Archive for the ‘Regimental Marches of the Commonwealth C-D’ Category

Regimental Marches of the Commonwealth C-D


C

Ca Ira

14th Regiment of Foot / Princes of Wales’s Own Regiment of Yorkshire / Royal Montreal Regiment / West Yorkshire Regiment / The Yorkshire Regiment

The refrain of this song first came into use during the French Revolution with words written by a street singer named Ladre and the music by Mr. M. Becourt. In was first heard and adopted in 1789 proclaiming death to the aristocrats. In 1797 the tune was prohibited although it had given inspiration to the Revolution.

            The tune is unique in being the only regimental march earned in battle. In 1794, the 14th Regiment of Foot, later the West Yorkshire Regiment, assaulted the French camp at Famars being defended by Revolutionary troops inspired on by a band playing ‘Ca Ira.’ The British Commander, Colonel Doyle, used the thick fog to cover to maneuver his troops in position and ordered his band to play the same tune. Using the fog and the deception of the music French troops thought that reinforcements had finally arrived and the Yorkshire men quickly overran the French position. In recognition of this action, this tune was authorized as the Regimental March, carried over to the West Yorkshire Regiment and later into The Princes of Wales’s Own Regiment of Yorkshire in combination with The Yorkshire Lass.

            The march was retained by the Yorkshire Regiment that was formed in 2006 on the amalgamation of the Princess of Wales’s Own Regiment of Yorkshire, The Duke of Wellington Regiment and The Green Howards.

            The Royal Montreal Regiment (RMR) use the march in a composition of God Bless the Prince of Wales, Ça Ira, and since 1958 the Yorkshire Lass. In 1920 they were allied the Prince of Wales’s Own Regiment of Yorkshire the old 14th Foot. To mark the affiliation Lt. Colonel Peter Lloyd-Craig, the Commanding Officer of the RMR, adopted the two other marches associated with the Allied Regiment.

 

Cadet

Royal Canadian Army Cadets

 

The march is used by The Royal Canadian Army Cadets that was originally formed as a High School formation of boys interested in military life. Today cadet corps located all across Canada teaches young Canadians the values of life and responsibility.

 

Cadet Roussel

Royal Tank Regiment

 

The tune My Boy Willie was used for several years by the Royal Tank Regiment until it was decided that the march was too short and Cadet Roussel was added. This tune originated from Cambrai, site of the first tank battle in which tanks were used and was brought to the Royal Military Academy Sandhurst by a Colonel of the Free French Forces after the capitulation of France in 1940. The arrangement was composed by Mr. JL Wallace, the Bandmaster of Sandhurst.

 

Caledonian

(The Queen’s Regiment Slow March, Highland March or The Gaelic March)

57th Regiment of Foot / The Middlesex Regiment (Duke of Cambridge’s Own) / The Queen’s Regiment

Before amalgamation into The Princess of Wales’s Royal Regiment, the 1st Bn Queen’s Regiment used this march since its formation in 1966 inherited from The Middlesex Regiment. It was previously the march of the 57th, having been brought to them by General John Campbell of Strachur, Colonel of the 57th and former commanding officer. The tune had been known by several titles, The Queen’s Regiment Slow March, Highland March or The Gaelic March. When the Princess of Wales’s Royal Regiment was formed the march was dropped in favour of The Minden March.

Campbell March

91st Regiment Foot

The 91st Regiment Foot used the march as far back as 1798. In 1881 they became the Princess Louise’s (Argyll and Sutherland) Highlanders with the present day title granted in 1921 and the march was discontinued.

Campbells are Coming

7th Queen’s Own Hussars / 15th/19th Hussars / 58th Compton Regiment / Argyll and Sutherland Highlanders of Canada / Argyll and Sutherland Highlanders / Argyll Light Infantry (Tank) / Lorne Rifles (Scottish) / Lorne Scots / Queen’s Own Hussars

This march is one of the most well known Highland regimental marches and combines two important elements; simplicity and brevity and the authorized arrangement is from the Kneller Hall March List of April 1st 1883. Several possible stories about its origin are; used as a tune to gather the Campbell Clan during the Scots rebellion of 1715 or is connected with the imprisonment of Mary Queen of Scots in Lochleven Castle in 1567 and may be of Irish origin. The standardized version was produced by the Scottish musician Finlay Dun during the early part of the nineteenth century.

This song refers to the Campbell Clan of Scotland, the Earls, then later Dukes of Argyll. Clan Campbell occupied Argyll, the biggest mountainous land mass in south-west Scotland. The song makes reference to the pibroch, a warlike air played by bagpipes for an army on the march and the claymore, the famous two handed Scottish sword. The tune is in Oswald’s Caledonian Pocket Companion of 1751 and Bremner’s Reels 1761. It appears with Burn’s verses in The Scots Musical Museum of 1790 though his name is not attached. The melody is that of an Irish folk song An Seanduine (meaning ‘old man’) probably originating in the glens of West Cork toward the end of the seventeenth century. There had been several variations of the song until it first appeared in print in 1745 at which time it was used as a country dance under the title Hob and Nob with other printings following in 1747, 1756 and 1761. The song may have reached America some time before the California Gold Rush of 1848 during the swells of heavy immigration from the British Isles.

            The 7th Queen’s Own Hussars adopted it as a regimental Canter until it’s 1958 amalgamation and was retained by The Queen’s Own Hussars for the same purpose; the 15th/19th Hussars for dismounted parades; used by the old 93rd Foot pasted onto the Argyll and Sutherland Highlanders and today played with Hielan Laddie.

            A funny little story pertaining to the march comes from the Black Watch days during the Indian Mutiny. The regiment was told to leave behind their camels, tents and baggage. Later they had been waiting for  six hours expecting relief and to brake up the monotony of waiting a piper broke out into The Campbells are Comin’ just as a long string of camels were seen advancing. On realizing the joke both officers and men laughed delightedly.

