Bugling Boy Scouts of America Merit Badge Series

Total Page:16

File Type:pdf, Size:1020Kb

Bugling Boy Scouts of America Merit Badge Series MUSIC AND BUGLING BOY SCOUTS OF AMERICA MERIT BADGE SERIES MUSIC AND BUGLING “Enhancing our youths’ competitive edge through merit badges” Bugling 1. Give a brief history of the bugle. 2. Do the following: (a) Explain and demonstrate how the bugle makes sound, and explain how the bugle is related to other brass wind instruments. (b) Compose a bugle call for your troop or patrol to signal a common group activity, such as assembling for mealtime or striking a campsite. Play the call that you have composed before your unit or patrol. 3. Sound 10 of the following bugle calls: “First Call,” “Reveille,” “Assembly,” “Mess,” “Drill,” “Fatigue,” “Officers,” “Recall,” “Church,” “Swimming,” “Fire,” “Retreat,” “To the Colors,” “Call to Quarters,” and “Taps.” 4. Explain the use of each of the calls you performed. 5. Explain how to care for, clean, and maintain a bugle. 6. Serve as bugler in your troop for three months.* * NOTE: A bugle, trumpet, or cornet may be used to meet these requirements. Music and Bugling Resources. Music and Bugling Resources Scouting Literature ———. Percussion & Electronic Instruments. Chelsea House, 2000. Bugle Calls/Voice of Lord ———. Stringed Instruments. Baden-Powell (CD) Chelsea House, 2000. ———. Woodwind & Brass Instruments. Chelsea House, 2000. order Scouting-related resources, Ench, Rick, and Jay Cravath. North American Indian Music. Franklin Watts, 2002. Ganeri, Anita, and Benjamin Britten. The Young Person’s Guide to the Books Orchestra. Harcourt, 1996. Aronson, Virginia. The History of George, Nelson. Hip Hop America, Motown. Chelsea House, 2001. revised ed. Penguin Books, 2005. Barber, Nicola. Music: An A–Z Guide. Fichter, George S. American Indian Franklin Watts, 2002. Music and Musical Instruments. Bouchier, David. Composers. Random House, 1978. Workman Publishing Goulding, Phil G. Classical Music: Company, 1999. The 50 Greatest Composers and Cohn, Lawrence, ed. Nothing But the Their 1,000 Greatest Works. Blues: The Music and the Musicians. Ballantine Books, 1995. Abbeville, 1999. Green, Douglas. Classic Country Cooper, Helen. Basic Guide to How to Singers. Gibbs Smith, 2008. Read Music. Perigee, 1985. Harnum, Jonathan. Basic Music Copland, Aaron, and Alan Rich. Theory: How to Read, Write, and What to Listen for in Music, Understand Written Music. Sol Ut reissue ed. Signet Classics, 2011. Press, 2005. Danes, Emma. Music Theory for Havighurst, Jay. Making Musical Beginners. EDC, 1997. Instruments by Hand. Dearling, Robert. Keyboard Instruments Rockport, 1998. & Ensembles. Chelsea House, 2000. Kallen, Stuart A. The Instruments of Music. Lucent Books, 2002. 78 MUSIC AND BUGLING .Music and Bugling Resources Lehman, Glenn. You Can Lead Wyatt, Keith, and Carl Schroeder. Hal Singing: A Song Leader’s Manual. Leonard Pocket Music Theory: A Good Books, 2001. Comprehensive and Convenient Palmer, Willard A., Morton Manus, and Source for All Musicians. Hal Amanda Vick Lethco. The Complete Leonard, 2002. Book of Scales, Chords, Arpeggios Zinsser, William Knowlton. Easy to and Cadences. Alfred Music, 1994. Remember: The Great American Rabbai, George. Fun with the Bugle. Songwriters and Their Songs. Mel Bay, 2000. David R. Godine, 2001. ———. Infantry Bugle Calls of the Websites and Organizations American Civil War. Mel Bay, 1997. Barbershop Harmony Society Raph, Theodore, ed. The American 110 Seventh Ave. North Song Treasury: 100 Favorites. Nashville, TN 37203-3704 Dover, 1989. Telephone: 