M I L I TA RY M U S I C .

.

H I STO R Y O F W I ND - I NST R U M E NTA L BA ND S A .

CO NTAI N I N G

KETCH OF THE H I STORY AND V LO M T O F O - AI R M U SI I N I . S D E E P EN PEN C

ANCI ENT TI M ES. T I STRU M T AND TH 2 . A I S I R R NC EN N EN E SU CCESSO S.

H I T RY F THE R I S AND V L M T F M R Y 3 . S O O E DE E O P EN O O DE N M I LI TAR M U SI C.

P E A . K A P Y J . .

' I llustr d ate mm A uth e ntic R eprese ntations of A n c ie nt PVz nd

an d Num e r ous E xa mples of A ncie n t M usic .

A ND (30 BOOSEY ,

2 R T STR T LO ND N w A D O . N N 95 , EGEN EE , , EW YO R K .

Th e I llustratio ns o f Win d- I nstrume n ts o n th e n ine Plate s are take n fro m the

’ authe ntic spe cime ns in th e M use um o i I nstrume n ts attache d to th e R o yal

n e r re f M us at ru e s. Co s vato i o ic, B ss l

M an o n th e re te ur du M usée du e n me n o n n th e re se nt o r to M . Wh ti i g p w k ill , Di c

” o nse r a o re re ue st n e rm ss o n to a a m se o f th e fin e o e t o n o f an e nt C v t i , q i g p i i v il y lf c ll c i ci

ns rume n s un e r his are u su e r s o n has re a e a state o f o m e te ne ss i t t , which d c f l p vi i ch d c pl

ar to be o un e se e re he no t o n a e it re a at m se r e but a so h dly f d l wh , ly pl c d dily y vic , l

a e me the e ne t o f his e e e r e n e and so un u me n and I ta e s g v b fi wid xp i c d j dg t, k thi o ppo rtunity ofte nde ring h im my since re st thanks.

l k . r . . B ai le has a o n e n me so me a ua e a stan e M . D J y ls ki dly giv v l bl ssi c

So me o f th e M tar M ar e s and o e r mus a e e s I o a ne ro m th e ili y ch , th ic l pi c , bt i d f

r m R o a L bra e s o f M un armsta t e r n and ro m th e r s M use u . y l i i ich , D d , B li , f B iti h

’ o me s a ua e o r s Fo r th e Dance So ngs I am in de bte d to H e rr Franz M . B h v l bl w k

’ ' ' ’ o n Altaeutsc/z e ieder and Gesc/z zc/z te rte: Tan es z n D eutsc/z lana an d fo r o me s o r a L , z , s hi t ic l

’ ' ' ’ ' ’ ’ notice s Co usse make r s Histoz re ae l lz arnz o nze an moy en age and Schle tte re r s Stud ien

' ' ’ ’ z r To name all th e ur Gesctzzc/z te o er f anz oszscnen M usjk have be e n my autho ritie s. o e r so ur e s ro m I a e ra n o u ne e ss a e a o rm a e s fo r th c f which h v d w w ld c it t f id bl li t,

r r a which I eg et to s y my space is to o limite d . " Fo r the co nve nie nce o f s u ents a s a e o f n s measure me n in n e s is t d , c l E gli h t ( i ch ) affi e to e a ate th e e o f th e e a e n o f e a ns rume n can be x d ch pl , by h lp which x ct l gth ch i t t o a n bt i e d .

A . K . J .

P AGE

PART I I I .

M I L I TA R Y M U SI C

- N TR M E NT A ND A H I STO RY O F W I ND I S U AL B S .

“ I N offering the following sketch of the rise and progress of Military Music ,

“ — or, more correctly expressed , of Wind Instrumental Bands , a few preliminary m remarks indicating its scope ay be acceptable .

Hucbald There is certainlyno lack o f Musical Histories . From the t i me when endeavo ured to formulate some primitive rules according to which harmonic

progressions should be written , down to our own era , every step in the evolution

of the musical art has had its chronicler . We can trace minutely the progress of

- R Church music , the rise of the Opera, from its first simple declamatory ecitative , “ ” “ ” r — down to the present complex form of Grand Ope a , from the ancient Suite ” — to the modern Symphonies , all is amply recorded .

Yet , while historians revelled in descriptions of the grandeur of ecclesiastical

compositions , of the music of the princely palaces or the royal playhouses , the music

th e asse dbve r ff of people has been p with almost contemptuous indi erence , and it seems

so sa - o r w ho as if they were , to y , ashamed t mention the poo cousin found inspiration ” in the open air, or went a soldiering . And yet it is an acknowledged fact that the rhy thm ic form of most of our o rchestral music of the highest class originated in th at class of music which struck

r it m a its roots into the hearts of the uncultured people , and the flowe s of which , if y

- be permitted to use the simile , were cross fertilized by the technical skill of the old

c s . w e lassical compo ers Thus find , to mention but one instance , that the orchestral “ ” w ’ Suites of Sebastian Bach , hich were the precursors of the modern Symphonie ,

— c da nce m e a su res . onsisted mostly of , such as were in vogue at the time of his labours

e ve rfre sh He took the popular form , as then existing , and dressed it in the colours of i h s cultured imagination . But from the paucity of records concerning the music of the masses arises a s e rious difficulty the trial to bring into a focus the different beams of light leads to m uch waste of labour . For little scraps of information one h as to grope through p onderous volumes of frequently most uninteresting matter ; for every relevant

B A I A H I S TOR Y OF M I LI T R Y M US C.

o n e t o s paragraph has read hundred of pages , and I confess that more than once I “ have been tempted to cry with P rince Henry : Oh monstrous but one halfpenny worth o fbread to this intolerable deal o f sack I have endeavoured (to express m yself metaph o rically) t o draw attention to th e

. th e rise of a neglected little current which , while peacefully wandering through

n s th e labyrinthi e ages of the past , gathered trength ; and , having at length entered

o m o f s d main river , f rms no mean part of that ighty stream mu ical art , the profoun influence of which is felt in every phase Of modern society

the m d o n e h as t o As subject is a so ewhat tangle , it appeared to me advisable the three fo llowing headings

I - m o m s . Sketch of open air usic in lden ti e .

2 . Ancient in stru m ents and their su c ce ssors .

i . 3 . Sketch of development of mil tary music

— - P A I R I N LD . I . O EN MUSIC O EN TIMES

to n o n e Whenever a nation advanced a certain degree of civilizatio , music was

o f b e autifie d : the graces of life carefully cultivated . It the ceremonies of religion , it

s h o . , lent brilliancy to stately pageant , and gave expression to the uman em tions The

“ student of history will find ample pro o f of this in the annals which have been .

s t o t e s pre erved and handed down us from the ancients . Though h term vandali m

, n t o s e t is accepted to desig a e h stility to any art , as well as ferociou barbarism , y

V ss n the andals must have had a fondne for music , judging froi an anecdote which

'

P H e s K V m . rocopius relates . says The la t ing of the andals , who at that ti e were

' w as e b R settled at Carthage , attack d y the oman Legions (5 33) and after severe

o c ut o ff o f fighting had to retreat to a mountain fortress , which , h wever, to his chance

' s R m s Afte r a few Ge lim e r fo r e cape , the omans i mediately urrounded . days , King ( V ’ that was the andal king s name) sent a messenger to the victorious general ,

o o requesting three fav urs . They were as foll ws

a Send me a loaf of bread , for I have not seen one since I ascended this rock

' o m a a new/ to e n ab le m e w /z z le w e e in to sp nge that I y wipe my inflamed eyes ; p , p g,

' ' ' o its so un d t/z e s m s m s sing t ong wnz c/a I na ve co mp ose d up o n my p rese nt z e e .

o s m h e An ther writer , who record a prolonged pilgri age from Italy to Gaul which

u 6 us . ndertook in the year 5 5 for the purpose of visiting some saintly tombs , gives a passing glimpse of the prevalent music of the time by a statement to the effect that M I TA M I A H I S TOR Y OF LI R Y US C. 3

“ during his long wanderings through the countries of the Barbarians , he often heard the people sing their rude songs , void of any poetic grace , to the accompaniment of

“ The R oman with the lyre the barbarian with the loud - sounding harp ; with the

* ” ac hille us the Greek and with the c h ro ttaTthe Britt .

From this w e may conclude that the instruments named were the special

— favourites of the people h e mentions .

o ld- But there is one great drawback in all these time chronicles , and that a

W e t s erious one . are informed that such and such instrumen s were played , and that

w e a minstrel or an assemblage of minstrels did accomplish certain music , but have ab solutely no record as to wh at so rt of music was indulged in .

The reasons for the omission are obvious first and foremost, the absence of any instrum e nta l n o ta tion w h o , and secondly , the vagabond life of the class made their

- livelihood by playing at open air gatherings .

n e um as The first form of notation consisted of , dots , commas , and hooks ,

o p laced over the words of the chant , and indicating by their high or low positi n the c orresponding rise or fall of the voice neither pitch nor interval could be r no r f le n ths epresented with certainty , were there any means of expressing dif erent g

' z m e o fsound t it was absolutely useless fo r instrum e nta l purposes . From the twelfth and beginning of the thirteenth century w e may date the rise “ ” of a really useful notation ; the transitional n e um as had by this time be en gradually a a t r ltered into a shape appro ching tha of our modern notes , and by varying thei s bo o ks E O 00 O th e hapes , or adding stems and to them , | L y were made to r f epresent dif erent lengths of duration . This system w as called Cantus ” m e n surabilis , and by it composers were enabled to express time and rhythm .

d r y From that perio all musical MSS . prese ved to us can be correctl inter

re t e d p , which cannot be said to be the case with those earlier than the eleventh c entury .

w as h r The perfected notation owever not used for inst umental music , for a long t ime subsequently, and no examples are in existence to enlighten us as to what the o - air m e ra w as . w e r pen mus of that like Yet have ample ecords to prove , that the

' m r w as c o nve nts as p erfor ance upon many inst uments cultivated, in some , early as the _

ninth century . The organists of most Cathedrals and large Churches belonged to the

r r dr p riesthood , and members of the choi were in minor s e o .

Four- s e d ar r n id h p psalte io .

“ An en r n m s s r n e stru e n a d a bo w. 1 ci t B iti h t i g d i t, pl ye with B 2 A HI S TOR Y OF M I LI TAR Y M USI C.

ff an d The o i cial choristers , the pupils of instrumental music in the sacred

in usician s — establishments , looked askance at the vagabond class of itinerant , and , m sa . needless to y , the feeling of conte pt was heartily reciprocated by the latter This

aversion , however, did not prevent the mutual appropriation of each others material .

h fiddle rs If a good sacred tune obtained popularity in the churc , the pipers and converted it into a dance tune fo r the m illion ; whilst the songs o f the people were frequently incorporated into sacred c o mp o sitions . Many a grand Mass by a great

firm us composer contains in some division a cantus for the tenor, originally a love or To war song round which the master twined a skilfully constructed counterpoint . us , w h o are accustomed to the strict border line between sacred and secular music , this

o o f is R w rking up heterogeneous material very curious . When the eformation

- introduced the singing of hymns by the congregations , the adoption of well known melodies to devotional poems w as much m ore freq uent than is generally believed . The leaders of the R eformation were in perfect agreement with the Scotch divine

n w h o expres sed his regret that the devil should have the best tu es . “ all Many a pious soul would stand aghast to se e th e original words which in bygone

- times were wedded to some of the present hymn tunes .

d s e rve rsion ma While welling on the convers ion of tune (p some may call it) , I y

th e s r . be allowed to anticipate historical equence , and add a few emarks on this subject

In the Middle Ages , dancing was very often associated with singing . By the careful researches which have been made of late , a number of these dance tunes have been

O ld - discovered . In their notation , many of them look remarkably like hymn tunes .

b aflle s v fo r It one to imagine how dancing could ha e been associated with them , they

seem to move with ludicrous gravity . Even the liveliest tune would look maj estic in S 4 5 s o ur — re re eyes , if written in the old mode when our é 3 J } } if would be p i 2 4 5 6 0 E l fo l 0 - sented by or 1 7 .

- Early dance tunes were short , consisting of but one part in compound or simple

time but about four or five centuries ago , an extension was made and two parts were

w as th e introduced into the dance , the first of which mostly in common time , and

- na ch ta nz . w as second (called after dance ) in time The melody, however,

identical in both parts .

From descri pt ions of these dances they must have been somewhat curious .

Imagine a knight or gentleman , in the picturesque costume of the time , advancing with.

- an d w h o m grave gait to the centre of the dancing ring , singing to his partner, re ained him fl" standing opposite , the following

n n Th e wo rds are a lite ral tra slatio . A n F M I I TA Y M I s ro Y O L R US C. 5

D - C . AN E S ONG (i sth Ce ntury . )

PR I M A PARS.

o ve to m e U n o ck th e s k to l , l do o r fo r That I may pe a the e "

”

W the v r i hereupon lady would ad ance in time , with many a g aceful sk p ,

flo w m r daintily holding her g obes above her ankles , and replying thus

- D C AFTER AN E .

SECU NDA PA RS.

A las e r Sir it can no t be Y o u ve to t o ut s e my d a , , ha wai id ,

M o ve o u nev e r n o u se e o do n y l y will gai , y , S o t mak e

’ ’ st r : xt o ve and n t e re is n o n Co e e se o ur tro u e n no w I i Twi l pai h gai , m a y bl d mi d , do n t de sire a swai n.

Whilst preserving the melody note by note , the conversion of the first part in common time into the of the second w as evidently too much for the workman who designed it and in its unskilful management the clumsy j umble of the rhythmic sections towards the end is almost comic .

d - Two more ance tunes of about the same period , perhaps of a rather earlier “ ” h . date , are ere inserted . They are sacred dances The first converts the ’ P e Lord s rayer, in a rath r uncouth manner, into rhymed measure , and the second is

— an evening dance equivalent (at least , in intention) to our modern evening hymn . The songs are very melodious , and the alternation of solo voice with chorus ff most e ective . 6 A HI S I OR Y OF M I LI TAR Y [MUSI C

R D C OUND AN E .

’ On th e L o r s ra e r Valten V o ( d P y , by gt, I

C O OL O . H RU S. S

ne o u art o n . mi , Th high

v and w o e Fa - t e r I r e e e r cr sa e child fro m h p ay Th h a my y .

D EV ENING ANCE .

u s e in a o e t o n o f Sa re So n s at M a e ur (P bli h d C ll c i c d g , gd b g,

SOLO CHOR U S.

e - e r i o ve Th e o r e - e r is a - o v - - Sh p h d s a b , L d my Sh p h d b e "H al le ln jah "

CHOR U S .

’ ru h i h v n i I t st s ea Iy I trust h s lo ve . i P m & c . i 6 A collection of sal s , , pr nted in Antwerp 5 5 , is prefaced with a title

“ ” - P D . o rt &e &c . page stating it to contain F y one salms of avid, , , the tenor always

“ ” “ a ir o co mm o n l - kn o w n son s leading with the f y g , very pleasant to sing to the ”

. 1 r P D honour of God Clement Marot , 495 , t anslated the salms of avid into the

’ — French language and fitted them to melodies of popular songs Courantes , Bourrees ,

r - - Sa abands , Minuets , and other dance tunes . For twenty six years this collection

“ “ w as - D very popular in France . The Court ances o f the time were full of state and

' an c ie ntre it so un ds , yet strange to be told that the favourite dance tune of

ale I X — . 1 2 th P Charles was the melody of the 9 salm . But when comparing these to

I t may s o so me se ns t e e o e to e ar o f su ro anat o n but le t t e m reme m e r t at h ck i iv p pl h ch p f i , h b h dancing

was in a a part o f th e o rs o f the r m t e r st ans th e r e sts ur n the se r e in ur f ct w hip p i i iv Ch i i , p i d i g vic ch ch, o n

e r a n o as o n s a n to an e me an n to a ' in s a e me asure and e o u o ns o f c t i cc i , h vi g d c ( i g w lk t t ly v l ti , which o ur o wn

us o m o f a n in ro e ss on ro un th e ur to th e un f c t w lki g p c i d ch ch so d o music is th e dire ct de sce n dant) aro un d th e a tar. T at t s was so is a so ute ro e th e e ts o f o e s re o r I I I . an d Za ar as I o r l h hi b l ly p v d by dic P p G g y ch i I . f bidding by

a ns and e na t e s an an n e t e r r e sts o r o n re at o n ur n ne se r e e t p i p l i y d ci g by i h p i c g g i d i g divi vic , wh he r in the church o r in th e e me te r . I t s o u o e e r be o rne in m n a ur n th e rs e n ur m c y h ld, h w v , b i d, th t d i g fi t c t ie s e n and wo me n ne ve r a ro a e e a o t e r ur n at e re m o n but e r o rme th e an e s an d ro e ss o ns se ara pp ch d ch h d i g th c y, p f d d c p c i p te ly . B ut by

th e se ent and ne t su e e n e nturie s s sa u ar usto m had e e n e arte ro m an in v h x cc di g c thi l t y c b d p d f , d the dance s

ur n th e n s re e n ur e s a s and e re m o s e in th e e m d i g ight p c di g high ch ch f tiv l , which w tly h ld c e te ry if no t within h ur a use f t e , s o th e ro sse s n had re in and th e u m na n f r h ch ch b g t ki d c pt , f l i ti g e dicts o t e suppre ssio n o fso immo ral a us o m e re a so u e n e e ssar u fo r a o n m c t w b l t ly c y, tho gh l g ti e ine ffe ctive . F M T A H I S TOR Y O I LI AR Y M USI C. l

— r is many , incredible facts , with the proceedings of our own time , the e no need for

r great exultation about modern progress . I remembe r to have seen a quad ille done

’ R Sta bat M at from melodies of ossini s er .

‘ R e suniin the g thread of our sketch during the twelfth century, we find a new factor d introduce whose influence acted most beneficially upon the progress of secular music . In the South of France the upper classes were already enj oying the advantages

r of supe ior education , which naturally tended t o refine the manners and soften the coarse sentiments then prevalent . P oetry and music were much cultivated at the

P w as courts of the Counts of rovence and Catalonia, and here founded the romantic

Tro uba do urs Tro ha is P Tro uo eres order of ( in rovencal and in North French) , from troba r o r tro uve r , to find or to invent . Young nobles composed verses which they

' ’ se t and sun also to music g at court or in their ladies bowers . A sentimental court of

th e honour and love was instituted , with extensive and precise rules , and many of principles there taught are St ill the standard of all that is comprehended in the term

R om antic ism .

- o s A restless Spirit guided the order , and any knight errantry by which the col ur “ or devices of My Lady love could be V ictoriously carried through the most perilous n adventures was arde tly pursued . The poems which they wrote were divided into

P S rve n te s Soulas (humourous) , Lais (ballads) , astourelles (pastoral ballads) , y (songs

r o r - whether of p aise satire) and dance songs .

o f Not only were many the highest nobility numbered in the order, but even kings did not disdain to include their names in the membership . P Adam de la Hale , a troubadour in the service of the Count of rovence , wrote several pastoral plays and se t to music the lyrics which they contained . Fortunately

we some fragments of his compositions are preserved to us , whereby are able to estimate

. e the musical standard of his day M . F tis first deciphered and published the following in the R ev ue M usica le at P aris

V C CHANSON FOR THREE OI ES . D M DE LA LE o ut 1 280 By A A HA , ab , e c e re e D iph d by F tis . M T A H I S TO F I I A M SI . 8 . R Y O L R Y U C

vo us ja par ti

’ To modern ears this composition sounds decidedly barbaric ; but there is an

' undeniable advance upon the scholastic music of the preceding age . And though the

’ s Hucb ald s harmonic design evince teaching , the melody seems to emerge with more

m s o t . freedom , and bears pro ise of the result reserved the future The troubadours , s however, soon came to the conclusion that the triple task of poet , c o mpo er, and

s o n e performer was rather a evere , the more so because (as some chronicles inform

w as to se ve n us) it considered necessary for the minstrel play at least instruments .

m a s Although these instru ents are known to us by n me , we are in con iderable doubt R as to their exact nature . The otta , for instance , may have been a kind of fiddle , a in an do lin e " , or a hurdy gurdy , as the name in various ancient works is applied to either . l h urd urd k e ttle druin The fiddle (rotta) , viol , harp , psalterium (small harp) , y g y , small ,

common drum , castagnettes , and bagpipes were all in use . Those troubadours who could afford it engaged some one to do the drudgery for them and a superior

— o order far above the degree of a wandering musician , yet ften taken from that class

“ — o culato re s soon obtained an influential position , either as Jongleurs (j , who could “ ” - Chant e o re s Sing a song and amuse the company like any circus clown) , (singers), “ Estrum ant e o re s or (instrumentalists) . It was not uncommon for the j ongleur to

u combine all these f nctions , so that he could sing, play , and stand on his head if

required . He had to be faithful and trustworthy ; he w as required to carry

o s - , t s o f messages ing the love ongs which his master had composed in praise his lady ,

m s and to a u e a company with all sorts of foolery . The troubadour took great

’

trouble to teach his j ongleur to sing his (the former s) compositions , and one of the

chief points of excellence considered in these retainers was the exact repro duction of

’ his master s style of delivery .

n w ho Thus , if a troubadour enlisted himself amo g the host of crusaders journeyed

o l s to the H ly Land , he could still inform his ady of his constancy by ending his

o r jongleur to sing to her his last song, recite the poem which had been entrusted to

him (the jongleur) to deliver .

