THE DEVELOPMENT OF CIVIL WAR BRASS BAND INSTRUMENTS INTO MODERN- DAY BRASS BAND INSTRUMENTS WITH A RELATED TEACHING UNIT FOR A HIGH SCHOOL GENERAL MUSIC COURSE

Joseph M. Lewis Jr.

A Thesis

Submitted to the Graduate College of Bowling Green State University in partial fulfillment of the requirements for the degree of

MASTER OF MUSIC

August 2015

Committee:

Vincent J. Kantorski, Advisor

Bruce B. Moss © 2015

Joseph M. Lewis Jr

All Rights Reserved iii ABSTRACT

Vincent J. Kantorski, Advisor

The purpose of this study was twofold: (a) to trace the development of civil war brass band instruments into modern-day brass band instruments and (b) to design a related teaching unit for a high school general music course.

Historical sources for this study were books, scholarly articles, photographs of instruments, audio and video recordings, and music scores. I traced in this study the design, development, and uses during the Civil War of keyed bugles, ophecleides, and saxhorns. I then discussed how these transitioned to more modern brass band instruments, specifically keyed bugles to the trumpet and cornet, ophicleides to the Sousaphone, and saxhorns to other instruments.

I interviewed Mr. Mark Elrod, the foremost expert on Civil War band instruments, about the design characteristics of Civil War era band instruments that have influenced the design of modern day band instruments, ways in which Civil War band instrumentation has affected the instrumentation of today’s school bands, and the importance for students in school music education programs to study Civil War era bands and music.

Based upon the information acquired from these historical sources and the interview with

Mr. Mark Elrod, I designed a three-week teaching unit titled The Blue and the Gray: A Teaching

Unit For a High School General Music Course. Students in this course will use web-based instruction and chat boards, and have hands-on learning experiences that include holding brass instruments from the Civil War and the modern instruments that developed from them. Students will also view and intelligently critique recordings and videos of Civil War re-enactment bands and listen to an invited guest who is an expert in Civil War band era brass bands. iv

To my Wife, Lindsay v ACKNOWLEDGMENTS

First, I wish to express my gratitude to my parents for their many years of guidance and motivation and whose words of inspiration will forever resonate in my life. Without their infinite patience and teaching, my accomplishments would not be possible.

I would also like to sincerely thank Mr. Mark Elrod for his generous contribution to this thesis and for his willingness to share his knowledge and expertise on the subject of Civil War bands. Many thanks to Mr. John Huffman for his efforts in coordinating with Mr. Elrod to ensure successful completion of the interview.

Endless thanks to Dr. Vincent Kantorski for his never-ending patience and guidance throughout my graduate years and the writing of this thesis. Mere words cannot express my gratitude for such a caring and generous person. I wish him the best in his retirement and encourage him to reflect on a wonderfully successful career of educating America’s teachers.

Finally, much love and thanks to my very supportive wife, Lindsay for being there to encourage me in the good times, and inspire and motivate me when I wanted to give up. Without her support and efforts behind the scenes, this accomplishment would not be possible. vi

TABLE OF CONTENTS

Page

INTRODUCTION ...... 1

Need for the Study ...... 4

Purpose of the Study ...... 4

CHAPTER I. BRASS BAND INSTRUMENTS BEFORE AND DURING THE CIVIL WAR 5

Before the Civil War ...... 5

During the Civil War ...... 6

Keyed Bugles ...... 6

Design and development ...... 6

Use in Civil War bands ...... 8

Ophecleides ...... 9

Design and development ...... 9

Use in Civil War bands ...... 11

Saxhorns...... 12

Design and development ...... 12

Use in Civil War bands ...... 14

Summary ...... 15

CHAPTER II. BRASS BAND INSTRUMENTS AFTER THE CIVIL WAR ...... 17

Keyed Bugles ...... 18

Transition to the Trumpet and Cornet...... 18

Ophicleides ...... 19

Transition to the Sousaphone...... 20 vii

Saxhorns ...... 21

Transition to Other Instruments ...... 22

CHAPTER III. SYNOPSIS OF INTERVIEW WITH MARK ELROD ...... 24

CHAPTER IV. SYNOPSIS OF THE BLUE AND THE GRAY: A TEACHING UNIT FOR A

HIGH SCHOOL GENERAL MUSIC COURSE ...... 27

REFERENCES……………………………………………………………………………… 29

BIBLIOGRAPHY…………………………………………………………………………… 31

APPENDIX A. INTERVIEW QUESTIONS ...... 32

APPENDIX B. TRANSCRIPTION OF INTERVIEW RESPONSES ...... 33

APPENDIX C. THE BLUE AND THE GRAY: A TEACHING UNIT FOR A HIGH SCHOOL

GENERAL MUSIC COURSE ...... 46 viii

LIST OF FIGURES

Figure Page

1 Keyed Bugle ca. 1855 Made by Graves & Co...... 7

2 Ned Kendall with Keyed Bugle, 1841 ...... 9

3 Ophicleide Made by Graves & Co. ca. 1835 ...... 10

4 Family of Saxhorns ca. 1862 ...... 12

5 Comparison of the Perinet and Berliner Trumpet Valves...... 19

6 Helicon Made ca. 1910 ...... 21 1

INTRODUCTION

Military bands and musicians have played an important role in the music of the

United States of America since its founding. Stemming from traditions in Europe, military bands and their music are a key element in the development of modern concert and marching bands (Gleason, 2006). The earliest known military musical ensemble in colonial America was attached to Benjamin Franklin’s Regiment and Artillery Company in Philadelphia in 1756. This ensemble consisted of either two oboes or two clarinets, two horns, and two ba ssoons (Gleason, 2006). Another ensemble active at this time was the Salem, Massachusetts band of 1805, which consisted of 14 musicians: five clarinets, two flutes, one bugle, one trumpet, two French horns, one bassoon, one trombone, and one drum (Eliason, 1972). Early European military musical groups typically had two buglers and one snare drummer. These musicians were most often used for signaling troops on the battlefield because the use of gun powder at this time required that sound louder than the human voice be used to direct troop movement during the heat of battle

(Gleason, 2006). This tradition was adopted during the American Revolutionary War.

The drummer was typically used to keep troops in step as they marched to the battle front, and the buglers played different melodies or “calls” on their non-valved bugles to communicate to the infantry and cavalry which direction to go or whether to charge or retreat. Many of these bugle calls are still played on modern United States Army posts in keeping with tradition and paying homage to the past.

Around 1810, a major innovation to the bugle began to put brass instruments at the forefront of military music beyond signaling capabilities. Joseph Halliday’s keyed bugle of 1810 was a metamorphosis of the keyed woodwind instruments of the time that 2 were used by professional orchestras in Europe to entertain civilians and military personnel in garrison. Although a keyed trumpet was already in existence, Halliday improved upon this design by cutting holes into a bugle and adding padded, lever- operated keys to allow the instrument to play chromatically (Newsom, 1979). The invention of this keyed bugle eventually led to the family of instruments known as ophecleides. By 1835, these ophecleides had been developed over a period of about 20 years in varying ranges and were becoming equal to keyed bugles in terms of melodic importance. About this time, perhaps because of trends in European bands, most bands in the United States replaced their flutes and clarinets with keyed bugles, and their bassoons with ophecleides and valved basses (Eliason, 1972). Because of these developments, 1835 is considered by many to be the beginni ng of the brass band era in the United States (Newsom, 1979). According to Newsom (1979, p. 3), “The average bands [during the 1840s] consisted of thirteen pieces--two E-flats bugles, 1st and 2nd

French horns (without valves), the post horn, and E-flat trumpet, slide B-flat trombone and F-bass trombone for bass, ophecleide [sic] (brass), and the serpent (a wooden instrument with keys), cymbals, snare and bass drums.”

Adolphe Sax (1814-1894), a French inventor of instruments, developed a series of valved (not keyed) bugles known as saxhorns in the 1840s. Like the ophecleides, these saxhorns were developed to play chromatically in varying ranges but were superior in their ability to be played with evenness of timbre, pitch, range, and ease of playability

(Newsom, 1979). These instruments were of superior quality and developed at a time when they were in demand by amateur musicians. 3

Also becoming popular in the 1840s were over-the-shoulder saxhorns patented by

Allen Dodworth of New York in 1838. These instruments were designed for the sole purpose of sending the sound backwards to the soldiers marching behind the band. The wrap around instrument known as the helicon was invented for cavalry musicians to use as they were playing and riding a horse. The helicon was wrapped around the body like the modern sousaphone, which allowed the musician to play with one hand while steering the horse with the other (Gleason, 2006). By the 1850s, the saxhorns and helicons had secured their place among military brass bands alongside their German counterparts, the flugelhorns, and created an amateur brass band movement with popular appeal in the

United States (Newsom, 1979).

According to Rosengren (2009, p. 193), “Marching brass bands were new to the musical scene at the time of the Civil War and performed in ways that seem odd and out of tune with our times.” At the onset of the Civil War, each brigade of approximately

3,000 men was authorized a band of 24 musicians. Many bands, however, were not able to field this many musicians (Rosengren, 2009). After the first battle of Bull Run in

Virginia in July 1861, the Confederacy eliminated all bands within their ranks. However, the outcry from the soldiers quickly led to the Confederate con gress again authorizing bands (Rosengren, 2009). By the height of the Civil War, several bands on both sides were active. The bands of the Confederacy were not as well rehearsed or uniformed as the bands of the Union, but were just as valued by the infantry and cavalry troops to which they were attached. According to Rosengren (2009), the two bands that epitomized professionalism during the Civil War were the 26th North Carolina Band and 4

Patrick Gilmore’s 24th Massachusetts Volunteer Infantry Band that accompanied Colonel

Stephenson’s regiment to the battlefront.

Need for the Study

Because middle and high school instrumental music students are a part of ensembles that are directly affected by instrument innovations that occurred between the

Civil War and today, it is important for band directors to understand the historical perspective of the instruments on which their students perform. This thesis will add to the existing body of knowledge so that other teachers, scholars, and enthusiasts of the Civil

War and its music may benefit from the research.

