trumpeteers or buglers, were never called bandsmen. They had the military rank, uniform and insignia of a fifer, a drummer, a

d trumpeteer or a bugler. d Collectively, they could be called the fifes l l & drums, the trumpets & drums, the drum & bugle corps, the corps of drums, the drum e e corps, or they could be referred to simply as

i the drums in regiments of foot or the i trumpets in mounted units. f f Since the 19th century, the United States military has termed these soldier musicians

e the “Field Music.” This was to distinguish e them from the non-combatant professional l l musicians of the Band of Music. The Field Music’s primary purpose was t t one of communication and command,

t whether on the battlefield, in camp, in t garrison or on the march. To honor the combat importance of the Field Music, or a a drum corps, many armies would place their regimental insignia and battle honors on the

b drums, drum banners and sashes of their b drum majors.

The roots of martial field music go back to ancient times. The Greeks were known to

e have used long, straight trumpets for calling e Chapter 1 commands (Fig. 1) and groups of flute players by Ronald Da Silva when marching into battle. h h The Romans (Fig. 2 -- note the soldier When one sees a field performance by a with cornu or buccina horn) used various t t modern drum and bugle corps, even a unit as metal horns for different commands and

military as the United States Marine Drum & duties. These instruments could only Bugle Corps of Washington, D.C., it’s hard to produce the few tones used in military believe that the roots of these musical commands and civil announcements and n n organizations are not in the world of music were not known to have been used in music. or entertainment, but in the world of (Top)

o organized violence called warfare. o Copyright 1991, Colonial Williamsbur(gle Fft)oundation, the Drum beats and trumpet calls fulfilled the Colonial Williamsburg Fife & Drum Corps; a Civil War era

drum, bugle and drummer’s sw(baerdlo wi)t h a reproduction military’s need to communicate commands drummers regulation uniform; Copyright 1970 and keep order on noisy battlefields. These (Ppahroatmogoruanpth Psi catnudre isll,u ast rsacteionnes firno mth itsh ech mapotveier a“Wrea ftreormlo oth”;e personal collection of Ron Da Silva). n musicians, whether fifers, drummers, n r r o o b b

y y r r t t n n a a e e g g a a P P The Legions of Rome moved in formation, now accompany the trumpets of the court both in combat and on the march. They were and royal mounted troops. drilled in two cadences; one was a short, The Swiss infantry of the 14th century clipped step called the “military pace,” used developed the practice of marching in step to when in tight combat formations called a the music of fifes and drums (Fig. 4). These phalanx. Swiss foot soldiers marched in block The most famous phalanx formation used formations similar to the phalanx of the by the Romans was the turtle. It utilized the ancient Romans and were effective against Legion’s large interlocking shields, carried on both mounted knights and foot soldiers. the sides by the outer ranks and overhead by Figure 7 Their large block formations contained inside ranks. hundreds of men; the outer ranks on all four The other step was a longer, more natural sides were made up of pikesmen carrying stride called the “full pace,” used when pikes up to 16 feet long. Behind them were marching longer periods or on the march. the crossbowmen and the halbert (a hook and While the Legions of Rome marched in axe on a short pike). cadence like the Greeks, they did so without In the the aid of drum beats. It seems the drum, as Figure 4 center of we know it, was unknown to the armies of Europe. these ancient Greece and Rome. During the Middle Ages, the defense formations The Romans also developed the use of of small kingdoms became the duty of were the standards heavily-armored mounted fifes, drums to identify Figure 1 noblemen called knights, not large and colors, various standing armies. Consequently, which were military the use of trumpets and standards protected by units. Each became common among the a guard Legion had nobility, from whom the knights armed with an “aguila” were drawn. large (Imperial A natural animal horn or a broadswords. Eagle -- metal version of it became the The Swiss Fig. 3 ), favored pattern for the mounted developed a each knight, since the long trumpet was system of cohort a difficult to play on horseback. drum “signum” (a These early horns were almost beatings