A HI S TOR Y OF M I LI TAR Y M USI C.

a W 2 , estminster, p . 3 , which may be inserted here lthough it anticipates the historical

is 1 8 20 sequence by some centuries . It there stated In at Bow Street , there was an appeal made before the magistrates against certain intruders upon their rights by w h o o ne o fthe ancient society of Waits , were regularly sworn in like constables , and

o f s licensed by the authority of the Court Burgesse , being a limited number, with

2 0 s eparate districts annexed to each party . This privilege cost , and enabled them

s t o wear a silver badge of the arms of Westmin ter, and practice their craft from

Novem ber the 2 9th until the end of Christmastide . The society had existed from t h e time when Westminster was a mere village , and the warrants were issued to the

hi n . s s so m embers originally by authority of the High Steward King Charle I . and gave a charter to a society of musicians in Westminster, which held their meetings ” at Durham P lace in the Strand . The great residue of wandering musicians included mountebanks of every d . escription , actors , quacks , and a list of doubtful nondescripts The latter made up “ ” o a considerable item in the com munity of Merrie England , and alm st to within a c entury of our own tim e were regarded by the law and all law - abiding Citizens as nothing less than rogues . The numerous fairs throughout the kingdom were brightened by their presence ; and when they appeared in a secluded rural hamlet they brought with them one of the fe w joys which relieved the almost sullen m on o tony of the lives of th e agricultural classes . Let us now consider the condition of the lower class of musicians on the

“ ” B ut continent . The troubadours belonged essentially to the upper ten . besides

wh o t he se there were a number of vagrants furnished the music of the common folk .

fife s fl Their instruments were , utes , violins , zinken , harps , drums , tambourines , & c . l bagpipes , They often wandered in arge bands , and constituted , on special

' o s s - o rc h e stras th e n a cca ions , the only treet known . What they pl yed remains a

m . ystery to us We may infer that they performed their tunes in unison , with perhaps

o - s a dr ne bass and a va t display of drum .

The oppression of the people by the nobility, the fanatical persecution by the

. o Church of all those who ventured to pr fess progressive ideas , and the uncertainty of

law — the administration , all combined to swell the ranks of the roving classes called

“ ' ” v are n de lii t . o in old German Musicians , acr bats , actors, women of doubtful &c f , . the morals of ered a dangerous element to State ; and , as a whole , they w se t ere certainly a disreputable . But a free and adventurous life had m any c s . th e ir ranks ompensation University students often joined _ , and many of the monks e ven were induced to leave their convents in order to enjoy the wild life - o f a A H I TOR Y o f M I I TA Y M 5 1 0 S L R 0 .

- i D b . u v e rov ng man ecrees had to be iss ed y se eral of the bishops , interdicting thes degenerate priests from performing any of the sacred rites of the Church , unless they

’ had first purified themselves by at least one year s ascetic seclusion in a convent . W n it he ever political events of importance brought together the princes and nobles , was considered necessary by them to engage a select number of these musicians to

n h lend brilliancy to their processions , and to announce their entry into the tow s wit

TO w t plenty of noise . hat extent this was carried on , we may gather from the fact tha

1 1 e at the great council of Constance , 4 4, the princes of Church and State ther

o fif fid l s n o 00 . e s d e assembled had less than 5 musicians in their foll wing , viz , , ,

mm s 00 f o e r . 8 trumpets , trombones , p , and a few singers There were also near ast women , who , upon that occasion , enj oyed the protection of the law . The next

i n 1 1 r Council at Basil 43 had the sam e attraction for the roving classes , when thei

as attendance w quite as numerous .

th e tro ubado urin d About fourteenth century , g had decayed , and , with its kindre

'

- w as . knight errantry , fast dying a natural death

o i t u n e Alth ugh it sounds like a solecism , yet is a fact , that the infl e ce of the gentl music of the troubado urs began to exercise a real influence upon that of the peopl e “ " when the knights of the craft themselves were vanishing .

The j ongleur was of a more robust constitution , and , being emancipated from his former servitude , he started upon an independent career, and multiplied greatly . In

but the exercise of his musical art he still adhered to the better traditions of the past , i “ ” socially he grav tated do w n w ards t o the status of a wandering man though not y e t ” i v are nde lti qu te a vagabond , his absorbtion into the class of t became a matter “ ” . w as no w and of time The gentle art of a higher class made common property , “ ” ” P S rve nte the Soulas, Lais astourelles and y s descended from the courtly

kirm e sse e is hall to the area of the fair, the , and other popular f tes . It easy to imagin e

how great the improvements in the quality of the popular music must have been , resulting from this social change .

’ For a long while the jongleurs preserve d q uite a distinct position in th e soci al

. and organ i zation of the time They were still admitted into the families of the nobles ,

allowed to entertain them with their latest song or trick .

o flic e s o f They also undertook the general newsagents . Always on the move ,

r r r they we e conversant with the prog ess of the wo ld, and were able to inform their patrons of the last political event or social scandal . According to the idiosyncrasies

x of their listeners , e pediency taught them either to invent or give colour to the news t which hey had to communicate , in which art they were as expert as any newspaper

c 2 HI OF M I I TA A S TOR Y L R Y M USI C.

a ff writer of our time is . They often acted as secret messengers in politic l a airs , and

s not infrequently as dangerous pies .

Yet with all these faults the wandering m i nstrels did one great thing : they

o f - guarded the melodies the peop le against corruption , scattered the best dance tunes

i I Va tio na l broadcast, besides nventing new ones , and were thus the conservators of

M usic .

a At last , by re son of their number and their lawlessness , the roving classes m became a danger to the State . Severe edicts were issued against the , and they were de clare d o ue s r g and vagabonds .

Go thlan d Many of these edicts are very curious . In it was enacted that if any d d citizen i an injury to , or sacrificed the life of, a wandering musician , he had to

“

- - furnish a one year old calf and a pair of leathern gloves . The aggrieved party (or ’ s s his neare t relative) was then required to lay hold of the calf tail , having previously

w as put on the glo lv e s which were greased in the palms . The animal then beaten to m induce it to put out all its strength to liberate itself. If the worthy an could

‘ th e manage to retain his grasp of the tail he had not to surrender, but retained calf

i e as compensation for the njury if, however, the calf succeed d in freeing itself, the

“ ” m in greased gloves were all he could clai . If, again , Saxony a rover was

"‘ ” o wounded or maimed by a person of h nest repute , he (the rover ) had the satisfaction of being allowed to inflict the same injuries upon — th e sh a do w of his

n assaila t . Even as late as 1 5 37 it is stated in a compendium of Saxon laws “ Wandering musicians (spie lle ut) and buffoons (gaukler) are not like other people ” the they have only the appearance of such , and may be compared to dead .

' Side by Side with the se latter there "gradually arose a class of respectable

h e w h musicians who settled themselves in t large to ns . When t ey found that the roving people injured their livelihood by playing at weddings and other festive

s meeting , they formed themselves into brotherhoods and guilds for the purpose “ ” i s of keeping the outsiders from encroaching upon their d strict . They signed lengthy documents wherein it w as ordered that every member of the guild was to be

a good Christian , exercising his musical ability either to the glory of God , the Holy

V i “ , P irg n or a patron saint ; that each should annually attend the Court of ipers , ” or Minstrels , and contribute a gift to the Church (generally a waxen t aper for V the altar of the Holy irgin) that they should forbear using profane language , stifle s , w 85 0 m other sin and live as good and orthy citizens , . By these eans they procured n the countena ce of the Church , which had hitherto refused the Holy Communion to ” , a the vagabonds and also obt ined magisterial patronage . 1 A H I S TOR Y OF M I LI TA R Y M USI C. 3

That the progress of m usical even ts mu st have been similar in the larger states

ch a rte r of Europe is evident , in so far that the first for the proper regulation of

1 2 2 mu sical affairs was granted by the German Emperor about 9 , when he likewise

“ ” be r - S ie l Gra e n a m t i nstituted at V ienna the first High Court of Mu sician s (O p f ) , “ conferring absolute control over the professionals of Austria proper “ ” “ P r 1 2 R e x M in iste loru m R o King hilip of F ance , 95 , created a , or y des ” M n s rie rs - n w h o th e o f e e t (Minstrel Ki g) , , at head a properly elected court, had

lawful jurisdiction . Other brotherhoods were established at Strasbourg (Brothers of the “Holy

' w n o o f V in Cro n , u der the protecti n the irgin Mary) , and at Mynach Switzerland 1 u (Brotherhood of the Holy Cross) . At Mainz, 3 5 5 , the Emperor instit ted the “ ” ffi R e x m m Histrio n um th e r o ce of o niu , for better orde ing of the musicians of the R 1 8 the henish provinces , and the Bishop of Mainz extended , in 3 5 , jurisdiction of “ the office to the wandering people as well . The charters of incorporation of these bro therhoods are both numerous and

an d interesting , it is by their aid that we obtain the best insight into the earliest dawn

of instrumental music . “ A similar o fli c e to that of the R ex M in iste lo rum was created in England about

1 38 1 ; and we are informed that during the sway of the early Dukes of Lancaster it

s w h o found necessary that the minstrel , assembled together in large numbers , and

a e c so mongst whom quarr ls were continuous , should be brought under spe ific rules “ ” e a that , for their clos r supervi s i on , governor was appointed with the title of King

and w ffi u his . ith o cers nder command , to look to the execution of the laws A

s — n charter was granted to the said min trel king by John of Gau t , King of Castile and

D 2 2 n d Leon and uke of Lancaster, bearing the date of August , in the fourth year of R the reign of King ichard II .

“ This charter granted power to the minstrel - king of apprehending and arresting all minstrels w h o refused to do the services of minstrelsy yearly on the day of ” U . this in u Assumption of our Lady pon , _ process of time , the defa lters being many ,

' controversies were frequent and it w as at last found n ecessary to create a court that

s o d h uld etermine all disputes and settle contentions between party and party . This

o n 1 6 w as court always met the day succeeding the Assumption , or the th August , and

a s preceded by divine service in the p ri h church of Tutbury . Service ended , a solemn

’ court was held in the castle hall , at which all owing service to His Maj esty s Court o fM e n i ‘ t . usic w re e jo ned to appear, when heir pleas should be heard Two juries ” - fficie n t e st were empanelled out of twenty four of the su of them . The foreman of 1 A H I S TO OF M I I TA M 4 R Y L R Y USI C.

w as s s d each worn, and the teward procee ed to give them their charge , commending

to their consideration the original aim of all music , both wind and string, and

pointing out h o w its use had always been permitted in praising and glorifying

&c God , .

The cause of musical progress , however, was very little served by the institution

of this English King and Court of Minstrels , as it merely confined itself to the

se ttlement of the numero us disput es which were constantly exciting the many

members of that unruly body .

as o w It is recorded that, early as the f urteenth century , certain continental to ns

. o r kept in regular pay a few musicians for the benefit of the citizens At Basel , f fi instance , the magistrates retained three pipers ( stulato re s) who for the delectation

s of the people had to play in one of the quares of the town at stated hours . That other towns had like institutions may be gathered from the magisterial orders which

at forbade more than four pi pers to play the wedding of a citizen .

a Small s these bands appear in our eyes , and utterly insignificant as they were

ff o w e to serve any artistic purpose , yet to these primitive e orts we undoubtedly the

- s f s town band o later day . The unsettled state Of the middle ages made it necessary for every town to guard

u a its own safety . The predatory fe dal Lords were lways prepared , on the slightest pretext , to plunder wherever there was a fair prospect of booty . Hence , special

s watchmen were kept in every town , re iding either at the top of specially constructed

. towers , or in chambers fitted high up in the church steeples They had to sound the

' ’ at s zinke every hour, blow a Signal on the horn , to warn the citizens of an enemy

th e . approach , and raise alarm in case of fire On feast days they played a sacred tune

. to at early dawn , and a secular one at midday In process of time , and combine the w r i ornamental ith the useful , they We e allowed to engage apprent ces whom they

w r u t taught to play on the zinke , fife , sch egel , and othe instr men s , and of whom small

bands of six or more performers were organized . Having absolute authority “ over his fife rs the master was able to delegate his duties aloft to each of them in

firma r . turn , himself retu ning to more comfortable quarters on terra

' Th arm er - th e Although still called (tower m en) , they assumed in course of time

— all functions of communal band masters , and supplied the musical accompaniments at

- - th e Church festivals , the processional music at civic pageants , and the dance music on

occasion of public holidays .

- th e The duties of these tower men in some of larger towns were rather arduous , ' 1 A H I S TOR Y OF M I LI TAR Y M USI C. 5

R o — at especially after the ef rmation , when they had to play three times a day morn ,

/

— noon , and eventide on the balcony of the steeple , a Chorale with zinken and

m o tro bones , in order to remind the townsf lk that their p rayers were due at these “ ” hours . They had the privilege of playing in the Christ on Christmas Eve ; and

o f o fplaying a farewell tune to the Old Year an hour before the birth the New, for

- which they were allowed to collect money gifts from the citizens . It seems that this

h as custom w as also adopted in England , and survived to the present day in the

9 , “ w as shape of waits . In the sixteenth and seventeenth centuries it the singular duty of the watchmen in several German provinces to “ blow in (announce) the arrival of the stork. As this migratory bird always returns to its old nest at about th e middle of March , and as the communal schools were closed on its arrival , it may beimagined with what anxiety the young scholars looked for the coming of the bird

e which was to releas them from the drudgery of school . If the watchman was able t o announce the happy event without loss of time the magistrates made him a ” present, besides which he was allowed to draw an cymer (large pail) full of wine f o R o rom the cellars of the c uncillors ( athskeller) . We may theref re safely conclude

- t hat he looked as eagerly for the white feathered traveller as the children did . The “ ” t - fife rs o own are als mentioned as having assisted at the performance of Mysteries ,

“ r P o sacred plays . They escorted the players of the assion of Christ with tubas

R Om e r latz r (trumpets and horns) to the p of Frankfort , where in the fifteenth centu y

“ n at p erformances were often give . Another record states that the procession formed “ ” to celebrate the Mystery of Good Friday two mounted journeymen thiirm e r

“ ” - played most dolefully upon muted trumpets , to the great satisfaction of the b eholders . Would space permit I might give many other interesting facts in c onnection with these bands . ff “ After awhile the di erent terms thurmer (watchmen) , stadtpfeifer (town ” fife r stadtm usic us - ) , and (town musician) , became synonymous , and the distinction b w as o its w- etween them forg tten . Nearly every town of average size had to n band , and the rivalry which existed between them brought wind - instrumental music to a c r I t m ommendable deg ee of perfection . see s that at first the honour of maintaining

“ ” a band was granted for a consideration , and the large imperial towns which

a w as desired such grant had to p y for it . Of course , in the good old times it c onsidered quite right to exact a toll upon anything which could possibly be construed

“ ” “ ” “ ’ o r r as a privilege or a grace an indulgence . But su ely the following is o n e of the most extrao rdinary impositions on record the agricultural populations in r6 A HI S TO OF I II I LI TAR Y M SI . _ R Y U C

m S clavo nic r n B ohe ia and other provinces , although g ou d down to the lowest depth

f u o f s an d o misery by their fe dal lords , were nevertheless passionately fond mu ic “ m dancing, the latter being almost their only relaxation . But their lawful asters

‘ did not even allow them this enj oyment without paying a tax . One day was yearly

“ app o inted on which the rural dependants were commanded to assemble near the

’ ’ ’ o rce a a a n in s c c . s Ca tle and give their hief a day s f g It is recorded that thi labour,

e u kept up from dawn to sunset unc asingly, and nder the strict superintendence of a

m w as - m cruel task aster , so severe , that when the wished for evening came , any of the dancers were so utterly worn out that they h ad to be carried away or brought home

in waggons . In a kindredSpirit was the law which reserved the sounding of a trum pet for only ” noble purposes . From the earliest times this instrument w as associated with religious and stately

s . pageants . I ts tone is brilliant and inci ive It was therefore annexed exclusively for the use of kings and nobles . m The town bands which were in existence were not allowed to employ tru peters ,

- no r kettle drummers ; and , whenever the rule forbidding such employment was infringed , f heavy penalties were i mposed by law upon the o fending town . The guild of

m fie ld- e s w as o tru peters and kettle drumm r of ancient ori gi n , and the Elect r of Saxony i its . was hereditary patron , and had jurisdiction over it throughout the emp re The “ m tw o m me bers divided themselves into distinct branches , viz taught tru peters and

w h o an d untaught ones . The former comprised all had been properly apprenticed ,

i i w h o had obtained diplomas after from 4 to 7 years good tra n ng the latter, those

m s y w ere simply field trumpeters and dru mer , accustomed onl to sound the usual

ou r r. w cavalry signals , much in the same way as modern cavalry trumpete s The lo er

n o n o r grade were t permitted to play in the same band with the higher, even to sound e their instrument at court , or at f tes . The duties of the higher grade were many and strictly regulated and they enj oyed

e many advantages . They j ourneyed with their lord , and w re required to play brilliant

s a n a res v . w tune , called f f , whene er he entered a town or a castle They ere often

c o mmissioned to procure convenienc es for the R oyal household when travelling to

’ ac t as heralds , and to stand behind their masters chairs at dinner, after having

- s anno unced the meal time with a fl o urish on their trumpets . They were al o often

i ffi r engaged on confident al services . They had the rank of o cers , wore the feathe

o o . of n bility in their caps , and were provided with horses and gr oms How much they were appreciated is evident from the number employed at all the great

1 8 A H I S TOR Y OF M I LI TAR Y M USI C.

The introduction of trumpets into the town - bands had a beneficial influence

- ff upon the progress of wind bands in general . New e ects were produced , and a

ri r of fife s o mm e rs hitherto unknown b lliancy w as lent to the sobe tones the , p , zinken ,

' s s I t 1 2 6 hawm , and trombones . may be safely asserted that by the charter of 4 a

n e w w as era had dawned upon the musical horizon . Though the progress but slow ,

“ t h e o a fetters were removed , and the r y l instruments , which till then were

c f r onsidered to be too dignified o r the use of the common he d , were disciplined in t h e v ser ice of art , instead of being utilised for mere show . Other imperial towns m anaged during the course of a century to obtain Similar grants , and were also

“ ” a llowed, on payment, to blow their own trumpets , when the distinction eventually l ost its value and the trumpet its royal flavour . In the Second Section (Old Instruments and their Successors) a few specimens o f trumpet music will be given .

