Bruce Mccrea Bugles and Scouting
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
The Last Post Reveille
TTHHEE LLAASSTT PPOOSSTT It being the full story of the Lancaster Military Heritage Group War Memorial Project: With a pictorial journey around the local War Memorials With the Presentation of the Books of Honour The D Day and VE 2005 Celebrations The involvement of local Primary School Chidren Commonwealth War Graves in our area Together with RREEVVEEIILLLLEE a Data Disc containing The contents of the 26 Books of Honour The thirty essays written by relatives Other Associated Material (Sold Separately) The Book cover was designed and produced by the pupils from Scotforth St Pauls Primary School, Lancaster working with their artist in residence Carolyn Walker. It was the backdrop to the school's contribution to the "Field of Crosses" project described in Chapter 7 of this book. The whole now forms a permanent Garden of Remembrance in the school playground. The theme of the artwork is: “Remembrance (the poppies), Faith (the Cross) and Hope( the sunlight)”. Published by The Lancaster Military Heritage Group First Published February 2006 Copyright: James Dennis © 2006 ISBN: 0-9551935-0-8 Paperback ISBN: 978-0-95511935-0-7 Paperback Extracts from this Book, and the associated Data Disc, may be copied providing the copies are for individual and personal use only. Religious organisations and Schools may copy and use the information within their own establishments. Otherwise all rights are reserved. No part of this publication and the associated data disc may be reproduced or transmitted in any form or by any means, electronic or mechanical, including photocopying, recording or any information storage and retrieval systems, without permission in writing from the Editor. -
TRUMPET and BUGLE SOUNDS for the Army
/"M^ 3o3- MILITARY BOOKS ttMtsjjrtr bg lllp|l» Sttiboriig. LONDON: PRINTED UNDER THE AUTHORITY OF HIS MAJESTY'S STATIONERY OFFICE By HARRISON and SONS, 45-47, St. Martin's Lane, W.C., Printers in Ordinary to His Majesty. To be purchased, either directly or through any Bookseller, from WYMAN and SONS, Ltd., 29, Breams Buildings, Fetter Lane, B.C., and 54, St. Mary Street, Cardiff; or H.M. STATIONERY OFFICE (Scottish Branch), 23, Forth Street, Edinburgh ; or . E. PONSONBY, Ltd., 116, Grafton Street, Dublin ; or from the Agencies in the British Colonies and Dependencies, the United States of America, the Continent of Europe and Abroad of T. FISHER UNWIN, London, W.C. (The prices in brackets are those at which the hooks are obtainable, post free, by Officers, Non-Commissioned Officers and Men, in the manner prescribed by the Regulations.) ABYSSINIA. Expedition to. 2 vols, and maps. 1870. Half Mor., £5 5* Cloth, £4 4s. AFRICA. Continent of. Geology of. Notes on. 1906. 3s. (2s. id.) AMHARIO LANGUAGE. Short Manual of the. With Vocabulary. 1909. 5». (3s. 6£) ANIMAL MANAGEMENT. 1908. Is. Gd. (1*. 4d) ARABIC GRAMMAR. Two parls. 1887. (Sold to Officers only.') 10*. (10s. 6d) ARMOURERS. Instructions for, in the care, repair, browning, &c, of Small Arms, Machine Guns, " Parapet" Carriages, and for the care of Bicycles. 1912. Is. Gd. (U. id.) Ditto. Amendments. Aug. 1912. Id. (Id.) ARMY ACCOUNTS. (Reprinted from The Akmy Review, January, 1914.) 3d. (3d.) ARMY LIST. The Quarterly. Each 15*. (10s. Gd.) ARMY LIST. Monthly. Each Is. Gd. (Is. id.) ARMY CIRCULARS AND ARMY ORDERS issued before Dec. -
Sir Alan Campbell Interviewed by Jane Barder 19/1/96 Typed by Jeremy Wiltshire 10/6/96