and distinctive exclusively associated with the hunt fife tunes (marches) that were used to signal device) and and/or the military and would later the movement, direction or shape of their each evolve into the bugle. tactical formations. The military precision detached The long trumpet and the banners and effectiveness of the Swiss foot soldier led unit a attached to it to them becoming the most “vexillum,” an early form of cloth flag. would become a symbol Figure 3 sought after mercenaries in These standards were honored as sacred of the royal court and Renaissance Europe. objects and kept closely guarded. They were be played by the royal Many kings and princes often decorated with awards and battle heralds for fanfares, would hire these Swiss soldiers honors. The utmost disgrace was to lose your religious and court as their personal body guards -- standard to the enemy. Loss of a standard music. most noticeably, the kings of meant the When the kings and France and the Pope of Rome, Figure 2 loss of the knights of Europe went who still has his company of unit. off to the Crusades, Swiss Guards (Fig. 5 & 6) . This loss they found the Saracen In the next century the could also armies’ music German “Landsknechte” (Fig. 7) mean terrifying. The mercenaries adopted these Swiss banishment Saracens grouped their military techniques. The or even martial musicians Landsknechte also used a system death at the around their battle of flag signals by which the hands of flags at the centers of color bearer would twirl, your own advancing formations. flourish or high-toss his unit army. The These bands were color to direct the fifes and term “Death made up of both wind and percussion drums on which march to play. Before instruments and consisted of side drums, These marches were not the type of Dishonor” called tabors, small kettledrums in pairs, march we have today, but precise military had real called nakers, flutes, oboes and horns. These commands which not only directed meaning to Muslim musicians played continuously formation movement, but also synchronized the soldiers during a battle and, as long as a soldier could the motions of weapons exercises or manual of Rome. hear his unit’s music, he fought on. If the of arms. This music ceased, he would retreat. A drummer’s roll-off to signal horns-up is reverence and defense of military standards To Islamic armies, the capture of the a carryover of this military usage. would later be carried over into Christian drums of an enemy was considered a special These colors, called “Fahnlein,” were armies, who also consecrated their colors and glory. Likewise, the loss of one’s instruments usually six feet wide and up to 10 feet long, standards. Many of these standards bore was an everlasting disgrace. with a rounded end. The staff was normally Christian symbols, most commonly the Cross When the Crusaders returned to Europe, slightly longer than the width of the color, of Christ. Many of these cross standards they introduced the fife and tabor to the foot with a knob or handle to facilitate the would become the first national flags of soldiers’ march, while the kettledrums would celebrated flag swinging. 7 It was not uncommon to find a color with the cold ensign in the thick of a fight defending his steel of their color to the death. bayonets. An Italian account tells of a dead German Since these ensign found on the battlefield with both firearms were arms hacked to pieces, his standard clenched not very in his teeth. accurate at over Figure 8 The art of a hundred yards, Renaissance soldiers rarely flag tossing took aim at to the beat individuals. of drums Troops would can still be line up as close seen at as 50 yards from annual each other, then tournaments volley fire into in the each other’s Northern lines until one Italian unit was (Copyright 1970 Columbia Pictures) cities of weakened and Figure 9. Florence and disengaged. Figure 11 Siena In the mid-18th century, the Figure 10 (Fig. 8). infantry regiments of Prussia’s Frederick the Figure 5 Great would It is also depend on linear becoming a formations, regular three men deep, feature at shoulder to Medieval shoulder, to and achieve greater Renaissance firepower. These festivals in tight formations, the United States as combined with quicker well as in Europe. loading and firing With the procedures, proved development of the effective even against numerically larger musket, musketeers forces. (Fig. 9) would replace However, they required precision drill and the crossbowmen. strict discipline, something the