation to a singleness of purpose and instill a national consciousness vital to the success of our wartime efforts. The value of music in achieving results in this direction was quickly realized in the government and in a short time service bands were recruited to full strength and equipped with the best instruments available. Large and capable bands stirred the hearts of Americans from coast to coast during the war. Musicians of international fame entered the Navy, many enlisting from the great symphony orchestras and others from the world's famous bands. The nation's people wanted music, our soldiers and sailors wanted music and the government gave them good music. At last the unifying and encouraging power of a stirring melody was completely appreciated by our government.Many famous musicians had much to do with the growth and professionalism of the band, including the famed bandmaster, John Philip Sousa. In 1917, Sousa was asked to assist in the Navy's musical development with the increase of musical talent. Within one month Sousa had over six hundred enlistments for the band. Sousa's Battalion Band better known as the "Jackie Band," went on tour and was instrumental in earning the over 21 million dollars for the Liberty Loan Drive. Sousa was later promoted to Lieutenant Commander in the Naval Reserve and liked his title and uniform so much that he used it the rest of his life.Early in 1919 a bandmaster named Charles Benter transferred from the fleet to the Washington Navy Yard Band. This was the beginning of the Benter era which would last until 1942. Benter was born in 1899 and enlisted as an "apprentice boy" when he was thirteen years old. By the time he was twenty-one he became the youngest bandmaster in the United States Navy. During World War I he was Bandmaster of the band aboard the USS Connecticut, flagship of Admirals Dunn, Rodman and Glennon. From there he made the historic transfer to the Washington Navy Yard Band where he was to become the "Father of the United States Navy Band."Armistice and demobilization of the uniformed services after World War I led to a rapid disappearance of the great bands that had stirred the nation. As the servicemen returned home, so too did the artists who made our Navy's music so outstanding. The Washington Navy Yard Band had dwindled down to less than twenty men, but the Navy Department, aware of the value of good band music, demanded a musical unit that would superbly represent the United States Navy, both in the nation's capital and throughout the country. Bandmaster Benter set out to recruit musicians from around the country to bring the band to its authorized strength of 30 men.1920 marked the beginning of the Navy Band's long association with radio as a small orchestra began broadcasting from a hangar at the Anacostia Naval Air Station. In 1922 the band began performing concerts at the Capitol Plaza on Monday eveings, a series which has continued without interruption except for brief periods of renovations to the Capitol building. That same year, the Navy Department began referring to "The Navy Band" instead of the Washington Navy Yard Band that was in keeping with Benter's plan to make the band the official band of the U.S. Navy. Early in 1923 the Navy Band accompanied President Harding on a trip to Alaska. On each stop the band would parade down the street or form a semicircle to play marches. President Harding was stricken with a heart attack and died on August 2. The band played Chopin's Funeral March for the cortege from the Palace Hotel to theSan Francisco train station.With the Navy Band at 75 members strong, 1925 came the moment that Bandmaster Benter had dreamed of. On March 4, 1925, the 68th Congress passed Public Law 611, Title 34, Section 596, which ordained "That hereafter the band now stationed at the Navy Yard...and known as the Navy Yard Band, shall be designated as the United States Navy Band..." President Coolidge did, on the day he was inaugurated as President, sign the bill into law. Bandmaster Benter was authorized by the same bill to receive the pay and allowances of a Lieutenant in the Navy. Also that year President Coolidge authorized the band to make national concert tours, and on October 12, 1925, the Navy Band departed Washington by train on its first tour, a swing through the Southern states that lasted eight weeks. ?Delighted with its newly endowed congressional permanence, the Navy Band of the late 1920s gained national recognition and was a presidential favorite. Lieutenant Benter often led the band aboard the presidential yacht, Mayflower, as well as at important functions at the White House, and prominent local clubs and hotels. Benter became a member of the National Press Club in 1926 and received an honorary Doctor of Music Degree from Columbus University in Washington, D.C. in 1927. Benter, along with such musical luminaries as John Philip Sousa and Edwin Franko Goldman, was one of the original founders of the prestigious American Bandmasters Association. The Navy Band was very much a part of world events during this period as they welcomed back Charles Lindbergh to the Navy Yard after his historic, solo flight across the Atlantic and Admiral Richard Byrd after he successfully journeyed to the South Pole. In 1927, Arthur Godfrey, announcer for the Hour of Memories program on NBC radio, was featured along with the Navy Band. ?The post depression decade of the 1930s brought about significant changes for the Navy Band. Touring was temporarily halted in 1932 and did not resume until 1936 because the modest admission fees charged by the civilian tour director were not affordable by American families. There was a positive side to the situation however; many professional musicians were put out of work and the possibility of a steady paycheck enabled the Navy Band to hire the "cream of the crop." Already one of the great bands of the world, the Navy Band continued to gain in stature with the hiring of these top performers. Of special significance during the 1930s was the fact that the Navy Band was available to the public through a series of 50 commercial recordings listed in the "Brunswick Catalogue of Phonograph Records." 1933 marked the band's first "Anniversary Concert" as Lt. Benter, the band and orchestra presented a "15th Anniversary Concert" at DAR Constitution Hall, based on the establishment of the Navy Yard Band in 1918 rather than the official Navy Band created by an Act of Congress in 1925.Another milestone of the 30s was the first of many appearances of the Navy Band to the Canadian National Exhibition in Toronto, Canada. For the first time in its 60-year history, the exhibition presented a foreign military band as its featured musical attraction in 1937. This was the same year as the coronation of King George VI and a testament to the good will and fraternalism of the two great English-speaking countries in North America. The goodwill has continued to this day as the Navy Band was honored guest at the 1999 "Festival International de Musiques Militaires de Quebec" held in Quebec, Canada. In 1938 Bandmaster Charles Brendler was appointed as Assistant Leader, relieving Alexander Morris, who had been promoted to Warrant Officer and assigned as Assistant Leader at the Naval Academy Band. Anthony A. Mitchell, another future band leader joined the band that year and took his place in the clarinet section. Lt. Benter retired as the first leader of the Navy Band on January 1, 1942 and was succeeded by then Chief Musician Charles Brendler, who by virtue of Public Law 115, was eligible as leader of the Navy Band to assume the "rank of Lieutenant in the Navy." Brendler was born in 1889 and at age 13 was already making $8.00 a week playing clarinet for the "John Wanamaker Boys Band." He joined the Navy in September, 1913 as a "Landsman Musician" assigned to the USS Florida with a monthly salary of $17.16 per month. He was transferred to the Washington Navy Yard Band in 1917 to fill the position of solo clarinetist. He quickly passed through the ranks and achieved the rank of Chief Musician in 1924. Brendler was among the original 63 Washington Navy Yard musicians when Congress created the United States Navy Band in 1925. Lt. Brendler became leader of the Navy Band just as the United States was firmly engaged in World War II. With so many professional musicians facing the draft, Brendler seized the opportunity to request and increase the allowance of musicians for the Navy Band. The Commandant of the Washington Navy Yard, who was authorized to approve an excess allowance of 14 members, did so and the Navy Band became 90 members strong. This temporary increase became permanent in 1945. During this era, the band acquired professionals from the big bands of the day and top symphony players who joined the new Navy Band Symphony Orchestra. The ability to play for dances, formal concerts and government functions greatly increased the band's effectiveness during these years. There were few concerts during the war and the annual tours were cancelled for the duration. The Navy Band was at Arlington National Cemetery daily for funeral services honoring Navy personnel. Radio programs featuring the various groups in the band were broadcast to sailors and their families around the world. In 1945, The Navy Hour was born and continued through 1968, making it the longest running radio show in history. The first broadcast was on July 10, 1945 from Lisner Auditorium and featured Lt. Robert Taylor, USNR as Master of Ceremonies. Lt.j.g. Gene Kelly, USNR, joined Taylor to give dramatic tribute to the Submarine Service. All future broadcasts were done at the Sail Loft and followed a simple, effective format - music, guest stars and a short message delivered by a person of national importance. The end of WWII brought changes to the Navy Band as many of the musicians who had enlisted during the war were discharged and returned to civilian careers. In addition, many career members of the band decided to retire and take advantage of the great demand for musicians in a music business that was booming. This loss of personnel led to the demise of the Navy Band Symphony Orchestra and put extra demands on the members of the concert band. Replacements for discharged and retiring members were quickly recruited from the fleet, and it was these dedicated musicians who would form the nucleus of the organization for the next 20 years. Under the skillful management of Gib Sandefer, Navy Band tours resumed in 1948. Sandefer arranged two six-week tours a year for the band and used his unique talents to coax the most publicity out of each sponsor. The Navy Band was often greeted in towns across America with a parade and a proclamation by the town mayor declaring it "Navy Band Day." Sandefer instituted the practice of inviting local high school students to sit in with the Navy Band on a march, a tradition that is still followed today. Early music in the NavyThe earliest music of the United States Navy was the Shantyman's Song. These melodies of the sea helped soften the rigors of shipboard life. Next came trumpeters, drummers and fifers who were carried on the early frigates to sound calls, give general orders, and perform at funerals and other ceremonies. Military bands became a separate section of the crew on many Navy vessels.The development of shore-based bands in the 19th century led to the creation of the Naval Academy Band, which grew in size and importance during the American Civil War. Other band units afloat and ashore played a major role in promoting the morale of sailors and civilians alike.At the start of World War I many outstanding musicians left their famous orchestras and joined the United States Navy, using their talents to further the war effort.Establishment of the U.S. Navy BandIn 1916, a 16-piece band from the battleship USS Kansas (BB-21) was ordered to the Washington Navy Yard to augment a 17-piece band aboard the Presidential Yacht Mayflower. The new unit became known as the "Washington Navy Yard Band" and was given rehearsal space near the power plant's coal pile. The increasing tempo of the band's duties led the bandmaster to seek more suitable quarters in the yard's "Sail Loft," and sailmakers were soon cutting and stitching their canvas to the rhythms of the music. The United States Navy Band still occupies the Sail Loft as its headquarters and rehearsal hall.In 1923, a 35-man contingent from the Navy Yard Band accompanied President Warren G. Harding on his trip to the Alaska Territory. After the president's unexpected death in San Francisco, the band performed the hymn "Nearer My God to Thee" as his body was placed aboard a train destined for Washington, D.C.With the band growing in importance and prestige, President Calvin Coolidge signed into law a 1925 bill stating "hereafter the band now stationed at the Navy Yard, known as the Navy Yard Band, shall be designated as the United States Navy Band." The legislation also allowed the band to take its first national tour in 1925.Among those praising the early United States Navy Band was the Boston Post newspaper, which printed on March 13, 1929: "...Some folks have an idea perhaps that Navy music is made up of a few chantey choruses, a jig, and The Star Spangled Banner. To the average American Citizen the performance last night must have been a truly startling eye-opener. They performed like a company of first-rank virtuosi..."Under the baton of Lt. Charles Benter, the band's first leader, the United States Navy Band was featured at many historic occasions, including the 1927 return of Charles Lindbergh following his trans-Atlantic flight. Two years later, the band performed for the return of Adm. Richard E. Byrd from his famous South Pole flight.The need for qualified musicians led Lt. Benter to find the Navy School of Music under his charge in 1935. Many of the faculty were bandsmen who taught in addition to their performance duties.Throughout much of the 1960's the Band's leader was LCDR Anthony A. Mitchell USN, a classical clarinetist and accomplished composer who had joined the band in 1937. During his tenure as the Band's director LCDR Mitchell composed the popular march Our Nation's Capital, later honors as the official march of Washington D.C. He also wrote a march for the yet unbuilt National Cultural Center in Washington D.C. The National Cultural Center March was first performed and recorded by the band in 1963, and was performed at fundraising events for the Center throughout the early 1960's. In 1964 the Center was renamed the Kennedy Center for the Performing Arts to honor the fallen president. The march's title was changed to the John F. Kennedy Center March in 1964, though it is still often referred to by its original title.On 25 February 1960 19 members of the Navy Band were flying from Buenos Aires to Rio de Janeiro to join the rest of the band at a reception for President Dwight D. Eisenhower and Brazilian President Juscelino Kubitschek. As the Navy transport plane approached Rio de Janeiro in a dense fog, it collided in midair with a Brazilian airliner above the city's harbor, not far from the landmark Sugarloaf Mountain. Among the 61 people killed were 19 members of the Navy Band, including the assistant leader, J. Harold Fultz, and most of the string section. Three U.S. sailors playing cards at the back of the airplane were the only survivors.[1] The crash was the single worst event in the band's history, and devastated the remaining members of the band. Despite their losses the surviving musicians completed their South American tour. Among the Navy Band's many accomplishments were weekly Monday night concerts,as well as smaller daily concerts held at the U.S. Capital. Held on a special stage located on the east side of the Capital, the daily and weekly concerts ran without interruption from the 1930s until the early 1970s. In the 1960s the Navy Band began a series of popular children's performances, known as "Lollypop Concerts"From 1929 to 1939, the United States Navy Band took to the air waves with Arthur Godfrey on NBC's "Hour of Memories" radio program. During World War II, the United States Navy Band supported the sale of war bonds and assisted in national recruiting efforts, although the majority of the band's time was spent performing at the daily funerals at Arlington National Cemetery.At the close of the war in 1945, the radio program "The Navy Hour" was born. It featured such entertainers as Lt. Robert Taylor and Lt.(j.g.) Gene Kelly, with whom the band had appeared in the film Anchors Aweigh. When it went off the air in 1968, "The Navy Hour" had set a record for one of the longest tenures in radio.United States Army Military bands and Music XE "United States Army Military bands and Music" Many American historic events occurred with the support of a military musical unit. Prior to the signing of the Declaration of Independence, colonial soldiers marched to the music of fifes and drums. During the Civil War, military leaders on both sides relied on military musicians to entertain troops, position troops in battle, and stir the troops on to victory. Army bands have a brilliant history. Bands, such as the 82nd and 101st Airborne Divisions and the 1st Infantry Division, received decorations for their performance in combat. Other bands have entertained at official functions, entertained troops, and traveled throughout the world aiding public relations inside and outside of the United States.As far back as 1633, in the Colony of Virginia, drummers performed for marching practice during militia drills. In 1659, the Dutch supplied the militia of their new colony with drums. In 1687, the importance of music to the militia was further demonstrated when Virginia voted to purchase musical instruments for its militia. Drummers received money for their services and public funds furnished their instruments. The first known band in the colonies was a band in New Hampshire in 1653 comprising of 15 hautboy’s (oboe) and 2 drums. The elite militia units in the colonies obtained the services of bands. Officers funded these bands. In 1747, the Pennsylvania colonists formed regiments and Colonel Benjamin Franklin was the regimental commander in Philadelphia. I1756, the Regiment of Artillery Company of Philadelphia, commanded by Franklin, marched with over 1000 men accompanied by "Hautboy’s and Fifes in Ranks." It is likely that the term "hautboy" did not refer solely to oboes, but to military musicians, and that Franklin had a well-balanced band. This marks the first recorded appearance of an American military band in the colonies. They were separate from the field music units that sounded signals. American bands adopted instrumentation similar to that of the British "Bands Music thrived in the colonies with the establishment of music schools, concert halls, and stores. Concerts were given in all the cultural centers. Boston papers advertised concerts as early as 1729. Josiah Flagg organized a military band of wind instrumentalist in Boston which performed at Faneuil Hall becoming the pioneer band for performance of military music in America. In 1776, a concert hall opened in New York providing evening concerts on weekdays throughout the summer. Philadelphia, also a cultural center, presented well-organized concert programs. British Army bands and American militia bands performed concerts in all these cities.After the Boston Tea Party (1773), the British antagonized the colonists by closing the port of Boston. To improve their defences and prepare for war, the colonies formed Committees of Safety and forced Tory militia officers to resign. Officers sympathetic to independence replaced the Tory Officers. The colonists also accumulated stores of military supplies and established minuteman companies. Musicians in the minuteman companies provided the steady rhythms needed to drill the new militia. The Continental Congress responded by establishing the New England Army and appointing George Washington commander of all continental forces. Support for independence grew and spread throughout the colonies as the war in New England intensified. The colonists held rallies with patriotic speeches and banners. Militia companies drilled while bands played patriotic melodies. By the time of the Revolution, American bands conformed to the European"Harmoniemusick" model.At least seven regiments were known to have bands. The bands of the 3rd and 4th Regiments of Artillery served until the end of the war. Near the end of the Revolution, both bands gave frequent civilian concerts. One of them continued to exist into the nineteenth century under the name of the "Massachusetts Band."General Washington petitioned Congress to form an army that would encompass all the colonies. It was to include 27 infantry regiments and 1 artillery regiment. Each regiment was to have 8 companies of 90 men. Congress approved the plan and established the Continental Army in January 1776. General Washington, being an accomplished flutist, worried about the quality of music in the Army. Marching drill depended heavily upon music, but the poor music provided by the untrained musicians made drill nearly impossible.Washington ordered his musicians to attend regular training sessions with the regimental drum and fife majors. Only after receiving the approval and recommendation of his drum or fife major would a musician is allowed to perform with the regiment.Most of the officers in General Washington's Army had previous war service and knew the importance of military music. Washington's generals tried to improve the quality of the music in their commands. General Art emus Ward, commander of six colonial regiments around Boston, encouraged his drum and fife majors to work more closely with the musicians. He later appointed a chief drum major anda chief fife major to supervise all musical instruction in his command. General Andrew Lewis, troop commander at Williamsburg, Virginia, also ordered his drum and fife majors to train the regimental musicians. They received pay for these extra duties by withholding money from each student-musician's pay.Music played an important role in military victories. In the Battle of Bennington of 1777, the American commander, Colonel John Stark, had his fifes and drummers play into the very teeth of the enemy. His troops, inspired and stimulated, proceeded to defeat General Burgoyne's forces so decisively that this battle became an important turning point in the war. Trumpets, added in 1777, controlled mounted manoeuvres of cavalry regiments.. At the same time, General Washington appointed Baron Frederick von Steuben Acting Inspector General for the Continental Army at Valley Forge. Von Steuben wrote a manual of instruction that set forth a system of drill. He organized a special company that he personally drilled. Using that company as cadre, vonSteuben trained the remaining troops. Washington, impressed by von Steuben'swork, appointed the Baron to the permanent post of Inspector General and recommended the approval of von Steuben's manual for the entire Army. Congress adopted the REGULATIONS FOR THE ORDER AND DISCIPLINE OFTHE TROOPS OF THE UNITED STATES on March 29, 1779. This manual continued remained in its original form until 1824. In the Continental Army, one fife and one drummer were assigned to each company. They stood at the right flank of the first platoon. Drum calls regulated the soldier's day. Since von Steuben's regulation did not allow verbal commands, each man had to learn to respond instantly to the drum. After the Revolutionary war, Congress recognized the need for a formal officer training program. In 1802, Congress established the United States Military Academy at West Point, New York, as a training center for officers. From 1802until 1815, the Military Academy had drummers and occasional fifers who performed in addition to their regular duties. There is doubt as to when the United States Military Academy Band was formed. Various pieces of correspondence of General Swift indicate he was the primary reason a band was formed by the summer of 1815 and began instruction that winter. The Academy initially hired fifers, drummers, and later buglers. By General Swift's order of October 1813, COL Macomb was to send his Regimental Band of the 3d Artillery to West Point. The band was comprised of approximately 24 musicians and was stationed at Socket’s Harbour, New York. Eleven men from COL Macomb's 3d Artillery Band were either transferred or went directly to the 6th Infantry Band School on Governor's Island. They were trained to play flutes, oboes, bassoons, clarinets, French horns, serpents, bass drums, and tambourines. There are also indications that a small number of men were sent from West Point to the school to learn new percussion instrument techniques which differed markedly from the rudimental drumming used for drills and parades. From this information, the military band at West Point has heritage beginning between the years 1813-1815.Richard Willis became its first civilian leader, starting a tradition that lasted until 1972. The appointment of Willis in 1817 became the date recognized by The Department of the Army Center of Military History as the beginning of the West Point Band. Willis was a composer, arranger, and virtuoso performer on the Royal Kent (keyed) Bugle, which he introduced to American bands. Soon after his arrival at West Point, he purchased two keyed bugles and instructed soldiers on performing on the instruments. Before the invention of the keyed bugle, bands used natural horns and bugles, woodwinds, and percussion. Brasses played mostly harmonic parts because the natural horns and bugles could not play more intricate passages. By the 1830's, almost all American bands used only brass instruments. During the War of 1812, few changes occurred in the development of Army music. The only exception was the shift from fifes and drums to bugles sounding the signals. In 1821 the Regular Army was reorganized. Legislative action ensured bands would also be part of the regular forces. Bandsmen were attached to regiments and allowed to draw the pay and allowances of privates. Regular Army officers were still required to provide the instruments if they wanted a band. Bands received their first official recognition and authorization to form as a separate squad in each regiment. In the Army Regulations of 1825 provisions were made to eliminate the officer’s funding their own bands. A regimental fund was created. Bands of this time had 15 to 24musicians.In 1832, Army Regulations specified that regimental bands be limited to ten musicians with the rank of private and a chief musician. Artillery regiments, which were not provided a chief musician, were allowed one sergeant to act as master of the band, and one corporal in addition to the ten men. Bandsmen we reliable for regular military training, and if the need arise to serve in the ranks as soldiers. The 1832 regulation became the first regulation to provide for a position as master of the band. It also separated this position from the junior principal musician of the field music units. Bandsmen finally became regular members in 1841; regimental commanders gained the authority to increase the number of privates serving in their bands from 10 to 12 and the use of post funds for the maintenance of bands. During the Mexican War in 1847, authority was granted for a further increase from 12 to 16. This authorization also specified that bandsmen would no longer be mustered with other troops, but that the bandleader would muster his band in a separate squad with the headquarters staff. This established the precedent that eventually set the band apart as a separate unit from the other troops. During the Mexican War, bands performed many additional duties in place of performing music. Bandsmen were employed as stretcher bearers, field messengers, and water carriers. It was common for bandsmen to not play a single note during the entire war. The period from 1830 to 1860 bands improved their instrumentation. The tremendous influx of foreign musicians, who provided their services to bands,Helped upgrade musical standards. Some of the famous bandmasters of the time were Harvey Dodworth (Thirteenth Regiment Band), C.S. Grafulla (Seventh New York Infantry Regiment), D.L. Downing (Ninth Regiment), and Patrick Gilmore (Twenty-fourth Massachusetts Infantry).With the perfection of valved brass instruments in the 1830s, bands’ size and sound changed drastically. Brass instruments now played all the melodies once reserved for woodwinds. The keyed bugle required many years of study to become proficient. The invention of matched valve brass instruments, saxhorns, made playing a brass instrument available to amateur musicians. The great influx of German musicians in the 1850s caused the larger bands to follow the Prussian cavalry band model of the time. The Prussian bands included clarinets, saxophones, and tubas. There was much competition between the German "Moravian" bands and the militia bands. The public liked the mix of brass and woodwinds of the Moravian bands and the larger military bands reverted to a mixed instrumentation. The first military band to use blended instrumentation was the Seventh Regiment, New York Militia Band. During and prior to the Civil War, musical training occurred at the "School of Practice for U.S.A. Field Musicians" at Governor's Island, New York. The earliest reference about the school is found in a book The daily duties began reveille with the fife and drums performing at the official entrance to Governor's Island. At 0800, the guard mount ceremony commenced followed by a period on uniform and equipment maintenance. School started at0900 till 1100 followed by musical training from 1100 to 1200 and 1400 to 1600.The young drummers and fifers performed at retreat. This schedule occurred every day except Saturday when all instruction ended at 1200. In addition to board, lodging and musical training, the boys received $7.00 a month.THE CIVIL WAR see American Civil war bands and instruments XE "THE CIVIL WAR see American Civil war bands and instruments" After the war, the 1866 Union Congress faced the double expense of paying off debts and rebuilding the country. Reconstruction expenses forced Congress to reduce the number and size of regiments and inactivate Regular Army bands. Military music, however, was too important to be abolished by act of Congress. Military leaders still depended heavily on bands for drills, troop movements, and ceremonies. They also considered bands essential for troop morale. Because Congress would not fund Regular Army bands, the Army turned to civilian bands for support. Civilian bands responded eagerly to the Army's needs. By 1886, many civilian bands earned most of their pay serving as official bands for military units. American civilian bands, unregulated by the military, began adopting European styles and instrumentation. Bandleaders reduced the sizes of their bands and added woodwinds to complement the brasses. Patrick Gilmore, long famous for his huge bands and choral spectaculars, helped set the example for American bands. While in Paris for the 1869 International Exhibition, he was impressed by the pleasant blends and subtle musical shadings made possible by the addition of woodwinds to the bands at the exhibition. He returned to America and accepted a position as bandleader of the 22d Regiment Band of New York. Abandoning his mass band concept, Gilmore quickly recruited 65 of the best musicians available. Within four months, the 22dRegiment Band gave its first concert and introduced the European styles to America.Due to the great competition among the major American bands, other bandleaders followed Gilmore's example and also looked for ways to improve their bands. Some sought new or improved instruments. Harvey Dodworth, conductor of both the Dodworth Band and the 13th Regiment Band of New York, added saxophones, bass clarinets, and BB-flat tubas to his bands. Thomas Coates, director of the Easton Band of Pennsylvania, was one of the first American bandleaders to prefer piston-valved instruments over keyed bugles.The addition of woodwinds and improved instruments made bands more versatile than ever before. Bands could tastefully play many styles of music previously restricted to orchestras. Bandleaders seized these new ideas quickly and began programming concerts containing fewer quicksteps and marches and moreDuring the era after the Civil War, the country expanded westward. New posts were established throughout the great frontier. Although regimental bands were abolished by the Army Act of 1869, the Army carried music with it to the West. Regimental commanders continued to maintain bands. These bands usually consisted of men detailed for that purpose. They were paid from the regimental fund or by subscription.b. Post life was lonesome and unexciting with few chances to experience culture. Leading parades, performing for dances, providing concerts and escorting funerals brought a certain amount of pomp, entertainment, and culture to remote areas. Every evening, when not in the field, the band gave an hour concert in front of the regimental headquarters. Army bands were present at many historic events. In 1869, the 21st Infantry Band helped to celebrate the joining of the nation with the golden spike at Promontory Point, Utah. On January 21, 1891, General Miles' Army staged a final grand review at the Pine Ridge Agency to mark the end of the Ghost Dance Uprising. On this occasion, the First Infantry Regimental Band provided the music. During this period, Lieutenant General Philip H. Sheridan commanded the Division of the Missouri (1869 to 1883). Many of the same officers serving under him during the Civil War now had commands in his division. Among them was Lieutenant Colonel George A. Custer. As mentioned earlier, both Sheridan and Custer loved music and knew the effect of music upon their troops. As a result, bands found themselves at the front once more. Lt Colonel Custer insisted on a band for the Seventh Cavalry. The musicians were given gray mounts (horses). This was the traditional color for musicians.Sheridan