            In Canada the 91st Highlanders and may have adopted the march through the alliance with the Argyll and Sutherland Highlanders; the 58th Compton Regiment adopted this tune until they became the 7th Hussars in 1903; and the Argyll Light Infantry (Tank) used it until conversion to artillery in 1946.

            The Lorne Scots, one of the oldest infantry regiments in Canada was formed when The Lorne Rifles (Scottish) (The Campbells are Coming) amalgamated in 1936 with The Peel and Dufferin Regiment (John Peel). In 1879, the Marquis of Lorne, 4th Governor-General of Canada inspected the 20th Halton Rifles and later in 1881, gave permission for the Regiment to use his crest and family heraldry. The march was adopted on November 11, 1881 when he officially associated himself with the regiment. The tune is retained along with John Peel as their regimental marches; in the early days of the Canadian Militia regiment adopted popular tunes of the day.

CANADA

Canadian Forces Europe

Canadian composer, Bobby Gimby, wrote the song for children in 1967, Canada’s Centennial year. The composer was seen throughout the year with children waving flags and singing this tune from the Atlantic to the Pacific coasts. The tune at one time was used by Canadian Forces Europe but was dropped on the formations disbandment.

 

Canada North

Northern Area Canadian Forces

 

Northern Area, headquartered in Yellowknife, Northwest Territories, is responsible for four million square kilometres that includes the Yukon and Northwest Territories. It maintains Canadian sovereignty, liaise with territorial governments while co-ordinating and supporting Canadian Forces activities in the North. The Reserve unit known as Canadian Rangers is made up from Inuit, Indian and Metis volunteers who live in this harsh northern environment. They act as guides, advisors and instructors while providing an effective mobile reconnaissance force. Major Bogisch composed the march when he was the Chief Instructor and Standards Officer of the Canadian Forces School of Music prior to his retirement.

Canadian Infantryman

Infantry Branch of the Canadian Forces

Canadian infantrymen have a heritage linked to England and France. They have left their mark in two world wars and many peacekeeping commitments with the United Nations. Wherever troops were needed, Canadian infantrymen have been there. When the Canadian Forces were unified, the Infantry Branch and School were created and adopted this quick march. Today, those who serve in the many infantry regiments, Regular and Reserve, throughout Canada do so in the customs and traditions of their ancestors. The march was composed by James Gayfer and is used the Infantry Branch.

 

Carabiniers March

3rd Carabiniers (Prince of Wales’s Dragoon Guards)

 

In 1920 regimental titles were changed effecting forty-five cavalry and infantry regiments of the Regular Army. One regiment was the 6th Dragoon Guards (Carabiniers) later 3rd Carabiniers (Prince of Wales’s Dragoon Guards). This march was used by the regiment as a slow march and composed by Bandmaster H. McEleney who left the regiment in 1877. Their march prior to this was a light infantry tune and used for at least half a century – I’m Ninety-Five.

 

Carillon

Land Forces Quebec Area

This march, of French origin, was composed by Laurendeau and is used as a quick march by the Land Forces Quebec. This command is responsible for all Canadian army operations and administration in the region within the province of Quebec and headquartered in Montreal, Quebec.

Cavalry of the Clouds

Royal Air Force / Special Service Force (SSF)

The composer, Kenneth J. Alford, wrote this march in 1923 as a salute to the fledgling Royal Air Force. Before its disbandment in 1976 the Royal Armoured Corps Parachute Squadron had also adopted the march.

            The Special Service Force (SSF) was Canada’s immediate response force capable of responding to disasters or emergencies in a national or international situation. Its predecessors the First Special Service Force, better known as the Devils Brigade, was created during WW2 for special operations. The American-Canadian unit became a legend during its short period of existence. Its story was brought to life in the MGM/UA movie of the same name. Their battle honours are were carried by the Canadian Airborne Regiment prior to the regiments disbandment but the motto is used by the present day SSF. Used as a quickstep, it may have been adopted due to its lively music and most fitting title.

Celer Paratus Callidus

Canadian Forces Mobile Command / Land Force Command

During the unification of the Canadian Forces Mobile Command was set up to maintain control over the Canadian Army. The name was changed to Land Force Command and the march was retained through the transition. Mr. Pando’s strong use of trumpeting and brass figurations in both the B section and the trio make this an excellent parade march.

Century of Progress

Canadian Forces Training System / Canadian Forces Recruiting, Education and Training System

In a world where information and technology rapidly changes, modern and effective training methods are vital to maintain a professional military. Presently, this role is the responsibility of Canadian Forces Training System. They provide all basic training as well as occupational training for the various commands through its many schools staffed by members of the different elements of the Canadian Forces. The title of the march reflects the high standard of training achieved throughout the Canadian Forces. Used as a command quick march, it was written by a former member of the Stadacona Band in Halifax, Ron McAnespie, and was chosen as the winning march during 1967, Canada’s centennial year.

            In 1916 the government acquired Sandy Plains to train the Canadian Expeditionary Force for overseas duty. This new facility could accommodate 30,000 personnel. The first Air Force Station in Canada came soon after in 1917. Its mission was to train pilots for the Navy and Royal Flying Corps. In 1924, Borden became the largest air station in Canada. During the 1930s Borden was made a permanent Army training base. Signals, Armour, Infantry, Service Corps, Medical, Dental, Provost, Intelligence and NBC schools were all established in the years that followed. In 1940, the RCAF established at allocation that would become the Canadian Forces Ammunition Depot Angus. It also continued to train World War II pilots and aircrews. As a flight centre, Borden’s usefulness remained until the onset of the jet age and the only training to be conducted here with respect to the airforce was that of air maintenance crews. In 1966, Canadian Forces Base Borden became an integrated training base and the following schools were formed with 10 schools formed covering a wide areas of careers. Between 1970, to 1985 several schools were added, deleted or amalgamated to the Borden site. In 1995, Canadian Forces Recruiting, Education and Training System moved from Trenton to Borden. This move was made to centralize headquarter staff functions. In 1997, the Commander Training Schools was formed consolidating the Deputy Chief of Staff Occupational Training staff and the Canadian Forces Base Borden Staff. In 1999, the Commander Training Schools reorganized and became the Canadian Forces Support Training Group (CFSTG). In 2002, as part of the on-going process of refining training, Canadian Forces Recruiting, Education and Training System was disbanded. Today, CFSTG is a Level 3 formation reporting directly to the Canadian Defence Academy in Kingston, Ontario.

