World Book of Military Music D-F

Directors of Music of the British Army

 Originally bandmasters became commissioned  with their appointment of director of music  through Queen Victoria    As part of the Jubilee honours, Dan Godfrey, Bandmaster of the Grenadier Guards, was commissioned as Honorary 2nd Lieutenant on 20 June 1887, his commission being signed personally by Queen Victoria. He had been appointed on 2 July 1856 and was to hold that position for a remarkable period of 40 years.His commission was a unique honour for a bandmaster, being very much a personal gift bestowed by the Queen, and so when he retired in 1896 his successor was appointed in the rank of Warrant Officer. Perhaps Dan Godfrey’s greatest memorial is his arrangement of themes from Meyerbeer’s opera  Huguenots which has become part of the traditional music for the Queen’s Birthday Parade .The Royal Military School of Music was established at Kneller Hall in 1857 and was headed by a Commandant, with the musical side initially being headed by a civilian as Director of Music, a title first appearing in the Army List in 1882. When Charles Cousins died suddenly in May 1890 the post was temporarily filled by a student bandmaster, Manuel Bilton, until a successor was appointed. On 24 December 1890 Samuel Griffiths became the first soldier to be appointed as Director of Music at Kneller Hall, and was commissioned as Honorary Lieutenant. Lt Griffiths had previously served as Bandmaster of 2nd Battalion The Royal Scots (Lothian Regiment) (1874), and the Royal Military College, Sandhurst (1890).

Like his predecessor, Griffiths also died in harness and the post was again temporarily filled by students until the appointment of Arthur John Stretton on 25 March 1896. Lieutenant Stretton, formerly Bandmaster of 2nd Battalion The Cheshire Regiment (1893), attained the rank of Lieutenant Colonel on 3 June 1918, the first director of music to do so. He retired on 22 September 1921. 1898. Bandmasters had held the rank of Warrant Officer since 1 July 1881 but outside of Kneller Hall, Dan Godfrey, now retired, had been the only bandmaster to be commissioned and this was purely an honorary rank.”His Majesty decided that the post should be filled by Kneller Hall, and His Majesty considers that Mr. Stretton, Director of Music to the Naval School of Music, a military bandmaster trained at Kneller Hall, a suitable candidate.” Thus, more or less by Royal command, Warrant Officer Charles Edward Stretton was appointed Bandmaster of the Royal Artillery Band.Three more Bandmasters were to be commissioned before the outbreak of the First World War, the first of these being John Mackenzie Rogan of the Coldstream Guards on 27 February 1904, apparently following a recommendation by King Edward VII. Born in 1852, he was appointed Bandmaster of 2nd Battalion The Queen’s Royal (West Surrey) Regiment 1882, transferring to the Coldstream Guards in 1896. He went on to attain the rank of Lieutenant Colonel.

On 25 January 1905, Charles William Hemphill Hall, Bandmaster of the 2nd Life Guards, was commissioned, being the senior Bandmaster of the Household Cavalry following the retirement of Charles Godfrey the previous year. Charles Hall was born in 1858 and was appointed Bandmaster of The Royal Dragoons in] 884, moving to the 2nd Life Guards in 1896. Hall died in 1922 in the rank of Major.

Albert Edward Williams was appointed Bandmaster of the 10th Royal Hussars (Prince of Wales’s Own) in 1888 and transferred to the Royal Marine Artillery in 1892. He succeeded Lt Dan Godfrey as Bandmaster of the Grenadier Guards in 1896 and achieved the degree of Doctor of Music in 1902. He was commissioned on 2 January 1907 with subsequent promotion to Captain.

Thus in 1914, outside of Kneller Hall, there were three Army Bandmasters holding commissioned rank, John Mackenzie Rogan, Charles Hall and Albert Williams, and it was felt that there should be a different title to distinguish them from Warrant Officer Bandmasters. Following a suggestion from Mackenzie Rogan, the title of Director of Music, used at Kneller Hall since at least 1882, was taken into use, taking effect from 6 June 1914.

The next Bandmaster to be commissioned was Charles Edward Stretton, as Director of Music of the Royal Artillery Band on 22 February 1917. He was born in 1871, the younger brother of Lt-Col Arthur Stretton, Director of Music, Kneller Hall, and enlisted into the Royal Artillery in 1886. He subsequently served as Bandmaster of lst Battalion, The York and Lancaster Regiment and as the first Musical Director of the newly formed Royal Naval School of Music, returning to the Royal Artillery in January 1907 as we have seen.

Other than Kneller Hall, appointments as director of music were still very much personal honours, seemingly following the personal intervention of the Sovereign. This is supported by the fact that all of these gentlemen were appointed Members of the Royal Victorian Order (MVO) by the Sovereign, Mackenzie Rogan being promoted to CVO just prior to his retirement.

This situation changed in 1919 when it was decided that the bands of the Household Cavalry, Royal Artillery, Royal Engineers and Foot Guards should all, in future, be led by directors of music, making a total of eleven such posts in the Army, including Kneller Hall.

The following were appointed as Lieutenant, director of music

Lieutenant George’ John Miller, 1 st Life Guards (son of George Miller commissioned in 1898)

Bandmaster 1 st Battalion The Duke of Cornwall’s Light Infantry (1898), Royal Artillery (Portsmouth)

(1903), lst Life Guards (1907). He transferred to the Grenadier Guards in 1921, retiring in 1942 as Lieutenant Colonel MVO MBE.

Lieutenant Joseph Manual Bilton, Royal Horse Guards, Bandmaster 17th Lancers (1890) and Royal Horse Guards (1904) retiring as Captain in 1927

Lieutenant Robert Neville Flux, Royal Engineers – appointed direct from civilian life in 1904, retired as Major in 1932.

Lieutenant Frederick William Wood, Scots Guards, Bandmaster lst Battalion, The York and Lancaster Regiment (1890), Scots Guards (1900), retiring as Captain, MVO, in 1929.

Lieutenant Charles Hazard Hassell, Irish Guards, Bandmaster 4th Battalion The King’s Royal Rifle Corps (1892), first Bandmaster of the Irish Guards (1900), retired as Captain, OBE, in 1928. Lieutenant Andrew Harris, Welsh Guards, Bandmaster 2nd Battalion The South Lancashire Regiment (1900), Royal Artillery (Gibraltar) (1910), first Bandmaster of the Welsh Guards (1915), retired as Major, MVO, in 1938.

The number of directors of music was reduced to ten in 1922 on the amalgamation of the 1 st and 2nd Life Guards and was to remain at that number for the next 25 years. In 1929 the advanced certificate of music (psm) was introduced and this became a necessary qualification for promotion to director of music.

The next significant date in the evolution of this post was 1 August 1947 when nine bands were granted the status of Minor Staff Bands and the respective bandmasters were commissioned as directors of music to bring the total to seventeen:

Lieutenant David McBain, Royal Artillery (Mounted)

Lieutenant Bruce Salmon, Royal Artillery (Portsmouth)

Lieutenant Victor Hays, Royal Artillery (Plymouth)

Lieutenant John Judd, Royal Corps of Signals

Lieutenant James Dean, Royal Army Service Corps

Lieutenant Lewis Brown, Royal Army Medical Corps

Lieutenant Henry Jarman, Royal Army Ordnance Corps

Lieutenant Denis Plater, Corps of Royal Electrical and Mechanical Engineers* Lieutenant Leslie Statham, Royal Military College

* Denis Plater transferred to REME from the Royal Tank Regiment.

The Band of the Corps of Royal Engineers (Aldershot) was formed in 1949 with the twentieth director of music post going to Captain Lawrence Dunn, and on  9 January 1950 the three bands of the Royal Tank Regiment were raised to the status of Minor Staff Bands and consequently the respective bandmasters were commissioned as directors of music: Lieutenant Thomas Davies, Lieutenant William Lemon and Lieutenant Albert Jarvis. The Royal Tank Regiments reverted to the status of regimental bands led by bandmasters in 1984.The first Director of Music of the Gurkhas was Lieutenant ‘Bill’ Bailey, appointed on 7 January 1951 to the Band of 2nd King Edward VIPs Own Gurkha Rifles (The Sirmoor Rifles). Lieutenant Harry Burge became the first and only Director of Music of the Staff Band of the Brigade of Gurkhas on 24 June 1957, commissioned into the 6th Queen Elizabeth’s Own Gurkha Rifles. The two bands amalgamated in 1970.

The Staff Band of the Women’s Royal Army Corps was formed in 1949, their first Bandmaster, Lieutenant Frederick Goddard being commissioned as Director of Music on 5 January 1953. The first of the four ladies to direct the Band was Captain Jean MacDowall who was appointed on 3 January 1955. This was a unique appointment as Captain MacDowall had been a WRAC officer prior to her selection as a student bandmaster, thus making her the first director of music for several decades who had not served in a band. The Band’s last director of music was Major Ena Forster

   At Kneller Hall. Lieutenant Colonel Hector Adkins who  had succeeded Lieutenant Colonel Arthur Stretton in 1921  relinquished his post of director of music in 1942, when according to the  War Office  “the post was offered to and rejected by every Director of Music in the Army as the appointment carried no extra rank or prestige and Directors of Music of Staff Bands were not prepared to forego their share of profits from paid engagements which acceptance of the posts involved. “The appointment eventually went to Bandmaster Meredith Roberts, who retired in 1954 as a local Lieutenant Colonel.  Captain David McBain of the Royal Horse Guards was appointed to succeed him and there was much concern in the War Office that this post should be recognized as the senior in the Army and carry the rank of Lieutenant Colonel as of right, t

The incumbent not only had duties at Kneller Hall itself, but was required to assist in the inspecting of bands and his advice on military music would be sought from around the world, so there was general agreement that the rank was justified. However, there were already two Lieutenant-Colonel Directors of Music and it was felt that increasing the quota would be unfair to other Quartermaster officers. A further problem was that Quartermaster posts could not be designated to carry a specific rank as this was granted to the individual officer, not the appointment.A solution was eventually found in that by changing the title from ‘Director of Music’ to Chief Instructor and Advisor to the Inspector of Army Bands, it could become a regimental appointment rather than a Quartermaster appointment, and therefore could be designated as a Lieutenant Colonel’s post. There would be 25 directors of music with only 24 director of music appointments

On 1 September 1959, Lieutenant Rodney Bashford was commissioned as Director of Music, Junior Leaders Regiment, Royal Armoured Corps (Bovington), the first of the teaching Director of Music posts outside Kneller Hall.