With reference to the instrumental music of the early ages , it would be useless t o i a rtistic deny that what has been handed down to us s of but very little value , and is of interest only to the musical antiquarian or the student of the early history o f musical art .

as o mm e rs The custom of having each class of instruments , such flutes , p ,

“ ” &c . bassoons , trombones, , made in choirs , or sets of from four to six different s izes , each of which had a designation the standard of which was furnished by the

— — - - - : k m &c . human voice for instance dis ant po mer, alt pommer, bass pommer, was r t a her injurious for instrumental music . The capabilities of ancient instruments were very limited , the intonation faulty , and the compass small . An admixture of i ff t o n e c o lo ur w as nstruments of di erent classes , for the purpose of obtaining a richer ,

rarely attempted . Hence most of the specimens of instrumental music , even by the b ' t est masters of ancient times down o the era of the Bachs , are after the style of v r ocal music , generally in four parts , and of very poor construction . Farthe on we s hall again have to refer to this subj ect .

r Composers of superio talent wrote almost solely for the organ or the lute , and

a d large number of works for these instruments , ating from the fifteenth to the

e ighteenth centuries , have been preserved . The most valuable collection of dances , b ‘ & . c & c . allets , airs , overtures , , , giving us a very fair estimate of the character of “ c is P hilido r French instrumental musi at that period, the Collection , to be seen

in P P hilido r v . A ndr D the library of the aris Conser atoire e amian ( ) , a musician in

— o V o . XI . the c urt band of King Louis , made it his hobby to c llect all the instrumental

fift - music he could possibly obtain . At his death he left y nine folio volumes , each I 1 A HI S TOR Y OF M I LI TAR y M US C. 9

- six , one copied by himself. Unhappily twenty volumes are lost and it certainly inclines one to moralise on the perishableness of h eirlooms of this description when

- a we hear that a subordinate offi cial of the above mentioned institution , who was also r r 1 8 20 six l fo bookbinder , in the yea , used of these price ess volumes as material

- , binding other books . Nevertheless , there are thirty three volumes still in existence

and and for purposes of re ference and study they are invaluable . The overtures

is airs are mostly of two short divisions of eight bars , and there a remarkable

1 0 h as - t sameness in all of them . One piece , dated 54 , a faux bourdon accompanimen

. consisting of one chord held throughout , like the drone of a bagpipe

— It is truly surprismg to find instrum ental music — especially for w ind lying idle a for so long a time . Every other art by the seventeenth century had re ched a grand "

s w as . elevation , whilst thi branch almost absolutely ignored Until the good Cantor

its and n o o ne S . Bach and his contemporaries explored hidden beauties possibilities ,

W h as seemed to have given it a thought . ithin our own century only music written

- m o f specially for a band of wind instru ents extended its realm , and since the time

Joseph Haydn so rapid has been its strides that it might seem the sleep of many

centuries could alone have endowed it with its glorious potentialities . Wind

m th e instrumental usic , notably that of the people , and military music are but

creations of yesterday .

s s In closing this chapter I append a few pecimen tunes , and from the date

- affixed it will be easy to observe how slow w as the progress of wind instrumental music .

As many amateurs may not be altogether accustomed to read music in the old clefs ,

I have given beneath the original notation an exact reproduction for the pianoforte .

L A D MAGDALENA . Basse ance .

Fo r Fo ur I nstrume n s no t s e e r 1 0 t , p cifi d , u s e at s, 53 P bli h d Pa i , I I V A H I S TOR Y OF [ MI L TAR Y USI C.

Th e Lu e ar as ite ra e re re n e re was rs u s e and th e ns rume nta s o re is an t p t, l lly h d d, fi t p bli h d, i t l c arran e me n o fth e same ma e su se ue n g t , d b q tly . HI T M I TA M I A S OR Y OF I L R Y US C.

s th e b ut Far uperior to the last is following composition for instruments , w h a t instruments , is not mentioned

SY M P H O Ni E A Si x .

R L NDO SSO e o f 1 6 th ntur O A LA (middl ce y). A H I S TO OF M I I TA M R Y L R Y USI C. A OF M I I TA M 2 H I S TOR Y L R Y USI C. 3

C P i E CE . Air e H au FREN H d s tbo is. Co mpo sé par MARTIN HO TTETERRE (abo ut

P IANO .

2 6 A H I S TOR Y OF M I LI TAR Y M USI C.

R A D R R I I . ANCIENT INST UMENTS N THEI SUCCESSO S .

O NE of the best writers on subj ects connected with musical history , Herr Guido “ Adler, says The history of instrumentation is most intimately connected wi th the

t u se history of musical instruments , their construction and heir ; these must always form an important aid in the science of musical history . I will endeavour to trace

r the evolution of our present inst uments from their rude original types .

— I t be re a un e rs o t a the ar e am o f o ns r m h — ( will dily d t o d h t l g f ily vi li f o t e do uble bass upwards the to ne o f is ro u e t a bo w th e am o f ar s u es u ars e rs e re th e which p d c d wi h f ily h p , l t , g it , zith , wh to ne is pro duce d by t an n th e s r n th e am o f e m a o s and ano e re th e s r n s are set in m t w gi g t i g ; f ily c b l pi , wh t i g o io n by pe rcussion ; tho se nstrume n s o nsist n o f a num e r o f e s e rmane n e and o n th e m i t c i g b pip p tly fix d, bl w by e chanical applicatio n o f

— e o s a e o r ans &c . do n o t o me t n o ur b ll w , c ll d g , c wi hi pre se nt limit. )

Wind instruments may be roughly divided into three sections . The first consists of all those instruments of which the tone is the result of a column of air being set into resonant vibration by a stream of wind striking against

r an edge at the moment of ente ing the tube , and comprises all pipes and flutes .

P LATE I . I Y M 2 H I S T F M I TA I . A OR Y O L R US C 7.

The second embraces all those instruments the tone of which is produced by “ the vibration of a thin piece of cane , wood, or metal , technically called a reed ,

w d . hich may be single or ouble It includes all kinds of Clarinets , oboes , bassoons ,

and bagpipes . The third section consists of those instruments upon which the sound is produced

la e f e - h se t by the lips of the p y being p ress d against a cup s aped mouthpiece , and

. s into vibration by the air blown into the tube This clas includes trumpets , horns , “ trombones , zinken , and a multitude of others , all roughly designated brass ” instruments .

In each of these main divisions are contained small sets of instruments ,

— to n e c o lo ur w e S characterised by the speciality of a pronounced , which hall treat of

separately .

i “ i fur h e r d h There s t an ad itional order of tools whic , if judiciously used , are

and i is . of considerable value , of wh ch the tone produced by percussion This d e includes kettle rums (timpani) , Side and bass drums , cymbals , triangles , glock nspiel ,

& c & c . . , To give an exhaustive history of all these instruments would far overstep the limits w ithin which I must confine myself. The origin of many is shrouded in

w h o as the mists of antiquity , and such persons may wish to trace it back far as is

’ “ i c an poss ble obtain trustworthy information from Marin Mersenne , Harmonie ” “ i e & c 1 6 6 h Un verselle , contenant la Th orie, . , 3 ; Sir j o n Hawkins , A General

“

and P 2 . History of the Science ractice of Music , vols , new edition , London ,

“ A ribr . N Co . . . o s ovello , Ewer, ; A W r , Geschichte der Music , 5 vols , Leipzig , ’ 8 F o rk e l 1 8 . . 1 8 2 L an h an s s 2 . 8 , with g continuation of the same , vols , Leipzig, 7 T N , “ i d P l m e ne e 2 1 8 8 . A l e e . g Geschichte r Music , vols , 7 Also rintz, Historische ” ” s n 1 6 0 e e &c . Be chreibu g , 9 and last , but not least , F tis , Histoire Univers lle , :

For my present purpose , however , I think every requirement will be met if I

confine myself to the last five cent urie s .

— FI R T T FLU T S. S SEC I O N . E

a u a b e c u h d . Fl te , fl te douce (Frenc ) ; flauto dolce , or flauto iretti (Italian) ;

Sc h n be lflo e te lachfl o e te P lo ckflo e te ( . recorder (English) a , F _ , or German)

P late One of the oldest kind of flutes is what in England was simply called the p ip e

* To sa e s a e an re e re n e to th e ustrat o ns be s m n ate a num e r w o ut the ( v p c , y f c ill i will i ply i dic d by b , ith o u be re e rre to e n th e r o f ate I . &c . un e ss an ustrat o n o uts e th e m t o f th e a e r S , p e fix Pl , , l ill i id li i ch pt h ld f d wh

n m Plate co ntaining it will be a e d . ) 2 8 A HI S TO OF M I I TA M I R Y L R Y US C.

' ' e nd tw o which had only three holes at the extreme , for the first and second fingers

-A fo r . e and one underneath the thumb scale could be produc d from C to G , or an

e ffi o ctave and five notes . It seems strange that thr e holes should su ce to produce a “ ” . o h a rm on ics complete scale It is , h wever, easily explained . The on a flute are

c an r On the pipe the lowest note sca cely be distinctly produced , and for practical

purposes the scale begins with the second one , and the intermediate notes betw een the harmonics are fingered thus

0 0 O - O 0 O C Q 0 0 O Q O O O C O O Q Q 0 0 0 O O O O O O O Q 0 Q

lVith - fin e rin a little cross g g the chromatic intervals can also be contrived . In

“ ” t - ta bor conjunction wi h it , the player b e at a small sized drum , called a . This

“ ” species of minstre lsie - was very popular throughout

th e Europe as far back as thirteenth century, and numerous allusions to the pipe and tabor may be found

in old books . There were actually several sizes of this m instrument ade , so as to admit their being played as a

“ ” e w as conc rt , or choir The pipe held in the left

o f hand , on the arm which hung the drum , whilst the

right hand was used for beating it .

w as Ga lo ubet The French name , the German h h m z c w e e l. t e rm S c w e e l Sta en tie npfe jfi or S g (The . g was

formerly used to designate the bone from the knee - joint to the fo ot ; and thus w e are able to form some idea of

' the m at e rial o f which most of these ancient pipes were

made . Classical scholars will remember the same double ” use of tibia ) An old musician assured me that in his

n Pipe a d Tabo r. e arly youth he knew a very old gentleman wh o yet played M I A HI S TOR Y OF LI TAR Y M USI C. 2 9

the pipe and tabor ; the latter had three or four horse - hairs stretched over the

”

- bottom skin (similar to the snares used on the modern side drums) , which produced a soft kind of buzz, and he also maintained that the Oxfordshire proper name of the ” w ttle n d du instruments was h i a b.

m v the Fro the ele enth to the fifteenth century, when dances were sung, tabor

m . was often the only instru ent used , and merely regulated the rhythm of the dances D uring the fifteenth century the bagpipe became more generally known , and by its powerful tone , appealing to the robust senses of the multitude , it soon pushed the

'

r . pipe and tabor out of use , installing itself as the popula favourite

u a be c R e corde rs The Fl tes , or , according to the usage of the time , were made

ff the se t its . n in di erent Sizes , forming a band of own class They were amed

‘ : E x ile n t 1 an d D iscan t 1 1 A lt respectively (two sizes , 3 (two Sizes , and

Te no r B ass and Gra nd B ass - F lute The four latter had

— fl ute metal tubes inserted in the top , which in the case of the grand bass was 3 5 inches ff in length . Being inserted above the sounding slot , it made no di erence in the pitch of

“

r . the instrument, se ving only to convey the breath to the sound hole The compass

e f V irdun of each of these flutes was , according to F tis , two ull octaves g, Agricola ,

P re at o rius . and , give it as two notes less It seems that sometimes the name of “ ” “ ” - flute Alto and Tenor was given to designate instruments of the same pitch , “ ” “ which also was the case with Basset and bass flutes . Pre ato rius however distinctly states that the eight‘ kinds named above descended from the highest to the

. t a lowest by the interval of either a fourth or fifth However tha may h ve been , it is certain that the distance from the lowest note of the grand bass - flute to the highest of

s - flute the mall plock , or exilent , comprised the very extensive tonal reach of from

8 7 m.

Up to within a century and a half ago , the beaked fl ute was

” u regarded with great favour by amateurs , for playing in consort q artets or

s quintet ; frequently, too , vocal compositions , especially madrigals , were thus

si u ‘ performed , to which the divi on of fl tes into discant , alto , tenor , and bass, adapted

i . o tself The practice of comp sers of instrumental music , two to three centuries ago , ff was to indicate the pitch of the di erent parts by the clef only , and let the performers

m . a 6 choose the instru ent they liked best The sinfonia , by Orlando Lasso , pre viously “ ”

r P . se t u given , is a p oof of this . In late I a of fl tes douces , with case , are given (9 to I 4)

- flute s The bass and great bass , however, were possessed of a serious defect . The I 30 A H I S TOR Y OF M I L TAR Y M USI C.

fin e r— r g holes had to be adjusted to the capacity of the reach or st etch of the hands ,

r and , as seen in the illustration , instead of being placed at the prope acoustic position

n w as on the i strument , had to be placed close together, though this to some extent compensated by boring some of the holes in an oblique direction . To p lay in tune w as

i s u almost mpos ible , and the scale had to be reg lated and managed by the delicacy or m force of the breath and the tone was very soft . The instrument ight be compared

’ ’ s to a giant with a baby voice . To use George Elliot s description of her pug , it had

Th e fl a e o le t 6 k d s absolutely no bar , but sneeze powerfully g ( ) belongs _to this class of instrument, though a comparatively modern addition . French musicians were very partial towards it ; and even now with them it forms a frequent adjunct to the

’

r . fla e o le t blo c kfl o e te n orchest a in dance music Indeed , the g is the last survival of the , which last are now only an object for the admiration of the antiquarian . Many fine

1 8 0 specimens were brought together at the Military Exhibition held in London in 9 , and an ample opportunity w as affo rded for the study of a subj ect in regard to which

few musicians have a comprehensive knowledge . The descriptive catalogue of the

D a is a m t C. R . wind instru en al collection of the Exhibition , compiled by Captain y , valuable contribution to the literature treating of ancient and m odern instruments . ” It has been frequently stated that the tone of a R ecorder had a s o o thing

is in influence upon excited nerves . A rather humorous anecdote recorded

“ ’ confirmation of this assertion , and though it h as nothing to do with the subj ect in m hand, I cannot refrain fro relating it .

At th e time when the pacific atio n of the disturbed districts of New Z ealand was

' “ o f slowly progressing, partly by force of arms , and partly by the active exertions

“ missionaries , Who succeeded in converting some powerful Maori chiefs , it was observed

r that one of the converts possessed a very neatly carved flute of bone , which , wheneve

o he he was tr ubled by great depression of Spirits , would bring forth and retiring to m t c u so e quiet corner of the set lement , produce a sort of wailing hant pon it , with the

‘ e s r o . invariabl re ult of estoring his g od humour . The good missionary ascribed these fits of melancholy to the awakening fervour of religious convictions in the mind of the chief, and the soothing influence of the sounds of the flute to the power of music over the

' “ i h e . v savage breast One day , obser ing the Maori again at his musical exerc se , went h him . and spoke to , saying that music was a great and divine gift The chief, w ile assenting to this general proposition , qualified it somewhat , to the consternation of

— w as the minister , by the relation of the following Many years ago before he converted to Christianity, he waged a deadly feud with a neighbouring chief, whom ,

m a e . after uch sanguinary fighting, he t last succeed d in killing By eating the warrior

P LATE 1 A HI S TOR Y OF M I LI TAR Y M USI C. 3

his tribe enj oyed a dainty feast , whilst he , with his own hands , made the flute out of t h e thighbone of his enemy and h e n ce the reason of its Soothing influence .

6 u trav e rsie re s . The next class consists of the varieties of the fl tes or “ ” P i s late I I . German flutes , now simply termed flutes . ( ) Their tone produced b - y the lips blowing directly across a lateral mouth hole , and a very great

a is r blo ckflo e t e n t e dvance thereby made upon the p eceding , since , by h flexibility

’ o f the player s lip s in close pressure to the edge which sets the air in resonant

m nd i - . 0m a s v c . ibration , absolute , gained over the most delicate tone shade The m ost ancient variety is a short fife called S c hw e iz e rpfe iff or Z w e rgpfe iff (Swiss

fife D - 1 1 o ld or warf pipe) ( ) which with very slight improvements on the pattern , is n u a d . 1 still used in dr m fife bands of the Army In fact, our modern piccolo ( ) is an

S h e iz e r f iff n c w e . Th e improved form of the p old flutes were Simple instrume ts , with

n o 6 d keys ( to But gradual improvements , the complete recor of which would

b e o ne s rather tedious , have rendered it of the best modern instrument , alike of ,

- 2 service to wind bands and orchestras . In the accompanying illustration , ( , 3 , and 4)

c an as . be traced the gradual addition of new keys , added from time to time Like

th e - flute s w as preceding block , the transverse flute made in various sizes , forming a sort

o f - flute 6 D t h - flut e choir, consisting of bass (5 and ) in , an oc ave lower t an our concert , and

o f about 50 inches in length ; tenor- fl ut e a fourth higher in G ; alto in D

‘ o ur present flute diskant in G a fourth above the preceding one and

z w e r f iff 1 1 as bit s e w . ometimes , but not often , the gp ( ) added A curious of music for “ ” “ ” a r flutes is the following Toccat , forming the ove ture to the opera Euridice

P e 1 600 a r e o f c omposed by ri in and performed at a m r iage f te of the court Florence . ” ” O ulibic h e ff his r , in Life of Mozart , draws attention to this Overtu e , and ’ “ c ompares it to Mozart s Overture to The Magic Flute , thereby giving a striking

illustration of the immense progress of instrumental music .

Z I NF O NI A . (Overture) , from EURIDI C E

ER 1 . P I , 600

T LU I S F TE .

2 ND LU E F T .

3RD FLUTE . 2 A HI T F M I I 3 S OR Y O L TAR Y M USI C.

f d The dif erent kin s of flutes now in general use are , for

orchestra : piccol o and flute in D (the pitch is named from t h e

note sounded when the six finge r- holes are Fo r wind

B a . bands , there are piccolos in F and , and flutes in the same key

To obtain a more even and powerful tone , many were the devices

’ and inventions ; but Boehm s invention has proved the most

an d s valuable sati factory . He Slightly altered the bore , and

fin e r- o h covered every g h le with a key , aving made such holes , as

- well as all other key holes for chromatic notes , of equal Size , but of

larger diameter than they had been made hitherto . The result is

n in str an equal and powerful to e , throughout every octave of the u

. His fio f instr ment system , however , alters the fingering the old u

ment so much , that players accustomed to the latter rarely feel

inclined to take the great trouble of adopting it .

SECO ND SECTI O N . Instruments upon which the tone is produced by the vibration of a single or double reed : The practical musician divides these roughly into two main

s division , namely

u n Sin le re e d instr m e ts . D o u ble re ed instrum t g e n s . R Chalumeau or Shawm . acket . Anc i ent Bagpipe , drones . Krumhorn .

s . P o mm e rs Clarinet (all kinds) Ancient . W s . a h t . Modern Corno Ba setto y (Waits) .

o . Saxoph nes Chanter of bagpipe .

o - Ob es and Cor Anglais . Modern

Bassoons of all kinds .

M o de rn Flute .

P LATE III . A H I S TOR Y on M I LI TAR Y M USI C. 33

A t nother division of reed instrumen s rests upon an acoustic basis , and classifies

’ I m n the into those having a cylindrical pipe or bore , and those having co ical pipes r ff or bore . A ve y important di erence exists between the two , inasmuch as the harmonics of each set are as follows

n dr a P i on ica l P i e . li ic l, C Cy pe . p

h n fth e co n c e f h s e e n t o e n at ot e n s. t e e t o but c o se at o ne e nd. so c n r c e o t e , ) (Half l g h i al pip , l d ) (Al yli d i al pip am l g h p b h d

Harmonics , or proper notes Harmon i cs

? c C C b &0. 6 b &c . E b c , g, e , , d , , , g, , , E, , , d , d Sin le R e e d. R e e . Sin le R e e d. D o u ble R e e d D o u ble g . g

- Ch allim e au . Krumhorn . Saxophone Oboes and Cor Anglais . R Bagpipe drone acket . Bassoons .

Clarinet . Chanter of bagpipe .

. W a Corno Bassetto yht . P ommer .