used the color gray for his bands during the Civil War. This presented an additional requirement for the band; each bandsman also had to be a superb horseman. In order to keep the hands free while playing, the musician controlled the horse with his knees. It was a difficult enough task for the musician to perform while the horse was standing still or at a walk. This problem was only compounded when playing at the charge. (See Custer’s Bandmaster)The mounted band of the Seventh Cavalry accompanied Custer on many campaigns. Playing Garry Owen, the band led his charge at the Washita River in1868 and again in 1873 on the north bank of the Yellowstone below the mouth of the Bighorn. By 1876, a number of Congressional acts provided the Army with 40 chief musicians, 60 principal musicians, 10 chief trumpeters, 240 trumpeters, and 628musicians. All the positions of chief trumpeter or trumpeter were assigned to the10 cavalry regiments (1 chief trumpeter and 24 trumpeters per regiment).. In 1899, an effort was made to improve military musical units by selecting suitable men for regimental bands from recruits at depots or by special enlistment. In 1894, a War Department general order authorized one sergeant and 20 privates per band, plus the chief musician or leader. Though no record dating before 1889 indicates any standard instrumentation for Army bands, a list of the instruments issued to each regiment for the use of its band during the period 1889-1895 gives some indication of the instrumentation of the times. This list included the following: D-flat piccolo, concert flute, E-flat clarinets, B-flat clarinets, E-flat cornets, B-flat cornets or flugelhorns, E-flat altos-flat trombones (valve or slide), B-flat baritone, E-flat basses, snare drum, bass drum, and cymbals.By 1899, the Army had 41 bands and the number of musicians in each band was increased to 28. Army bands performed at many civilian affairs. The 1904 World's Fair featured many outstanding bands of the time. The Army Bands featured were: the First United States Cavalry Band of Fort Clark, Texas, the Twenty-fourth United States Infantry Band of Fort Harrison, Montana, the Second United States Infantry Band of Fort Logan, Colorado, and the Twenty-sixth United States Cavalry Band of Fort Sam Houston, Texas. It was an honour for these bands to perform alongside the Sousa Band, the Marine Band and many other outstanding civilian touring bands. While stationed in the Philippines in 1908, LT Edmund L. Gruber, 5th Field Artillery, wrote a song intended for his unit. The words and music became The Caissons Go Rolling Along. The words were later changed and it became the official song of the US Army, “The Army Goes Rolling Along.” Seeking ways to improve Army morale in the early 1900's, Army commanders argued to Congress that bands stimulated the fighting spirit in their men. Congress authorized a school for Army bandleaders at Fort Jay (originally Fort Columbus), Governor's Island, New York. This school began operations in 1911.The school originated with the efforts of Dr. Frank Damrosch, director of the Institute of Musical Art of the City of New York and Arthur A. Clappe, a former graduate of the Royal Military School of Music, Kneller Hall, England. Ten free wind instrumentalist scholarships were offered to the Secretary of War to train By 1916, the attitude of Congress toward bands had grown more liberal. In June of that year, a bill was passed establishing a band for the Corps of Engineers (29men, including the bandleader) and bands for the headquarters companies of infantry, cavalry, and artillery regiments. These headquarters bands, of 28 men each (including bandleader), were composed as follows: one enlisted bandleader($75.00 per month), one assistant bandleader and one sergeant bugler ($40.00each), two band sergeants (same pay as other sergeants in the Army), four band corporals (same), two musicians first class ($36.00 each), four musicians second-class ($36.00 each), and 13 musicians third class ($24.00 each). During WWI, the Army Music School maintained an extensive program. The War Department authorized the principal of the school to examine civilian applicants for bandleader positions. The Army needed to fill the many new positions due to the increasing number of regiments and bands. After the nations of Europe had been fighting for three years, the United States entered into World War I. General John J. ("Blackjack") Pershing was appointed as Commander of all Allied Expeditionary Forces in Europe. Shortly after his arrival in early 1918, he and his staff discovered that the band music of France and Great Britain was greatly superior to that of the United States. Since General Pershing believed bands were essential to troop morale and supported them fully, he implemented a four-point program to improve the Army's band program: First, he urged Congress to increase the number of bands. Congress responded in July 1918 by authorizing 20 additional bands for the duration of the war. Second, acting with his own authority, Pershing increased regimental band strengths from 28 to 48 pieces. This provided Army bands with their first full instrumentation. The instrumentation for future Army Bands was set. The following instrumentation was used:2- flutes/piccolos2- Oboes2- Bassoons1- E-flat clarinet10- B-flat clarinets2- Alto clarinets2- Bass clarinets3- Saxophones (alto, tenor, baritone)1- contra-bass sarrusophone4- French horns4- B-flat trumpets2- B-flat cornets (or flugelhorns)2- Baritones or euphoniums3- Slide trombones1- Bass trombone4- Basses2- Percussion Third, he established a band school at Chaumont, France, in 1918 fourth, he commissioned all bandleaders as First and Second Lieutenants and sought to grant them an authority equal to their responsibilities.In addition to his four-point program, General Pershing recommended a Drum and Bugle Corps be assigned to each infantry regiment. This was later approved. The school was discontinued shortly after the signing of the armistice on November 11, 1918. After the war, Congress returned bands to peacetime status by abolishing bandmaster commissions. Bandmasters were allowed to enlist as bandleaders. Additional legislation in 1920 authorized warrant officer grades for bandmasters and reduced band strengths to 28 men in post bands and 36 men in regimental bands, although a 48-man band was retained for a time at the Infantry School at Fort Benning, Georgia. The quality of bands dropped as soldiers left the service. In February 1920, the Army Music School at Fort Jay was designated a Special Services School of the Army. In September 1921 after reorganization, the school was moved to the Army War College, Washington DC. This ended the affiliation with the Institute of Musical Art which lasted 10 years and provided the Army with many outstanding leaders. The Army Music School was very successful. The number of qualified performers increased the performance level of bands. Though bands began to improve, budget restrictions forced the school to close in 1928. As commander of the American Expeditionary Force, General Pershing headbands such as the France are Garde Replubicaine and those of the Household Guards Division in London. At the time, the US Army had no band which could either equal or surpass our European allies or represent the Army inWashington DC. In January 1922, after becoming Chief of Staff of the Army, General Pershing ordered Captain Perry Lewis to form The Army Band. To best represent the Army, Captain Lewis realized he would need to gather the best musicians the Army had at the time. The Army Band quickly gained stature as a superior musical organization. Shortly before this time, the strength in Army bands was cut to 28 enlisted men, with the exception of two special bands: The United States Army Band and The United States Military Academy Band. Despite this reduction in strength, regimental commanders were allowed to attach extra men from the companies of their regiments to the band. In 1932, the number of bands in the Army was limited to 83. From 1928 to 1941, bandsmen had no school. Due to the worsening conditions in Europe, the Army increased the number of soldiers by establishing a selective draft. In order to meet themusical requirements of a large army, the War Department established an emergency In June 1941, the Department of the Army established school for bandmasters at the Army War College. Soon after, the school was relocated to Fort Myer, Virginia, and operated as part of the Adjutant General Corps. The Army Music School was under the direct supervision of the Commander of the US Army Band. Captain Thomas F. Darcy first served in that position until 1945.The school trained bandleaders and was three months long. The War Department ordered the Army Music School closed on or about 1 January1944 after an adequate number of bandleaders graduated to supply the needs of the Army.. Although the new school offered training for bandmasters, inferior performances continued. The absence of standards for selecting bandsmen and the fact nonschool existed for training bandsmen contributed to inferior performances. In September 1941, the Bolling Army Air Corps Base Band was formed. The original band had only four people assigned, but its strength increased rapidly over the next three months. On March 1, 1943, the band was designated the United States Army Air Corps Band and became the official musical representative of the US Army Air Corps.a. Approximately 500 bands served the Army during World War II. The bands were categorized into three types: special bands, separate bands, and organization bands.The United States Army Band (Pershing's Own), the US Military Academy Band, and the US Army Air Corps Band, were the designated special bands. As special bands, they performed at special ceremonies, concerts, parades, and recruiting drives. Separate bands were controlled by the Adjutant General and supported the administrative, technical, and training centers to which they were attached. Organization bands were infantry units and were attached to combat commands to provide music for the unit's combat and support troops of the division. (Regimental bands were abolished in 1943 as individual units and consolidated to form division bands.) Organization bands performed many non-musical duties as infantry units. Most bands guarded post perimeters and supply trains. They were able to function as musical units when required, as long as they remained organically intact and held occasional rehearsals. Many times, however, commanders would use their bandsmen as litter bearers or replacements in the line. When it came time to use these bands as musical units, they were generally inoperative, and required several months to reorganize and retrain. Field commanders used organization bands primarily to entertain off-duty combatTroops. Commanders made their bands more versatile and manoeuvrable by dividing their bands into several small ensembles. This also allowed them to perform closer to the front. Some ensembles, such as those from the 101stAirborne Division Band, played as far forward as command posts. The 28th Infantry Division Band distinguished itself during WWII. During the Battle of the Bulge, the divisional command post at Wiltz, Luxembourg, came under severe attack. Members of the 28th Infantry Division Band took up armband fought as part of holding line around Wiltz to stop the German advance. The band put away their instruments, dug foxholes and picked up carbines. Clarinettist, PFC Collins, manned a bazooka and then drove a truck loaded with the band’s music. He was going to save the music, but 10 miles out of Bastogne the convoy was ambushed and all the music burned. Only 16 of the band's 60 men survived the fighting in the Ardennes. The 28th Infantry Division Band was not the only band involved in the Battle of the Bulge. The 101st Airborne helped hold on to Bastogne preventing it from falling to the Germans. The 82nd Airborne Division Band was caught in the battle after being sent to the Ardennes for R & R. The 82nd front line was stretched thin. The 82nd Airborne Band joined the depleted front line to hold off the German spearhead. The band helped hold off two German Infantry Divisions and a Panzer Division. Because the demand for music units exceeded the number of available bands and ensembles, many commanders organized Field Music Units. Most Field Music Units composed of drums and bugles played by soldiers spent their mornings on military duties, and afternoons in rehearsals or drill. These units became so popular they performed extensively until the end of the war. The war in Europe was not limited to just organization bands. The Army Band embarked on a two week wartime tour in 1943, which lasted two years. The band performed near Metz, not far from combat, to lift morale during the Battle of the Bulge. The Army Band performed at countless Red Cross and USO dances and played concerts for civilians. Of all the premier bands in Washington DC, The Army Band is the only one to ever perform in a theatre of foreign combat The dance bands of the Army, due to their mobility, entertainment value, and the positive morale factor, became important. This was the day of the large dance bands in America and many soldiers thirsted for the music they left behind. The selective draft brought many outstanding musicians into the Army and the Army Air Corps..The most recognized name of the big bands was Glenn Miller. Glenn Miller was commissioned as a captain in the US Army Specialist Corps in June 1942. Miller did not have to enter service; he had defective vision, was above draft age and had two adopted children. He wanted to contribute by bringing his music to servicemen and women and to streamline and modernize military music. After becoming director of Army bands, he organized a plan to have 30 small dance orchestras to tour the country and one major string orchestra. He also wrote swing arrangements of Sousa marches. His band would perform military ceremonies from jeeps so a full rhythm section could accompany the winds. Army officials were not receptive to the swing arrangements and Glenn MillerFound him bogged down with the Army routine. He transferred his service to the Army Air Force and was made director of bands training for the Army Air Forces Technical Training Command. In 1943, Glenn Miller's 45 piece orchestra began a weekly series of half hour radio programs called "I Sustain the Wings."This program included a dramatic skit to recruit men into the service and selling war bonds. In 1944, the band, now named the American Band of the Allied Expeditionary Force, began a weekly radio program broadcasted to Europe and later to the continent.On July 20, 1942, the first contingent of women was inducted into the Women’s Army Auxiliary Corps (WAAC) at Fort Des Moines, Iowa. By early 1943, five bands, the 400th Army Band, 401st Army Band, 402d Army Band, 403d Army Band, and the 404th Army Band were composed entirely of women. WAACbands were later designated and officially activated in the Women's Army Corps (WAC) on January 21, 1944. In 1944, the War Department directed that a band be formed entirely of qualified musicians who had combat service overseas. Commanded by Chief Warrant Officer Chester Whiting, the new band was named the First Combat Infantry Band with a mission to entertain at War Bond Drives around the country. When it was no longer possible to maintain a band comprised exclusively of musiciansWith combat service, plans were made to reorganize and rename the band. General Devers, Commander of the US Army Ground Forces, issued the following order to Whiting: "I want you to organize a band that will carry into the grassroots of our country the story of our magnificent Army, its glorious traditions and achievements: and of the great symbol of American manhood--the Ground Soldier." On March 21, 1946 the United States Ground Forces Band was activated.After the war, the Department of the Army moved toward peacetime conditions by inactivating entire divisions and discharging personnel. By August 1946, the Army total strength was 1.7 million, nearly seven million fewer than on VJ Day. In activations caused severe cutbacks for Army bands. Many bands were inactivated with their parent units. Others were reorganized and reassigned. In 1947, the US Army Air Corps became a separate branch. The US Army Air Corps Band, whose post war strength had been reduced to five personnel, became the nucleus of The United States Air Force Band. The closing of the bandsman training facility at Camp Lee resulted in untrained musicians entering Army bands. By 1948, entire bands were untrained and performing poorly. Post commanders complained to the Department of the Army. After studying the problem, the Department of the Army recommended schools for bandsmen be re-established.. The Women's Army Corps was also demobilized with the end of World War II. Later legislation incorporated the Women's Army Corp into the Regular Army in June 1948. This led to the reactivation of the 400th Army Band on July 28 1948.On August 4, 1948; the band was designated as the 14th Army Band (WAC), and became the only band in the Army open to women. In April 1950, The United States Army Ground Forces Band was renamed theUnited States Army Field Band. In 1951, the Department of the Army established a 20-week basic bandsman course at the United States Navy School of Music, and an 8-week basic course at band training. In 1953, the Department of the Army established strength and instrumentation requirements for organization and separate bands. Forty-two bandsmen and one warrant officer were authorized for organization bands. Twenty-eight bandsmen and one warrant officer were authorized for separate bands Instrumentstrumpets 7 /6baritones/euphoniums 2/ 1French horns 4/ 3trombones 4 /3basses 3/ 2flutes/piccolos 2/ 1oboe 1 -B-flat clarinets 10 /6bass clarinet 1 -bassoon 1 -alto saxophones 2/ 1tenor saxophone 1/ 1baritone saxophone 1/ 1snare drum 1/ 1bass drum 1/ 1piano 1/ 1Totals 42 28 In January 1956, the Department of the Army closed all band training units, and the Navy School of Music assumed responsibility for all bandsman advanced individual training. Later in that same year, a bandmaster preparatory course was added to the curriculum at the School of Music providing the formal training necessary as a prerequisite to appointment as an Army bandmaster.. With the establishment of Enlisted Bandleader (E8) positions, a training program directed toward qualifying enlisted members for positions was programmed and implemented. This course became a prerequisite for the Warrant Officera. As the US presence in Vietnam increased, bands once again prepared for combat.By 1969, eight bands were stationed in Vietnam. Organization bands were composed of 1 bandmaster and 42 bandsmen. These bands were organized and activated depending on the nature of the command to which they were assigned. Separate bands consisted of 1 bandmaster and 28 bandsmen. The 29 separate bands were upgraded to 45 personnel; 42 bandsmen, 1 warrant officer, 1 supply sergeant, and 1 unit clerk. The division (organizational) bands remained at 43personnel.In 1972, the 50th Army Band of Fort Monroe, VA and the 69th Army Band of California combined to form the 50th Army band commonly referred to as the United States Continental Army Band or the TRADOC Band. The authorized strength of the band was 72 personnel (71 enlisted and 1 warrant officer).The second 72 personnel band was formed in 1973. The Third US Army Band and the 214th Army combined to form the 72-piece 214th Army Band. This band, stationed at Fort McPherson, is commonly referred to as the FORSCOM Band or the Army Ground Forces Band.In 1975, the Department of the Army inactivated 13 bands. The number of musical activities in the Army decreased to fifty: 29 separate and 16 division bands; 3 special bands; the 3rd US Infantry Fife and Drum Corps; and the US Army Element, School of Music. The number of personnel in the 29 separate increased to 45; 42 bandsmen, 1 warrant officer, 1 supply sergeant, and 1 unit clerk. Division Bands remained at 43 personnel. The 14th Army Band remained all female until 1975. The Department of the Army directed the WAC Band begin male integration in January 1977 On February 19, 1974, Army, Navy, and Air Force bandmasters met at Ft. Meade to provide a comprehensive plan for a multi-service band to celebrate the nation's bicentennial and known as the Bicentennial band. The band was open to active duty members of the various services as well as top musicians attending leading music schools across the nation. The band comprised of 91 musicians and 30 support personnel. The band toured all 50 states, Canada, Mexico, Puerto Rico, and the Virgin Island. The first appearance was in Dover, Delaware on April 9, 1975. Twenty months later on December 9, 1976, at a Pentagon ceremony, the band performed for the last time.In 1980 The 33d Army Band became the third separate band with a strength adjustment to64 bandsmen and one commissioned officer bandmaster. The 33d Army Band is located at USAREUR headquarters and is commonly referred to as the USAREUR Band. On June 28, 1984, the Army established the Office of Chief, Army Bands at Fort Benjamin Harrison, Indiana. This office became the proponent for all matters pertaining to the Army Bands Program with the establishment of this office. Starting in 1984, musicians were required to audition and obtain an Additional Skill Identifier (ASI) of Cl, prior to assignment at the 50th Army Band, 214th Army Band, and the 33rd Army Band. . In 1983, the School of Music ended its long relationship with the Training and Doctrine Command (TRADOC) as a separate service school and was integrated into the Soldier Support Center. All bands were authorized as separate companies 1 October 1985. Actions were started to withdraw all division bands from the AG Company of the division and reorganize them as separate companies. Separate and division bands were authorized 40 MOS bandsmen and 1 warrant officer. The following bands were designated as special bands.(1) The United States Army Band, Fort Myer, Virginia.(2) United States Army Field Band, Fort Meade, Maryland.(3) United States Military Academy Band, West Point, New York.. The following bands were designated as MACOM bands.(1) The 50th Army Band (United States Continental Army Band), FortMonroe, Virginia.(2) The 33rd Army Band, Heidelberg, Germany (USAREUR).(3) The 214th Army Band, Fort McPherson, Georgia (FORSCOM). Two division bands (the 6th Infantry Division Band, Fort Richardson, Alaska, andthe 10th Mountain Division Band, Fort Drum, New York) were activated in fiscalin1988. No increase in the total number of musicians in the Army was authorized. In order to fill the vacancies created by these activations, several actions were accomplished. Division and Army (numbered) bands began operating with a strength of39 bandsmen and 1 warrant officer. This eliminated one position from each division and Army band and helped support the two new division bands.The invasion of Iraq into Kuwait in 1990 brought the US into conflict again. Bands once again distinguished themselves. Eight bands saw duty in the Gulf War. They were: 1st Armoured Division Band,1st Cavalry Division Band, 1st Infantry Division Band, 3rd Armoured DivisionBand, 24th Infantry Division Band, 82nd Airborne Division Band, 84th ArmyBand and 101st Airborne Division (Air Asslt). In addition, two National Guard Bands, the 129th Army Band, and the 151st Army Band, were activated to support Ft. Campbell while the 101st Airborne Division Band was stationed in the Gulf. The two National Guard bands provided musical support to the families during the war. They also performed for In 1992, Hurricane Andrew struck southern Florida. Damages and casualties were catastrophic. The federal government helped the recovery with the operation Provide Comfort. As part of the effort, two bands provided support to the area. The 10th Mountain Division Band and the 13th Army Band (Florida National Guard) performed concerts for refugees and relief workers, and provided other valuable assistance. These concerts boosted morale and provided authorities an effective means to gather people and disseminate supplies and information.. The fall of the Berlin Wall, the demise of communism and lessons learned from Desert Shield/Storm and Operation Just Cause provided the catalyst for the Army to evaluate its concepts and doctrine. The need for a "peace dividend" generated cuts in the size of the Army. The Army scaled down to 10 Divisions by 1997. The Army Band field was not immune to cuts. The Army cut 19 bands in the1990s.United States Air Force bands XE "United States Air Force bands" The United States Air Force Band is the youngest of the military bands based in Washington, D.C. Its military life began on September 24, 1941, with the formation of the Bolling Army Air Forces Band under the sponsorship of Lieutenant L.P. Holcomb, commanding officer of the Air Base Group at Bolling Field.Alf Heiberg served as the Band's first commander and led the group from 1941 to 1944. The first ensemble consisted only of four players, but by the end of 1942 expanded to a total of 100 musicians. The group began to travel throughout the United States, performing at fairs and athletic events.To identify band members in uniform, Heiberg designed a cap emblem using the pilots' wings with a superimposed musical lyre. This symbol has remained the emblem of The United States Air Force Band throughout its history.It was in 1944 that many Air Force Band components that are in place today saw their start during the 20-year command of George S. Howard. He made many changes in the organization he inherited from Alf Heiberg adding some innovations that have become Air Force Band trademarks and have been incorporated by other bands, both military and civilian. Under his leadership, the ensemble became a truly influential organization in the Air Force and throughout the world. An important contribution he made to the military band program was securing commissioned officer ranks for all commanders and conductors of Air Force bands; a policy that was then adopted by the other service bands.An historic year in the development of the organization came in 1944. The Band visited six cities in eastern Canada on its first major tour. After the enormous success of this tour, the group returned to the United States to play a command performance for President Roosevelt. Late in 1944, Howard took the Band on its first international tour; the group performed in England and France while the Royal Air Force Band toured the United States. This was the first tour for The Army Air Forces Band that included sites outside continental North America.Despite this success, 1945 was the first true test of the Army Air Forces' commitment to the band program. The end of the war, the immediate separation of all but five of the members of the group, the immediate cutback of funds to the military, and the rush to demobilize the armed forces could have sounded a death knell to the organization. However, because of the program's success during the war, Howard was asked to remain in command of the Band and was given the charge of reorganizing it to serve in peacetime functions. He immediately embarked on a recruiting program to return the group to its original size, and the total manpower strength was increased to 115.Because of this influx of new bandsmen, the necessity for a Bandsman Training School became obvious, and one was formed in October of 1945. The number of officers increased to five in order to accommodate the responsibilities of the new band and the school. Howard was named leader of the Band School in addition to his duties as commander and conductor of The Band.The Symphony Orchestra was instituted during this reorganization and was the first group of its kind in any military band organization. The orchestra made its debut at the Watergate Auditorium on August 17, 1946. The Symphony Orchestra ultimately supplied players not only for the Strolling Strings (now known as The Air Force Strings) but also for the Concert Band, which, under Howard's direction, included cellists.The group truly became The United States Air Force Band in 1947 when the Army Air Forces were officially designated as the United States Air Force. All units of the organization assumed the official "Air Force" title. Yet the Band itself remained the same and continued to grow in quality and number of performing units.By 1948, the fledgling Air Force organization began to show its effect on the United States. It played an important role promoting the new service through its hour-long broadcasts titled, "The Air Force Hour," which began on January 18, 1948. That year also saw The Air Force Band evolve into a total entertainment organization capable of presenting the following units:- 100-piece Marching Band- 90-piece Symphony Orchestra- 85-piece Symphonic Band- 40-piece Symphonette- 25 voice Glee Club- 4 combos: Jumping Jacks, Crew Chiefs, Top Hats and Max Impact- The Strolling Strings - A Jazz-Dance group similar to The Airmen of NoteTo identify band members in uniform, Heiberg designed a cap emblem using the pilots' wings with a superimposed musical lyre. This symbol has remained the emblem of The United States Air Force Band throughout its history.The Air Force Drum and Bugle Corps and Pipe Band were organized in 1949 and became part of the Band squadron in 1950. The Airmen of Note was also officially organized in 1950 with Chief Warrant Officer Fred Kepner as the leader.In January 1951, Howard organized the 543rd Air Force Band made up of 19 female airmen from the Women in the Air Force (WAF) program. He expanded this group to some 50 members and in June, 1955, in Air Force Regulation 190-21, they were officially designated "United States WAF Band", acknowledging their de facto status as USAF representatives rather than their original status as a simple base band. Their official mission became to "assist, within their capabilities, in promoting Air Force objectives and enhancing the prestige of the Air Force and the United States."