The number of appointments further expanded in the early 1970s with the creation of divisional directors of music for the Infantry, to oversee the recruitment and training for the regimental bands within their division. The first of these to be appointed was Captain Terry Kenny of the Queen’s Divison, commissioned on 24 August 1970, and the first for the other divisions were: Captain Brian Smith, Scottish Division, 15 January 1974

Captain Roy Fitch, Light Division, 1 February 1974

Captain Gordon Turner, Prince of Wales’s Division, 4 February 1974 Captain Brian Hicks, Parachute Regiment, 14 March 1974

Captain Donald Carson, King’s Division, 20 February 1975

Since 1963 the post of Director of Music, Junior Musicians Wing, Guards Depot (Pirbright) had been a retired officer appointment, held by Lieutenant Colonel Douglas Pope OBE, and Major Jackson MBE, but when the latter retired for the second time in 1981, the post went to a serving director of music, Major Tom Griffiths MBE, who transferred to the Grenadier Guards from the Royal Army Ordnance Corps

Prior to the cutbacks in 1984, there were directors of music at Kneller Hall, Household Division (7), Royal Tank Regiment (3), Royal Artillery (3). Royal Engineers (2) other staff bands (8) and divisional training posts (8), a total of 32 posts_Since 1984 the many reorganisations. particularly with regard to junior training, have resulted in numerous changes, with the phasing out of divisional posts and the creation of directors of music for the Royal Armoured Corps, Infantry (South). Infantry (North) and HQ BAOR, as well as at the Army Junior Schools of Music at Bovington and Pirbright. The post of Deputy Chief Instructor at the Royal Military School of Music was created in January 1986, the first incumbent being Captain Ray Maycock, and Captain Kevin Lamb set up the Training and Development Team in September 1991.

At the head of Army music today is the Principal Director of Music (Army), Lieutenant Colonel  with a further five director of music posts at Kneller Hall; the Senior Instructor, Courses Director, Officer Commanding Training and Development Team, Project Officer and an Officer to administer the Bursaries Scheme. The Army’s 30 bands are all now led by directors of music, assisted by a Warrant Officer Class One Bandmaster/Training Officer (except the Brigade of Gurkhas who have a Queen’s Gurkha Officer as Assistant Director of Music).

 

Drums

The earliest known drum-like instrument is from Mezhirich, near Kiev, Ukraine, and dates back to approximately 15,000 years ago. The instrument was found at the site of the oldest known house, constructed of mammoth bones. They were found in 1965 by a farmer digging a new basement six feet below the ground. The drum-like instrument is a hollow mammoth skull with signs of wear from being hit by mammoth bones decorated with red paint.

In the past drums have been used not only for their musical qualities, but also as a means of communication, especially through signals. The talking drums of Africa can imitate the inflections and pitch variations of a spoken language and are used for communicating over great distances. Throughout Sri Lankan history drums have been used for communication between the state and the community, and Sri Lankan drums have a history stretching back over 2500 years. Japanese troops used Taiko drums to motivate troops, to help set a marching pace, and to call out orders or announcements. Fife-and-drum corps of Swiss mercenary foot soldiers also used drums. They used an early version of the snare drum carried over the player’s right shoulder, suspended by a strap (typically played with one hand using traditional grip). It is to this instrument that English word “drum” was first used.

Drum Major of the US Navy

The Drum-Major of the United States Navy band stationed in Washington DC is the premier drum-major of the United States Navy . He waers the full dress whites or Blues of th Navy and his mace is topped the symbol of the US Navy with an Eagle and Lyre.

 Dunn Lieutenant-Colonel Sir Vivian

 Dunn Lieutenant-Colonel Sir Vivian KCVO OBE FRSA (24 Dec 1908 - 3 April 1995) was the Director of Music, Portsmouth Division, Royal Marines1931-53 and Principal Director of Music, Royal Marines, from 1953 to 1968. He was the first military musician to be knighted.

Francis Vivian Dunn was born in Jabalpur, India. Vivian’s father, William James Dunn, was bandmaster of the Second Battalion King’s Royal Rifle Corps and later director of music of the Royal Horse Guards. He studied piano with his mother, Beatrice Maud, and choral studies at Winchester. In 1923 he studied at the Hochschule für Musik Köln and two years later he attended the Royal Academy of Music. He studied conducting with Henry Wood and composition with Walton O’Donnell. As a violinist, he performed in the Queen’s Hall Promenade Orchestra under Henry Wood, and in 1930 was a founder member of the BBC Symphony Orchestra under several famous conductors.Dunn was released from his contract with the BBC and on September 3, 1931 at age 22 commissioned as a lieutenant in the Royal Marines to be director of music for Portsmouth Division of the Corps. This post included directing the Royal Marines Band on the Royal Yacht. He took part in the royal tour of South America in 1947 aboard HMS Vanguard and in a Royal Marines band tour of the U.S. and Canada in 1949.

His promotion to lieutenant-colonel and principal director of music, Royal Marines, came in 1953. Vivian and the Royal Marines Band then accompanied Queen Elizabeth and the Duke of Edinburgh on the SS Gothic for the post-coronation Commonwealth Tour. Upon completing the tour, the Queen appointed Dunn CVO, and in 1960 appointed him OBE.

In 1955, Dunn was asked by Euan Lloyd of Warwick Films to compose the theme music for The Cockleshell Heroes (which was otherwise scored by John Addison).Upon retiring from his military career in December 1968, Dunn became a guest conductor with the City of Birmingham Symphony Orchestra. He also recorded with the Light Music Society Orchestra. In 1969, he received an EMI Golden Disc for sales of over one million Royal Marines Band records. In that year he was also elected as an honorary member of the American Bandmasters Association. In 1987 he received the Sudler Medal of the Order of Merit from the John Philip Sousa Foundation.

In 1988, after serving as the Senior Warden, Dunn became the first military musician installed as the Master of the Worshipful Company of Musicians.Dunn composed and arranged over sixty pieces of music. Several are marches, many with Royal Marines connections. These include The Globe and Laurel (1935, rev. 1945), The Captain General (1949), Cockleshell Heroes (1955) andMountbatten March (1972). He arranged numerous others including The Preobrajensky March attributed to Donajowsky (later to become the official slow march of the Royal Marines) and A Life on the Ocean Wave (the official quick march of the Royal Marines).

Dunn married Margery Halliday in 1938. They had one son (Patrick) and two daughters (Leonie and Rosemary). Vivian Dunn died from lung cancer in Haywards Heath, Sussex on April 3, 1995. Marjery, Lady Dunn, died on June 26, 1998.

Edinburgh Tattoo

Officially first held in 1950 but previous piping and dancing displays predated the show to 1947. The first overseas contingent came from Canada in 1951. The original stands were erected in 1950 and provided seating for 7,000. The stands were replaced in 2008. The Castle backdrop provides a dramatic effect for the tattoo which continues to entertain thousands each year in August with thrilling marching displays, bands and military displays. Over 30 countries have sent units to the tattoo.

Fanfara dei Bersaglieri

The Beraglieri was formed  as a a Light Infantry Infantry Regiment and is regarded as a an Elite unit of the Italian Army. The band was formed in 1848. The featuer of this band is the rapid pace of the music for which they actually run and the jaunty flower hats which are worn with their forest green uniforms. They are known for the power of their brass and trumpet players.

Fanfares

A fanfare is a short piece of music played by trumpets and other brass instruments, frequently accompanied by percussion, usually for ceremonial purposes. The term is also used symbolically, for instance of occasions for which there is much publicity, even when no music is involved.Fanfares originated in the Middle Ages; although popular depictions of ancient Rome frequently include fanfares, the evidence is slight. In 18th century France the fanfare was a movement with energy and repetition of notes, and fanfares of the modern description date from the 19th century, when they were composed for British coronations (such as Hubert Parry’s I was glad for Edward VII) and other important occasions

Fanfare Trumpets

The instruments can be described as elongated trumpets  and valve trombones. The instruments that form this hybrid sub-family of instruments are known as fanfare trumpets. The family consists of the Eb Soprano trumpet which is an elongated soprano cornet but it is rarely used except in solo capacity. The Bb trumpet is the main workhorse of the family , the Bb trombone, and the G trombone which has some difficult vlave fingerings. The instruments are usually divided into at least 3 trumpets and 2 trombones as well as 1 G trombone. Herald trumpets as they were referred to became the norm following the Second world war especially in Britain. Very soon many nations began equipping their bands with sets of fanfare trumpets and the United States services bands in Washington employed them for VIP arrivals. In Canada they were not provided for  by the military but  purchased through regimental funds. Thy have been used effectivelywith both large and small groups and a number of European nations have been seen to have fanfare trumpets on numerous occasions. 