 

Coburg

11th Hussars (Prince Albert’s Own) / 12th Royal Lances (Prince of Wales’s) / 14th/20th Hussars / 21st Lancers (Empress of India’s) / 58th Infantry Regiment (Imperial Austrian Army) / Royal Hussars (Princes of Wales’s Own) / The King’s Royal Hussars

Prince Albert, Prince Consort of Queen Victoria, is believed to have been the actual composer however other sources credit its composition to Michael Haydn, the younger brother of the renown Joseph Haydn. This fine German march was introduced into Britain in 1840 and adopted by two regiments – the 12th Lancers in 1903 and the 11th Hussars (Prince Albert’s Own) in 1840.

The march is named after Prince Frederick Josla of Sachsen-Coburg-Saalfeld, who was a Field Marshal in the Austrian Army. In the list of historical marches of the Imperial Austrian Army issued in 1905, this piece is entitled Josias Coburg March. The march was assigned to the 58th Infantry Regiment of the Imperial Austrian Army and in Prussia it was use as the presentation march of the 7th Seyditz Cuirassiers at Halberstadt.

            In 1903 this slow march was adopted by the 12th Royal Lancers (Prince of Wales’s) and during 1960 it was combined with Men of Harlech on the formation of the 9th /12th Royal Lancers; the Royal Hussars form in 1969 adopted it as a slow march passed on from the 11th Hussars. In 1840 the 11th had adopted it as a tribute to the Prince Consort the Colonel-in-Chief of the Regiment; the 21st Lancers (Empress of India’s) used it until the formation of the 17th/21st Lancers. The 14th/20th Hussars retained the march on its formation in 1922. The slow march was again retained in 1992 when the regiment amalgamated with the Royal Hussars to form The King’s Royal Hussars.

Cock o’ The North

48th Highlanders of Canada / 85th Nova Scotia Highlanders Battalion CEF / Gordon Highlanders / King’s Own Scottish Borderers / Royal Canadian Regiment

The composer is unknown but it is the Duke of Gordon who is referred to as the ‘Cock of the North’. The tune may date from about 1816 when it first appeared as a violin tune. A later publication in a collection of bagpipe music by Donald MacDonald around 1822 gives it the title of Gairm n’an Coileach – The Cock’s Crow.

The 75th Regiment was amalgamated with the 92nd in 1881 to form the 1st and 2nd Battalions of the Gordon Highlanders. The title ‘Gordon’ was assigned to the 92nd that was formed in 1794 by the Duke of Gordon as the 100th (Gordon Highlanders) Regiment of Foot. The Duke was known as Cock o’ the North and past on his nickname to the regiment’s march. The original march, until 1932, of the Gordon’s was Highland Laddie but was changed to this tune. The march has been especially identified with the Gordons for a long time and has the rare distinction of being mentioned, through not by name, in a Gazette announcement of a Victoria Cross. The Tirah Campaign against the Afridis took place in the mountains west of Peshawar on the Indian Northwest frontier. The campaigned opened with the storming of the Dargai Heights on October 1897. The war would be continued by the Afridi tribesmen against convoys and survey parties. The country was occupied until the middle of December 1897, but peace was not signed until April 1898. In the storming of Dargai Heights on October 20, 1897, Piper George Findlater was shot through both feet and was unable to stand. He sat up under fire and continued to play this tune encouraging his comrades in the final charge He was awarded the Victoria Cross for this valour. The official statement did not give the name of the tune he played and it still remains in question. Some say it was Haughs of Cromdale (the Regimental Charge-tune), others claim it was The Cock of the North. The Colonel of the Regiment, General Sir Ian Hamilton, brought the matter forward shortly afterwards to ensure it was identified as Cock of the North. Words were later put to the tune reflecting the Piper Findlater’s deeds.

Comin’ tae Dargai, comin’ tae Dargai,

Comin’ tae Dargai heights,

‘Twas there that Piper Findlater fell,

An’ it’s there that he played his pipes.

The King’s Own Scottish Borderers use this famous tune as a Headquarters Company march as do the 48th Highlanders of Canada while the Royal Canadian Regiment adopted it for their Juliet Company. During WW1 the Canada 85th Nova Scotia Highlanders Battalion CEF also used the march.

Colonel Bogey

12th Manitoba Dragoons / 50th Battalion CEF / 75th Battalion CEF/ Calgary Regiment (Tank) / King’s Own Calgary Regiment

The story starts in April 1912 when the Argylls (93rd Highlanders) moved from barracks in Glasgow to garrison Fort George near Inverness. Here in the Highlands the most famous Alford march was composed. It was custom of Bandmaster Ricketts to take long daily walks on the Fort George golf course. One of the courses members instead of giving the usual ‘Fore’ whistled the first two notes (B flat and G) which became the first bar of the march. Who the Colonel was remains unknown, but the golf term Bogey was the inspiration for the title. From this brief beginning, the tune was built up into the march that has become famous by the addition of a short introduction. It became a great favourite with the British troops on the march during WW1. Two Canadian CEF battalions adopted this tune at this time the 50th Bn and 75th Bn CEF.

            Ray Sonin, a well known British broadcaster, wrote a song entitled Good Luck (and the same to you’) at the out break of World War 2. The trio of the march is used for the verse, while the first statement was adopted for the chorus.

            The King’s Own Calgary Regiment use this tune as a regimental quick march inherited from their predecessor the Calgary Regiment (Tank). The adoption of the march may have been due to its popularity at the time; the 12th Manitoba Dragoons used the tune until they were placed on the 1965 Supplementary Order of Battle.