Prussian Still, the long pike army would become noted for. These would remain a useful Prussian techniques would also be adopted by infantry weapon and the British army (Fig. 12). the main defense During our Revolutionary War, American against cavalry. militia could not stand up to the ranks of During the 17th Britain’s professional soldiers until a German century, the use of general named Friedrich von Steuben taught fifes, drums and colors George Washington’s Continental Army a would increase with simplified and sharpened version of British the growth of large Figure 6 and German drills and turned America’s national armies. Many citizen soldiers into a professional fighting (Above) (below) of the regimental and company Figure 5 & 6 -- Swiss Guard of the Pope still exists today; Figure force. flags of the period bore the crests (1P2h -o- tBo rbityis hR oinnf aDnatr yS ialvt ar)e-enactment of Battle of White Plains, NY, October 1976. Many of von Steuben’s drill of their commanders, while the techniques would be in drill liveries (uniform tops) (Fig. 10 & Figure 12 manuals for more than a century 11) were often that of their and would influence ceremonial colonel’s heraldic colors. and exhibition drills right into The use of contact clothing the 20th century. would lead to the development of Infantry regiments of the proper uniforms. Thus, the colors 18th century usually consisted of of a unit’s coats and flags not only eight to 10 companies. Each would distinguish friend from foe, company was to have at least but also one regiment from one drummer and one fifer. another regiment. They were under the command The introduction of the of a regimental fife major and bayonet on the musket put an end regimental drum major who for the need of pikesmen in were responsible for the training infantry units. Foot soldiers could and discipline of the fifes and now lay down a wall of musket fire drums. on enemy troops, then advance When the regiment paraded, 8 the company buttonholes, collars and By the Napoleonic Wars (1804-1815), musicians cuffs. On drummers and combat pageantry reached its greatest were massed trumpeteers, it also heights. It was the golden age of military into a corps of trimmed all seams of their uniforms. Troops marched into combat like fifes and regimental coats and toy soldiers in colorful uniforms and tall drums and led formed rows of braid on shakos with colors flying and drums beating. on the march Figure 14 the fronts of coats and Massive armies moved in precise echelons by the drum rows of chevrons on the or stood steadfast in tight formations while major. He coat sleeves. under fire from cannon and musket, not to carried a large This system can still be mention ferocious attacks by mounted walking stick seen on the drummers and cavalrymen in all manner of exotic uniforms, or staff to set drum majors of Britain’s armed with sword and lance, charging to the the cadence Brigade of Guards. The sound of trumpets. and direct the combination of both these It was this period of European warfare movements of systems produced some of that saw the greatest use of martial the corps. In the most elaborate and field music and the first drum and bugle time, drum colorful drum corps corps. majors would uniforms ever worn on the For the foot soldier, the sound of the fifes flourish and battlefield or parade and drums was common. Fifes and drums Figure 13 twirl their ground. were used in most foot regiments, including staffs while During the Seven Years infantry of the line, foot guards, grenadier executing War (1756-1763), known as and fusilier regiments, as well as foot and their the French and Indian War garrison artillery. commands to the drums. in North America, the British army developed One notable exception was Britain’s Visibility on smoke-filled battlefields two new types of foot soldier to fight in the Highland regiments, who would become became a factor that could win or lose a wilderness of Canada and America. famous for the sound of their native Scottish battle. Large battle flags and distinctive They were units of Provincial Rangers bagpipes. drawn from the American These corps of drums could march at the colonists, who fought common step, ranging from 60 to 80 steps backwoods or Indian style, per minute, or the quickstep, ranging 120 to and the Light Infantry, 140 steps per minute. The light infantry who were volunteers from would quickstep to the music of drums and British line regiments, bugles, while the newly-formed rifle who were trained to act as regiments used only bugles