Farmer,Henry

One of Britain’s most notable military Historians

Finnish Military Music

Military music and bands began with the organization of tactical units in the Finish military in 1555. The units each had two pipers and 2 drummers. By 1632 there was the addition of cavalry trumpets and kettle drummers to squadrons . With the end of Swedish rule in 1809 enlisted battalions were formed and gradually the number of musicians increased to 20 for each battalion. A balanced instrumentation for military band was introduced in 1820 . Finish military music suffered a setback in the early 1900’s but following t the great war wherein Finland gained its autonomy the White Guards band of Finland was resurrected and  remains a living part of the fabric of military bands

French Foreign Legion Bands

The French Foreign Legion was created in 1831 by King Louis-Philippe. The principal characteristic of this elite corps is that it consists of non-French soldiers. Since its creation, the Foreign Legion has participated in many famous battles and campaigns: North-Africa, World War I and II, Indo China,Algeria and more recently the Gulf War and Yugoslavia. Their most famous battle honour is Camerone, Mexico. On 30 April 1863, 3 officers and 62 soldiers resisted for a whole day against 2,000 Mexican revolutionaries. At the end of the day, only five survivors were taken alive. The Legion commemorates this battle every year at their Headquarters at Aubagne (near Marseilles).

  The Bands

  • La Musique Principale de la Legion Etrangere: Aubagne (France)• Band of the 3rd Foreign Regiment: Guyana Consists of two NCOs and about nineteen musicians. The Band is also the mortar-platoon of the Regiment.Band of the 5th Foreign Regiment: Tahiti.the Regiment and also have military duties• Band of the 13th Foreign Brigade: Djibouti Consists of between seven and fifteen musicians. They only play traditional calls and few marches.• Band of the 1st Foreign Cavalry Regiment: Orange (France)Consists of two sergeants and sixteen musicians. They perform at military ceremonies in Consists of a director and about fifteen musicians. They are also responsible for the Anti-Aircraft Platoon of the Regiment.

• Band of the 2nd Foreign Parachute Regiment: Calvi (Corsica) Consists of around 22 musicians. They only perform at Regimental functions.

  La Musique Principale de la Legion Etrangere

  La Musique Principale de la Legion Etrangere (The Principal Band of the French Foreign Legion) was formed 9 March 1831. The Band consisted of a director and 27 musicians but by 1860 had grown to a strength of around 40 musicians. The conductor in that era was Monsieur Wilhelm composer of the music of the famous French Foreign Legion marching song ‘Le Boudin’ (literal translation being ‘blood sausage’). The origin of the song is unknown.A string orchestra was formed in 1887 and by the turn of the century had built up a fine reputation. Today the band consists of 100 musicians  

Fucik Julius

The Czechoslovakian composer Julius Fucik was born in Prague un 1872 and studied both bassoon and and percussion. He entered the military service in 1891 serving with the 49th Austria-Hungarian Regimental band at Krems on the Danube west of Vienna. He left military service in 1895 and returned to Prague as the 2nd Bassoonist with the New German Theater Orchestra. During this period he wrote numerous composition fora woodwind group comprised of 2 clarinets and bassoon. In 1896 he was appointed the conductor of the Prague city orchestra and the Danica choir in the Croatian town of Siask.

Fucik began his career as a military bandmaster in 1897 with the 86th infantry regimental band in Sarajevo, Yugoslavia. During this period he wrote the superb march Entry of the Gladiators which will  celebrate  its hundred  and ten year anniversary in 1997 and has still maintained its popularity as both circus and concert march.

In 1900 Fucik was transferred with his band to Budapest, where there were nine regimental bands. The competition for public approval was enormous as well as a challenge to produce new and worthwhile music. Fucik was a master of band arrangements and with his band of fifty musicians he was able to provide symphonic scores which increased the popularity of his band. In 1909 he returned to Czechoslovakia and became director of the 92nd Regiment band one of most superb bands of that era. He appeared in concert many times in Prague and eventually performed in Berlin to crowds estimated to over 10,000 people. This was the beginning of the Golden Age of military bands and he became renown for his compositions and arrangements.

He left the Army in 1913 and formed a music publishing firm known as Tempo-Verlag, publishing both band journals and orchestral works. He also published music for small salon groups, which are still in existence today.

His success became short lived as in 1916 with the dark shadow of the war hanging over all of Europe , he became ill and died at the early age of forty-four.

He wrote over 400 compositions. His output was amazing considering his short lifespan. The marches he wrote are among the finest ever written. His music has been recorded by numerous bands and orchestras around the world.

The march Entry of the Gladiators (Thunder and Blazes) was arranged for  military band by Canadian Louis-Phillipe Laurendeau in 1910. The Entry of the Gladiators had as it’s original title “Grande Marche Chromatique” but Fucik was so fascinated by the culture of Roman Gladiators entering an amphitheatre that he changed the name . Because of its tempo and the ability to create in one’s mind a circus atmosphere, it became a theme for the circus and rodeo world wide. It is an American circus term a “SCREAMER” and the march appears on numerous circus collections including the Mercury label Eastman Wind Ensemble under Frederick Fennel called “Screamers”. Some of his other popular works include the beautiful Marinarella Overture, Donausagen Waltz, the bassoon solo, Old Bear with a Sore Head, Winter Storms Waltz, Herzogewina March, The above appear on an old recording from the Teldac Album 14714 and are on a tape(CD?) Stereo Quiontessence P4C 7038.Although not as well known in North America, Fucik certainly earned his place as one of the most well known and beloved military musicians of Europe.

 

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World Book P-R

Perspectives  on   Military Music and Bands

Historical Significance

 The military band is a band of wind instruments differing in its constitution from other wind bands, such as the waits and the brass band. The term ” military band ” is applied primarily to bands associated with the armed forces, but also to civilian bands of similar instrumentation. (At times bands consisting entirely of brass instruments have been formed by regiments in Britain and abroad, but they are considered elsewhere, the generally accepted connotation of the term ” military band ” being the combination of woodwind  brass and percussion instruments.)

The history of the military band in Britain, being similar to that of its evolution in other countries, will here be outlined as typical; but reference will frequently be made to conditions elsewhere. The first British army band appeared in 1678, but it is necessary to look farther back to discern the influences, which contributed to this musical entity. These were two in number the wait and the royal band (King’s Musick).      Both these groups grew from a common origin: the minstrels of the towns and cities became the waits, and the minstrels of the court became the royal band. An allusion to the former is seen in a record of 1442 mentioning payment to the “town minstrels” of Hull and, twenty-eight years later, an instance of the latter is found in the thirteen court minstrels of Edward IV, ” some with the shalmes and small pipes “. The Lord Chamberlain’s records Of 1503 give five names as those of players on ” Sakbusshes and Shalmoyes “, and. six years later are found four players on the ” Sakbutts and Shalmes of the Privee Chamber “. The Earl of Northumberland’s household book (c. 1512) alludes to the visit of the king’s ” Shames “. The shawm, with its modern counterpart, the oboe, formed the basis of the wind band for four centuries until ousted from principal place by the clarinet.

By the beginning of the 17th century the waits and the royal band each had similar instruments. In the treble register were recorders, flutes, shawms and cornetts; the middle register comprised tenor shawms, curtails (early bassoons) and sackbuts (trombones), together with cornetts, and recorders of lower pitch than the normal instruments;and the lowest register consisted of double curtails and double sackbuts with, occasionally, a large cornett. There is no record of all of these being found in any single band, the constitution of each differing according to the size of the group and to the musicians available. But such combinations formed the foundation of the modern band, flutes, sackbuts, together with the modern counterparts of shawms and curtails, still taking an important part in the present military ensemble. The recorders, owing to their weak tone, have disappeared and the cornetts  are now represented by their ” descendants “, the valved brass.

In 1663 the fifes and trumpets which had provided the martial music of the ” Companies des mousquetaires ” in the French army were replaced by hautbois, and shortly afterwards the number was fixed as four for each company. French composers of the time, including Lully and members of the Hotteterre and Philidor families, wrote special music or arranged traditional tunes for these groups.

This practice was copied by the British army, and the year 1678 may be considered momentous, for it is the year of the institution of the military band in England by the first official recognition in the army of instruments (other than fifes, trumpets or drums), the Lord Chamberlain’s records containing references to the appointment of “hautboys” to the strength of the troops of Horse Grenadier Guards; and it is interesting to notice that a few years later, according to the records of the Grenadier Guards, twelve hautboys were authorized as part of the establishment of the companies of the King’s Regiment of Foot Guards in London, a fictitious name being included on the roll of each of the other companies of the regiment with the object of securing higher pay for these musicians.

It is noticeable that cornetts and sackbuts were not introduced into army bands of the period despite their popularity, the next addition being the bassoon (in its early form). This acceptance of the natural bass of the group, replacing the lowest pitched oboe, was no doubt a further imitation of the wind groups of the French army, a picture of ” Les Douze Grands Hautbois ” of Louis XV showing twelve players, ten with oboes and two with bassoons. in this picture are several members of the Hotteterre family, and its date (1722) is also that of an order issued in England to the Honourable Artillery Company when ” one hautboy and one bassoon ” were added to the strength of the company.

There is no definite evidence regarding the exact time of the addition of horns to the military band, but it was probably during the early part of the 18th century. About the same time there appeared one or two trumpets as occasional (and later regular) members of the group, these martial instruments having hitherto been used only in their own separate entity of trumpets and drums. As was the practice in the orchestra, they were crooked in keys suitable to that of the music played, and the simple harmonic structure employed enabled their use throughout the military tunes of the time.

Between 1760 and 1770 the clarinet became an integral part of the instrumentation of army bands. A clause in the Articles of Agreement for the ” Band of Musick ” of the Royal Regiment of Artillery (1 762) provided for ten wind instruments, this number conflicting with a previous clause fixing the number of players as eight, who, incidentally, were also required to be capable of playing stringed instruments-the beginning of almost two centuries of history of this band both as a band combination and as an orchestra There were two trumpets, two horns, two bassoons and “four hautbois or clarinetts”. General Monckton’s March for the 17th Regiment o. Foot (1762) includes clarinets, and in the same year the King of France granted to the Swiss Guards a band of four oboes, four clarinets, four horns and four bassoons. A military march in the Fitzwilliam Museum, by William Beckford, dated 1770, is scored for two oboes, two clarinets, two horns and bassoon, but probably two players were used on the bassoon part.

