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    740 views161 pages

    Bruceand Emmett Drummers&Fifers Guide

    Uploaded by

    Lucas Sabel

    Copyright:

    © All Rights Reserved
    Download as PDF or read online from Scribd
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    of 161
    Reston YA - Street MB SUPPLEMENTED WITH STICKING AND BASS DRUM PARTS BY GEORGE P. CARROLL 1862-1865 FOREWORD Although Daniel Decatur Emmett was the son of a soldier who fought the British during the War of 1812, and the grandson of @ veteran of the Battle of Cowpens and the siege of Yorktown, he became rightfully famous for his great contributions to American music rather than by his military exploits. That he served his country in the Army there is no doubt however, as the following is from his biography: "when Dan was seventeen years old, he ran away from home and joined the army. He enlisted as a fifer and served in this capacity until he was discharged. This was his first opportunity to study music seriously. His proficiency as a drummer is attested by the fact that during this period he wrote the first Drummer's Manual for the United States Army. His army experience is best given by himself in the preface to this work which he entitled, 'EMMETT'S STANDARD DRUMMER.’ Here he writes: ‘With the public, and particularly that portion for whom this school is intended, I deem it necessary to inform them by what authority I claim to be competent to issue a work of this kind. At the early age of seventeen, I enlisted in the United States Army as a fifer and was stationed at Newport Barracks, Kentucky, the then known school of prac tice for the Western Department. For a year or more, I practice the drum incessantly under the tuition of the renowned John J. Clark (better known as ‘Juba’) and made myself master of the ‘duty’ and every known 'side-beat' then in. we. Being transferred to the 6th US. Infantry, then stationed at Jefferson Barracks, Missouri, | was retained as leading {ifer until discharged.’ The army records reveal that Emmett was discharged July 8, 1835, ‘by process of civil authority on account of minority.’ Juba Clark is remembered in this work by his drum beats for Seely Simpkins and Here’s To Our Friends on page 78. The first beat, which I've interpreted as follows, Tepeesents a very syncopated approach to a martial quickstep similar to those of COL H.C. Hart who also published in 1862. ‘The second beating on page 78 is very similar to some of those of the War of 1812, with rollicking double drags, nine stroke rolls and ratamacues in 6/8 time, Juba Clark taught at the schoo! of practice for the Western Department at Newport Barracks, Kentucky (page 71) where young Dan Emmett was a drummer-fifer in the regu- Barvacis, Kite nad played these other instruments as a youth, composing the tune Old Dan ‘Tucker when he was about 15 years ‘old. Den after himself, Tucker after his dog.) Whereas Daniel Decatur Emmett served in the Regular Army, the National Guard of state muita fe represented by the coauthor of this work, who served with two famous regiments, New Yori’s 7th and the Dandy Sth of Baltimore, Maryland. George Barrett Bruce, sometimes known also as George Bruce Barrett, taught a the school for practice in Governot's Island and Bedloe's Island in New York harbor, where the schooli(c of a young field musician was described by Augustus Meyers. Joining the Army ‘on March 31st, 1854, as @ musician, young Meyers, aged 12, served for 10 years, the first 10 months at Governor's Istand. (page 70) Meyers was rowed across Buttermilk Channel from the Battery of New York City in. barge manned by eight soldiers from the island. He was thrown into the company of $2 page toys aged 12 to 16, who were quartered at the ald South Battery on the east sive Guposite Brocklyn. ‘They were crowded uncomfortably into a small double-decker bunks CPeeeihe timerhonored straw stuffed sacks as matresies. Two blankets were issued but Shy the corporal in charge of the barracks room enjoyed the luxury of sheets and 9 pillow-provided at his own expense. A folded coat or some other piece of clotting whe ci etea'for a pillow and shoes, knapsack, fifes, drums, ete., were scattered about the aaaee a shelf above the bunks. Hooks for overcoats were fastened underneath the Thelvesr and a tin wash basin for each boy hung on a nail-in the outer hall; which fied sey eer aated water on a cold morning, made ablutions an unpleasant task. The fifers were known as straw blowers", and the drummers “sheegsidn fiddlers". ‘These early risers (Pirst Call, page 9) began their Gaily duties at reveille (Page 28), several minutes exercise of the most vigorous Kind" on the parade outside the sally port Tar the present entrance to the USCG officers club. After reveille the lads brealasted Terrase Goll, page 37) on « small piece of cold salt pork, a bowl of black coffee and @ Tour-ounce piece of bread buttered with the rendering of the pork. At eight clock was the guard mount (page 37) ceremony followed by a general police (clean-up) of quarters (ripeness and equipment until nine when school was held until eleven. Music instruction wes given from eleven until noon meal (Dinner Call, page 38) which consisted of bowl of Tice Coup containing dessicated (dried) vegetables, of bean soup, boiled salt pork of baciy The ceudl bread and rarely, one or two potatoes. 