NAPOLEONIC DRUM CALLS British Army This publication was put together to provide a basic set of referenced beatings and signals for the drummer portraying a British Drummer during the Peninsular and Napoleonic War periods. Compiled by B.R-Turnbul-Burchmore Drummer 2! (Queens)Royal Regiment of Foot 2007The following Calls and Signals are put together in a format that I hope gives the Drummer of the Napoleonic Wars period a set of standard Calls and Signals that will help facilitate ease of learning, allow a commonality of practice, and a working document that I am sure will develop as time goes by. Thave set the format firstly with the Name and explanation of the Call or Signal, and referenced when possible, followed by an image of the score (taken and translated from the original document), and finally I have provided a simple sticking guide for those who do not read music and or prefer to listen to the CD and follow the text. This simple sticking guide uses a basic code — (7) =A seven stroke roll, (the number inside the brackets denotes the amount of roll “long roll = RRLLRRLL ete). A Drag, (two quick strokes with the same stick, followed by anormal stroke with the opposite stick * RRL). A Flam, (two strokes struck very close together using both sticks, *LR).. R= Right stick L= Left stick Rest, (used to denote a gap or rest between notes). ACD is available that has all the alls on it, and each call or signal corresponds to a track number on the CD. ‘The Calls & Signals — The Drummers Call - Samual Potter, The Art of beating The drum Serjeants Call — Samual Potter, The Art of beating The drum The Noncommisioned Officers or Serjeants& Corporals Call - Samual Porter, The Art of beating The drum The troop - Samual Potter, The Art of beating The drum ‘The Raising of the Troop - Samual Potter, The Art of beating The drum March off with the raising - Samual Potter, The Art of beating The drum Singlings of the Troop - Samual Potter, The Art of beating The drum Doublings of the troop - Samual Potier, The Art of beating The drum The Retreat - Samual Potter, The Art of beating The drum The Taptoo - Samual Potter, The Art of beating The drum ‘The Singlings of the Taptoo - Samual Potter, The Art of beating The drum ‘The Doublings of the Taptoo - Samual Potter, The Art of beating The drum The General - Samual Potter, The Art of beating The drum To Arms - Samual Potter, The Art of beating The drum ‘The Pioneers March - Samual Potter, The Art of beating The drum The Rogues March - Samual Potter, The Art of beating The drum The Grenadiers March - Samual Potter, The Art of beating The drum The Grenadiers March Rolling - Samual Potter, The Art of beating The drum The dead March - Samual Potter, The Art of beating The drum The Dinner Call - Samual Potter, The Art of beating The drum ‘The Preparative / Prime and Load - Samual Potter, The Art of beating The drum Cease Firing - Samual Potter, The Art of beating The drum The Church and Recruiting Call - Samual Potter, The Art of beating The drum The Camp Taps - Sannual Powter, The Art of beating The drum ‘The Mother and Three camps and Scotch Reveile - Samual Potter, The Art of beating The drum An easy Quick Step - Samual Potter, The Art of beating The drum The Assembly - Samual Potter, The Art of beating The drum Fire - Samual Potter, The Art of beating The drum Charge Bayonets - Drumm Notations, Basic Practice Notations for the Rev War Field Drummer. Water Call - Wood Call - Drum Notations, Basie Practice Notations for the Rev War Field Drummer The Adjutants Call - Drum Notations, Basic Practice Notations for the Rev War Field Drummer Make Ready - Drum Notations, Basic Practice Notations for the Rev War Field Drummer Mareh In Column - 42" Regiment of Foot Advance - 42" Regiment of Foot Right Marker - 42" Regiment of FootWritings and Teachings from the Document ‘The Art of Beating the Drum By Note by Samuel Potter. Drum Major in the Coldstream Regiment of Foot Guards. For a length of time I have been studying in what manner to write the Duty of the side Drum by note, as that part of Drum beating is so very intricate. And had Tnot made use of Appoggiaturas for Flams, Drags &c could not have accomplished it, but as an Appoggiatura does not partake of any part of the time in such Bar — it may be used only as an embellishment, At the same time that with the use of a shake for Rolls and Staceato Marks to distinguish which Hand to strike, - have given me full scope to Complete it NB. I hope the Technical terms made use of in this work will not be deemed troublesome having avoided them as much as possible. INTRODUCTION The