The influence of continental wind bands on those of Britain was still considerable. In1763 Frederick the Great fixed the strength of Prussian army bands at two oboes, two clarinets, two horns and two bassoons, a combination accepted by several composers of the classic period for works for wind octet. The influence was carried across the Atlantic by the British troops engaged in the American war, and the result is seen in the constitution of an American Marine Band Of 1799, which had the usual two oboes, two clarinets and two horns, but only one bassoon. It will be observed that trumpets do not appear in any of these combinations.

General Monckton’s March, , has really only five parts, for the pairs of oboes and clarinets are each playing in unison and the general tendency is for these two parts to proceed in parallel motion, all built upon a simple harmonic structure. When the oboes and clarinets were each divided into first and second it was often the custom for the oboes and clarinets to duplicate each other, probably to ensure that the absence of oboes, which were not found in all bands, should not affect the balance of parts.

The opening bars from the second of two marches written by Haydn in 1795 for the Derbyshire Yeomanry show that the band for which it was composed had no oboes. The two marches in question may not have been actually arranged by the composer, whose contribution may have been only the pianoforte version, but it is interesting to note the same prevailing tendency, that of parallel movements in thirds and sixths. The inclusion of a single trumpet was another custom of the time as will be seen in the march written by John Parry about five years later . Another instance of the use of one trumpet is found in the list of a band of Hanoverians sent to replace the bandsmen of the Coldstream Guards in 1785, the latter (who were not attested men) refusing to attend a water party arranged by a newly appointed lieutenant-colonel. The Hanoverian band consisted of two oboes, four clarinets, one trumpet, two horns, two bassoons and one serpent.’

The addition of the serpent to lengthen the bass line will be noticed in the case of Haydn’s march (though another version of the same march has no part for that instrument) and of this Hanoverian band. A serpent part also appears in a military march by Samuel Wesley, supposed to have been written for one of the Guards’ bands in 1777 .This was the natural outcome of the gradual increase in the size of bands due to the popularity of the clarinet as the principal member of the wood-wind family in the military band. Altenburg in ‘Die Klarinette’ (1904) alluded to the great increase in the number of clarinets in French bands over a period of fifty years, from two in 1762 to nineteen in 1810. 

This increase was to some extent the outcome of a desire to rectify the balance of wind and percussion  instruments which had been disturbed by the introduction of ” Turkish Music “, a fashion which had traveled from Turkey, via Prussia, to England. Towards the middle of the 18th century black drummers had been introduced into military bands and there followed black players on other drums, cymbals, tambourines and the lowest register consisted of double curtails and double sackbuts with, occasionally, a large cornett. There is no record of all of these being found in any single band, the constitution of each differing according to the size of the group and to the musicians available. But such combinations formed the foundation of the modern band, flutes, sackbuts, together with the modern counterparts of shawms and curtails, still taking an important part in the present military ensemble. The recorders, owing to their weak tone, have disappeared and the cornetts are now represented by their ” descendants “, the  valved brass.

In 1663 the fifes and trumpets which had provided the martial music of the ” Companies des mousquetaires ” in the French army were replaced by hautbois, and shortly afterwards the number was fixed as four for each company. French composers of the time, including Lully and members of the Hotteterre and Philidor families, wrote special music or arranged traditional tunes for these groups. 

 This practice was copied by the British army, and the year 1678 may be considered momentous, for it is the year of the institution of the military band in England by the first official recognition in the army of instruments (other than fifes, trumpets or drums), the Lord Chamberlain’s records containing references to the appointment of “hautboys” to the strength of the troops of Horse Grenadier Guards; and it is interesting to notice that a few years later, according to the records of the Grenadier Guards, twelve hautboys were authorized as part of the establishment of the companies of the King’s Regiment of Foot Guards in London, a fictitious name being included on the roll of each of the other companies of the regiment with the object of securing higher pay for these musicians.

There is no definite evidence regarding the exact time of the addition of horns to the military band, but it was probably during the early part of the 18th century. About the same time there appeared one or two trumpets as occasional (and later regular) members of the group, these martial instruments having hitherto been used only in their own separate entity of trumpets and drums. As was the practice in the orchestra they were crooked in keys suitable to that of the music played, and the simple harmonic structure employed enabled their use throughout the military tunes of the time.

 Before the turn of the century the flute had been added to the military band, the Grenadier Guards in 1794 having one flute, six clarinets, three bassoons, two horns, one trumpet, serpent and drums. John Parry of the Royal Derbonshire wrote a series of marches .Each march bearing (as title) the name of one of the regiment’s officers. The same instruments are employed in each march, except that the flutes are sometimes in Bb and at other times in Ab (though they are misnamed as ” flutes in C ” or ” flutes in B ” respectively). Expression marks are sparsely used, being merely f or p, and these usually appear only between the clarinet staves.

This addition of the flute towards the end of the century is also evidenced by a number of military marches (in the printed music of the B.M.) written by Guest during the period 1795-1810 Parts for flutes and clarinets were included, but no oboe parts.

It will be seen that greater progress was made during the 18th century than at any other time, a hundred years having seen the band grow from a group of oboes and bassoon(s) into a complete musical entity of flutes, oboes, clarinets, bassoons, horns, trumpets and serpent. There is no reliable evidence as to the date of the return of the trombone since its discontinuance after the days of the ” hautboys and sackbuts “, but it probably occurred about the close of the century. Parke’s ‘ Musical Memoirs’ allude to trombones in the Coldstream Guards band of 1783,but regimental records disagree. A work for military band in the Royal Music Library (dated 1805) by Henry Pick has a part for ” serpent or trombone “, and the marches by Henry Dibdin, also of this period, have trombone parts. Continental bands were also using the trombone, French line regiments in 1802 having one flute, one clarinet in high F, sixteen clarinets in C, four bassoons, two serpents, two trumpets, one bass trumpet, four horns, three trombones and drums. Prussian bands of the time were smaller: two flutes, two or four clarinets, two oboes, two bassoons, one serpent, two trumpets, two trombones and drums.

The Chart below illustrates the bands in the period of 1828-45

Keyed bugles, bass horns and ophicleides were the next instruments to be added, but the previous comparative tables of three bands of the second decade of the century show that they did not receive immediate acceptance by all bands. It is also noticeable that two marches of the period by Bishop (in the B.M.) have parts for serpent but not for keyed bugle, bass hom or ophicleide.

Keyed bugles provided a valuable addition to the ” treble brass “, enabling melodic work to be played in that department in a regiser which had hitherto been covered only by trumpets without valves, and thus limited to notes of the harmonic series. Despite the introduction of the ophicleide and bass horn, serpents were still retained in many bands.

The band of the Duke of Lancaster’s Own Yeomanry had., in 1828, the following instruments:

3 Flute, piccolo, Eb clarinet, 8 Bb clarinets, 3 bassoons, horns, 2 trumpets, trombone, 2 serpents and drums.

. Clarinets in Bb had now replaced clarinets in C, the same step having been taken on the continent, as the following extract from Kastner’s ‘ Manuel Generale de musiqu militaire ‘ indicates:

“La substitution de la clarinette en si bemol a la clarinette en ut date de 1814. Cependat, sous la Restauration, quelques regiments se servaient encore de la premiare; mais les dispositions ministerielles, en date du 3 Octobre 1823, rendorent obligatoire l’adoptiode la clari.nette en si be mol.

The invention of the valve, besides contributing so greatly to the increase of amateur bands in many countries, had an equally important effect upon military bands. Keyed bugles were soon replaced by cornets, and the trumpets and horns, hitherto confined to “open” notes, adopted the valve. The woodwind section of the band had already become stabilized as at present, but the bass section, with its ophicleides, bass horns and serpents, was not strong enough to balance the brass and woodwind above them. This weakness is apparent in the following list of the 48 players of the Royal Artillery Band of 1839: one piccolo, two flutes, two oboes, three Eb clarinets, fourteen Bb clarinets, four bassoons, four trumpets, three cornets, two horns, four trombones, one ophicleide, two bass horns, two serpents and four percussion.

In 1838, in Prussia, Wilhelm Wieprecht took over the task of reforming Prussian bands and the result is seen in his constitution of an infantry band:

2 Flutes 2 oboes, clarinet in high Ab, 2 Eb clarinets, 8 Bb clarinets, 2 bassoons, 2 contrabassoons, 4 horns, 4 trumpets, 4 cornets, 2 tenor horns (baritones), euphonium, 4 trombones, 4 bombardons (basses) and 5 percussion.

Apart from the use of the high clarinet in Ab and the contrabassoons, the main difference between this band and that of the Royal Artillery of approximately the same strength lies in the use of tenor horns (baritones), euphonium and bombardons. In the Prussian band we have a complete team, including a quartet of French horns, good ” tenor voices in the baritone and euphonium (used today to reinforce the basses or to play solos or ” countermelodies in the tenor register) and the bombardons.,

The constitution of French regimental bands was fixed by a decree of 1845, but despite the inclusion of many instruments of the saxhorn family, including four Eb basses in a band of fifty, two ophicleides still remained. As the newest of the Sax inventions, saxophones also appeared, a curious instance of the introduction of the new keyed instruments together with the retention of the old.

The gradual adoption of valve instruments is illustrated by a few entries taken from a handwritten list evidently kept by the successive storemen of the Grenadier Guards band and produced for the annual inspection of the instruments by the commanding officer. The initial entry of 1848 gives the following list:

2 flutes and ” picolo “ [sic], 2 oboes (one doubling on corno inglese), 3 Eb clarinets, 8 Bb clarinets (on doubling on corno bassetto), 3 bassoon, Bb trumpet2,4 hrns horns, 2F trumpets, bass trumpet, althorn (baritone) 3 trombones (in C, Bb and G respectively), 2 ophicleid, bombardona and 5 percussion.