Students participating in a high school general music course should be exposed to

Civil War brass band music and informed about the development of the instruments with which they are familiar. By presenting information and research from this thesis included in a three-week teaching unit, a high school general music teacher can accomplish the following: (a) introduce students to early examples of instruments they may or may not be familiar with, (b) enrich students' knowledge of a time in American history covered in other courses, and (c) expose students to an era of American music that may be otherwise overlooked.

Purpose of the Study

The purpose of this study was twofold: (a) to present the development of Civil

War brass band instruments into modern-day brass band instruments and (b) to develop a related teaching unit for a high school general music course. 5

CHAPTER I. BRASS BAND INSTRUMENTS BEFORE AND DURING

THE CIVIL WAR

The eighteenth century brought about many developments and improvements to instruments around the world. Instrument designs were experimented with to achieve better sound quality, more durability, and to make it easier for musicians to play their instruments. Brass instrument design in particular became a focus of many instrument makers prior to and during the American Civil War.

Before the Civil War

Prior to the Civil War, the most popular instruments in military bands were fifes, drums, and bugles. Fifes were popular due to their small size, which made them easy to carry in the soldier's coat pocket and to play while soldiers were in camp or in combat.

When the company would be settled down for the night, the fife could be played for the troops' entertainment. The drums were popular because they kept soldiers in step while on the march. Part of General George Washington's discipline strategy within the

Continental Army during the American Revolutionary War, approximately 70 years before the Civil War, was that soldiers should march together and be in step with one another (Hudlick, 2008). The drum was introduced as a means to achieve this. This tradition continued throughout the Civil War and beyond. The bugle earned its place in traditional American music for its uses in communication. The bugle was used on the battlefield as a communication device to control the movement of large numbers of troops during the chaotic and often deafening noise of cannons and rifles during combat

(Gleason, 2006). The bugler would play different series of notes or “calls” that would have different meanings such as Retreat or Charge. Other calls were used to assist troops

6 in keeping the daily schedule such as Reveille, Mess Call, and Taps. The bugler was an essential member of every unit, with primary functions of communication, beginning with the Revolutionary War, which continued through the Civil War, and is now a tradition observed on every American military post throughout the world.

Following the Revolutionary War, instrument makers had the opportunity to experiment with different designs to produce different timbres. This helped to expand the possibilities of instrumentation, especially as it related to Civil War bands.

During the Civil War

Keyed Bugles

Although keyed bugles made their appearance in the United States with little announcement around the beginning of the nineteenth century, their arrival eventually led to an entire family of bra ss instruments that would become popular early among

American Civil War brass bands (Eliason, 1972). Keyed bugles, also known as Kent

Bugles, named by Joseph Halliday in honor of the Duke of Kent, are an improvement on the traditional or open bugles which were used for signaling during the American

Revolutionary War (Eliason, 1972).

Design and development.

The keyed bugle was the first attempt at manipulating the pitch of a brass instrument through the use of covered tone holes located at different locations throughout the length of the instrument (Eliason, 1972). These nine covered tone holes were shaped similar to the holes on the modern saxophone but were still new in their design. The tone holes were covered with a disc-shaped key with a stuffed pad to seal the hole when covered. The key would be operated by the player using a simple, spring-loaded lever on 7 one side of the key that would allow the key to open and shut when not being used. The spring and fulcrum of the lever were attached to the instrument using a box style mount.

The key levers were located in places where the player could reach them by moving fingers without having to move the entire hand.

Tuning bits were extensions of the mouthpiece and le ad-pipe similar to those used on modern Sousaphones. They were also used in the early designs of the keyed bugle because the tuning slide had not yet been developed. As pictured below (see Figure 1), tuning bits were used to adjust each instrument length to play as closely in tune with each other as possible.

Figure 1. Keyed Bugle ca. 1855 Made by Graves & Co.

According to Eliason (1972), the best designed keyed bugles at the start of the

Civil War were made by E.G. Wright and the Graves & Co. in Boston. Both designs consisted of twelve keys which was very typical of this time. The keys were lever-action but were improved from the earlier designs by using stronger metals for the footplates, a post and flat spring for the fulcrum, and improved leather pads to seal the tone holes. 8

Tuning slides later became a feature of these improved instruments, eliminating the need for tuning bits. The player could then make very small changes to the bugle's overall pitch by simply pulling out or pushing in the tuning slide that was part of the lead pipe of the instrument. This meant that multiple buglers could tune to each other regardless of the temperature, which has a profound effect on brass instruments intonation and timbre (Eliason, 1972).

Use in Civil War bands.

By the start of the Civil War the keyed bugle had secured its place as a solo instrument and was quickly becoming a staple in the newly forming brass bands. An increasing amount of chromaticism was achievable because of the increase in keys from nine to twelve, thereby enabling the player to perform more challenging literature. The growing popularity of the keyed bugle among brass bands and musicians was largely due to virtuosic performances given on the keyed bugle by Ned Kendall (1808-1861) and

Patrick Gilmore (1829-1892). Many of these performances were with the newly formed brass bands around the middle of the nineteenth century. The following illustration is of

Ned Kendall in 1841 with his keyed bugle published in the Boston Globe in 1890

(Eliason, 1972) (see Figure 2). 9

Figure 2. Ned Kendall with Keyed Bugle, 1841

Although it had fallen out of favor, the keyed bugle went through many improvements throughout its existence. More innovative designs for pitch manipulation in brass instruments were starting to appear and the keyed bugle's success would quickly dwindle.

Ophicleides

The ophicleide was the predecessor of the modern tuba. During the time the ophicleide was in wide-spread use, there was no other option for playing the bass line in a

Civil War band. The ophicleide's ability to be played while marching or on horseback was unparalleled in comparison to other bass instruments during the early years of the

Civil War.

Design and development.

French instrument maker Jean Hilarie Aster (1775-1840) is largely credited for developing a family of instruments similar to the keyed bugles of the time. The largest of these instruments was known as the ophicleide. Below is a photograph of a bass ophicleide made by Graves & Co. around 1835 (National Music Museum, 2014) (see

Figure 3). 10

Figure 3. Ophicleide Made by Graves & Co.

ca. 1835

The ophicleide was the bass voice of the keyed bugles and, along with the serpent, is considered to be the predecessor of the modern tuba. The name ophicleide comes from the Greek words ophi, which means serpent, and cleide, which means keys (Green,

2000). As implied by the name, the bass instrument was an improvement on the earlier instruments known as serpents which were S-shaped, brass instruments with small, finger-sized holes drilled in them to produce different pitches. The reason for shaping the large instrument in the S form was to make a very long tubular instrument that was manageable for the musician to play. By shaping the instrument to look like an S, the holes used to manipulate pitches were close enough to the player to be operated with relative ease. The typical serpent had six holes, which was enough to play the majority of notes used at the time. These six holes would simply be covered with the players’ fingers much like a fife or a modern recorder to create the different pitches. This, of course, 11 limited the number of holes that could be covered at one time while still maintaining playing stability. This led to the development of the ophicleide.

The ophicleide in its most basic form was a modified serpent with the addition of keys. However, there are two distinct features of the ophicleide that separate it from its keyed bugle counterparts. The first difference was the addition of keys. By adding keys and arranging the tone holes differently, more keys could be accessed by the musician by simply moving a finger or two, making more notes available on the instrument.

Interestingly, this key and tone hole arrangement is an early example of the design that the baritone saxophone would use decades later.

The second feature, which was an improvement from the serpents of the previous centuries, was the basic shape of the instrument. The shape of the serpent was largely a result of function rather than aesthetics. The serpent was a bass instrument and therefore very large. This necessitated a shape to allow the player to reach the lower sound holes of the instrument. Given the development of keys, it made more sense to design the ophicleide with a straight shape to allow the function of the rods that connected the keys that the players actually pressed to the pads that covered the tone holes further down the instrument (Green, 2000).

Use in Civil War bands.

The popularity of the ophicleide came largely out of necessity as neither the helicon nor the Sousaphone had been invented. The ophicleide was also able to be carried and played while on the march and while on horseback which made it popular for Civil

War bands during troop marches. 12

Saxhorns

During the mid-ninetee nth century, when keyed horns and ophicleides were experiencing the peak of their success, Adolphe Sax (1814-1894), the inventor of the saxophone, was finishing production of a brass instrument that would soon render the keyed bugles of the early nineteenth century obsolete. The saxhorn, as it would later be called, was an instrument that employed valves with additional tubing attached rather than open holes with keys to manipulate the pitch of the instrument. Combined with the natural overtones of the instrument, the valves could be used to change the pitch of the instrument. The valved saxhorn was superior to the keyed bugle because of its evenness of timbre, accurate intonation throughout the larger range, and ease of playability

(Newsom, 1979).

Design and development.

In light of the saxhorn's popularity, by 1860, an entire family of saxhorns had been developed from the E-flat soprano saxhorn to the B-flat bass saxhorn. Figure 4 shows a family of saxhorns (Rhodes, 2007). Note the rear-facing bell design.

Figure 4. Family of Saxhorns ca. 1862 13

The first reason these instruments became popular was the ability to play them relatively in tune with each other. Unlike previous instruments, all saxhorns had the same basic shape, design, and characteristics of each other but were increasingly larger to produce overtones in lower registers. The timbres produced by these instruments were somewhat similar in all registers and could be blended to produce a pleasing sound.

These instruments were also equipped with tuning slides that were only found on the later models of the keyed bugles and ophicleides. However, during the time of the Civil War, there was not a standard pitch to tune an ensemble to as there is today. A=440 did not become the standard tuning pitch in the orchestra until 1917, and it was even later until bands started to use A=440 as the standard pitch. Before 1917, brass instruments could be tuned as high as A=457 (Holcomb, 2014). In order to equip a band with instruments that could play in tune with each other, band leaders would purchase an entire family of saxhorns from the same manufacturer. This would aid in tuning because instruments made by the same manufacturer would have the same general pitch tendencies and could be tuned easily with each other (Gleason, 2006).