Contents of interview Entry to Foreign Office, 1946. p 2 Service under Lord Killearn, Singapore; marriage, 1947-48. pp 2-4 Private Secretary to PUS William Strang, 1950-53. pp 5-6 Head of Chancery, Rome, 1952-55: Trieste problem; pp 6-8 Communist threat. Head of Chancery, Peking, 1955-57: role of Head of Chancery; pp 8-12 relations with Chinese; recognition problem; anti-British demonstrations at time of Suez; schooling of children. Imperial Defence College, 1958. pp 12-13 News Department, 1958-60; comments on Selwyn Lloyd, pp 13-17 Hoyer-Millar, Macmillan and aftermath of Suez. Counsellor and Head of Chancery, New York (UN), 1961-65; pp 17-23 death of Hammarskjold; anti-Imperialist feeling; Lord Caradon (political appointees to diplomatic posts). Comments on Alec Douglas-Home. p 23 Western European Department at FO, 1965-67. pp 23-24 Counsellor and Head of Chancery, Paris, 1967-69; appointment pp 24-25 to post; EEC. Ambassador to Addis Ababa, 1969-72; Haile Selassie; Idi Amin; pp 25-28 growth of sedition in Ethiopia. Deputy Under-Secretary, FO, 1974-76; effective “Political pp 28-32 Director”; foreign policy talks with other EEC members; commercial competition with EEC states; co-ordination of EEC foreign policy. Concluding comments on: international civil servants; women pp 32-35 in diplomatic service; merger of CRO and FO; spending cuts in late 1970’s; David Owen as Foreign Secretary. 1 Sir Alan Campbell Interviewed by Jane Barder 19/1/96 Typed by Jeremy Wiltshire 10/6/96 An interview between Sir Alan Campbell and Jane Barder, at his flat in London. -
A-Dh-201-000/Pt-000 12-1-1 Chapter 12 Miscellaneous
A-DH-201-000/PT-000 CHAPTER 12 MISCELLANEOUS CEREMONIAL SECTION 1 STREET LINING GENERAL 1. The number of personnel required to line a route is dependent on the length of the route allotted to unit and the interval allowed between service personnel required. The following formula allows you to calculate the number of personnel required: Distance to be lined (paces) x 2 = Total number of personnel Interval (in paces) 2. Arms may be carried by units lining the street. 3. Colours may be carried in accordance with Chapter 13, Annex A to A-AD-200-000/AG-000, The Honours, Flags and Heritage Structure of the CF soon to become A-DH-200-000/AG-000; The Heritage Structure of the CAF. 4. Bands must not be placed at points where traffic is uncontrolled. They shall be positioned opposite the Colour party when circumstances permit. Otherwise, they should be positioned conveniently where a side street opens into the route of the procession. The leading rank shall be in line with other personnel lining the route. The bands formation may be adjusted to fit the depth of the space available. DEFINITIONS 5. Near End. The end of the unit from which the procession will approach. 6. Far End. The end of the unit farthest away from the direction of the procession’s approach. STREET LINING 7. Markers, one for each company, shall be pre-positioned by the chief warrant officer, commencing from the near end of the battalion position, one pace from the curb. 8. The battalion shall be formed in company blocks (no intervals between platoons), in line, sized and with bayonets fixed (except at funerals). -
Last Post Indian War Memorials Around the World
Last Post Indian War Memorials Around the World Introduction • 1 Rana Chhina Last Post Indian War Memorials Around the World i Capt Suresh Sharma Last Post Indian War Memorials Around the World Rana T.S. Chhina Centre for Armed Forces Historical Research United Service Institution of India 2014 First published 2014 © United Service Institution of India All rights reserved. No part of this publication may be reproduced or transmitted, in any form or by any means, without prior permission of the author / publisher. ISBN 978-81-902097-9-3 Centre for Armed Forces Historical Research United Service Institution of India Rao Tula Ram Marg, Post Bag No. 8, Vasant Vihar PO New Delhi 110057, India. email: [email protected] www.usiofindia.org Printed by Aegean Offset Printers, Gr. Noida, India. Capt Suresh Sharma Contents Foreword ix Introduction 1 Section I The Two World Wars 15 Memorials around the World 47 Section II The Wars since Independence 129 Memorials in India 161 Acknowledgements 206 Appendix A Indian War Dead