            In an international popularity poll conducted between 1976 and 1986 by Norman E. Smith (March Music Notes) with 1,000 respondents, Colonel Bogey was fourth on the all time popular list of marches. Today, it remains a popular tune in the repertoire of bands around the world.

Come Back to Erin

Border Regiment / Prince of Wales’s Leinster Regiment (Royal Canadians)

This was one of Claribel’s greatest song and had enormous popularity on both sides of the Atlantic. There is a recording of a barrel organ made by Imhof and Mukle in London which has survived to allow the song to be interpreted as it was over a hundred years ago. Although thought of as a folk tune it is in fact a ballad written by Claribel, the pen name of the London born Mrs C. Barnard. She was born in 1830 and died in Dover in 1869 and has been credited with being the first composer to receive royalties from the publisher on the sale of the composer’s songs.

            The 2nd Battalion The Border Regiment adopted the march on the 1881 amalgamation of the 57th and 34th Regiments of Foot that became the 1st and 2nd Battalions. In 1959 the regiment became the Kng’s Own Royal Border Regiment and carried over into the new regiment.

The Prince of Wales’s Leinster Regiment combined this tune with The Royal Canadian as a regimental quick march. The regiment adopted the number 100 which had been used by five previous regiments including a Scottish Regiment.

Come Landlord, Fill the Flowing Bowl

Corps of Army Music

 

This is an old English convivial song formerly known as The Jolly Fellow. The present words are founded on an old song in Fletcher’s play The Bloody Other, or Robert, Duke of Normandy. It was combined with The Minstrel Boy to form a march for the Corps of Army Music.

Come, Lasses and Lads

22nd Regiment of Foot / South Staffordshire Regiment

The tune is from a vocal dance performed round the village may pole but the air is believed to have first appeared in print around 1672. Prior to amalgamation the 38th Regiment of Foot used Over the Hills and Far Away apiece that was reintroduced as the regimental assembly march in the early 1930s. This 17th century Midland county air was adopted by the South Staffordshire Regiment passed on from the 38th and 80th Foot in 1881. It was combined with The Days We when a’ Gypsying (North Staffordshire Regiment) to form the new regimental march The Staffordshire Regiment when the south and north regiments were amalgamated in 1959 forming The Staffordshire Regiment; The 22nd Regiment of Foot used the tune until they became the Cheshire Regiment that continue its use as arranged by W.J. Adams for Trooping the Colour ceremonies.

Commando March

See Sarie Marais

 

Communications

Communications Command / Defence Information Services Organization

 

Communications Command was set up during the unification of the Canadian Forces. It is responsible for telecommunications and information processing for the Canadian Forces, government organizations and emergency facilities. Located in Ottawa, it uses various formations throughout the country to supports all levels of command and deployed forces around the world. The quick march was composed by K. Swanwick around the time the new command was formed.

 

 

Concentration March

The Bruce Regiment

 

The Bruce Regiment was formed in Walkerton, Ontario in 1866 and used the march during its regimental history. Little is known of the march or the composer. The regiment under went several name changes until 1936 when it was converted to artillery as the 21st Field Battery RCA.

Cork Hill

3rd Battalion Royal Hampshire Regiment

Once used by the 3rd Battalion (The Hampshire Militia) of the Royal Hampshire Regiment which was formed from the amalgamation of the 37th and 67th Regiments of Foot in 1881. The regimental march of the regiment is The Hampshire and each of the battalions have their own marches: 1st Battalion – The Highland Piper, 2nd Battalion – We’ll gang nae mair to yon youn, 3rd Battalion – Cork Hill.

Corn Riggs are Bonnie

King’s Own Royal Border Regiment / Royal Lancaster Regiment (King’s Own) / Scots Guards

Several girls claimed to be the original Annie of Burn’s song and while no one can be quiet sure who she was, it is thought that the girl who romped in the corn with the poet was the daughter of one his neighbors, a farmer called Rankine. Burns was proud of this early composition and it is one of his most popular songs. The tune appears in various 18th century collections and has Ramsay’s words in Orpheus Caledonius (vol. II #18) and the Scots Musical Museum (vol.1 #93). The words and tune have been generally associated with Scotland, but in fact the piece was initially a Lancashire folk song that first appeared around 1680. It was used later by Alan Ramsey in 1725 and John Gay in 1729.

            This old song was adopted by the King’s Own Royal Regiment (Lancaster) due to Queen Victoria disliked the march they had been using The Lincolnshire Poacher. The regiment’s name did not change until 1959 when the King’s Own Royal Regiment amalgamated with the Border Regiment forming King’s Own Royal Border Regiment retaining this as a slow march. It is also used by the Scots Guards use it for their Support Company march. The formation of the Royal Regiment of Scotland saw the regiment being amalgamated.

Corps March of the Royal Corps of Signals

(Begone Dull Care)

1st Canadian Division Headquarters and Signals Regiment / Royal Canadian Corps of Signals / Royal Corps of Signals

Begone Dull Care is used as the basis of the Regimental march of The Royal Corps of Signals. In pre-war days communications was one of the duties of the Royal Engineers. After the new corps was formed it was realized that a new march would have to be found. A letter from Mr. Ricketts states:

            “From information received when I joined the royal Signals Band in March 1926, it appeared that in 1924 or 1925 the Corps Committee offered a prize of 50 for the composition of a suitable Regimental March. There were some 140 entries, and I understand that the members of the Corps went to Kneller Hall to hear the marches (played by the Kneller Hall Band) which were submitted.

            The march finally chosen was an arrangement by Dr. Charles Wood of two folk songs – Begone Dull Care (1689) and Newcastle (of a much later date). Some extraneous matter of lesser consequence was included in the March, thus making it somewhat lengthy forr use as a Regimental March. Dr. Wood was asked if this might be ommitted, but he preferred that the March should stand as it was written.

            The matter was left in abeyance, but during the summer of 1926 Dr. Wood died, and subsequently the Band parts of his March in its orginal form were obtained.