“ ’ Sh aw m . o r The most ancient reed instrument is the This shepherd s pipe ,

- R ca la m us w as treble pipe , was by the omans called (cane , or reed), which corrupted

Ch a lum ea u Sch a lm e and h into the French , the German y , the English Shawm . T e

i a a ara ri Italians call it pf r and the players p if . Sometimes one se e s in the streets a couple of Italians , one playing upon a small instrument almost identical with the

z am o nia Shawm , but called a p g , whilst the second man manipulates a bagpipe bearing " dro n e b ass the same name , upon which , to a , he adds a perpetual figure of arpeggio of ff the tonic and dominant chords . A genuine old melody for the pi ara and cornamusa (another variety of bagpipe) is introduced by Gounod at the beginning of the third ' “ R act o f his Opera Mirelle . The omans nicknamed the calamus gingr in a (from

in ir w as r e . g g , to gobble or cackle like geese) , and the appellation certainly no libel

w as l r In the middle ages the instrument made of wood and in various sizes , the arge of which received the name of pommer (Engl . bombazet) . The nomenclature of those

is ff f times is very uncertain , as one and the same instrument di erently named in dif erent c ountries . Thus in very early times th e Shawm was in France called hautbois While the

w as b bo mbix d pommer also called bom ard , bommert , , bombar , and bombardo , from

L humn the atin bombio , to or buzz , which exactly describes its peculiar tone

A S w as the fashion in bygone times , the pommer was made in a variety of sizes , so as is to form a complete se t or choir . The compass of these instruments very “ se t limited, reaching only two notes above an octave . A would include the small treble schalmey discant alt tenor bass pomm er and some

- ~ - a do e l uint r w as . times gross pp q pommer (g and double bombazet) , added

w as 1 0 8 h . This latter instrument of great dimensions , measuring feet inches in lengt 4 A HI S TO OF M I I TA M I 3 R Y L R Y US C.

l The fu l choir embraced a compass from the contra F to d . I have

o read , but cannot call to mind in what w rk , that at a certain ceremonial procession one of these double p o m m e rs used in the band w as carried

- on gaily coloured ribbons by two men , whilst a third man fingered and

’ blew it . One can easily imagine the quality of this giant s tone . In all

bands of any importance these instruments formed an essential part ;

md o mm e rs fife s p , , zinken , and trombones were generally united to form the better class of town bands towards the beginning of the seventeenth

.

century . By Slow degrees the Shawm has at last reached a state of

in rina almost perfect construction , and out of the ashes of the g g arose

obo e . the , one of the most delicate instruments of the modern orchestra “ The tenor pommer merged into the beautiful c o r- an glaise I with

“ ” - bassoo n . its weeping tone , and the bass pommer grew into the

fEsth e tic d Schubart, in his der Tonkunst , en eavoured to

compare the characteristic tone - colour of different in struments to a

n correspondi g type of humanity , and calls the oboe the beautiful

coquette of the orchestra , whilst he likens the bassoon to the comic man

- of society . (An alto oboe , named oboe de caccia, was known and

’ employed in Bach s time . )

a o o mm e rs Many modific ti ns of the p are in existence , but the

- variety in Shape doe s not bear an equivalent variety of tone colour . “ ” — n Figure 9 is called a bass musette . The bore of this i strument is more conical than that of the po m m e rs ; yet the tone is very little ff No . 1 0 . s 1 2 di erent , I I , and Show the gradual progress in the evolution

of the oboe .

c . ir . Another cho of instruments of very nearly the same tone

and fingering as the above , but of a rather superior construction , was

basan elli V called from their inventor, a celebrated enetian performer

’ P a and composer : johann Bassano by name . r etorius says they had a

th e o mm e rs more delicate tone than p , and their compass reached I 3

e not s of the diatonic scale . The said choir ranged in compass from

“

- C on the bass to g on the discant basan e lli.

n An i strument very similar to our bassoon , called fagott,

P la te I V. w as , three centuries ago manufactured in a numb er of

ff - o - di erent Sizes , and comprised double basso n , doppel fagott , (German)

the lowest n o te of which was contra G ; open chorus bassoon o e rn M d Obo e .

I A HI S TOR Y OF M I LI TA R Y M US C. 3 5

ko rth o lt covered chorus bassoon (sourdines) ; (also called dolcian , and in English ,

— ko rth o lt S ingel ) , tenor alto and discant or exilent fagott, both smaller than the ko r h l a c u f t o t . w s t o In their ancient shape , the double tube into a solid piece

six fin e r- woo d connected at the bottom by a metal tube . It had g holes and only two or three keys . Its compass was extremely small , comprising about one octave

fin e r- and a half. The larger S i zes were seldom in tune , the g holes , like those on

- - flut e . w as the bass block and bass pommer, being too close together However, it a

r its m e g eat favourite with musicians , and tone seems to have been or delicate than that of the pommer it was therefore more frequently - employed in combination with

“ do lc ians vocal chorus . Another Species of bassoon called (sweet sound) had its mouth covered with a perforated cap , which softened the tone . There is a great likeness in all these i nstruments , their compass , fingering, production , and character

in v of tone being e ery case almost identical , and their Shape simple varieties of the old Schalmey .

d. A most curious kind of bassoon called rackett or rankett consisted of a stout round or square cylinder of about 1 3 or 1 4 inches high . Inside of this nine tubes lay

a s b p ar llel to each other connected at the end by ent metal joints , and thus forming

n within the bass racket a continuous tube of nearly I O feet in . le gth . Several holes

“ bored in the body of the instrument communicated with each section of tube , and as these holes were at various positions round and about the racket , many of them could

be . t not be fingered , but had to closed with the soft parts of the hand It mus have been a most diffi cult instrument to - p erform upon At the top of the central tube

w as v a broad bassoon reed inserted , while the Opposite end of the tube was co ered ,

th e do lc ian s . P a w as as in the case of , with a perforated cap Even r etorius , who

u o u s acc stomed to the imperfections b th in Shape and tone of the old instr ment , could

“ ‘ ’ sa . He not y much in its favour describes it as having a very Still (dull) sound ,

— somewhat like that produced when singing through a paper covered comb , and having only as many notes as there are holes in the body but a go o d m aste r will be able to

h ~fi t e rst . and produce a few notes over octave If combined with the viol de gamba ,

‘ M e r . se nn when a full choir of them play, it is very sweet to listen to e s calls this

cerve la t h instrument a (sausage) , and describes a smaller kind , of but 5 inches igh

“ Hawkins relates that one of these instruments w as manufactured for the Earl o f “ Aberdeen but it did not answer expectations by reason of its closeness the interior

and d parts imbibed retained the mo i sture of the breath , the ducts ilated , and broke . ” In Short , the whole blew up .

' A t th e close of th e sixteenth century Canon Afranio at Ferrara invented an instru F 2 3 6 A HI S TOR Y OF M I LI TAR Y M USI C.

m Alban e sio ment which he named P h ago tu . His nephew published a description of it

1 l so in 539, with an il ustration . It looks much like an organ , and was cumbersome

that one man blew it with a bellows while a second fingered it . All , or nearly all

musical histo rians agree that in order to make the great bass pommer or similiar ’ s a o instrument more comp ct and more comfortable fr m the players stand point ,

8 l 2 fr Canon Afranio conceived the idea of cutting the to . long tube of the bass

“ and pommer in halves and tying them together ; that this tying into a bundle (Italian , “ ” n h a o tum v . fagotto) ga e the name to the instrume t Looking at the p g , however , one cannot help smiling at the idea of its being handier than even the most gigantic

- m bass po mer ever made .

But we have to consider that as early as 1 550- 78 the Nuremberg instrument maker

S . Schnitzer produced such fine fagotts (bassoons) that they were in Special request

with the best players all over Germany . It is not probable therefore . that the Short ffi . 1 1 0 interval which elapsed , viz , 539 to 5 5 , was su cient to popularize an Italian

w e m invention to such an extent as to make it universal , and I am afraid ust relegat e ’ “ ” Canon A franio s tying the fagot to those venerable myths whose only charm i h consists in their antiquity . The Fren ch word bassoon s derived from the use to w ich

w as o the instrument put in playing the bass parts of the Hautbois ch ir . The basson

’ ” d hautbo is 1 1 P V (No . on late I . ) represents a bassoon of the beginning of this

. 8 c o ntrafa o tt . century , while No is a g of the same time

is f v The contrabassoon a most ef ecti e instrument in large orchestras , but more

o f especially in military bands . For the former purpose the kind made wood is the b est but for the latter the metal one is preferable It has a powerful reedy

tone , and forms a fine bass to the choir of reed instruments . Of course the original

h as t construction of bassoons to some ex ent been gradually departed from , and it is

o ur u only in time that it has b een bro ght to the state in which we possess it .

a sa rruso Another instrument of a similar kind , called fter its inventor, Sarrus ,

h o nes m p , consists of a conical tube of etal , several times curved about itself, and h i n e played with a bassoon reed . With t is nstrume t the inventor want d to supplant

s - i s n . the oboe and bassoons military bands Its tone , however, posses es neither the

a t e n f ch racteristic timbre of the one or h other , and bei g even more di ficult to keep in

v order for military band purposes than either of the former, it has ne er come into

. in or : e general use This also is made a choir of six seven sizes soprano in h, soprano

ha o t in e h bl7 Eb B E in , c n ralto , tenor in , baritone in , bass in 17, contrabass in b, and B r contrabassoon in .

e . All the preceding instruments are , or were , played by placing the reed

P L A TE V A H I S TOR Y OF M I LI TA R Y M USI C. 3 7

d r . between the lips , whereby due comman ove the Shading of the tone is obtained

But the next few instruments (P la te which deserve only a passing notice , have ,

Th e with the exception of bagpipes , long gone out of use . peculiarity which

w as distinguished them , that their reeds were enclosed in a kind of box or capsule ,

o int which the performer blew This , naturally , took away all command over

‘ e a . the quality of tone , which resembled that produc d upon the chanter of bagpipe

‘ : hrumbh brne r curve d h o rns 1 2 They were named respectively (German) or ( , , 3 , “ ” as and horth o lt (which w a sort of bassoon with a muted or covered bell ,

sch r a ri . mentioned before) , and a smaller sort of pipe , named y , literally screamers

The lowest note on all these instruments was excessively harsh , and to soften this ,

- n d and also mellow the general tone of them , the bell e was either completely closed

‘ o and a small hole b red at the side of the bell , through which the deepest note

K o rth o lt s ounded , or they had a p erforated cap put over the bell . and schryari

krumbh o rn -w as m dropped out of use a long time ago , While the still e ployed to w ithin the middle of last century, and was in olden times a favourite for sustaining

h ‘ krumbhdrn e r t e . As accompaniment of vocal choruses shown in the illustration , , “ ” ” like most other contemporary instruments , were made in a choir, or concord , of

ff - f di erent Si zes . Instrument makers o olden times were fond of giving new names to

' any deviation from the accepted pattern ; hence arises a rather extensive list o f

r t d inst umen s , bearing all the characteristics of those alrea y named , but the nomen c lature n of which is apt to co fuse the student of this subj ect .

ba i e is The gp p , although utterly useless for orchestral p urposes , nevertheless an

its a e important instrument , firstly on account of venerable g , and secondly on P account of the great popularity it always enjoyed with the masses . rintz in his “ ” D . is Musica Historia says that the bagpipe is mentioned in aniel iii 5 , but it not

so . in the English version of the Bible He , however, gives a Hebrew authority, “ ’ as describing it a bag made of ram s skin , with two pipes fastened in it, one atop ,

r . the othe below Into the top one the wind is blown , and the bottom one emits the

’ so undf

o D Whether it is menti ned in aniel or not , it certainly was known to eastern i th e . t m e h t e . Th e r s m h on ia nations before of Exodus G eeks called it y p , a name they gave to every instrument upon which several sounds were produced simultaneously . The Latins called it tibia utricula ris ; the Italians

’ corna m usa z a m a na asto ra le , and a smaller shepherd s pipe p g p . The French

m use tte so urde lin e P la te V. name is , or ( , This curious instrument is of the e h ighteent century , and of an elaborate construction . The chanter gives the scale 38 A H I S TO OF M I I TA M R Y L R Y USI C.

and with the keys the supplemental notes

the little chanter with the aid of six keys gives th e

notes , and the drones are tuned either in

evidently an instrument specially designed for an

Th e unusually clever performer . d Germans have several kin s , and the generic

Sa ck e i e D ude lsa ch name for the instrument is pf f , but more commonly , a very

to otin ba appropriate description , g g .

a i ' The v ri et es of these tooting bags were many in every age , and it would be ffi useless to enlarge upon them . Su ce it to say that in its modern Shape it has a ” ch anter o r , Shawm , upon which the melody is played the reed of the chanter is a

, S . dro n es double one imilar to that of the oboe Two or three long pipes , called , on which the sound is produced by a strong Single reed (on the same principle as lk those which children make by an incision on a green cornsta ) , are thrown over the

as left shoulder, or , it is on some of the smaller ones , may hang down . All thes e

s pipes are fastened into a leather bag , which frequently consist of the complete skin

of a goat , with the hair on ; this is held under the left arm and kept full of wind

. boch blown through a small tube at the top The most noted species are the (the ram) , a German kind mentioned by P raetorius the gre at bo ch (se e vignette on titlepage) ’ Sh e h e rd s i e D ud I rish No rth u mbe rla n , d H i h la n d the p p p , the y , the the , the g bagpipe , I h &c . &c . ris b a o , On the pipe the supply of wind is regulated y pair of bell ws ,

t P la te V. which are held under the righ arm ( , which arrangement we also se e on

6 . the musette , No .

NOTES ON DIFFERENT KINDS OF BAGPIPES .

d. Th e re t l n g a High a d, o r Militai i y Bagp p e .

a . Ro ck .

Chante r.

D ro nes.

‘ 43 A H I S TOR Y OF M I LI TAR Y M USI C.

It will / be seen from this that it is by no means an easy task to play the bagpipe

well . The influence mutually exercised between song and a really national instrument ' ” o h so - like this , is sh wn in the reproduction of t e called snap , in vocal music , which

i c ut is peculiar to Scotch songs . It is almost identical w th the

In Scotland there are periodical contests between pipers , and the people will come from remote parts of the country to feast their ears with the sound of the “ ” s w as m usical national in trument . That in former ages it considered a fine

n v i strument , we ha e proof from the fact of its forming part of the royal bands , as

r io ii s is e v . stated in the p chapter In the nave of Exeter Cathedral a beautiful , and to l the musician especially interesting Minstrels gal ery . On the front of the stone m balcony the following orchestra of twelve instrels is carved No . I plays upon the

' ‘ 2 ba z e c z z lemz . . , an instrument somewhat similar to a guitar ; No on a gp p ; No 3 on a

‘ ‘ mz m e z cro w th z o r . . sort of p zinke No 4 on a , or ancient kind of fiddle No 5 on a

' ‘ ' sa l m a m 6 m a z e . Ca la s astora lz s p ; No on what seems to be the ancient p , a sort of

. u small Shawm (by Mr Carl Engel denominated a syrinx) No . 7 on a tr mp et

. . 8 . re a l denominated by Mr C Engel a sackbut , with which I cannot agree ; No on a g ,

. . 1 0 slz aw m ? . I I a small p ortable organ ; No 9 on a No on a No . on a

’ tz mbre l a kind 1 2 , of tambourine with two rows of jingles , and No . beats a pair of small

c mbals o e y . Fr m this monument w obtain a fair idea of the orchestras of the e ra of the

w e thirteenth and fourteenth centuries , as may presume that the design w ould only m embrace what was then considered the highest class of instrumental mus . In the

same cathedral, on the west side of the Lady Chapel , is the tomb of Bishop Walte r

B ro n e sc o mbe w h o 1 2 80 , died in . Among other celestial performers with which it “ w is adorned you will find a s eet little cherub soaring aloft , playing the bagpipe I It

u is an undoubted fact that if one is ac c stomed to hear the bagpipe from early youth , so l that it gets associated with certain menta conditions , it will preserve through life the power of exciting the listener to enthusiasm but to anyone not accustomed to it

’ . c lli the reverse is the case Hen e most of us will assent fully to the late M . Ju e n s

wh o — opinion , , being once cross examined by an enthusiastic Scot with regard t o his

“ ” ”

ide as. o f t the magnificen effect of the bagpipe , said he quite agreed as to its b eauty

lo okin when g at a stalwart piper, arrayed in all the the picturesque dress ofa highland

’

. m asz ca l ff clan that was undoubtedly a fine sight But with reference to its e ect , he

one could only imagine way in which it could be enjoyed properly . Of course the

A H I S TOR OF M I I TA M I Y L R Y US C. 4 1

w as r Scot eager to hea from such a good authority what the way referred to was , “ when Jullien calmly replied : The finest effect can only be produced if the piper

blows at the top of a high mountain , and the listener is far down , at the end of the ” adj acent valley .

P late V I . INSTRUMENTS WITH A SINGLE REED . ( )

l sh alm e An instrument a so called y , or chalumeaux , exi sted in Europe , about

o r h r the twelfth t irteenth centu y , which was sounded by a single reed , laid upon the upper side of a beaklike mouthpiece the fingering of the instrument w as the same

h sh alm e r as t at of the double reed y The ve y old Specimens had no keys , and ,

iIftr m - fin rin S u e nts e . as upon all the old , the chromatic notes were produced by cross g g

- D 1 6 0 An instrument maker at Nuremberg, johann Christoph enner, added , about 9 ,

a f the key for the le t hand , and when further experimenting for the improvement of

o the instrument , disc vered the principle that on opening a key , which now is known

6 o s as the b or speaker key, the sounds produced in the lower register r e a twelfth

r . highe , instead of an octave as upon all other instruments This invention , though

leading ultimately to the construction of one of the most valiI able wind - instruments

cla rinet la fo r we possess , namely the , y a long time fallow, and a whole century and

r a half scarcely sufficed to. bring it to its present state . Its name is de ived from the “ ” m - e as high tru pet parts , which w re anciently called clarini , and the tone of the

u fi perfected new instrument was of great power, the dimin tive suf x was added to the

'

r cla mnetto . old wo d , and it received the name of or clarinette In the time of

D th e - o r c lo se rain e d enner, reeds were frequently made of whale bone , g pinewood ,

c an t m f and we fancy Wha tone they produced . The improvement of the anu acture o f reeds from cane kept abreast of the gradual development of the body of the

i P late VI . r . 1 2 . 2 . nstrument , which can be easily traced on f om No , back to No The present clarinet is re ally the most important constituent of our military

b r ands ; its great compass , emb acing the chromatic scale between

w ith some still higher notes forthcoming under the hands of an artist , its sonorous t o - one , and c mparatively easy manipulation , give it a position in wind bands a r r nalogous to that of the violin in the orchest a . Be lioz, in his treatise on i n ne ro ic nstrumentation , calls it an esse tially instrument , fit for the expression of the m ost exalted musical ideas . Clarinets are now made in a great variety of sizes . G 4 2 A H I S TOR Y OF M I LI TAR Y M USI C.

o e There is , however, a s lid r ason for this multiplicity of

ff I n c re asm di erently pitched instruments , namely the g difficulty of manipulating rapid passages in keys of more

Th e than four sharps or flats . clarinet in C would be

probably the best for all purposes , but unfortunately its tone is not nearly so rich as that of deeper pitched ones h & E A c . in , n, ; hence composers prefer to score for clarinets the pitch of which corresponds with th e key in

n which their compositions are writte , thereby facilitating a clean execution of passages which otherwise would be

r “ too hard , and obtaining a riche tone as well .

s : A In military band the following are in use V, (a A sort of piccolo clarinet , specially in use in the ustrian

' s E17 B a o basse th o rn band ) , in F, , C , , F (ten r, called ) E B 7 b (called alto clarinet but should be tenor) , and bass

I B ? clarinet ( ) an octave deeper than the usual . For

A1: Operatic music , the clarinet in is added, while in dance

s E D1 l mu ic there are also mand : ones emp oyed . An extraordinary device to shorten the length of the

bassc larine t is shown at 1 3 ; the tortuous b o re of this

s c ut in trument had to be out of two pieces of wood, which

were afterwards fastened together, the accurate ao c o mplishme nt of which must have entailed a great deal

. of labour Of course it remains a solitary curiosity, as

' devic e c o uld an such a never further y useful purpose . The whole family of clarinets have a cylindrical

tube . At the beginning of this century a French h mec anic made a clarinet of wood , with a conical

m e t tube , which , however, with little succe ss . Adolph Sax was the first who constructed a conical body of m etal , with a clarinet mouthpiece , and all the holes

covered with large keys , calling it , after himself, the

Saxophone The bell is turned upwards , while the

mouthpiece is fixed at the top of the bent tube . The

fingering is similar to the oboe or flute , and the different octaves on the instrument are produced by greater pressure Mo de rn Clau he t k V i e w c . M o de rn Clarine t (Ba ) V (Fro nt iew). I A A H I S TOR Y OF M I L T R Y M USI C. 43

s b . of the lips , as isted y speaker keys , as on other reed instruments It combines h m e somewhat of the tone quality of the higher notes of the orn , co bin d with the

- A S u re ed timb re of the clarinet . a military band instr ment it is of great value when

of o n employed in a complete choir sopran , alt, tenor, and bass , as its to e forms an _

' an d . ffi is admirable tonal link between reeds brass But the di culty , that such

I n SI C addition would render a ll th e u hitherto accumulated , and which is arranged according to the prescribed regulation , useless . The loss of the large repertoire of

’ many years growth would far outweigh any gain from the adoption of the saxophone . As the compass of the saxophone is not very great— two octaves and two or three notes m o re — it is impossible to utilise it for the clarinet parts , which all require

H se t larger range . The addition of a would necessitate the great labour of writing

fi

l' parts fo r every pie c e de sire d by th e cond uctor . The French bands have been using

h ands it, almost Since its introduction , by order of the government, and it gives their

- h m a . a peculiar tone colour, distinct fro that of the b nds of ot er nations The Austrian t w bands , which are undoubtedly the bes in Europe , have al ays excluded it , as have those of Germany .