In this entry the name of George Miller, the first of a family of military musicians appears as the player on the Bb trumpet, and in the following year he is entered as playing Bb cornet with the notation “bought send hand” In 1850 a former ophicleide player now has a bass tuba. In 1851 the euphonium makes an initial appearance. In 1853 a bugle is listed this probably being a flugelhorn. In 1856 tenor horns are entered but very soon they were discarded. A list of the Artillery band in 1857 shows two flugelhorns. The saxophone became an noticeable feature as the Grenadiers acquired one in 1864. But it was a very long duration before the instrument became solidly entrenched in the military band.

British military bands derived lasting benefit from two developments which both occurred in the middle of the 18th century. The first was the introduction of the military journals which were regularly published and numbered original and arranged (transcribed) music for military band. The editions were edited by well known bandmasters and musicians and became the standard fare for bands in Britain and around the world. The second was the formation of the music class at Kneller hall in Twickenham which began in 1857. The school became the focal point for the ordination of bandmasters and subsequently also a marvellous teaching school for pupils that were already trained as musicians in line bands of the British army.

The real reason behind the organization of the school has been obscured by time but some of the suggestions put forward are three occurrences the sudden application by musicians and bandmasters at the outbreak of the Crimean war which resulted in the rapid disintegration of many military bands,(b) the poor display by British bands in comparison with those of France during a review at review at Scutari of troops intended for service in the Crimea., and (c) a massed band debacle when the British bands performed God Save the Queen in several different keys.

The following table shows the instruments in two British bands of the same date and, for comparison, that of the Belgian Guides:

 

 

Noticeable features of this list are the inclusion of the contrabassoon in the Grenadiers’ band and the absence of saxophones in the British bands, despite the fact that (according to Rose, ‘Talks with Bandsmen’) several line bands were using them, including the 4th Dragoon Guards, 16th Lancers, 2nd Royal West Surrey Regiment, 2nd Norfolk Regiment, Lancashire Fusiliers, Border Regiment and Oxfordshire Light Infantry.The Continental bands began the development of sax teams to bridge the gap between the clarinets and brass. The saxophones also helped to develop the rich inner sonority to military bands, which was a critical fault of the early bands.

By the end of the century the practice had grown up of arranging works so that they could be played by an ” engagement ” band of dimensions less than the full band, involving the cueing of such parts as the 2nd flute, 2nd Eb clarinet, 2nd oboe, 2nd bassoon, 3rd and 4th horns and trumpets. The string bass was also used in many bands.

Subsequent developments in British and other European bands may be briefly mentioned: alto clarinets have disappeared; the bass clarinet is used only for special purposes; saxophones, particularly the alto in Eb and tenor in Bb and baritone in Eb, are now essential. Bb trumpets have replaced Eb trumpets; the baritone has been abandoned in most European bands as no longer essential; the Boehm flute is now employed in place of the former military flute in D. North American bands have similar instrumentation but most bands have bass clarinet and also the electric bass has been added as another dimension.

The following lists show the constitution of some  bands before the outbreak of the second world war:

 

 

Military bands formerly played at high pitch. This was introduced in 1858 (as the ancient Philharmonic ” pitch) by the Duke of Cambridge. There had been no standard pitch for military bands before. The ” low ” pitch now used was adopted in 1929

The programme repertory of the military band, besides splendid arrangements of most of the standard works for orchestra, now has a number of works specially written for the medium. It is obviously not possible to give a list of these, but the first and second Suites for military band by Holst, and Vaughan Williams’s Toccata Marziale are excellent examples. The specific works for military band number in the thousands. In recent years band music in in America has made a tremendous leap forward and most  music arranged and composed for band can be played by both military and concert bands.

The ” conductor’s copy ” in military band music has usually consisted of a condensed three-line part, or even a cued solo clarinet part of works of a simple character, but full scores (some having as many as thirty staves) originally issued for a few works have now become universally employed.

An instrumentation list for present day British/Canadian/American/German/Italian/French/Dutch staff bands is given below, but it must be borne in mind that changes may take place and may involve allocation of the number of instruments for various ensembles (i.e. parades, concerts)

 

The rise of military bands in America and Canada had a very similar development as those in Europe and in Britain. In America the Civil war of 1861-65 was the catalyst for the military band movement with almost every unit in both the Confederate and Federal Armies having a band.(see Civil war bands)

 

Piling of the Drums

The ancient  ceremony of the Piling of the Drums had its origins where new banners or colors were  presented. Colors have always been regarded with great reverence. Historians record that Colors have been associated with religion from the earliest times. Israelites carried the social standard of the Maccabees which bore the initial letter of the Hebrew text. These early associations linking religion with the battle flags and standards have their counterpart in the ceremonial attached to Colours today. Many Commonwealth countries  adopted the British custom for the consecration of the Colors prior to the presentation to the Units. The drums are traditionally piled to provide an altar for the consecration. The drums are brought forward and piled in the center. The pile consists of five side drums in a circle with the emblazoning the right way up, facing outwards. The bass drum is laid on the side drums and a tenor drum on top, both with the center of the emblazoning facing the person blessing the Colors. The Colors are then draped on the pile for the consecration, the pikes resting on the hoop to retain the Colors pikes in position. There is no drill laid down for the piling drums, but the drummers concerned normally turn to their left and right and marches out in a single file, forming a circle around the designated spot, turn inwards and arrange their instruments in the center. After the Colors have been consecrated, the drums are recovered in the same way. The Colors after being blessed by the various religious leaders, is handed over to the visiting dignitary , who will present the newly consecrated Colors to the CO / Commander of the Unit. The Colors are then trooped.

 Pipe band 

A Pipe Bandis a musical ensemble consisting of pipers and drummers. The term used by military pipe bands, Pipes and Drums, is also common.

The most common form of pipe band, the Scottish pipe band, consists of a section of pipers, a section of snare drummers (often referred to as ’side drummers’), several tenor drummers and a singlebass drummer. The entire drum section is known collectively as the drum corps. The tenor drummers and bass drummer are referred to collectively as the ‘bass section’ (or in North America as the ‘midsection’). The band follows the direction of the pipe major; when on parade the band may be led by a drum major, who directs the band with a mace.

Standard instrumentation for a pipe band involves 6 to 25 pipers, 3 to 10 side drummers, 1 to 4 tenor drummers and 1 bass drummer. Occasionally this instrumentation is augmented to include additional instruments (such as additional percussion instruments or keyboard instruments), but this is typically done only in concert settings.

1.History of the Pipe Band

The pipe band began life in the military, but its origins are obscure, and historical records exist mostly in hints gleaned from contemporary regimental records that had no direct interest in pipes.

It is known that pipers served in regiments from the earliest times; the Royal Scots have records referring to pipers dating back to the early seventeenth century. Where pipers were employed as pipers (rather than just happening to be a soldier that also was able to play), they were employed by the officers of the regiments as private pipers. This situation continued until the 1840s, whenQueen Victoria’s enthusiasm for all things Highland was instrumental in the War Office’s decision that each battalion of the Highland Regiments be allowed five pipers and a Pipe Major, which continues to be all that the British Army provides funds for to this day. Any additional pipers in the battalion pipe band were and are equipped today by funds from the Officers’ Mess Fund of the battalion.

By this time, pipers were already playing together with drummers, probably modeling themselves on the fife and drum bands which had existed in Switzerland since the fifteenth century. Drumming is, of course, as ancient as the concept of formed military units, and their original purpose on the battlefield was to signal tactical movements and keep cadence on the march.

By the end of the Crimean War, pipe bands were established in most of the Scottish Regiments. The first civilian organizations to adopt pipe bands were police and fire brigade bands;^[1] even today, several forces maintain bands that play to a very high standard.

By the time World War I broke out, the pipe band represented a popular image of Scotland, both internally and externally.

Military pipers were killed and injured in significant numbers in the Great War, before the War Office banned the practice of playing in the trenches in 1915.^{[citation needed]} The ban was often not observed; Canadian piper James Richardson was awarded the Victoria Cross for playing in action in 1916. Pipes have occasionally played into battle, notably at El Alamein, Dieppe, the Normandybeaches, and the crossing of the Rhine. The Calgary Highlanders went into action for the first time at Hill 67 in Normandy with company pipers playing; it was the first and only time the Regiment did so.^[2] Military pipers have also served in both Gulf Wars.

 2. Military Pipes and Drums

In military and para-military organizations the term Pipes and Drums is used when referring to an ensemble of Highland bagpipes and drums, but the majority of modern military bands are quite similar to their civilian counterparts in their instrumentation and music. Many of the same standard tunes are found in both the military and civilian pipe band repertoires, and many similarities exist in terms of musical style, historical and musical influences, and dress and deportment.

Unlike civilian pipers, however, pipers in military bands have additional military responsibilities. Nowadays, musicians in British Army bands are normally required to take on a secondary role in the battlefield as medics. However, in most cases the pipes and drums in a Scottish or Irish infantry regiment constitute a machine gun platoon (as the Corps of Drums does in an English or Welsh infantry regiment). As a result, in addition to being musicians, members of the pipes and drums must also be qualified fighting soldiers. Unlike musicians, who belong to the Corps of Army Music, the pipers and drummers belong to the regiment in which they serve and are Soldiers first and foremost.

The British Army runs its own pipes and drums training facility, the Army School of Bagpipe Music and Highland Drumming, in Edinburgh, Scotland. To be qualified as a Pipe Major or Drum Major in the pipes and drums of a regiment of the British Army, candidates must successfully pass a series of courses at the school.

 3.Pipe Band Music

The music played by pipe bands generally consists of music from the Scottish tradition, either in the form of traditional folk tunes and dances or music from the Western tradition that has been adapted for pipes. Examples of typical pipe bands forms include marches, slow airs, up-tempo jigs and reels, and strathspeys. In recent years there has been a great deal of emphasis placed on new forms, especially the suite. A good example of a suite for pipe band is Don Thompson’s composition Journey to Skye (1987).