[5] This meant there were now two bands serving as ambassadors of the USAF: the all-male Air Force Band and the all-female WAF Band. The WAF Band was dissolved in 1961 following its commander's contravention of a directive from Howard restricting performances at civilian schools and county fairs. The Air Force Band resumed its international tour schedule by returning to Europe and drawing enormous audiences at sold-out houses. Concert tours to Europe took place in 1951, 1953, and 1954. The Band also toured the Far East in 1956 and again in 1957. A 1959 trip to Central and South America and a 1960 visit to the Far East were the final tours of the Howard era. Colonel George S. Howard retired on September 1, 1963.Over the years, The United States Air Force Band has performed live for over 100 million people and has been broadcast via television and radio to audiences around the globe. It has embarked on 25 international concert tours, with performances in more than 50 countries and 42 world capitals. The musicians in TheUnited States Air Force Band seek to promote better understanding between all people of the world, living up to its motto, "America's International Musical Ambassadors".The United States Air Force Band performance schedule is coordinated by the 11th Operations Group at Bolling Air Force Base, which works with the Commander of the Air Force Band and the Air Force Band Operations Office to schedule performances and ceremonies by the Band's performing ensembles.Members of the Air Force Band's professional support staff, including the Library, Production, Technical Support, as well as the Administration, Markeing and Outreach, and Supply offices also work to coordinate, promote, and facilitate performances throughout the year.Performances by The United States Air Force Band include:Public concerts in the Washington, D.C., area and across the nation during their annual Fall and Spring Concert ToursWashington, D.C., area military and patriotic ceremoniesFull and Standard Honors Funerals at Arlington National CemeterySummer concerts at the Air Force MemorialAirmen of Note Jazz Heritage Series concerts in the FallAnnual Holiday concert and Guest Artist Series concerts at D.A.R. Constitution HallEnsembles The USAF Concert Band' The United States Air Force Concert Band is the largest ensemble of the Air Force Band. This symphonic wind ensemble presents over 100 concerts annually and performs a wide variety of repertoire from light classics, popular favorites and instrumental features, to classical transcriptions and original works for the band idiom. The Concert Band performs regularly for the general public in the greater Washington, D.C., area and on biannual community relations tours throughout the United States. It has been a featured ensemble at gatherings of professional musical organizations, including the American Bandmasters Association, National Band Association, World Association of Symphonic Bands and Ensembles, College Band Directors National Association, Music Educators National Conference and The Midwest Band and Orchestra Clinic.The Singing Sergeants is the official chorus of the United States Air Force. It was formed in 1945 from members of The United States Air Force Concert Band, but is now composed entirely of professional vocalists who have been appointed by audition. The Singing Sergeants have appeared before every chief executive of the United States since President Truman. The group has performed for functions at the White House, State Department, Supreme Court, Congressional, Department of Defense. The chorus tours the nation twice yearly with the Concert Band and has performed at the New York World's Fair, in Carnegie Hall, Lincoln Center, the Dorothy Chandler Pavilion and the John F. Kennedy Center for the Performing Arts. It has also been featured at national and regional gatherings of the American Choral Directors Association and Music Educators National Conference.The Airmen of Note is the jazz ensemble of the United States Air Force. Created in 1950 to carry on the tradition of Glenn Miller's Army Air Force Band, the Note adopted a more contemporary style under the direction of Sammy Nestico. Beginning in the '70s, Senior Master Sgt. Mike Crotty, the Note's chief arranger for more than 25 years, helped elevate the band to the forefront of modern big band jazz. Today, Master Sgt. Alan Baylock, the Note's current chief arranger, maintains the band's commitment to driving innovation and respect for tradition. To augment its writing staff, the Airmen of Note has commissioned works by such arrangers as Bob Florence and Bob Mintzer. Sammy Nestico and fellow Note alumnus Tommy Newsom have each composed works for the group as well.The 'Air Force Strings Air is composed of 22 musicians who perform in a variety of musical settings, including a strolling formation known as the Strolling Strings, a traditional string orchestra and combined with members of the Concert Band to form a small symphony orchestra. Its members appear regularly as soloists, and in duo, trio and string quartet ensembles, to present chamber concert performances, and provide entertainment and ambient music for official protocol functions. The Air Force Strings performs at the White House, at official dinners hosted by the secretaries of state and defence, on Capitol Hill for members of Congress, and at official diplomatic events hosted by the chairman of the Joint Chiefs of Staff and Chief of Staff of the Air ForceThe Ceremonial Brass. Brass music has played an important role in public gatherings and ceremonies for hundreds of years and military leaders have often chosen brass bands to perform signals, alarms, and other outdoor ceremonial and concert music. The Ceremonial Brass continues this ancient tradition by providing musical support for state arrivals at the White House, full honor arrivals for foreign dignitaries at the Pentagon, retirements, changes of command, awards ceremonies, patriotic programs and funerals at Arlington National Cemetery. The group performs more than 300 ensemble and 300 solo performances per year. It represented the United States Air Force at the 50th anniversary of V.E. Day celebration in Moscow, as well as in military tattoo ceremonies in the Netherlands, Sweden and Norway. Additionally, the Ceremonial Brass has made numerous appearances on radio and national television, including Fourth of July performances on NBC's Today mandersDate Name 1941–1944 Alf Heiberg 1944–1963 George S. Howard 1963–1964 Harry H. Meuser 1964–1985 Arnald D. Gabriel 1985–1990 James M. Bankhead 1990–1991 Amy R. Mills 1991–1995 Alan R. Bonner January - May 1995 Mark R. Peterson May - September 1995 Keith R. Lance 1995–2002 Lowell E. Graham 2002–2009 Dennis M. Layendecker The United States Air Force band of the Golden West received its current name on May 1, 1997. However, the band’s history dates back to 1941, and throughout the intervening decades it was known as the “15th Air Force Band of the Golden West,” the “Air Mobility Command Band of the Golden West,” “America’s Band in Blue,” and the “504th Air Force Band of the Golden Gate.” The U.S. Air Force Band of the Golden West has two proud parents: the 15th Air Force and the North American Air Defense Command (NORAD). The 15th Air Force Band of the Golden West, originally called The Air Force Band, was activated on October 1, 1941 at Scott Field, IL. In 1944, the band moved from Scott Field to Camp Shanks, NY, before heading to war-torn Europe. The band was re-designated as the 523rd Army Air Force Band and stationed at Le Havre, France and Warton, England (1945). After the war, the band returned stateside to Camp Patrick Henry, VA, and was inactivated on December 13, 1945. On September 26, 1947, just 8 days after the creation of the United States Air Force as a separate branch of military service, the inactive band was re-designated the 523rd Air Force Band. On December 1, 1952, the band was placed under Strategic Air Command at March Air Force Base, CA. On May 1, 1965 it was assigned to the 15th Air Force and became known as the 15th Air Force Band. In 1991 the band was officially re-designated as the 15th Air Force Band of the Golden West, and in 1994 it became known as the Air Mobility Command Band of the Golden West when it merged with America’s Band in Blue at Travis Air Force Base. “America’s Band in Blue” has its own unique history and heritage. In 1959, it comprised the Air Force component of the NORAD Command Band. During this time, the band made numerous radio broadcasts and television appearances, including The Today Show, The Tonight Show, and The Dinah Shore Show. In 1979, the band was re-designated the 504th Air Force Band of the Golden Gate and moved to Travis Air Force Base, CA. In 1991 it was re-designated as America’s Band in Blue. On July 1, 1994 the band was inactivated with all personnel and equipment reassigned to the Air Mobility Command Band of the Golden West at Travis Air Force Base, and becoming the only active duty Air Force band west of the Rockies. Changing its name to the “United States Air Force Band of the Golden West” on May 1, 1997, this 47-member organization continues to maintain its rich heritage of musical excellence and outstanding Air Force professionalism in over 500 annual performances throughout the Western states of California, Oregon, Washington, Idaho, and Nevada.The United States Air Force Band of Liberty is a United States military band of forty-five active duty members, based at Hanscom Air Force Base, Massachusetts. It entertains audiences in New England, New York, and New Jersey.The band is a select group of professional Airmen-musicians who support the global Air Force mission by providing musical products and services for official military, recruiting, and community relations events, and by fostering America’s rich national heritage. Originally known as the 541st Air Force Band of the Southwest, stationed at Luke AFB, Arizona, the unit relocated to Pease AFB, New Hampshire in 1978. Renamed the Air Force Band of New England, the band brought its musical message of pride, patriotism, and professionalism to concerts and events throughout New England. In 1991, the band received its current name and was assigned to Electronics Systems Center, Hanscom Air Force Base, in Massachusetts. This change fostered another new name: the United States Air Force Band of Liberty.The Band of Liberty consists of forty-five active duty personnel assigned to two primary ensembles—the Concert Band and the Afterburner popular music group. The organization has several subgroups, including the Ceremonial/Marching Band, Liberty Big Band, Colonial Brass, New England Winds woodwind quintet, and the Bay State Winds clarinet quartet. The band performs around four hundred engagements a year, and has appeared at such venues as Lincoln Center in New York City and the Hatch Shell in Boston. On January 20, 2009, the Band of Liberty's Colonial Brass provided musical support at the Farewell Ceremony of President George W. Bush. On January 3, 2007, members of the Ceremonial Band performed at Grace Episcopal Church in East Grand Rapids, Michigan for the state funeral of Gerald Ford, 38th President of the United States.Below isa list of United States Air Force bands:The United States Air Force |band The United States Air Force band of the RockiesThe United States Air Force band of LibertyThe United States Air Force band of the WestThe United States Air Force Heritage of America BandThe United States Heartland of America bandThe United States band of Mid-AmericaThe United States Air Force band of The Golden WestThe band of the United States Air Force ReserveUnited States Air Force band of FlightUnited States Air Force band of the PacificThe United States Air Forces in Europe bandThe United States Air Force band of the Pacific-AsiaThe United States Air Force band of the Pacific-HawaiiThe United States Coast Guard band XE "The United States Coast Guard band" The United States Coast Guard Band was organized in March 1925 with the assistance of Lt. Charles Benter, leader of the United States Navy Band; Dr. Walter Damrosch, conductor of the New York Philharmonic; and “American March King” John Philip Sousa, former director of the United States Marine Band. In 1965, President Lyndon B. Johnson signed congressional legislation resulting in the Coast Guard Band becoming the permanent, official musical representative of the nation’s oldest continuous seagoing service. This event also established the Coast Guard Band as one of the nation’s premier service bands.The duties of the Coast Guard Band have greatly expanded since 1965. Originally a small command band located at the Academy and used primarily for local purposes, today the band routinely toursThe United States Coast Guard Band is the premier band representing the United States Coast Guard and the Department of Homeland Security. The 55-member ensemble has performed at some of the most prestigious venues in the nation, including the John F. Kennedy Center for the Performing Arts, Lincoln Center, and Carnegie Hall. The Band also has a rich history of performing internationally: it is especially honoured to have been the first American military band to perform in the former Soviet Union, with concerts in Leningrad and the surrounding area in 1989. In 2008, the Coast Guard Band became the first premier American military band to perform a concert tour of Japan. In addition, the US Coast Guard Brass Quintet and Saxophone Quartet performed throughout Taiwan to great acclaim in 2010 and the full band looks forward to touring Taiwan in July 2011.Based at the US Coast Guard Academy in New London, Connecticut, the Coast Guard Band frequently appears in Washington, DC, at presidential and cabinet level functions on formal and informal occasions. Historic events include National Christmas Tree lighting ceremonies, the American Bicentennial Celebration with President Gerald Ford, World War II Fiftieth Anniversary events in England, and Inaugural celebrations for every President since Herbert Hoover. A number of notable vocal artists have appeared with the Coast Guard Band, including Placido Domingo, Marilyn Horne, Elizabeth Futral, Andy Williams, Roberta Flack, Lee Greenwood, Lorrie Morgan, Shirley Jones, Lonestar, and the Boys Choir of Harlem. Film, literary and television personalities have included Gregory Peck, Lucie Arnaz, Willard Scott, Walter Cronkite, John Amos, Alex Haley, and Richard Thomas. Coast Guard Band concerts have also featured instrumental artists such as Bill Watrous, Dale Clevenger, Slide Hampton, Cecil Bridgewater, Chris Vadala, David Shifrin, and Philip Smith. In 2008, under the direction of Maestro Leonard Slatkin, the Band performed a superb concert of music by Copland, Bach, and Hindemith, among others.Forty years later, President Lyndon B. Johnson signed the Congressional legislation that resulted in the Coast Guard Band becoming the permanent, official musical representative of the nation's oldest continuous seagoing service, the U.S. Coast Guard. This event established the band as one of the ten premier service bands in the U.S.The duties of the Coast Guard Band have greatly expanded since 1965. Originally a small command band located at the Academy and used primarily for local purposes, today the band routinely tours throughout the U.S. and has performed in the former Soviet Union as well as in England. The band represents the U.S. Coast Guard around the nation and the world, at presidential functions, and for the Secretary of Homeland Security and other cabinet officials on formal and informal occasions.The Coast Guard Band is headquartered in New London, ConnecticutUnited States Military Bands Order of Precedence XE "United States Military Bands Order of Precedence" When foreign troops are invited to participate in a ceremony within the territorial jurisdiction of the United States, they are assigned a position of honor ahead of the U.S. troops, except for a small U.S. detachment, which immediately precedes the foreign troops as a guard of honor. Bands in March pasts are also accorded honors in terms of order of precedence.Flags are arranged according to troop precedence. Troops of the U.S. Armed Forces are positioned in the following order:Cadets, U.S. Military AcademyMidshipmen, U.S. Naval AcademyCadets, U.S. Air Force Academy (USAFA)Cadets, U.S. Coast Guard AcademyMidshipmen, U.S. Merchant Marine AcademyU.S. ArmyU.S. Marine CorpsU.S. NavyU.S. Air ForceU.S. Coast GuardArmy National Guard of the U.S.U.S. Army ReserveU.S. Marine Corps ReserveU.S. Naval ReserveAir National Guard of the U.S.U.S. Air Force ReserveU.S. Coast Guard ReserveOther training organizations of the U.S. Army, U.S. Marine Corps, U.S. Navy, U.S. Air Force, and U.S. Coast Guard, in that orderWhen the U.S. Coast Guard operates as part of the U.S. Navy, the Cadets, U.S. Coast Guard Academy; U.S. Coast Guard; and U.S. Coast Guard Reserve precede the Midshipmen, U.S. Naval Academy; U.S. Navy; and U.S. Naval Reserve, respectivelyTroops of the U.S. Air Force are positioned as follows: officers, USAFA cadets, Officer Training School (OTS) students, and airmenUnited States Air Force Band in Europe XE "United States Air Force Band in Europe" The band of the United States Air Forces in Europe carries the tradition that was introduced by Major Glenn Miller in 1944. Today's 60 member band continues entertaining military and civilian audiences throughout Europe with a variety of music. The band is based at Einsiedlerhof Air Station in Germany; the band represents the United States in Europe in more than 38 countries across Europe, Scandinavia, Asia and Africa. In addition to lives performances the band is heard on radio and television broadcasts, bringing the music of America to millions of people around the world.U.S. Army Bands around the world XE "U.S. Army Bands around the world" 1st Armored Division Band1st Infantry Division Band2nd Company Governor's foot Guard Band of Connecticut3rd Infantry Division (Mechanized) Band "Rock of the Marne"5th Michigan Regiment Band10th Mountain Division (Light Infantry) Band13th Army Band, Florida National Guard23rd Army Band, Utah National Guard25th Infantry Division(Light) Band28th Infantry Division Band33rd Army Band, The U. S. Army, Europe, Band & Chorus34th Army Band, Iowa Army National Guard34th Infantry Division "Red Bull" Band35th Infantry Division Band36th Army Band of the Southwest, Arizona39th Army Band, New Hampshire National Guard40th Army Band, Infantry Division Band42nd Infantry Division (Rainbow) Band43rd Army Band, Nebraska50th Army Band, United States Continental Army Band56th Army Band, America’s Corps Band62d Army Band, Air Defense Artillery Center Band63rd Army Band, New Jersey Army National Guard67th Army Band, Wyoming Army National Guard70th United States Army Reserve Band77th Army Band80th Division Band82d Army Band, Airborne Division Band84th Army Band, Division Railsplitter Band85th Division (Exercise) Band88th Army Band "The Governor's Own"91st Division (Training Support) Band94th Army Band98th Army "Silver Wings" Band100th United States Army Band, Division (IT) Band101st Army Band, Airborne Division (Air Assault) Band101st Army Band, Colorado Army National Guard102d U.S. Army Band, Connecticut Army National Guard104th Division (Institutional Training) Band108th Army Band, Arizona National Guard111th Army Band113th Army Band, Dragoon Band116th Army Band133rd Army Band144th Army Band, Illinois National Guard145th Army Band, The Governor's Own156th Army Band, Louisiana Army National Guard158th Army Band, Reunion Page188th Army Band, North Dakota Army National Guard195th Army Band199th Army Band, New York Army National Guard, "The Governor’s Band"202nd Army Band, Kentucky National Guard214th Army Band, United States Ground Forces Band215th Army Band of the Massachusetts National Guard229th Army Band, Maryland Army National Guard Band249th Army Band257th Army Band, Columbia National Guard Band276th Army Band, The Adjutant General's Own!282d Army Band, "Victory Band"283rd Army Band, the Infantry Band287th Army Band, Delaware National Guard293rd Army Marching Band296th Army Band300th Army Reserve Band307th Army Band United States Army Reserve312th Army Band, United States Army Reserve Band313th Army Band323rd Army Band, Texas338th Army Band, United States Army Reserve Band389th Army Band, Army Material Command392th Army Band, The Fort Lee Army Band399th Army Band, "Pride of the Engineers"434th Signal Corps Band451st Army BandArmed Forces School of MusicFightin' Texas AggiebandFork Union Military Academy Musical EnsemblesOld Guard Fife and Drum CorpsSupreme Headquarters Allied Powers Europe International BandUnited States Army Band "Pershing's Own"United States Army Field BandUnited States Military Academy Band (West Point)United States Military Academy Band (West Point)United States Military Academy BandUnited States Military Academy HellcatsValley Forge Military & College BandVirginia Military Institute, Regimental BandUnited States Civil War Reenactment BandsFirst Brigade Band3rd Georgia Volunteer Infantry Regimental Band4th U.S. Artillery Regimental Brass BandEighth Regiment BandBand of the 11th North Carolina Regiment33rd Illinois Volunteer Regiment Band161st Indiana Vol. Infantry Regimental BandReg. Band of the 37th Georgia Vol. Infantry49th Iowa Volunteer Infantry BandKentish Guards Fife and Drum CorpsUSFS OLYMPIA Brass Band18th Army Band Alumni Ass., Army Band of New England33rd Army Band, USAREUR Band & Chorus, Alumni Ass.55th Army Band, Redstone Arsenal 438th Army Band, the Training Center BandUS Marine Bands around the World United States Marine Band AlbanyUnited States Marine Band of the secondMarine Division at Camp Lejeune, North CarolineUnited States Marine Forces Pacific BandUnited States Marine Band "The President's Own"United States Merchant Marine Academy BandUnited States Quantico Marine BandUnited States Pacific Fleet Band, Pearl Harbor, HawaiiUnited States Second Marine Division Band United States Quantico Marine BandMarine Military Academy Band3rd Marine Aircraft Wing BandLeatherneck Pipes and DrumsUS Navy Bands Around the WorldUnited States Naval Academy BandUnited States Naval Academy Drum and Bugle CorpsUnited States Navy Music ProgramUnited States Navy BandUnited States Navy Band Great LakesUnited States Navy Band JacksonvilleUnited States Navy Band Mid-SouthUnited States Navy Band New OrleansUnited States Navy Band NortheastUnited States Navy Band NortheastUnited States Navy Band NorthwestUnited States Navy Band SouthwestUnited States Seventh Fleet BandNavy Drumline Pipes & Drums of the Brigade of MidshipmenUnited States Air Force Band of the WestUnited Stated Air Force Heartland of America BandTops In Blue United States Coast Guards BandsUnited States Coast Guard BandThe Idlers of the United States Coast Guard AcademyWindjammers Cadet Drum & Bugle CorpsWorld Book of Military MusicV-X-Y-ZVinatieri Felix XE "Vinatieri Felix" Lt. Col. George Armstrong Custer chose Felix Vinatieri as leader of the band for the 7th Regiment of the U.S. Cavalry in 1873. Three years later, before he and more than 260 of his men met their doom at the Battle of the Little Bighorn, Custer left behind the band. Military bands were important for morale. Reporter N.R. Knappen of the Bismarck Tribune traveled with Custer's regiment and wrote, "When the band plays, the music dances on the mountain tops, dives into the caves, rushes through the valleys and is returned again by the charming echoes."Historians differ on why the band stayed back. Some think Custer wanted to take the band to battle but Gen. Alfred Terry would not consent. Others say Custer felt he needed to move more quickly than was possible with the band along."It would be interesting to know if I'd even be here," Adam says, "if (Felix) would have been along for the ride." The answer is no. His great grandfather Ehrum was born in 1889, 13 years later.Felix was born in Turin, Italy, in 1834. In 1859, he immigrated to the USA and enlisted in the military as a musician, serving in the Civil War.Vinatieri was sent west and was living in Dakota Territory when he was discharged in 1870. He settled in Yankton, where he married Anna Frances Fejfar. In 1873, Custer's 7th Regiment came to Yankton, where a ball was given for Custer and his officers. Vinatieri led the band that night, and Custer, surprised at finding such sophisticated sound in the wilderness, offered Vinatieri a job as bandleader for parades, reviews, dances, funerals and expeditions. According to records at the National Music Museum at the University of South Dakota, which holds the Vinatieri archive, Mrs. Anna Vinatieri often told her grandchildren "of Custer's love for band music." Vinatieri composed dozens of pieces of original music with names such as Black Hills Polka and The Mosquitoes of the Dakotas Waltz .Wind band in the history of Swedish Music XE "Wind band in the history of Swedish Music" Background OriginsUntil 1971, professional wind music in Sweden was entirely a military phenomenon. That year the unique step was taken of transferring more than 500 musicians to a civilian national organization. Then, in 1988, the State decided to regionalize this resource to county council level, where in most cases it was given foundation status. However, already in 1982, the Music Platoon - recruited annually among new conscripts - was set up, mainly with a view to preserve traditions of military music. Today, with the former military bands discontinuing their activities, there are now four conscript formations. There are as well five professional bands in Sweden nowadays, two with part of their time dedicated to the military: The Navy band revived already in 1992, The Air Force Band in recent years. There are also three professional jazz bands: Norrbotten Big Band up in the far north of Sweden with trumpeter Tim Hagan as leader, Bohusl?n Big Band situated close to G?teborg and Gotland Big Band in the Baltics. All three derived from the military!Tentative beginnings of military music already occurred in the 16th century, but a proper organization was not introduced until the latter part (1680-1720) of what is known as the Great Power Period, when infantry and dragoon regiments were allotted a small group of 4, 6 or 8 musicians, known as "oboists". Finds from the warships Wasa and Kronan have shown that the Navy too had its trumpeters and drummers. Drums and trumpets, with their distinctive wartime and peacetime functions,occupied a special position in the musical and social life of the period.One typical composition from the period is Anders von Diiben's Narva March, celebrating Charles XII's victory over the Russians in the year 1700 in what is now Estonia.After 1720, as a result of military disasters, only a few groups of musicians remained within the military organization, but eventually various regiments began recruiting, out of their own pocket, "harmonic music" resembling that which existed elsewhere in Europe.The German "Harmoniemusik", with its 2 oboes, 2 bassoons and french horn, was introduced in Sweden during the late 18th century. Clarinets were added, however, only a few decades later, and thus the forces of the "Harmoniemusik", i.e. band, of the S?dermanland Regiment in 1772 were: 3 oboes, 2 clarinets, 2 french homs, 2 bassoons and one trumpet.World Bands In Review XE "World Bands In Review" Germany, Austria, South and Central AmericaGerman, Austrian (and South/Central American) military bands have two or more components depending on instrumentation. Military bands in Germany's Bundeswehr today only comprise of a Military band and a Corps of Drums while Military bands in Chile have the same instrumentation with the addition of Sousaphones and Bugles and fifes on the Corps of Drums, the same thse with military bands from the Spanish-speaking South American countries, with a few unique additions. Argentine military bands have field drummers and occasionally buglers and fifes (as is the case with the Tacuari Drummer military band of the Regiment of Patricians, which has two fifers) accompanying the main band while bands in Peru and Ecuador have the percussion on the front and the woodwinds and brass behind them.Other distinguishing features are the presence or absence of the Turkish crescent in the military bands when they are on parade and the band's conductor being assisted by a Drum major and in Chile and Mexico by a bugle major. Another key feature, seen in some military bands in Brazil and in the Pipe band of the Colombian National Armada's Naval Cadets Academy "Adm. Padillia", is the presence of bagpipes in the bands, and as seen in the Marching Band of the Brazilian Marines, the use of more bugles types like baritones and mellow phones. In Bolivia, the use of the Turkish crescent with the addition of vertical banners and standards is standard practice in its military bands.In types of ensemble, these bands are called as:Corps of Drums (Spielmanszug, Tambourkorps, Trommlerkorps, Banda de Guerra, Banda Marcial, Banda Musico Marcial/Tradicional Marcial (in Colombia), Peloton Comando (in Ecuador))Military/Music/Marching Band (Musikkorps, Musikkappele, Orchester, Banda de Musico/Musica, Banda Militar, Banda Marcial (in Brazil), Banda instrumental)Drum and bugle bands (Banda de Guerra (in Mexico))Brass bands (Blasorchester, Blaskappelle)Fanfare bands (Fanfarenzug, Fanfarenkorps) (civilian bands only)Bugle bands (Regiments-blaser korps, Banda de Guerra (in Mexico))A combination of either Fanfare Band and Corps of Drums or Corps of Drums or Fanfare Band/Section with the band (the latter formation common in the bands of the German Bundeswehr, the Austrian Bundessheer and in the Bolivian, Peruvian, Brazilian, Argentine, Uruguayan and Mexican Armed Forces)?Mounted band (Trompeterkorps, Kavalleriemusik, Kavallerieorchester, Kavallerie Fanfare, Fanfarekavalleriekorps, Banda Montada)InstrumentationMilitary Band, Regimental Band and Bugles, Mounted Band, Mounted Fanfare BandTubasTrombonesTrumpetsFlugelhornsKeyed buglesCornetsHornsSaxophonesFlutes/PiccolosClarinets, Oboes, BassoonsGlockenspielsWagner tubasAlto hornsSousaphonesHeliconsEuphoniumsBaritone hornsBass drumsSingle and multiple tenor drumsCymbalsSnare drums, Field drumsBagpipes (in several military bands)Turkish crescentTimpani (optional and for mounted band)Fanfare bugles, Fanfare trumpets (optional)Bugles (also optional)Corps of Drums, Command Platoon, Fanfare Band/Section, Bugle Section, Pipe sectionSnare drumsField/Precision snare drumsSingle/multiple tenor drumsBass DrumsCymbalsTurkish crescentFifes/Flutes/PiccolosBugles (Austrian, Chilean, Venezuelan, Colombian, Argentine, Brazilian, Peruvian and Ecuadorian military bands) XE "Venezuelan, Colombian, Argentine, Brazilian, Peruvian and Ecuadorian military bands)" Bagpipes (in several military bands)Fanfare trumpets/Natural trumpetsNatural hornsCor de chassesGlockenspielsThe Alto Peru Fanfare Band of the Argentine Regiment of Mounted Grenadiers is an all-brass mounted band using the same brass and percussion instruments mentioned. Other mounted bands like the Mounted Fanfare Band Company of the 1st Mechanized Cavalry Regiment "Glorious Junin Hussars(Peru's Liberators)" of the Peruvian Army, the Mounted Band and Bugles of the 1st Cavalry Regiment "Grenadiers" and the Band and Bugles of the 3rd Cavalry Regiment "Hussars" of the Chilean Army and the Mounted Band of the Ecuadorian National Police use both brass, woodwinds and percussion, and also utilize bugles.The Banda Blanca de la Armada del Ecuador of The Republic Ecuador have full schedule of engagements and appear regularly in concerts and parades in Guayaquil and the historic centre of Cuenca, the third largest city. Thailand XE "Thailand" Inspired by British military bands, military bands in Thailand play uniquely Thai military marches. Especially during the Trooping of the Colours ceremonies in Bangkok every December 2 since 1953, Royal Thai Armed Forces military bands perform at every military function attended by the Royal Family and other military officers and local executives, together with the general public.Thai military bands' formations closely follow either that of the Royal Marines Band Service, being that the percussion are at the front rather than the middle, followed by the main band itself or that of the British Army's Household Division Foot Guards Bands, being that the percussion are at the middle of the main band. But another formation followed is that of the Brazilian military bands, wherein the percussion are in front of the brass and winds, with the bass drums as the lead instruments.Korean military band formations XE "Korean military band formations" In both parts of the Korean Peninsula, military band formations differ in the two Korean countries' armed forces. Democratic People's Republic of Korea XE "Democratic People's Republic of Korea" The bands of the Korean People's Army and the Korean People's Security Forces follow the general instrumental setup of Daechwitas, the Korean traditional military bands.Instrumental formationFanfare trumpetsHornsClarinets, BassoonsFlutes, PiccolosSaxophonesTrumpetsMarching Percussion Snare drumsBass drumsCymbalsConcert bass drumsSuspended cymbalsSaxhorns, Alto horns, Baritone hornsTrombonesEuphoniumsWagner TubasTubas, Sousaphones Republic of Korea XE "Republic of Korea" Although patterned after American and British military bands, the bands of the Republic of Korea are also inspired by the daechiwtas of the old Korean kingdoms. China (mainland and Taiwan)Chinese military bands both in the mainland, Hong Kong, Macau and Taiwan are great bands, playing a mix of foreign and native marches and musical pieces.During the Boxer Rebellion, the xenophobic Chinese General Dong Fuxiang who commanded the Muslim Kansu Braves, refused to allow his troops to play western musical instruments, making them play traditional Chinese instruments such as the Sheng Jia.[3]People's Republic of China XE "People's Republic of China" Even through inspired by Soviet military music from the very start of the nation, the military bands of the People's Republic of China (either belonging to the People's Liberation Army or the People's Armed Police) play indigenous and locally composed military marches, during official ceremonies and other events as called forInstrumental PositioningMarching Percussion Snare drums/field drumsBass drumsCymbalsTenor drums (optional)ClarinetsTrumpetsTrombonesHornsOboes, BassoonsFlutes, PiccolosSaxophonesSaxhorns, Alto horns, baritone horns, Wagner tubasTubas, Sousaphone Hong Kong SAR XE "Hong Kong SAR" Military bands in Hong Kong (save of the Band of the PLA HK Garrision), although now having to play Chinese and international marches, still retain the British and Commonwealth influences and the band formation is one such proof.Woman's Royal Air Force Band XE "Woman's Royal Air Force Band" In 1944 the Woman's branch of the Royal Air Force applied to the War Office for permission to form a band. The first band was organized with volunteers and consisted of trumpets and Drums at Stanmore Park , in Middlesex.. In 1946 the band led the WAAF contingent in the victory parade and they appeared at the Royal Tournament . The band was converted to a brass band in 1949 with the trade of musician being officially recognized. The band was disbanded in December 1972. Woman were not accepted into the Royal Air force until 1991.Military Musicians XE "Military Musicians" Military Musicians A-B-C Adkins, Hector Ernest b 1885 d 1962. English Military Musician. Held the position of Director of music at Kneller Hall. Was commissioned Lt Colonel His Treatise on Military bands was the foremost publication on military band arranging. Albert Franz Eduard b 1879 d? He was born in Kremsier Moravia. He became a bandmaster in Austria and led the Honved Regiment band from 1900 to 1910. In 1910 he was appointed leader of the Infantry Regiment band no 78a post he held until the end of the First World War. His best know work is the Plivelic March Albrecht Pol b 1874 d 1975 Luxembourg military band musician. Conducted numerous bands during his 50 year career. In 1927 became the conductor of the Garde Grand-Ducale. Retired in 1939 after 50 years as military musician. He composed a large amount of music and wrote over 50 worked for the theater. His march compositions includes the march Patriae Fidelis - Faithful to Country Alford Kenneth J b 1881 d 1945 (pseudonym for Frederick Joseph Ricketts) He was the march king of the United Kingdom and served the British military forces for 40 years from 1904 to his retirement in 1944. He was commissioned in the Royal Marines and wrote many of his fine marches while serving in the Marines. His march Colonel Bogey remains an icon in the world of band music Allen Eugene Womack b 1927 After a long service to US military Army bands he became the director of the United States Army Band (Pershing's Own) in 1976. He has written numerous fanfares and marches for special occasions. His best known march is All the Way for the 509th Airborne Infantry. Allier Gabriel b 1863 d 1924 French composer and bandmaster of international fame. Became bandmaster of the 37th Regiment band at Nancy in 1887. He conducted various other military bands until his retirement. He composed polkas, waltzes and several marches for military band including the most well known French march Le Chant du Depart-The Song of Farewell. Ambrosch Anton b 1839 d 1886 He was distinguished Austrian bandmaster who led several military bands including the 29th Feldjager-Battalion band from 1859 to 1866. He wrote several marches that very strong parade marches including three Parade marches listed as a, b and c. Ancliffe Charles b 1880 d 1952 He was Irish born and served in the 2nd Somerset Infantry band and later was admitted to Kneller Hall winning the gold baton award and graduating in 1900. He was appointed bandmaster at age 20 to the 1st Battalion South Wales Borderers. He became quite well known for his Edwardian style ballroom waltzes. His waltz Nights of Gladness was published in 1912. His best known marches include The Liberators, AND Castles of Spain Altenburg, Johann Casper b ? 