at a quickstep, dispersed or mobile or even a jog, of 180 steps per minute. companies ahead of, or on The cavalry and horse artillery would the flanks of, their line continue to use their traditional trumpets regiments. and mounted kettledrums. They could also fight Surprisingly, none of these field music independently as rangers corps had bass drums, tenor drums or or skirmishers in rough cymbals at this stage of their development. terrain where normal Hence, the inclusion of bass drums in infantry formations were present-day “Colonial”-era fife and drum not possible. With these corps is historically incorrect. Those tactical changes, it was percussion instruments did exist, but were Figure 15-- Corps drummer, drum major and bandsman, including two black percussionists found that the drum was part of the regimental Band of Music. with Turkish instruments and costume. not an effective means of Since the early 18th century, regiments in uniforms helped both commanders and communication, since it was too cumbersome European armies had bands of music made soldiers alike in the smoke and confusion of and the sound did not carry very far. up of hired professional musicians. Their battle. A better means of sounding commands primary purpose was to entertain the Since oral commands were inaudible in was needed for these scattered and gentlemen officers and their guests at the din of combat, officers had to find their sometimes concealed soldiers. The Prussian concerts and balls. field musicians quickly in order to sound a army had already adopted units of skilled Their cost was usually paid for by an call or beat a command. hunters called Jaegers, who were expert officer’s band fund. For grand reviews and To help them, the fifes and drums, as well riflemen. They used a metal bugle (ox) horn ceremonials, they would be massed with the as mounted trumpeteers, were given very as their signaling instrument. soldier fifers and drummers and led on elaborate and showy uniforms so they would During the American Revolution, both parade by the drum major. stand out among their own troops. British and American light infantry These early bands numbered only six to Two systems were commonly used. One companies would also adopt various types of eight instrumentalists using trumpets, was that of reversed colors. If a regiment had bugle horns, hunt horns and even French French horns, hautbois, clarinets and blue coats with red facings (collar, cuffs and horns as their signal horn. bassoons. When in concert or at balls, some lapels), the corps of drums would be dressed By the turn of the century, elite corps of of these musicians could double on strings. in red coats with blue facings (Fig. 13). riflemen, dressed in dark green uniforms with They had no percussion of their own. This practice can be seen today on the black belts and equipment (an early form of During the later half of the 18th century, red-coated fife and drum corps of the U.S. camouflage), also adopted the bugle horn as a new and exciting craze would affect both Army’s Old Guard and the red-coated drum their instrument. the sound and appearance of the military and bugle corps of the U.S. Marine Corps, The bugle horn or hunt horn was so band of music. That was the introduction of both based at our nation’s capital. identified with the light infantry and rifle Turkish or Janissary percussion to the band The other system used drummer’s lace regiments that it also became the distinctive (Fig. 15). (Fig. 14). This was the lace, or braid tape, badge or insignia in the armies of Europe and These were ancient instruments used in that trimmed or re-enforced a soldier’s the Americas. the bands of the Sultan of Turkey’s Janissary 9 style is still concert brass bands and brass and woodwind used in bands were gaining wide popularity. today’s Therefore, in both the North and South, ancient fife many volunteer regiments went off to war and drum with both a brass band and a fife and drum corps. corps. By the second summer of the war, the In U.S. War Department issued General Order America of No. 91, directing all regimental bands to be the mustered out of the service. mid-19th Some bandsmen and bands would be century, transferred to brigades containing three or the finest more regiments, thereby reducing military federally-funded army bands by 70 percent music was or more. When in combat, bandsmen would not found now act as stretcher bearers, aiding the in the wounded and burying the dead. regular The regimental drum corps and U.S. Army, company bugler would remain