1 Wie r ht 8 . F . e c of Berlin , constructed an instrument which he In the year 39, J p ,

P late VI I . h on e . w as . 2 I named B atyp It somewhat similar to No 3 on , but nstead

f - o the mouthpiece of an Ophicleide , one like that of a bass clarinet was substituted .

suflicie nt l It produced a sonorous reedy tone of vo ume and dep th , and seemed well

f - - adapted to assume the place o the proper bass instrument of the wood choir .

W ie re cht p endeavoured to fill the hiatus , which at present exists in all large

- the w - wind bands , where , even in softest ood instrument accompaniments , the

- bass part is almost invariably rendered on the Bombardone . That there is a frequent want of proper balance in the present construction of wind - bands cannot be d . ffi enied Yet , the Batyphone never obtained su cient notoriety to gain a permanent

“ i a m is adopt on in milit ry usic , and a better instrument to fill its place still one of the things to be desired . It is an established fact that for aesthetical distinctio n of tone a reed produces

b u n the est tone po a wooden instrument , whilst the vibration of the human lips in a

- cup shaped mouthpiece produces the best quality upon an instrument made of metal .

TH I R D DI V I SI O N .

The first class of instruments under this head consists of what R ichard Wagner “ ” “ ” d R ac e nkre uz un sto nw e rkz e u e r - esignates g g , lite ally hybrid tone tools , the body

is of which that of a pure wood instrument, whilst its tone is produced upon a c u - r r p shaped mouthpiece by the vib ation of the lips , as it is upon all prope “ - so . Th e in ae called brass instruments principal , and medi val times most important G 2 44 A HI S TOR Y OF M I LI TAR Y M USI C.

h is Z inke corne tto instrument of t is class called (German) , in most other languages , and lituus (Latin) .

a s inve n . All historian agree that this is one of the oldest wind instruments the “ tion of which dates almost from prehistoric times . The Hebrew keren , ramshorn ,

y o frequentl menti ned in the Bible , may be considered its ancestor . The manipulation , “ ” &c or fingering, is like that of the Shawm , flute , pommer , . The material of which

r it was made consisted eithe of horn , bone , wood , or ivory, which was , in the former m three kinds , generally covered with leather, whilst those of ivory were so etimes

. six carved in most artistic designs It has lateral holes , but the most ancient ones t “ had perhaps two or three less, whils the latest ones had one or two more , which “ ” V P late I I . were covered by keys . There were several sizes , forming a choir . ( )

s The first kind consisted of a straight tube of wood , lightly conical in bore , with the ” w as stille Z ine corn e tto mouthpiece turned on the same block of wood . Its name , m uto r , soft cornet , on account of its having a more delicate tone than the othe

d 2 w as a n ff kin s ( and The second lmost ide tically similar , the only di erence

w as th e being that the mouthpiece separate , and could therefore be adjusted to

a . embouchure of the player . Its bore w s slightly wider and its tone louder than the

“ ” ’ ' o n w as d r 8 1 1 1 Th e e . ra e Z ine comz etto a imtto previous It called g , ( , , 5 ,

“ ” ‘ kra mm eif Z ink corn e tto curvo w as third variety is called , , curved cornet ; this

r 1 0 1 1 shaped in a variety of forms , and larger than the forme two (I , 7 , 9, , 4, 6, and The nomenclature of these three kinds at first denoted not only a distin o tion of tone and shape , but also indicated the pitch the Cornetto muto being the

h . ighest, the diritto the next below, and the curvo the deepest of the three In h course of time , owever, both the second and third species were made in straight ,

curved , or serpentine shape , and the denomination partly lost its original

. r significance Another kind, of a wide bore than number I O, and sometimes

r w as the u of greate length, used by Th rmer (watchmen on the tower) to Signal

“

- t h e - fire and time , blow the alarm , or give warning of an appro aching enemy, “ ” - - was ironically called the Stadt kalb , or town calf. The compass of all of them

a e was two octaves , from to 67, which an expert player could extend a few notes mor

- fin e rin th e by cross g g. Having a powerful tone , approaching somewhat to that of

- trumpet (its mouthpiece being cup shaped like that of a brass instrument) , and ‘ being m w as capable of producing a chromatic scale , which the tru pet could not , it a great

t e no favourite both wi h players and compos rs . In France , Germany , and Italy

s orche tra of two or three centuries ago was considered to be complete without it ,

- it - and was especially cultivated in all good town bands . Amongst the classical

A HI S TOR Y OF M I LI TAR Y M USI C. 45

“ composers who wrote for it may be mentioned S . Bach and E . Bach , while Gluck employed it for strengthening the choruses of some of his best operas . But for the more cu ltivated ears of modern amateurs it was found too harsh , and even the name of such a musical giant as Gluck could not prevent its absolute removal from th e “ n w as catalogue of modern to e tools . The instrument most difficult to manipulate , and only very superior m usicians could play it in tune .

Z h and r A larger inke , somewhat in the s ape of an S , five notes lowe in pitch than

’ ’ r a a w as corn o co rn etto the cornetto , f om to , used as a bass to the choir, and called , to rto corn on w as , or Its tone of a very coarse and disagreeable kind , and many

se r e nt ex periments were made to improve it, resulting in the production of the p

At first this instrument had the same defect that all large instruments . in their

ff r m infancy su ered f o , namely a very false intonation , arising from the holes being

Th e th e h c r. bnside re d placed too close togethe capability of Span of the and had to be , and not the acoustically correct position of the holes . When during the l ast century

' c w as the application of keys to instruments be ame universal , it then possible to plac e the holes in their proper place s and proportion them to the size of the instrument

and though it never had a smooth tone , yet the serpent enj oyed great popularity . A century ago a French musician conceived the idea of making the serpent in a

r i straight tube , the two halves of which were to be ar anged bassoon fash on , side by i side Be ng much handier in this shape , it was quickly adopted as the Bass

r 1 8 1 2 1 instrument of milita y bands ( , 9, 3 , 3 ) the next improvement was its

r n manufacture in b ass , maki g it still more shapely and lighter . I distinctly remember having seen in childhood a large Austrian band, which made a lasting impression upon

o r 6 me it had about 5 brass serpents in the front rank , the bell of each being shaped h like th e Open mouth of a uge serpent painted bloodred inside with huge whit e e w teeth , and wagging tongue which mov d up and do n at every step I For “ ” picturesque effect — I never forgot tna t ; as to what or how the band playe d I remember nothing except those te rrible Open jaws l ” The brass serpent was introduced as the basshorn , but is almost identical with the ophicleide similar causes producing similar results , it is of frequent

an occurrence that an improvement of instrument , produced in one country, emerge s r a a short time afterwa ds in scarcely modified state , but with an entirely new name , in another .

— ' 5 . e Trumpet German , Trompete ; Latin , tuba ; Fr nch , trompette Italian ; , P la t V . e I I I . , ( ) r tromba or clarino A cylind ical tube of about four feet long , t he

n two last of which are slightly conical , endi g in what is called the bell . This tub e 46 A HI S TOR Y OF M I LI TAR Y M USI C.

o f is wound once round , to allow easy manipulation The trumpets mentioned in ff o r . _ the Bible were probably fashioned from the h rns of di e ent animals But they

e must also have had metal trump ts , probably of a straight, or but slightly curved , shape . That there were two kinds is proved by the distinction which is maintained

“ ” “ ” “ ” f n kh atso tsrat . between the sho ar, or kere , and Luther, in his German

' “ om translation of the Bible , interprets the one as Tr pete and the other as “ P h As osaune (trombone) , and keeps to t at distinction throughout . the original r n w as m t ombo e nothing but a tru pet of longer tube and wider bore , it seems so far

o c rrect . The one was played on all ceremonial occasio ns in the temple and also at

ubli r i i c e o c n s. d . p , j g The other was use for military purposes Thus , Luther says ’ P osa u n e o f s P osa u n e the was played before the walls Jericho , the archangel will _ o day the s und at the of judgment, whilst ordinary camp signals were given on the

“ ” trumpet . Josephus mentions in his Antiquities of the Jews the astonishing fact t D hat King avid ordered the making of trumpets of silver, after the pattern

n invented by Moses , for worship in the temple of Jerusalem . The idea of fi ding men to play thes e trumpets necessarily leads us to the conclusion that the Israelites of those times m ust have been a m ost wonderfully musical nation To me it seems more probable that Josephus knewhow to “ throw the boomerang (to use an Am ericanism) even before the discovery of Australia . In the middle ages the

w as A S trumpet exclusively reserved for the service of royalty and nobility . I have w d elt upon this subj ect in the first chapter, it is not requisite to enter further into it

. O ld V irdun 1 1 1 P a here In the treatises on musical instruments by g, 5 , and r etorius ,

“ ” “ ” “ ” 1 6 1 8 F l rumet t e tt . , a distinction is made be ween Clareta , or trumpet , and ” w as “ The former the instrument used by the learned trumpeters on state occasions ,

- o f and or in trumpet bands and orchestras , and was _ better make acoustic value than

“ ” “ ” e lttrum e t - the F , which is nothing else than the fie ld trumpet, which was then ,

SO - as now, used by cavalry trumpeters to play the military calls upon . The called ” - n t Thurner horn was a sort of middle i strument between trumpe and bugle , and

f — a e r - t7 a mm et does not deserve any further comment . The 7 g was the hunting horn , ’ cor a e clz a sse or , of which more will be said when w e come to the next subdivision .

Trumpets were played in considerable numbers together, and formed the stately

’ “ ” trum e ter ban as . sa ff n p Strange to y , they never were made in choirs of di ere tly

s “ d pitched instrument , but were uniformly in the key of D11. These bands enj oye

as e special privileges , and , said b fore , were considered of a higher social level than the general body of musicians they were by their charters not allowed to play with

&c w as a town or municipal band , nor at fairs , . This distinction strictly adhered to V P LATE III .

' . A H I S TOR Y OF M I LI TAR Y M USI C. 47

m - n s. for many ce turies , and led to very highly artistic result Tru peter bands consisted

tim a n i of either three , or oftener four, parts , to which were added two p , or

’ ' mmi s u ff ke ttle a . am Tho gh made of the same pitch, the di eter of the tubing di ered e l fo r o r . s ightly the instrum nts designed to play the higher lower parts Thus , the “ ” cla rin i (comprising instruments fo r the two high e st . parts) were made of narrow

m oifth ie c e c u tromba tubing, with a small p , the p of which was very shallow . The

(the third part of the choir) had both tubing and mouthpiece slightly enlarged , while

“ ' t h e mnci a le S p p (the fourth part) had till wider tubing and larger mouthpiece , to f e assist the production Ofthe lowest notes . (A mistake is o ten made with referenc _

“ ” “ ” to w Sli o se d o f the part called principale , hich is pp to mean the principal ,

low est melody part . This is incorrect , as the term is invariably used to indicate the ,

wa - Or bass part . ) It s not unusual to h aVe trumpet music arranged for three parts “ m L . r ba two a t o w . clarini and , ith kettledrums If the latter were absent, the timpani ” part had to be played by a principale player , and the part was then designated

toccato .

The compass of trumpets , strictly confined to the harmonics of the instrument , is very large . In the following stave the portions assigned to the four parts are roughly indicated .

THE COMPASS OF TRUMPET .

I st Clarino .

R are ly use d .

Some celebrated trumpeters of olden times were able to master w ith perfect

o o ease a m st ast nish i ng range , and the variety of their artistic double , treble ,

t o n e in quadruple , and florid gu g, executed with great distinctness and brilliancy, was

. quite marvellous The cornet has in our time usurped the place of the trumpet, and “

. all the old glory, of trumpeting has vanished There are now but very few real f artists on the instrument to be found in all Europe . To prove all this it will su fice

n h a to look into the scores of Sebastian and Emma uel Bac , H ndel , and especially into that curious tutor V ersuch einer Anleitung zur heroisch - musikalischen ” P auke rkunst &c “ . . . 1 Trompeter und , , by Joh E Altenburg, 793 , in which a concert

r for seven trumpets , besides othe examples , is given, and one is at once enabled to 8 4 A H I S TOR Y OF M I LI TAR Y M USI C.

form an estimate of the artistic capability which an average trumpeter of that era

w as expected to possess .

It is not always possible to obtain access to these ancient treasures , and to

e nable the reader to see for himself how far some of the ancient trumpet - parts went

’ I give a short excerpt from J . S . Bach s Christmas Cantata .

M TRU PET IN Du.

Suppose a com et - player were expected to perform the above ; if transposed for the com et in At it would look thus

S OLO .

- r As the trumpeters were the aristocracy of wind instrument performe s , it is but

t proper hat we should follow the general plan adopted by most historians , and

- d I n . trum te rs escribe their institutions and acti ons detail Field p , . although not “ e to learn d musicians , were generally able enliven the march of their corps with a

- fe w tunes . Many of the old folk songs of nearly every continental nation bear traces

- o f m uSI c fe w . the influence of trumpet . I will insert here a out of many of them

“ O L D A s DE K K LUY D &c D C : C . FLEMISH AN E SONG GROTE NO E ,

Fo r Two ru e ts. u o se to te ro mth e fo urte e T mp S pp d da f century.

/ 50 A H I S TOR Y OF jlI I LI TAR Y M USI C.

Both France and Italy have s o me old folk - songs evidently originating from

- o s . in trumental sources , probably the hunting horn I have looked over large c llections o f En glish songs without finding a trace of similar influence .

s Trumpeters were frequently attached to the households of great English noble .

To give but one proof out of many in a mem orandum made by the steward of the

D 1 1 2 uke of Northumberland in 5 , minutely recording the gratuities given to any

“ P M nstraills e an d layers , y , Trumpet rs so forth , there is this item

“ to m th f e re l D o o k e s Erlis Trum e tts if My Lorde usith and ac c us y to gy y y a or p ,

‘I “ ” S ' ' D ke s o r Erlis they come V J together to his L o rdshippe V I V I I J Six o o “ “ R o D o o ke l s trumpeters playing in consort to a yal , receiving six shil ing and

V i ff s I eight pence reward er ly , money had a di erent value in those time

On occasions of state , when the sovereign appeared , or at the banquet when a ” o m s s r yal toast was proposed , the tru pet u ed to announce the event by a Flourish, ” o o f o r what is on the continent called a Tusch . This consisted in a wild n isy sort m an arpeggio of the chord of C , each tru peter playing any variation he liked , within “ ” in tro mm e tt i. e . certain general limits and finishing with g, , with a long note held

“ “ ” flo rr in out whilst y g the tongue , a process very similiar to the burr with which ff n o rth c o untr . y men pronounce the letter r The e ect is very stimulating, and at

s m s m the ame ti e has something tately about it . At continental courts the tru pet

o s m h fl uri h is still an institution . Kettledrums (ti pani , ) are always attac ed to real

- m I o u U S c . s tr mpeter As a small illu tration is better than a long descripti n , I ins ert

s ss . here a flourish , reminding the reader at the ame time that its variations are endle

FLOURI SH FOR TRUMPETS .

Tro mpe ttes

I m T pani.

w As a curiosity I append a flourish for t enty trumpets in eighteen distinct parts . I t i C was probably the last one composed by a class cal master, arl Maria von Weber,

1 806 — at who wrote it in for the court trumpeters of the Elector of Saxony . As the

1 806 end of the Elector had himself been raised by Napoleon I . to the rank of

o f h King Saxony , it seems probable that t is flourish formed part of the ceremonial on that occasion . 1 A HI S TOR Y OF M I LI TAR Y M USI C. 5

TUS C H FOR TWENTY TRUMPETS .

m o se R L M R VON EBE R o d A A A 1 8 06 th O to e r at ar sru e in S e s e n . C p by C I W , , I s c b , C l h , chl i

The peculiarly circumscribed capability of the trumpet , combined with its penetrating and brilliant tone , gave to the performance of a full trumpeter - band a

“ ” r very distinct characte . There are a number of A ufz iige (pieces fo rpublic

r r Aufz fi e pageantry) , Fanfa en (pieces simila to g ) , flourishes , and marches preserved . A fair idea of their effect may be formed from the fact that even now a traditional manner is preserved wherever the employment of trumpeter - bands is adhered to on H 2 2 5 A HI S TOR Y OF M I LI TA R Y M USI C.

important court ceremonies . The next following illustration is a fanfare in the

ancient style .

GRAND TRUMPETER MAR CH .

Au u F r r e mn e e Ma so . fz g, i lich ( ch, l )

C r no r la i P imo in D .

C lari no Se c undo in D

ro t i z i T mba e a in D .

I I nc i a P p l in D .

n i Timpa i n D A . MI I TA rlI USI C. 5 3 A H I S TOR Y OF . L R Y

H o h e s D . As said bef re , t ancient trumpet were all pitched in the key of Hence

. ’ fin d fo r m o f s o s we , exa ple , most the choru es in Handel s oratori , where the trumpet a e i s . s is employed in the accompaniment , n thi key The first tep of m king th m more useful for orchestral work was taken when during last century the “ crooks ” were

. s ns s i s invented The e co i t in tubes of var ous length , bent into a circle and inserted

to s m n t o at the p of the in tru ent , and by this elo gation it could be uned int the

o f B 5 s 1 1 o , keys C , , and F ba s ( 5 and 9 , also Then the pr cess was inverted and

m k s s o o f and w as a ing the in trument h rter, the higher pitch F alto G added , and at l? last trumpets were used in any n o te of the chromatic scale from B l? basso to B alto .

An attempt was also made t o make the trumpet a chromatic instrument by a sliding /

— m tube , after the principle of the slide trombone , but it never obtained ore than very

P la te VI I L re sti lt partial acceptance ( , An important of the invention of the

s o - crook c nsisted in widening the capabilities of trumpeter bands . Not only could

n o w n s o ld they tu e in a variety of key , but the traditional character of the

Of w a n s melodies , which necess i ty s of a stere o typed and monoto ou pattern , could be

th e m o w as ff varied by dividing el dy between several trumpets , each of which di erently i . w as s o p tched Clumsy as the device , it led to the conver i n of the old trumpeter

bra ss ba n d m bands into our modern s . The next exa ple will give an idea of the

d s o fo r ra u ivi i n of a melody seve l tr mpets .

r th e V io i n l . Y F M I I TA M SI . 54 A H I S TOR O L R Y U C

Trombones were now added , and later on horns also , and though yet hampered

diflicultie s with many , brass bands made rapid progress , until the invention of the va lve placed them upon the standpoint of the present time .

instriI m e nt trombon e tu ba osa un e o ld c . The next , the (Latin , German p , English sackbut or . sa gae ba t) is clo sely related to the trumpet ; it seems that the ancient tuba was a trumpet of slightly wider bore and longer tubing , in order to pitch it four d ” . or five notes lower, but without the sli e It is almost certain that the principle

- by of the Slide trombone , consisting of lengthening the instrument a movable double

slide , was known to the ancients, but seems to have been almost lost during the

- P la te dark medi aeval times . However that may be , slide trombones ( were in

o f common use in the second half the fifteenth century, and made in a regular choir

dist a n t a lt te n o r basstro mbo ne 2 of , and ( , 3 , and to which later on were

— o m o n o n tra - bas ro mbo n o uart basstr b e c st e . added tw o m re larger sizes , the q and the The compass from the lowest note of the last to the highest of the first was very

o extensive , viz The f llowing table will illustrate the pitch

and range of each kind .

C OMPASS OF TROMBONES .

H - Co ntr ss as s ro o ne in F . e n r . k nt ro o ne in E . o r ro o n 5 Alt. o o ne in E7 s a Ba B T mb T T mb e in B . T mb Di a T mb ro o ne in B T mb 7.