            Then the Commandant, Brigadier Clementi-Smith,a nd several senior officers came to the Band Practice Room and I was required to make suggestion whereby the March could be shortened.“

            Under Mr. Ricketts baton, the Band recorded the march on the HMV label which was a single-sided 10 inch record thus making their first recording. There were several other amendments made to the march before the present day version was arranged by Captain Cliff Pike.

            In Canada, The Royal Canadian Corps of Signals had adopted the march and was carried on by the 1st Canadian Division Headquarters and Signals Regiment. The Canadian version of Begone Dull Care was arranged by Captain Charles Adams. It should be noted that there are two other marches related to the communication field in the Canadian Forces. Communications Command use the march Communications while the Communications and Electronics Branch adopted The Mercury March.

The Corps of Army Music March

(Come Landlord fill the Flowing Bowl and The Minstrel Boy)

Corps of Army Music

The formation of the Corps of Army Music meant that a suitable march was required for bands to play as part of the new Corps identity. Denis Burton won an open competition with this march, which uses Come Landlord fill the Flowing Bowl as the main theme and The Minstrel Boy for the trio.

Cottage March

Le Regiment de Dorchester et Beauce

This march was used by the Le Regiment de Dorchester et Beauce as a quick march. The regiment was authorized in 1869 at St. Isadore, Quebec with the title of Provisional Battalion of Dorchester. The name under went several changes until 1932 when the above title was finally granted. The regiment was disbanded in 1936 when it amalgamated with the 5th Machine Gun Battalion CMGC to form the Le Regiment de la Chaudiere (Mitrailleuses). The march was discontinued in favour of the French march Sambre et Meuse.

Craftsman

(The Flower of Scotland)

Electrical and Mechanical Engineering/Genie Electrique et Mechanical (EME/GEM) /

Land Ordnance Engineering Branch (LORE) / Royal Canadian Electrical and Mechanical Engineers

The title is unique in the fact it describes the abilities of the former Royal Canadian Electrical and Mechanical Engineers (RCEME). Throughout the history of the Corps, especially during both world wars, Korea and UN duties, they have been called upon to repair just about everything anywhere. In this age of high tech, rapid response forces, the need for these “Craftsmen” remains important. The Corps of Royal Canadian Electrical and Mechanical Engineers trace its origins to the British Royal Electrical and Mechanical Engineers and back to the Assize of Arms of King Henry II, which made an attempt to lay down a “scale of issue” for the army. The Canadian corps was bestowed the title ‘Royal’ by King George VI in 1944 with ‘CORPS’ add in 1953. The unification of the Canadian Forces in the 1960’s the name was changed to the Land Ordnance Engineering Branch (LORE) in 1968, later Electrical and Mechanical Engineering/Genie Electrique et Mechanical (EME/GEM).

The proud heritage of the old Corps is pasted on through this slow march and the title continues to reflect the unique ability of the corps. The arrangement is of the Scottish tune The Flower of Scotland by Brian Gossip and written in a style that allows it to be performed as a stand alone brass and reed number or in conjunction with pipes and drums.

Crich Memorial

The Sherwood Foresters

This slow march was written around 1951 by the Bandmaster Sidney Howard Price of The Sherwood Foresters (Nottinghamshire and Derbyshire Regiment). The Foresters were formed from the old 45th and 95th Regiments of Foot in 1881 and adopted the marches Young May Moon and I’m Ninety-Five until the 1970 amalgamation to form the Worcestershire and Sherwood Foresters Regiment (29th/45th Foot).

Crimean Reveille

Black Watch (Royal Highland Regiment)

Used by the Black Watch (Royal Highland Regiment) is a melody consisting of – The Soldiers Return, Grannie Duncan (played in slow time), Sae Will We Yet, Grannie Duncan (played in slow time), Miss Gridle, Chisholm Castle, Johnnie Cope.

Cruiskeen Lawn

27th Regiment of Foot

The 27th Regiment of Foot used this 17th century tune at various times until 1881when the marches The Sprig of Shillelagh and Rory O’More were adopted on the formation of The Royal Inniskilling Fusiliers. The march was discontinued when the regiment became Royal Irish Rangers in 1968 and later the Royal Irish Regiment.

            The American song Little Brown Jug is a distant relative of this song that has been in oral tradition in Scotland and Ireland since the seventeenth century. Burn’s John Anderson, My Jo has what is practically the same melody. Another version of it appeared in Charles Coffey’s The Beggar’s Wedding that was Ireland’s answer to John Gay’s The Beggar opera and was first performed in 1728.

D

Das Nachtlager von Grenada

43rd Regiment of Foot / Blues and Royals / The Oxfordshire Light Infantry

Up to 1863 the 43rd Foot used the popular I’m Ninety-Five as a quickstep later adopting this march from an opera composed by Conradin Kreutzer. This may have been influenced by the German bandmaster the time. In 1881 the 43rd (Das Nachtlager von Granada) and the 52nd Regiment of Foot (Lower Castle Yard) where amalgamated forming The Oxfordshire Light Infantry with an arrangement that combined the two tunes. The Blues and Royals adopted the march for their trot past.

Dashing White Sergeant (Serjeant)

49th Regiment of Foot / HM Royal Marines / Royal Berkshire Regiment / Suffolk Regiment

Composed by Sir Henry Rowley Bishop with words by the British commander at Saratoga, General John Burgoyne. It was after his defeat at Saratoga he returned to England and retired in 1783 when he wrote several plays. Interesting though the song became a favorite at West Point Military Academy.

The tune, once used by the 1st Bn The Royal Berkshire Regiment (49th Foot), was passed on from the 49th ROF that may have adopted it during the Peninsular War. Since 1882 the Royal Marines have used A Life on the Ocean Wave however prior to this each Division had its own march that changed as new commanders were appointed. This tune was one of the more popular choices along with Le Prophete and British Grenadier.