'It is hardy to be wondered at that the the eras became adept at fiting and drumming, es in addition to performing the euty mmicit the day, another two hours of musical instruction began at two o'clock, At four cease, was instruction in dill, “the school of the soldier", teaching individual, squad, and Company dril. After a short periof of rest, the Retreat (page 40) was beaten and then they feasted on a small portion of steamed dried apples, a slice of bread, and the ever present dow of black coffee. These duties including the Tattoo in the evening and the Steps" which (page 42) were performed daily. On Saturday all instruction ceased at noon. ‘Besides their food, lodging, and musical training, the boys were professional Army field musicians being paid the munificent sum of $7.00 dollars a month! George Barrett Bruce was to eventually become the chief instructor at Governor's Island and came to Baltimore to drum major the Dandy Fifth in 1869. (He may actually have returned ‘9 Reitimore at this time, since an old veteran in the soldier's home in Baltimore wrote that 2 Bruce was 8 pupil of Drum Major George Riggs, and a muster roll exists showing service of a George Barrett from 1861-65.) Charles "Buck" Soistman of Baltimore* served as a drummer boy with the Dandy Fifth before WWI, and completed his service with the unit as a warrant officer band leader. He was a much respected musician on the fife as well as a well-schooled per- cussionist, and passed on to me the following information. According to Buck, Bruce Showed Ferdinand Czarnowsky, Buck's mentor, that when Governor's Island or Muffled Drum are beaten, the left stick is held loosely gainst the head and struck with the right stick resulting in'an accented martial "rim shot” effect. Another tip passed on by Lyle Faulkner, WWI USMC veteran of Ohio, who heard the Civil War veteran drummers perform, was that they used a rather slow tempo and exe- ‘cuted double drags in 6/8. Lyle said they also played a double flam accent like this: ‘This was possibly the “chunks of pudding, pieces of pie" style played by the New England corps 12 year old Delavan Miller heard in Arlington during the first years of the Civil War ‘as opposed to his "Get Out of the Way Old Dan Tuckerish quick 2/4 style played by his 24 New York Heavy Artillery fleld music at Fort Worth, Virginia, near Fort Ward in 1861-62. Miller obviously agreed with Bruce & Emmett that the old fashioned method of seri- ously studying the art of drumming in a completely thorough manner was becoming obso- lete in his time as he wrote the following: Fife and drum have been heard in every camp and upon all of the battle fields of the world. And for a marching column ther is nothing like martial music of the good old-fashioned kind, such as inspired the continental heroes at Lexington, Yorktown and Bunker Hill, and ralled the boys of '61 and later led ‘them in all the marches through the South. ‘Martial music seems to have gone out of fashion in these up-to-date days, and what little there is, {s but a poor apology, with the bugle blasts interjected detween the rub-e-dub-dubs of the drummers who hardly now their a b c's ‘about snare drumming. t Thave heard but one good drum corps since the war, and that was at the G.A.R. gathering at Buffalo a few years ago. An old time drum corps, who styled themselves the "Continentals" were present. It was composed of vet~ ‘erans over 70 years of age, and, say they could double discount any other organ Ization present. "Mr. Soistman made drums for The U.S. Army Band of which I'm proud to say I was member and the Old Guard Pife and Drum Corps, which I had a major role in roeming. Many of the crack brass bands of the country were there, but they were not. in it with the old martial band. ‘Their music—mind the expression, "music"— caught on with all the ‘swell people of the city who ‘thronged the camp waiting for an opportunity to hear ‘them, and the veterans went wild as they heard again the reveilie and tattoo end the old familiar strains of "Yankee Doodle,” (Ex 2, page 24) "The Girl I Left Behind Me," (page 52) "Rory O'More,” "The Campbells ire Coming,” (Ist tune, page 25) "Hail to the Chief,” (page 62) and many other reminders of the old days." Without the Bruce and Emmett influence on the field music of the United States, much of which can be attributed to this work, it is very