The second reason the saxhorn became desirable was the virtuosity that could be achieved while playing it. The keyed bugles and ophicleides had nine to twelve keys each in a different location on the main tube of the instrument. The saxhorn was superior because by using only three valves, the player could play all the chromatic notes within a given scale. The musician would never have to change hand positions to reach additional keys or valves. By simply pressing a valve or combination of valves, manipulating the embouchure in the mouthpiece, and adjusting the velocity of the air stream, the player 14 could play the most difficult literature much easier than with previously popular keyed bugles and ophicleides (Frederick, 2004).

Use in Civil War bands.

By the height of the Civil War, the Saxhorn had become a common fixture in military bands along with their counterparts the cornet, French Horn, and trombone.

There were two main reasons for the popularity of the saxhorn among military musicians and band leaders.

First, the employment of the saxhorn beca me popular because of the ease of use while on horseback. This was due in part to the design of the instrument but also to its relatively light weight. The brass used for the saxhorns was often thinner than the brass instruments of today, making the saxhorn lighter and easier to carry. Many Civil War bands were affiliated with cavalry regiments and would play while mounted. The saxhorn made it possible to hold and play the instrument with one hand while holding the reins of the horse in the other hand (Gleason, 2006). This was in contrast to keyed bugles and ophicleides, which required the use of two hands to play. Along with being heavier than the saxhorn, this made it impossible for a mounted cavalry band to play and entertain troops while on the move before the advent of the saxhorn.

Second, the saxhorn was widely used in military bands during the Civil War because of its bell-rear design. During marches, ceremonies, or parades, the bands of their respective regiments were often toward the front of the formation marching forward.

In order for the soldiers to be able to hear the music being played and therefore march in step, the saxhorns with rear facing bells were employed to direct the sound toward the troops marching behind. These instruments became known as “back'ard blasters” 15

(dodworth.org, 2014). Although they didn't completely replace the trombones, French

Horns, and tubas, the saxhorn family was arguably the most popular instrument family of the Civil War.

Summary

Prior to and during the American Civil War, instrument manufacturers worked to develop instruments that were desirable to Civil War bands and band leaders. They also attempted to design instruments that could play melodies using all notes in the chromatic scale in multiple octaves and be played at a virtuosic leve l. While the keyed bugles of

Joseph Halliday's and Ned Kendall's time solved the obvious problem of not being able to play all the notes in the range of the instrument, there were still difficulties to overcome as far as quality of sound and playability. The technology and design of the key levers and pads on the keyed bugles had improved to a certain extent. The levers themselves were still rather stiff, a bit clumsy and awkward for the player to manipulate, and the pads used to seal the tone holes were not always completely air tight. The ophicleide had its own issues with mechanical soundness. The rods used to connect the keys over the longer distance from the tone hole to the key were easily bent or damaged and the instrument was quite heavy with all the hardware attached.

The development of the saxhorn family would all but eliminate the use of keyed bugles and ophicleides in the Civil War. The saxhorn was lighter, more durable, and more easily played due to the musician only manipulating three valves and using them in combination. The saxhorns were all very similar in design. A family of saxhorns made by a single manufacturer were different in size in order to cover the different parts of the music from the soprano lines to the bass lines. The use of valves on brass instruments in 16 place of previously used keys was a turning point in instrument design during the Civil

War. The advent of valves on brass instruments would spark the design of new instruments moving forward into the twentieth century. 17

CHAPTER II. BRASS BAND INSTRUMENTS AFTER THE CIVIL WAR

The end of the Civil War was a new beginning for the relatively young United

States of America. The battles between the North and the South were finished and the country was ready to move forward. Americans were beginning to feel a sense of patriotism not felt since the Revolutionary War nearly one hundred years before. With this sense of patriotism came a desire for new styles of music. New types of ensembles emerged with different instrumentation and there were newly designed instruments that played better in tune, were more durable, and produced better overall tone than those used in the Civil War. The keyed bugles were quickly falling out of favor for the better designed cornets and trumpets which were made with rotary and piston valves.

Ophicleides were also rapidly being played less and less due to the development of saxhorns and early designs of the Sousaphone. Saxhorns were also going through changes and improvements to adapt to the quickly changing demands of the military musicians of the time.

The industrial revolution in the United States brought many changes to how manufactured products were designed and produced. This included the designing of brass instruments. Instrument manufacturers were able to produce more accurate measurements and instruments with more precision due to the improvements in technology during this era. In the next forty years and into the twentieth century, with the advent of improved instrument designs and even some new instruments, the modern military band instrumentation was becoming standardized. 18

Keyed Bugles

By 1870, the brass band was falling out of favor and bands began to include woodwinds in their ranks (Ortner, 1999). Perhaps the most famous of these ensembles was Patrick Gilmore’s band. Aside from Gilmore’s development of the National Peace

Jubilee in 1869, his band helped standardize the instrumentation of the modern military band as well as other bands throughout the United States. Many say that Gilmore’s death was so close to the beginning of Sousa’s career that Sousa picked up where Gilmore left off (Ortner, 1999). By the time John Philip Sousa became a nationally recognized band leader, the keyed bugle was nothing more than a relic of the past.

Transition to the Trumpet and Cornet

Graves and Co. of Boston, Massachusetts, was the last manufacturer of keyed brass instruments in the United States. When it ceased to do business after 1877, the keyed bugle was no longer manufactured since all other instrument makers of the time were producing instruments made with rotary valves and the continuously improving piston valve (Eliason, 1972). Though the rotary valve trumpet and cornet were already in existence, it was after the Civil War when they completely replaced the keyed and open bugles and became standard instruments in the military band.

Though many trumpets and cornets during and after the Civil War were made with rotary valves, some were manufactured using the Berliner piston valve, also called the pumpen valve. This valve was in common use between the 1840s and the 1870s because it was durable and inexpensive to manufacture (Garafolo & Elrod, 1985). According to

Garafolo and Elrod (1985) however, the Berliner valve was replaced by the 19

Perinet valve by the end of the nineteenth century. The Perinet valve is the design most commonly seen today on trumpets and many other brass instruments.

Below is a comparison of the Perinet valve (top) and the Berliner valve (bottom)

(see Figure 5). Notice the Berliner valve is shorter and wider than the Perinet valve. The

Perinet valve proved to be superior in sound quality because the tubing going into the valve was offset with the tubing coming out of the valve. This created a better seal and thus the instrument produced a better quality sound.

Figure 5. Comparison of the Perinet and Berliner Trumpet Valves

Top: Perinet trumpet valve. Bottom: Berliner trumpet valve.

Ophicleides

As stated earlier, the ophicleide is the closest relative to the modern tuba (Palton,

2008). The ophicleide was used during the Civil War to play the bass line and was particularly useful for its ability to be played while on horseback. However, shortly after 20 the Civil War, newer instruments were developed that produced a better sound and were not only easier to play, but also easier to carry. The modern sousaphone was perfected from the earlier design of the helicon. The helicon resembled the sousaphone but did not have the large, forward facing bell that the sousaphone had. Both instruments, however, were developed with piston valves that were the latest design. The sousaphone soon became the standard bass instrument for military bands due to its superior sound even when used in the marching setting.

Transition to the Sousaphone

The ophicleide may be the predecessor to the modern tuba or sousaphone, but in terms of visual resemblance, the helicon is more closely related to the tuba than any other instrument. Though the helicon is designed to rest on the player’s shoulder like the sousaphone, the major difference in this instrument from the sousaphone is the direction and shape of the bell. Rather than the bell facing forward and having a very large flare like the sousaphone, the bell of the helicon is actually smaller in diameter and faces upward at a 45 degree angle from the player. The helicon was likely first manufactured by the Cerveny company and enjoyed much popularity in Eastern Europe during the nineteenth century (Palton, 2008). According to Palton, 2008, these instruments were causally referred to as “rain catchers” due to the upward shape of the bell. Below is a photograph of a helicon made about 1910 (see Figure 6). 21

Figure 6. Helicon Made ca. 1910

In the early twentieth century, the helicon was quickly replaced by a similar instrument developed by the Conn company around 1908. This instrument was, of course, the sousaphone (Paulton, 2008). Contrary to popular belief, the sousaphone was not invented by John Philip Sousa, but instead, the manufacturer put Sousa’s name on the instrument as a marketing technique to draw musicians’ interest to it. Since the instrument was frequently used in parade settings, the sousaphone became the accepted instrument.

Saxhorns

The saxhorn was one of the first brass instruments to use the piston valve, and it was unique because an entire range of instruments could be produced with the same basic design. The difference among the various saxhorns was the size of the instrument which corresponded with the range that the instrument was to play. The family of saxhorns demonstrated the superiority of the piston valve over the use of keys to change pitch on 22 brass instruments. The piston valve system allowed for the mechanics of the instrument to take up a relatively small amount of space on the instrument and proved to be easier to manipulate in contrast to an array of keys on earlier instruments (Elrod, 1985).

Transition to Other Instruments

As previously noted, the saxhorn family encompassed the entire range from soprano to bass. The reason for designing saxhorns in all ranges was to send the sound of all the instruments backwards towards the musicians and troops marching behind (Elrod,

1985). By the end of the Civil War, bands began to perform with the musicians seated rather than marching. Thus the need for instruments with rear-facing bells diminished and other instruments began to replace saxhorns within the ranks of the military band.

Following the Civil War, the soprano saxhorn was replaced in popularity by trumpets and cornets because they were designed to be more durable and produce a better quality sound. The alto saxhorn also went through design changes that led to the bell of the instrument facing forward rather than upward or backward. The alto horn is very similar to the alto saxhorn with the difference being the direction of the bell. The overall mellow sound quality is still present in the modern alto horn due to its relatively small bore size (Elrod, 1985). Although the alto horn is no longer used in military bands, marching bands, or most public school bands, it was used by The Ohio State University

Marching Band through the 1970s and is still played in British brass bands today.