The Suffolk Regiment dates back to 1685 formed from the 12th Regiment of Foot. In 1742 the regiment paraded before the King on Blackheath with the colours being carried by a young Ensign James Wolfe. It is noted that the regiment went through several marches before settling on Speed the Plough. This march was one of the few that were used along with Men of Harlech amd The White Cockade.

Daughter of the Regiment

85th (Bucks Volunteers) King’s Light Infantry / King’s Shropshire Light Infantry / Middlesex Regiment (Duke of Cambridge’s Own) / Royal Scots (The Royal Regiment)

The 85th (Bucks Volunteers) King’s Light Infantry had used La Ligne until 1846 however after Colonel Sir Gaspard Le Marchant took command of the regiment this march was adopted. It was introduced as a regimental march due to its popularity in Donizetti’s opera La Fille du Régiment and was considered very suitable for the quick pace of a light infantry regiment. In 1881 the march was retained after their name changed to The 2nd Battalion of The King’s Shropshire Light Infantry. The Middlesex Regiment (Duke of Cambridge’s Own) used the tune as a slow march prior to becoming part of the Queen’s Regiment. The Scots Guards play it when a member of the Royal family is present. This commemorates of the birth of the future Queen Victoria at a time when her father was Colonel of the Regiment. It was played for the first time at Aldershot in 1889 when the Queen reviewed the 2nd Battalion. The Royal Scots play the march when Royalty is present instead of their famous march Dumbarton’s Drums.

Days When We Went A Gypsying

North Staffordshire Regiment / Staffordshire Regiment

The North Staffordshire Regiment (64th and 98th Foot) had this old song as a regimental march. It would appear the regiment adopted the song written around 1840 by the composer, Nathan James Sporle. The Staffordshire Regiment retained the march by combining it with Come Lasses and Lads to form the new regimental march The Staffordshire Regiment.

De Normandie

Royal Fusiliers (City of London Regiment) / Royal Regiment of Fusiliers

The Royal Fusiliers adopted it a slow march and was retained by the Royal Regiment of Fusiliers as part of the slow march made up of Rule Britannia and De Normanie.

Defiance March

New Brunswick Rangers

 

The New Brunswick Rangers used this march until their amalgamation in August 1946 with the Saint John Fusiliers (MG) to become the South New Brunswick Regiment. In December of the same year the title changed to the New Brunswick Scottish Regiment. The present day regiment is the 1st Battalion, The Royal New Brunswick Regiment that use A Hundred Pieprs. Little is known of the march and composer.

Denmark

(King Christian / Danish National Anthem)

15th/19th The King’s Royal Hussars / 19th (Queen Alexandra’s Own Royal) Hussars / The Light Dragoons

When Princess Alexandra of Denmark became the Regiment’s Colonel-in-Chief, the 19th Hussars were granted the honour of using the Danish National Anthem as the regimental slow march. Although officially titled King Christian in memory of a great Danish hero of the 17th century, the march was known to the 19th simply as Denmark. The 15th/19th The King’s Royal Hussars retained the march from the 19th Hussars and was combined with Eliott’s Light Horse. This slow march was retained in December 1992 when the 13th/18th amalgamated with the 15th/19th The King’s Royal Hussars to form The Light Dragoons.

The Derby Ram

The Sherwood Foresters

The Sherwood Foresters (95th Derbyshire Regiment) used this tune as a mascot march composed by John Callott a prominent London organist and composer. The 95th Derbyshire Regiment were, since 1858, famous for their Regimental Mascot, a Ram. He was and still is known as “Private DERBY” and has been held on the official strength of the Regiment since that time. The first ram was acquired in 1858 by the 95th (Derbyshire) ROF at the Seige and capture of Kotah during the Indian Mutiny. The Commanding Officer whilst on one of his forays within the town noticed a fine fighting ram tethered in a temple yard. He directed Private Sullivan of the Number 1 Company to take the ram into his possession. What the intentions of the Commanding Officer was at the time it was not dinner as the Ram was not slaughtered but became a regimental mascot.

            The origin of this popular old ballad has yet to be ascertained at present. The words have appeared in various forms referring to the town of Derby and surprisingly enough was a favourite of George Washington. One version, a shanty, was sung mainly at pumps and sometimes at the capstan while the shore version, referred to as The Old Tup, is very old. The version used in this book is the one set to music by Dr. Callcott and is still sung today.

Dettingen March

(General Bland’s Inspection March)

3rd (King’s Own) Hussars / The Queen’s Own Hussars

The march is also known by the title General Bland’s Inspection March. The composer, believed to be the General’s daughter, composed the music to commemorate the regiment’s part in the 1743 Battle of Dettingem during the War of the Austrian Succession. The regiment was known as the Queen’s Consort Own Regiment of Dragoons at the time with the title 3rd (King’s Own) Hussars being adopted in 1861. The music itself was lost but in 1920 was discovered in a Dublin museum. Bandmaster Hatherley arranged the music and added the trio because the original music was too short. The march was officially authorized and used until the 1958 amalgamation when The Queen’s Own Hussars were formed and used as an inspection march.

Devonshire and Dorset Regimental March

(Widdecombe Fair, We’ve Lived and Loved Together, The Maid of Glenconnel)

Devonshire and Dorset Regiment

The Devonshire and Dorset Regiment were formed in 1958 when the Devonshire Regiment and Dorset Regiment amalgamated. The two regimental marches were combined into an arrangement by the new regiment’s bandmaster Mr. Boulding. The tunes include: Widdecombe Fair (The Devonshire Regiment), We’ve Lived and Loved Together (The Devonshire Regiment) and The Maid of Glenconnel.

Devonshire Rose

Devonshire Regiment / Royal Anglian Regiment

The regimental march of The Northamptonshire Regiment was The Northamptonshire until 1968 when it became the 2nd Battalion, The Royal Anglian Regiment and The Deveonshire Rose was adopted as the slow march for all three battalions. The Devonshire Regiment used it prior to their 1881 amalgamation with the Dorset Regiment to form the Devonshire and Dorset Regiment.