doubtful that the toire of the fife and drum would be as rich as it is, nor would the standard of playing be as high. ‘This country has greater number of books on its early martial Fuse than eny other, and mast of these were published very early and remain, unfortunately, little known. fi ZZ ff RORY O MORE. Source: American Veteran Fifer—A fife book published by veterans of the Civil War. . Bibliography American Veteran Fifer: G. A. R. Daniel Decatur Emmett: H. Ogden Wintermute ‘Drum Taps in Dixie: Delavan Miller Drummer's Assistant: George P. Carroll mi S d Drummer: Daniel Decatur Emmett ‘Encyclopedia of Percussion Instruments and Drumming, Vol lit Brad Spinney Sth Regiment 1867-1899: G. A. Meekins instructor for the Drum: COL H.C. Hart Ten Years in the Ranks: Augustus Meyers 4 PREFACE. Iu preseating to the public, this “ Daoxwen’s xo} * the author hopes to fil « vacancy ‘which has long existed in this branch of musical science, ‘and to provide those persons wishing to learn either the’ Drum or the Fife with ‘tie means of doing so without tie assistance of « teacher; this bock is specially de- signed for those who from necessity or inclination intend ‘to teach themselves either of these instruments, ‘The Author observes with regret that the old system ‘of thorough Rudimental teaching is 9 ly becom ing obsolete ; and that the standard of Drum end Fife playing is therefore rapidly deteriorating: Without this rudimental- instruction, we can only” have indifferent players, comparatively ignorant of the nature of the tery strament they play upoa. ‘The mere beating of « Quisk- step in the street however well it may be dane, is by 00 means the whole of Dram-playing. . The. present war | ‘has revealed the fact that bar militia drommers and ‘ifere are but very icaperfoctly acquainted with camp and ‘gurvison duties, and, when at last thérois a need of their services, they are incompetect to properly respood to theit country’s call.. Nemeroas instances of this in- compétency came'to the personal, knowledge of the author, in the great Army of the Union, when, reoeatly #0 many troops were quartered at Washiogton, ‘The Author, for yeary, served ia the United States Army ax Drum Mejor and also as principal inatrootor of ‘foe te the Dram and Fife, at the School of Practice on Ded- Joe's and Governor's Iulands, where his success as « structor, has woa for him the approbation of Lieutenant General Soott, General Wool, Adjutant Generale Jones ‘and Thomas and other officers of rank. Hi [quaintanoe with the leading Gera ia the United States, casbles hima to avail hiawelf of their experience, and he ia apocially fortunate in securing the aid of Mx. Danser D. Eumerr, late principal ffer in the 6th U. S. Infantry, whose name is a-suffcicat guarantee for the correctness of the Fife department of this work. ‘After carefully examining all the Dram books that have bean pablished daring the past twenty-five years, the eathor finds none to compare with ““Aahworth's Ku- imental School,” which bas, however, long been out ot print: ‘has therefore adopted Ashworth’s system, which’ be has himself taught, adding to it the resulta of his owa knowledge aod experience, aad rendering it bet-_ ter adapted to the modern style of Drum Music. The Daty,” as laid down it ‘book. 1s in strict eonformi- ty with that officially euthorized for and oximps of the Usited States Army accompanied with copious explanatory remarks. After ecquiring « thoroegh knowledge of the rudiments as down in thie work the student will have little or no colty ie naking himself perfect ia the “Duty.” GHORGE B. BRUCE, ‘Tth Regiment, National Guard Band, N. ¥.8 M, ‘Late Priselpal Inetroctor, a tha Bahool of Fraction 1.8, dat Governor's Inland, New York Harbor. New York, May 1862. Massas G, B. Buccs, aso D, D, Exner, Gentlemen: We havo carefully examined your Davwusa's and Firsa's Guion and take great pleasure ia recommending it ‘as the most complete and thorough work of instractioa, for those instruments, we have aver seen. ‘Tha daily routine of duty for the Army in Garrisoa and Camp, and the various Signale and Ce'ls laid down ia your book ara strictly correct while the sooompanying Side beats, Marches, and Quickateps, Beats for Drum Corps, &o., &o, cannot fail to make yours the caly reliable and standard work for the Drummem and Fifers of our country. ©. 