Tenor saxhorns were soon replaced with trombones and valve trombones after the

Civil War also due to their superior sound quality and the fact that sound projected forward rather than backward. The slide trombone was not the preferred instrument during the war due to its lack of durability, specifically the fragile slide mechanism. 23

Because the war had ended, instruments did not have to endure the conditions of being outside for extended periods of time and musicians could spend more time on maintenance of their instruments. Also after the war, the slide trombone began to gain favor over the valve trombone and tenor saxhorn. The baritone and bass saxhorns also began to fall out of favor around the beginning of the twentieth century. When the band was seated, the tuba was the preferred instrument for the bass, and the baritone horn or euphonium was used for the baritone range. 24

CHAPTER III: SYNOPSIS OF INTERVIEW WITH MARK ELROD

In addition to scholarly articles, books, recordings, and scores, an interview with a subject matter expert on Civil War bands was chosen to be included in this thesis. Mr.

Mark Elrod is the foremost expert in this field and generously agreed to be interviewed.

Appendix A contains the interview questions, and Appendix B is a full transcription of

Mr. Elrod’s responses. The interview took approximately one hour and was conducted via telephone. Though a significant amount of information was discussed during the interview, three themes emerged from Mr. Elrod’s responses: (a) his experiences as a military musician and Civil War band historian, (b) his association with experts in the field of Civil War bands, and (c) his passion and exuberance for all things associated with

Civil War bands and music.

The first and perhaps most profound theme is Mr. Elrod’s experiences. Mr. Elrod has been interested in all aspects of the Civil War since childhood and spent a significant amount of time shooting Civil War firearms in competition. Along with his interest in firearms, Mr. Elrod also became interested in band music at an early age and began to play the trumpet. The two interests were merged at an event called the Antique

Muzzleloader’s Festival in Dearborn, Michigan. It was at this event that Mr. Elrod was introduced to a Civil War reenactment band and became very attracted to the subject of

Civil War bands and instruments. Eventually, while attending college, Mr. Elrod formed his own Civil War reenactment band. At about the same time, he enlisted into the Army and was a bugler in the Old Guard Fife and Drum Corps, which is part of the 3rd U.S.

Infantry Regiment in Washington, D.C. This ensemble is comprised of fifers, buglers, and drummers who perform music of the American Revolutionary Era in period uniforms 25 and on recreated instruments. The Fife and Drum Corps is internationally acclaimed and often performs for foreign dignitaries and the president.

Along with his service in the Army, Mr. Elrod was a member in the U.S. Marine

Band in Washington, D.C. While performing with the Marine Band, Mr. Elrod formed a separate ensemble within the band to perform Civil War band music. The music used for this group came from the Library of Congress. “I actually started or put together a small group within the Marine Band, and we had rehearsals and ran through some of the music we found in the Library of Congress.” Much of this music came from the Library’s

Dodworth Brass Band collection.

Following his military service, Mr. Elrod earned a scholarship to The Catholic

University of America in Washington D.C. where he met Robert Garafolo and later co- authored with him the book A Pictorial History of Civil War Era Musical Instruments and Bands (1985). The two men formed a Civil War reenactment band called Heritage

Americana. This group performed for nearly two years in the Washington, D.C. area and along the east coast. One significant event where this ensemble performed was the 125th anniversary of the assassination of Abraham Lincoln. “I put together a group and we did a concert at Ford’s Theater called Music Lincoln Loved.”

In 2002, in partnership with Yari Villanueva, Mr. Elrod formed the Federal City

Brass Band. This band is arguably the best Civil War reenactment band in the country and frequently performs in Washington, D.C. for military tattoos (showcases for military bands and/or military units) and other historical ensemble showcases.

The second theme that emerged from the interview with Mr. Elrod is his association with many experts in the field of Civil War bands, including Frederick Van 26

Kovik, the director of the Civil War reenactment band at the Antique Muzzleloader’s

Festival. As previously mentioned, Mr. Elrod is closely associated with Robert Garafolo from their years spent at The Catholic University of America. As co-author of A Pictorial

History of Civil War Era Musical Instruments and Bands, and co-founder of Heritage

Americana, Mr. Garafolo has been a significant contributor to Mr. Elrod’s interest in

Civil War bands. Mr. Elrod is also closely associated with Yari Villanueva who co- founded the previously mentioned Federal City Brass Band.

The third theme from the interview was Mr. Elrod’s passion and exuberance for all things associated with Civil War bands and music. He has spent the better part of his life learning about the many aspects of Civil War bands, instruments, and music and is enthusiastic about sharing his passion with others. “My main way of communicating with people, like I said, is having people over to my house. I can show them music…what I like to say, ‘in-hand.’ I also, when I’m playing with the Wildcat Band or the Federal City

Band, a lot of times I am called on to announce a particular selection and I can talk about it.” Mr. Elrod’s continuing interest in promoting Civil War bands is a direct result of years of study and unique experiences concerning Civil War bands and music. 27

CHAPTER IV: SYNOPSIS OF THE BLUE AND THE GRAY: A TEACHING UNIT FOR

A HIGH SCHOOL GENERAL MUSIC COURSE

The purpose of this unit is to expose high school general music students to the music and instruments of Civil War bands and foster a genuine interest in their role during the Civil War. This unit is part of the thesis I wrote as partial fulfillment of the requirements for completion of the degree Master of Music in Music Education at the

College of Musical Arts at Bowling Green State University in Bowling Green, Ohio.

The inspiration for creating this unit comes from my background as a military musician. I have been serving with the 122nd Ohio Army National Guard band since

June,

2000. I am currently a Warrant Officer 1 and am serving as the band’s commander. I also spent four years (2007-2011) teaching band in public schools. It was during this time that

I became aware of the lack of existing knowledge about Civil War bands, music, and instruments. In order to add to the body of knowledge being presented to students about music, this unit was created in hopes of enlightening students and exciting them about the subject of Civil War music.

This teaching unit is intended for a high school general music class of approximately 20 students that meets three days per week for 45 minutes per meeting.

The unit is three weeks in length for a total of nine days of instruction.

The first week consists of the following: Lesson 1 Introduction to The Blue and

The Gray: A Teaching Unit on Civil War Bands and Instruments; Lesson 2 Small Group,

Web-Based Activity for Civil War Band Research; and Lesson 3 PowerPoint

Presentations of Web-Based Research Findings. 28

The second week consists of the following; Lesson 4 Field Trip to the American

Civil War Museum of Ohio located in Tiffin; Lesson 5 Guided Listening Day; and

Lesson 6 Guest Speaker: Mr. Mark Elrod, Foremost Expert on Civil War bands and instruments.

The third week consists of the following: Lesson 7 Guest Speaker: Mr. John

Huffman, Director of the 73rd Ohio Volunteer Infantry Band; Lesson 8 Civil War and Modern-Day Instruments Petting Zoo; and Lesson 9 Performance by the 73rd

Ohio Volunteer Infantry Band.

Throughout the unit, students will participate in learning activities including web- quests, field trips, guided scavenger hunts, guest speaker presentations, and listening examples.

It should be noted that lessons contained in this unit are specific to high schools located in Northwest Ohio. If this teaching is used elsewhere, alternate lessons utilizing

Skype or other means could be substituted. To facilitate teaching this unit, a list of Civil

War museums in the United States can be found at the following URL: http://en.wikipedia.org/wiki/Category:American_Civil_War_museums_by_state.

The information contained in this teaching unit is based upon books, scholarly articles, recordings, and an in-person interview of Mark Elrod, the foremost expert on Civil War bands and instruments. The interview in its entirety is available online at http://blueandthegray.weebly.com. 29

REFERENCES

Adams, P. (2008). Horn-u-copia. Retrieved April 30, 2015 from http://www.horn-u-

copia.net/display.php?starton=0&sortby=&selby=+where+instrument%3D%22Bu

gle%3B+Keyed%22

Eliason, R. (1972). Keyed bugles in the United States. Washington D.C.: Smithsonian

Institution.

Frederick, M. (2004). The History, The Lives, and The Music of the Civil War Brass Band

(Unpublished doctoral dissertation). The University of Texas at Austin, Austin,

Texas.

Garofalo, R., & Elrod, M. (1985). A pictorial history of Civil War era musical

instruments & military bands. Charleston, WV: Pictorial Histories Publishing.

Gleason, B. (2006). U.S. mounted bands and cavalry musicians in the Union Army

during the Civil War: Background, duties, and training. Journal of Historical

Research in Music Education, 27(2), 102-119.

Holcomb, P. (2015). Antiques and Relics Gallery, Retrieved October 22, 2014 from

www.rugs-n-relics.com/brass-welcome.html

Hudlick, K. (2008). Reveille to Retreat: The Evolution of Field Music in the United States

Army, 1775-1918 (Unpublished masters thesis). University of Wisconsin-Eau

Claire, Eau Claire, Wisconsin.

National Music Museum (2014). Collections Ophicleides. Retrieved January 17, 2015

from http://orgs.usd.edu/nmm/collect.html

Newsom, J. (1979). The American brass band movement. The Quarterly Journal of the

Library of Congress, 1-14. 30

Ortner, E. (1999). The Cornet and its Virtuoso Patrick Gilmore. The Civil War Courier,

Retrieved October 22, 2014 from http://www.harmoniousmusic.com/blog/?p=15.

Rhodes, S. (2007). The Nineteenth Century American Wind Band. Retrieved from

http://www.lipscomb.edu/windbandhistory/rhodeswindband_06_19thcenturyamer

ican.htm

Rosengren, W. (2009). Regimental bands in the Civil War. Journal of American and

Comparative Cultures, 24(1/2), 191-205.

Palton, G. (2008). The History and Development of the Tuba. Retrieved January 17, 2015

from www.georgepalton.com. 31

BIBLIOGRAPHY

Bloghistorian. (November 30, 2008). Star Spangled Banner Played by Civil War Band.