1688 d 1761 German trumpeter. He was in action at Malplaquet and remained in the army as trumpeter for 30 years. Altenburg,Johann Ernst German trumpeter and Organist b 15 June 1734 d. 14 May 1801 He had a long distinguished career in the Army and was a field trumpeter during the seven years war and became more celebrated than his father He wrote a book on the art of military trumpeting Versuch einer Anteitung zur heroisch-musikalischen Trompeter-und Pauker-Kunst. Angelini Angelo b1885 d 1973. He began the study of the Eb clarinet at age 10 and soon played in the town band in Fasano Italy. At age 20 he enlisted in the Infantry Regiment band stationed at Bari. He transferred later to the 87th Infantry band at Siena and later in Pisa. He also began studies in Bassoon and cello along with other band instruments. He began to compose music for band and wrote over one hundred titles and later conducted several municipal bands. His most well known march is a symphonic march entitled Da Guardavalle a Rocella Jonica. Arison Harold Lindsey b1919 d1998Began music study as a pianist and harpist in Uniontown Pa., graduated from Pennsylvania SC with BA in 1941. He hraduated from the Us Army Music School in 1942. He was bandmaster iof the 90th Infantry Division band, In 1945-46 he attended Trinity College in London. He was assistant bandmaster US Military Academy at West Point with the rank of Chief Warrant Officer. He was the musical advsor at Taipei Taiwan in 1953. He was awarded the Droix de Gerre and the Medaille de Metz.Azzolina Mark b 1925 d He was the founder and conductor of the NORAD band in the USA. His background included a stint as music director for the Armed Forces Radio-TV service and he founded the North Atlantic Defense Command band in 1959. The band was the only international multi service band in existence containing musicians from Canada and the USA. The band performed for thousands of Canadian and American audiences throughout its 20 year colorful existence. B. Bach Johann Jakob b 1682 d 1722 He was the brother of Johann Sebastian Bach and entered the military service Sweden in 1704 as an oboist. He was present at the battle of Poltava 1709 and later became a court musician at Stockholm. He is said to have written two military marches. Baker John b 1910 d ?. Born in Hampshire England. He was trained as a flautist at the Royal Military School of Music. In 1926 he joined the Royal East Kent regimental band.. He returned to Kneller Hall for the bandmasters course in 1947 he was appointed Director of Music of the Black Watch band in 1951. He held this post for nine years. He was well known for his adaptations of music for bag pipes and military band. Other works include the Thistle Green Selection and two troops for military band. Barreca Dominico b1852 d 1922. He was born in Sicily and began the study of brass instruments with the bandmaster of the local band. In 1872 he joined the Italian Army and served as a soldier, leaving two years later. In 1874 he was enlisted in the army as a musician and played Eb cornet in a infantry band .He began writing music for military band and in 1881 was selected as bandmaster of the 21st Regiment band. He wrote several known works most of which were unpublished with the exception of the march Il campo di Loreto and a few others that were published by Ricordi. Barsotti Roger (dob not known) He began his career as a flautist and appeared with the Hastings Municipal orchestra. He joined the "Buffs" regiment as a band-boy in 1916 and was soon promoted to band Sgt. He attended the Royal Military School of Music and was appointed bandmaster of the Queen's Royal Regiment in 1930,a position he held for fifteen years. He retired from the British army in 1946 after 30 years service to take over the Metropolitan Police band of London. He wrote several works for military band including two concert marches, State Pageantry and King's Colours. Bashford Rodney b 1917 d 1997 One of most colorful military musicians ever produced in the UK. He joined the Band of the King's Royal Rifle Corps (60th Rifles) in 1932 at the age of 15 and retired after 51 years of service as a Lt Colonel in 1983. He had many honors bestowed upon him including the Order of the British Empire. He was the director of music of The Grenadier Guards band from 1970-1980 and served as Senior Director of Music of the British Army from 1970 to 1974. His arrangements and compositions number in the hundreds. Benter Charles b 1887 d 1964 He was the founder of The United Sates navy band and the organizer of the US Navy School of Music and the first naval musician to attain officer rank. He joined the navy in 1905 as an apprentice musician and served until his retirement in 1942 at numerous postings both at sea and on land. He was a charter member of the American bandmasters association and wrote several compositions for band including Our Navy. He also wrote and edited the book of National Airs of America Berg Per b 1897 d 1957 He was a native of Sweden and studied clarinet at an early age entering Swedish military service with the Royal G?ta Life Guards band in Stockholm in 1917. He received his first appointment in 1930 as band director of the 20th Infantry band. later he led a tank Corps band . He remained in the Swedish military service until 1953. In addition to several band arrangements he wrote numerous marches including the very popular Army and Marine march. Berger Henry b 1844 d1929 He was born in Potsdam Prussia and entered the the Prussian Army as a musician . He played both Tuba and Double bass. Later he joined the orchestra of Johann Strauss JR and in 1871 he became the bandmaster of the elite Prussian 2nd Life Guards Regimental band. His fame however was quite unique because he is considered the father of Hawaiian Music. He was selected by King Kamehamha on the advice of the German Colony in Honolulu as the bandmaster of the Royal Hawaiian band . He began his work with the band in 1872 and it was the beginning of a highly successful career as conductor of the court band which was known as the RHB. Later when Hawaii became annexed to the USA he continued to have an enormous impact on music in the islands writing several songs and playing hundreds of concerts each year. His birthday of August 4th is observed each year and in 1944 the annual Berger concerts were begun and continue to this day. Bimboni Giovacchino b 1810 d 1895. He was born in Firenze Italy and began the study of flute with his father. Later joined a theatre orchestra in Perogla. In 1827 Bimboni joined the band of the 2nd Tuscan Regiment. In 1854 he entered service with the grand Duke of Tuscany. In 1846 he performed with Johann Strauss in Vienna. From 1840 to 1866 he was the leader of the National Guard band (1859). He wrote numerous pieces for band including the Concerto Brilliante for Trombone on the Carnival of Venice. Borg Oscar b 1851 d 1930 He has been referred to as the March King of Norway. His musical education was financed by King Oscar II at the Stockholm Music Conservatory. On his return to Norway in 1872 he was appointed director of the Army band which is known today as the Eastern Region Band. His contract called for him to serve for five years but he remained in service for 50 years retiring as a Lieutenant in 1918. His compositions include the well known Scandinavian march Crown Prince Olaf's Honor March. Boose Carl b 1815 d 1868 in Darmstadt,Hesse-Darmstadt Germany. He was a clarinettist with the 1st Regiment band, Germany from 1830-1832. In 1833 he formed a choral society in Darmstadt. He immigrated to England in 1835 and in 1841 became the director of the 9th Lancers band. He was selected as the band leader of the Scots Guards in 1842 and remained in this capacity until 1859. He was then appointed Director of the Royal Horse Guards band in 1858 ands held this post until 1868. He was the editor of the ‘Boose’s Military Journal” which he founded in 1845 and later sold his interest to Boosey and Hawkes in 1846. In 1852 he was decorated with the Hessian Order of Merit.Bowles Richard W b 1918 He served in the United States Army during the Second World War and directed the 715th US Army band until 1946. His adaptation of the the Old New Orleans favorite When The Saints go Marching In is his most well known contribution to the military band repertoire. Bourgeois John R b 1934. Born in Louisiana, he attended Loyola University and studied the French-horn, later taking private tuition with several teachers. He joined the US Marine corps in 1956 as a musician and was selected for the US marine band in Washington in 1958. In 1979 he was appointed assistant leader of the Marine band and in 1979 he was made leader of the band. He retired in 1982. He was the recipient of several awards for his contribution to military and civilian band music in the USA. In 1964 he was awarded the prestigious John Philip Sousa American Bandmasters award for excellence which he received at a gala concert in Quebec City, Canada.Boyer Thornton Barnes b 1858 d 1936 He was born in of Phoenixville Pennsylvania. He studied music at a military Academy and later moved to Keokuk Iowa where he became a member of the National Guard. He served as the conductor of the 6th Illinois Regiment band and the 50th Iowa Volunteer Infantry Regiment. His most well known compositions include Joyce's 71st NY Regiment and Sousa's Triumphal a dedication march in honor of John Philip Sousa. Branson Taylor b 1880 d 1969. A native of Washington DC began the study of the violin with Marine Corps band member William Santelmann. He enlisted in the US marines at the age of seventeen and soon became concertmaster of the Marine Orchestra. He was appointed Leader of the US Marine band in 1927 and retired from the service in 1940 with the rank of Captain. He was a pioneer in instrumental music broadcasting . Most of his marches and music were dedicated to the US Marine corps and included the General Lejune March. Brase Fritz b 1875 d 1940. He had been one of the most celebrated reputations in German military band circles before the 1914-1918 war. He was a distinguished graduate of the Leipzig Conservatoire and had also studied at the Berlin Academy. By 1907 he had become "Royal Music Director" and in 1911 he was appointed Director of the Band of the First Grenadiers, one of the most coveted positions in German Military Music. He conducted his final massed band concert at Christmas 1917 before the Kaiser, Generals Von Hindenberg and Ludendorf and the German General Staff.When the proposition to come to Ireland was put to him, he accepted and specifically asked that Christian Sauerzweig, also a German military musician, should be asked to come as his assistant. Sauerzweig, a multi-instrumentalist, had graduated from the Royal Academy in Berlin with the rarely granted note “Excellent’’. While in Berlin, he had frequently performed with the Berlin Philharmonic Orchestra, and was in particular demand for the oboe d’amore and oboe da caccia parts in the works of Johann Sebastian Bach.These two musicians arrived in Ireland on the first of March 1923 and set about the organisation of a music service. A process of recruitment was initiated, and after a month Colonel Brase reported to GHQ that a band was now formed and could play hymns and a few marches. By October 1923 he felt that his band was strong enough to give a public recital at the Theatre Royal, Dublin. This was an unqualified success. In January 1924 the entire operation was transferred from the Curragh, Co. Kildare, to Beggars Bush Barracks, Dublin. Between 1924 and 1936 a school and three further military bands, all under the Corps title of The Army School of Music, were established. General Mulcahy’s idea of bringing music and performances of a worthy standard to the civilian population was nurtured, and in time flourished. Brendler Charles b 1898 d 1965. He began performing on clarinet at a very early age. At age 15 he joined the navy; he continued his studies on clarinet. In 1917 he was posted to the Washington Navy Yard band where he became the solo clarinet. He made a steady climb through the ranks of the navy. As soloist with the newly formed Navy band he won acclaim throughout the USA. In 1938 he was appointed to the position of assistant leader of the US Navy band with the rank of Lieutenant. He retired with forty-nine years service in 1962 with the rank of Commander. He could never erase from his memory the loss of nineteen of his musicians who were lost in a mid air collision over Brazil in 1960. Briegel George F b 1890 d 1968. Born in Scranton Pennsylvania he began early studies of the violin. While still in his teens he joined the US Military Academy band at West Point. He became director of the New York Regiment band from 1914to 1917 and resumed the post from 1920 to 1940. He published many of his own compositions for band including Men O' the Navy March Brokenshire James Opie b1865 d 1938 He was born in Cornwall England and moved with his family to Plymouth Pennsylvania. He began his musical education on the organ eventually learning every instrument available. At age 19 he joined the band of the 7th Cavalry at Fort Riley Kansas. Soon after he became the regiment's bandmaster. He retired form active service in1915 but was recalled to become inspector of music and musical instruments for the US Army. His military career took him to China, Cuba the Philippines Hawaii, England and France. He retired in 1936. His contribution to the military band march repertoire includes The Cavalry Soldier and The Glory of Trumpets Brown Albert b 1924 Born in Toronto he studied trombone and in 1946 joined the Royal Canadian Regiment band in London Ontartio. In 1949 he was selected to attend the Royal Military School of Music in Britain and graduated in 1951. He was commissioned asa Captain on his return to Canada and posted to the Priness Patricia’s Light Infantry band in Edmonton Albedrta. In 1953 he was posted to the Royal Canadian Engineers band in Chilliwack BC. In 1961 he was appointed to the position of assistant supervisor of Music in Ottawa. He was leter promoted to Major. His work in organizing the military bands and the musicians for the large scale 1967 Canadian Forces Tattoo was masterfull.Buckley Lewis J b1947 studied at the Eastman School of Music before entering the United Sates Coast band in 1969. He became trumpet soloist with band and he organized and began conducting Coast Guard band ensembles and was commissioned in 1975 and appointed director of the band. He developed the band into one of the finest military bands in the USA. He made several recordings and he has written and arranged numerous concert pieces for military band. Buglione Annibale b 1848 d 1933 Born in Italy he studied violin and cornet eventually emigrating to the US in 1881. He joined the US Army and served in several postings over a thirty year period. He became a bandmaster later in his career of the 4th Coast Artillery band in Fort Monroe Virginia. He retired in 1911. His wrote several marches most of them dedicated to his life in the US military including the marches Legion of Honor and The Fighting Army. Buglione Godfrey b 1879 d 1934. He began early studies with his father Annibale on Violin and Cornet and followed in his father's footsteps in military music. He qualified as a bandmaster in 1917 and later was commissioned during World War 1. He took command of the 15th Infantry band in France and served with distinction. Following the war he retired and became the bandmaster of the 159th Regiment National Guard in Oakland California. Cappa Carlo Alberto b 1843 d 1893. Born in Alessandria on the island of Sardinia studied at the Royal Conservatory of Music at Asti and on completion of his studies he joined the band of the 6th Lancers on 1st Trombone. Following a performance of a trombone solo for the crew of the US Navy Frigate The Constitution he was invited to join the ship's band. On completion of a two year enlistment he joined the famous Boston Brass band in February 1858. Later he joined the 7th Regiment band under Claudio Grafulla and was with the band throughout the US Civil war. In 1881 he became the director of the 7th Regiment band and under his direction to fame of the band grew far and wide. He pioneered the establishment of low pitch for military bands in the USA. His band appeared at numerous fairs and exhibitions throughout both the US and Canada. He was knighted by the Italian government in 1891.His most well know works include The American Navy March and the Pro Patria Gloria March. Cardon Roland b 1929 B in Ronse Belgium he began clarinet studies and eventually was selected for the Royal Conservatory at Ghent. He began his military career as solo flutist with the 12th Brigade band at Arlon in 1954. In 1957 he was selected to be assistant bandmaster of the 4th division band at Liege and later in 1963 he was appointed to Director of Music of the Belgium Home Military Forces band. In 1972 he began an important series series of band concerts on Belgium National Radio. He became a fixture at the Mons International Music Festival conducting massed bands and writing special music for the occasion. His march Time is Over is the theme of the festival. Carion Mario b 1927. He was born in Belgium and studied clarinet as well as harmony and history at the Royal Conservatories of Liege and Mons winning numerous awards. He joined the Belgian military as a musician and eventually became bandmaster of several military bands in Aachen, Cologne and Soest Germany. From 1973 to 1979 he was the director of the Belgian Interior Defense Forces Band at Arlon. He composed several numbers for military band including Le Bon Vingt and Fanfare and Allegro for band Carl Karl b 1830 d 1898 Born in Forsheim Germany he began to study instrumental music and eventually joined the 1st Artillery Regiment band in Augsburg. In 1851 he was appointed leader of the trumpet corps of the Augsburg Regiment. He was considered one of the most popular bandmasters in the Bavarian Army. Some of his works include the Hochlander march and Mussinan march Chernetsky Semyon b 1881 d 1950 (also Sergei and Simeon) He was a gifted young musician who was schooled in the Russian tradition of military music. He joined the army and his musicianship permitted him to become a bandmaster early in his career. He furthered his studies by entering the Petrograd Music Conservatory (known as Leningrad and St Petersburg) in in 1917. He later became the command inspector for musicians in the Petrograd military district and in 1924 taught conducting to military bandmasters. In 1932 he became the senior director of the newly formed Soviet Army Band. This band which numbered 200 at times remained stationed in Moscow during the war and played numerous concerts at hospitals and military bases. He won several awards for his work with the band. His band gained international prominence through this highly gifted musician. He wrote several marches and special pieces for military band including several patriotic marches such as Salute to MoscowbjCherubini Maria Luigi b 1760 d 1842 He was born in Florence Italy, he was one of the first directors of the National Guard band of Paris. His wrote a number of pices for military band and was an early symphonic composer.Chomel Leonce b 1881 d 1935 was a native of Saint Remy France and his talent was recognized very early in his life and he studied music with various musicians. He entered military service with the 2nd Engineers Regiment in Montpellier with hopes of qualifying as a bandmaster. He eventually was selected as the assistant bandmaster for various bands and finally achieving the position of the 47th Regiment band at St Malo. In 1898 he was assigned his goal of the position of Director of the 31st Regiment in Paris. During World War 1 he was cited three times for his inspiring band work in won the coveted Croix de Guerre. He was well known for his band transcriptions which were excellent and are still available from major music publishers in France. Cirenei Luigi b 1881 d 1947. He established his prominence as a musician in early life and studied with composer Pietro Mascagni and received diplomas in advanced composition and in band. In 1911 he won a competition for appointment as a military bandmaster and joined the 89th Infantry band in Genoa. In 1921 he was transferred to Rome and after stringent examinations became the second director of the famous CARABINIERI BAND of Rome. One of the Europe's most prestigious bands he appeared in concert in cities worldwide. For his work as second leader he was nominated Cavaliere Ufficile of the Italian Crown in 1919. His most well known composition is Marcia d'Ordinanza del Carabinieri Clappé Arthur A b 1850 d 1920 He studied at Trinity College and at Kneller hall later becoming a bandmaster of the 60th Rifles. He immigrated to Canada in 1877 and lead the Governor General's Foot Guards band in Ottawa for seven years. In 1884 he moved to the USA and became bandmaster of the US Military Academy band at West Point. in 1888. In 1911 he helped to establish the US Army School of Music. His march output was extensive and includes the Dominion Grand March and the parade march Esprit des Corps. Clarke, Herbert L b 1867 d 1945 He was cornet soloist and assistant conductor for the Sousa band from 1893 until 1917. In addition to his position with the Sousa band, Clarke was also employed during his lengthy musical career as solo cornetist with the professional bands of Victor Herbert, Patrick Gilmore, Frederick Innes and Ernest Neyer. In addition to his notable career as a cornet soloist, Clarke served as conductor of the Reeves American Band (Providence, Rhode Island) the Huntsville (Ontario) Anglo-Canadian Leather Company Band and the Long Beach (California) Municipal Band, a post he held from 1923-1943.Clarke James Power b1816 d 1889 He was born in Manchester and joined the 61st Regiment band in 1836, later transferring to the 7th Hussars band. In 1844 he became the director of the 46th Rgiment abnd and in 1844 the bandmaster of the 7th Hussars band. Later he led several other line bands. From 1873 to 1875 he was the leader of the Royal Irish Constabulary band. He joined the Scots Guards Band in 1875 and was selected as the bandmaster the same year. Claus Joseph B b 1833 d 1905 Born in Germany he began to study flute and piano as a child and at age 13 joined his father in England who was bandmaster of the 10th Royal Hussars (Prince of Wales Regiment). He also learned to play clarinet and cornet under his father's tutelage. At age 19 he received his first appointment as a bandmaster and later was with the 6th Regiment band. He left the British Army in 1871 and emigrated to the USA where he became a respected teacher and orchestra director and bandmaster at the New England Conservatory of Music. He wrote several outstanding marches a turn of the century piece called the Monte Carlo March. Collins William George b 1815 d 1886 He was born into the Royal Artillery regiment and served the regiment as a musician for fifty years. He began as a boy and eventually enlisted into the Royal Artillery band as a drummer. He studied violin and clarinet. He was a naturally gifted musician and in 1845 he was appointed to the position of bandmaster. He went on to organize and conduct numerous concerts beginning in 1846 at the Theatre Royal in Woolwich and in London and Brighton. Collins was the first bandmaster in Britain to introduce the saxophone to the military band. His brothers JAMES and FREDERICK were members of the Royal Artillery band and his older brother GEORGE was the bandmaster of the Royal Horse Artillery band.Costenbader Carl W b1918 d2011 Born in Palmerton, PA he was a WWII veteran who served 20 years in the US military. He began music at an early age on cornet and trumpet but selected a career in mortuary science. He joined the military in 1941 serving as an US Army bandsman until 1944, Subsequently joining the US Air Force band the same year and remained as a trumpeter with this band until 1952. In 1952 he was appointed as a US Air Force bandmaster and in 1952 was selected as the first Commander of the US Air Force Academy,He was noted as a master of playing "Taps"D-HD. Darcy Thomas F JR b195 d 1968. He was the son of a military bandmaster and enlisted as a private in the US Army in 1912.He eventually rising to the position of assistant bandmaster of the 18th Infantry in 1917. He became the assistant director and solo cornet of the US Army band in Washington from 1924 to 1935 and was appointed the director in 1935. He retired in 1945. He wrote several notable marches including Flashing Sabres and Vanguard of Victory.De Arriba, Manuel Gomez b 1904 d 1974. He studied music at an early age with his father who was the respected leader of the Banda Municipal de Madrid. At age 21 he received his first appointment as a bandmaster. In 1939 he was selected as the leader of a Spanish Air force band. He rose to the rank of Commander in 1950 and was selected as the leader of the renowned Spanish Air Force band of Madrid. His career with this band was illustrious as he played concerts worldwide and made numerous recordings. His transcriptions of orchestral worked are of the highest quality. His marches Paso Doble Flores de Mayo and Marcha de Los Granaderos are classic Spanish marches.Deisenroth Friederich b 1903. Born in Philippstel, Hesse Germany, he studied organ and theory and was nominated for the Prussian Academy of Music in Berlin for which attendance was mandatory for bandmaster candidates. After graduation in 1936 he was posted to the 57th Regiment in Siegan which became one of the finest in the Germany army. Following the war when the Bundeswehr of the Federal Republic of Germany was established he was one of the first bandmasters to enlist. He became the bandmaster of the Artillery School in Idar-Oberstein. In 1961 he was transferred to the post of Deputy Inspector of the Ministry defense music corps. He retired in 1965 after 41 years of service. He has written several military band titles much of which has been captured in recordings.Dohlin ?ke b1921 He was accepted in the Navy band in Stockholm Sweden when he was fourteen and later studied at the Royal College of Music from which he graduated in 1948. He was appointed as a conductor in the Swedish military Forces in 1952 first with the Coast Artillery band and later with the Army band at Visby. He was a navy band leader for thirteen years as director of the Navy Band in Karlskrona. His final posting was as chief of the Eastern Region of Music whence he retired in1982. He composed several titles for band including twenty-nine marches his most popular being the March of the Coastal FleetDostal Hermann b 1874 d 1930 He was a member of a musical family which lived Moravian section of Austria (now Slovakia). His followed in the footsteps of his father and grandfather who were both military musicians. He enlisted as an apprentice musician and after study in Vienna was encouraged by bandmaster and well known musician Franz Lehar to join his band as a harpist. He followed Lehar to Hungary joining the 26th Regimental band in Gyor where he remained until1911. He was selected as bandmaster to the Hungarian 26th Regiment band. He transferred to the 99th Regiment band in Vienna where he was involved with the historic final guard changing ceremony at the Imperial Palace. He retired in 1918 and was a popular; conductor/composer /arranger in Vienna for several years following the war.Duijck Guy (Guillaume)b 1927 He began study on oboe and eventually became one the finest players ever developed in Belgium. He was considered to be a virtuoso. In 1947 he joined the Belgian Navy band as well as being selected for the Ghent Opera orchestra. In 1951 he auditioned for bandmaster of the Belgian first brigade remaining in that post for ten years. From 1960 to 1976 he was the conductor of the Belgian navy leading this well known ensemble in numerous concerts, parades and broadcasts. His music compositions include symphonies, chamber works. Many of his compositions have been recorded and he has become well known throughout Europe because of his adjudication at music festivals.Dunmall Maurice M b 1913 d 1990. Attended Riverdale High School in Toronto and studied both flute and Alto Saxophone. He attende the Toronto Conservatory of Music and in 1928 at age 15 was accepted for the 48th Highlanders band. From 1938 to 1943 he was member of the Royal Canadian Mounted Police band in Regina and Ottawa. In 1943 he joined the Royal Canadian Air Force band service and became the director of the Woman’s Division band of the RCAF. In 1944 he was sekeceted as director of the RCAF St Hubert Band . In 1945 he was appointed the director of the Northwest Air Command band in Winnipeg and Edmonton. When he retired from military service he became well known as the director of the Toronto Symphony band. He also was the director of the Toronto Garrison Artillery band in 1947a reserve position. Dunn Sir Francis Vivian b 1908 d 1996 A third generation to follow in the profession of military music His name has become synonymous with the highest level of musical integrity and standards in the art of military music. He studied violin at an early age eventually becoming a student of Henry Wood. He became a member of the Queen’s hall Orchestra in 1927 and a founding member of the BBC orchestra in 1930. At the age of twenty-two in 1931 he was appointed Director of Music of the Royal Marines Portsmouth Division and he remained with the RM until his retirement in 1968. In 1953 he was Principal Director of the Royal Marines School of Music. He became a very popular conductor and adjudicator. In 1969 he had the distinction of being knighted by Queen Elizabeth. He wrote several marches all of which are superb including the most well known Mountbatten March.Egner Philip b 1870 d1956 Composer, songwriter ("Sound Off", "On Brave Old Army Team"), conductor, cellist, author and teacher, educated in public schools, and an orchestra leader at 16. He was a cellist in the orchestras of Theodore Thomas and Walter Damrosch, and in the New York Philharmonic between 1888-1898. Later he was bandmaster for the 17th US Infantry Band, and served in the Philippines between 1898-1901. From 1901 to 1909 he taught music and conducted band in New York, and then until 1917 he taught music in the US Military Academy. During WWI he served as an officer in the US Army then led the West Point Band and Orchestra for 25 years. Joining ASCAP in 1936, his other popular-song compositions include "At the Fair", "On to Victory", "It's the Army", "Down in Maryland", "Luck O'Blarney", "West Point From Dawn to Midnight", "A Moorish and Spanish Episode", "Army Team" and "West Point March".Erwin Charles P b 1930. He began musical studies on trumpet and was selected in audition for the United States marine band in 1948. He was appointed first chair cornetist in 1958. In 1960 he attained the highest non-commissioned rank of Master Gunnery Sergeant. In 1975 he was promoted to be the first operations officer for the band. In 1977 he was appointed assistant director of the band and rose to the rank of Lieutenant Colonel, retiring in 1988. In his 29 years as cornetist with the US marine band he earned the reputation as one of the finest cornetists in American history. Elloway Kenneth Albert b 1916 d 1980 was a British teacher, trombonist, double-bassist, cornetist, and conductor of many orchestras. He first played cornet and later took up the trombone and string bass. He graduated in 1945 from the RMSM (Kneller Hall). In 1950 he passed the school's advanced examination for military bandmasters. Following a career with British military orchestras and bands including a stint as the bandmaster of the |Royal Artillery band, Elloway moved to Halifax in 1955 as music director of the Royal Canadian Artillery Band and became inspector of bands for the Canadian Army Eastern Command. He frequently guest-conducted the Halifax Symphony Orchestra, adjudicated at music festivals across Canada, and lectured at Mount Saint Vincent University, Halifax. Retiring from the army in 1965, he moved to Toronto as head of music at Emery Collegiate Institute. He returned to Halifax in 1966 as conductor of the CBC Halifax Chamber Orchestra (formerly the CBC Halifax Strings). He was acting director 1959-65 and director 1966-70 of the Maritime Conservatory of Music and was associate conductor 1967-8 of the Halifax SO. He guest-conducted the Halifax Wind Ensemble, the Atlantic Symphony Orchestra (in concert and on the recording CBC SM-215), and the Edmonton Symphony Orchestra. Elloway became co-coordinator of instrumental music for Dartmouth schools in 1969, music director of the Dartmouth Choral Society in 1971, and the founding conductor of the Chebucto Orchestra in 1975. He taught at Dalhousie University from 1974 until his death. Europe James Reese b 1880 d 1919 One of the most well known black musicians in the United StatesDuring World War I Europe obtained a Commission in the New York Army National Guard, where he saw combat as a lieutenant with the 369th Infantry Regiment (the "Harlem Hellfighters"). He went on to direct the regimental band to great acclaim. In February and March 1918, James Reese Europe and his military band travelled over 2,000 miles in France, performing for British, French and American military audiences as well as French civilians. Europe's "Hellfighters" also made their first recordings in France for the Pathé brothers. The first concert included a French march, and the Stars and Stripes Forever as well as syncopated numbers such as "The Memphis Blues", which, according to a later description of the concert by a band member "...started ragtimitis in France"F. Fahrbach Phillip 1815 d 1885 He was a contemfor the United States porary of Johann Strauss the Father and Joseph Lanner. His musical talent was evident at an early age and he studied violin and flute. He became a flautist at age 10 in the Strauss Orchestra and became an intimate friend