WW-I & II: Details by CWGC Memorial 208 Appendix B CWGC Commitment Summary by Country 230 The Gift of India Is there ought you need that my hands hold? Rich gifts of raiment or grain or gold? Lo! I have flung to the East and the West Priceless treasures torn from my breast, and yielded the sons of my stricken womb to the drum-beats of duty, the sabers of doom. Gathered like pearls in their alien graves Silent they sleep by the Persian waves, scattered like shells on Egyptian sands, they lie with pale brows and brave, broken hands, strewn like blossoms mowed down by chance on the blood-brown meadows of Flanders and France. -
A Telephone Oral History Interview with Lt. Col. Herbert Hayes
Sandy Hook, Gateway NRA, NPS A Telephone Oral History Interview with Lt. Col. Herbert Hayes Last Post Commander 1971-75, Interviewed by Mary Rasa, NPS, 9/1/2005 Transcribed by Melissa Shinbein, NPS MR: Today is September 1, 2005. My name is Mary Rasa, Sandy Hook Museum Curator. I am conducting an oral history with Herbert Hayes. And I would like you to state your full name and your rank when you retired. HH: My full name is Herbert Wade Hayes Jr. I was a Lt. Col. in the infantry when I retired. MR: Okay, can you tell me when and where were you born? HH: I was born 8th of May 1921, in Hopkinsville Kentucky. MR: Where did you attend school? HH: I moved to Ohio when I was 5 years old and I spent all my time in Fairview Elementary and then Fairview High School and then the University of Dayton, Ohio. MR: Was your father or grandfather, did they serve in the military? HH: My father served in WWI. MR: Tell me a little about how you become involved with the military? HH: How I became involved with the military? MR: Yes. HH: In attending the University of Dayton, they had a program of ROTC. and I agreed to complete the four-year program which would lead to a commission as 2nd Lt. However because of the war, they did not permit us to go to a summer camp. They shortened the summer vacation so we were required to go after graduation to an officer candidate school which I attended at Fort Benning,Georgia. -
TAPS PERFORMANCE GUIDELINES Jari Villanueva
TAPS PERFORMANCE GUIDELINES Jari Villanueva www.tapsbugler.com www.TapsForVeterans.org There are two pieces of music that stir the hearts and emotions of Americans-The Star-Spangled Banner and Taps. Over the sixteen years I’ve sounded Taps at Arlington and at other cemeteries, there are ceremonies that stand out in my memory. Of all the times I’ve sounded the call, the most memorable were the times I sounded it at the Tomb of the Unknowns. To me to this is the highest honor that a bugler can perform. It is the military musician’s equivalent of “playing Carnegie Hall.” I sounded the call at the funeral of General Ira Eaker, commander of the 8th Air Force during World War II, and for the funeral of General Godfrey McHugh, Air Force Aide to President Kennedy. I sounded the British call “Last Post” at the grave of a W.W. II Australian flyer who is buried at ANC, in a ceremony attended by the Australian Air Force Chief of Staff. On every Memorial Day weekend for the past twelve years I have performed at a memorial service for the Flying Tigers, the W.W. II flying group, at the Old Memorial Amphitheater at Arlington. This is especially moving for me, to see these real heroes of a previous generation. The hardest funerals at which I’ve been asked to sound Taps were those of active duty military members. One such was a funeral in Oil City, Pennsylvania for a nineteen-year-old airman who was killed by a drunk driver while on his way to his first duty assignment. -
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. -
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. -
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. -
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. -
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.