8. GRAFULLA, Composer, and Leader of the Tth Regiment N. G. Band, New York. H. B. DODWORTH, Composer, end Leader of Dedworth's Band, New York. D. L, DOWNING, Composer, and trriager for Military Bands, New York. P. &, HELMSMULLER, Composer, and arranger for Military Bands, New York. ©. COON, Composer, and errenger for Military Bends, New York. G. DAGA, Composer, end errenger for Military Bands, New York. T. COATES, Composer and errenger for Military Bends, Easton, Pe. E. KEATON, Composer, end errenger for Military Bands, Boston. N. LEBRUN. Compaser, end errenger for Militery Bands, St Louis, eS ‘Batered eocerding e At of Congress, A. D. 1662, By FIRTH, POND & 00, tn the Clark’s Clon of the Distrit Court of the United State, for the Seathora Distrit of New Tork, COPYRIGHT 1989 by George P. Carroll. Reston VA. Patricia C. Smith - Production Editor DRUMMER'S AND FIFER’S GUIDE: Cantaluing a plain and easy fntreductlon of the RODIMENTAL PRINCIPLES for the DRUM and FIVE} to which are added, Marches, Quicksteps, Slde-beats Troops, Retreats, Signals, © Calls, hen with explenstery remarks, when to de used1 alse, the DUTY FOR GARRISON OB CAMP, te be performed by beth fxstruments as used tm the U.S. Army, the DRUM MAJOR'S DUTT, the fende- meatal principles of MODERN DRUM BUSIC, BEATS FOR DROM Leselan ae. GEORGE B. BRUCE, (Oe here Regiment, 6. He rae Saar ew, Pirsereneence peejeneerpeietoceterg fo 4a sesceats An eovensoe'y mLAxoG KY Tear massca) NEW YORE: Published by Wa. A. POND&CO., Wo, 547 Brosduag. 1865. DRUMMERS AND FIFERS GUIDE: SELF-INSTRUCTOR. — RUDIMENTAL PRINCIPLES. ‘Tux Dros ia an instrument which allows of but few ‘variations of sounds o toaes except those produced by straining or slacking of the cord, which operates imme- diate the head. To prove effectual, thereforp, it requires a strict correotoess of time and adrsitness on the part of the perfarmer, in giving the different strokes, rolls, &c., necessary to complete any particular beat and itis also requisite that the instrument itself should be kept in order, by the selection of good heads, snares, cord and braces. In the opinion of the author, calf skins when properly dressed, make the Lest heads, on account of there atrength and elasticity. ‘The anare head should ‘be considerably thinner than that of the Latter (beating head). Care should be taken, that the hoops on which the skins are lapped (commonly called fesh hoops) ‘should ft the shell of barrel of tha drum, so as not to lind, nor yet Gt too loosely ; they should be tight enough to prevent warping or (wisliog. ‘The same rule will be observed in regard to the counter hoops, which are those that rest on the (leth hoops, and through which the cord passes to strain the heads down, In tegerd to sneres, some performers prefer cat-gut, others raw-hide ; bath fare good, but (or general use, the row-hide is preferable, aa in wet weather, the cat-gutis the most exsily affected by the dampness, which causes a contraction, and pre- ‘venta the proper vibration. 1a Urscing te drum, care should be taken that the Uraces are pot jerk; ing comet bbut generally ‘the letter. Commence by tightening ‘every-other brace moderately, 40 thet the remaining ‘ence, when Uaord down, oan draw with the same power; thereby giving the performer a chance to tune Ine drum to uit himself, by making it fat of sharp in toue. DIRECTIONS FOR PUTTING ON DRUM-HBADS. Fitst, ley the head in cold water about fifteen tutes, efter which, spread it out on a table with the heic ‘or enammelled side down, and flesh side up, then take « Japonge saturated with water, und continue wetting around the edges until it is properly soaked to wrap on the hoop; care should be taken not to drew the head on wet condition, the texture or atrength jured by 40 doi Commence by laying the flesh hoops on equal distance fram the edge, then take « table spoon, (with the end of the handle not so sharp as to cut throught Mat, and about an inc! to as the corners will oot out through, (hickory i for the purpose.) after tucking under one part, about three iaches around, commence opposite in the same manner, and so continue with the other parts until the hhead is lapped ; after which, place itun the shell or barrel of the drum, and while putting it together, do not strain the head by overhauling while wet, merely strain the cord sulficiently to draw the counter-hoops 4 trifle over the edge of the shel, after which, place the drum in the aunsbice vatil itis perfectly dry, then confmence toover- haul it moderately, untit the slack of the cord is taken up, but by no means make tho cord too tight at frst, after putting on a new heed. INSTRUCTIONS FOR HOLDING THE DRUM. ‘The drum should be carried on the left side just ‘hove the knee, in auch @ manner as to be equally bal- taneed across the left leg. ‘The belt should pass rouret the acck, and came down over the left breast, with the fastewing attached tu the curd at the upper loop, ceus- ing tha drum to hang obliquely; in which position the performer will find the head just right for the sticks to come in contact with, while the drum, if carefully bal- anced, can be easily managed while marching, without striking the hoops. It is positively enjoined on the pu- Pil to atand ereot, and avoid beating time with the feet, 5 joint ; the thumb in the mean-time resting on the fore- finger. ‘The stick in the right hand should be held be- tween the thumb and fingers