of the Strauss family. His arranging talents became well known as he added many inner parts to Strauss orchestrations. In 1841 he took up the post of bandmaster of the Infantry Regiment No.4(Hoch-und-Deutschmeister) a post he retained until 1846. He returned to civilian life but after a family tragedy he returned to the military in 1855 becoming the bandmaster of the Infantry regiment No.14 and was present at the Austro-Prussian campaign in Schleswig-Holstein in1864. The opus list of his works numbers 330 most of which is not performed today.Ferland Joseph Pierre Armand Ferland b 1926. One of Canada’s most respected musicians he began violin and clarinet at an early age and earned his BA degree at the university of Manitoba in 1947 and won first prize on clarinet at the university of Montreal in 1951.After a short stint in the Ordnance corps band as solo clarinet e was selected in competition for study at the Royal Military School of Music in England. He graduated in 1954 and became the director of the Royal Canadian Horse Artillery band and later in 1961 the world renowned Royal 22nd Regiment band. He went on to form the Quebec woodwind ensemble. His best known composition is the march Genevieve.Field Philip Howard DOB unknown. A native of Norwalk, Conn he studied clarinet and joined the US Navy as a clarinet instrumentalist in 1956. After graduation from the Navy school of Music he performed with navy bands in Japan, Yorktown Va., and Boston. He directed unit bands on the USS Oriskany and the USS Kearsarge and returned to the school to become an instructor. Upon promotion to warrant Officer he was appointed director of the Pacific Fleet band in Pearl Harbor, Hawaii. He was appointed leader of the US navy band in Washington in1989. He wrote several arrangements for both concert and marching bands.Friedmann Carl Berthold b 1862 d 1952 He was born in Müchlein near Leipzig and became one of the most influential bandmasters and conductors of his era. His Slavonic Rhapsody is still performed worldwide His talent was recognized while he was attending a local high school and he studied theory, piano and violin. As a result of the widely performed KAISER-FREDERICH march he was admitted to the Royal Academy of music in Berlin. He graduated with honors in 1890 he completed his bandmaster examination and was selected as assistant bandmaster of the Badonian Infantry Regiment 113 in Freiburg. In 1891 he became bandmaster a position he held for the next twenty-one years. His reputation as a composer and conductor became known throughout Germany and also in nearby Switzerland. He retired from the Army in 1912.He continued his musical career for several years and became one of the most distinguished personalities of his time. In 1935 he was honored by the Berlin Academy with the title of Professor. His compositions number over 350 and much of his music remains in both the orchestral and band repertoires.Fucik Julius Ernest William b 1872 d 1916. Born into a musical family in Prague Bohemia he began study on bassoon and later played violin and piano. At age nineteen he entered military service playing bassoon and drums with the 49th Infantry Regimental band. Following a career as bassoonist with the New German Theatre orchestra he and National Theatre orchestra he began work as a military bandmaster with the 86th Regimental band at Sarajeveo and at this time he wrote the famous march ENTRY OF THE GLADIATORS. Fucik proved to be very much ahead of time as he challenged composers to write meaningful music for military band. He led several bands over his long service in the army including the 92nd Regiment band which played regular concerts in Prague and Berlin. From 1910-1913 he conducted the Terezin military band and retired from the military service in 1913. He grew to be an extremely prolific composer of both orchestral and band music with nearly 400 works to his credit. His marches Florentiner and Children of the Regiment remain popular remain his two most popular marches as well as the afore mentioned Entry of the Gladiators.Furst Geog b 1870 d 1936 His father was the local bandmaster in a small town southwest of Nuremberg. He received his initial training from his father and at eighteen entered The Nuremberg Municipal School of Music. In 1889 he joined the Royal Bavarian Life Regiment band in Munich as the Eb Trumpeter. He was selected in 1895 for bandmaster training at the Royal Academy of Music in Munich. In 1902 he was appointed to assistant director of the 5th Bavarian Infantry Regiment in Bamberg. In 1911hw was transferred to Munich as senior bandmaster of the Royal Regiment. Under his leadership the reputation of the band grew his name became well known throughout Germany, Rumania, Serbia and Macedonia. In 1920 he was placed in command of the 19th Bavarian Regiment band and held this post until his retirement in1935.He wrote several marches, overtures and songs. His most well known march is the Badonviller-Bandenweiller march but his Drei M?rche fur Blamusik is still performed and recorded.G. Gasia Louis b 1898 d 1950. Born in Belgium he studied at the Royal Brussels Conservatory. In 1938 he was appointed bandmaster of the 3rd Regiment of the Line. In 1947 he was appointed the first bandmaster of the newly created Belgian Navy band. He retired in in1949. He wrote several marches overtures and other works for band including the March of the Belgian navyGayfer James McDonald b 1916 d 1997. A native of Toronto he graduated with B.Mus. degree from the University of Toronto in1941. He joined the Canadian Army Militia when war broke out in 1939 and played clarinet in the Canadian Corps of Signals band overseas. He was selected to attend the bandmasters course at Kneller Hall in 1945. On completion he returned to Canada in 1947. He served in a variety of postings and became director of Music of the Canadian Infantry Battalion band (later the Canadian Guards) 1951-1961. He was Musical Training Officer at the Canadian Forces School of Music from 1961-1966. He had a distinguished career in the military rounded out by his highly successful compositions for band and orchestra. He wrote several marches including Canada Overseas and Silver and Green. His concert march for the visit of Queen Elizabeth in 1953 titles Royal Visit remains one of the most extraordinary concert pieces ever written for military band.Gebauer Francois Rene b 1773 d 1845 brother of Michael Joseph he was born in Versailles of German parents. He studied bassoon and beginning in 1788 he was a member of the band of the Swiss Guard in Versailles and in 1790 he joined the band of the National Guard with his brother.. He later played in Imperial Chapel orchestra and the theater orchestra. He wrote several compositions most of which is held by the Paris Museum of fine Arts. Some of the material includes six marches and Pas Redoubles.Gebauer Michael Joseph b 1763 d 1812 A French musician of German parentage he joined the service of France and his birthplace is unknown. He studied both violin and oboe and joined the National Guard band in 1790. In 1794 to 1802 he was professor of music at the Paris Conservatoire. He also became the bandmaster of the Consular Guard an early post revolutionary military band. He was also oboist in the Imperial Chapel. He died as a consequence of the Russian campaign which he had taken part. He wrote a number of marches and fanfares which were performed at Fetes celebrating the French revolution. Later family members became well known in France as performers and composers.Godfrey Charles b 1790 d 1863 The first in a long line of English military bandmasters and conductors he was a drummer in the First Royal Surrey Militia. In 1813 he joined the Coldstream Guards and transferred to the bassoon. In 1825 he was appointed bandmaster of the band a position he held for several years. He edited the Jullien’s Journal which began in 1847 and he helped to incorporate several magnificent transcriptions and arrangements into this numbered series of military band music. Of his five sons three became outstanding military musicians in the British Army. Godfrey Daniel (Known as Dan) b1831 d 1903 son of the preceding. He entered the Royal Academy of Music as a student and eventually became professor of flute in 1847. In 1856 he was appointed bandmaster of the Grenadier Guards and held this position until 1896. He was the first bandmaster since the American Revolution to take his band to the USA for the World Peace Jubilee 1872 which was organized by Patrick Gilmore in Boston. Godfrey retired in 1896 and organized his own band. In 1887 he was the first commissioned officer in British military bands and which bore with it the designation Director of Music. His contribution to the military band parade repertoire was extensive and included Guards,Hilda and Mabel inspection music.Godfrey Adolphuis Frederick b 1837 d 1882. Brother of the preceding. He was educated at the Royal Academy of Music and entered the Coldstream Guards in 1856 and in 1863 he succeeded his father as bandmaster of theta regimental band. His arrangements and transcriptions were superb and in many cases very much ahead of his time. His various arrangements which were entitled Reminiscences became standard military band fare. His contribution in the area of classical potpourri contributed to the emersion of military band outdoor and concert performance popularity.Godfrey Charles b 1839 d 1919 brother of the preceding. He was educated at the Royal Academy of Music and began his musical career as a clarinetist in Jullien’s orchestra in 1853.He changed career direction in 1859 when he was selected as bandmaster of the Scots Fusilier Guards. He left that regiment in 1868 for the Royal Horse Guards band where he became a commissioned Director in 1899. He was professor of military music at the Royal College of Music. He was a major contributor to the Orpheus Army Military Band Journal which reveals an outstanding ability in band arranging and transcriptions.Godfrey Dan Stuart b 1893 d 1935 cousin of Charles. He was educated at the Royal College of Music and enlisted in the Coldstream Guards in order to qualify for military bandmastership. He served in World War 1 and later became associated with the British Broadcasting System where he was a pioneer in military band broadcasts.Gossip Brian Albert b 1934 He served with the Imperial Black Watch band as a National Serviceman and was trained on oboe and saxophone. In 1956 he immigrated to Canada and furthered his musical studies eventually joining the Canadian Reserve Navy as a bandsman saxophone. In 1958 he was accepted for the principal saxophonist with the Royal Canadian Regiment band and was a featured soloist with this band. In 1971 he was selected in competition for bandmaster training at the Canadian Forces School of music. In 1974 he was posted to the Central Band of the Canadian Forces in Ottawa. He became one of the staff arrangers and began writing numerous marches for the Canadian Forces. In 1983 he was appointed assistant director of the Princess Patricia’s Light I infantry band and wrote several outstanding arrangements for this band. He retired in 1988 after serving as the Chief Warrant Officer of the Canadian Forces School of Music. He continued his association with the military as a Cadet Officer and became a very popular clinician and arranger for this organization. He has written numerous marches for band and several have been recorded. His most outstanding marches include March St Laurent and March Thunderbird.Graham Arthur b 1875 d 1947 He became a bandboy in the 15th Hussars at age fourteen and received his musical training as a pupil at the Royal School of Music, Kneller Hall, on clarinet. He advanced to the rank of Sergeant with the Hussars and in 1901 was selected for bandmaster training also at Kneller hall. He graduated in 1903 and was appointed bandmaster of the 1st Battalion the York and Lancaster Regiment with the rank of Warrant Officer. He served for many years in India and was the bandmaster for the presentation of colors by the Prince of Wales. He retired in 1921. He carried on his fine record of musicianship by conducting several concert bands and orchestras including the Queen’s Variety theatre in Castleford. He wrote several highly acclaimed marches for band. His march The Champion and Hampton Court are his most well known compositions.Grundstrom Per Gustaf Adolph b 1886 d 1975 He enlisted as an apprentice musician at age 13 in the world Renown Life Guards band in Stockholm Sweden. He continued his studies on violin and various band instruments and graduated in 1906 from the Royal College of Music with a diploma of music director. He began his career as a bandmaster with the Royal Halland Regiment band and in 1912 he was promoted to the position of Director of Music. He gained experience conducting both orchestras and choirs. He eventually became the director of the Life Guards band and retired in 1944. He received many honors and several outstanding marches including the well known Swedish march General Cederschi?ld.Gungl Joseph b 1810 d 1889 He was a Austrian born musician who began his career in the Army in the Fourth Regiment of Artillery as an oboist. He was selected in competition as bandmaster of the same regimental band 1842. He made several European tours with his regimental band playing mostly his own compositions. He left the military to establish his own band for a tour of North America, on his return he was appointed the Music Director to the King of Austria and later in 1859 was appointed bandmaster of the Emperor’s service in Prussia. Gungle wrote numerous waltzes and marches and his Hungarian March Opus 1 was one in a long line of military marches he added to the band repertoireH. Haachti Rauno Erik DOB unknown He began his military career at the Military Music School in Helsinki where he studied clarinet and saxophone. He was assigned to the band of the of Armour Battalion in 1947. He gained steady promotion and in 1967 he graduated from the Sibelius Academy and was granted commission in the Finnish Army and appointed to Director of Music. From 1971 to 1990 he conducted and commanded the Military band of Lapland rising to the rank of Major. In 1990 he was selected as the Chief Conductor of Music and promoted to the rank of Lt Colonel and was transferred to the headquarters of the Finnish Defence Forces in Helsinki. At the time of his retirement in 1994 he was in charge of all bands in Finland. Hanssen Johannes b 1874 d 1967 He became one of Norway’s most active and influential bandmasters and started music at age ten eventually learning trumpet and entering the Second Brigade band in Oslo on baritone. He was selected as bandmaster of the Oslo Military staff band and remained in this post from 1926 to 1934. He was also bandmaster of this band from 1945 to 1946. He had a varied career both as a military and civilian musician and wrote several marches for concert band including the evergreen and popular march Valdres which was written between 1901-1904.Haase Ferdinand b 1788 d 1851.Born in Silesia he enlisted in the French Army in 1810. He marched with Napoleon and provided music during Napoleon’s march on Moscow. His talent was noted by the Grand Duke Constantine and he helped the young musician to obtain a solid musical education. When the Grand Duke was placed in charge of the Polish Army he selected Haase to be in charge of military music. Earlier he had written the Preobrazhensky march and it now became an instant sensation and was adopted by the regiment with the same name. Later it was assimilated into the Prussian Army collection (a.m.1.30) Following the Grand Dukes arrival in Warsaw two more Guards Regiments were raised prompting Haase to write another march for the Volhynia Guards Jager Regiment. Later he was posted to Russia where was appointed to be commandant of the military school of music. In 1845 he composed an album of military music and he arranged numerous works for band. He organized joint concerts of Prussian and Russian bands. His arrangements and compositions for band were extensive and he arranged several national anthems including God save the Tsar.Hautvast Willy (Wilhelmus) b 1932 He began his study of music with his father learning clarinet and saxophone. He studied at the Maastricht Conservatory and in 1951 he enlisted in the Royal Netherlands Air Force and from 1952 to 1975 was solo clarinet with that band. He left military serve in 1975 to accept the position of teacher and bandmaster at the Nijmagen Music School. He has written several concert band numbers and many of his arrangements and transcriptions have been published. His march Fly Past is dedicated to the pilots of the Royal Netherlands Air Force.Henrion Richard b 1854 d 1940 . He decided on career as a military musician very early in his life and after serious study on the organ at the Joanniskirche in Madeburg he completed the requirements to become an army bandmaster at Brandenburg. He served with the 64th Regiment in Prenzlau and in 1881 he joined the 2nd Grenadier Regiment at Stettin where he remained for the rest of his army career. He composed over 260 works for band orchestra, and he was a specialist in fanfare marches. His music was often included in compilations of German and Austrian marches and the Fehrbelliner Reitermarsch-or Fahrbellin Cavalry march appears in no less than 20 different books of military marches.Hicks Lawrence b 1913 d 1997 He joined the 1st Battalion of the Cameroinians as a band boy aged fourteen in 1926. He was selected to attend Kneller Hall and graduated in 1938 and was appointed bandmaster of the 2nd battalion the Black Watch. During the war years he was attached to the Canadian Army as a bandmaster of the Royal Canadian Ordnance Corps band serving in Belgium and the Netherlands. His dairy of the band’s work still resides in the Canadian Directorate of History in Ottawa. In addition he arranged several numbers for Canadian bands during the war. In 1951 he resigned from the British Army and joined the Austrian Air Force band. Under his direction the RAAF band played leading role at the 1956 Olympic Games at Melbourne. He was responsible for scoring and arranging 70 national anthems for this occasion. He retired in 1968 and organized a ladies concert band Howard George Sallade b 1903 d 1995. He had a very extensive career as a musician, teacher and director prior to joining the US Army in 1942.He began his military career teaching music to American troops in Greenland, Iceland Newfoundland and Labrador. In 1944 he transferred to the Army Air Corps (later the US Air Force) where he was ordered to “form the best damn band in the world” by General HH Hap Arnold. He held auditions and selected 100 musicians out of 1500 that appeared. In addition to the comprehensive performance schedule by the band he established the USAF bandsmen school of music and introduced the commissioned officer status for all Air Force band directors. He retired in 1963 and became the director of the Metropolitan Police band of Washington DC. He received numerous awards for for his contribution to both military and civilian band music in America. He wrote some published marches including The Afalfa Club and High Honor.Howe James H b 1917 Born in Durham England he began playing cornet and piano at age nine and in 1933 he joined the Regimental band of the Royal Scots as a band boy. He became a prisoner of war in 1940 and organized a prisoner of war dance orchestra. Following the war he attended the Royal Military School of Music at Kneller Hall. In 1949 he was appointed bandmaster of the Argyll and Sutherland Highlanders. He was selected to the Highland Brigade Junior Musicians Unit at Aberdeen in 1958. In 1959 he became the Director of Music of the Scots Guards band and Senior Director of Music of the Household Division from 1970 to 1974. He was made a member of the order British Empire and also received the Award for Service to Military Music. Most of his works are for brass band but his march Pentland Hills is also for military band and is one of the finest in the concert band repertoire.Hunt Clifford (Onufry) , b20 Jul 1917, d. 13 Jan 2003. Administrator, trumpeter, band conductor. He began trumpet lessons at seven when he joined his father’s Salvation Army band, and studied piano with Graham Godfrey. He toured North America, Great Britain, and continental Europe as a solo trumpeter and was a soloist 1940-2 with the RCAF Band. He was music director 1942-3 for the Camp Borden Band and was sent overseas in 1944 when that organization became the Canadian Bomber Group Band, travelling from quarters at Harrogate to give concerts and assist at ceremonies in England. He was music director of the regular Air Force Band 1946-60 and supervisor of music for all Canadian air force bands 1960-4. From 1964, when the headquarters and commands of the Canadian armed forces were integrated, until 1968, when the unification of the three services was completed, Hunt supervised 220 bands, comprising 1000 full-time musicians and some 5000 reserve-force volunteers. He was made a lieutenant-colonel in 1966. Hunt directed the RCAF Concert Band on the recording Top Brass (Radio-Canada International 256). Hunt conducted the Ottawa Civic Symphony Orchestra in 1965. On his retirement from the armed forces in 1968 he became manager of the music department of the CNE and music director of the senior program (adult recreation) for the city of Burlington. In 1969 he became director of grandstand shows at the CNE, continuing on a part-time basis after his retirement in 1982. Also in 1969 he became managing director of the Canadian Bureau for the Advancement of Music. in recognition of his outstanding contribution to bands and band music. Hunt conducted the Burlington Concert Band until 1998. He held the CBA’s National Band Award (1994), and was an honorary life member of that organization. He was also a recipient of the Queen’s Golden Jubilee Medal. Husadel Hans Felix b 1897 d 1964 He was involved in military music and bands during both wars. He studied French horn and piano and attended the Berlin Academy of Music. He graduated as a bandmaster and became leader of the Fourteenth Regimental band in 1928. In 1935 he was given the responsibility of organizing bands for the newly formed Air Force, as well as a newly formed branch of the Wehrmacht. From 1935 to 1945 he also taught at the Berlin Music Academy. He was part of the group of band leaders who provided music for the 1936 Berlin Olympics. He introduced several innovations to the performance of both civilian and military bands by adding alto, bass and contrabass clarinets, and baritone saxophones as well as a whole range of brass instruments. He remained in charge of Air Force bands during the World War 2 and later became the director of the famous Berlin Philharmonic band. He wrote a number ofhighly regarded compositions for band including the march Berlin Post and his march named for the memory of the Red Baron Richthofen Fighter Wing-FavoritenJ-MJaeger Cecil Harry (Jiggs)b 1913 d 1970.He began life in an orphanage and learned cornet in the institution. He enlisted as a band boy in 1927 in the King's Own Yorkshire Light Infantry. He attended Kneller Hall as a pupil in 1931 and returned in 1936 as a student bandmaster. In 1937 he appeared as part of the Trumpet fanfare team for the Coronation of George VI. He graduated from Kneller hall and was awarded several honors for composition and arranging. Because of the war he was unable to have an appointment as a bandmaster and as a result returned to his old regiment where he was given the honorary title of BUGLE MAJOR. He began further study and in 1949 he was awarded a Bachelor of Music at Durham University. . He finally did get an appointment of bandmaster of the 4th Queen's Own Hussars in 1942 and remained with them until 1944. In 1949 after receiving his BA degree he was appointed as Director of Music of the Irish Guards band and he was promoted to Captain. He toured the world with the band and also become a household name with numerous recordings of the band. He appeared in a movie the 'Ipcress File' . He had an enormous following among British military musicians because of his colorful style. In 1963 he became the Senior Director of Music of the Brigade of Guards and was responsible for several state ceremonial titles including the music for the funeral of Winston Churchill. He retired from the Irish Guards band in 1968 after a month long tour of Canada. While in Canada he performed a concert in London Ontario for which over 10,000 persons attended. He was the conductor and organizer for several massive military band displays in both England and the continent. Two of his most well compositions include the march Canada on the March and the Commonwealth on the March.Johnson Albin Ib 1915Born in Michigan he studied at the Ernest Williams Conservatory and later at the US Army bandleaders school. He became the solo cornetist of the US Army band in Washington from 1936 to 1939. He left the Army from 1939 but in 1941 but returned at the advent of war. He was appointed a US army band leader and in 1949 became the director of training at the Army European band training school where he also led the faculty in radio broadcasts and in concerts. In 1949 he joined the faculty of the Special Services School in Fort Monmouth NJ and later when the school moved at Fort Lee Virginia in 1950. He wrote several unpublished works for band including It's The Army march and Pride of The Lakers March.Jonusas Broniusb 1899 d 1978He was born in Lithuania. He studied at the conservatory in Riga and the state conservatory at Kaunas from 1938 to 1942 performing on trumpet. After completing his initial musical training in 1921 he was the director of the Regimental band of the Eighth Infantry and held this position until 1937, while also continuing his studies. In 1937 he was appointed the conductor of the Kaunas Police banda quasi military organization. He became very well know because of his association with both the military and Police bands. His transcriptions of several works by Russian and Lithuanian composers are still being performed in those countries. He wrote several dazzling marches for military and concert band particularly his series of Lithuanian Freedom marches which were recorded in 1963. He emigrated to the USA in 1959 and is his work is still immensely popular in a now free Lithuania. His march Trumpets are Sounding remains as one of the world's greatest marches.Jucci, Carmineb 1892 d 1974He was an Italian born military musician who studied with Magnani and at the St Celia Conservatory in Rome.. He was very active as a clarinetist with numerous orchestras and eventually became director of the band of the 8th Italian Regiment from 1939 to 1945. In 1945 he was appointed the director of the band of the Armed Forces of San Marino. He composed a march for this band called the March of the Armed Forces of Marinio.Judd John L (Sammy)b 1903 d 1980He enlisted as a band boy in the Royal Inniskillin Fusiliers in 1917. He was trained on clarinet and oboe and eventually specialized in oboe.. He served with the band in various postings following World War I in India, Iraq and Northern Ireland. He was selected for bandmaster training in 1927 at Kneller Hall. In 1930 he was appointed bandmaster of the 2nd Battalion Highland Light Infantry. In 1942 he transferred to Royal Signals Corps band and was commissioned in 1947 and appointed the Director of Music in 1947. He retired from the army in 1962 having served over 44 years.K. Kappey Jacob A (Will)He graduated from Kneller hall and was appointed bandmaster of the 48th Regiment band in 1848. From 1857 to 1892 he was the director of the Royal marines band at Plymouth. He was the editor of the Boosey band Journals for several years. He wrote and arranged well over 50 numbers for band and the most enduring march is The Old Guard Quick marchKatayama Masamib 1928He became a navy bandsman before W.W.II and in 1951 was appointed as assistant bandmaster of the Self Defense navy band. He was later Commander of the band and retired in 1971. He was the professor of music at the Aikoku Junior College before his retirement in 1980. His march Wakaaudo was commissioned by the All Japan band Association in 1962.Kawasaki Masam b 1924He enlisted in the Japanese navy in 1932 studying clarinet and saxophone. He soon advanced through the ranks and was stationed with the Imperial Navy band in in Tokyo. He was selected to attend an advanced course at the Tokyo academy of Music and on graduation was promoted to bandmaster. He served with the Navy band through the war years and when the Japanese forces were disbanded from 1945 to 1951 he performed with the Tokyo Philharmonic orchestra. When the new Navy band was organized in 1951 he was appointed assistant leader, and later succeed the eminent Minoru Takayama as conductor of the renown Maritime Self Defense Force band in 1962. He retired from that post in 1967 and also served as a regional district bands supervisor. He composed several marches including the Maritime Self Defense Force March and the Festival of the Century.Kelly Albert Edwardb 1914Born in London, where his father was a member of the Grenadier Guards band he received his first lessons from his father and enlisted in the Dragoon Guards as a Junior Bandsman at the age of fourteen in 1928. His ambition to be selected for the Royal Military School of Music was sidetracked by the outbreak of World War II and he served as a soldier in the Dragoon Guards and was wounded in the Normandy invasion in 1944. He was invalided back to England and after the war he completed the requirements at the Royal Military School of Music and served as bandmaster of the Royal Sussex Regiment and in 1958 he was commissioned as a Director of Music with the Royal Sussex Regiment. He left the army in 1961 and served in the British Civil service until 1979. His most well known and popular march was Arromanches and he also wrote the march Arnhem a march he wrote while serving in 1956 in Korea.Keler-Bela Adabertb 1820 d 1882He born in Hungary and after several tries in different vocations began the study of music at age 25. He studied in Vienna and eventually became the leader of Gung'l's band and the arranger and composer.. In 1855 he went to Vienna in 1855 and became a bandmaster. In 1856 he was named bandmaster of the 10th Infantry regiment band in Vienna. In 1860 he left the military to form his own orchestra but when that venture proved unsuccessful he returned to the military being appointed 2nd Nassau Infantry band in Wiesbaden from 1863 to 1866. He later led the Wiesbaden Spa orchestra. He wrote several light and easy numbers for both the band and orchestra repertoire. He is mostly remembered for his overtures and wrote Lustspiell Overture for band (originally) and transcribed the French Comedy Overture for band as well as several other well known overtures, waltzes and marches.Kenney Horatio Arthurb 1919 d 1969He enlisted as a band boy in the Somerset Light Infantry band in 1934 and specialized on the Trombone. He was selected for studies at Kneller hall in 1945 and on graduation was appointed to the 1st Battalion Oxfordshire and Buffs Infantry as bandmaster in 1949.He received many awards while attending Kneller Hall including the gold medal of the Worshipful Company of Musicians. In 1960 he was named director of Music of the Royal Artillery Plymouth band. A year later he became the director of the Alamein Royal Tank band and in 1962 he was elevated to the Brigade of Guards and named director of the Welsh Guards band. he was promoted in 1968 to the rank of major he retired from the army in 1969. His wrote at least 9 numbers for military band including the march Cardiff Castle a slow march and the arrangement of the God Bless the Prince of Wales slow march.Komzak Karelb1850 d 1905He was a member of a well known and musicians. Karel (also known as Karl or Carl) began studies with his father and later studied violin with a succession of teachers. In 1867 he joined the Austrian 11th Infantry band. Two years later he became the bandmaster of the Seventh Infantry band in Innsbruck. In 1884 he was appointed bandmaster of the 84th Regiment band in Vienna. He later became well known in North America conducting his famous Vienna Farben orchestra. He spent the last few years of his life in Baden . He was a prolific composer of military marches four of which remain popular even to this day. Archduke Albert, Kaiser Joseph, Vienna (Vinsobona) an the 84th Regiment MarchKopstein Jackb 1934 He began clarinet studies at age 8 and later studied clarinet and saxophone at the Teal studios and Wayne University in Detroit. He was selected for the Ford Motor company band in Windsor and in 1953 he joined the Royal Canadian Navy Reserve. He attended summer camps and in 1958 was selected in audition for the Royal Canadian Regiment band. He played clarinet with the London (Ontario) Symphony and the London Chamber Orchestra. In 1970 he was selected for bandmaster training at the Canadian Forces School of Music and graduated in 1971. In 1974 he was posted to the Canadian Forces Central band in Ottawa and in 1979 became the assistant director of music. In 1981 he was the leader for the arrival of several heads of state. he held similar posts with the PPCLI band in Calgary and the Vimy band in Kingston. He retired from the military in 1988. His march With Equal Pace is the special services march for Base Gagetown NB. He is the site partner for the Heritage of Military bands of the World and the editor of the Millennium Project(300 years of Military music1700-2000). He has written numerous articles on military bands in Canada.Kral Johann Nepomuckb 1839 d 1896His father was a bandmaster and he followed in his footsteps. He became a military bandmaster in Amsterdam at the age of 20. In 1862 he became the director of the 13th Regiment band in Budapest. A few years later he was transferred with the band to Vienna and the band became very popular in that city. During his remaining military career he was given