800-876-7464 Schneider, Richard H. Taps: Notes Website: http://www.barbershop.org From a Nation’s Heart. William The Blues Foundation Morrow, 2002. Website: http://www.blues.org Sennett, Ted, and Andrew G. Hager. Bugle Calls Song & Dance: The Musicals of Website: Broadway. Friedman/Fairfax, 2001. http://venture190.tripod.com/bugle.html Smith, Richard D. Bluegrass: Classical Music Archives An Informal Guide. A Cappella Website: Books, 1995. http://www.classicalarchives.com Sullivan, Robert, ed. LIFE Rock & Roll at 50: A History in Pictures. Country Music Association Time, 2002. One Music Circle South Nashville, TN 37203 Surmani, Andrew, Karen Surmani, and Telephone: 615-244-2840 Morton Manus. Alfred’s Essentials of Music Theory: A Complete Self- Website: http://www.cmaworld.com Study Course for All Musicians. Drum Corps International Alfred Music, 2004. 110 W. Washington St., Suite C Thomas, Roger. Groups, Bands, Indianapolis, IN 46204 & Orchestras. Heinemann Telephone: 317-275-1212 Library, 2001. Website: http://www.dci.org Thompson, Wendy. The Great International Bluegrass Composers. Anness, 2009. Music Association Ward, Geoffrey C., and Ken Burns. Toll-free telephone: 888-438-4262 Jazz: A History of America’s Music. Website: http://www.ibma.org Knopf, 2002. Red Hot Jazz Archive Website: http://www.redhotjazz.com MUSIC AND BUGLING 79 Music and Bugling Resources. Rock and Roll Hall of Fame Copland House, courtesy— and Museum page 35 (bottom) 1100 Rock and Roll Boulevard The Ira and Leonore Gershwin Cleveland, OH 44114 Trusts, courtesy—page 35 (top) Telephone: 216-781-7625 Website: http://www.rockhall.com Library of Congress Prints and Photographs Division, Smithsonian: Music in the Museum courtesy—page 29 Website: http://americanhistory.si.edu/ collections/music.cfm Roger Morgan, courtesy— page 32 (bottom) U.S. Naval Academy Drum and Bugle Corps New Orleans Metropolitan Convention Alumni Hall and Visitors Bureau Inc., 675 Decatur Road courtesy—page 33 (top) Annapolis, MD 21402-5086 New York Philharmonic Archives, Telephone: 410-293-3602 courtesy—page 37 (bottom) Website: http://www.usna.edu/usnadb Brian Payne, courtesy—page 42 Acknowledgments ©Photos.com—cover (saxophone, gui- tar/amplifier, drum); pages 3, 11, The Boy Scouts of America gratefully 16 (instruments), 17 (trumpet), 19 acknowledges the assistance of Thomas (bottom right), 22 (CD cases, CD), J. Heany, director of programming for 23, 25 (both), and 59 (top, center) the National Music Foundation, and Jeff Weir, director of the U.S. Naval Randy Piland, courtesy— Academy Drum and Bugle Corps, in page 38 (bottom) revising and updating this edition of Shutterstock.com—cover (mobile the Music and Bugling merit badge phone with headphones; Maxx- pamphlet and the requirements for Studio/Shutterstock, courtesy); page the two badges. 24 (tobkatrina/Shutterstock.com, Thanks also to Eagle Scout James courtesy) Cook and his father, Jerry Cook, for contributions to this edition and previ- Yamaha Corporation of America, ous editions of the pamphlet. courtesy—page 19 (top) The Boy Scouts of America is All other photos and illustrations not grateful to the men and women serv- mentioned above are the property ing on the Merit Badge Maintenance of or are protected by the Boy Scouts Task Force for the improvements made of America. in updating this pamphlet. Dan Jansen—page 4 Photo and Illustration Credits John McDearmon—all illustrations on Ballet Arlington (Texas), 2002 pages 14 and 59–61 Nutcracker, courtesy; photo by Brian Payne—pages 10, 44, 46, and 52 Sharon K. Nolan—page 27 80 MUSIC AND BUGLING.