Doge’s March

Army Air Corps

The music is taken from Shakespeare’s play The Merchant of Venice written between 1596 and 1598. Although classified as a comedy in the First Folio, and while it shares certain aspects with Shakespeare’s other romantic comedies, the play is perhaps more remembered for its dramatic scenes (particularly the trial scene), and is best known for the character of Shylock. Today it is combined with The Thievish Magpie and used for the slow march of the Army Air Corps.

The Dorsetshire

54th Regiment of Foot / Devonshire and Dorset / Les Carbiniers de Sherbrooke

Though commonly known as the Dorsetshire the tune is an adaptation of the Scottish lament titled The Maid of Glenconnel. It is amongst the best of quicksteps that have been adopted from very old favorite songs. Prior to 1881 it was used by the 54th Regiment of Foot which became the Dorsetshire Regiment and later the Dorset Regiment. When the Devonshire and Dorset Regiment was formed in 1958 this march was part of the arrangement of the new regimental march which also included We’ve Loved and Loved Together and Widdecombe Fair.

            The legend of the story is that in 1757 John Campbell was commissioned by the King to raise the 54th. His wife’s favorite song was The Maid of Gleconnel, which tells of a love maid lamenting her lover’s departure for the wars. The tune was adopted to band use due being played so often it became the regimental march of the 54th.

            In Canada the Les Carbiniers de Sherbrooke used the march until they re-organized as the Les Fusiliers de Sherbrooke in 1933 and the march was changed to Queen City.

Draper Hall

88th Regiment

The 88th Regiment of Riviere Quelle, Quebec used the march prior to their disbandment in 1901. The regiment was formed in 1882 as the 88th Kamouraska and Charlevoix Battalion of Infantry when the Provisional Battalion of Kamouraska and the Provisional Battalion of Charlevoix amalgamated. Little is known of the march or the composer.

Druid Chorus

5th Dragoon Guards (Princess Charlotte of Wales’s) / Suffolk Regiment

The music is taken from Vincenzo Belli’s 19th century opera ‘Norma’, a two act opera first produced at La Scala on 1831. The 5th (Princess Charlotte of Wales’s) Dragoon Guards was a British cavalry regiment raised in 1685 as the Duke of Shrewsbury’s Regiment of Horse. They saw service for three centuries and used this march until being amalgamated into the 5th/6th Dragoons in 1922. The march was not retained as the new regiment would later become the 5th Royal Inniskilling Dragoon Guards adopting The Soldiers’ Chorus. The Suffolk Regiment also used the slow march for their 2nd Battalion however it was discontinued when they became the 1st Battalion The Anglian Regiment and The Devonshire Rose was adopted.

The Drunken Piper

Scots Guards

This pipe march was composed by A. Macleod and used by the Scots Guards for their 1st Battalion, B Company march.

 

Duchess of Kent

Corps of Royal Canadian Electrical and Mechanical Engineers / Corps of Royal Electrical and Mechanical Engineers (REME) / Electrical and Mechanical Engineering Branch (EME) / Land and Mechanical Engineering Branch (LEME) / Land Ordnance Engineering Branch (LORE)/

Royal Horse Guards / Worcestershire and Sherwood Foresters Regiment / Worcestershire Regiment

The march is believed to have been especially written by the Princess Louise Victoria who became the Duchess of Kent and Queen Victoria’s mother. In the 1830’s the Royal Artillery had no recognized regimental marches – slow or quick – and the even the appearance of the Duchess of Kent March did not fill the void, although it has been the recognized Royal Artillery Slow March for over a century. Other marches were in use at that time – The Duke of Clarance, The Marquis of Granby and Master General’s March. The first was a favourite after the Duke of Clarence became William IV (1830) but after 1836 the Duchess of Kent March was given precendence. The Duchess had a good knowledge of music and many of her compositions have been preserved and used over the years. The Band of the Royal Artillery had played at Kensington Palace on many occasions and the Duke of Sussex and the Duchess of Kent took a great interest in their performances. In 1861came the sad news of the death of HRH the Duchess of Kent, who been a patron of the band in earlier years. As a sign of mourning the Garrison Orders read: Bands in Garrison will not play until further orders.” After the Crimean War ended the famous siege train returned to Wollwich and Queen Victoria, Prince Consort and the Duke of Cambridge reviewed the troops on the Barrack Field. In records of the Wollwich District 1888-90, WT Vincent described the scene. In summary it stated that this review the dismounted troops marched past to the British Grenadier while mounted troops used the Duchess of Kent March.

            Over the years the march began to assume a more honourable place. Bandmaster Stretton had the idea of using it as a regimental symbol or signature tune on public occasions. This was tried out on December 7, 1909 when he performed it was performed for that purpose at a Queen’s Hall concert. It was played at the end of the just before God Save the King. The reason for this novelty was that these concerts were a reunion of the older officers and the march became a regimental emblem just like the crest. On this occasion it was programmed as The RA Slow March (Princess Augusta’s). This mistake was corrected at the next concert in March 1910.

            In 1919 at St. Paul’s Cathedral, London with King George V, Queen Alexandra, Princess Victoria in attendance for a Commemorative Service was held in honour and memory of the thousands of Royal Regiment who had died during the First World War. The final music played was this march.

            Several regiments have connection with the march – Worcestershire Regiment as a slow march and was retained after the amalgamation to form the Worcestershire and Sherwood Foresters Regiment; the REME uses the original version Grand March: Duchess of Kent which was arranged by Michael Retford and published in the 1890s; and in Canada it was used throughout the many changes and re-organizations of the Canadian Army and is still used by the present day the Electrical and Mechanical Engineering Branch (EME).

Dufferin Rifles of Canada

Dufferin and Haldimand Rifles of Canada / Dufferin Rifles of Canada

The Dufferin and Haldimand Rifles of Canada used this tune prior to their 1946 conversion to artillery renaming as 56th Light Anti-Aircraft Regiment (Dufferin and Haldimand Rifles) RCA. After becoming artillery the regiment adopted the standard artillery marches. The regiment began as two separate regiments, The Dufferin Rifles of Canada and the Haldimand Rifles (The Kynegad Slashers). The march was handed down from the Dufferin Rifles of Canada, a regiment that dates back to 1866 as the 38th Brant Battalion of Infantry.