In conventional pipe band music, each section of instruments has a different role in the music. Generally speaking, the pipers deliver the melodic and harmonic material, while the side drummers provide a rhythmically interactive accompaniment part. The tenor drummers provide the fundamental rhythmic pulse and the bass drummer anchors the rhythms, providing a strong and steady beat. The roles of each section are broken down further below.

4.The Pipe Section

Since the bagpipe is the only pipe band instrument capable of producing distinct, variable pitches, the pipers are responsible for providing all of the melodic material in the music. Generally speaking, all of the pipers play a unison melody on their chanters, with their drones providing the harmonic support and filling out the sound. These unison melodies are often quite complex and demanding. It is this complexity that provides much of the musical interest.

When harmony is written within the pipe section, it is usually a two-part harmony, and is usually scored in a 2:1 ratio (with two thirds of the players on the melody and one third of the players on the harmony part). Because of the limited range of the chanter, the harmonic possibilities are somewhat limited, but well-written harmony in a pipe band setting can be quite effective. Pipe band harmony is sometimes referred to as ’seconds’, although this simply refers to a second part and not to the interval of a second. In fact, intervals of a second are rarely found in pipe band harmony parts, except in passing. Instead, it is the consonant intervals which are stressed, such as perfect fourths and fifths, and even more commonly, parallel thirds and sixths.

In contemporary arrangements, a merge between harmony and melody known as ‘counter-melody’ has been aired. A counter-melody is similar to a harmony part, but is distinguished because it has a melodic line of its own. Counter-melody can take a completely different thematic approach and can dramatically change the flow and atmosphere of the melodic unison. This technique is relatively new in the pipe band circuit, and in most cases require skill and timing to achieve in full unison.

5. The Drum Corps

The drum corps of a pipe band consists of a section of drummers playing Highland snare drums and the bass section (see below). In the early days of pipe bands, rope tension snare drums were common, but as the technology evolved, so did the music. Pipe band drummers now play on drums with very tight, knitted kevlar heads, designed for maximum tension to create a very crisp and strident sound. Due to technological innovations and changing aesthetics, this crispness has become an integral part of the pipe band sound. Since today’s drum is so facile as a result of its design, players are often able to execute extremely complicated and technically demanding rudimentary patterns.

The pipe band drum corps is responsible for both supporting the piping with a solid rhythmic foundation and sense of pulse, often creating an interesting contrapuntal line unto itself. The line played by the drum corps (referred to as the ‘drum score’) is usually based on rudimentary patterns and can often be quite involved, with solo, unison and contrapuntal passages throughout. A popular pattern in many scores is for the lead drummer to play a phrase, and the section to play in response. This technique is known as seconds.

While standard practice in pipe bands is for the pipe section to perform the traditional or standard arrangements of the melodies, including even the gracenotes, drum scores are very often composed by the lead drummer of the band. In competition, one of the adjudicators grades a band on how creative their scores are and how well they fit the piping – this aspect of the judging is known as ‘ensemble’.

6. The Bass Section

The bass section (also referred to as a mid section) usually consists of a section of tenor drummers and a bass drummer. Their role is to provide rhythmic support to the entire ensemble. In this respect, the bass section allows the drum corps to delegate their timekeeping responsibilities and allows more freedom in the drum scores.

Generally, the bass drum provides a steady pulse, playing on the downbeat and on the strong beats of the bar, and the tenors support that pulse, often adding supporting beats, accents and dynamic interest.

Tenor drums in their modern form are a relatively new addition to the pipe band. While pipe bands of yesteryear would often include tenor drummers, they would usually be “swinging tenors”, players who would swing their sticks for elaborate visual effect but who would rarely play. Today’s tenor drummers play pitched drums, and careful thought is given as to which pitches to use and at which times. In some cases, five or six tenor drummers have been used, providing a palette of individual pitches for use in a variety of musical situations. The swinging also known as flourishing has developed somewhat into an art form, with drummers playing and swinging in unison or sequential flows.

 

 7.Competition & The World Pipe Band Championships

Competition is a primary focus for many pipe bands throughout the world. Since 1930, when the Scottish band association (today known as the Royal Scottish Pipe Band Association) was formed, there has been an event known as the World Pipe Band Championships held in Glasgow every August. For competitive bands, the title of World Champion is highly coveted, and this event is seen as the culmination of a year’s worth of preparation, rehearsal and practice.

The entirety of the World Championships takes place on one day in August, on Glasgow Green. Typically, several hundred bands attend, traveling from all over the world. Bands arrive early and are required to perform in a qualifying round which takes place in the morning. The top bands at the end of the qualifying round play in a second event in the afternoon to determine an aggregate winner. To win, Grade One bands must perform in two events, a March, Strathspey & Reel event (known as a “set” or “MSR”) which consists of three pre-arranged tunes, and a Medley event, which consists of a short selection of music chosen and arranged by the band. The rules for the medley contest are very open, requiring only a minimum and maximum time frame (between 5:30 and 7 minutes) and a minimum of different time signatures that must be played as well as two 3 pace rolls played at the beginning of the tune (also known as an attack).

In addition to performing at the World’s, most internationally competitive bands participate in a season of events that are generally held during Scotland’s summer months. While events of this type are usually held at Highland Games, band competitions in Scotland, Ireland and Northern Ireland are often large enough to be held as events unto themselves. The grading and organization of these events is generally consistent with the World Championships and the events are typically administered by the governing Pipe Band Association.

8.Pipe band grading system

Prizes at the World’s are awarded in the following eight categories:

• Grade One
• Grade Two
• Grade Three “A”
• Grade Three “B”
• Juvenile
• Grade Four “A”
• Grade Four “B”
• Novice Juvenile

In the United States, there is also a fifth grade.

In the Novice Juvenile and Juvenile categories, band members must be under the age of eighteen, with the exception of one “adult” player, often an instructor, who may serve as the Pipe Major or Pipe Sergeant. The remaining categories have no age restriction, but are based on proficiency. Grade One is the highest of these categories, and Novice is the lowest. Grading and eligibility are overseen by the RSPBA, and bands must apply for downgrading or upgrading.

Because of time constraints, the RSPBA uses “A” and “B” designations in Grade 3 and 4, for major competitions. By doing this, bands are grouped based on prior-years’ performances, and can receive promotions within their respective grade. It is also important to note that these vary slightly throughout the world. For example, in the Republic of Ireland Grade 4 “B” is known as Grade 5, in North America, many regional associations have implemented Grade Five, an entry-level Grade, intended to help bands familiarize themselves with competition and in Australia and New Zealand there is no Novice grade at all.

 

9.Progressive Pipe Bands

The future for pipe bands is unclear. Currently, there are many pipe bands which perform in parades and other public events as a primary activity. These bands are sometimes referred to as “street bands”. Some military bands fall into this category as well, playing for regimental functions in lieu of, or supplemented by, competitions and/or concerts.

In the competitive pipe band community, some bands are starting to find the competitive system musically stifling, although it does demand high standards. Some advocate making the transition to aBreton model, where competitions are more flexible and with fewer restrictions.

Instead of giving up on the competitive model, a number of bands have instead turned to the concert stage to supplement their competitive activities. Performing in this setting allows a greater degree of musical flexibility and creativity, and encourages the inclusion of additional instruments and performers, to expand the musical possibilities. Notable examples of these endeavors by competitive pipe bands include the Simon Fraser University Pipe Band’s Carnegie Hall concert of 1998 and the recent recordings by the 78th Fraser Highlanders Pipe Band. Their albums The Immigrant’s Suite (1989), Live in Canada – The Megantic Outlaw Concert (1991), Flame of Wrath (1998), and most recently, Cascade (2003), showcase their attachment to traditional pipe band music and their desire to break out of the compositional mold and venture into undiscovered territory.

Polish Military Bands

Polish military bands reach back, as early as ancient Egypt and Rome. The oldest historical; sources which prove the existence of military bands in Poland date from 1411. Bands were known to exist in King Sigmundus the Old played during the Vienna Congress of 1515. In 1658 a  decree was issued ordering a formation of permanent military bands which consisted of: two drummers, five trebles (a high pitched shrill flute ,forerunner to the piccolo), four oboes and a piper. French style wind bands made their appearance at the Saxon Royal Court  with the infantry regiments having two clarinets, two flutes, two oboes, two horns, two bassoons and janissary drums. Cavalry regiments had trumpeters. At the time of the Duchy of Warsaw the infantry corps had military bands consisting of ten musicians. In the 1800’s prior to the Polish November 1830 insurrection there were military bands numbering from fifty to a hundred . Following teh revolt bands were eliminated and although some were raised again prior to World war I, the bands were abolished during the war . Although attempts were put in place to reestablish Polish military bands it was not until a Military School of Music was founded in 1930 that real progress was forthcoming. The school developed both instrumentalists and bandmasters. The school was able to provide bands for celebrations and through generous gifts maintained both uniforms and instruments.

With outbreak of World War II  bands were officially disbanded but even under German occupation bandmasters were able to raise bands in Western European countries. Following the war the Polish military military bands began to organize and there was a an expansion in the number of musicians and bands. Among the many that were organized was the Polish national Orchestra with 90 musicians and several District Orchestras each containing 60 musicians. Smaller garrisons had three types of  orchestras each with 25 to 36 musicians. The principal role of the bands representing the Armed Forces and bands of the Air Force and Navy is to participate in military and diplomatic ceremonies, play concerts, provided music for visiting personages and to participate in national and International Festivals. 

Portuguese Naval Military Bands

In the first half of the 18th century there existed Martial  Music in the navy entitled Charmela. The band sailed with the King visiting England, France and Belgium. The band made the first recording in Portugal in 1903. In 1922 the Navy band traveled to Brazil on board the Presidential ship . In 1982 they took part in Naval day exercises and made a visit to  Azores. In 1988 they were in Madeira to take part in the 500 year of discoveries event. 