Recommended publications
  • Bruce Mccrea Bugles and Scouting
    BUGLES AND SCOUTING BRUCE MCCREA BUGLES AND SCOUTING BRUCE MCCREA Table of Contents - Revised July 30, 2015 Chapters and sections with titles in italics are not yet completed. Chapter 1. INTRODUCTION Chapter 2. OFFICIAL AND UNOFFICIAL BUGLES AND ACCESSORIES MARKETED TO AMERICAN BOY SCOUTS A. A POSSIBLE OFFICIAL BUGLE OF THE UNITED STATES BOY SCOUTS page 2-1 B. HISTORY OF BUGLES SOLD BY BOY SCOUTS OF AMERICA page 2-2 C. THE MYSTERY OF THE REXCRAFT “JAMBOREE” BUGLE page 2-22 D. OTHER BUGLES SOLD IN THE U.S THAT WERE ENGRAVED “BOY SCOUT” page 2-23 E. OFFICIAL BOY SCOUT BUGLES IN PRIZE CATALOGS F. BUGLE BAGS AND CORDS SOLD BY BSA G. BUGLE INSTRUCTION BOOKS AND RECORDS SOLD BY BSA H. BUGLE ADS IN BOYS LIFE MAGAZINES AND BOY SCOUT HANDBOOKS Chapter 3. OFFICIAL AND UNOFFICIAL BUGLES OF OTHER NATIONAL SCOUT ASSOCIATIONS A. OFFICIAL GIRL SCOUTS OF AMERICA BUGLE page 3-1 B. OFFICIAL BOY SCOUTS OF THE PHILIPPINES BUGLE page 3-3 C. UNOFFICIAL AMERICA “GIRL SCOUT” BUGLE page 3-4 D. UNOFFICIAL CANADIAN “BOY SCOUT” BUGLE page 3-5 BUGLES AND SCOUTING CONTENTS PAGE 2 Chapter 4. BUGLER/BUGLING MERIT BADGES AND PROFICIENCY BADGES A. BOY SCOUTS OF AMERICA page 4-1 B. GIRL SCOUTS OF AMERICA page 4-4 C. THE BOY SCOUT ASSOCIATION (UK AND THE COMMONWEALTH) page 4-6 Chapter 5. UNIQUELY BSA? - BUGLER POSITION PATCHES AND SCOUT BUGLING COMPETITIONS AND AWARDS Chapter 6. SCOUT DRUM AND BUGLE CORPS Chapter 7. CIGARETTE CARDS, POSTCARDS, POSTAGE STAMPS, TOY FIGURES, MAGAZINE COVERS, AND SHEET MUSIC SHOWING SCOUT BUGLERS A.
    [Show full text]
  • Natural Trumpet Music and the Modern Performer A
    NATURAL TRUMPET MUSIC AND THE MODERN PERFORMER A Thesis Presented to The Graduate Faculty of The University of Akron In Partial Fulfillment of the Requirements for the Degree Master of Music Laura Bloss December, 2012 NATURAL TRUMPET MUSIC AND THE MODERN PERFORMER Laura Bloss Thesis Approved: Accepted: _________________________ _________________________ Advisor Dean of the College Dr. Brooks Toliver Dr. Chand Midha _________________________ _________________________ Faculty Reader Dean of the Graduate School Mr. Scott Johnston Dr. George R. Newkome _________________________ _________________________ School Director Date Dr. Ann Usher ii ABSTRACT The Baroque Era can be considered the “golden age” of trumpet playing in Western Music. Recently, there has been a revival of interest in Baroque trumpet works, and while the research has grown accordingly, the implications of that research require further examination. Musicians need to be able to give this factual evidence a context, one that is both modern and historical. The treatises of Cesare Bendinelli, Girolamo Fantini, and J.E. Altenburg are valuable records that provide insight into the early development of the trumpet. There are also several important modern resources, most notably by Don Smithers and Edward Tarr, which discuss the historical development of the trumpet. One obstacle for modern players is that the works of the Baroque Era were originally played on natural trumpet, an instrument that is now considered a specialty rather than the standard. Trumpet players must thus find ways to reconcile the inherent differences between Baroque and current approaches to playing by combining research from early treatises, important trumpet publications, and technical and philosophical input from performance practice essays.