the job of improving other military bands in the district. From 1874 to 1878 he was conductor of the 20th Infantry Regiment band. He also was director of the 36th until 1872 and the 17th Infantry band. His final military assignment was with the 23rd Regiment band in Budapest. He wrote several marches including the Austrian Defile march and Danube Greetings a march better known and more popular in North America.Küffner Josephb1776 d 1856He was a German bandmaster and composer who began the study of violin and became a member of the Wurzburg Chapel from 1797. When the town fell in 1802 he became the military bandmaster of the Bavarian Regiment band where he reorganized the band and modernized the music and instrumentation. He wrote several pieces for military band including an overture to his own opera Spurn und Sharp.L Laro Johannus(Joop)b 1927 d 1992He inherited his interest and ability from his father and grandfather who were both bandmasters. He studied at the Royal Conservatory of music at the Hague receiving diplomas on clarinet, piano and conducting in 1952. From 1945 to 1953 he was a member of the Marine band of the Royal Netherlands navy. He was a very versatile musician playing both clarinet and violin and piano for concert, string and dance bands. In 1953 he became the conductor of the Johan Willem Friso band of the Netherlands Army Corps. In 1964 he returned as the director the marine band with the rank of Major. In 1973 he was appointed the Command Inspector of military bands. He was eventually promoted to the rank of Colonel. He was well known as he toured with the Marines throughout Europe, Scandinavia, and North America . He retired in 1986. He established a International reputation for his the number and quality of recordings in which he conducted his own works and those of other composers. The marine ban recordings have reached several million and mostly due to the extensive repertoire on the recordings. He has written numerous works for band and his most well known marches are Nulli Cedo Never Yield, his Intrada Festivo is a superb example of his enormous composition skills.Latann Carlb 1840 d 1888He joined the military service of the German Confederation as a musician and eventually advanced to the position of bandmaster of the Prussian Navy band in 1872.He remained in this position as leader until his discharge in 1884. At that time he became the director of a military band in Nijmegan Netherlands. The band he led in the Prussian Navy eventually became the German Navy band and is the forerunner of the present day Navy band at Willelmshaven which was formed in 1952.Much of Latann's work reveals his concert band experience. many of his compositions are still available and in particular his Fest Overture march Frei Weg (All Clear) which is number 137 in the German Armies Second March book and the British military favorite Light of Foot.Latey Keith P b1896 d 1987He began his musical studies with his father and learned the French Horn and cornet very early. At age 15 he joined the US Army and furthered his studies in several different post bands. He learned all of the various instruments of the military band .He was stationed at several military establishments in WW1 and following the war in 1933 he qualified as a bandmaster with the 168th Infantry until 1942. He served with the 744th Air Force in 1944- 45 as bandmaster and the 13th Army National Guard from 1945 to 1955. He participated in the Allied invasion of North Africa and his band were involved in the Kasserine Pass battle and three of his bandsman were killed. He was In a British hospital at the time. He spent most of his life in the military bands of the United States and wrote over 50 works including several military marches for US Forces the most well known being the 34th Division march and Trombone Treat.Laty Claudeb 1887 d 1970He studied at the local conservatory in his home town of Marseille winning numerous awards. In 1907 he enlisted in the French Army as and passed the sous-chef de musique examination in 1910. He was assigned to the 46th Infantry in Paris in August of 1914. He was awarded a medal for wounds received while gallantly playing La Marsellaise at Vauqois. He was promoted to the rank of chef de musique and directed several bands in France. In 1932 he was the director of the 46th Regiment band. In 1935 he was asked to organize the French Air Force band. He auditioned and selected the musicians and completed the project in 1936. He was promoted to the rank of major in 1939 and retired from the Air Force after the 1940 Armistice. His know works include Impressions de Provence and Marche pour Sainte Cecile.Lehnhardt Juliusb 1837 d 1913He was the son of a well known German bandmaster and he and his bothers Gustav, Franz all became professional musicians. Julius followed his father's example and joined the military in the 2nd Guard Regiment band. He became well known for his compositions and remained with the band from 1867 till 1899. He was touted as Germany's greatest march writer and he wrote several commemorative marches including the march Guard of Honor in 1900 and the Call of the Flag a stirring march written for they unification of Germany in 1871.Leinonen Juhani (Jussi)He is a native of Finland and became a military musician after he studied at the Military School of music and Sibelius Academy in Helsinki. He entered military service as tubist, drum major and conductor. He became the Drum Major of the Finnish Conscripts band. He has composed several numbers for military band including Meripoikkatte mars (Seaman march) and The Hamina March (Ylos Tmpyoista).Leonhardt Andreasb 1800 d 1866Born in Bohemia (now the Czech Republic) he became one of Austria's most important bandmasters. He became a musician in the 2nd Regimental band in Vienna at age eighteen and began the formal study of music. After posting to Naples Italy he began study at the Royal Conservatory in that city. In 1822 he was appointed Regimental bandmaster and later went for further study in Prague becoming the bandmaster of the 55th Regiment band. In 1829 he returned to Italy and conducted the 27th band at Pad ova . He conducted the 27th band until 1846 and organized several musical extravaganzas. He was appointed the commander of all Austrian bands in 1851 and held this post until 1853. He was responsible for the standardization of all Austrian military bands and developing regulations for bands. He also modernized the pension system for military bandmasters. Before his passing in 1866 he laid the ground work for the excellence of Austrian band music and benefits for musicians. His march writing was brilliant and he provided numerous regimental marches. The march Alexander is an example of his quality work. The German Army march books still contain the march and it is a quick march at m=114 as opposed to earlier marches known as pr?sentiermarsche (slow march).Liesenfield Paulb1908 d 1985Born in Marseille he studied at the Paris Conservatory and eventually enlisted in the French Army and became the assistant bandmaster of the 26th Regiment. He left the army in 1947 and enlisted in the French Air Force in Algiers. He was promoted to bandmaster 3rd class and was appointed to the Paris Air Force band in 1955. In 1955 he was selected as director of music of the Air Force band and served in that capacity until 1962. He later was promoted to Command Inspector of Air Force bands . He retired in 1971. He wrote several marches for band including Pavilion Haut (The Air Force march) and the Royal Revue march.Linden Fred b 1839 d 1891Born in Holland he emigrated to Canada in 1849 and eventually became a resident of the USA. He became a bandmaster during the US Civil war He studied saxophone and eventually became a member of Gilmore' band. He was selected as leader of the US Army regular forces and took over duties and bandmaster of the David's Island band. In 1887 he was named leader of the Military Academy band at West Point. He wrote A Salute to West Point and US Regulation Calls quickstep.Loboda Samuelb 1916 d 1977Born in Pennsylvania he joined the US army in 1941 as a infantryman and graduated as Warrant Officer from the US Army School of Music in 1943.He began the study of music in school learning the viola, bass and clarinet and saxophone. He graduated from Indiana University with a B.S. degree in 1936. At the end of the war he was appointed the assistant leader of the Army band in Washington DC. During his association with the band he formed the United States Army Chorus. He remained with the band from 1964 to 1976 as leader and commander. He wrote over 600 musical works and appeared on TV and on the radio. He garnered numerous awards and his best known marches are Screaming Eagles, The 101st Airborne and the Newspaper boys.Lureman Herman Thomasb 1890 d 1965He was born in the Netherlands and received early training on piano and trombone. He joined the local militia band and from1911 to 1923 played trombone in the 11th Dutch Infantry Regiment band in Nijmegan. In 1923 he moved to the 5th Infantry regiment band in Amersfoort as a baritone player and was promoted to bandmaster in 1940. He retired from the military in 1949. He composed band music under the pseudonym Paul Herhorn. His compositions were of the highest quality with the Concordia and Groot Amsterdam being two of his finest marches. He wrote over 75 works for band including16 overtures.Mackenzie-Rogan Johnb 1852 d 1932 He became known as the dean of military music in Britain and began his career as a 15 year old band boy in the 11th Regiment in 1867. In 1880 he was enrolled in the bandmaster course at the Royal Military School of music. In 1882 he was selected as bandmaster of the Royal West Surrey Regiment band. In 1896 he became the director of the world famous Coldstream Guards band During his tenure as the band's director the establishment more than doubled from thirty-two to sixty-four.. In 1903 the band became the first British band to tour North America and he presented several concerts at the Canadian National Exhibition in Toronto where more than 70,000 people heard the twice a day concerts. He became the first director from the Brigade of Guards to be commissioned in the British army in 1907. He continued to receive promotions and in 1920 became a Lt. Colonel. He traveled extensively with the band visiting Canada again Africa, Burma and during World war 1 to France, Belgium and Italy. He retired in 1920 after 43 years military service. In addition to his numerous transcriptions and arrangements for band he composed the highly acclaimed march Bond of Friendship which is unquestionably one of finest lyrical marches ever written.Maillot Jeanb 1911 d 1988He studied flute at the Paris Conservatory and was awarded several prizes. He joined the French Army in at age 18 and won a competition for bandmasters and was appointed the leader of the 11th Regiment band in Metz. He served with the Free French in England during the war and in 1945 he joined the French Air Force and became the conductor of bands in Algiers and Dijon. In 1948 he was appointed director of the Musiques des Equipages de la Flotte(The Marine band) at Toulon. He composed two symphonies and several other works for band including the march Fonenay and march Armee-Jeunesse.Makwarth Ludwigb 1864 d 1943(real name Ludwig Marquard Rasmussen) A Danish military musician who led the 8th Regiment band in Aarhus. He was a very capable conductor and a fine arranger. In 1911 he was promoted to the rank of Lieutenant and transferred to the band of the 7th Regiment in Slagelse. He wrote a number of light compositions as well as opera and operetta. His march Slagelse Tappenstreg, became a very popular march in Europe and was recorded by several military bands in Europe.Mantia, Simoneb 1873 d ?Extraordinary Euphonium and Trombone player, he came to America in 1890 at the age of 17. He played Trombone with the Brooklyn Opera House Orchestra when quite young. He joined the Sousa band in 1896 and had a solid reputation as the best euphonium player in the world. When Arthur Pryor left the Sousa band to start his own band, Mantia left with him. He was Trombonist for the Metropolitan Opera for 37 Years; the last twelve of which he was Orchestra manager. He played with the "Band of America" from its inception until just before his deathMartin Herbieb 1937An Irish musician he studied saxophone and trumpet and joined the Royal Air Force Music Services in 1956. He had a long career as a bandsman and arranger and reached the rank of Band Sgt. with the Central Band of the RAF. He retired in 1985. He wrote several band numbers including a Hurling Match which won an award in 1983. His march Butcher Radar is a stirring march written in a modern style.Martin Jacquesb 1898 d 1982Martin was a prolific composer of band music who joined French military at a young age and was selected for musical training. He passed the bandmasters examinations and was assigned to the band of the 7th Line Regiment. He later became the Inspector of military music for the French Army. His most well known band compositions include The Liberte Overture and the fantasy Fleurs de Nice.Mas Quiles Juanb 1921He was born in Liria Spain and began the study of the flute and by age eleven was the first flute in the Banda Primitiva. He continued his studies in Valencia until the Spanish Civil war in 1936. At age 19 he entered Spanish military service as a musician. After study with several eminent military conductors he was made a member of the Military conductors association in 1946 He conducted bands at Seville from 1946 to 1956 and the military Divisionary band of Valencia. He became the director of the Valencia symphony and retired from the army in 1982. Several of his marches have approved by the Spanish Ministry of the Army and he in 1973 he was awarded a prize for his music for military ceremonies. His parade march Sounds of Triumph and paso-doble Vince Gerado are his two most well known works.Mayan Jean Joseph b1875 d 1953One of the premier military musicians of France he was born in Avignon. He graduated with first prizes in violin and harmony from the Marseille Academy of Music. later he studied counter-point and fugue at the Paris Conservatory. In 1911 he was appointed the director of the French Marine band at Toulon and from 1919 to 1924 conducted a Marine band in Toulon. His transcriptions of orchestral works and various show music is found in most of the band music libraries in France. His navy march Marche des Cols Bleus and concert march Solennelle are exquisite examples of his artistry as a composer and arranger.Mertens Fernandb1872 d 1957Born in Louvain Belgium he joined the Belgian army after graduation from the Royal Conservatory of music in Ghent. He enlisted in the Army as a musician at age 18. In 1897 he moved to Luxembourg and joined the military band of Luxembourg. In 1909 he became the conductor of the band. He retired from active service in 1937. He wrote 19 marches including a march still performed in Luxembourg entitles Benelux and another which is equally as popular Jeanne D'Arc march.Miller George John1827d1886 He was the son of a British Army soldier and studied music at the Duke of York's school. He was accepted as a cornetist with the Grenadiers Guards band in 1842 and in 1854 he joined the Royal Bucks Militia. He performed admirably with this outstanding band. In 1858 he left to join the Royal Irish Rifles band as the bandmaster. He started the band from scratch and made great strides in building the reputation of the band. In 1864 he was appointed bandmaster of the 63rd Regiment of the line The band were posted to Canada and were an instant success performing for various dinners dances and concerts. He also developed a subscription concert series in Halifax which became the sensation in a city starved for entertainment. On his return to the United Kingdom his appointment as bandmaster was terminated because the British Army had ruled that only graduates of the Royal Military School of Music were permitted the appointment of bandmaster. He refused to undergo studies and as a result he was dismissed. His contribution to military music both in Britain and in Canada cannot be discounted however and his influence on the future of Canadian Bands had a far reaching effect.Miller George b 1853d1917(Son of the preceding). Born in Pimlico he had a very distinguished career. Enlisted with the band of the 16th Foot (Bedfordshire Regiment). Attended The Royal Military School of Music 1873-1875 during which time he served as organist and choirmaster for the Whitton Parish Church. He served as Bandmaster of the 16th Foot (Bedfordshire Regiment) 1875-1880, Bandmaster, Royal Military College, Sandhurst, 1880-1884 and Bandmaster, Royal Marines, Portsmouth 1884-1917. During his 33 years with the Marines his band and orchestra gained world-wide acclaim. He received his MusBach. in 1892, composed choral, orchestral and band works and was editor for the 'Novello Band Journal'. He authored "The Military Band" in 1912 and died in 1919.Miller George Johnb 1877 d 1960(grandson of the former) Born in India, he began the study of instrumental music under his father's tutelage and later was a soloist with the Children's Chapel Royal choir. He studied in Berlin from 1893 to 1896 and then enrolled at Kneller Hall in 1896. On graduation in 1898 he was posted to the Duke of Cornwall's Light Infantry band and served in India, Ceylon and South Africa. He was recalled to England and reorganized the Royal Garrison Artillery band at Plymouth. In 1908 he was transferred to the 1st Life Guards and organized the band into where it could function as either a orchestra or a band. He served a six month period in France during W.W.I. He was named the Director of Music to the coveted Grenadier Guards band and rose to the rank of Lt. Colonel in his 22 years service retiring in 1942 after 46 years of military service. He composed the march Galathea published by Boosey and Hawkes?.Miller Williamb 1816 d 1901(No relation to the above) Affectionately known as 'Billy the Bugler' he began life In a army environment as his father was a soldier. It was noticed that he had a aptitude for music and at nine years old became a band boy in the 84th Regiment. He later transferred to the Rifle Brigade. He developed an ability to play and perform on every instrument in the band and in 1842 he was appointed the band-Sergeant of the 1st Battalion in Malta. He was one of the first proponents of the post horn gallop a fiery number played on the keyless post horn. He became a prominent name and character in the British Army circles and later served in Canada and Ireland. He wrote several arrangements of marches for the British army not the least of which was the venerable favorite I'm Ninety-Five and another favorite the Huntsmen Chorus from Der Freischutz.Mitchell Anthony A b 1917He spent 32 years in the US navy bands and the last six as conductor of the United States navy band. He was a native of Clearfield Pennsylvania. He began early studies of the saxophone and later added the clarinet In 1936 he joined the navy, graduating from the Navy School of music. He was accepted in audition for the Naval series top band in 1938. He was very versatile and played both traditional and jazz forms eventually becoming leader of the dance band and as solo clarinet in the concert band. He was named 3rd leader of the US Navy band in 1956,assistant leader in 1960 and with the retirement of Commander Charles Brendler in 1962 he became the Commander and leader of the band. He developed several different concert series for the band including the "lollipop" and "outreach" series in Washington. He retired from the navy in 1968. His march the John F Kennedy Center was premiered in 1964 to commemorate the opening of the center in Washington.Moerenhout Josb 1909 d 1985One of Belgium's most important military composers and conductors he was born in a Brussels superb and became interested in music at a n early age. He wrote his first composition at age nine and played clarinet in a band at Laken. At age eighteen he entered the Royal Conservatory of Brussels for the study of clarinet and composition. In 1929 he joined the band of the 8th Regiment of the Line as a clarinetist. In 1939 he qualified as a military bandmaster and was appointed the assistant conductor of the 1st Infantry brigade stationed in Norway. During World War II he was interned a prisoner of war camp in Germany. After the war he was the bandmaster of the 65th Infantry Brigade band at Cologne and later the 7th Infantry Brigade band at Aachen. In 1951 he was promoted Captain and transferred to Antwerp to conduct the 11th Brigade band. He served as commander of all bandmasters for several months beginning in 1954. In 1955 he returned to bandmaster status with the 2nd Division band in Antwerp. He retired from military service in 1960. He composed several marches for military band including the march Mercator as well as several concert band pieces.Moreau Constantb 1891 d 1975He was born in Mons and studied at the Mons conservatory of Music. In 1914 he joined the army as a military musician and went into battle with the 2nd Rifles. In 1917 he was appointed as bandmaster of the 23rd Regiment of the line. He continued his studies after the was and in 1923 he became the conductor of the band of the 3rd Regiment in Ostend. He wrote 26 marches including a march which made its way into the Canadian band repertoire March pour un Centenaire.Mostad Erlingb 1913 d 1966 He was born into a family of musicians in Trondhiem Norway. He joined the Norwegian military in 1934 as a musician and remained in the Throndelag Region band until the band was disbanded by the Germans in 1940. After the war he returned to the band as a clarinetist and remained in the band until the time of his death. His DR3's Honnormarj is one of Norway's most well know and performed military marches.Muhlberger Karlb 1857 d 1944 Born in Austria he studied at the Vienna Conservatory and in 1882 joined the band of Infantry Regiment 28 which was led by Karl Komzak jr. In 1885 he moved to the band of Infantry nr 4 the Hoch und Deutchmeister band. He qualified for bandmaster and from 1898 to 1918 he led the band of the Tiroler Kaiser-Jager-Regiment Nr1 in Innusbruck, He was considered one of the leading Austro-Hungarian bandmasters. His band's were selected to perform for the Emperor. After World WAR I he retired and led a civilian band made up of retired military musicians. He wrote several marches including the well known Regiment der Tiroler Kaiserjager march and the Kriegslieder marsch.N-T HYPERLINK ":\\Influential%20Musicians%20NtoS.htm" \l "N" Novacek Rudolph b 1860 d 1929 He was born in Yugoslavia and joined the 11th Infantry regiment in 1879 playing in the military string orchestra under the baton of Karel Komzack. He joined the Infantry band number 74 in Pilsen in 1880. He succeeded Komzack as leader of the 74th Regiment band in 1885. During his tenure as bandmaster he wrote numerous compositions including the Castaldo March which became the regiments official march. His military career ended in 1890 and continued to write music for military band throughout his life. HYPERLINK ":\\Influential%20Musicians%20NtoS.htm" \l "O" Olsen Ole b 1850 d 1927. He attended the Leipzig Academy Music in Germany and on his return to his native Norway he became the conductor of a local community band in Oslo. In 1884 he was appointed the director of the 2nd Brigade band. In 1899 he became the superintendent of all Army bands in Norway. He traveled extensively around Norway researching folk music and interviewing army buglers . He then developed several marches and calls from his resources. He retired from the Norwegian army in 1919. His works are rarely played today but he did provide some great material for Norwegian heritage including the Honor March and Fanfare. he also composed three operas and music for orchestra and male choirO'Neill Charles b1882 d1964. He was born in Scotland and studied organ and cornet in England emigrating to Boston in 1901. In 1903 he joined the newly formed Royal Canadian Horse Artillery band in Kingston Ont. In 1907 he was selected to attend Kneller Hall and on his graduation he replaced George Vezina as director of the Royal Canadian garrison Artillery band in Quebec City. He added to his laurels by graduating from McGill University in 1914 with a Doctor of Music in 1924. He was promoted to Captain in 1919 and in 1924 was appointed as Director of Music of the newly formed Royal 22nd Regiment band. Under his leadership the band became a world class organization performing throughout Canada and the USA. The band appeared on numerous occasions on the cross Canada network of the Canadian Broadcasting system. He was guest conductor for several band and orchestra concerts in the USA and in Canada. He retired from the Army in 1937 and he taught at the University of Wisconsin and at the State Teachers College in Potsdam New York. He wrote several compositions for band including the Souvenir de Québec. He wrote several marches for band including the RCMP march past and the march the Emblem. His march Mon Ami remains one of the most popular marches ever written in Canada.Ord-Hume, James b 1864 d 1932. He was the second son of a British Army bandmaster He and his brothers all became military musicians. He joined the North Staffordshire Regiment in 1875 at age 12 and his first task was to guard the band room., He began to hone his composing skills while occupied in this job. He soon developed into a first class cornet player and eventually received an invitation to join the Royal Scots Grays Regiment band when he was sixteen. In 1889 he left the army to pursue a career in composition and also became the military band editor of the Boosey and Hawkes journals in 1913. He was the co-author with Alfred Zeally of the book Famous Bands of the British Empire. He wrote over 200 marches for military band including The BB and CF (British bandsman and Contest Field) the march Brilliant is a excellent example of good march writing. He arranged a dazzling array of regimental marches some of which are still in use today including the march Soldiers of the Queen.?stby Klaus b 1865 d 1945 Born in Norway he joined a military band at an early age. He studied clarinet but as was the custom in European bands he also had to master the bugle to play military calls and the parade drum. He spent a great deal of time studying several band instruments and also became a piano student. He was transferred to the military band in Oslo in about 1890 and not long afterward became interested in the work of Salvation army bands eventually becoming a leader. In 1904 he was selected to help organize Salvation army bands in Scandinavia. During the war he continued his work in Sweden. He wrote several military marches as well as marches for the Salvation army his best known work is the Kabelv?g March a march commemorating rough seas.Pando Giuseppe(Joe) b 1931 He was born in Italy and studied both accordion and clarinet. He came to Canada in 1952 and enlisted in the Canadian Army and was posted to the Royal Canadian Ordnance Corps band in Montreal. later he transferred to the Royal Canadian Artillery band also in Montreal. He was selected for bandmaster training at the Canadian Forces School of Music in 1974 and on graduation was promoted to the rank of Master warrant Officer and posted to the Stadacona band in Halifax. He wrote several marches for the Canadian Forces and several arrangements for military band including music from the movie the God Father. His most well known marches include the Confederation march and the Quebec marchParès Gabriel b 1860 d 1934. His father was the solo clarinet of the Garde-Républicaine band in Paris. It was under his influence that the younger Pares began the study of cornet at age 7. He was a an outstanding student and gained first prize in both cornet and harmony at the Paris Conservatory. He enlisted in the Artillery Regiment band at Vincenses in 1880. He later won a competition for an assistant bandmaster position in the Army, serving in that capacity with the 74th Regiment band in Rouen for two years. In 1882 he became the bandmaster of the 69th Regiment band in Toulon. In 1883 he became the director of the Navy band in Toulon . Within ten years he had assumed the leadership of the world famous Garde-Républican band in Paris. Under his direction the band toured both Europe and North America appearing at the St Louis World's Fair in 1904. Perès retired from the band in 1911 but later in 1917 was asked to return and conducted the band in a tour of 100 American cities. He composed and arranged over 150 numbers for military band and received an enormous number of honors and citations. His most well known march Le Grognard-The Veteran is a turn of the century march which salutes the French Armed Forces. Pares was a personal friend of John Philip Sousa and met with him on several occasions.Parlow Albert b 1824 d 1888 A German composer and bandmaster he became director of the first German marine band in 1852. He traveled extensively with this band . For many years he played at the Baden-Baden health resort . He traveled with the marine band on several occasions to Paris and at a band tournament in Lyons he won first prize. When playing Paris he is said to have serenaded Napoleon. He was awarded an Iron Cross in 1872. Many of his compositions become very popular including the well known Anvil Polka. He was bandmaster of the 34th regiment band for over 35 years. He wrote numerous polkas and gallops and the most well known of his marches was the Napoleon march.Pauspertl Karl b 1897 d 1963 Born in Serbia he studied music in Vienna. From 1916 to 1918 he led the band of the Austrian Infantry number 57 and eventually became the director of the world renown Vienna Hoch and Deutschmeister Regiment band. In addition to several original compositions he arranged numerous works of Austrian masters for band. Some of his works include the Hella overture and the Jubilamus overture.Pecsi (Prichystal) Joseph b 1874 d 1958 He began music studies as a youth on organ and trombone. He became fascinated with band music and joined the 2nd Regiment band in Vienna in 1892. He then joined the Hungarian 61st Regiment band in 1895 which was stationed in Vienna When this regiment moved in order to remain in Vienna he joined the 3rd Tyrolean Imperial Rifles in 1899.In 1901 he joined the Infantry Regiment Carl I, King of Rumania until to collapse of the empire. In 1905 he moved to Hungary with the Regiment and in the same year was promoted to regimental drum major. This was a position of considerable responsibility and he was also appointed as assistant bandmaster. In 1907 he was selected by the officers of the regiment as bandmaster. At this time Budapest was the home garrison for seven regimental bands and the competition demanded that the bands perform at a very high standard. He also became a adjudicator on a board which selected marches for the German Militia. He served throughout World war I and eventually became a Hungarian citizen taking the name Pecsi. He led his band in numerous concerts and following the war he formed a cavalry band in the communist regime of Hungary of 1919. His other post war duties included a stint as bandmaster of the 5th Regiment at Sopron and he retained this position until 1928 retiring as a major from the military. He wrote and arranged an enormous amount of music for military band including a symphonic poem The Danube Legend and numerous marches with Pro Patria being the most well known.Pennacchio Giovanni b 1878 d 1979 He was born in Naples and began a very early musical career. By 19 he became the director of the 77th Infantry Regiment as a second Lieutenant. In 1908 he helped to compile new regulations for military bands in Italy. He transcribed a great number of works for military band. He also wrote several orchestral compositions. Much of his music has disappeared his March Militaiire - Marte marcia militaire is only known work still available from a publisher.Piefke Gottfreid b 1815 d 1884 He was considered one of the most outstanding figures in the world of military music. He was born in Poland and began his career in the8th Life Grenadiers Regiment band at Frankfort at age 20 in 1835 and made excellent progress. In 1838 he was sent to Berlin to study at the Royal Academy of Music where he remained until 1843. After returning to his regiment he continued his studies and became very proficient on all the instruments of the military band. In 1844 he was awarded the Royal Director of Music Degree and named bandmaster of the 8th Life Grenadiers a position he held until 1884. In 1852 his band was moved to Berlin joining six other military bands and four trumpet corps. Piefke's record of achievement with his forty-piece band was well known in Berlin during this period. He undertook several reforms which had been introduced by Wilhelm Wieprecht. He was considered the perfect bandmaster and he composed numerous works for military band In 1865 he was appointed the Supervisor of Music for all bands of the 3rd Army Corps. He received numerous commendations including one from Chancellor Otto Von Bismarck in 1869.He never retired from the service and died while a member of the army in 1884.His energetic marches were part of his enormous contribution to military music and the most well know and revered were Der K?nigr?tzer and Preussens Gloria (The Glory of Prussia) with the latter being one of the finest dramatic marches ever written for band.Pope Douglas Alexander b 1904. He was born on the Isle of Wight and attended St Alban's School and Kneller hall as a pupil. From 1928 to 1930 he was a member of the 2nd Battalion, Royal Sussex Regiment and following his graduation from the bandmasters course at Kneller Hall he was the leader of the 1st battalion the Black Watch Regiment band. He was the Director of Music of the Royal Military Academy band at Sand Hurst from 1939 to 1943and the Royal Army Service Corps band from 1943 to 1944.. In 1944 he became the leader of the