 Prussian and German March Collections

“In order to assist the regiments of the Army in the choice of good military music, I have commanded a collection of proven musical pieces to be prepared and a set of them is to be supplied to each regiment.” It was to this decree of King Friedrich Wilhelm III of Prussia, issued in 1817, that the Prussian Army was indebted for its famous collection of military marches (Armeemärsche). Prior to this, due to the scarcity of printed musical scores, Prussian military musicians were largely dependent upon a repertoire which was passed down by word-of-mouth, a situation which inevitably resulted in the loss of a considerable number of musical compositions over the years. As organized, pieces in the Prussian March Collection were divided between “Slow Marches for the Infantry”, “Quick Marches for the Infantry” and Cavalry Marches, with each piece in the collection receiving the numerical designation AM I, II or III, respectively, depending upon its type, followed by an Arabic numeral denoting its number within its category. Thus, the march Herzog von Braunschweig, as a “slow” march for infantry, was numbered AM I, 9; the Marsch des Yorck’schen Korps, as a “quick” march for infantry, was numbered AM II, 37; and the Parademarsch Nr. 1 “Möllendorf”, as a cavalry march, was numbered AM III, 51. The collection was continually augmented until, by 1916, it had grown to a repertoire of 536 separate compositions, among which were included not only Prussian, but also Hanoveranian, Saxon, Hessian, Badener, Württembergian, Bavarian, Austrian, Swedish, Italian, Swiss and even Russian and British military marches! In the early 1930’s, the Prussian tradition of cataloging Armeemärsche was revived by the German armed forces which redesignated march compositions as Heeresmärsche, which were given numerical designations beginning with HM I, HM II and HM III respectively. Luckily for the enthusiast of military music, the West German armed forces undertook in the nineteen fifties, ‘sixties and ‘seventies, with various fits and starts, a systematic effort to record for posterity many of the pieces in the Prussian and German March Catalogues, being closely paralleled by the military musicians of the DDR, who “rediscovered” the heritage of the German march fairly early on and produced numerous recordings of their own. Brandenburg Historica is proud to present some of the best results of these endeavors, which have produced first rate performances of many of those marches which are today but little known, but are among the most illustrious in the repertoire, as well as definitive versions of the oft-performed “old standbys”.

 

Queen’s Piper

One of the most unique appointments in British military music is that of piper to HM The Queen. The duties of The Queen’s Piper require that he plays for Her Majesty every morning (Monday – Friday), from 9am – 9.15am. Thereafter, he escorts the Queen from her private apartments to her public reception room.The accommodation for The Queen’s Piper in Buckingham Palace overlooks the Mall and has housed all the sovereign pipers since 1842.Other duties include meeting the Queen’s visitors at the Grand Entrance and remaining with them until they are introduced to the Queen. Visitors include the Prime Minister, visiting dignitaries, Presidents and Ambassadors.

The Pipe Major also travels with the Queen to Windsor during Royal Ascot week and at Easter. He returns home to Scotland with the Queen for three months during the Royal Family’s summer break at Balmoral, where duties range from playing at dinner to standing by The Royal Family during the Gillies Ball and announcing the traditional Scottish dances.

Recordings Military band-Historical

Mr. Thomas Cat Performed by: Edison Grand Concert Band Record format: Edison Concert cylinder Release number: B-517 Release date: December 1900 NPS object catalog number: EDIS 4795 Kaiser Frederick march Performed by: British Military Band Composed by: Carl Friedemann Record format: Edison Gold Moulded cylinder Release number: 13061 (5) Release date: 1905 NPS object catalog number: EDIS 38237Semper fidelis march Performed by: United States Marine Band Composed by: John Phillip Sousa Record format: Edison Amberol cylinder Release number: 4M-140 (A- ..7) Release date: June 1909 NPS object catalog number: EDIS 35806 Stars and stripes forever march Performed by: Sousa’s Band Composed by: John Phillip Sousa Record format: Edison Amberol cylinder Release number: 4M-285 (A- ..22) Release date: November 1909 NPS object catalog number: EDIS 36682 Santa Lucia march Performed by: His Majesty’s Irish Guards Band Composed by: Lotter Record format: Edison Gold Moulded cylinder Release number: 10561 (A- .6) Release date: July 1912 NPS object catalog number: EDIS 37943

Hungarian rhapsody no. 2 – part 1
Performed by: Edison Concert Band
Composed by: Franz Liszt
Record format: Edison Diamond Disc
Matrix number: 2567-A-1-2 [7-1]
Recording date: 1913
Release number: 80135-R
Release date: August 1914
NPS object catalog number: EDIS 43462

William Tell overture – part 2
Performed by: Sodero’s Band
Composed by: G. Rossini
Record format: Edison Diamond Disc
Matrix number: 5577-A-7-1
Recording date: 1917
Release number: 80128-L
Release date: March 1914
NPS object catalog number: EDIS 43455

Military marches were also popular during this period, and were represented by The U.S. Field Artillery March, Sousa’s arrangement of E. L. Gruber’s song The Caissons Go Rolling Along, played by the New York Military Band, and by True to the Flag March, performed by the United States Marine Band.

*Instrumental Selections on the Edison Diamond Discs (1912-1929)–Selections: 

True to the Flag March (F. von Blon)–United States Marine Band, 1922

12th Street Rag (Euday L. Bowman)–Imperial Marimba Band, 1921

The U.S. Field Artillery March (John Philip Sousa)–New York Military Band, 1920

From 1906, an interesting recording of a United States Army lancers parade figure.

 

Company Edison’s National Phonograph Company Cylinder # 8247 Category Band Title U. S. Army Lancers, 1st Figure Performed by Edison Military Band Circa 1906 (re-make of the 1902 release) Announcement “United States Army Lancers played by the Edison Military Band.”

In late 1902, Edison released an unusual series of four U.S. Army lancer figures – parade maneuvers for cavalry – on five cylinders (the 4th figure requiring two cylinders).

Although unusual by today’s standards, at least the first two figures were fairly good sellers.   Originally recorded by the Peerless Orchestra, they were later re-issued by the Edison Military Band.

The music was written by prolific composer and arranger Theodore Moses Tobani, who most famously wrote “Hearts and Flowers”.   Theodore Moses Tobani wrote an enormous number of concert band pieces . His arrangements registered in the thousands. 

Retreat Ceremony

Similar to the tattoo is musical relic of the old ceremonial past which has had a revival in recent years. The original “retreat” had its origins in the conveyance of the signal to retire  to the rear during a battle. During  the 17th century the retreat  in the form of a signal usually drums to indicate the closing of the barriers of a town or camp. It was played at sunset.. It was similar to the Tattoo but the two ceremonies differed in that the drummers were placed on the ramparts and beat retreat …warning  that the gates are going to to shut. The Tattoo was usually to be beaten at 10:00 pm in summer and 8:00 in winter that in fact the gates were now shut.

In modern times the retreat ceremony serves a twofold purpose. It signals the end of the official duty day and serves as a ceremony for paying respect to the flag. Because the time for the end of the duty day varies, the commander designates the specific time for the retreat ceremony.

 In the USA The retreat ceremony may take place at the unit area, on the base parade ground, or in the vicinity of the flagstaff. If conducted at the base parade ground, retreat is a part of the parade ceremony. If conducted within the unit area, it is usually a ceremony not involving a parade. If the retreat ceremony is conducted at the flagstaff, the units participating may be formed in line or they may be massed, depending upon the size and number of units and the space available. Although retreat ceremonies are different according to tradition in many countries the ceremony of each retreat has its focal point, the gathering of troops and band or bands to honor their flag. Most Tattoo performances today include the retreat ceremony as the finale. The ceremony of Beating Retreat is often a massive display of bands as exemplified by the Liberation Of Holland Beating Retreat in May 1995. There were 6 bands from Canada 1 band from the United Kingdom and 4 bansd from Holland. The ceremony began with a four gun salute followed by an opening fanfare . The bands then marched  on to the the parade ground , This was followed by an impressive display of massed pipes and drums. The military bands now made their entrance and perforemd displays. The retreat ended with the playing of the last post and rouse with the National Anthems of all of the countries that participated.

.

 

Rogan, John, Mckenzie,

b. 5 February 1852 d.1932.Well known and respected band director of the Coldstream Guards served for 50 years as musician and bandmaster in the British Army. On his jubilee a concert to honour him was organized by Sir Thomas Beecham at Queens hall on February 5^th 1917. Retired with the  rank of full Colonel.

Royal Garrison Regiment bands(1)

The Royal Garrison Regiment was raised during the Boer War with the aim of providing a fresh source of trained manpower by re-enlisting ex-soldiers. These personnel were signed on for two years with the option of re engaging to complete 24 years from their first attestation. Pay was that of the rank that the man had held in the Reserve, with an additional 2d per day garrison pay. The intention was that these new battalions would release regular line regiments from garrison duty, with the newcomers being available for service in the garrisons of South Africa and other outposts of the British Empire.

Originally there were to have been eight battalions, but only five ever materialized, the first four in the latter part of 1901 and the fifth in 1902. Each of the five was provided with a regular established band. Shortly after their formation, the 1 st, 3rd and 4th battalions proceeded over seas to Malta whilst the 2nd went to Gibraltar. In 1904, all four were sent to South Africa along with their bands. The 5th Battalion meanwhile proceeded to Halifax, Nova Scotia in 1902.

In order to form the bands as quickly as possible, bandsmen from the cavalry and infantry were encouraged to transfer in, and similarly three of the bandmasters – WOls Griffiths, Guyton and Cooper (1st, 4th and 5th Battalions respectively) – were already serving bandmasters. There was a suggestion that these bands would ulti mately be elevated to minor staff band status, but in the event the Regiment was to disappear almost as quickly as it had emerged, and the proposal came to nothing. In 1906 all five battalions returned home and the 2nd, 3rd, 4th and 5th were disbanded. The 1st survived a little longer but in 1907 the Royal Garrison Regi ment ceased to exist and was never again resurrected. Most of the bandsmen were absorbed into other bands.  