- i The slide , taking about two th rds of the length of the instrument, is divided into “ ” o seven acoustically fixed points , called positi ns , each consisting of a semitone ,

and by shifting the slide to these a perfect Chro matic scale can be produced . The

th e o character of tone of tr mbone , due to the cylindrical tubing, which gives it a

s distinctly brilliant timbre , resemble that of the trumpet , combining perfectly with

a that instrument . It is strange that the trombone w as not lso consecrated to

w as exclusive royal use , being so nearly related to the trumpet . Happily it not , and ’ n - its use was u iversal bOth fo r church music al o rc h e stras and for town bands . A

x series of cartoons representing a triumphal procession of Emperor Ma imilian I . gives us a glimpse of some orchestral combinations at the beginning of the sixteenth ff t . o s century On a number of cars f ur small orchestra are grouped , each of a di eren A H I S TOR Y OF M I LI TAR Y M USI C. 5 5

: te n o r o mm e r v o kind . One composed thus one Shawm , one p , two cur ed h rns , and

“ one trombone . On horseback rode a Flanders band consistingof five pipers on the

- schalmey and five trombone players .

- There are still extant some very fine specimens of four part chorales , with

six a simple organ accompaniment, round which are grouped from four to

‘ - o trombone parts of w nderfully rich construction , winding themselves round the

K rii e r s horal parts like a highly coloured garland . g publi hed “ P ” 8 work salmodia Sacra , I 5 5 , in which many numbers of that class are to be found ; unfortunately the work is

very scarce now .

When V enice w as at the height of her power and we alth e l it is recorded that at solemn public f tes , such as the annua “ d ” D we ding of the oge to the Adriatic ,

&c . , the bands often consisted of a strong

choir of trombones only . The solemn and powerful tone o f' the instrument suited the temper of a body so much dreaded as the Secret Council which V governed enice . It is very remarkable that an instru ment of such great value and capability should not have been utilized more by the

classical composers of the last c e nturv . Handel does not employ it in his great

works , and Haydn uses it very rarely . Mozart whose great geniu s conceived and introduced so many new instrumental ff e ects , perceived also the dramatic power which could be produced by the tone

colour of the trombone , and the wonderful use he makes of it in the last scene of

’ D o n Juan , when the Governor s statue appears to summon the hero in the midst

of his merriment to his last account , is certainly an inspiration of the highest

— order . Yet it seems since these parts o e rn ss ro o ne o ern e no r ro o ne M d Ba T mb , M d T T mb t v ve Wit v ve s. wi h al s. h al 5 6 A H I S TOR Y O F [ MI LI TAR Y M USI C.

' Do n e are not found in the first edition of the score of Juan, but are printed s parately and tacked to the end of the volume — that they were either an afterthought or due to the fact that it was not alw ays possible to obtain trombones for theatrical orchestras .

’

a . li o rn co r co rn o co rn u The next instrument is the (French , Italian , Latin (P la te I X ) Th e difference bet ween it and the trumpet con sists in its having a

' i e s a o m o v w . conical bore , which g more sonor us , ell tone , which also travels farther Of Course th e different Shapes of the instrument make a corresp o nding difference in

o its power of t ne . In very ancient times the distinct ion between ho rn and trumpet

w - m n h w as did not exist , and a tube ith a cup outhpiece and C o ical in s ape a horn ,

o t e whether it was made of bone , horn , wo d , ivory, or metal . With advancing cul ur

ff s ff as di erent kind received di erent names , which again were changed the instrument gained a more permanent design . A variety of horns were used in the middle ages,

“ for the purpose of signallin g during the progress o f the chase . There was the small

‘ I I zt /z o rn a sp ecies carried round the neck ‘ by a chain and used principally by

s s R a the ma ter for the purpose of calling the attendan ts in case of danger . In ussia

w as . very small kind , made of brass , and is perhaps , still in use ; but two

r notes can be produced on these . A similar kind , but of large

o f shape , generally made ivory , and frequently ornamented with very finely carved ” l Oli lz a n t o f designs up on its body , was cal ed an p Of its immense power tone h o . o t e several legends give curi us accounts One I may mention , extracted fr m ” Song of R oland .

- s s . wh o About the eighth century Charl e the Great had a vi ion of an angel ,

“ “ ” s Dure ntarde s delivered to him a word , , and a horn , Olifant , to be u ed in the

w h o s . extermination of the Saracen , then held Spain He invaded the country , and after he thought his obj ect w as accomplished he gave t o his nephew R oland th e “ ” f o sword and horn , as a talisman and Sign o p wer, leaving him with a host of heroes

h ad c o ii ntr . and warriors to keep possession of the y No sooner, however, the

u n his o emperor retired po h meward road , with the main army , than the Saracens fell

R . R U pon oland and his warri ors , annihilating the devoted band oland , being mortally wounded , bethought himself of his heavenly horn , and blew a powerful blast

“ ” — s so a y . upon Olifant powerful that Charles , far wa heard it , and ha tily returned

s his R . with forces , finding oland dead and all the heroes slain Hence in old work “ ’ ’ an allusion may sometimes be found to the R oland s h orn . In North Germany a

A HI S TOR Y OF M I LI TAR Y M USI C. 5 7

H irscb ru - curious little f (deer call) was in use upon which , with the aid of w keys , the follo ing notes could be played

in w h o The servants employ ed the pursuit of the quarry , and held a rank

o superior to m nials , carried a larger horn often made of wood , called by

lz ucbe t Mersenne , the harmonics of which are A similar

instrument, also of wood , is represented at 5 ; it is considerably longer , and the following harmonics can easily be produced

th e Upon these horns regular signals gave intimation of progress of the Chase .

u R H nting throughout Europe was a prerogative of oyalty and nobility , and in the

“ ” u Middle Ages almost the only b siness into which they would enter, unless they were engaged in the b agging of nobler game on the highroads . Thus , everything

‘ app ertaining to the chase assumed a brilliant glitter , and the progress of a hunt was regulated almost with the precision of a court cerem onial . The first improvements R , of the hunting horns gave them a more elegant ( shape representing the oman buccina of r an d In progress time the tubes were lengthened , the bo e narrowed , the instrument bent into a complete circle , large enough to be carried round the body over the left sh o ulder This is the shape which is generally designated as ” d a e rh o rn cor cle clz a sse . is the (Another kind by old writers esignated J g , which , instead of being bent into a large circle , was wound three times round , into a small compact shape , and carried over the Shoulder by a stout cord . )

o f It was customary to collect the huntsmen , during the intervals the chase , or

' at th e fo r meal served under the shady trees , the purpose of playing some merry

th e - tunes . As with trumpeter bands a Special phraseology , due to the character of th e instrument , soon evolved itself, and this hunting music style has kept its vitality

“ ” up to the present moment . The Overture to Le jeune Henry Chasse , also

' H y M e h ul intro duc e s frequently called the unting Symphon , by , a number of old

r as French hunting calls in the Alleg o , and , a piece of music descriptive of the chase , W ’ is certainly entitled to a very high place . The Hunting Chorus in eber s O verture

‘ F re ischti tz to the is another specimen of its Class . and many others might easily be Th . e collected , if space would permit hunting calls were rather numerous , and 8 A H I S TO OF I WI LI 5 R Y TAR Y M USI C.

h ad resembled the bugle calls of the armies of our time . Each powerful prince his

own code of them , and I will give two specimens of those of the North German

royal hunt, H TI AL F R R U N NG C LS O H O NS.

B EGR SSU N GREETING ( U G) . r Old Ge man . )

TALLY HO . (HALLALI . )

th e and a fanfare , played enlivening piece on ride home , or at the dinner which succeeded it .

H I A NFA R E UNT NG F . - I Y I A H I S TOR Y OF M I L TAR M US C. 5 9

< 0 f > 7

Though the art of winding the t ube in a circular shape was known before the

n h e w e now seventee th century, the shape of t orchestral horn , as use it, was designed in

. w as w inve ntio n the early part of the eighteenth century It , ho ever, no new , as one sometimes reads , but a mere modification of an instrument known a long time V previously . The horn was introduced into the orchestra of the Imperial Opera at ienna

1 1 2 1 0 . from 7 to 74 , after which it seems that its use was discontinued for a time Nearly 50 y ears afterwards we find it again an orchestral instrument under the name of

- w as (forest horn) , by which it distinguished for a great many years

1 R r throughout Germany and Austria . In 75 9 ameau int oduced a couple of hunting

his P R o . D h rns in an opera of , given at aris The records of the oyal theatre of resden

1 1 1 Show that there were two horns in the orchestra in 7 . All horns before the eighteenth century were made in the key of F f consequently , to get the best ef ect , they could only be used in the orchestra if the piece w as in that key . The first device to increase their general utility was to make

ff — several horns , each pitched in a di erent key , decidedly an uncomfortable thing for

w h o the play er, had to carry several about with him . A great step in advance was I 2 6 0 A H T OF M I I M I . I S OR Y L TAR Y . US C

cro oks o f o 1 2 the invention of . The tube the horn in F is ab ut feet long , wound in

2 . w as o either or 3 circles This sh rtened to about 75 feet , and circles of tubing

1 ff m 1 1 0 (crooks) , were constructed in 3 di erent lengths , fro 5 to % feet , which at one o end fitted int the main tube of the horn (where they were inserted) , while the other

w as e n d of the crook bore the mouthpiece A better design , however, introduced ,

by w hich all the longer crooks could be inserted into the centre of the horn , by a ” I No o d s se e P la te VI I . ouble liding tube (9, also , Thus the horn c uld be crooked , k B 2 B t o . or put into every Chromatic interval from alto basso Johann Werner, s econd h o rn play e r in the Imperial Opera orche stra at V ienna was the inventor of this

I n ve n tio ns - leo rn s ingenious improvement , and the first as they were called , were made

- by an instrument maker at Dresden in 1 754.

A curious design is shown at 1 1 all the cro o ks are fitted to the main central

s tube , which bears an inner lide , by means of which the instrument can be tuned

instantaneously into any key . “ ” The open notes of the horn are pre cise ly th e same as tho se of the trumpet

its shape allowing a convenient insertion of the right hand into the bell , it was easy

“ ” ' o f o r to stop the tone , which means that by putting the palm the right hand more

m s s less co pletely again t the mouth in the bell, the intermediate note between the

'

‘

. s harmonics could be more or le s perfectly sounded . But all these artificially

d f t s o pro uced notes had a mu fled or dull sound hu , take the note E upon the l west line o fthe stave by inserting the hand into the bell with what technically is called

“ ' - Eh c an u b quarter stop , the note be prod ced ; but the tone is far less rilliant

EB o D than the ; if the hand is put deeper int the bell can be sounded , but it is of a decidedly bad qu ality by cl o sing the aperture as far as it c an be done with the hand

' — - D c o u ld (called a three quarter stop) a z be produced , but the sound is very bad and

”

c an . t h l o scarcely be heard Thus , no ma ter o w exce lent the player was , he could nly

To produce a scale of very unequal quality . obviate this g reat defect many devices -

' — were tried ; a slide on the principle Of th e slide - trom bone holes at various places

— o to be covered either by the fin gers or by keys but all were o f little use . The nly

o ke - bu le really useful instrument resulting from the additi n of keys was the y g , German

K la e nlz orn 1 F u e l/z o rn F la e l/z o rn pp ( 4, also called g or g , from the fact that the

y o f fu e l fliI e lm an n pla er this instrument in a regimental brass band was the g or g ,

m - b n - le n . o f e t ar viz , he arched at the right hand corner the first rank ; or , in

m D o — in - w h o compli ent to the uke of Kent , c mmander chief of the British army ,

' o o h advanced its intr ducti n into t e En glish military bands . Though patented by an

1 8 1 0 English bandmaster in the year as a new invention , it was really only an I M 6 1 A H I S TOR Y OF M I L TAR Y USI C.

w as adaptation of the much older idea of putting keys upon a trumpet , which done

P la te VI I L half a century before ( , The wide conical shape of the bugle seems to be better adapted for the addition

of keys ; anyhow , it turned out to be a brass instrument of such use that in a very

- Short time nearly all the army bands in Europe adopted it . In the hands of an artist ff ‘ it was very e ective , but in those of an average player it had a rather vulgar tone ,

is n - like the ophicleide , which in reality nothi g but a key bugle of a much larger

size .

' u to im ro ve Keys , slides , holes , stopping, and all s ch makeshifts p brass instruments , were discarded upon th e invention of the Va lve

- B lum e l fo r An oboe player, by name , designed a practicable valve the horn and

- y Stolz e l w h o sold it to the horn pla er at Berlin , took a patent out which secured to

him the profit of the invention in Germany for ten years . No sooner did the invention become known than it was recognised to be capable of application to

m n e w trumpets, bugles , trombones , or any other brass instrument , and the nu ber of

Th e designs and improvements upon the old one was perfectly amazing . principle consists of the addition of tw o or three little bent tubes of the same diameter as that

ff P late I X of the instrument, but of di erent lengths , being fixed near its upper end ( ,

1 2 3 , , I , A cylinder, perforated with some holes of the exact diameter of the

- w h wind passage , and kept in its natural posit i on by a Spring , opens , en compressed ,

h — th e ends of these tubes , t ereby lengthening the air passage , which lowers the pitch m m h one se itone with the second valve , two se itones with the first , t ree with the

third , four with second and third combined , and five semitones when the three

o iI r valves are pressed down . Of c se on its first appearance a great many defects

made people rather suspicious of adopting the valved instruments , and many noted m usicians were opposed to it altoge ther . One of the first English conductors of

twenty - five years ago would not allow the use of the valve - horn in his orchestras

- because the valve destroyed the horn tone . Trumpeters were adverse to it for the s due ' e ntire l ame reason , and it is y to the military bands that these improvements

c ame into universal use . An astonishing amount of nonsense h as been talked about “ ’ valves destroying the quality of tone , and even now we hear people who talk

“ ’ - t feelingly about the decay of good old time ins ruments . In course of time the numerous defects under which the n e w invention undoubtedly laboured were gradually

“ e m n radicated , until our present valve instruments , especially those with co pensati g ”

a . ction , are almost perfect The ultimate result of the invention is the introduction

f n w o r r e n . a g eat numbe of instruments , at least new in t o e c o lo ur and outward Shape 6 2 A H I S TOR Y OF M I LI TAR Y M USI C.

rum The val ve being now applied to all brass inst ents , with the exception , in England

o n i principally , of the tr mbone , which a umber of conservat ve musicians prefer in its ” ” - ancient pattern as a slide trombone , we might obtain chromatic choirs of A lo ur o f . s distinct to n e c o enough to raise military bands into the domain art yet,

w e . however, this is a dream which must leave to the future

Eu h onio n in B B ombarclo n in E . p 2. lZ

It would be useless to trace minutely the development of all the many brass n P late VI I L . 8 i struments now in use The cornet ( , 7, , has obtained a most

1 0 1 prom i nent place , and being of easier manipulation than the trumpet ( , 3) and

Flii e lho rn s g , it has pu hed into the background these two instruments , both of which

r to n e c o lo ur have a bette and character .

A H I S TO OF M I I 6 TA .M I 4 R Y L R Y US C.

o o tonica of which formed a n te of the Chromat i c scale of three ctaves . The first performance before an audie nce of ladies and gentlemen of high rank took place in

1 1 s s o f 75 , and met with immense ucces . The programme consisted fanfares and

o fo r e ther simple pieces , but the great novelty lay in the fact , that the first tim a

- o - m brass band departed fr m the fossilized pattern of trumpet music , with its weariso e

s . limitation to three chords , and modulated easily through any harmonic progre sion f m n The per or ers were all young men employed as hu tsmen , or in some capacity

connected with the Chase . The great requisite w as that their embouchure for the o n e note should be of the

ffi t o very best , and their intelligence su cient learn the peculiar notation , in which

w as t n their music wri ten , and be ready to sound the ote when required . One very

as d great result w achieved . The instruments being ma e as perfectly in tune as

o its o possible , and the s unding of n te being studied with great care and labour , it is

r s t o o f said that the pe formance of that band , with regard shading and purity intona

o m m e . s m ti n , were of the ost perfect kind ever h ard The nu ber of horn and perfor ers w as s 60 at la t increased to , and their training was so careful that they performed “ ” s m m o w as piece of the best Classical co posers of the time nay, the al ost imp ssible

“ ’ 1 2 R w as m achieved , when in 775 the opera Alceste by aupach perfor ed complete ,

A S f . se t o recitatives and all , by a band of this description it was done indoors , a

w as o f o the horns made wo d covered with leather, for the purpose of softe ning

o s o sound . And all this was acc mpli hed by men , the greater part of wh m were

-b o the t w as m ignorant of music ; all y mechanical training . The n tation of par s si ple ,

. v o . the main point of it being, the time The bars were di ided int small particles , p e ,

o f C I I I I I I I I “ a bar into quavers , each which being marked by a small line , a dot or 0 being placed in stead of any of these indicating the so unding of the note and a

be represented thus 0 I I "Ir- H O I O — I"I- I I I I II During the enormously numerou s

s s s o f m o h rehear al of a piece , e pecially those a rapid vement , or some fugue by Bac ,

an d ' b ar & c . w as , the time given by the sound of a bell , after bar had to be

o o m mechanically drilled , until at last the whole rganism perf r ed with the regularity o f o R n o a musical box . As a curi sity ussian hor music deserves menti n , specially

s a o o n e o f o many year g their bands made a concert tour thr ugh Europe , and created

o f quite a furore by its wonderful performances . As an example of the waste hum an l ab o ur it stands uniq ue ; as a practical extension of the resources o f art it is

s useles s and quite laid a ide . A H I T F M I I TA M I S OR Y O L R Y US C. 6 5

s e rcussion instrum e n ts Finally , we have to look at the divi ion of p , comprising

’ ’ ’ - Ti m a n i o r K ettle drum s Sia e - a rums Te n o r - a rum s s s p , (with snares) , (without nare ) ,

B ass - dr ums C mba ls Tria n les Glo cbe ns ie l Ste ellz a r m o n ica , y , g , p , also called ,

Ta m bo u r in es Ca sta ne ts Cresce n ts Ta m - Ta m Go n s fo r , , , , or g , and other contrivanc e augmenting the power of sound , or assisting the imagination when hearing musical

e s s as pieces which illustrate pecial incident , such the roar of thunder , the striking of

t c D w e t c . e . anvils , , A rum consists of a hollo vessel , constructed in various

o f P la te I . 1 modes , either a thin piece of wood rolled into the shape of a cylinder ( , 5 )

s o r simply cooped out of a solid piece of wood or of a metal cylinder, or kettle , over which is tightly drawn a thin elastic membrane (generally a dressed animal skin) ,

h e atin o n is D upon which , by g with a stick , the s u d produced . rums may safely be described as one “Of the first tools for the production of sound which an infant

' civilization seems to evolve . All over the globe , savage races use drums either to

s accentuate the rhythm of dancing, or for purposes of war, or the rude wor hip of their idols . Only the races near the poles , where the severity of the climate necessitates a t E s ruggle for bare life , as the squimaux , or the Tierra del Fuego islanders , are without them . Some of the drums made by various tribes in the provinces of central

Africa are of beautiful workmanship , and of endless variety of shape and size , which

- m T . K e ttle dru s im an i may also be said of those of all eastern nations , p (Italian) ,

Tim ba les a ube n m o f (French) , P (Ger an) , consist deep metal bowls , which may be

e v from one to three or mor feet in diameter and depth , o er which a strong parchment skin is tightly drawn by a mechanical arrangement this c an be screwed more or less tightly , and by its tension the sound is fixed to a distinct pitch . For orchestral

ff s purposes tw o of di erent izes are employed , tuned to the tonic and dominant of the

n s piece they accompa y . It is said that thi instrument was introduced into Europe by l

the Crusaders , who admired its use by the Saracens . The same is also said of the

sh alm e h y or pommer, whic is only an imitation of the much older eastern instrument

w e n called z a m ir . With a very little reflection may exte d this assertion to the

o ur o f riginal types of nearly all o musical instruments , since a high state civilization had been reach e d by most eastern nations at a time when our ancestors were yet

nothing more than absolute savages .

’ ’ Sia e - a rum m The has been in use for ilitary purposes for many centuries , in

- - conjunction with the fife . But in ancient times the fife and drum music was less used m for arking the rhythm of marching than for giving Signals , such as sunset, reveille ,

ffi l o i & C . s signal for introducing o cia pr clamation , start , The old kind of drum what

w e Te n o r— dru P la te I . 1 now call m ( , 5 ) which is nearly double the length of our Y F M T 6 6 A HI S TOR O I LI AR Y M USI C.