intact, since but in the they were necessary for the sounding of (left to right) Figure 17-- Britain’s Royal Fusiliers, circa 1789, drum major, bandsman, Negro bass drummer of the many commands and camp duties. band, drummer of the Corps of Drums and Pioneer. socially Often boys as young as 12 were taken into regiments. They included the bass drum, a elite and well-off militia regiments in cities regiments to be trained as field musicians. small kettledrum or tenor drum, cymbals, such as Boston, New York, Philadelphia, One of the youngest to enlist was 10-year-old tambourine, triangle and a most outstanding Charleston and Chicago. A regiment with Johnny Clem of the 2nd Michigan Infantry. instrument called a Turkish crescent or money could hire the finest musicians of He had his drum smashed by a shell at the Jingling Johnny (Fig. 16). It consisted of a their city to play in their regimental band, as Battle of Shiloh and became known as “The staff surmounted by a metal crescent, or lyre, well as instruct their drum corps. Drummer Boy of Shiloh” in song and poem. to which were attached various small While the U.S. cymbals, bells or chimes. Army allocated Not only were these instruments exotic, eight men for a but the musicians who played them were band of music, often black Africans dressed in fancy professional costumes featuring plumed turbans and musicians in fezzes, heavily braided Turkish or North general had no African-style jackets, waistcoats and desire for the pantaloons, as well as tiger and leopard skins, riggers of a were worn. full-time military A well-to-do regiment could have a Band life. Army units of Music dressed in officer-styled uniforms, based on the with plumed cocked hats, a Turkish Music section in Middle-Eastern costumes and their regimental corps of drums in tall bearskin caps (Fig. 17). This craze for Turkish percussion and exotic uniforms would last Figure 16 -- German Army Drum Corps and Band, Berlin, 2001, through the UN photo by Eskinder Debebe. This is one of the last armies to 1840s. The last still carry a “Schellenbaumtrager” or Jingling Johnny. vestige of this craze can be seen today in the frontier were animal skin aprons still worn by bass and especially tenor drummers of the British army, hard-pressed for especially regiments that did long service in capable Africa or India (Fig. 18 on the next page). bandsmen and Even in armies where the “look” never often had the caught on, as in America, the instruments field music do did. Thus, by the early 19th century, the bass extra duty as drum and cymbals would become widely used bandsmen, by both bands and drum corps. especially for In the band, the bass drum could be the social events. only drum, with one head being beaten with a At the mallet, the other head stroked with a brush. beginning of the In drum corps, a wide bass drum was played Civil War with two mallets in a rudimental style. This (1861-1865), both Civil War sheet music c. 1862 showing drums, bugles, fifes and cymbals. 10 The legend of a drummer boy wounded in Gettysburg, including their commander, veterans units. Both held state and national the leg, being carried on the shoulder of a Col. Henry Burgwin, who fell bleeding conventions, called encampments, that veteran soldier so he could continue to play with their battle flag wrapped around his featured large parades. his drum, was made famous by Eastman body. These parades included color guards, drill Johnson’s painting, “The Wounded Drummer The 24th Michigan’s color guard was also teams, bands and drum corps. The two Boy.” In actuality, like the bandsmen, the decimated at Gettysburg, losing nine color marching units most identified with the fifes and drums were given duty to care for bearers; the flag took 23 bullets before it was Union veterans were the quick-stepping the wounded or act as Zouave drill teams and the fife and drum messengers. corps. However, even these duties The post-Civil War era and the Centennial could be done under enemy of 1876 brought about what might have been fire and more than a few field the golden age of the fife and drum corps. musicians received the Medal Many drum corps and militia units from the of Honor for brave 13 original states would adopt uniforms performance of these duties patterned after those of George while under fire. Washington’s Army and march at the 18th Buglers and trumpeteers century cadence. would remain by their Some would survive to the present as commanders in front line ancient fife and drum corps or musket actions and records prove companies