Kelley, B. C., & Snell, M. A. (2004). Bugle resounding: Music and musicians of the Civil

War era. Columbia, MO: University of Missouri Press.

Fennell, F. (1961). The Civil War: Fort Sumter to Gettysburg Volume 1[Audio

recording]. Chicago: Mercury Records.

Heuter, W. C. (1988). The history of bands in America [Video recording]. Boca Raton,

FL: Video Post Discovery Production.

Olson, K. E. (1981). Music and musket: Bands and bandsmen of the American Civil War.

Westport, CT: Greenwood.

Ostrow, E. (1981). The American Brass Quintet Brass Band [Audio recording]. New

York: New World Records.

Tapsbugler. (June 19, 2010). Civil War Brass Old Guard Tattoo. Retrieved April 16,

2015, from http://www.youtube.com/watch?v=-s4zfBj2dIg.

Tapsbugler. (April 17, 2007). The 26th North Carolina Regimental Band Civil

War Music. Retrieved April 16, 2015 from

http://www.youtube.com/watch?v=gGUeqMmKhFo.

Tick, J., & Beaudoin, P. (2008). Music in the USA: A Documentary Companion. Oxford,

NY: Oxford University Press. 32 APPENDIX A: INTERVIEW QUESTIONS

1. When did you become interested in Civil War band music and instruments, and what and/or who sparked your interest?

2. Why do you enjoy studying and teaching about Civil War bands, and why do you enjoy participating in their re-enactments? Have your reasons changed over the course of your career and, if so, in what ways have they changed?

3. Are there any design characteristics of Civil War era band instruments that have influenced the design of modern day band instruments and, if so, in what ways have they influenced them?

4. Do you think that Civil War band instrumentation has affected the instrumentation of today’s public school bands? If so, in what ways?

5. What do you think were some of the most influential Civil War bands? Why were they influential?

6. Do you think it is important for students in public school music education programs to study Civil War bands and music and, if so, why is it important?

7. If you were to teach an instructional unit about Civil War bands and music in a high school general music class, what information would you include in the unit and why would you include it? 33 APPENDIX B: TRANSCRIPTION OF INTERVIEW RESPONSES

Joe: When did you b ecome interested in Civil War band music and instruments and what or who sparked your interest? Mark: All my life as far back as I can remember I was a Civil War buff and interested in all aspects of it. Without getting into too much detail, I was involved for many years with shooting Civil War firearms and muskets and competition and one day, one of the shoots I went to was the Antique Muzzleloaders Festival in Dearborn, Michigan. Before I go on here, I should mention for a number of years when I was young I took trumpet lessons and was somewhat interested in band music. At any rate, at the Civil War muzzleloader’s festival, I was shooting on a team that was from the Washington D.C. area but I saw something that absolutely astounded me. It was a re-creation of a Civil War military band playing on original instruments. I was absolutely dumbfounded and just fell in love with it immediately. I introduced myself to the director of the band and the founder actually and his name was Frederick Van Kovik. He’s mentioned in my book in a number of places he’s credited with a number of his instruments. Over the next couple of years, I started to look for these instruments in antique shops, barns, and everywhere else, these over the shoulder instruments and rotary valve instruments. When I found these things, I would let him know about them and either buy them for him or send them to him. I guess I felt good about the thing and I was doing that. Eventually, this would lead to me forming my own group. In the meantime, I graduated college and again I was intimidated by my draft board into enlisting and I was in the Army up until about- I got out for the first time in 1974. I wasn’t in a band but again, I continued my interest in Civil War instruments. By this time I started collecting instruments. I left the Army in 1974. I might mention I served in the Old Guard and I was in their field music – in their Fife and Drum Corps – The Old Guard Fife and Drum Corps. Joe: Oh, no kidding! Mark: Yeah. Joe: That’s a great group. Mark: I spent three years doing that, blowing a bugle in the FDC. Joe: Wow, that’s a great group. I love watching them. Mark: They are quite a group now. When I went in the group, they were taking, other than the people who were the fifers and drummers who were these old, I guess ancient fife and drum corps people from New England. The buglers for the most part were all flunk-outs from the school of music. Joe: Oh wow! You’d never guess that. Mark: That’s what that was all about. I guess they couldn’t, rather interestingly enough, you know most people would go into a band in the… Even today, I guess, if they get above E-5 in first 8 or 9 years they’re lucky. Joe: Yeah. 34

Mark: In the fife and drum corps you picked up E-5 immedia tely and you would stay their forever. Joe: I think it’s up to E-6 now. Mark: Yeah it’s E-6 now that’s the basic rank in the FDC. Joe: Wow! Mark: But at any rate, there by the grace of God, I spent three years there. I got out and wound up shortly thereafter, in the big band, the Marine Band and while I was there… I won’t go into detail about my career in the Marine Band. I spent just four years there. I actually started or put together a small group within the Marine Band and we had rehearsals and ran through some of the music we found in the Library of Congress. The Dodworth Brass Band, Straton collection of music there, published music in the mid 1860’s. This was my mentor down in the Marine Band you probably have heard the name of the former director John Borgois. Joe: Yeah, I’ve heard the name. Mark: He’s now retired. I mean he’s been retired since before the turn of the century. I like to use that term. But at any rate, I got basically… That was the first group I put together to play this music. After leaving the Marine Band, I got a partial scholarship to Catholic University and here’s where I really got started in the performance of this music and I got together, I guess the partnership with Bob Garafolo who was my co-author on that book. We started a group at Catholic University called Heritage Americana and it was basically a re-creation of Civil War band for the purposes of performance and… We started it and for two years it was given a course at Catholic University it was a one credit course. We wrote the book and we also, for th irty years we were a performing group in and around the Washington D.C. area and we took two tours of the East Coast to New England to perform at various places. By this time, I think I may have had about 20 or 25 instruments in my personal collection. That group lasted up until about 1982 or 1983. I went back onto active duty at the National Guard Bureau… 1978 when I left the Marine Band I joined the 257th Army Band, the (Washington) D.C. guard band and… but any rate, 1983 I went back onto active duty and … after Bob Garafolo and I dissolved the Heritage Americana group, for a short while I had a group that was called the Federal City Cornet Band. Joe: Ok. Mark: That group was sort of a continuation of Heritage Americana. It lasted for about two years. It too went the way of Heritage Americana. Again, for a while… Actually, from time to time, if I got jobs or if someone was interested in me putting together a group, I would put something together and the park service from time to time would ask me to put something together for them and I think there was one big occasion I think it was the 125th anniversary of the assassination of Abraham Lincoln where we did a … I put together a group and we did a concert at Ford’s theater called Music Lincoln Loved. Joe: Wow that’d be cool. 35

Mark: And it was quite a success. I have recordings of it and I also have the program and the program notes. At this time my musicians came from the people who were students at the time at Catholic University and now they were professional musicians… a lot of them around the Washington D.C. area. I utilized people I knew in the Army Band… I’m trying to think of what came next after that. I remember we did one of the last concerts that the Heritage Am ericana did was at Gettysburg, Pennsylvania. At that concert I met someone who was… a fellow named Bruno J. Pino from Indiana University. Actually, he went to Indiana University and was a music student. His father… Joe: How would you spell his last name? Mark: P-I-N-O Joe: Ok. Mark: To make a long story short, I got him interested in starting his own group… most of them up at Indiana, Pennslvania. He used a lot of musicians from the Indiana, Pennsylvania area. They have a good music school up there. He formed a group called the Indiana Brass Band and it still exists today. It’s called the Wildcat Band. You may have heard of this group. Joe: I believe I have heard the name. Mark: Yes, they are probably the … They are a 23 piece band roughly, it varies a little bit. They are the finest recreated Civil War band that I know of. I actually play in the group. They are performing music from a number of collections that are in the Library of Congress and from various other places. This for bands from the Civil War period and earlier. In fact, before I go on and talk about them a little more, they are actually performing in Columbus, Ohio on May 30th. They are doing an hour long concert at the ITG, the International Trumpet Guild. I don’t know where that’s going to be but at any rate that’s um… This group has been in existence since I guess 1991 or 1992. Joe: The Trumpet Guild you mean? Mark: No, No, No, the Wildcat band. Joe: Ok. Mark: I think I mentioned, there are a number of music collections they play out of. They play out of the… there are several collections in the Library of Congress. The Francis Scala collection of music that the Marine Band played during the Civil War there’s a good sized collection of this music. A band book from a band from New Hampshire, the 3rd Regimental Band to be exact. They call it the Port Royal Band books. These are… Back in the 1960’s Frederick Fennel did a series of recordings called the Civil War and he used… You may have heard some of these recordings… Joe: Yeah, I’m familiar with them… Mark: He was a pioneer in playing with original instruments… These were band books that he used for this collection down at the Library of Congress. Then there were a set of period band books that he used from the Moravian Music Foundation down in Winston-Salem, North Carolina… 36