    [Show full text]
  • The Alphorn Through the Eyes of the Classical Composer
    The Alphorn through the Eyes of the Classical Composer by Frances Jones Series in Music Copyright © 2020 Vernon Press, an imprint of Vernon Art and Science Inc, on behalf of the author. All rights reserved. No part of this publication may be reproduced, stored in a retrieval system, or transmitted in any form or by any means, electronic, mechanical, photocopying, recording, or otherwise, without the prior permission of the copyright holder and Vernon Art and Science Inc. www.vernonpress.com In the Americas: In the rest of the world: Vernon Press Vernon Press 1000 N West Street, Suite 1200, C/Sancti Espiritu 17, Wilmington, Delaware 19801 Malaga, 29006 United States Spain Series in Music Library of Congress Control Number: 2020940993 ISBN: 978-1-64889-044-4 Also available: 978-1-64889-060-4 [Hardback, Premium Color] Product and company names mentioned in this work are the trademarks of their respective owners. While every care has been taken in preparing this work, neither the authors nor Vernon Art and Science Inc. may be held responsible for any loss or damage caused or alleged to be caused directly or indirectly by the information contained in it. Every effort has been made to trace all copyright holders, but if any have been inadvertently overlooked the publisher will be pleased to include any necessary credits in any subsequent reprint or edition. Cover design by Vernon Press. Cover image: Lai da Palpuogna, Canton Graubunden, eastern Switzerland, photo Frances Jones. Table of Contents Table of Figures v Preface xxi Foreword xxiii Chapter 1 The Alphorn 1 Chapter 2 The Alphorn in Christmas Music, the Pastorella 29 Chapter 3 Leopold Mozart’s Sinfonia Pastorella for Alphorn and Strings 97 Chapter 4 ‘That Air’: The Appenzell Kühreien 131 Chapter 5 Alphorn Motifs in Romantic Repertoire 185 Chapter 6 The Alphorn for the Modern Composer 273 Appendix : Works that include Alphorn Motifs 295 Bibliography 299 Index 307 List of Figures and Tables Figures Fig.
    [Show full text]
  • The Devolution of the Shepherd Trumpet and Its Seminal
    Special Supplement to the International Trumpet Guild ® Journal to promote communications among trumpet players around the world and to improve the artistic level of performance, teaching, and literature associated with the trumpet ADDEN DUM TO “THE DEVOLUTI ON OF THE SHEPHERD TRUMPET AND ITS SEMINAL IMP ORTANCE IN MUSIC HISTORY” BY AINDRIAS HIRT January 2015 • Revision 2 The International Trumpet Guild ® (ITG) is the copyright owner of all data contained in this file. ITG gives the individual end-user the right to: • Download and retain an electronic copy of this file on a single workstation that you own • Transmit an unaltered copy of this file to any single individual end-user, so long as no fee, whether direct or indirect is charged • Print a single copy of pages of this file • Quote fair use passages of this file in not-for-profit research papers as long as the ITGJ, date, and page number are cited as the source. The International Trumpet Guild ® prohibits the following without prior writ ten permission: • Duplication or distribution of this file, the data contained herein, or printed copies made from this file for profit or for a charge, whether direct or indirect • Transmission of this file or the data contained herein to more than one individual end-user • Distribution of this file or the data contained herein in any form to more than one end user (as in the form of a chain letter) • Printing or distribution of more than a single copy of the pages of this file • Alteration of this file or the data contained herein • Placement of this file on any web site, server, or any other database or device that allows for the accessing or copying of this file or the data contained herein by any third party, including such a device intended to be used wholly within an institution.