and take part in annual parades many of them became and musters in the New England states. casualties of enemy fire. Some of the GAR and independent corps Many a Civil War veteran would add bugles or even three-valve cornets would recall fondly the sounds to their fifes and drums and play band and of the fifes, drums and bugles. bugle marches. A few would evolve into The historian of the 17th drum and bugles corps years later. In the late Maine Infantry, Edwin B. 1970s, the Meadowlands, NJ, Royal Brigade Houghton, wrote poetically of (Fig. 19) competed in open class wearing blue the role of the drum corps in and gold cavalry-style uniforms. his brigade: The corps was a merger of the Secaucus “As the first beams of the Meadowlarks and the Carlstadt-Woodridge rising sun begin to tinge the Townsmen. The Townsmen were organized eastern skies, the clear notes of on May 1, 1880, by the George A. Custer Post the bugle sounding Reveille No. 17, Grand Army of the Republic. from headquarters are heard, In 1867, the Army adopted “Upton’s repeated in turn by the Tactics,” a new drill system developed by regimental bugles. The drums Major General Emory Upton. In this manual, Figure 18 -- Tenor drummers of the British Hampshire Regiment Corps o(pf hDoruto ms, of one regiment commence cwoepayrriniggh t rbayd iRtioonbaelr lte Jo.p Maradr rsioknin).s, once worn by hired African drummers Upton standardized the many different and their noisy rataplan, which is varied calls of the Civil War. It listed 67 bugle taken up by the ear-piercing fife and removed from the field. and trumpet calls, plus five nameless bugle spirit-stirring drum of another, ’til every Many acts of gallantry are recorded with quicksteps numbered one to five. drum corps of the brigade, with regard to the colors. More than half the Around 1875, the Army did away with the accompanying bugles and fifes, join in the Medals of Honor awarded by the United fife in its drum corps and adopted bugles. din; and the morning air is resonant with the States during the Civil War were for deeds of The Marine Corps did the same in 1881, shrill notes of the fife, or the clarion tones of valor regarding the color guard or the colors. making the drum and bugle corps the the bugle sounding Reveille .” The veterans of America’s bloodiest war regulation field music for all U.S. regular While the fifes and drums were no longer would form many organizations after the war. ground forces. in the center of the battle, the color guard The two largest were the South’s United This change from fifes was not adopted by was. Their position was up front in the Confederate Veterans and the North’s Grand all the militia, state or national guard center of the regiment. It was a position of Army of the Republic. These organizations regiments. Many used their bugles for immense danger in combat, since the colors also formed ladies auxiliaries and sons of signaling, but still preferred to parade to the would always draw the heaviest traditional sound of fifes and fire. drums. At the Marine Corps Only the bravest could be Barracks in Washington, D.C., a entrusted to carry out this school was established to instruct dangerous, yet honored duty. buglers. However, a group of old The colors not only acted as a Marine fifers tried in every way to guide for the soldiers to follow, continue to use their fifes, but were symbols of the regiment claiming they had enlisted as fifers, and the country its men had not buglers. pledged to defend with their lives. Finally, the colonel in command A regulation color guard directed that no fifer would be consisted of two color sergeants permitted to re-enlist without a who carried their national and written agreement that he would state or regimental colors, and up learn to blow the bugle. to eight color corporals who In the British and German guarded the colors. Entire color armies, the infantry would keep guards could be wiped out in the their fifes and drums, but all would course of a battle. also carry a bugle and be able to The 26th North Carolina lost (photo by play all their duty calls, a practice 13 color bearers at the Battle of R(Foignu Drea 1S9i lv--a T fhroem R tohyea l Brigade, shown hearrec hiniv 1e9s7). 