lightly, with the little fine ger pressing it, 20 28 10 play through the hand, as a man ]would use a stick in fencing. ‘The arms must be habit- Juated to move with the greatest ease, while the shoul- * [der joints and wrists are exercised in performing the INSTRUCTIONS FOR HOLDING THR STICKS. ‘The next thing to be attended to by the pupil, is a Proper management of his arms and the druin sticks, ‘The left hand (which is the moat dificult to manage st first,) should grasp the atick firmly, bat not too tight, Letween the thumb and first two fingers, passing over the third, and resting « little below the middle (or large) principal part. It is absolutely necessary, that the learn Jer should first practice the Long Roll until he ean close it smoothly, then commence the next lesson and perfect imeelf in that, and continue in this manner through the book ; but by no means to undertake « new lexton until he has completely mastered the old ones. By strictly adhering to this ruls, be will progress without dificulty. ——o» > —_. LONG ROLL. ‘The frst lesson of the pupil, after learning the position of holding the drum and sticks, will be the Long Roll, cor as itis more familiarly called, Deda, Moma, The upper beats (or notes) are made with the left hend, and the lower ones with the right hend, commencing with tha leit very slow, and gredually increasing in velocity until ‘olosed down to a roll. The first stroke of each hand should ba made somewlut lighter than the second, (the second being desiguated by amark>). The leaner san, RA [should be careful and not raise the sticks too high after having brought the roll to «close; he should also beat jim the centre of the head, within a circumference of Jabout two inches. He must have patience and not be too anxious to hasten this lesson, as the several rolls that follow, and of which he is to become master, depend in Ja great measure oa the manner in which he has per footed the Long Rall. §A_Uh ahs ps SSS = = = 8 tow "er, + and + slower, open = the + roll. 6 ‘ROLL OF 6 STROKES After lesraing the Long Rell, the ‘pupil will oom- mence the & atroke roll; itis beat from hand to hand, the last stroke (hich ia a single one) being made a litte Iarder than the four preceding, until brought to a olose. ‘This and the following lessons are written without re. gard to time; toll or beat. She mark than J indicates the Gash of « 'N. Th hig apd all the euccseding Rolla most be brought to «| close, ad thea “opened? ROLL OF 7 STROKES. Beat the same as the 5 stroke roll, from hand to heed, only while learning ; bat when (wo or more occur to- ether in any beat, always begin the rolle with the left hand and end with the right, ROLL OF 0 STROKES. Like the previous rolls, best from hand to hand, ing alternately whea two ot more come together BOUL OF 11 STHORES. Observe the same.dircotions as at the $ or 9'atroke tall, changing from band to hand alternately. ‘ROLL OF 13 STROKES. Beat this roll from hand to hand. ‘ROLL OF 15 STROKES. ‘This roll is beat fro hand to hand. N.D. ‘The following rolls are very seldom used, ex- cept in passages where no pause occurs; and the only ‘way to give them effect, is to drop at once an the drum head with an open ‘lam beat” It is as well for the pu- pil to perfect himself in them, after having'learned the lessens which immediately follow ; but for the present ‘they are not really exsential to the progress of tho HTearner. ROLL OF 6 STRORES. BS Ro. RR ye eee eae Se Qe ee a ee ROLL OF 10 STROKES, Bop. 8 AA gees fee enna oS? ora —Tha Ral of 10 strokes ie weed in the 3 carp (Reeile) tet never beat Soo hao to hand, (ery ae lenon) the ese es Ue Fe nnd 84 when two or more corti. TRE FLAM (clove) Tea necessary that the pupil pay fisruiculer attention to the directions of the author, in regerd to the position lof the aticks to make aflam, In fact, the learner can never make an accomplished drummer, unless his rulls and flama are well executed. Flams aud 7 stroke alls ‘are brought in requisition more tau any other strokes, ‘an consequently should be properly made ; to du whieh, the pupil will see that his aticks re placed in the proper position before striking the drum. ‘The left laud stick aust be raised to a level with the chin, the right (or lar hand) two inches from the drum; both sticks ere to reach the drum head at the sume time, ‘The stick that ia moat distant striking a hued Vow, and the ove falling on the head very light; to do whi raise the near hand, but rierely turn the wrist #0 a8 to fallow the point of the stick to toucl the head, After wards, le will reverse the sticks, and observe the 7 directions for the other hand, and 20 continuing until he{rmarked thus J ia to be made light, and the one marked is thoroughly acquainted with the lesson. ‘The stroke| J must be made heavy., $ NB. “The flam, is in dramming, what the “

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