    [Show full text]
  • The Evolution of the Bugle
    2 r e The evolution t p a h C of the bugle by Scooter Pirtle L Introduction activity ponders how it will adapt itself to the ceremonies, magical rites, circumcisions, When one thinks of the evolution of the future, it may prove beneficial to review the burials and sunset ceremonies -- to ensure bugle used by drum and bugle corps, a manner by which similar ensembles that the disappearing sun would return. timeline beginning in the early 20th Century addressed their futures over a century ago. Women were sometimes excluded from might come to mind. any contact with the instrument. In some While the American competitive drum and A very brief history of the Amazon tribes, any woman who even glanced bugle corps activity technically began with trumpet and bugle at a trumpet was killed. 2 Trumpets such as the American Legion following the First through the 18th Century these can still be found in the primitive World War (1914-1918), many innovations cultures of New Guinea and northwest Brazil, had already occurred that would guide the L Ancient rituals as well as in the form of the Australian evolution of the bugle to the present day and Early trumpets bear little resemblance to didjeridu.” 3 beyond. trumpets and bugles used today. They were Throughout ancient civilization, the color Presented in this chapter is a narrative on straight instruments with no mouthpiece and red was associated with early trumpets. This important events in the evolution of the no flaring bell. Used as megaphones instead could probably be explained by the presence bugle.
    [Show full text]
  • 006-013, Chapter 1
    trumpeteers or buglers, were never called bandsmen. They had the military rank, uniform and insignia of a fifer, a drummer, a d trumpeteer or a bugler. d Collectively, they could be called the fifes l l & drums, the trumpets & drums, the drum & bugle corps, the corps of drums, the drum e e corps, or they could be referred to simply as i the drums in regiments of foot or the i trumpets in mounted units. f f Since the 19th century, the United States military has termed these soldier musicians e the “Field Music.” This was to distinguish e them from the non-combatant professional l l musicians of the Band of Music. The Field Music’s primary purpose was t t one of communication and command, t whether on the battlefield, in camp, in t garrison or on the march. To honor the combat importance of the Field Music, or a a drum corps, many armies would place their regimental insignia and battle honors on the b drums, drum banners and sashes of their b drum majors. The roots of martial field music go back to ancient times. The Greeks were known to e have used long, straight trumpets for calling e Chapter 1 commands (Fig. 1) and groups of flute players by Ronald Da Silva when marching into battle. h h The Romans (Fig. 2 -- note the soldier When one sees a field performance by a with cornu or buccina horn) used various t t modern drum and bugle corps, even a unit as metal horns for different commands and military as the United States Marine Drum & duties.
    [Show full text]
  • Bugling Appointment Based Merit Badge
    Bugling Appointment Based Merit Badge For Bugling, this is not a teaching session, but rather a testing session. Scouts need to be on time, come prepared, and ready to present the requirements listed below. All other requirements need to be written and uploaded into a Google Classroom. Scouts will be scheduled in 15 min blocks to cover requirements # 2 - 4 as explained below. Once the Scout is registered they will be sent another link to pick a time on Friday, May 8 from the list of available 15 minute intervals starting from 3:00 pm and ending around 5:00 pm. Registered Scouts will be invited by email into the Bugling Google Classroom. In your 15 minute session: 2.Do the following: (a) Explain and demonstrate how the bugle makes sound, and explain how the bugle is related to other brass wind instruments. 3. Sound 10 of the following bugle calls: "First Call," "Reveille," "Assembly," "Mess," "Drill," "Fatigue," "Officers," "Recall," "Church," "Swimming," "Fire," "Retreat," "To the Colors," "Call to Quarters," and "Taps." 4. Explain the use of each of the calls you performed. For the Google Classroom: The other requirements should be written in the scout's own words, not copied from an internet search, and uploaded to the Google Classroom a day prior to their session as follows: Write and upload these: 1.Give a brief history of the bugle. 2 (b) Compose a bugle call for your troop or patrol to signal a common group activity, such as assembling for mealtime or striking a campsite. Play the call that you have composed before your unit or patrol.