first thing previous to a Boy practicing on the Drum is to place him perfectly upright, and place his left heel in the hollow of the right foot then put the Drum sticks about two inches and a half from the top (or more if required) as, Drum sticks are not all of the same Weight similar to grasping a sword or stick when going to play Back — sword: The left to be held between the thumb and fore finger of the left hand close in the hollow, the Top towards the Wrist leaving the Top of the stick as much out of the Hand as other resting in resembling a Pen when going to Write, only with this except on between in the first joints of the Second and third Fingers, Secondly, - Let the Boys Drum be slung on the Neck being careful the Drum carriage is of a moderate length, the Drum bearing on the left Thigh so that when the Knee is bent the Drum balances on it, if he Carriage is too long it will prevent the Boys striking the Drum with that force required, Thirdly, - The position previous in commencing to learn the long Roll known hereafter by the first position. Place the Boys Arms up with his Elbows nearly level with his ears, the top of the right Hand stick to the right, and the Palm of his hand to the front The left Elbow and back of the of the Hand as much to the front as the Boy can bear Without pain, letting the Buttons of Points of the Drum stick nearly meet over the head. Observe in learning all Rolls, Flams, Drags, Paradidles &e ‘They must begin very slow increasing moderately to the quickness required, if any mistake however trifling the Boy must immediately leave off, and begin again as at first or he will get a bad habit, that will make his Drum beating a pain to himself and appear like labour to those who see him beat; If this rule is strietly attended to at first he will learn to beat the Drum with ease to himself, and it will appear slight to those who see him as it ought to be the pride of every Drummer to beat his duty with an Air and Spirit. In learning the long Roll which is the foundation of Drum beating; the Boy must strike the Drum twice with each stick beginning with the left Hand first, throwing his Arms up between each as in the first position and gradually lowing them according to the closing of the Roll. Be sure he keeps the Buttons of the sticks as far as possible from the Drum head between each time he strikes and both sticks should strike as even (ie) as near the same Weight on the Drum as possible. Pay attention to his Arms so that the Elbows and Wrists move in Good form And not touch the Sides and the Drum to be struck as near the centre as possible, in so doing the boy will never fail having a Good even roll. As there is only one Note on the side Drum it camnot be wrote for except in one line or space of which I have chosen the Note C in the Bass Cleff being in one line or space, and to describe the upper or left Hand from the lower or Right in the different Beats on the Drum I have selected Staccato Mark, Thus ,,,, if those Marks are at the top of a note they denote the lef, if at the bottom the right stick to Strike the Drum.FOR INSTANCE A REPRESENTAION OF THE LONG ROLL. i I it it ut ut 8) Lacadaneane oseee saeeeeewes: a im As Rolling on any Note or number of Notes on the Drum is nothing more than a close Shake, - it will be known in the Duty by the Number of such Rolls with a Shake placed over them in such parts of the Duty required, if a Seven Stroke Roll it will only be a Shake, thus o—- as that is so frequently used, it wll soon become habitual asthe 5.69.10, and all are seldom used, except in the Duty it will therefore be Necessary to number them. NB. - it will no Doubt appear strange to those who do not understand the side Drum to see the Rolls learnt out of their Number, as the tenth, after the Eleventh, and so on, but in the progression of the Duty it is required; and in so doing, the Boy may be made useful in some part of the Duty when short of Drummers on the other hand it keeps such Rolls &c in his Memory as are wanting in the next part of the Duty he will have to learn. The long Roll is known thus -* * ') by a Shake and Pause Marked over any Note. If the long Roll is to break off hard it will have a Staccato Mark placed at the far side of the Note, if to break from left to right it will have two, if no Staccato Marks added to the roll it must leave of as even as Possible. THE NEXT TO BE LEARNED IS THE SEVEN STROKE ROLL. mow wee 1234567 ‘The Boy must count the Number of times he strike the Drum as long as the closeness of the Roll will permit observing to Pause between Every time he Strikes & to throw the Arms