Regimental Music(2)

  There is no mention of an official regimental march in the archives of Boosey and Hawkes, publishers of all authorized marches, or at the Royal Military School of Music. In view of the fact that the Royal Garrison Regiment had close affiliations with the Royal Garrison Artillery, it has been assumed that they used `British Grenadiers’, but there does not appear to be any evidence to substantiate this.(AWT)  

Royal Tournament

The Grand Military Tournament and Assault at Arms was held at the former Royal Agricultural Hall, in Islington from 21 to 26 June 1880. The Tournament was effectively a series of competitions contested by the officers and men of the regular and auxiliary units of the Army. Although crowds didn’t flock to the Tournament in the first year, it was held again in 1881 and subsequent years.

More audience friendly acts were added including music from military bands, re-enactments, Musical Rides by the Cavalry and Musical Drives by the Artillery. Crowds began to flock to performances at the Agricultural hall and during the early 1900s the show outgrow its home and moved to the west London venue of Olympia. The Royal Navy and the Royal Air Force also became involved. The show was renamed a number of times until it finally became the Royal Tournament.

After the Second World War, the Tournament once again moved to a larger stage and opened its doors to the public at the Earls Court Exhibition Centre in 1950. With the exception of the war years, the Tournament was staged every summer from 1880 to 1999. On Monday 2 August 1999, the Royal Tournament closed for the final time, after the ruling Labour party in the wake of the 1998 Strategic Defence Review decided it would be a good cost-cutting measure. The decision was further compounded by the financial loss incurred by the 1998 Royal Tournament. However, other events such as Trooping the Colour, the Edinburgh Military Tattoo and Royal International Air Tattoo have continued to remain an active part of British military pageantry. Nevertheless the Royal Tournament entered the history books as the First, Oldest and Biggest Military Tattoo in the World.

Russian Military bands 

Admiralty Navy Band-The Oldest Band in Russia

The history of the  goes back to the time of Peter the Great. Three months before Saint-Petersburg itself was founded, in February 1703, Peter I ordered the draft of twenty-nine singers from the Moscow Royal Choir in order to teach them to play oboes for the Admiralty. The destiny of these musicians is not known for sure, but the most likely version is that the twenty-nine musicians from Moscow were the ones who appeared in Saint-Petersburg a year later. If this version is correct, the birthplace of the Admiralty Navy Band is Moscow.

In autumn 1704 the General Admiralty Building in the Northern capital was founded. The music of oboes and drums mixed with the sounds of hammers and creak of capstan engines accompanied the construction of the Russian Fleet.

It seems that the new Navy music was initially rather poorly received, because the Tsar ordered the band to play “an hour before the noon” at the Admiralty building to make the band prepare and practice their performances. However, the task was carried out with such a success that the ordinary exercises turned into daily “before noon” concerts. Later, when the Admiralty tower was completed, the band moved there to perform concerts, which were accompanied by a noon volley of a signal cannon. Such concerts became one of the main sights of old Saint-Petersburg.

By the order of Peter the Great on 19 February 1711 (Old Style) the band received official status as The Chorus of the Admiralty Battalion. This order establishing military choruses (as military bands were then called) in the Russian Navy and Army turned out to be a cornerstone in the further development of military wind music.

Until the end of 18th century, there were concerts at the Admiralty tower. But time goes by. During his short reign, Tsar Paul I commenced a rebuilding of the Admiralty under management of Adrian Zakharov. The shipyard was replaced – and the Admiralty Battalion was disbanded. The concerts were stopped for a while. But in Russia there is nothing longer than temporary things. This stop is still present. The new Admiralty building itself was finished only during Tsar Alexander’s reign.

Nevertheless, there is an anniversary for the band connected with the name of Paul I. In 1798, after the Admiralty Battalion was disbanded, a Naval College of Ship Architecture was founded. For the next 200 years the history of the band was connected with that of the College.

In the middle of the 19th century the College moved to Kronstadt – a citadel of the Russian Navy. In Kronstadt, N.A.Rimsky-Korsakov, acting as the first Inspector of the Naval Bands of Russia, conducted the Admiralty Band as well as other bands of the Kronstadt port. Nikolay Rimsky-Korsakov organized a massed band of the Kronstadt port and conducted concerts for the benefit of the sick and injured. For those concerts the composer wrote his Variations for Oboe, Concerto for Trombone and Concerto for Clarinet. But, during rehearsals, the great composer didn’t like the latter composition and excluded it from the concert program.

The College was still located at Kronstadt during the Disavowal of Tsar Nikolas II, the revolution of 1917. After the revolution, the College was restructured and moved to Saint-Petersburg under the golden capstan of the Admiralty.

Before World War II the Naval College’s band was renowned as one of the best in the USSR Navy. In 1938 the band was headed by Colonel G.N. Stepanov and from August 1939 by Colonel S.P. Rotmil (1883-1943). In 1940 he was replaced by a brilliant musician Lieutenant-Colonel A.B. Tsvetkov. From 1950 until 1960 Major S.D. Polansky conducted the band.

From 1960 to 1976, the band was headed by V.M. Barsegian, a very talented conductor and composer. That was a legendary period of prime when the Admiralty Navy Band became the absolutely best in the garrison. Vartan Michailovich Barsegian left to us a great musical heritage which still embellishes the band’s repertoire.

Unfortunately there were also dark pages in the band’s history. In 1976 Major Barsegian was suddenly replaced by Lieutenant M.F. Borzhkov. His disgraceful work caused a lot of damage to the band which went through this period owing only to the mastery of the musicians and to the First Sergeant Nathan Vladimirovich Idson, a brilliant clarinet player and band manager who was acted as the band conductor in 1978 to1985.

Since 1985 the band has been led by Commander A.A. Karabanov.

Starting in 1991 the Admiralty Navy Band made tours in Europe – Belgium, United Kingdom, Germany, Denmark, Spain, Italy, Holland, Finland, France, Sweden, Switzerland – this became the geography of the band’s tours.

For their highly professional accompaniment of Queen Elisabeth’s II visit to Saint-Petersburg the band was rewarded with a Diploma of Gratitude of the President of the Russian Federation. And during a two-month tour in 1995 the British press called the Admiralty Navy Band “one of the best touring bands of the world”.

During celebrations of the 300th anniversary of Saint Petersburg, The Admiralty Navy Band was invited to play in the State Hermitage for more than forty (!) heads of state – the members of the Saint Petersburg Summit. For this performance, The Admiralty Navy Band is rewarded with an Honor Diploma of the State Hermitage. The Hermitage’s Director M.B. Piatrovsky said that the Band “is the most cultured military band in Russia.”

The Admiralty Navy Band has recorded seven CD’s:
       “50 Years of Victory”- 1995
       “Leningrad Reminiscences” - 1998
       “Salute from Saint Petersburg” - 1998
       “Under the Sign of Eagle” - 2000
       “Music of the Russian Imperial Guard – Vol. 1″ - 2000
       “Music of the Russian Imperial Guard – Vol. 2″ - 2005
       “Music of Russian Glory” - 2005

The band performed the music of composer V. Panchenko for the film “The Peculiarities of National Fisheries” in 1999.

Also, The Admiralty Navy Band was the first Russian military band presented on the Internet. Since 1997 the band’s life has been on-line (in Russian) at www.anband.pl.ru. In 1998 the Admiralty Navy Band was transferred from the Naval College and once again, as it had been nearly 300 years before, was stationed at the Saint-Petersburg Naval Base.

The many avid listeners of the Band include Queen Elisabeth II of the United Kingdom, Queen Beatrice of the Netherlands and King Karl-Gustav XVI of Sweden. as well as several crown princes and princesses. Prince Nikolai Romanovich Romanov and Prince Mikhail Romanovich Romanov, progeny of the Russian Emperor, are frequent guests at the Admiralty Navy Band concerts.

The modern Admiralty Navy Band of the Saint Petersburg Naval Base is a highly professional band of naval musicians. It is distinguished by a high performing level, delicate intonation, beautiful sound and endless repertoire. The band plays ceremonial and ancient military music, classical, modern and dance music. The Band’s performances in the best concert halls of Saint Petersburg has become a key part of the city’s concert life. The Admiralty Navy Band is a permanent participant at the international festivals held in Saint Petersburg, such as “Palaces of Saint Petersburg”, “Admiralty Music” and “The Festival of Military Bands”.
Every year foreign military musicians are invited as guest conductors to perform with the Band:
February 1998 – main conductor of the UK Royal Navy Bands, Commander Richard Waterer, at the Capella Hall – a program of “British Music”.
June 1999 – main conductor of the Royal Navy Band of the Netherlands, Major Morris Hammers, at the Grand Philharmonic Hall – a program of modern music for a symphonic band.
February 200 – conductor of the Hamburg Police Band, Christine Kresge, at the Capella Hall – “From Mozart to Jazz” with sololoist Jiggs Wigham from germany on trombone.
March 2002 – main conductor of the Defense Forces of Estonia, Captain Peter Saan, at the Capella Hall – a program of Estonian music “Capriccio Estogniol”.
February 2003 – chief conductor of the Royal Navy Band of Sweden, Lieutenant-Commander Andreas Hanson, at the Grand Philharmonic Hall, “Swedes on the Neva River”, a 300th anniversary performance.
February 2004 – chief conductor of the Defense Forces of Estonia, Major Peeter Saan, and chief conductor of the Navy Band of Finland, Captain-Lieutenant Timo Kotilainen, at the Grand Philharmonic Hall, The Music of Battles”.
March 2004 – Dr. William Malambri of the United staes of America, at the Grand Philharmonic Hall, a program entitled “Nostalgia”.

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