    [Show full text]
  • Rcs Brief List
    RCS BRIEF LIST ROYAL CONSERVATOIRE OF SCOTLAND BRIEF LIST OF THE HISTORIC MUSICAL INSTRUMENT COLLECTION Including the John Webb Collection Contents Instruments of Regional Cultures Plucked and Hammered string instruments Bowed String Instruments Flageolets and Recorders Transverse Flutes Oboes Bassoons Clarinets Miscellaneous woodwind-related items French Horns Bugles, Flugelhorns, Serpents and Ophicleides Post horns, Cornets and Ballad Horns Althorns, Tenor Horns and Baritones Euphoniums and Tubas Trumpets Trombones Small Mouthpieces for Brasswind Large Mouthpieces for Brasswind Miscellaneous brasswind-related items Keyboard and Miscellaneous Instruments Return to Contents Instruments of Regional Cultures (50) Duct flute; bamboo, 5 finger-holes. (48) Flute, dark stained bamboo; decorated. Probably China. (44) Suona [shawm], double reed attached by string. Possibly China. (555) Small buchel or alphorn. Possibly Switzerland, early or mid 20th century. (557) Birch bark horn. Jarkko Aallonloiske, Turku, Finland, 1992. (558) Tuohitorvi. Jarkko Aallonloiske, Turku, Finland, 1991. (34) Gunibri [bow harp]. Africa. (6) Tambur, 4 strings. India. (33) Saz, 4 strings. (30) Bow harp, 8 strings. (25) Tambura, 5 strings. India. (71) Xylophone, 15 bars. Central Africa. (67) Lamellaphone. (72) Barrel drum. Probably India. (73) Drum, 2 heads. Probably India. RCS Historic Instrument Collections.html[29/03/2016 15:47:45] RCS BRIEF LIST (78) Drum, 1 head. Probably India. (75) Tall drum, single head. Central Africa. (74) Barrel drum, 2 heads. India. (59) Wooden club with pointed head, said to be a drum beater. (57) Wooden club, said to be a drum beater [not seen]. Return to Contents Plucked and Hammered string instruments (7) Aeolian harp. T. Prowse, London, c 1800. (18) British Lute, 16 strings.
    [Show full text]
  • Rhetoric Level - Music
    Catholic Schoolhouse Year 3 - Rhetoric Level - Music Quarter 4 – Brass Instruments Class Opener: Brainstorm all the places and genres that you recall in which brass instruments commonly perform. Which are your favorites? Can you easily tell when you are hearing a brass instrument versus another kind of instrument? How can you tell? Brass Instruments The brass family of instruments are wind instruments usually made of brass or other metal through which a sound is produced by buzzing the lips into a mouthpiece and using the lips, chin and tongue to alter the pitch. Brass instruments are aerophones, or wind instruments, and though they may appear fairly complicated, they are really just a long metal tube through which air travels. These metal tubes are typically bent into S-curves or loops to make them more compact and easy to handle, but if they were each to be stretched to their maximum length, it would be evident that the shorter instruments produce higher sounds than the longer ones. That is because the column of air in the instrument, like the length of the string on a violin or cello, is what vibrates and determines the pitch. The pitch of a brass instrument can be altered by using the lips alone to reach the octaves, fifths and fourths, but the remaining notes are produced by means of valves, which redirect the air through the metal tube in various directions, or slides, which lengthen the metal tube to various degrees. Brass mouthpiece image credit Basic brass instruments include the trumpet, French horn, trombone, and tuba.
    [Show full text]
  • 20-US-Bugle-Calls.Pdf
    Twenty Bugle Calls As sounded in the U.S. Armed Forces Compiled and edited by WWW.TAPSBUGLER.COMJari Villanueva These are bugle calls sounded in the United Sates Armed Forces. The calls are printed along with a brief explanation of their origin and use. Bugle calls can be sounded on trumpets or cornets when a bugle is not available. Bugle calls have been used in the military since armies have been formed. A useful tool for sending communications over a long distance, they were also important in everyday military life. Today most calls are used in ceremonial settings and at times designated by base commanders. Although troops are no longer maneuvered by the sound of bugles they remain an essential part of our military heritage. Bugle calls are classified into three categories-Warning Calls, Formation Calls, and Service Calls. Sounding bugle calls is an important duty. Every effort should be made to sound perfect calls in keeping with the occasion of a military ceremony. Calls should be sounded with conviction and played musically with good intonation. They should be sounded in place. The following calls are listed in the general order they are sounded during the day. Calls requiring a hand salute are noted. Twenty Bugle Calls As sounded in the U.S. Armed Forces FIRST CALL (Warning Call)-Sounded as signal for those who are to participate in a formation or ceremony to get ready. It also is used as a signal for all buglers to assemble. This call dates from the French cavalry- “Pour la Reunion des Trompettes”-1804 by David Buhl.