The original band books of the 26th North Carolina band, a confederate band. Joe: Ok Mark: Like I say, these… I might add the Wildcat band plays music from both of these books… Both of these sets of books or collections. Again, I should mention in 2002 I, along with a fellow named Yari Villanueva…used to be in the Air Force band. He’s retired from the Air Force Band. We formed a group in Washington called the Federal City Brass Band. The band still exists. I play in it from time to time…well I’m not that active anymore. The Civil War is winding down and were not sure just how much interest there will be in this after the sesquicentennial is over. Yari and I produced three C.D.’s with this group. The second and third ones are fantastic. The musicianship is superb. Joe: You said that’s the Federa l City Brass Band? Mark: Yes, that’s Federal City. Joe: I think John Huffman has at least one recording of them. Mark: Yes, he’s got several. I’ve been sending him a lot of music that they play. He’s also getting music from my former partner, Yari Villanueva. Matter of fact, you’ve heard them play I guess. Joe: Yeah, yeah, I’ve heard some of the recordings. Mark: All that music came from Yari and me and there’s a ton of it. I’ve got drawers full of music. I don’t know wh ere to start. I wish I’d have invited you when I spoke to you last on the phone. You’d absolutely flip if you saw what I have here. By the way, I do have trombones here as well. Joe: Wow! Mark: Yeah, I’ve got some early to mid-nineteenth century trombones here. Joe: That’s really neat. You don’t see too many of those. Mark: John told me you were a trombone player. Joe: Well, I’ll be down in Virginia… June and July I’ll down at the School of Music in Little Creek so on a weekend or something I could probably swing up there. Mark: Swing by here and spend the night. Joe: Absolutely, that’d be great! Mark: I would love to host you. Joe: That’d be great. Mark: Just let me know… It’s very hard for me to talk over the phone and tell you in such short period of time all this stuff… There’s so much to tell you. Joe: Oh, yeah. It’s like trying to capture… I sometimes, when I’m writing I feel like there’s just an overload of what I can include because there’s so much about Civil War bands to write about and honestly I’m writing just about instruments. Mark: I’m learning stuff all the time. Joe: Yeah. Mark: I have a huge library of… reference library. I think I’ve got every book or every source right here at my fingertips on Civil War band. I have 37

dissertations, I have everything. All previous dissertations that I know of on Civil War bands I have them here. Joe: That’s great. Mark: But anyway, the talk about the instruments is a topic unto itself almost. We really haven’t touched on that at all. But at any rate, I’m just trying to think of anything else I can tell you. Federal City is still going strong. And, of course, the Wildcat band is still going. That’s where John got, I guess a tremendous influence. He was visiting me and both of us went up to a rehearsal and he was absolutely… just really lit a fire under him. Joe: Yeah, he talked about it for years. Mark: Yeah, these guys are good. They are playing overtures now. The Marine Band, of course, the director from the Civil War was Italian. His name was Francis Scala and they played a lot of what I call macaroni music. You know, overtures… Italian overtures, German overtures, and just… Some of this stuff is in the Scala collection and I’ve done some finale charts of this stuff. I don’t know who wrote this stuff, but you wouldn’t want to put it on the stands if you saw the manuscript of the stuff you would be horrified. Joe: A little tough to read, I’m sure. Mark: Oh it’s bad. It’s an understatement to say I don’t know how they read this stuff. You never run into the scores. You just put the parts together basically… and in this collection, just about any arrangement, the instrumentation was slightly different. Joe: So standardization wasn’t really around hat t at time. Mark: No, nothing was standard. Back in those days, the average town band… you got what was available. You had a fine clarinet player who was a fantastic clarinet player, you pressed him into service. And, of course, this was the day before we had music schools and such. You know, the town wanted a band… That was a sign that the town had culture and everything else. The town fathers or whoever wanted to start the band would hire someone to teach the band everything they knew. In other words… usually a brass band was the easiest thing to start. You would use valve instruments because those were the easiest. Once you start the band… you know, again, you’ve got a fine trombone player in town, you pressed him into service. So these bands were… you utilize what you can get. In the brass band you had four voices. Soprano, tenor, baritone, or bass. Your instruments were either B-flat or E-flat. So it was fairly easy to arrange music. I don’t want to say it was easy, but I noticed also like British Brass bands, everything is treble clef except the tuba. Half the collections I ran into are that way. Joe: And British brass bands are still that way. The only exceptions are bass trombone and tuba. Mark: That’s right. Well, and it’s pretty much the same here. Speaking of bass trombone, I’ve only seen a bass trombone in period military band on two occasions. The West Point band had one at one time and I saw a picture of 38

a field band, the 19th Massachusettes in Maryland. There was no question that the trombone player pictured there was a G-bass trombone. Joe: And you’re talking during the aCivil W r at that time. Mark: Yup. You know, you didn’t see trombones in the field. They were in the larger bands in the city and a lot of your post bands had them like the Fort Monroe band or the West-Point band. The Marine Band certainly had them. Joe: Is that because it wasn’t as durable of an instrument? Mark: That’s right. If something were to happen to a trombone slide in the field, there is no quick way to get it fixed. The less maintenance you have to worry about the better. Most of your instruments were rotary valve instruments. Those could be strung up or corked. Actually the best instruments for field use probably were the piston valve instruments. The most popular style in the United States was the Berliner Pumpen Valve. They look like 55 gallon drums when you look at these things and the tubing comes in all at the same level in the valve. You have to see these things to appreciate them. Joe: You’ve got some pictures in your book, I believe. Mark: Yes, you’ll see them in my book. I have them here, too, at the house. I have a number of these. That’s why I wish you could have these in hand while we’re talking abouht t em. Joe: Why do you enjoy studying and teaching about Civil War bands and why do you enjoy participating in their reenactments? Mark: That can be summed up in three wo rds: making history live. For me… Again, I enjoy it because I’ve always enjoyed bands and band music in general. And I see how music became and was presented to the American people. I’m particularly fascinated to see these arrangements of … I’m a big opera fan I might mention… these bands, even the town bands were playing… would bring essentially… they wouldn’t bring the whole opera to a town but they would be playing bits and pieces of opera. It was a way of bringing… it has fascinated me with the way the culture was brought to a town. This was the only… outside of piano sheet music, town bands were piano sheet music, parlor music. Joe: Well, radios weren’t invented yet. Mark: This is before radios and the biggest entertainment in town, a lot of times was the concerts presented by towns in the town park. The bands. A lot of these band directors these, they were a lot of times referred to as professor so-and-so. Professor so-and-so’s brass band. This was a lot of times… you remember what I was talking about if you wanted a culture… you know if your town wanted a band they would hire a… someone who could teach all the people who wanted to join the band or start a band. The town would take up a subscription or the powers to be, if you will, to buy instruments. Again, this is before music conservatories… The outlook of the way people enjoy music out in the hinterland is quite different than the way it is today and that’s an understatement. Joe: Yeah. 39

Mark: Again, these itinerate teachers were referred to as Professor so-and so. They teach these men everything and of course bands back then, women were not playing in these things. Band instruments were not considered suitable instruments for ladies. Pianos, flutes, and the like were. Joe: Right Mark: Parlor music…And that’s another story for another time. Joe: Sure… So have your reasons for the enjoyment of studying and teaching Civil War bands changed over your career? Mark: No, they haven’t. I enjoy… My main way of communicating with people, like I said, is having people over my house. I can show them music… what I like to say, “in-hand.” I also, when I’m playing with the Wildcat Band or the Federal City Band, a lot of times I am called on to announce a particular selection and I can talk about it. I might have been the person that did the arranging or the edition of a particular piece they are going to play. I think I’m pretty proficient on Finale. Thank God for a system like that but I won’t go into that. Joe: Yeah, I know what you mean. Mark: But any rate, there are times at these concerts where I will talk about the instruments, you know, briefly, about the instruments that the audience is seeing played. I like to talk to, for instance, high school students, or anyone, to describe how much…compared to instruments today which do just about everything for you, these instruments that played back in the Civil War days… they were made differently. They weren’t spun metal. They were made on mandrels and the bells… the seams… they were dovetail seams. The instruments were more susceptible to weather, pitch- wise and everything else. There really was no standard pitch in those days. Joe: Right. Mark: I have instruments that were five cents sharp or A=449 or almost A=450. Believe it or not… in other words when a group like this gets started or when I tell these performers or people who have these instruments in their lap for the first time, don’t expect these instruments… while there’s a lot of similarities there are more differences than similarities. These instruments don’t do it all for you. No spit valves on them for the most part. Except for the trombones. And also, when you were playing these instruments, the first thing you gotta do is settle on a uniform pitch that the instruments you are using can all agree. Federal City, for instance, once we… were playing at just under A=450. The Wildcat band A=443. It depends on all these instruments… these instruments are… there all over the place. Mouthpieces, there’s another… we have people, for instance, who like to use original mouthpieces. That can be very controversial, so to speak. I’ve had people that want to play in our groups and again at the university I can remember several students… I wouldn’t bother them to play on original mouthpieces. I would have students, for instance, well, some of them would be playing a B-flat or E-flat cornet and they would want to stick a jet-tone mouthpiece in it. Or a Bach 7C trumpet mouthpiece on a large bore Civil War B-flat cornet. 40

Joe: Did they make an adapter for that? Mark: Well, a lot of times, with the group… at Catholic University I can remember carrying with me a small tool chest or tackle box full of adapters and various other things. My biggest problem that I think that I had as far as mouthpieces were concerned were people who played alto horns. Those guys or gals, of course, they’re French horn players. The first thing they want to do is stick a French horn mouthpiece… of course, they don’t want to mess up their embouchure on the alto horns. A lot of times… I didn’t want to do it.. I wound up agreeing to having them play on a French horn mouthpiece on the alto horn so I didn’t like it but it really wasn’t such a good idea. Joe: So this kind of… if you’re ready, this kind of leads into another question: Do you think that Civil War band instrumentation has affected the instrumentation of today’s public school bands? If so, in what ways? Mark: I don’t think it has, no. I can flat out-right state that. Joe: Ok Mark: I mean I wouldn’t need to go too far into that. Joe: So Civil War band… I mean the instrumentation, the way they were organized back then, you don’t think that has had any effect on how it’s kind of evolved into today’s bands? Mark: I don’t think so, no. Joe: Ok. Are there any design characteristics of Civil War era band instruments that have influenced the design of modern instruments. If so, what ways have they influenced them? Mark: Hmm… that’s a good one. Joe: So I guess, what are some things like lessons learned so to speak of Civil War era instruments that have kind of rolled into the instruments that we use today? Mark: You know I’m gonna have to pass on that one. Joe: Ok Mark: Because I’m… honest to God, I’m not that qualified to talk about that. I can tell you all about how instruments were made back then. All the tubing and the bell was seamed and the metal on the mandrel. Now everything is spun…the tubing and the bells and such. I can tell you now that I’ve gotten into that, there are people who made modern recreations of Civil War over-the-shoulder instruments and things like that using modern bells and modern valves. They’ve really got a much different sound then those made on the original instruments. The sound… and I’ve seen a lot of people what I call mix and match, if you will, recreated groups with the combination of instruments… modern instruments, original instruments, original period instruments made in the mid nineteenth century and also recreations of those instruments. The sound what not what I call very homogeneous if you will. Joe: Sure, yeah. Mark: For lack of a better term. 41