8, could trace their roots back to 1880 still seen today in Britain’s foot Drum Corps World 11 A boys drum and bugle corps from Dormot, IA, at a parade on Novembe(rp 1h6o,t o1 9fr1o8m c tehle bcroaltliencgt iothne o ef nRdo onf DWao Srldilv Wa)a. r I. Note the stalemate of trench warfare. Long-range bass drum and Civil War-style Zouave uniforms. They are not Shriners artillery, the machine gun, poison gas and guards. The Americans and the French sleeve insignia. barbed wire would turn the fields of honor favored the quick-paced style of the light Buglers and trumpeteers would still go into horrific killing fields and cause millions infantry drums and bugles. into battle, but now armed as the rest of the of casualties. Many bandmasters, including John Philip troops in their unit, with their horn slung When the United States entered World Sousa, would compose pieces for drum and over their shoulder or at their side. War I in April 1917, all the combative nations bugle, or marches for combined band and Field musicians would serve in the last of had adopted steel trench helmets and the bugle corps. the Indian Wars, travel to Cuba and the dullest, most drab uniforms ever seen on a What made the fife so popular was its Philippines during the Spanish-American War battlefield. The “war to end all wars” put a ability to play all types of songs, from and chase Pancho Villa during the Mexican dismal end to all the pageantry and color marches to popular ballads. Wanting to make Border War. once seen on battlefields. the bugle just as popular and maybe even In 1914, the European powers would go to Even the bugle and field trumpet were equal to a brass band, a few bugle majors, or war expecting it to be a short repeat of the giving way to the whistle and trench chief trumpeteers of the later half of the 19th great battles of the Napoleonic era. The telephone. Field music for communication at century, would add keys, crooks, valves or French were still wearing bright blue and red the front would join unfurled battle flags and rotaries to military trumpets and bugles or uniforms that hadn’t really changed for officers sabres in a state of limbo. introduce different voices to their horn almost 70 years. They and their British allies However, these items would still be used sections and create trumpet or bugle bands. still believed that a mass infantry attack and in military reviews and solemn ceremonials This was done decades before the the “elan” of the troops would overcome any to honor past glories and fallen comrades. American Legion adopted such innovations in enemy position. How wrong they were! The veterans of World War I, especially the their drum and bugle corps. (See Chapter 2 The technology of modern weaponry American Legion, would take these military in “A History of Drum & Bugle Corps,” would bring about mass destruction and the traditions to new heights and popularity with Volume 1.) With the introduction of smokeless gun powder, repeating rifles and ground weapons that were much more accurate than the muskets and cannon of past wars, the tactics of close order drill and massed formations were not only obsolete, but suicidal. The use of colorful flags and uniforms, once a necessity, now only gave your position away or made you an easy target. By the 1890s, most armies would start developing field uniforms in shades of gray, green, brown or khaki. Field musicians’ uniforms would now be distinguished by only a shoulder decoration or (illustration from the collection of the Library of Congress). A Civil War drum corps 12 their colorful parades and conventions. Fritz Kredel, ©1954, Henry Regnery Co., ©1966, Thomas Yoseloff, New York. These events featured their own color guards, Chicago, IL. “A Pictorial History of the Civil War Era: drill teams, rifle squads, bands and drum and “Cadet Gray” by Frederick P. Todd -- plates Musical Instruments & Military Bands” by bugle corps, competing against each for by Frederick T. Chapman, ©1955, Crown Robert Garofalo & Mark Elrod, ©1985, trophies, titles and prize money. Publishers Inc., New York. Pictorial Histories Publishing Co., Just as a fife and drum corps, wearing “L’Armée Française, 1790-1885” by Charleston, WV. black or gray Stetson hats, became a symbol Edouard Detaille & Jules Richard, ©1992, “The Drums Would Roll: A Pictorial of the veterans of the Civil War, the American Waxtel & Hasenauer, New York. History of U.S. Army Bands on the American Legion drum and bugle corps in chromed “Military Uniforms in America: Years of Frontier, 1866-1900” by Thomas C. Railsback trench helmets would become a visual and Growth, 1796-1851,” ©1977, The Company of & John P. Langellier, ©1987, Arms & Armor musical symbol of American veterans of the Military Historians, Westbrook, CT. Press Ltd., Dorset, England. First World War. “Don Toiani’s Civil War” -- art by Don “Fyfe, Drum & Bugle: Tales & Stories on Their drum corps and color guards would Troiani, text by Brian C. Pohanka, ©1995, American Military Music, 1775-1971” by develop into a truly unique and American Stackpole Books, Mechanicsburg, PA. Fairfax Downey, ©1971, The Old Army Press, form of pageantry that would also be adopted “On Campaign: The Civil War Art of Keith Ft. Collins, CO. by other veterans groups, youth Rocco” -- text by Peter Cozzens & D. Scott “Complete Instruction Manual for the organizations, civic and fraternal societies Hartwig, ©1994, The Emperor’s Press, Bugle, Trumpet and Drum” by V.F. Safranek, and even the military itself. The following chapters will document the history and development of the drum and bugle corps and color guard activities in North America. And so, the pageantry that once had tactical origins on the battlefield has become show biz and competition on a football field. But if one looks and listens closely, a corps’ name, a uniform, a maneuver or even a piece of music just might reveal the activity’s proud but fading military origins. Bibliography by subject matter

I Military and Uniform History “The Roman Army from Caesar to To Trajan” by Michael Simkins -- plates by Ronald Embleton, ©1984, Osprey Publishing Ltd., London. (illustration from the collection of Ron Da Silva). “The Armor of the Roman Legions” by H. Zouave drum corps leads GAR parade in Elizabeth, NJ, May 11, 1889 Russell Robinson -- plates by Ronald Chicago, IL. ©1916, Carl Fischer, New York. Embleton, published by Frank Graham, “Military Uniforms in America: The “Manual for Field Musics, U.S. Marine Newcastle, U.K. Modern Era from 1968 to 1970,” ©1988, The Corps,” ©1935, U.S. Gov’t. Printing Office, “Medieval European Armies” by Terence Company of Military Historians, Westbrook, Washington D.C. Wise -- plates by Gerald Embleton, ©1975, CT. Osprey Publishing Ltd., London. I Flags and Color Guard “Armies of the Crusaders” by Terence Wise I Music and Military Band “The Complete Guide to Flags” by William -- plates by G.A. Embleton, ©1978, Osprey “The New Harvard Dictionary of Music,” Crampton, ©1989, Gallery Books, New York. Publishing Ltd., London. edited by Don Randel, ©1976, Facts on File, “Flags of the World” by William “The Swiss at War, 1300-1500” by Douglas Inc., Cambridge, MA. Crampton, ©1990, Dorset Press, New York. Miller -- plates by G.A. Embleton, ©1979, “Musical Instruments of the World,” “Military Flags of the World, 1618-1900” Osprey Publishing Ltd., London. created by the Diagram Group, ©1976, Facts by Terence Wise & Guido Rosignoli, ©1978, “The Landsknechts” by Douglas Miller -- on File, Inc., New York. Arco Publishing Co., New York. plates by G.A. Embleton, ©1976, Osprey “Handel’s Kettledrums and Other Papers “Flags of the American Civil War, Vols. Publishing Ltd., London. on Military Music” by Henry George Farmer, 1-3” by Philip Katcher, ©1992, 1993, Osprey “The English Civil War Recreated in ©1960, Edwards & Brune Ltd., London. Publishing Ltd., London. Colour Photographs” by Chris Honeywell and “A History of Military Music in America” “Exhibition Marching, Volume 5 (Flags Gill Spear, ©1993, Windrow & Greene Ltd., by William Carter White, ©1944, The and Rifles)” by A.R. Casavant, ©1975, ARC London. Exposition Press, New York. Products Co., Chattanooga, TN. “The Infantry Regiments of Frederick the “Military Music of the American “Perfecting the Marching Band” by Great, 1756-1763” by Guntar Dorn and Revolution” by Raoul F. Camus, ©1976, The Herbert J. Gall, ©1974, Abelard-Schuman Joachim Englemann, ©1989, Schiffer University of North Carolina Press, Chapel Ltd., New York. Publishing Ltd., West Chester, PA. Hill, NC. “Unit Drill and Standard Operating “Military Uniforms in America: The Era of “The Drum (A Royal Tournament Tribute Procedures,” The Commander-in-Chief’s the American Revolution, 1755-1795,” to the Military Drum)” by Hugh Barty-King, Guard, the 3rd United States Infantry (The ©1974, The Company of Military Historians, ©1988, The Royal Tournament, Horse Old Guard). Westbrook, CT. Guards, Whitehall, London. “Military Customs and Traditions” by Maj. “The Book of the Continental Soldier” by “De Nederlandse Militaire Muziek” by R. Mark M. Boatner III, ©1956, Van Rees Press, Harold L. Peterson, ©1968, The Stackpole van Yperen, ©1966, Van Dishoeck, Bussum, New York. Co., Harrisburg, PA. Holland. “Soldiers of the American Army, “Bands and Drummer Boys of the Civil For a photo and bio of Ron Da Silva, turn 1775-1954” by Frederick P. Todd -- plates by War” by Arthur Wise & Francis A. Lord, to page 55. 13