    [Show full text]
  • Bugling Class 1
    THE REENACTOR INFANTRY BUGLER ***Disclaimer--Material has been gather from many sources. This is intended for buglers reeancting in the Civil War Hobby . Instructors Jari Villanueva, 3rd United States Infantry George Rabbai, Miflin Guard RECOMMENDED TEXTS Teach Yourself To Play the Bugle by George Rabbai Published by Brigade Bugler PO Box 165 Pitman NJ 08071 This has been republished as Fun With The Bugle Available from Mel Bay Publications, #4 Industrial Drive Pacific, MO 63069-0066. Infantry Calls of the American Civil War by George Rabbai Published. by Brigade Bugler PO Box 165 Pitman NJ 08071 Available from Mel Bay Publications, #4 Industrial Drive Pacific, MO 63069-0066. American Civil War By The Bugle Series II Infantry Bugle Calls For Non-Buglers by R.J. Samp Published. by The ACW Buglers American Civil War By The Bugle Series II Cavalry Bugle Calls For Non-Buglers by R.J. Samp Published by The ACW Buglers “Twenty-Four Notes That Tap Deep Emotions The story of America’s Most Famous Bugle Call” by Jari Villanueva Published by JV Music 1 WARM UP Correct Embouchure Placement- With Help of mouthpiece Visualizer, Diagrams and Drawings Techniques and exercises for Buzzing the Mouthpiece- Handout sheets (modern trumpet or cornet mouthpiece required) Breathing-Techniques and exercises for correct and efficient breathing. Breath control. Lip Flexibility Tone Production-Long tone exercises, interval practice and slurring. Tongue-Single, double and triple tonguing. Exercises to improve speed and execution. High Register- “How can I hit that high G?” A practical approach to mastering the Upper Register. Bugle Calls- Discussion and sounding of Infantry, Cavalry and Artillery calls from easiest to most technically demanding.
    [Show full text]
  • Military Customs and Courtesies
    Military Customs and Courtesies Mutual Respect Good Manners And Politeness Honor – Duty - Respect 4th Class Orientation & Training for Class of 2022 Customs And Courtesies • POSITION OF HONOR • CORRECT USE OF TITLES • WEARING OF HEADGEAR • RESPONDING TO A SENIOR OFFICER’S PRESENCE • SALUTES • REPORTING • HONORS 4th Class Orientation & Training for Class of 2022 Position of Honor The position honor is on the right. 4th Class Orientation & Training for Class of 2022 The Corps of Cadets and the position of honor on the right of the line… • An Act by the General Assembly passed January 28th, 1861 states • …that the said battalion of State Cadets, while habitually maneuvering as infantry, may yet maneuver in any arm of the service, and shall take the right of all troops of the same arm in which it may at any time parade. 4th Class Orientation & Training for Class of 2022 Commissioned Officer • Commissioned officers generally receive training as leadership and management generalists, in addition to training relating to their specific military occupational specialty or function in the military. Most developed nations have set the goal of having their officer corps university educated, although exceptions exist in some nations to accommodate officers who have risen from the noncommissioned ranks (battlefield commission). 4th Class Orientation & Training for Class of 2022 Commissioned Officer • Many advanced militaries require university degrees as a prerequisite for commissioning, even from the enlisted ranks. An officer is a member of an armed force who holds a position of authority. 4th Class Orientation & Training for Class of 2022 Commissioned Officer • Commissioned officers derive authority directly from a sovereign power and, as such, hold a commission charging them with the duties and responsibilities of a specific office or position.
    [Show full text]