up as in the First Position after the seventh and keep the same distance between each time he strikes as inthe long Roll ill itis perfectly Close finishing every time with the Seventh Strong. The seventh Stroke roll is known thus "> © | Ifa Shake is put over any Note Either Crotchet, Quaver, Semiquaver &c, it has the same effect. THE ELEVEN STROKE ROLL. uo < woot The Eleven is learned in the same manner as the Seven only counting Eleven. i * +] what ever Note this Shake and Figure is placed over must be an Eleven Stroke roll And will be known Thu ‘THE NEXT THING TO LEARN IS THE OPEN FLAM. The Open Flam which are two Strokes from left to right, that is one with the left stick the other with the right beginning very slow throwing the Arms up in the first position. Both those to be practised till they are struck nearly as close as one & both hard and as near the same Force as possible orn then it is called an open Flam known Thus, * ||THE TEN STROKE ROLL Proceed as in the Eleven with this exception the two last Struck very strong Similar to the open Flam. 10 Me known Thus ‘THE CLOSE FLAM FROM HAND TO HAND. This is done the same as the open Flam only the stick which strikes the Drum first must hit very soft and is termed a Faint in Drum beating ~ the Flam when learnt both sticks must strike the Drum nearly at the same time, so that you can scarcely distinguish whether one or both have struck; observing the stick that strikes the first which is the Faint must be thrown up as in the first position leaving the other within an inch of the Drum Head ready to strike time in the next Flam and so on altemately As closeness of the flam increases the Arms will lower, but be sure to keep the Drum sticks as far from the Head of the Drum between each Flam as possible with the Buttons pointing upwards after the Boy can beat it close. The close Flam is known by an appoggiatura being placed before the Note, if the Tailis upwards it means a left Hand faint, if tured downwards a right, Thus ad pl The stick that strikes the Drum last determines whether right or left hand Flam. A FLAM AND STROKE FROM HAND TO HAND In making the Flam and Stroke from Hand to hand, if a right Hand Flam a left hand stroke is added to it, ia left Hand Flam a right hand stroke at the same time you strike the last, the point of the other must be turned up and so on ord All| alternately. A Flam and Stroke known Thus * AFLAM AND FAINT FROM HAND TO HAND ‘The Flam and Faint is nearly the same as a Flam and Stroke but instead of the last stroke being struck with the contrary hand as before; ifa right hand Flam it must be a right hand Faint if a left hand Flam a left hand Faint A FAINT AND FLAM FROM HAND TO HAND This is merely the Flam and faint reversed, the left Hand Faint and the right Hand Flam then the right hand Faint and oe] left hand Flam known Thus If the Boy has learnt the Second Section in the Treatise so that he understands the Notes and the Proportion they bear to one another, and the Rules relative to Time so he may proceed to learn the Beatings of an easy Quick Step that he may get the Method of Carrying the Drum when Marching, and Beating at the same time. OF THE DRAG The drag is leamed by making two Faint strokes on the Drum head with the left hand stick, and one with the right, be sure to strike the right hand stick strong and distinct, throwing the Arms up between each Drag as in the first Position, This must be practised till it can be Beat as close as if struck with one Drum stick oF Known Thus‘THE DRAG AND STROKE Thi learned nearly the same as the drag, but augmenting one more to it with the right hand which will make two oO: from each stick, the last two struck the strongest known Thus : | Now the boy must be taught the plain beating of the Grenadiers March, the Drummers Call, the Troop, the Serjeants Call, the Non-commissioned officers Call, the Retreat, the Taptoo, the Genera. ‘THE NEXT THING TO BE LEARNT IS THE NINE STROKE ROLL From Hand to Hand — (to prepare the Boy for the Grenadiers March Rolling) The Nine Stroke roll is learnt that same as the others, with one exception, as it is from Hand to hand, begin with the left Hand Counting two from each hand to the Number Nine, which finishes with the left Hand, then begin with the right, observe the last of Each hand must be struck firm as those rolls Close the Hand that is off the Drum when the ninth is struck turn the point ofthe stick up at that moment then bring it down within an inch ofthe Drum Head ready tee ee to strike first in the next roll, known Thus 1 Now the Boy may learn the Grenadiers march Rol THE MOTHER OR FIVE