~ side drum h as sna re s . p resent , and no These latter are three or four hard stout strings , which are drawn tightly over the lower skin, and by rattling against it when the drum is beaten , greatly increase its sound . They are of comparatively recent

o - u invention . Of the introd ucti n of the Bass drum and Cymbals into o r military music an account will be given in the next chapter . Of the rest of the instruments

ffi sa n named above , su ce it to y that tambouri es and castanets were introduced by the

o m n Moors into Spain , where they have maintained a positi n of favour, acco panyi g many of the Spani sh national dances to the present day

The Chinese Ta m Ta m and the very similar Indian Gong are instrum ents o f

i very anc ent ori gin, and their manufacture attained great perfection in those countries

o f thousands years ago . They are sometimes used in m o dern orchestras to heighten ff h certain Characteristic e ects , when they generally represent the tolling of uge bells .

One of the instance s of this kind is the employment o f three large gongs in the

“ ” m P R r agnificent finale of the first act of arsifal , by icha d Wagner . A minor “ V ’ ” example is the tolling of a gong in the Miserere scene of erdi s Trovatore .

- n (Of all these well known instrume ts illustrations would be superfluous . ) M I I M I A H I S TOR Y OF L TAR Y US C. 7

[ I — D R R L HISTORY OF MO E N MILITA Y MUSIC .

TH E previous chapters lead us to the conclusion that the better class of ancient

o w as c/z o irs music , both with regardto inventi n and execution , mostly confined to or

cla ss se ts of some special of instruments . The influence of t his custom was

detrimental to the progress of art . We obs erve in the conception of the first operas

o f n r - the seventeenth ce tury t aces of a striving for characteristic tone colour, which ,

a nti /z o n a l rou s — s however, mostly consists in the p use of g p of instruments , phrase or & ff s c . sections of some number being set either for violins , flutes , oboes , An e ective

. l h o n al ff as all o f e o w r . combination of , th se for p yp e ects a matter of very slow g owth

. This , however, is a subj ect , the investigation of which lies outside our limit

- - For open air music , the credit of combining several classes of wind instruments for the performance of pieces in which a proper ly arranged accompaniment sustained

the melody , belongs undoubtedly to those musical institutions of the middle ages

' - A . S 1 called T/z urm e r bands mentioned in the first chapter (p . 5) they were perma

nent institutions in the pay of the municipality of the larger towns , especially in

Germany and Austria, and charged with the performance of certain duties , in return for

which they enjoyed the privileges of a recognised guild . The instruments of these primi

fife s o m m e rs tive bands consisted generally of , oboes or Shawms , p , zinken , trombones ,

o and drums . Sometimes basso ns , and in later times horns were added . Having to

a s perform daily , it was requisite th t they hould collect a repertory of pieces , consisting

‘ ” o f - o f s d A ufz ti e . hymn tunes or chorales , melodies popular song , ances , and g These “ ” t fi had to be set , and as a natural resul the e e c ts of certain instrum ental combina

t n ions were noticed , and new ones occasio ally tried . The progressive experience of

m rules t ff a long period made it possible to formulate so e of ins rumentation , the e ects

e d s of which could be accurately stimate beforehand . Church music , which the e

s band had to accompany at all high festivals , furnished models of polyphony , and by

s o m - Our low degrees the very narr w li its of the first wind bands expanded , until

p resent military bands were evolved .

c d Before the seventeenth century , military music onsisted of a few rums and

’ ’ fi sia e — a rum s ff fe s . us The of that time were very di erent to those in e at present . a Inste d of being Short, having a bright and powerful tone which is greatly increased n by the addition of snares over the lower skin , they were twice as lo g as the modern

o a P late w s I . nes , had no snares , and the shell (body) , made of wood ( , The K 2 6 8 A HI S TOR Y OF M I LI TAR Y M USI C.

w as fife rs manipulation of the fife very rudimentary , and few knew how to produce a note above Hence the drum and fife bands of some centuries ago were

b u ff . t poor a airs , of a very dull kind The addition of a number of oboes to the “ drum s and fife s w as the first step towards the formation of a band (for military

s h purposes) . In time other instrument were added , but it must be borne in mind t at for a very long time no other idea guided these first instrumental combinations except

s . the wi h to increase the noise Music it certainly could not be called . In France it was customary to attach tw o oboes and two drums to e ach

a company . In Engl nd the bagpipe was a great favourite , and in use with all regi m s ent raised in the northern counties and S cotland .

During that horrible politico - religious convulsion which raged through Central

1 6 1 8 1 6 8 Europe from to 4 , best known as The Thirty Years War , most of the princes of

s ff the time sent contingents of troop to the di erent armies , and frequently led them in o d . person . Sol iering was slowly consolidated int a system Instead of disbanding

as st their troops at the conclusion of the war, it had been the cu om , the sovereigns

f r established standing armies for the defence of their interests and o security . m The improvement of these , their ad inistrations , their drill , clothing, and brilliant

s di play of martial pomp , were looked upon as one of the special duties of a sovereign .

The stepping together of large bodies of men in exact rhythm to the s o unds of m s a u ical instruments was carefully taught , and became military habit .

o M a rc/z d From that time dates the rigin of the , as a istinct type of m usical

o construction . At first it consisted of n ly one or two parts of a strongly marked

. melody in either common or 2time Later on a third part was added , called the

“ ” trio . r m , mostly written in the subdominant key The g adual extension of the arch into a variety of forms , each of which has a distinct character and expresses a difie re nt

ll o . a C mood , is very notable Nearly mposers have written marches , many of which are of great beauty . A short description of this C lass of music may therefore be inserted here . For purely military purposes there are four kinds

’ ’ 1 . Slow M a rc/z P a ra a e M a rsclz P as O ra ina ire The ; German , ; French , . It is of

a majestic character, and only played on occasion of reviews , grand parades , or other

. shows The time of it should be 75 steps to the minute , two beats or steps per bar .

To Tro o this class belongs a curious kind of purely English march , called a p ; its w peculiarity consists in being written in time , in the style of a slo valse , a step F M I I TA I A H I S TOR Y O L R Y M US C. 6 9

2 being taken on each full bar, at about 7 steps per minute . It was formerly only “ ” used for the antiquated military spectacle called trooping the colours . With the “ ” exception of th e annual grand parade for the purpose of trooping the colours ’

th e . use on sovereign s birthday , it has dropped out of fashion Its as a military “ ” w as P ceremonial well defined by its nickname as Ladies arade . The slow march h ue as also been discontin d in most of the European armies .

’ ' le 2 uick M a rc/z n P a s R e ao ub . . The Q ; German , Fre ch , The

1 08 1 1 8 th e ff time of this is to steps to minute , thus slightly di ering in the various o ’ national armies . This is the common form , played to regulate the s ldiers steps while

on the march .

D o uble - u ick M a rck Sturm M a rscli 3 . The q ; German , (Storming March) ; French ,

a s cle ka r e Th e 1 0 P C g . time of this in the English army is about 4 steps to the

minute , but in other armies it is slightly less . The double quick is for the purpose of

’ stimulating the troops in the final attack , or for storming an enemy s position .

’ F l -M a rclz D e a a arck Tra u . un e ra e r M a rsck 4 The , or M ; German , French ,

M a re li e F un ebre M a rcia F u ne ra le . ; Italian , As its name implies , it is played when

’ - escorting a comrade s body t o its last resting place . One of the most perfect of its D “ class is the ead March in Saul by H andel .

r The higher forms of the March are of g eat variety . They have been utilized

in the Oratorio and Cantata , in the Suite and Symphonie , in the Opera and other

’ as dramatic works , well as in the Sonata and Concerto . A list of all the notable

n examples would fill a considerable space . I will therefore only give the ames of a

- very few well known specimens of each variety .

’ F e sta l M a rc/i Trium ka l M r - a c/i . x : , or p (E amples Wagner s Kaiser Marsch , a ’ Fest Marsch in Tannh user, and Mendelssohn s March in Athalie . )

’ Corona tio n M a rc/z K ro e n u n s - M a German g rsek . (Meyerbeer s Coronation “ P R ’ ” &c . March in The rophet, ossini s in Otello , )

’ We ddin M a rcii H o ckz e its - M arsek g German . (Mendelssohn s in Midsummer Night ’ s Dream Gounod ’ s in “ R omeo and Juliet Weber ’ s in Euryanthe and

F k n z ac e lta e . those showy compositions by Meyerbeer, called )

’ ’ “ ’ Sacre a M a rck “ ’ . (Costa s , in Eli Gluck s , in Alceste Spontini s , in

Olympia .

’ ’ l a r “ F un era M ck . (Beethoven s in the Eroica Symphonie ; Halevy s in Le ’

v . &c u i e Chopin s Sonata, Op 35 , . )

’ ’ “ ’ “ s M ilitar M a re /res Ch e rubini s Soldier or y . (Gounod s Faust ; Les Deux ’ “ ” o urn é e s & c . Mozart s Titus , ) MI I TA I lI USI C. 70 A H I S TOR Y OF . L R Y

’ D i h z P e a sa nts R ustic M a rc/z e r Fre sc ut . or . (Weber s

R a o c z - a National Marches . (The g y M rsch , introduced by Berlioz in his ”

D &c . amnation of Faust , ) m h After this digression we have to re su e t e chronological record of events . Some

y of the oldest marches I have been able to obtain owe their origin not to a militar ,

b e o n e but to a civil source . Being connected with a long y g time , and having a

o historical value , it may be interesting to rec rd their origin more fully .

’ Those co nversant with Goethe s writings may probably recollect in his ” a V o fthe P e i e r Ge ric/z t utobiography a ivid description Court of Fifers , f f , of which

w as . a he as a child witness Frankfurt, being the most import nt commercial town in

o m m the centre of Germany, enj yed any i portant fiscal privileges . Some towns conveniently n ear for that purp o se incorp o rated their commercial interests with those of Frankfur t for the purpose of partaking in the benefits accruing fro m that

o union . But to keep their subordinate positi n visibly alive , it was required that each of the minor towns should send triennially a d e putation of municipal. o fli c e rs to do homage by what was technically called a Court of Fifers . A procession marched

ff fo r in solemn state to the town hall , and there made a nominal o ering of some article the superior manufacture of which the deputing town was noted . But to assert their

s independence of any unwarrantable a sumption by the magistrates of Frankfurt , the d eputies marched right into the hall and before the council seat , the band playing all

. r w the while , and , keeping their hats on There we e three to ns subordinate to

1 0 Frankfurt , and each had its own march , which for more than 5 years was strictly reserved for this occasion alone . The band , gorgeously dressed in crimson velvet

t/z re e w h o and feathered caps , consisted of men respectively played on a Shawm , a

“ m - n pom er, and a bass pommer . Herma n Fries published an essay on these Fifer ” Courts , tracing their history and explaining their significance . This book appeared ,

1 2 ss in the year 75 , and the author confe es that he was unable to discover the origin

“ of the institution , but is sure that it dates back many centuries into the dim

“

. s past He also says , that the instrument always used on these occasions are

1 8 6 of so obsolete a construction , that in 5 two towns (Worms and Bamberg), agreed

n 2 fl o rins Nitre mbe r to pay an a nual sum of 5 to the town of g, for which this town

u engaged to keep three pipers , whose d ty it was to practise those instruments and make themselves competent to perform upon them the ancient marches of the towns

o f whenever either of them had to attend the Court o f Fife rs at Frankfurt . Two

d . these marches have been preserve , but one I have not been able to discover The following is that of the town of Bamberg

I T F M I 7 2 A H S OR Y O I L TAR Y M USI C.

w as s mutual agreement arrived at , by which the Worms magi trates repurchased the

w as s ff hat and gloves , as soon as the ceremony over, for the purpo e of o ering them “ ” again the next time ; this noble gift was thus presented and repurchased for perhaps more than a century and a half. Anyone visiting the ancient little town of

R c an an d Worms on the hine see this identical old hat the gloves , with a wooden

o f P bowl to hold peppercorns in , at the museum the church of St . aul .

C TH E . MAR H OF TOWN OF WORMS (1 5 th Ce ntury . )

ALT- M M PO ER .

- M BASS PO MER .

PIANO . ’ A H I F I VI L S TOR Y O I I TAR Y III USI C. 73

Fran kfurt in olden times being the metropolis of that curious conglomeration

R e of states called the Holy oman Empir , it followed that a great number of political pageants took place there , at which musical servi ces were required .

We m ay get a fair idea of the state of open - air music of the 1 7th century from a n o f 1 68 P e z e lius umber pieces published at Frankfurt in 5 , by , consisting of airs , “ ” an d A ufz ii e ffi dances , many g , a word di cult to render in English ; it designates

a music for processional purposes . A Sar bande by this composer has already been 2 given on page 5 , but the following characteristic specimen is worthy of inclusion .

. O H . P EZELI U S. INTRADE Fo r Five Win d I nstrume nts. By J

r nk urt n 1 68 . F a f am Mai , 5

R I CO NETTO . Z K ( I N E) .

R ’ ‘ C O NETI O I I . Z I N E ( K ) . 24 A HI S TOR Y OF I II I LI TAR Y M USI C.

A H I S TOR Y OF M I LI TAR Y M USI C.

TR IO . “ A H I S TOR Y OF M I LI TAR Y M USI C. 7 7

In France the first official recognition of military music dates from the reign of

XI V . o o r King Louis Bef re his time it was customary that each prince general , who m took the supreme co mand of the army , provided himself With a sort of band , to / M I I TA I lI USI C. A HI TO OF . 78 S R Y L R Y

e perform at dinner, or whenever required elsewhere . Castner , in his exhaustiv ” n s History of Fre ch Military Music , gives mo t minute details about all these matters ,

' inte rs e rse d w ith o s o n e to p a number of curious anecd te , of which I may be allowed

D - S o f 1 6 0 s relate . uring the iege Cazal , in 3 , by the Spaniard , the French Commander

v Of X . i t o a and fa ourite Louis III , one evening, after very l beral potations , proposed number o f his o fli c e rs that they should go and dance upon one of their defensive

w h alfni o o n out orks , called a , and drink to the health of all Christian princes , including

a the attacking Spanish General , the Marquess of Spinola . Not being able to collect

h an d u b ass la e r larger , they took a tr mpeter and a p y , and proceeded to the spot

fo r appointed their display of defiance . They drank the healths as previously

t bass la e r t proposed , got very merry , and the rumpeter and p y struck up a tune as bes f they could , and the o ficers had a dance . Their brave display however, was

w n some hat suddenly i terrupted , the Spaniards having previously lodged a mine under

th e . very fort , which they now fired , blowing up the whole company Strange to say

b ass la e r s s that the p y was the only one who Was aved , although his in trument went

V a o . XI . aloft with the rest Louis requested his f vourite compos er , Lully , to sc re

- is some well establi shed tunes for instruments suitable for military service . It surprising to note th e meagre material which this great musician thought appropriat e

. b y for the purpose Those first French military ands had only four parts , namel

isca nt A lto Te n or b u m - a rts n D B asso o e D r . , , and , with two p Although the ext piece

M us u e taire s du R o i de is the celebrated Marche des q France , mentioned in / ’ R t has in o n e o f ousseau s musical dic ionary, it a flavour that rem ds of the little March ’ f the Frankfurt pip ers c o urtf

MARC HE DE S M OUSQUETAIRES DU R O I DE FRANCE .

I _ U I .LY o ut , ab

01301 .

PI ANO .

' ‘ R o usse au e s the an e n m e runi n Lu n t e o o n arrran e me nt ( giv ci t lo dy fo r O bo o and D o ly, which lly i h f ll wi g g has o ns e ra r c id bly alte e d . o A H I S TOR Y OF M I LI TAR Y M USI C.

- From these rude attempts we may date the start of our modern brass bands . It

- is astonishing to contemplate the fact , that for many centuries the old four part

u t t o tr mpet music should have remained absolutely sta ionary, but more astonishing

v obser e the rapidity of its progress , from the moment when the rules which governed its antiquated style were discarded .

' K e - bu le P late I X 1 1 8 s The invention of the y g ( , 4 and ) gave an immense impetu A 8 1 MI I T M I . A H I S TOR Y OF . L R Y US C

to brass - bands ; the trumpets were at once pushed back from their former position ,

o s and to k the more modest one of playing accompaniment , while the addition of slide trombone s completed the formation of a well - balanced orchestra of brass i nstruments cap able of any Chromatic change s of harmony . The introduction of the va lve m difli c ult co pleted the revolution , and in our time it is somewhat to define the

‘

first - b m h as limits of class rass instru ental music , which reached an elevation and th artistic capacity entitling it to be ranked in e domain of art .

w e a Before parting from this point , may glance at the survival of a medi eval custom right in the midst of our modern improvements . Of course military service

m o f o wes uch of its popularity to external pomp and glitter . A pair kettledrums

o s often made of silver covered with gold embroidered coats of arms , and slung acr s

te w h o the back of a whi horse and in front of the drummer, rides at the head of the

ll s n a . band of a cavalry regime t , thi looks very well Y et , if we look at it from a

m usica l sa n . point of view , we must y that it is an anachro ism In olden times , when

s trumpet mu ic could only produce thre e chords , the timpani , tuned in the tonic and

h of s dominant , gave t e real bass notes the tune . In our time , bra s band music modulate s into every conceivable pro gre ssion ; still the kettledrums are there beating two notes which mostly have no connection whatever with that which the o . so distin c band plays Kettledrums sh uld be constructed , that , while preserving a

o tw o ff t ti n of di erently sized drums , the sound should have no fixed pi ch , but / side an d resemble more the tenor drum . A rather prominent influence upon the construction of the military bands of

Europe w as exercised by those of the Janissaries . These fo rmed the backbone of

m h W t n the ar ies whic ere arrayed by Turkey, when tha nation was in the ze ith of its

Th e o f power , against the western states adjacent to the Turkish frontier . rise this d Asiatic militia , its fighting capacity and heroic bravery , its gra ual ascendancy and

ss ff dangerous a umption of controlling the a airs of state , until even the succession of the Sultan to the throne depended to a certain degree upon the will of this barbarous

m s . ar y , are matters of hi tory outside the scope of this sketch Their extinction took

2 6 1 8 t o . place in , and was quite a fit end their long and bloody existence Their

t o ffi rising in revolu ion , and demanding the heads of nearly all the higher cials of the

S o f t o an d tate , led to the rally all those troops which kept loyal their sovereign , a

a annisar r sanguin ry butchery ended in the destruction by artillery of the J y ba racks , at

b 8000 fl s e x e cu which a out perished in the ame , near lost their lives either by

“ o annisarie s tion or in open fight , whilst ver were exiled . The J were wiped out of existence .

annisarie s In the past each corps of J had a band , which generally consisted of M 8 2 A H I F M I I TA S TOR Y O L R Y I II USI C.

c u - - three or more zarnas (a small kind of schalmey, with a peculiar p mouth piece

s in which a small but very hard reed is enclosed , which when blown give a far

o s sounding and most penetrating n te) , two or more instruments of the ame kind , but

m fif - e s. pitched an octave lower, and one or ore These melody instruments played in

m Th e m r t . o unison (or octaves) , and p oduced a os piercing squeal acc paniment

s o f s r cons i ted one large kettledrum , two mall ones , th ee or more drums (similar to

o m our ten r drums) , one big bass dru (one Side of which was beaten with a heavy

- o felt head ed drumstick , whilst the ther Side was beaten with a kind of broom ,

i m tw o sounding the unaccented b eats of the t me) ; one pair of very large cy bals ,

s m pair of s all ones , and several triangles . It is impossible to get an idea of the ff u . s barbaro s e ect of this combination , without hearing it These band were stationed

n o f s near the tent of the pasha in comma d the corps , which was di tinguished by the

- erection of a pole surmounted by a half moon , and bearing the insignia of rank , consisting in one or more horsetails , according to his degree .