world renown Cold stream Guards band. The band toured America in 1960 and played to capacity audiences. He retired from the Army in 1963 with the rank of Colonel. Following his retirement he was the retired officer musical director of the Junior Musicians wing at the Guards depot and the Professor of Instrumentation at Kneller hall. His work in the field of recordings of the Coldstream Guards was extensive. The recording titled Overtures On Parade was his crowning achievement and it is still one of the finest recordings ever made of a military band playing great overtures. In addition he was a excellent arranger and transcribed several overtures for band. His most well known composition is the fantasy Nightfall in Camp which is performed for tattoos, searchlight festivals and music festivals around the world.Prévost Arthur b 1888 d 1967. Considered to be one of the finest band arrangers of this century. He was born in Tournai and began studies on clarinet entering the service of the 1st Regiment of Grenadiers in 1906. He also played with the Mint Theatre orchestra. In 1910 he was appointed bandmaster of the 11th Infantry Brigade band and artistic director of the Royal band at Pat?turges. In 1913 he directed the band of the 2nd Carabiniers, and during the world war he played bass clarinet in an orchestra formed behind the Belgium front lines. In 1918 he assumed leadership of the well respected and world renown Band of the Belgian Guides. Following the war the band took several triumphal tours including a trip to North America where the band played in twenty cities and was feted by the President of the United States Herbert Hoover in 1929. In 1932 he became the artistic director of the Belgian Sound Studio. During the war the band remained together although they were a civilian group for the duration. He retired from military service in 1945. His transcriptions remain the bulwark of European libraries. He was asked by several composers to arrange their works for band. He also wrote several original works for band His 6/87 march Marche de la Gendarmeries Nationale Belge remains his most enduring and dazzling marches. Pryor, Arthur. b 1870 d 1942. He was once one of America's most important musical figures. He was renowned as the world's greatest Trombonist, a celebrated conductor and the composer of some of the most popular tunes of the early 1900's. Pryor was a pioneering phonograph recording artist, an educator and a founding father of several major musical organizations. Indeed, during the height of his career (and many years after), Arthur Pryor's reputation and influence in the music business rivaled that of John Philip Sousa. Learn more at Paragon's website. HYPERLINK ":\\Influential%20Musicians%20NtoS.htm" \l "R" Radeck Ferdinand b 1828 d 1903. He was born in Spandau and very early in life sought a position in Prussian army bands. He was extremely diligent in both the musical applications and in administration and in 1854 was appointed bandmaster of the 6th Grenadier Regiment band in Posen (now Poland) For much of his military career he was bandmaster and administrator in the garrison of Goblets. He wrote several quality marches and his most well known march is Fridericus Rex Grenadiermarsch which is no 136 in book II of German Regimental marches.Resta Francis Eugene b 1894 d 1968 Born in Italy he proved to be one of Americas finest military musicians. He began his career in Gloria del Colle on clarinet and piano and he made very swift advancement. He came to the US in 1911 and performed in orchestras, musical halls and in hotels. He entered the military during World War I presenting duo concerts on piano with Percy Grainger.. He remained in the army following the war and attended the bandmasters school at Governor's Island New York and also studied at the Julliard School of Music. He graduated from both schools in 1920 and he then began a fourteen year sojourn in various posts of bandmaster in the US, Panama and Hawaii. In 1934 he was chosen from 485 applicants as the Leader of the US Military Academy band at West Point. He led this band in recordings, concerts and the band also appeared in several movies of West Point. He remained with the West Point band as principal director for 24 years and retired with the rank of Colonel. Resta composed several songs and marches and his Graduation March is still used for commencement exercises at West PointRhodes Samuel b 1900 d 1977 He completed forty-four years of military service in the British Army. Both feared and respected he was a giant among the cadre of the military musicians in Britain. He was both in Rochdale in 1900 and learned to play cornet in the brass bands of his community. He began his military career by joining the 2nd Seaforth Highlanders as a boy musician at age 15. Following seven years service he was selected for bandmaster training at Kneller Hall in 1923 performing on both cornet and String bass. He graduated in 1926 and was chosen bandmaster of the 1st Royal Scots. In 1935 he was selected to be bandmaster of the Royal Artillery Mounted band at Aldershot and remained in this post until 1938. In 1938 he was promoted to Lieutenant and appointed Director of Music of the Scots Guards band which remains one of the pre-eminent bands in the world today. In 1955 the band under Rhodes made a triumphal tour of the US and Canada visiting fifty cities in sixty-five days. He retired with the rank of Lt Colonel in 1959. His career spanned five decades. His best known compositions and marches include the slow march Golden Spurs and the march Lothian.Ridewood Reginal Clifford b 1907 d 1942 A very gifted composer and conductor who no doubt left a lasting legacy on British military music. He was born in York, England and at fourteen enlisted as a band boy in the 2nd Battalion North Staffordshire Regiment. He gained entrance as a pupil to Kneller Hall in 1931 and returned to his unit in 1932 in Gibraltar. In1934 he was selected to undergo bandmaster training at the Royal Military School of Music. He undertook three roles when he began his bandmaster studies. He was the school music librarian , student and also played in the student band.,. He traveled to Canada in 1934 and appeared with the Kneller hall band at the prestigious Canadian National Exhibition in Toronto. He graduated in 1936 and was appointed bandmaster of the 4th Own Queen's Hussars. He was commissioned in 1938 and became director of Music of the Royal Armored Corps. In 1942 he toured extensively both rehearsing, writing and conducting numerous shows for the troops. His schedule was extremely exhausting and because of a series of mishaps including the death of his daughter he was given a medical discharge from the service. He passed away in July of 1942 . Ridewood was a very talented musician who failed to profit from his many arrangements and compositions. . He was credited however with at least two great marches the qUEENS oWN AND cONVOY Rogin John McKenzie b 1855-d 1931He was the first bandmaster in the Brigade of Guards to be granted a substantive commission with the rank of 2nd Lieutenant and after passing through all the various ranks retired as a Lieutenant-Colonel, the first serving bandmaster or director of music to reach this rank. For 20 years he was the senior director of music of the Brigade of Guards, responsible for the massed bands of the Brigade at the funeral of Queen Victoria, the coronation and funeral of King Edward VII and the coronation of King George V. Under his direction, the Band achieved several notable "firsts". In 1896 a Coldstream officer heard Tschaikovsky's 1812 Overture in St Petersburg, and brought back a copy of the score. Mackenzie Rogan played it at concerts throughout the country and brought it to the attention of Henry Wood. The Band was the first British Army band to visit one of the Dominions, touring Canada in 1896, and in 1907 they were the first Guards Band to visit France at the invitation of the French Government. He retired in 1920. He was ne of the forgotten names of the gramophone .He made a huge number of records for the Gramophone Company from the very earliest years, and even conducted accompaniments for recordings by Melba and Clara Butt. After retiring from the Guards, Mackenzie Rogan made a number of recordings for Duophone.Rosenkranz Anton b 1827 d 1888 One of the most renown Austro-Hungarian bandmasters he received his early training at the Prague Conservatory of music. He began his work as a bandmaster in 1847 with the band of the Prague Citizen's Corps. In 1848 he was selected as the first bandmaster of the 2nd Styrian Volunteer corps band and remained with band until 1849. In 1850 he assumed command of the 39th Infantry Regiment "Dom Miguel". He was frequently located in Vienna during his tenure with band and had ample opportunity to participate in the cultural life of that city. He had several highly successful commitments with his band including outstanding performances during the Emperor's Tour of 1857. In 1859 he transferred to the 80th Regiment band. He remained with his unit until his death in 1888. During his career he wrote several well known military marches and numerous band arrangements. His marches the highly popular 76er Regiment and the 80th Regiment march were stirring examples of his march writing mastery.Rozo Jose Contreras b 1894 d 1959 He was a Columbian bandmaster and composer. During his military career he learned to play flute, clarinet and saxophone. He taught music for several years and then in 1924 was sent to Rome where he became qualified as a military bandmaster. On his return to Columbia he was appointed bandmaster of his old regiment and eventually became the director of the national band of Bogatá which he helped to reorganize in 1934. He was also the Inspector General of Military bands in Columbia. He undertook several tours through Latin America with his band and he retired in in 1946. One of his orchestral numbers was broadcast by the BBC Orchestra under Adrian Bolt in 1942. He wrote several regimental marches including a well known Infantry march.Rydberg Sam b 1885 d 1956 He was known as Sweden's MARCH KING because of his electrifying marches. He enlisted as drummer boy in the army in 1898 in the Royal S?dermanland Regiment. He also was trained on trumpet and the cello. In 1906 he was transferred to the band of the Royal Engineers in Stockholm. He began further studies at the Royal College of music and in 1926 after attaining very high marks in bandmaster examinations he became qualified as a military music director. He was appointed the director of the Royal Engineers from 1932 to 1935 after which time he retired from military service. During his career he wrote for the Swedish broadcasting service. He wrote several orchestral numbers and over seventy marches, of which ten have been adopted for regimental use. His best known work for band was the march On Guard composed in 1945. HYPERLINK ":\\Influential%20Musicians%20NtoS.htm" \l "S" Safranek Vincent Frank b 1867 d 1955 He was born in Bohemia but came to the US at an early age. He studied at the Conservatory of Music in Prague and on his return after graduation he became interested in military music and he applied for a bandmaster position and was selected for training and then sent to the 25th Infantry band at Ft Missoula, Montana. He developed some advanced ideas in the concept of the military band and added such instruments as alto and bass clarinets, oboes, French horns and flugelhorns to his band. Many of the military band arrangements were designed for brass bands with extra reed parts. As a result of his work in combing and balancing the instrumentation of the military band Safranek became the chief band arranger for the Carl Fischer publishing house. He made an enormous contribution to the band repertoires including marches, overtures and novelty numbers. He composed two very popular suites for band the Atlantis and Don Quixote suites. He served for 30 years as a US Army bandmaster and retired in 1930 from the army. Although many of his arrangements have disappeared from the band repertoire his International Peace march medley and Master Melodies remain as classic band works.Saitoh Takanobu b 1924. He enrolled in the composition curriculum of the Tokyo National Academy of Music in 1943. In that same year he transferred to the Army band of Toyama school. as a trainee graduating in 1947. He June of that year he joined the Japan Self-Defense Force band and later served as the conductor of the Central Air Force band until his retirement as colonel in 1976He conducted the Metropolitan Police band until march of 1986. His marches mostly have followed the western influence. His titles suggest amore exotic flavor but as are influenced by western tonality. His two most well known marches Blue Impulse and Gleaming Crown of Victory are both modern and very listen able.Santelmann William F (Bill) b 1902 d 1984 He began music studies on the violin at age six. He studied at two major American Universities, and on graduating he was auditioned and selected by the Cleveland Symphony however he found a strong attachment to the US military and was selected in audition by the US Marine band on euphonium. He spent many years with this band as a member and leader from 1940 to 1955 and his total service with the band when he retired in 72 was 32 years .His best known work was the march From Eagle to Star march written in 1945.Santelmann William Henry Christian b 1863 d 1932 father of the preceding. He was born in Germany and started on the violin at a very young age. He entered military service at age 18 enlisting as a volunteer in the band of the 134th Regiment in Leipzig. He continued his studies and eventually emigrated to the US and became a violinist with the Philadelphia Orchestra. He then joined the US Marines band as first violinist and baritone player in the Washington based band. He served with the marine band for 8 years before directing his own band and a the Columbia theatre orchestras. In 1898 he was called back to the US Marines as the conductor and under his direction the band doubled in size to over 60 and as a result he also added an orchestra to the band. During his tenure every applicant for entry in band had to play both on a stringed instrument as well as a military band instrument. This approach gained much favor with both the public and the military.. He was the leader of the Marine band for 29 years and participated in many prominent, national and international events. He retired from his position in 1927. He wrote several marches and Waltzes the most popular of which is the National Capitol Centennial march of 1908 and the Admiral Dewey march.Saro Heinrich b 1827 d 1891He played trombone in several bands and orchestras before joining the German Army with the band of the 11th Grenadiers in Breslau in 1847. In 1856 he was promoted to the rank of assistant leader. From 1859 to 1887 he led the world renown Kaiser Franz Garde Grenadier Regiment band. He composed and arranged several pieces for band including the Grand Military Tattoo one of the most well known military fantasies ever written. He toured America in 1892 and appeared in numerous concerts with his band. Saverino Louis b 1915 He is a veteran of twenty-five years in the United States Marine band. He has numerous accomplishments including restoration and collection of rare string bass instruments and he is a gifted composer. He has composed several orchestral numbers and at least twenty-six marches. He was born in Windber Pennsylvania and studied with his father a musician and barber. He began to perform on the Sousaphone and completed courses at Indiana University of Pennsylvania and won a scholarship to the prestigious Eastman School of Music at Rochester New York. He graduated as a tuba major in 1938 and enlisted in the United States Marine band in 1939. He became proficient on String bass and the Bass Clarinet. He has been rated during his career as one of the great tubists and string bass players of his time. He developed into a fine jazz musician as well as a classical musician. In 1964 he retired from the Marines and continued performing in Jazz groups in Washington DC. Several of his marches for band have been published and the most important of his compositions include The Leathernecks, March of the Woman Marines and Pride of the Corps.Sawerthal Joseph Rudolph b 1819 d 1893 brother of Hugo Zavertal and uncle of Ladislao Zavertal. He was born in Austria and studied at the Prague Conservatory of Music and after graduation was appointed bandmaster of the 6th Cuirassiers. He became very well known for his musical associations and also made a study of Austrian band music. In 1845 he assumed leadership of the Infantry Regiment 53. He reorganized this band into a very fine ensemble and the band was involved in the Italian campaign from 1849-1849. He became the leader of the 60 piece Austrian Navy band at Trieste in 1850 and once again developed this band into a top grade band. In 1868 he was invited to become bandmaster of 4th Kings Own Regiment band. In 1871 he became bandmaster of the Royal Engineers at Chatham. He was very successful as a bandmaster in Britain and was called upon to adjudicate at music festivals. He retired from the British Army in 1890 and returned to his native Austria. During his musical career he wrote several marches including a Funeral march and the Elegy on the Death of the Emperor.Scala Frances Maria b 1920 d 1903. He began music studies at the Naples Conservatory. In 1841 he enlisted in the US Navy as a third-class musician however left the Navy in 1842. In 1842 he joined the US Marine Corps as a musician and eventually rose to the rank of Pipe-major or leader of the Drum and Fife band. later in 1859 he became the director of the US Marine band in Washington. The position of Leader was created in 1862 and he was the first to hold this position. He retired from the marine band as a Warrant Officer in 1871. He wrote nearly 50 compositions for military band including two of which were quite prominent in American history-President Grant and President Lincoln's Inauguration marches.Sebor Karl b 1843 d 1903 He entered the Prague conservatory of Music in in 1844 when only 11 years old . He was considered to be a child prodigy and many of his works were played while he was a student at the Conservatory. He became a substitute conductor for both orchestras and theatre orchestras. He also worked under the auspices of Anton Dvorak at the National Opera. While living in Prague he composed 4 operas. In 1871 he enlisted in the army and was appointed director of the band of the Infantry number 34.The band moved from their normal location in Lemberg to Vienna in 1874 and he his band became noted for their excellent performances. Johann Strauss remarked that he never heard his waltzes played better than by Sebor's band. He left the 34th band and transferred to the 89th Infantry band from 1885 to 1887. In 1888 he succeeded the illustrious Karel Kozak I as leader of the band of the Regiment 88 in Prague and retired in 1890 remaining in Prague to write and lead the Prague Grenadiers band a group of former military musicians. He wrote several sparkling marches some of which are still performed today and they include Ungarischer march, Plevna march and the Jovanovic march.Sellenick, Adolphe b 1816 d 1893. He was born in France and studied with his father who was bassoonist in a French Army band. Sellenick began to study violin and later switched to cornet. He performed with the Strasbourg theatre orchestra and directed a National Guard band in Strasbourg. In 1853 he became the leader of the 2nd Regiment Voltigeurs band in Paris and eventually was selected as leader for the 2nd Legion Republicaine band. In 1873 this band under his direction became the world renown Garde Republicaine band. Most of his works have almost disappeared in France but his March Indienne and fantasy Retreat of the Tarters can be found in several band catalogues. His march Le Voltigeur was arranged and renamed for the Les Voltiguers de Quebec by Joseph Vezina.Setoguchi Tokichi b 1868 d 1941He was one of the most influential bandmasters and military band composers in Japan. He joined the navy band in 1882 and later became the leader and held that position until his retirement in 1917. In 1907 he led the band in a European tour playing in 16 countries and accompanied Prince Yoshito to London in 1910 for the coronation. He was instrumental in developing Japaanese military bands to a very high standard and he was the most honored military musician in Japan prior to World war II. He wrote a number of marches for band but his March Gunkan remains the his most beloved and finest work.Silva Caetano A b 1868 d 1920 He began his musical studies at the convent in San Lorenzo and played cornet as well as studying composition. He later switched to French horn. He moved to Buenos Aires and became a bandmaster of a series of army bands including the 7th,11th,3rd,9th,6th,and 15th Infantry Regiment band. He moved several times particularly across the Pampa of Argentina He organized several community bands and military bands across Argentina. He help promote military band music in Agentina and his composition the San Lorenzo march remains a favorite in that country. Composed in 1899 it was recorded by the John Philip Sousa band in 1909.Schneider Georg Abraham b 1770 d 1839 He was one of family of well known and respected German musicians. He became proficient on oboe and horn and performed in a Hessian regiment band. He also played in court orchestras of Darmstadt, Schwerin, Rheinsberg and Berlin. In 1812 he undertook of theatrical conductor and also led several military bands at Reval and Berlin. In 1816 and again 1820 he became the Kapellmeister of the court opera and leader for Army bands of the realm. He had a rare knowledge of musical instruments and wrote a large number of orchestral works as well as for military band. His symphonies and concertos were all transcribed for the wind band. His marches which are now extinct were mostly based on the Harmonie Musique concept.Sebor Karel b 1843 d 1903 He was a Czech bandmaster. He failed to conclude his musical studies at the Prague Conservatory however he went on to develop a many sided career in music in 1871 he assumed leadership of the Infantry band no.34 bandmaster. In 1885 he became bandmaster of the 89th Regiment band. In 1888 he succeeded Karel Komzak I as leader of the band of Infantry Regiment 88 in Prague He retired in in Prague in 1894 and became the bandmaster of the Prague Grenadiers as a civilian. During his lifetime he wrote a good deal of music for the Czech opera and as well several military band numbers including four Hungarian marches, the Plevna march and the Jovanovic march.Shore Mathias b? d 1700 A trumpeter who eventually became a King's Trumpeter. In 1687 he was appointed to the post of Sergeant-Trumpeter to the Royal Household. He was a performer of Purcell's day.Shore William b ?d 1707 Brother of the preceding and also a trumpeter and King's Trumpeter. He accompanied William III to Holland in the period 1690-91. He served with the Life Guards as Trumpet major. He appeared on numerous occasions with his brother to sound arrivals of plenipotentiaries and eventually succeeded his brother as Sergeant Trumpeter. His most famous work was the March Prince Eugene's march into Italy.Shore John b 1662 d 1752 He was the third family member to distinguish himself as a King's Trumpeter and was a member of the King's band of music in 1695. In 1699 he was a member of the a band of seven whom played for the arrivals of European Royalty. He replaced his uncle William Shore in 1707 as Sergeant Trumpeter and became the most celebrated trumpeter of his time. Numerous trumpet obbligato were written for him including several by Purcell. Shore's trumpet tune which was famous in it's day is attributed to him .Slatter John b 1864 d 1954 Born in England he played euphonium and trombone and in 1882 he joined the Life Guards band. He emigrated to the US in 1886 and was hired by the Victor Herbert orchestra. In 1896 he came to Canada and became the leader of the 48th Highlanders band in Toronto a post he held until his retirement in 1946. Slatter became the most well known and respected military band musician in Canada. He was the director of bands, buglers and music for the Canadian army during World War I. He was a charter member of the Canadian and American bandmasters association and led the 48th Highlanders on numerous tours to America and to Europe. He wrote numerous arrangements for military band including a Scottish medley called The Bonnie Brier Bush and a patriotic march Under the British Flag. He organized book Patriotic band book which contains several Canadian Forces marches and anthems is still being marketed.Snell Joseph Francois b 1793 d 1861He began early musical training on violin and eventually studied at the Paris Conservatory He became a violinist in the Vaudeville theatre. In 1813 he returned to his native Brussels and became the director of the bandmasters school of the Netherlands in 1828 and inspector of Army bands in 1829. In 1831 he was appointed as conductor of the Royal Society Grande harmonie (The Royal band). In 1837 he was made head of the of music of the Civic Guard. He wrote numerous compositions for orchestra and band and the most well known of his military compositions was a concert march Les Barricades.Sousa John Philip b 1854 d 1932 Much has been written about this American legend but his greatest contribution to the heritage of military bands is that above all of his achievements he was a patriot. He began his musical career in Washington DC with several teachers. He studied violin and was equally at home on the flute, piano, cornet, baritone, trombone and piano. His father was a trombonist in the Marine band and he was permitted to sit in with the band at age of eleven. At age 13 he became a apprentice musician in the Marines . He left to perform in various theatre orchestras but in 1880 he was called upon to become the leader of the US Marines band. He held this position for 12 years and through his marches and compositions as well as arrangements brought the Marines to the highest standard ever reached by any military band in America. By the time he left to form his own band in 1892 his name had become a household word. Sousa's career in the military did not end because he returned in 1917 to organize the bands at the Great Lakes Naval Training station, a job he did for one US dollar and for which he was granted the exalted rank of Lieutenant senior grade. Sousa had a outstanding career both as a military and civilian musician and his marches continue to flourish worldwide. The number of recordings of his works exceed well over a thousand units and his entire works are part of the Robert Hoe collection recorded by the US Marine band. Most of his marches have a flag waving quality and military precision is replicated in several of his compositions including The Gallant Seventh, Glory of the Yankee Navy, Sabre and Spurs, Raiders of the Flag, The Us Field Artillery March. The Black Horse Troop. Derek Stannard b 1929 He began studies on trumpet at an early age with his father Ted Stannard who was a vaudeville musician. At age 17 he was selected for the Hallé orchestra under Sir John Barbirolli. He joined the Irish Guards band in 1949 as part of his National Service. He emigrated to Canada in 1952 joining the RCAF Tactical Air Command band in Edmonton. In 1958 he transferred to the Lord Strathcona Horse band. In 1960 he was selected for bandmaster training at the Royal Military School of Music at Kneller hall graduating with honors in 1963. He was commissioned as Lieutenant and posted to the Royal Canadian Regiment band in London Ontario. a post he held with distinction. In 1969 he was appointed associate director of the Norad band in Colorado Springs Colorado. In 1972 he became the Director of Music of the Central band of the Canadian Forces in Ottawa. His works for band include a composition for Concert band called Suite For Band written in 1961.He was)the director of the Boca Raton Concert Orchestra.Stanley Leo b 1885 d 1966 This was the psudonym of Randolph Robjent Ricketts and he was the brother of eminent British march composer Kenneth J Alford(FJ Ricketts). Stanley however developed into one of the world's most prolific march writers. He was born in east London and began the study of French horn at an early age. He was attracted to military life and at age 15, enlisting in the 2nd 28th Royal Irish Regiment and was accepted at Kneller hall as a pupil in 1901. In 1910 he was selected for bandmaster training and graduated with several prizes including the Memorial medal from the Company of Worshipful Musicians. He was selected as bandmaster of the 2nd Essex Regiment in 1913 and saw service in Malta, Turkey, India and during World war 1 in France. He remained in various posts until his retirement in 1925. He became the civilian conductor of the Band of the Royal Signals an unofficial band withal professional director. He retired from this position in 1938. He wrote several sterling marches and several other works for band under his pen name of Leo Stanley. His most popular marches are Alamein, The Contemptibles, slow marches Pageantry and Colours.Starke Hermann b 1870 d ca.1920 He wrote nearly 800 works for band most of which has disappeared from the scene. He was reportedly an non commissioned officer in the German Army with Infantry regiment band no. 168 in 1900. Most of his work was published just prior and during the First World war. Three of his works including the marches Bavarda, Light Cavalry and With Sword and Lance are still under copyright by Boosey-Hawkes of London with the latter being the most successful of his works.Stauffer Donald W b 1919 He studied music at an early age and gained his Masters degree from the Eastman School of Music on Tuba and String Bass in 1942. He performed with the Rochester Philharmonic and Civic orchestras. In 1942 he joined the US Navy band in Washington DC. In 1956 he became Leader of the New York Naval base Band and in 1958 became the Head of Academic training at the Naval School of Music. In 1960 he was posted to the US Navy band as the third Leader and he was promoted to Lieutenant Junior grade in 1963. He held various other postings in the mid 1960's including leader of the Atlantic Fleet band at Norfolk Virginia. In 1968 he reached the pinnacle of his career by being appointed leader of the US navy band. In 1970 he was promoted to the rank of Commander. He received several honors during during his sterling career including the Service Commendation medal. His crowning achievement with the band was the completion of the 15 albums of march music for the Heritage of the March series sponsored by Robert Hoe. He composed several works for band as well as numerous articles related to the wind band. His most important work for band is the march named in honor of President John F Kennedy and dedicated to the naval air craft carrier the U.S.S. Kennedy march.Stieberitz Ernst b 1877 d 1945 He was a well known and respected conductor in Germany who gained prominence between the wars. His importance as a march composer equals that of Franz von Blon, Hermann Blankenburg, arl Tieke and Paul Linke.He began his musical career as a flautist, and entered military service in 1896 when he was eighteen. He was assigned to the 8th Rhenish Infantry band. In 1899 he was transferred to the Danzig Infantry band. In 1902 he was sent to study at the Royal Academy of Music in Berlin. He completed the bandmasters course in three years and at age of only twenty-nine became the bandmaster of the Danzig Infantry band. The list of the band shows that the musicians were very proficient on both band and orchestral instruments. During First World war most musicians were involved in war time duties. Following the war Stieberitz returned to his prewar employment as director of the Danzig 128th Infantry band. The city of Danzig was declared a free city and all of the German Troops departed including the band. However he was given the direction of the State Police band This band which was totally military in structure became one of the finest ever organized in the German Republics. Steiberitz had developed into a superb leader and showman. As the dark clouds of war rose again Stieberitz continued to play concerts and for his work he was promoted to the rank of major. He was killed during a Russian bombing raid on Danzig in 1945. He wrote numerous works for the concert and parade band including sixty marches. His arrangements of orchestral works were of extremely high standard. Two of his marches remain very prominent today and demonstrate his enormous legacy to the military band repertoire. They are It is Sunday, (Sonntag ist's) and Under the Star of the Guard (Unter dem Gardestern).Streck Peter b 1797 d 1864 He was a Bavarian bandmaster and he was the supervisor of seven military bands stationed in Munich. His concerts in the Munich " Glaspalast" were sensational. and he was appointed the senior bandmaster in 1851. He composed several titles for military band. Several of his works for band were written in a series of related titles including the Jager march for Bavarian Army marches and the Munchen march for city marches.Suma Yosaku b 1907 He has made a tremendous contribution to military music in Japan. He graduated first from the military band class at the Toyoma School of the Imperial Japanese Army in 1926. He became the principal trombonist of the Army School band. In 1939 he was promoted to the rank of Warrant Officer and assigned as assistant director of music at the Japanese Army Headquarters in Hong Kong. later he was promoted 2nd Lieutenant and director of music of the 2nd Command band of Asia. Following the war with the bands inactivated he played trombone in the NHK Symphony. In 1950 when the army bands were reorganized under the Self Defense programmed he established the Central Army band of the Ground Forces as a world class ensemble. He also