STROKE ROLL FROM HAND TO HAND This Roll is learnt similar to the Nine only with this exception, begin with the left hand, Counting Only Five from hand aa Oe | to hand the fifth of each hand must be struck hard. Known Thus Now the Boy may leam the three camps which is the Salute when receiving and delivering the Colours. ‘THE SINGLE DRAG FROM HAND TO HAND. The single Drag from Hand to Hand is learnt similar to the drag and Stroke, the only difference is instead of making, the two last with one Hand, begin with a Drag from the left, the last Stroke must be from the Right hand stick and so on, recollect the two last from each must be struck strong and the opposite stick to rise from the Drum as the last stick hits then bring it down immediately within an inch of the Head to strike the first in the next Drag, gv | Known Thus THE DOUBLE DRAG FROM HAND TO HAND The Double drag from Hand to hand is nearly the same as the Single Drag, this is done by adding another Drag to the former beginning with the left hand, making two Drags and one left hand Stroke, then with the right Hand two drags and a right Hand Stroke, and so on till itis closed which completes the double drag, Be i] Known Thus THE SINGLE PARADIDLE FROM HAND TO HAND The Single Paradidle is practised by striking the drum four times, beginning with the right hand stick first, the left second, then the third and forth with the right, which maketh the right Hand paradidle, then the left Hand stick first the right second the third and forth with the left Hand this is called the left Hand paradidle, observe the two last of each hand must be struck but faintly pointing the Button of the Opposite stick up as before mentioned the same time the Third of each Hand strikes the Drum, The Paradidle from Hand to Hand must be practised till he can make two in each bar, known Thus. 6‘THE FLAM PARADIDLE FROM HAND TO HAND This resembles the Single Paradidle only with this exception, the first of each hand must be a Flam, if a right hand paradidle a right hand Flam, is a left Hand paradidle a left hand Flam, 3: ia Known Thus = * I A DRAG PARADIDLE FROM HAND TO HAND This is learnt in the same manner as the former one but instead of a Flam at the beginning of each it must be a Drag, Og, known Thus A STROKE AND DRAG PARADIDLE. This is similar to the last only adding a hard stroke at the beginning of each Paradidle, if aright hand Paradidle, aright hand Stoke, ifa left Hand Paradidle, a left hand stroke, this and the next Paradidle is to be practised tll the Boy can beat one of them in a bar in Ordinary time, as itis used in short troops and Waltzs, Known Thus * =| A FLAM AND DRAG PARADIDLE FROM HAND TO HAND This is practised the same as the above with very little Addition, that is at the beginning of each it must be a flam, if the right hand Paradidle a right Hand Flam, if left hand Paradidle a left Hand Flam. Known Thus ‘THE SIX STROKE ROLL, This roll being seldom used I have not mentioned it tll the last and itis learnt like to the Ten, only Counting Six, the first two with the left then two with the right and one from the left o right the two last to struck smart similar to the open Flam, throwing the Arms up after each Roll as in the first Position, known thus, | »: <2 |The Drummers Call - CD 38 The arms to be thrown up at each Rest, in the Drummers call (Potter, The art of heating the drum) The Sergeants and Drummer Call are almost needless to mention, as well as the Dead March, and some other trifling beats. On campaign this signal was beat by the leading drum to call all the Field Musicians together ten minutes or so before The Troop. Retreat, and Tattoo. COMMENCEMENT OF THE DUTY. (The Drummers Call.) ne ne ‘ m. SEE aa RRFLF-()RFLF-(QRFLFRELERFLE- The Serjeants Call - CD48 - Repeat Three times (Potter, The art of beating the drum) The Sergeants and Drummer Call are almost needless to mention, as well as the Dead March, and some other trifling beats. (The Serjeants Call) No O22 5 d|d dele] (17) (17)R-F x3 ‘The non commissioned Officers or Serjeants & Corporals Call (Potter, The art of heating the drum) (The Noncommissioned Officers or Serjeants & Coxposte Call.) CD 50, Repeated three times Nos. QB fg Bore vial (17) (17) R-F-F x3 The Troop CEREMONIAL - CD 84 (Potter, The art of beating the drum) The troop from the 20th of March to the 20th of September. The rest of the year The Troop sounded at 9:00 AM, Roll call and inspection of the men for duty. This turned into a rather elaborate ceremony involving morning parade, and the raising of the colors. Charles S. Ashworth says The Troop begins with Three Rolls