Joe: Do you know of any manufacturers today that are building instruments the exact same way they would have in the Civil War? Mark: I know of one person out in California who has made instruments like that. And if you want him to make you one he will but they’re god-awful expensive. Joe: I would imagine. I’m sure. Mark: The person I’m thinking of, his name is Rob Stewart. He’s in Arcadia, California. He does all my restoration work. He’s a collector. But he is a fabulous restorationist. He has a website as a matter of fact. Rob Stewart brass, you might write that down and check his website out. He’s phenomenal. Joe: Ok Mark: He’s made several instruments for me… parts of instruments. There were instruments back in those days that were over-the-shoulder instruments that you could convert to a bell-front instrument. If you wanted to concertize with it, you could switch bells. The valve section was the same, you just switched the bell. Either over-the-shoulder for marching purposes, or for concertizing… these were primarily B-flat or E-flat soprano instruments. He made me a… I happen to have several instruments, circular instruments, that were what we call… we use a term for an instrument that had two bells as convertibles. In other words, you could convert it. I have two instruments that Rob Stewart made over-the- shoulder bells for. And he made them just the way they did 150 years ago with the seam. You’d think that you were looking at an original bell from the 1850’s. Joe: Wow, that’s neat. Mark: A bell like that is going to cost you $700/$800 dollars. Joe: Yeah, I would imagine. That’s all hand made. Mark: If you need something like that, you don’t want something made with a modern bell. Joe: Right, sure Mark: So to answer your question there, this is one person… if fact I believe he was the only person doing that. Except there was one person up in the Detroit area, Ann Arbor I think made some period instruments. A fellow named Tim Holmes. I believe he’s in Ann Arbor, Michigan. He wasn’t as prolific a maker as Rob Stewart. He’s still around but Rob is the person who does superb work. Again, he’s… he also made me a keyed bugle which was a l ead melody in the 1830s and 1840s in brass bands. Joe: Sure Mark: I believe I paid close to $3,000 in 1990 and he said he wouldn’t make that today for under $6000. Joe: Wow, that’s quite an intricate instrument. Mark: I might mention it was made out of solid silver…presentation grade. But any rate, everything was made out of real silver. Joe: That’s quite an intricate instrument that keyed bugle. 42

Mark: Yes, well you’ve seen pictures of it. That was in the 1840s and 1850s that it was the lead melodic instrument in American bands and British bands for that matter. Joe: Yeah, read a little about Ned Kendall and that… Mark: Well, you’ve got a little knowledge about Ned Kendall and of course, he was the best known virtuoso keyed bugle player. But any rate, Rob made me a presentation grade quality keyed bugle. I have one or two other ones. As far as keyed bugles I think I have about 12 or 13 E-flat bugles and about five or six B-flats. Joe: Wow, that’s quite a collection Mark: You have to come here sometime. Joe: I will, definitely. Mark: I jokingly say it’s sort of like an instrument petting zoo. Joe: I think John said that, too. Mark: I like to invite people like yourself who are musicians to come down here. You’ll really enjoy yourself. Joe: Yeah, we’ll do that for sure. In your opinion what were a few or some of the influential Civil War bands and why do you think they were influential? Mark: Well, I believe… let me think now… The prob lem… Some of the best known ones are the bands up in the…you’ve probably heard of Patrick Gilmore. Joe: Oh, yeah. Mark: He had his band… there were field bands that had woodwinds and such but Gilmore had the 24th Massachusetts band, regimental band… He very much liked to incorporate woodwinds into the band but to a limited degree. I think Gilmore was probably the predecessor of John Philip Sousa. Basically he was influential in mixed wind bands, you know, woodwinds and brass. There were a number of field bands. I guess… when you say influential, I’m trying to think off the top of my head. There were a number of civilian bands during this time that were… Joe: I’ve read a little bit about… I think it’s one of the North Carolina bands. Mark: Okay, well that was the… you are thinking about the one band where the books have survived. That’s the 26th North Carolina band. That’s the band out of old Salem. They were a smaller group. They at various times during the Civil War were as few as 6 musicians and I believe there were some selections in their books that have about 13 or 14… They probably had a band of about 12 or 13 people. Depending on who was available and what the situation was. Joe: And then did Pennsylvania have one too that I think I’ve read a little about? Mark: The 26th North Carolina band was composed primarily of musicians of the Moravian faith. There was a band… I’m guessing the 124th Pennsylvania Band. They were out of Bethlehem, Pennsylvania. And they were also Moravians. Ohio, matter of fact, I forget what regiment it was one of the bands was from the Wooster area. One of them was a band from one of the 43

Ohio regiments. I’m very hazy on that. I’m trying to think now… at any rate… I think I got off the topic now. Joe: That’s alright. Did you want to move on then? Mark: Sure. Joe: I’ve got just two questions left. One of them is. Do you think it is important for students in public school music education programs to study Civil War bands and music. If so, why is it important? Mark: Well, it just gives them a better appreciate… the instruments… you, know, this is what it was like going west. I would really like to see… obviously it’s not going to happen… young students have a mid nineteenth century instrument like a cornet or a tuba put into their hands with an original mouthpiece. If their used to playing modern mouthpieces, just to give them a good idea what was available to a musician back in say 1858 or 1860. I think it would give them a better appreciation of the advances that we have made in instrument construction and playability and mouthpiece design… everything in general. It just… if I could do anything as far as educating these students at all… some people running music programs would say it’s a waste of time but it’s interesting from a historical perspective. The way it was going west. It’s just an appreciation of what it was to… you know how things were back then. Again, these instruments that they would be playing would be in top-notch condition… I mean, just as good a player as you could get back then. Joe: Right, absolutely Mark: You know, just appreciation. Joe: Well, my last question is if you could teach an instructional unit about Civil War bands and music in say a high school general music class or even a high school band class what are a few highlights or what information would you for sure want to include in that unit and why would you want to include it? Mark: Well, the type of music played and what the general public wanted to hear. You know, the type of music. A lot of it’s quite different today than it was back then. Just trying to think of an example. Style, types of music… Joe: You had mentioned the manuscripts before. Mark: Yes, another thing I would mention is back in the 1850s and 1860s there wasn’t that much band music published. I think the students would like to know that a lot of the music that these bands played was provided. A lot of it was hand manuscripts and usually a lot of times, arranged for the band from piano sheet music. Which I said was popular parlor music. A lot of these pieces like quick-steps, marches, operatic tunes and everything else, band directors, these professors, or people, they would take… one of the big skills was arranging music for these town bands. And they would take, for instance, if there wasn’t a quick-step composed by the well know band master at the time Claudio S. Grafola… best known today for Washington Grays. This guy wrote hundreds of marches and quick-steps. Virtually… all just about all virtually unknown today. But anyway, these professors, or town band leaders would arrange this music for their bands. And that’s 44

basically how they got the music that they played. They were arranged specifically for a band’s instrumentation. If you had 3 E-flat cornet players, an E-flat trumpet player, 2 B-flat cornets, 3 altos, the band director… he would be able to arrange…A lot of these bands, there was nothing really standard in the number of instruments. With the exception of brass instruments they were either B-flat or E-flat. Tuba was always E- flat, by the way. Joe: So, arrangements had to be tailored. Mark: Yep. They were generally… like the E-flat tubas. They were mostly 3- valved. You would have 4 valve tubas to get down to A-flat and lower. Your B-flat cornets sometimes could be crooked to A-flat. There were a lot of marches that would be easier played in A-flat. Basically I would like students get a better understanding of how the studying and playing of band music is so different from the way it is now. A lot of times, the individual bandsmen would have to write out his own part. There were mistakes and they would just read through the mistakes. There were some notations that were rather interesting. The way you would write repeats and things like that. If you missed a measure that was identical to the measure to the left you would just put a bracket over it and put the letters miss which meant repeat that measure. But any rate, these are just little things that these students… might be of interest in this study of this… basically the way things were going west, so to speak. Joe: Sure. Mark: Everything… the music…Again, it’s a re ally… I really would love to be able to be able to appreciate how good it is now. Everything is published and very little is hand-written. Compared to the way it was 150 years ago, it’s like night and day. Joe: Oh, yeah. Well, that was my last question. Is there anything else you’d like to include that maybe I missed? Mark: I can’t think of anything off the top of my head right now. But at any rate. I just wish I were… I wish it’d flow a little better. Joe: It’s quite alright. It’s just fine. Mark; And again, from the bottom of my heart, I offer you to come by and see what’s here. Joe: Well that’d be great. Mark: I’m sure John has told you. Joe: Oh yeah. We’ll definitely do it. I’ll have to see how things go when I get to Virginia and I think we usually have weekends off and such. Mark: Well, give me a call so you can let me know in advance. If I’m up your way sometime… well, I guess you rehearse at Rickenbacker? Joe: Yep Mark: I’ll stop in maybe at one of your drills. Joe: Yeah, that’d be great. Mark: I’ll come up and see the band. I know John utilizes a couple of your people in the Civil War bands Joe: Yeah, he does. 45

Mark: I’m so happy that he’s doing what he’s doing. Obviously, anything I can do to help him. Everything that I have… anything I can do to help him makes me feel real good. Joe: Yeah, that’s a great thing and it’s been a dream of his for years. Mark: It’s not very easy to get things going like that because he’s also spent a lot of money. Joe: Alright, well, Mark I can’t say enough. Thank you so much for your time and for answering the questions for me and it’s going to be great. Mark: I’m greatly honored and pleased to do this for you. 46