A S n lo g as the battle was proceeding, the band kept on playing , stimulating the combatants with their shrill reminder of the necessity of victory to the faithful .

is s The western princes observed th custom , and admired the picture que appear ence of the turbaned orientals . At the close of the seventeenth century the restless advance of the Turkish power at last received a decided Check , and peace was P secured . The Sultan , to cement good relations with oland , presented to its king

w h o a o August IL , was also Elector of S x ny, as a special mark of favour, and to

his r o e t gratify ino dinate love of Splend ur, a complete Janissary band , head d by a hree P tailed crescent . Frederick II . of russia also obtained one , but whether as a mark

r . of favour, or by treaty or ba ter, I cannot say Soon , however, these bands

o diminished through death or desertion , and as the original players dr pped o ff their

e - places were taken by natives , and the oriental instruments replac d by home made

s e o f one . Oboes took the plac s the zarnas , bassoons those of the big Shawms ,

s horn and trumpets were added , while the kettledrum was discarded . But those m characteristic percussion instru ents of the Turks , previously unknown in the m s ilitary bands of the western power , namely the bass drum , cymbals , triangles , and m i the crescent , kept their place as necessary ingredients of ilitary mus c . In a com paratively short ti me they were introduced into all the regimental bands of the

’ s sa European powers . Applying Browning line , we may y that from that date “ ” fife - - - military music grew burning bright with shriek , cymbal clash , and trumpet blast . F o r a long time it was considered go od style to have these percus sion tools m beaten by turbaned and bedizened niggers , of whom ost bands had three or four “ d attached . Although the crescent lost most of its ancient ignity, since its

F 8 4 A H I S TOR Y O I II I LI TAR Y M USI C.

were however of a robust kind , he liked noise , and plenty of it . So these marches were quickly arranged for a band of drums and fife s of about 30 members . It is

K a llni i r . e e ste . stated by p G S Thomas , that after the death of the Landgrave the

s d — astonishing number of marche composed by him , were collecte All I can

it is o f say is , an astonishing number, almost as much so as the silver trumpets

u s m Joseph s . Whenever the prince re ided at his elegant country seat , he would orning

0 fife rs his - 1 00111 after morning order his 3 and drummers to ante , where they had to

o ff o rattle his marches for an h ur and a half. It was considered a meritorious action

o his if a drummer broke his pigskin , because it gave evidence of his having d ne duty .

le o h The Landgrave went once to Aix Chapelle , on a short visit as he th ug t , his stay however being prolonged by a singular circum stance . The local band serenaded his

Highness before his hotel , and among the pieces performed was a march which took

‘ o v . his fancy to an immoderate degree . He res l ed to get possession of the treasure

? n o i fo r But how His dignity would t allow h m to ask the bandmaster a Copy , so

s . there remained but one way , namely , him elf to take down a C opy from ear Our modern laws of copyright were still undreamt of; or he might have felt some c o m

. punction He had the march played , day after day , but his notation proceeded at a ’ i snail s pace , a few bars after each hear ng . Meanwhile his retinue enjoyed this prolonged stay at the gay city immensely . But perseverance at last obtained its

- . . s o reward The MS thus gained by tealth was ready, and by to morrow he w uld

: depart, hugging the treasure so labouriously o btained . This is the march

” R NO U V EI .L E A . AAC HENER MARC H , OR ETR ITE

o . ar . S . 1 86 . C mp p G , 7

Tro in e l.

Piano .

D rums A HI S TOR Y OF M I LI TAR Y M USI C.

TR io . 8 6 A H I T F S OR Y O M I LI TAR Y M USI C.

A H I T O F M I I 8 8 S OR Y L TAR Y M USI C.

D W his ffi uke , being at the time at Hanover , consented to the ish of o cers , and , with the

' t approval of the King, a band of a much larger number than hither o employed , and

- entirely composed of Germans , was sent over . It consisted of twenty four members ,

s o and included Clarinets , horns , oboes , bassoon , trumpets , tromb nes , and serpents , ” whilst three black men were employed to bea t tambourines and carry a crescent . It w as in fact a band of the same kind and instrumentation as was used throughout

m t . Ger any at that time . This was the precursor of our presen Guards bands

m s s The regi ent of the line were afterward allowed to raise bands , but the War ffi t O ce considered it so p urely a matter of luxury , tha it only allowed a certain

m s as nu ber of private oldiers of each regiment to be trained musicians , but ordered

s that all expenses for pay of a professional in tructor or bandmaster , and the cost of

o . all musical instruments and music , should be b rne by the officers of each corps As

o ff a matter of course , a certain rivalry so n arose between the di erent regiments as to the superiority of their bands wealthy corps o f officers would engage highly trained

hi h salarie s t professional men , mostly from the continent , at g , 3 and obtain the bes _ m instruments procurable . Whatever may be said of such a syste it is undeniable that the musical results were in many cases notable , and the service could boast forty

“ o f s o m or fifty years ago many uperi r bands . It is not within y limits here to follo w

o the various alterati ns of the organisation , numbers , and status of the military bands n’ of the English army of the present time , which may all be found in the Quee s R egulations .

The event which had the greatest influen ce upon the progress of wind - bands R w as o . th e P th e the French evoluti n When aristocratic Opera House of aris , and

- s high class concert room were closed , most of the great instrumentalists were

0 s formed into a municipal band of about 7 member , who took part in most of the

o n e s public ceremonies of that exciting period . The grand nati al f te of the ff s e y e . revolutionary government were always. organi ed with an to artistic e ect On

- s d some of these occasions wind bands of some hundred of performers were employe , fi and composers of great talent wrote the music required . Composers for the rst tim e got a conception o f the capabilities of this hitherto despised branch of musical art

- s Open air mu ic was lifted to a superior position . The incorporation of the best

o executive artists into public bands for the benefit of the people at large , not nly

‘ o f a to k as ra raised the level the b nds an excellency hitherto un nown , but a natu l consequence raised the taste and critical judgment of the masses

s th e Hence the rea on of the superiority of the bands of Napoleonic armies , and the great influence they exercised upo n the improvement of those of other nations , with whom the conqueror came into contact . H I A M I 8 A I S TOR Y OF M I L T R Y US C. 9

We now approach so near to the present day that it would be useless to insert m any ore musical examples , but it is requisite to give an account of the gradual

advance in the instrumentation . It must be borne in mind that though the French h ands R during the first epublic were sometimes rather numerous , numbering up to 6 ff 3 members , yet their e ect could not be compared to that of the bands of the

' s th e o w e rful present , becau e p instruments of our day , which are all due , to the

W ar 1 8 2 0 invention of the valve , were not known then . The Minister of France in reduced the bands (those at least which the State paid for) to e iglz t performers "

2 a t 2 2 - " namely, cl rine s , horns , bassoons , bass drum , and cymbals All musicians

r above that number the officers had to pay for . The instr umentation of une g ande

’ ” d infante rie w as 1 8 2 o K : 2 fl musique in 5 , acc rding to astner , the following utes ,

' 2 Eb O 1 2 2 6 2 clarinets , 4 boes , clarinets , trumpets , 4 horns , bassoons , trombones , and

2 . a contrabassoons It is rather astonishing to find that , although the v lve was invented

t nine years previously , it had not yet found its way in o the French military bands ,

nor was there an Ophicleide employed .

The Austrian and German bands were constructed upon a similar basis . Those o f m o f - the cavalry still adhered to the ancient ethod trumpeter bands , and , no

' it c h be in fo r common p g fixed the instruments , it was almost impossible to combine

. W W ie re cht several bands for united performances A civilian musician , ilhelm p ,

th e o f was first to Clearly perceive the want a complete reconstruction , and also to ’ m devise a plan of an instru entation fixed according to artistic needs . He w as

fortunate enough to have fri e ndly relations with the commanding o flic e r of the

’ P D - e ffi russian ragoon Guards , and , having alr ady gained this o cer s confidence through

s o s h an d the compo iti n of six marche for his , he (the composer) was able to lay his

views on the reconstruction of cavalry bands so clearly before his patron , that he

- r received the order to reform the dragoon guards bands acco ding to his plans .

1 8 2 8 - a d - About he set to work , n constructed the first mode rn brass band of the following

- — w it/z va lves instruments , all except key bugles and slide trombones being provided , an innovation about which “ there w as the usual opposition twaddle w hich seems (of

- necessity) to accompany any innovation of a time honoured custom . He used

2 Eb - a cornets (alto) (with 3 valves e ch) .

- Eh 3 Key bugles in .

2 EP 2 a Cornets in ( valves e ch) .

8 m Eb 2 Tru pets in ( valves each) .

2 r- Teno horns in B (now more appropriately called baritones) . Eu o nio n BI? I ph in (these latter 3 instruments with 3 valves each) ; and

- r 3 Slide bass t ombones . A F M I 90 H I STOR Y O LI TAR Y M USI C.

W ie re cht ff p composed and arranged the music for this new band , and the e ect

as so m to w much appreciated , that in ti e he had reconstruct all the c avalry guards

w as s . 1 8 bands , and in talled as their teacher, with a liberal salary In 33 he discarded h - s 1 8 - t e key bugles , substituting cornet , and in 35 he designed the bass tuba (bom ,

t th e - s bardone) , and put it in o the place of bass trombones , which he di continued .

8 h e w as D P s In 1 8 3 appointed irector of all the bands of the russian Guard , and from

v o n that time dates the gradual re oluti n in the organisation of the i fantry bands , which P first being introduced into russia , spread to almost all Europ ean States , and formed the basis of our present military music . W ie pre cht had the great satisfaction of having the result of his labours tested on a grand occasion , and came out with great honour . One of the features of great interest in connection with the International Exhibition held at P aris in 1 86 7 was the c o mpetition of the military bands o f any of the European States that wished to

o : P e nter for it . The f llowing nations competed Austria, russia , Bavaria , Baden ,

m R . h ands Belgiu , Holland , France , Spain , and ussia France competed with two ,

o . s that there were ten bands contesting The jury consisted of twenty members ,

th e presided over by General Mellinet , and included among others following

. K : . n u m usicians of European reputation G astner, A Thomas , Ha s von B low,

D H an slick & & c i i n D c . . Fe l c e avid , Leo elibes , Grisar, ,

- : E ach band played two pieces , one of its own choice , and the test p i ece Over

to . . . ture Oberon , by C M von Weber The position assigned to each band after the c ontest in order of merit was

P P 1 . s No . russia , the aris Guards , and Au tria . R 2 . No . Bavaria , ussia , and the French Guides .

an d No . 3 . Holland Baden .

‘ an d No . 4 . Belgium Spain .

Thus W ie pre ch t proved conclusively the excellence of his reforms , and had the h onour to conduct his band of eighty musicians V i ctori ously through a competition w ith what were then considered the finest bands in Europe . It w as a noble close to a mo st useful artistic career, and he deserved the honours which were showered u pon him .

be t It may perhaps _ interesting to some to give the presen instrumentation of infantry bands of some of the leading states of Europe . These tables are taken from

’ K alkbre nn e r s Die MusikchOre a A . work Organisation der aller L nder, published

2 A HI S T R y OF M I I TA Y M I C 9 O L R US .

NGL D— c R A A N ontinued. USSI . E

ito n in E F u 1 ar e . I o o 1 te . Picc l , l B h

2 E u h o nion s i-n p Eh. B m o bardo ne . 8 Clarinets in B17. 3 s

e r u n n m n ss o stru e t . 2 B asse th o rns (alto Clarinets) . 3 P c i i s

' 4 to 8 Trumpe ts in Elk

2 lii lh rn F ge o s. I TALY . r m 3 T o bo ne s.

1 - 1 l H o rn o o , F ute . 4 s. Picc l

2 Eu ni n 2 O o e s. pho o s. b

- I . Clarine t in }. 2 Basse s. E

e r u n in trume nt to 8 ar ne ts in B17 . 3 P c ssio s s. 7 Cl i

- Sa o o ne s So rano A o and Te no r. The ban ds in th e Russian Army vary 3 x ph , p , lt ,

re a in ns rumentation an re n t I o rn e t in El) . g tly i t d st g h . C

l-7 3 Co m e ts in B . ii 7 2 Fl ge lho rns in Bl . E NGLAND . i 4 Trumpets n Eb.

F u r o 1 H rn in E . o e . o s Picc l , l t 4 b

I r 2 . o Ob o e s 2 B arito ne s in ED.

r 2 Cla ine ts in ED. 2 B asso o ns.

B ' ar n n 1 ntrafa o tt. 8 Cl i e ts i b. Co g l 1 r 2. A ar in rom o ne s . o lto Cl ine ts E}. 4 T b

2 - 2 B asso o ns. l7 rn m n . 4 H o s in E . 2 B o bardo e s

m T m an S de and ass: rum o e ts in B . e s and 3 C 7 B ll , i p i, i , B D

n D 2 Trumpe ts i E .

The se six tables give a pretty accurate idea of the formation of mo s-t military

h e e s . o be bands of t pr ent time But the palm , both for size and instrumentati n , must

t o awarded the bands o fthe three marine divisions of Spain . They each consist

- in E H o rns . 1 Picco lo . 4 l) b 2 A to Tro m o ne s in E . 2 Flutes. l b

in Bb 2 Ob o e s 2 Te n o r Tro mbo ne s .

in i7 2 ass Tro m o ne s in E5 . I Clarine tte high A . B b 2 Clarineue s 2

' V - r n in B 2 Bar o ns in Bb. I O Cla i ette s . it

2 Eu h o nio ns. 2 Bass C larine ts. p 7 2 B o mbardOne s in E . 2 B asso o ns. h m ar on e in E . 2 Con trafago tts. 1 Co ntra B o b d

n re and Tr an e . I Se rpe t. 1 Ly i gl .

8 Sa o o ne s 2 So rano 2 A to s 2 Te no rs a rs o f m a s. x ph ( p , l , , 3 p i Cy b l

n 2 a d 1 Side D rum .

- in B . 4 Co m e ts l7 I Te no r D rum .

ii l rn in B 4 Fl ge lh O s 0.

in Eb 4 Trumpe ts . I A A H I STOR Y OF M I L T R Y M USI C. 9 3

number of men employed permanently as ~ musicians let us glance at fo llo w mg extract

R ussia Ge rmany France E nglan d Austria I taly Spain Swe de n B e lgium H o llan d B ulgaria

To a 8 e rmane n an t l 9 7 P t B ds.

th e besides these , there are those bands belonging to cavalry, artillery ,

fl m n P s ri e e &c . 1 11 i pi oneers , , of the great owers , the member of whi ch war t me serve a s bxu le rs w h o g or trumpeters , but in peace are utilised in the composition of musical bands . The i r number is very considerable

R ussia

Ge rman y Fran ce England Spain

To tal

Us - giving the astonishing result of 1 437 bands . Taking a low average of thirty six

n - a . , men o ly per b nd we get the respectable little army corps of musicians . There are a numb er of economists w h o cavil at the expens e which the maintenance f o permanent bands entails ; but before closing I may be allowed to make a fe w

c . to remarks with referen e the utility of military bands .

‘ r the Not many yea s ago , Government of France abolished army bands on i econom c grounds . But it was soon fou n d that this parsimony had a most detrimental ff e ect upon the esprit of the army and its discipline . I t s popularity declined so d e rapi ly, that the Gov rnment found it advisable to reinstate the bands upon their pre w o us . footing Every power of Europ e has admitted their utility, and France ,

Aus s , . tria and Germany have carefully fo tered their artistic interests Music , in our 94 A H I S TOR Y OF M I LI TAR Y M USI C.

m recent e ducational codes , is acknowledged to be a desirable addition to the curriculu

n of schools . Nobody c a deny its being a necessary adj unct of modern civilization

’ b e nay , even a fair criterion of the advance of a modern nation s civilization may formed from its musical products . A military band furnishes in most cases the only medium by which the toiling

s . th e multitude of the working classes get an idea of mu ical progress To them ,

- — - high priced opera house , or the fashionable concert room are not accessible . Military w bands occupy the gap bet een the highest and lowest classes of music , and by open

o fill o air perf rmances of a sup erior kind they a serious v id in the life of the million . e Appealing to the mass s by the performance of bright sounds , by the pomp of military d spectacle and discipline , and backed by a little innocent swagger, a military ban

ri s m ilit ar e mate ally enhances the attraction of v life , and induces many of the multitud ’ l to enlist into their country s service . The power of a popular melody , when wel

so s o played by a band , is well known as scarcely to need illu trati n yet , if such be ” wanted , take as an instance the Marseillaise , a tune which led the French nation t to their conquests . When the German poet Klops ock met the writer and composer

R r u h e r of the song , oge de Lisle , at Hamb rg, emarked to him that the Marseillaise

Th e had cost the Germans of her bravest sons . Hungarians are especially susceptible to the enthusiasm which some patriotic marches of their natio ninvariably “ o Die R . G t ev ke The erman patriotic song , Wacht am hine , played no mean par

- o o in the last Franco German war , while s me Scotch mel dies , when played upon the S m national bagpipe , will make even the most stolid of cots en move their limbs .

’ ” D I srae li s o P r , in his Curio ities of Literature , menti ns a case where in the eninsula wars the light brigade charged the French Army ; a piper of the 8 7th Highlanders

o s o p ted himself at the right of the c lumn , and in an exposed position encouraged his

t . coun rymen by the sounds of a pibroch , which , in the ultimate , defeat of the French

n l o f he changed i to a Highland fling . In parts of the enormous colonia possessions

England a military band is often the only me ans by w hich the c o lonists can make T . o o acquaintance with the progress of music in the m ther country . a regiment on

a ffi . prolonged service abroad , a b nd forms one of the amenities of life to the o cers as

’ “ - well as the men . Many a brave man in Her Maj esty s service bids go od bye to home and friends with a cheerful heart when embarkin g for foreign service ; but ’ s s o ff b an d strike s ' when the ve sel moorings are cast . and the up that old song _ “ ” Should auld acquaintance be forgo t ? the sound o f which is capable of bringing to

" n o w t “ memory a multitude of happy scenes , to be lef behind , his eyes will probably be filled with tears which nothing else could have brought , and no shame to him

D EX I N .

P AGE

Ach ille u ar ar ans M us o f s B b i , ic Adam de la Hale B arito ne

B asanelli

asse - an e 1 0 S o re o f B d c , 5 3 ( c )

i a - rum s M . H o ttete re 1 68 0 ss , by , B d

Tu o r I n ro u o n o f n o M ar an t ) t d cti , i t ilit y B ds

Altho rn B ass- he lico n

Am r s A a - o . . e ss o rn b , W G schichte de r M usik B h

Ancie nt I nstrume nts and the i r Succe sso rs Bass- muse tte

’ Ane o e o fth e S e e o f a a asso n d au cd t i g C z l B H tbois .

Atturi nant P . an e a n g , , d c by B sso o s

Aufzug by P e z e lius B ass- tro mb o n e Aufz u-g fo r Trumpe ts Batypho ne

Aufz iige (pie ce s fo r o pe n - air pe rfo rmance ) Blo wi ng in th e Sto rk

Aus r an M tar an s o m ar o mm e r bo mb x om ardo t i ili y B d B b d, (b , i , b b ,

o m o nam e s o fthe a - o mmer b bi , b ss p )

a Se as an O r e s ra Su te s o f o m a e t B ch , b ti , ch t l i B b z

a e s ar o us so rts o f ro t e r o o s M us a B gpip , v i B h h d ( ic l) B o ck Buccina

’ Jullie n s o pinio n of

an o n e st at ar s 1 8 6 B d C t P i , 7

an rst u fo r o stre am uar s a amus B d, fi f ll, C ld G d C l

an s An ent - as an ur 1 2 asta ne ts B d , ci C tili Co t, 93 C g

o f ar I I I . a a r an th e rs o fmo e rn t e Edw d C v l y B d, fi t d yp

r — o fH en y V I I I . Cavalry trump e ts (Fe lt trumme t) M ar of Que e n y Ce rve lat (kin d o fbasso n) o f Que e n Elizab e th Chalume aux (Shawm)

o fK n s o fFran e anso n fo r o e s 1 2 8 0 i g c Ch , 3 v ic ( ) o fTrumpe te rs o fEle cto r o f Chante r o fbagpipe Saxo ny Chante urs (Chante o re s)

n Fre n 1 8 2 arte rs o fM us a u l s Ba ds, ch , 5 Ch ic l G i d

M tar — num e r o f r stmas a n in a s ili y b Ch i (pl yi g , W it )

an s M tar nstrume ntat o n o f ro tta B d , ili y i i Ch Austrian Clarinets English Clare ta Trumpe ts Fre nch Clarini Ge rman Co lle ctio n P hilido r I talian Co mpass o fClarinet R ussian Flute s abe c

S an s M ar ne s o ns H orn p i h, ( i Divi i )