supervised several other band . He was appointed the director of music for the 1964 Tokyo Olympics. He retired in 1963 with the rank of Colonel and taught at the Musashino Music Academy in Tokyo. He has composed over 200 works for military band and his march Blue Sky remains as a superb example of his command of instrumentation and a wonderful feel for western idioms. HYPERLINK ":\\Influential%20Musicians%20NtoS.htm" \l "T" Takayama Minorou b 1907 d 1964. He began military service as a band boy in 1923 on cornet in the Yokosuka Naval Depot band. He later studied violin and theory at the Tokyo Academy of Music. He made steady progress and was posted to the Navy band of Tokyo and eventually after he had completed his studies he was commissioned and promoted to the rank of sub-lieutenant with title of Fleet bandmaster. He served for several years as conductor and executive officer of the Imperial navy band. Following the war when Japanese navy bands were reactivated he was appointed the director of the Japanese Coast Guard band which was renamed in 1954 the Maritime Self Defense Force band. His work in selecting and training musicians for the navy was of a very high standard and under his leadership the maritime band began traveling abroad and visited the USA, Hawaii and several Asian countries. He retired with the rank of Captain (Navy) in 1961. He had a tremendous influence on naval military band music in Japan which had a general impact on wind band music . His recordings of band music in Japan are very highly regarded as superb renditions of his own compositions and those of other Japanese and western composers. He wrote and arranged a number of works for band including the well known march Japanese Naval Craft (Akebono) Tanzer Sepp b 1907 d 1983. One of Europe's most well known and gifted musicians Tanzer was born in Austria. His outstanding musical ability was recognized ata very early age and he began studies on clarinet with eminent teachers. At the age of 12 he could perform nearly all of the known repertoire for clarinet and his skills as a instrumentalist were well known. At age 19 he began a career as solo clarinet with the 12th Trolean Mountain troop. He continued his studies and learned both conducting an theory. In 1930 he also became he conductor of the Innsbruck-Wilten band . Following his retirement from the military forces he became the permanent conductor the band and during the 1964 and 1977 Olympics gained international publicity for the band. He developed an enormous amount of wind band literature and under his leadership the Tyrolean wind band became world renowned. He composed over 150 works for band including preludes, fantasies, marches and suites. His most popular march is the march Red-White-Blue a march which honors the colors of AustriaTeike Carl b 1864 d 1922.He is considered to be one of the pre-eminent composers of his generation and his works remain extremely popular despite the fact that he has been gone from the scene for over 75 years. He was born in a small town in Prussia and began his musical career on the French Horn at age fourteen. In addition as part of his studies he learned the string bass. In 1883 he joined the 123rd King Karl Regiment band in Ulm. He was able to supplement his meager military earnings by playing in the local theatre orchestra and began to compose march music, the first of which was On the Banks of the Danube march. He was however disappointed in his bandmaster's lack of appreciation for his most famous composition Old Comrades march which the bandmaster indifferently advised Teike to throw the manuscript into the fire. Following his bitter experience, he resigned from the army and became a policeman with various postings in Ulm and Potsdam. In 1909 he moved to Landsberg which is now in Poland. He took a position with the post office department and continued to write marches for military band. He wrote over 100 marches in his lifetime and at least 20 concert numbers consisting of waltzes, polkas, mazurkas and Rhinelander's. In addition to the Old Comrades march he wrote the well known Graf Zeppelin march and the march Staunch and True. Although these marches remain at the top of the list in recording and performance it has been said that every march he wrote was magnificent and there is world wide concurrence in that observation.U-Z HYPERLINK ":\\WORLDBFINALEDITIONJAN2012.docx" \l "U" Uhlir Jan b 1894 d 1970 He joined the army in Bohemia in 1911 becoming a member of the Infantry Regiment No.1. He was taken prisoner by the Russians in World war I and eventually became the bandmaster of the 12th Czech regiments stationed in Russia. He returned home in 1918 and became bandmaster in various locations including Prague. He also took time to study at the Prague Conservatory of Music. On his graduation he was named Commandant of the Military School of Music. later he was inspector of Czechoslovakian military bands and taught instrumentation at the Prague Conservatory. He retired as a Lieutenant Colonel in 1958. He wrote an enormous amount of material for band including 34 marches,10 Intermezzos 6 Waltzes,6 Polkas and 8 other works. His march Radost is his most well known work and was recorded by several bands in Czechoslovakia,Unrath Carl Ludwig b 1828 d 1908. He was orphaned at birth but went on to become one of Germany's most well known and popular composers of military marches. He became an apprentice bandsman at age 15 and entered the 4th Wurtemberg Regiment playing clarinet with the band for four years. In 1847 he was promoted to the band of the First Brigade. In 1848 he was selected for conservatory training. He was appointed bandmaster of the 14th regiment band in Ulm in 1850 at age twenty-two. He remained as bandmaster with this band until 1872. He had a distinguished war record serving with his regiment in the Seven Weeks war of 1870 and later in 1870-71 his regiment helped to overthrow the French Empire. He retired in 1878 and undertook a civilian occupation with the war ministry. He wrote approximately 100 marches and his works became known both in Europe and North America. His King Charles march is still performed and recorded? in North America and has been programmed by several US and Canadian service bands. His march? Pass in Review (Defiler) became staple for several Canadian Army bands following visits and postings to Germany in the 1950's.His melodic compositions are among the most well scored music in the history of military music. Urbanec Rudolph b 1907 d 1976 He had a very early interest in music and was able ? to learn violin under his own guidance. He attended the Military School of Music in Prague from 1924 to 1926 majoring in violin and baritone. In 1926 he joined the Czech Infantry Regiment band 35 at Pilsen. He also continued his studies at the Local Music School. In 1933 he left military service to perform with several civilian orchestras. From 1934 to 1936 he attended the Prague Conservatory and on graduation? was accepted as an? bandmaster in the Czech Army. His first appointment was as director of the Regiment 17 band and when broke out he left to forma band in Iran. He later led bands in Israel and eventually made his way to England. Following the war he returned to Prague and led the band of the Castle Guard and on retirement was music editor and manager and chief editor of the State Music Publishing House. He led the Supraphone concert band who made several recordings of concert band music. His known works consist of? nine pieces three of which were marches including, Catherine March, The Peoples Army, and Wave Flag of Ours.Van Der Glas, Jan Roelof b 1879 d 1972. At age six he began studies on the piano. Later at age 16 was selected for service in the Dutch Army Staff band stationed at Assesn. He proved to be a quick learner and the band conductor encouraged him to continue his studies. He learned to perform on French Horn, euphonium and cornet. In 1923 he was appointed director of the 5th Regiment Staff band stationed in Amersfoort. His band made a steady improvement under his direction and gained wide acceptance. He retired from the army in 1939. He composed a number of works for band which included several marches some of which were later recorded by the Royal marines Band of the Netherlands Navy.Van Leeuwen Adrianus Cornelius b 1887 d? 1962 born in the Netherlands he joined the 8th Regiment band as a young man in 1903 where he received his training both in theory and as an instrumentalist.? He learned flugelhorn and eventually became a senior musician. later became a assistant leader of several military bands before qualifying as a bandmaster in 1936. He wrote several works for band and his most well known compositions include the Dutch Army march and March Heroique.?Vezina Joseph b 1849 d 1924? He was known as the father of Military bands in Canada. He was a very highly respected teacher and composer as well as an outstanding conductor. He was born in Quebec City and studied with the eminent composer Calixa Lavalleé who wrote O Canada. He was however a self? taught musician who had a natural flair for music. He learned organ and many of the wind instruments of the band., He became a baritone player in the 9th Battalion of the Quebec Rifles and remained with that band from 1869 to 1879. In 1898 he became the bandmaster of the first permanent band in Canada, the Royal Canadian Garrison Artillery band. He also formed several civilian bands in Quebec city. He was responsible for organizing all of the musical events for the 300th anniversary of Quebec in 1908. Although he never actually joined the military forces of Canada serving as a civilian bandmaster on the civil service list he was considered one of Canada's top military musicians. He wrote a vast amount of music for band and orchestra most of which remains unpublished. His most enduring work was the Marche de Parade -Parade March.Villeneuve Charles A b 1930 He began an early career at the Quebec Conservatory of music . He joined the Royal 22nd band in 1952 as an oboist. In 1957 he was selected to attend Kneller hall in England on the bandmaster course. While at the school he became a member of the London Wind ensemble. He graduated in 1960 and on his return to Canada he was appointed as director of the Royal Canadian Ordnance Corps band in Montreal.? On the amalgamation of the Canadian Forces in 1968 he became leader of the Royal Canadian Artillery band in Montreal. In August 1978 he was selected as the director of the famous? R22nd Regiment band in Quebec City (commonly known as the Van-Doo's) with the rank of Major. In 1980 he was promoted to Lt Colonel and became the supervisor of music for the Canadian Forces. He retired in 1984 and continued to serve as music coordinator for the Army cadets in the Quebec region . His most popular composition was La Belle Equipe -The Fine Team.Voigt Friedrich Wilhelm b 1833 d 1894 He was born in Koblenz and received his initial training with his father. His talent was quite noticeable and he was sent to the local 30th regiment band at age 16. He furthered his studies at the Rheinishe Music school in Cologne from 1851to 1853.He was given a royal commission to study with August Wilhelm Bach at the Royal Academy of fine Arts in Berlin. He continued his work both as a performer on violin and as a composer winning numerous awards. He was recommended by William Wieprecht the supervisor of all German bands to become bandmaster of the 1st Regiment Foot Guards in Potsdam. He remained in this position from 1857 to 1887 He eventually was selected to become the supervisor for all German bands in 1887 to 1890. He retired in 1890 . In 1892 he led the combined bands of the German Army in a concert of music by Richard Wagner and this work was acknowledged by Wagner when he sent a portrait to Voigt. He wrote over 100 works many of which were for military band, including the exciting and unique march the German Emperor's Guards (Die deutsche Kaisergarde) HYPERLINK ":\\WORLDBFINALEDITIONJAN2012.docx" \l "W" W. Wake Wilhelm b 1864 d 1944 He was born in Bohemia and studied at the Prague Conservatory from 1879 to 1882. He entered military service in 1882 joining the Infantry Regiment band no.74. He left the army and became a music director in the town of Brixen. Later in 1894 he was appointed the musical director of the Infantry Regiment band the famous Hoch and Deutchmeister band. Under his direction the band gained wide acclaim often referred to as the philharmonic in uniform. He led this band until 1918. He retired after the collapse of the monarchy and began to write seriously for both orchestra and concert band. His march Thundering Cannons is his most well known and thrilling works for band.Wagner Josef Franz b 1856 d 1908 He was born in Vienna and in his short lifetime became the march king of Austria. He studied at the Royal Military Institute in Kaschau and following military duty in the army n 1878 he was appointed bandmaster of the Royal 47th Infantry Regiment band. He remained in that post until 1892 he was appointed bandmaster of the 49th Infantry band which had several stations including Krems, Brünn and Vienna. He retired from the army in 1899 and began devoting more time to writing. Over 250 of his works were published and his opus numbers exceed 400 for total compositions. He wrote numerous marches, waltzes, concertos, and songs. His music has been recorded by several eminent bands including the Sepots Guards and the US Naval Academy band. One of his most widely acclaimed and popular marches was the Tyrolean Woodchopper march, Napolean march and his march Under the Double Eagle remains a universal favorite.Wagnes Eduard b 1863 d 1936 Born in Graz Austria he began study of the piano and French horn at an early age. In 1878 he began a professional career by touring with the orchestra of Eduard Strauss. He served in the army from 1882 to 1885 with the 27th Regiment band of the Austro-Hungarian Army. In 1890 he became the bandmaster of the Uniformed citizens corps of Graz. In 1895 he moved to Yugoslavia to become the bandmaster of the 2nd Bosnia-Herzegovina Infantry Regiment. He did wear a uniform but like many bandmasters of the time was a civil servant. He remained as bandmaster with this band until 1919. He wrote over 300 compositions including operettas, forty waltzes and 100 marches as well as several other compositions. His most well known and beloved march is The Bosnians are Coming.Whitcom, Kenneth George? b 1926 was born in Battle Creek Michigan and attended Central High School in that city. Considered to be a superb natural musician he was selected for service with the United States Military Academy band at West Point in 1946 where he performed on clarinet and saxophone and was the chief arranger and assistant bandmaster. While at West Point he wrote a march called The Jubilee march under the pseudonym George Kenny. He later became the band master of the 30th Army band overseas in Germany. Following his retirement from the army in 1966 he became one of Americas top arrangers and composers . He arranged all of the music for the opening of the Epcot Center at Disney-World in 1982 and continues to play an active part at Disney-World each year. Besides Jubilee he wrote the concert march Coat of Arms.White, William C b 1882 d 1964 He was a long serving American military musician, with 41 years service. He began musical studies at age 12 on violin, clarinet and saxophone. In 1907 he joined the US Army as a member of the 19th Coastal Artillery band at Fort Banks. He also had an opportunity to continue his studies at the New England Conservatory of Music graduating in 1911. His next appointment in the Army was as adjutant of the Army School of Music in Governor's Island New York. He graduated as bandmaster in 1914 and was appointed as the Assistant Principal of the Army Music School in Washington and later became the Principal. During peacetime he had several military postings including Hawaii in 1928 and in New York and Washington. When war broke out in 1941 he again assumed the leadership of the US Army School of Music in Washington training musicians for military units. In 1946 he was appointed the director of the 321st Army band and he retired in 1948 with the rank of Chief warrant Officer.. He composed 8 marches all published by the Fischer Company the most well known is The General's march 1932Whiting Chester Earl b 1901 d 1985 Born near the city of Boston Mass he began the study of music by learning clarinet and saxophone. later he also played trombone and drums. In 1915 he joined the local National Guard band . He later attended Boston College and the New England Conservatory of Music. From 1924 to 1940 he was the director of the 110th Massachusetts National Guards band. During the early part of the war he was chief of bands of the 26th Yankee Division and earned the Bronze Star on New Caledonia for helping to raise the morale of the troops. He was sent back to the US at the end of the war to form the 1st Combat Infantry Corps band and traveled across the US helping to sell war bonds. In 1946 he organized the United States Ground Forces band which eventually was renamed the Army Field band. This band traveled extensively playing concerts in every corner of America and in Europe as well as in Canada.? He retired from the army in 1960. ? Most of his marches were composed while he was serving in the Pacific Theatre of combat and a few have been published including? Americal Division and Minnesota State Fair written after the war in 1949.Widner, Ivar Fredrik b 1891 d 1973 Born in Sweden he began to study cornet at an an early age. At age fourteen he joined the band of the Royal V?stmanland Regiment.? In 1909 he was accepted for study at the Royal Academy of Music in Stockholm and graduated in 1915. In 1916 he became the Director of Music of the band of the Royal Norbotten Regiment. From 1923 to 1932 he was the director of the H?lsinge Regiment band with the rank of Captain.? He was selected as the Director of Music of the prestigious Royal Navy band from 1932 to 1947. He retired in 1947.? He presented very popular concerts at the Skansen, the open air museum in Stockholm. He was awarded the Royal Order of Vasa for his service to Sweden. He wrote over 100 works including 30 marches, several waltzes. His most well known marches were Swedish Signal March No 1 and Our Navy.Widqvist? Magnus Viktor b 1881 d 1952 Born in Stockholm he began early studies of music on violin and tuba.. He joined the army at age 17 with the Royal Engineers band In 1918 after several years of serious study he was appointed as director of the Royal Engineers band in Boden. He later was transferred to the Royal Engineers band in Karlsborg. He retired from the army in 1925. He returned to civilian life and earned a reputation as a professional violinist. He composed a number of light concert pieces for both orchestra and band his most well known numbers for military band were the marches Queen of Malaren and Under the Blue and Yellow Flag.Wieprecht, Wilhelm b 1802 d 1872 He was one of most influential military musicians of his age.. He developed the instrumentation for various types of bands in Germany and Prussia and through his leadership the military band gained vast prominence and acceptance throughout the world. His work in the development of piston brass instruments heralded the advent of the valve trumpets, horns, tubas and euphoniums. He reorganized 30 infantry bands and ten cavalry bands in Germany and by 1838 he became the director of the band of the Berlin Guide. He was born into a family of military musicians. He learned violin and oboe from his father later learning clarinet and trumpet. He studied with musicians of the Royal Orchestra of? Bernberg. He was encouraged by Carl Maria Von Weber and eventually joined the Royal Orchestra. He began work on cavalry marches and composed several marches for the German Army. By 1838 he was the civilian instructor of military bands of Berlin. Several of his marches and compositions are in the repertoire of today's bands in Europe. He is said to have transcribed all of the symphonies of Beethoven for military band and several pieces of Mozart. He gained international prominence in1867 by winning first prize at the celebrated Paris Band Festival. His futuristic approach to band music and his conducting style was brought to the attention of composers, Franz Liszt, Giaccomo Meyerbeer and Gasparo Spontini who admired both his bands and his novel symphonic conducting style. His marches Dessauer, Parade march and the Festival of the White Rose remain as a testament to his compositional technique and his knowledge of band scoring.Willcocks, George Henry b 1899 d 1962 He joined the 4th Battalion Royal Fusiliers as a bandsman Bb Cornet and later was transferred to the 1st Battalion. In 1920 he was selected for training at Kneller hall and on graduation in 1924? become the bandmaster of the 2nd battalion South Wales Borderers. In 1937 he was selected as bandmaster? of the? Royal Artillery band at Salisbury Plain. In 1938 he was appointed Director of Music of the Irish Guards band and received his Queen's Commission. He retired from service in 1949 and became closely associated with the British Brass band movement.? The most well known of his marches include the Youth Triumphant and The Spirit of Freedom March.Winterbottom, Frank b 1861 d 1930 His transcriptions and arrangements of works for military and concert band remain as a shining example of? works for band. He began his musical career on cello and after a short career in several residential orchestras he was appointed professor of music at Dulwich College in England. In 1890 he joined the Royal Marine band service and was appointed Director of Music of the Royal Marine band at Chatham. He remained in this position until 1910 when he was appointed instructor of band instruments at Kneller hall. Over 300 of his works were published by Boosey or Chappell. His Transcription of Capriccio Espagnol and hundreds of other arrangements? remain as a tribute to his enormous ability in the field of band scoring. Wornes, William Thomas?(Major) b 1940? He started his career with the British army as a Band-boy studying the Flute.? He attended the Royal Military School of Music, Kneller Hall and studied under R. J.? Boddington.? He emigrated to Canada in 1964 as a member of the Royal Canadian Dragoons Band.? He performed as principal Flute for the New Brunswick Symphony Orchestra and toured frequently with the New Brunswick Woodwind Quintet.? He served subsequently with the Vimy Band under Capt. Ken Moore and The Royal Canadian Artillery band under Major Charles Villeneuve.? He was selected for training as a Director of Music in 1979 and after extensive training, was commissioned as Director of Music in 1980.? He served as a training officer at the Canadian Forces School of Music and promoted to Captain.? In 1984 he took over the Vimy Band as Director and later, the Artillery Band.? He was promoted to Major in 1990 and appointed Commandant of the Canadian Forces School of Music.? After retirement in 1992, he served for a further three years as Inspector of all Reserve Force bands across Canada.YYoung, Alfred b 1900 d 1975.Born in England he began studies of piano with his father. At age six he began violin lessons? and became part of the music scene in Colchester, England. At age 13 in 1913 he enlisted in the army as an under age member of the Durham Light Infantry. In 1919 he went with his band to Russia as part of the Russian Expeditionary Force. His playing skills were very much in demand and he was a featured performer in concerts by the Durham Light Infantry band .In 1921 his unit was transferred to India. He studied for the entrance examination to the Royal Military School of Music and in 1924 he was accepted for bandmaster training .? He graduated in 1927 and was appointed as bandmaster of the Duke of Cornwall's Light Infantry band . He remained with this band until 1938 until he was appointed the first bandmaster of the Royal Army Service Corps band . he held this post until 1942 touring widely and giving numerous concerts. He was appointed director of music of the Royal Engineers band in 1942 and while on tour with the band in 1944 contracted malaria. He retired and eventually became the professor of instrumentation at Kneller Hall from 1959 to 1966. He is still considered to have been one of most underrated composer in Britain. During the war he wrote directed and arranged the highly successful radio and life concert series "Band Review",? "Calling all Services" and "Stars in Battledress". He composed a considerable amount of music during his lifetime including well known marches such as Boots and Saddles, Sovereign's Escort and the superb march the Matador. He also composed under the pseudonym Earl Brigham.Zaverthal Laislaus b 1849 d 1942 He was Italian by birth and studied at the Conservatory of Milan. He made his first appearance as a conductor in Milan and following this appearance he was selected as the conductor of the Milan Theatre Orchestra. In 1865 he emigrated to Scotland settling in Glasgow. He became the civilian director of the 11th Foot Regiment in 1872 and in 1881 he was appointed the director of the Royal Artillery band . He remained in this post until 1907. His work with the Artillery band and orchestra gained him international plaudits. His concerts became the highlight of the London concert season. He was one of the first conductors in Britain to take the music of the military band to the people when he began to play outdoor concerts in the summer months in the sea-side cities. His work gained him recognition by British Royalty and he received numerous awards including the Victorian Order of Britain. He was one of the first military band directors to require that musicians have a dual skill in both military band and orchestral instruments thus making the organization of the Artillery band very versatile. The most well known of his works for band included the stirring grand march Queen Victoria and? the 76th Italian Regiment march.?Zehle, Wilhelm b 1876 d 1956 Born in what was known as Prussia he began music studies in Magdeburg in 1895 at age nineteen. He eventually joined the Royal German Mobile 2nd Sea battalion at Wilhelmshaven as a military bandsman. He was very talented cornet and trumpet player and soon became the band soloist. In 1900 his battalion was ordered to China to help quell the boxer rebellion and was part of the joint invasion forces from Austria, Britain, France, Germany, Italy, Japan, Russia and the United States. Shortly before sailing the band leader became ill and Zehle was appointed in his place . Following his service in China he began writing the suite "Sounds of Peking": which was later published. On his return to Germany he resumed his role as solo trumpet, He left military service in 1903 taking the position of Administrator at the Civil Port Authority in Wilhelmshaven. He won the prestigious march composition contest sponsored by Hawkes and Son with the march Viscount Nelson in 1900, Army and marine in 1901, Wellington in 1906 and Trafalgar in 1908.He had a great influence on future composers with his strong melodic and harmonic structure of his marches. He was an enormous talent and his marches are still performed around the world. The Wellington march is considered his tour de Force in marches. Many of his marches are still being recorded by major bands world wide.Zita, Frantisek b 1880 d 1946 Born in Austria he joined the military service as a band boy with the 3rd Bosnian Infantry Regiment. He was able to learn several instruments ? including violin, tenor horn and euphonium. The band conductor at this time was the eminent composer Franz Lehar. On Lehar's recommendation he was accepted into the Budapest Musical Academy. In 1902 he became the Drum Major of the Infantry Regiment 97 band at Trieste. In 1911 he became the band leader. His most famous period was from 1919 to 1921 when he led the 2nd garrison band? and the Infantry Regiment 43rd band at Brno (1921-36). He was a very proficient conductor and he helped to raise the standard of his bands by introducing symphonic and operatic transcriptions into his repertoire. He retired in 1936 and left behind 11 works for band. He wrote eight marches for band some of which are still being performed in Hungary today.Zimmerman, Charles A b 1862 d 1916 He had a long and distinguished career as bandmaster at the US Naval Academy from 1887 until 1916. He is best remembered for the march Anchors Aweigh. He began? musical studies with his father who was a musician in the Naval Academy band.? At age 20 he attended the Peabody Institution, Baltimore majoring in instrumental music, becoming a skilled pianist and learning several instruments.? He became leader on the Naval Academy band in 1887. He gained national recognition by leading the Academy band orchestra and was offered the post of director of the US Marines band when Sousa retired in? 1892. He remained a beloved campus figure at the Academy until his death in 1911.Bibliography Adkins BIBLIOGRAPHY Col, H. A. (1945). Treatise on the Military band. Boosey and Company.Turner, G. T. (1997). The History of British Army bands Volumes 1, 2,3. Spellmount Publishers.INDEX INDEX \c "2" \z "4105" (1)Royal Garrison Regiment bands, 3025th Infantry Division band, 125th Infantry Division Band, 1A Cross Section of Composers of Ceremonial Music, 1Aldershot Command TattooHistory, 1Alford Kenneth J, 3Alford Kennth J. See Rickets, See RicketsAmerican Civil war Bands and Musical Instruments, 4American Civil War Bands and Musical Instruments, 4American march music, 108Arrangements for Military Bands. See Military band JournalsAustralian Military bands, 5Authorized marches of the Canadian Forces. See Canadian Regimental MarchesBand Instrumentation Military Bands, 5Band Music Early periodTraditional Romantic Music, 3Band of the Coldstream Guards, 20Band of the Garde Republican, 2Band of The Grenadier Guards, 17Band of the Irish Guards, 25Band of the Life Guards, 12Band of The Scots Guards, 22Band of the Welsh Guards, 28Bandmaster, 2Bands of the Household cavalry, 3Bands of the Nineteenth Century, 3Belgian Light Cavalry Bands, 7Blues and Royals (Royal Horse Guards and 1st Dragoons), 16Bourgeois Colonel John R, USMC (Ret.),, 9Brazilian Military Bands, 9British Bands, 10British marches, 108British Military Bands, 12British Regimental Marches, 30Bugle Calls-Britain, 30Canadian Military Bands, 1Ceremonial Music for Military bands, 13Chilean Military Bands, 1Composers Original works for Band, 2Corps of Army Music, 2Croatian Military bands, 2Czech Military bands, 4Danish Military bands, 9Danish Military Music, 9Democratic People's Republic of Korea, 2Directors of Music of the British Army, 13Drum Major of the US Navy, 19Drum Majors, 17Drums, 17Dunn Lieutenant-Colonel Sir Vivian, 19Dutch Military Bands, 20Edinburgh Tattoo, 21Estonian Military band, 22European march music, 108Fanfara dei Bersaglieri, 22Fanfare Trumpets, 23Fanfares, 22Finnish Military bands, 23French Foreign Legion Bands, 26French marches, 110French Military Bands, 24Fucik Julius, 27German marches, 110German Military Bands, 29German Military Music –Cadence, Numbered marches, 32Grogan Colonel Jack H, 37Guild of Ancient Fifes and Drums, 37Hellenic Military bands-(Greek), 37Hong Kong SAR, 1Horn band, 86Hungarian Military Bands, 86Indian Military bands, 89Instruments of the Military band, 90Israeli Military bands, 93Italian marches, 110Jamaica Military Band, 99Japanese Military Bands, 99Kenya Navy Band, 100Korean military band formations, 2Last Post, 101Lithuanian Military bands, 102Louisbourg(Canada)Military Music, 103Luxembourg Military Band, 105Marches, 107Marches of Kenneth Alford. See Alford Kenneth J and RicketsMilitary Band Instruments, 61Military Band Journals, 115Military Band Scores, 75Military cadence(also see chart above), 111Military Musicians, 2Military Signals, 112Moldavian Military Bands, 75Music of War - Battle Music, 76Musique de la Gendarmerie Mobile, 76Netherlands Military Bands, 7New Zealand Military bands, 6Norwegian Military Bands, 8Original 8th Regimental Band of Denmark, 10People's Republic of China, 2Persian Military band music., 1Perspectives on Military Music and Bands, 1Piling of the Drums, 12Pipe band, 13Police Bands, 18Polish Military Bands, 15Portuguese Military bands, 16Prussian and German March Collections, 19Queen’s Piper, 20Radio Broadcasting in North America for Military bands, 20Recordings Military band- Early Historical, 118Regimental Marches A Time Line, 24Regimental Marches –The Culture of, 21Republic of Korea, 2Retreat Ceremony, 29Rogan, John, Mckenzie,, 30Royal Artillery band, 31Royal Dragoons (1st Dragoons, 14Royal Nova Scotia International Tattoo, 32Royal Tournament, 34Rudyard Kipling, 35Russian Military bands, 37San Marino Military band, 1Schools of Music- Military, 1Scots Duty, 5Scots-Irish Marches, 109Singapore Military bands, 6Sousa John Phillip, 7South African Military Bands, 9Spanish marches, 110Spanish Military Bands, 11Surrey Yeomanry Association Band, 15Swedish and Finnish Regimental Marche, 16Swiss Military Bands, 16Tattoo, 17Teike Carl Albert Hermann, 2Thailand, 2The Aldershot Command Searchlight Tattoos, 1The British Band, 5THE CIVIL WAR see American Civil war bands and instruments, 26The Royal Horse Guards, 13The United States Coast Guard band, 42The United States Marine band(The Presidents Own), 6Traditional Romantic ComposersEarly band Muisc, 3Turkish marches, 111Turkish Mehter Bands, 2U.S. Army Bands around the world, 2Uniforms-Bands, 3United States Air Force Band in Europe, 2United States Air Force bands, 36United States Army Brass Band, 4United States Army Military bands and Music, 22United States Military Academy Band, 4United States Military Bands Order of Precedence, 43Uruguayan Military bands, 3Venezuelan, Colombian, Argentine, Brazilian, Peruvian and Ecuadorian military bands), 2Vinatieri Felix, 1Wind band in the history of Swedish Music, 1Woman's Royal Air Force Band, 1World Bands In Review, 2 ................
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