Duke of York

Canadian Grenadier Guards / Grenadier Guards / Honourable Artillery Company / King’s Royal Rifle Corps / The Yorkshire Regiment

Contemporary 18th century notes of the Hanoverian composer Christopher Eley (Grenadier Guards) are scattered however it is known that he was a violoncello player and composer of the celebrated martial air titled The Duke of York’s March and author of a Tutor for the Basson.

            The East Yorkshire Regiment was granted a secondary title ‘The Duke of York’s Own’ to march in the 1935 Silver Jubilee of King George V which also the 250 anniversary of the raising of the Regiment. HRH The Duke of York (later King George VI) had been Colonel-in-Chief of the Regiment since October 1922. This march was not adopted when they amalgamated in 1958 to form The Prince of Wales’s Own Regiment of Yorkshire; the King’s Royal Rifle Corps used the tune a slow march; and in 1805 it was adopted when the Duke of York became the Colonel of the First Guards later the Grenadier Guards that continue its use along with Scipio as a slow march; the Canadian Grenadier Guards are allied with their English counterparts and use the same marches.

The Honourable Artillery Company (HAC) was incorporated by Royal Charter in 1537 by King Henry VIII. Considered one of the oldest surviving regiment in the British Army it has used this march for many years.

The march was retained by the Yorkshire Regiment when it was formed on June 6th 2006 from the former famous regiments of the The Princess of Wales’s Own Regiment of Yorkshire, The Duke of Wellington Regiment and The Green Howards.

Dumbarton’s Drums

(The Scottish March, The Scotch March, The Scots March)

The Royal Scots (The Royal Regiment)

This is one of the oldest regimental marches in the British Army and The Royal Scots have marched to it for over 250 years. Samuel Pepys referred to it in his dairy after hearing it in the streets of Rochester in 1667, referring to the tune as The Scots March. The tune The Scots March as a name is somewhat vague and no definite connection with any tune of today has been established. Since the Regiment never changed its march there is belief that The Scottish March (Scots March) and Dumbarton’s Drums are one and the same. Referenced to the piece and to its assoication with the regiment are plentiful and include a comment by Samuel Pepys whilst in Rochester in June 1667 that ‘here in the streets I did hear the Scotsh March beat by the drums before the soldeirs, which is very odde.’

            The great martial delight in the music and its popularity contributed to its selection as a regimental march. The unknown author may well have been a soldier at the time and possibly in the regiment itself. He may have chosen the tune due to the fact he was well aquatinted with it. In March 1633, Charles I granted Sir Charles Hepburn permission to raise a Scottish regiment for service in France. The Regiment served in France from 1633 to 1678 except for two short periods when it came to England. Later the regiment became known as Dumbarton’s Regiment after their Colonel, Lord George Douglas, Earl of Dumbarton. As Lord George Douglas’s Regiment, the Royal Scots were lent by King Charles II to Louis XIV of France. From 1675, when the Colonel created the Earl of Dumbarton, the regiment played this tune as a regimental march. The regiment did not wear a tartan until they adopted the Government pattern trews in 1881 later changed to the hunting Stewart tartan. Over the years of service the name changed until 1882 when it became known as The Royal Scots (The Lothian Regiment) until 1920 when the present day title was adopted. The tercentenary of the regiment was celebrated in 1933 where the King George V granted the Regimental pipers the honour of wearing the Royal Stewart tartan. “It gives me great pleasure to confer upon your pipers the right to wear my personal tartan – the Royal Stewart. I know that you and your successors will ever hold fast to your high traditions and the Scotland and the Empire may always rely on The Royal Scots.”

            Being one of oldest regiments with battle honours that resemble a short history of the British Army, its nickname is even older, Pontius Pilate’s Bodyguard. The unique nickname has been carried by the regiment for close to three centuries. Between 1678 and 1688, the time when the Regiment was recalled to England from France, an unknown author composed some verses to the tune of the march. The song became popular enough to cause Allan Ramsay to include it in his Tea Table Miscellany of Scots Songs, published in Edinburgh during 1724. It appeared under the title Dumbarton’s Drums two years later. The words and music appeared together in William Thommson’s Orpheus Caledonius (London, 1735) and a year later in Daniel Wright’s Micellany as “Dumbarton’s Drums, never before printed to music”. It popularity grew and began to appear in may Scots Collections of Music and Song during the 18th century and the early 19th century under the title of Dunbarton’s Drums.

            The air itself was known before the time of the Earl of Dumbarton under the title of I Serve a Worthy Ladie. It appears in the Skene Manuscript that it dated around 1630-31. Then song became known in England and was published in Apollo’s Banquet by John Playford (London 1687), 1689 and 1693.) Playford refers to the tune as a New Scotch Hornpipe and simply named A Scotch tune. In the time when the regiments were known after the commander officers name the Royal Scots were at one time known as Dumbarton’s Regiment and some body wrote words to the music to reflect this.

            The Royal Scots long and very distinguished history came to an end in 2006 when it amalgamated with the King’s Own Scottish Borderers to become the 1st Battalion of the newly-formed Royal Regiment of Scotland.

Duty Above All

Combat Service Support Units of the Canadian Forces

The Service Battalions throughout Canada are the lifeblood of supplies and services on which many Regiments and Corps heavily depend. Initially, these battalions were made up of The Royal Canadian Army Service Corps Transport Companies, The Royal Canadian Ordnance Corps Units and Royal Canadian Electrical and Mechanical Engineer Workshops. When unification took place some of the old corps disappeared and new branches created. To keep a historical link with these old and distinguished corps, this quickstep composed by Canadian Ben G. Bogisch, was adopted by the Combat Service Support Units.



Posted in Altissimo News, Historical Notes, Regimental Marches of the Commonwealth C-D | No Comments »