APPENDIX C: THE BLUE AND THE GRAY: A TEACHING UNIT FOR A HIGH SCHOOL GENERAL MUSIC COURSE The purpose of this unit is to expose high school general music students to the music and instruments of Civil War bands and foster a genuine interest in their role during the Civil War. This unit is part of the thesis I wrote as partial fulfillment of the requirements for completion of the degree Master of Music in Music Education at the College of Musical Arts at Bowling Green State University in Bowling Green, Ohio. The inspiration for creating this unit comes from my background as a military musician. I have been serving with the 122nd Ohio Army National Guard band since June, 2000. I am currently a Warrant Officer 1 and am serving as the band’s commander. I also spent four years (2007-2011) teaching band in public schools. It was during this time that I became aware of the lack of existing knowledge about Civil War bands, music, and instruments. In order to add to the body of knowledge being presented to students about music, this unit was created in hopes of enlightening students and exciting them about the subject of Civil War music. This teaching unit is intended for a high school general music class of approximately 20 students that meets three days per week for 45 minutes per meeting. The unit is three weeks in length for a total of nine days of instruction. The first week consists of the following: Lesson 1 Introduction to The Blue and The Gray: A Teaching Unit on Civil War Bands and Instruments; Lesson 2 Small Group, Web-Based Activity for Civil War Band Research; and Lesson 3 PowerPoint Presentations of Web-Based Research Findings. The second week consists of the following; Lesson 4 Field Trip to the American Civil War Museum of Ohio located in Tiffin; Lesson 5 Guided Listening Day; and Lesson 6 Guest Speaker: Mr. Mark Elrod, Foremost Expert on Civil War bands and instruments. The third week consists of the following: Lesson 7 Guest Speaker: Mr. John Huffman, Director of the 73rd Ohio Volunteer Infantry Band; Lesson 8 Civil War and Modern-Day Instruments Petting Zoo; and Lesson 9 Performance by the 73rd Ohio Volunteer Infantry Band. Throughout the unit, students will participate in learning activities including web- quests, field trips, guided scavenger hunts, guest speaker presentations, and listening examples. It should be noted that lessons contained in this unit are specific to high schools located in Northwest Ohio. If this teaching is used elsewhere, alternate lessons utilizing Skype or other means could be substituted. To facilitate teaching this unit, a list of Civil War museums in the United States can be found at the following URL: http://en.wikipedia.org/wiki/Category:American_Civil_War_museums_by_state. The information contained in this teaching unit is based upon books, scholarly articles, recordings, and an in-person interview of Mark Elrod, the foremost expert on Civil War bands and instruments. The interview in its entirety is available online at http://blueandthegray.weebly.com. 47

Lesson 1 Introduction to The Blue and The Gray: A Teaching Unit For a High School General Music Course

Objective To introduce the teaching unit

Materials A computer with internet access

Procedure The teacher will access the class website at http://blueandthegray.weebly.com and speak about various topics regarding the Civil War including the years it occurred, the role of military bands, and its significant battles. While the teacher is speaking about these topics, the students will be invited to post questions and relevant comments to a real-time discussion board that can be seen by the class. In this way, if students have questions or comments, rather than raising their hands, they can post them and the teacher can respond verbally when appropriate. This is meant to initiate a discussion among the students which the teacher will facilitate.

Assessment The students’ learning will be assessed by 1. Ve rbal questions asked at the end of class 2. Qu estions and/or comments posted to the discussion board 3. Level of participation and interest demonstrated during the class 48

Lesson 2 Small Group, Web-Based Activity for Civil War Band Research

Objective Research of assigned Civil War band

Materials Computer with internet access for each student

Procedure Students will be grouped into five teams of four students each. Each team will be given a different Civil War band to research and will have approximately 15 minutes to answer questions on the accompanying worksheet. The students will then use the remaining 30 minutes of class to collaborate and create a four or five slide Powerpoint presentation to be presented during the next cla ss meeting. Suggested bands to research: 26th North Carolina Band, 25th Massachusetts Regiment Band, 3rd New Hampshire Infantry Regiment Port Royal Band, 1st Brigade Band 3rd Division 15th Army Corps.

Assessment The students will be assessed on accuracy and thoroughness of responses to worksheet. 49

Name:

Band:

1. In what city and state did this band originate?

2. What approximate date was this band formed?

3. How many musicians performed in this band?

4. Identify two unique or significant facts about this band.

5. Any additional information you would like to share about this band? 50

Lesson 3 Powerpoint Presentations of Web-Based Research Findings

Objective Share web-based research findings.

Materials A computer with internet access and a projector or smart board

Procedure Each team will give a five to ten minute Powerpoint presentation, including discussion, on their research findings from the previous class of their assigned band.

Assessment The students will be assessed on the thoroughness of their presentations and their individual contributions to them. 51

Lesson 4 Field Trip to the American Civil War Museum of Ohio in Tiffin, Ohio

Objective To expose students to archives and artifacts of the Civil War and foster an appreciation for the conditions and challenges faced by musicians during the Civil War.

Procedure Upon arrival at the museum, the students will be given a guided tour by the museum’s curator about the Civil War and additional information about the displays and exhibits at the museum.

Assessment Students will be assessed by writing a two page reflection on their experiences at the museum. 52

Lesson 5 Guided Listening Day

Objective To expose students to music played by Civil War reenactment bands on period and/or recreated instruments.

Materials Smart board or other method to project sound and video to the students

Procedure Upon arrival into the class, the teacher will explain the procedure for the listening examples below. Students will then receive a worksheet in which each YouTube video has its own unique questions. The clips should already be prepared in the same order as the questions on the worksheet. As students watch and listen to each clip, they will answer the questions on the worksheet at the appropriate time while the clip is playing. Teacher will cue question at the appropriate time. Each question is time specific so students should not work ahead. Using the suggested links below, the teacher will play the following YouTube clips. These clips were selected for their educational and historical value. The teacher will also facilitate discussion between each of the videos about what was seen and heard. The following are the links to the videos for this lesson: https://www.youtube.com/watch?v=FZmEAqhLQS4 – SSB Civil War Band https://www.youtube.com/watch?v=LGvW6jHUHiY – SSB USMC Band https://www.youtube.com/watch?v=-s4zfBj2dIg – Federal City Brass Band https://www.youtube.com/watch?v=gGUeqMmKhFo – 26th N.C. Band

Assessment The students will be assessed by the accuracy and thoughtfulness of their responses to the questions on the worksheet. 53

Lesson 6 Guest Speaker: Mr. Mark Elrod, Foremost Expert on Civil War Bands and Instruments

Objective Students will interact with an expert in the field of Civil War bands and instruments.

Materials Note-taking materials.

Procedure After a brief introduction, Mr. Elrod will speak for approximately 30 minutes about his credentials and musical experiences. The last 10 to 15 minutes of the class will be spent with Mr. Elrod answering previously prepared questions from the students. Not all students will have the opportunity to ask a question, but all should be prepared in the event they are selected to speak.

Assessment Students will be assessed by notes taken during the presentation and the thoughtfulness of their prepared questions. Students will also be assessed on their participation and level of attention given to the speaker. 54

Lesson 7 Guest Speaker: Mr. John Huffman, Director of the 73rd Ohio Volunteer Infantry Band.

Lesson 7 Guest Speaker: Mr. John Huffman, director of the 73rd Ohio Volunteer Infantry Band.

Objective Students will interact with a current director of a Civil War re-enactment band.

Materials Note-taking materials.

Procedure After a brief introduction, Mr. Huffman will speak for approximately 30 minutes about his credentials and musical experiences including some challenges encountered while organizing and directing the 73rd Ohio Volunteer Infantry Band. The last 10 to 15 minutes of the class will be spent answering previously prepared questions from the students. Not all students will have the opportunity to ask a question, but all should be prepared in the event they are selected to speak.

Assessment Students will be assessed by notes taken during the presentation and the thoughtfulness of their prepared questions. Students will also be assessed on their participation and level of attention given to the speaker. 55

Lesson 8 Civil War and Modern-Day Instruments Petting Zoo

Objective Students will to do a side-by-side comparison of Civil War instruments with modern-day instruments with the assistance of Mr. Elrod and Mr. Huffman.

Materials An assortment of Civil War instruments including but not limited to: an E- flat or B-flat cornet with rotary and/or pumpen valves, a keyed bugle, an alto saxhorn, a bass saxhorn, an ophicleide, a helicon, and a rope tension snare drum or bass drum. Also needed are a modern B-flat trumpet and/or cornet with piston valves, an alto horn, a baritone or euphonium, a sousaphone, and a mo dern snare drum. For the brass instruments, mouthpieces should also be included to illustrate the subtle differences in mouthpiece shape and materials. Similarly, drums sticks should also be displayed.

Procedure The instruments should be laid out on a table with each Civil War instrument next to its modern-day counterpart. For example, the Civil War E-flat or B-flat cornet with rotary or pumpen valves should be next to a modern-day B-flat trumpet or cornet. The rest of the instruments should be laid in similar fashion as much as space will allow. Under supervision, students will be permitted to handle the instruments, mouthpieces, and sticks to investigate the differences in the instruments. Due to sanitary reasons, students would not be permitted to place their lips on the mouthpieces. While students are examining the instruments, Mr. Huffman and Mr. Elrod, along with the teacher, would be entertaining questions regarding the instruments and providing additional information to the students as they get to have a rare opportunity to touch and examine Civil War instruments.

Assessment Students will be assessed by their involvement and participation in the lesson. Students will also be assessed by a two page reflection on what they experienced. 56

Lesson 9 Performance by the 73rd Ohio Volunteer Infantry Band

Objective Students will see and hear a Civil War reenactment band live in concert.

Materials Three question worksheet and performance space for ensemble

Procedure At the beginning of class, the band will be performing a piece while the students enter the performance space (e.g., band room or auditorium) Upon conclusion of the first piece, the band leader will introduce the ensemble and give a brief synopsis of what the students are going to hear and experience. The band will give a performance throughout the duration of the class meeting. While the band performs, the students will have three essay style prompt questions to respond to while the band is performing.

Assessment Students will be assessed by their responses to the three essay prompt questions. These responses will be assessed based upon content, grammar, spelling, and the students’ ability to draw connections from previous lessons.