by Drums and Fifes. The Rising of the Troop is then Beat by the Leading Drum without the Fifes: the whole of the Drums and Fifes then strike in and go through with the Singlings twice, or more times, when the Signal (a poing stroke) is given from the right to commence The Doublings, which are repeated once or twice through the tune when a similar Signal to the last is given to repeat the Singlings untill you Roll off Three Rolls and the first part of the Doublings Ends the Troop. The Troop is beat at eight or nine o'clock in the morning at hoisting the Colors. The TROOP The Troop which is the same as the Assembly; and is to be beat at the head of the battalion, or a guard, before it marches off, to call the officers, &c. to their posts. Its likewise used, when the grenadiers go for the colours, and 8when they return with them; and also when the guards are relieved, (if it be a guard without colours) the officer is to order the guard to club, and the drummers beat the troop in marching back to the parade. See a days events- ‘THE TROOP. (Three Signal Strokes) med daar | R-R-R or (17) (17)(17) The Retreat CD 86 The last four bars of the retreat half the drummers roll, and leave of with the first note in the last bar, so that the whole makes the drag and stroke together. (Potter, The art of beating the drum) The Retreat is to be beat when the battalion is to retreat, and then very slowly: and also at sunset, at some fixed post, by the drummers of the guard; in order for the men to assemble, for the rolls of the companies to be called, and for the officers to read and deliver, what orders they have received for the men of their respective companies. Sunset Retreat signaled (sic]the end of the work day. Roll call, orders of the day were read and the men were “warned” for the next day's duty. the retreat is beat at sunset, for calling over the roll again to warn the men for duty, and read the orders of the day ‘THE RETREAT Nos. D235 RDLRDLRDLR-DRRDLRDLRDLL-D The Pioneers March CD 51 (Potter, The art of beating the drum) Work details or drill, Return to duty, nd ‘THE PIONEERS MARCH. St oo —_—__— 1 i w = few Secveves |e * \ F 1 — evoe ' Dredd tfede* fede dfa ew ed tle fede diode | : 1 tn ek © 9 oT oe fF ot mn on of “ae & DLRLRLRLLR-DLRLRLR-: RLR-RLR-RLRLRLR-RLR-RLR-RLRLRLR-The Taptoo CD 58, 59 (Potter, The art of beating the drum) The Tattoo is to be beat at an hour appointed by the commanding officer; (which is generally eight in winter, and ten in summer by all drummers round the quarters: this signal is for all the men to be in their quarters; and the sergeants are to go round and see that they are so. P.M. from March 20th to September 20th, Tattoo The rest of the year Tattoo sounded at 8:00 P.M, Roll call, return to barracks, lights and fires put out. Men remain in quarters until Reveille. Tattoo could also be a rather long drawn out ‘fife and drum concert, especially during the warmer months of the year. the taptoo beats at ten o'clock every night in summer, and at nine in winter; the soldiers must then repair to their quarters or barracks, when the Non-commissioned Officers of each squad call over their rolls, and every man must remain there till reveille beating next morning, THE TAPTOO No 6. aos oe 7 —_ Open Flam +)? gy | Singlings--026-3 Sg pe as site the Rolie = Oige = Singlings ~ D LR F-(7)-D LRF- (7)-DLRF-(7)-DLRF-(7) DLRF- After the first time through the singlings is only beat four times over before the doublings. During the time the fifers play between the singlings a few of the drummers may beat to make the Taptoo lively; and two or three drummers roll while the remainder beat the doublings. THE DOUBLINGS OF THE TAPTOO. Doublings — CD 20 RD-RD-RLRF-RD-RD-RLRE- ‘The General CD 42 (Powter, The art of beating the drum) fall the troops are to march that day, the reveille is to be omitted and the General is to be beat, by all drummers round the quarters, at the time appointed by the commanding officer; that is to say, if all the troops that are present in quarters are to march; but not otherwise, it being a signal for the whole to tur out, and prepare for marching. The General is to be beat only when the whole are to march, and is the signal to strike the tents and prepare for the march. To beat the general, is an order for the whole to make ready to march, DDRDRLF-DDRDRLF-R(7)()RLRD RDRLRDRLF-R(7)(7)RLRDRDRLRLRLRLF- 10To Arms CDS7 (Potter, The art of beating the drum) To Arms is the signal for the whole to take arms; or for the battalion to stand to their arms, if they have grounded them: or at first forming; in that case it is not to be beat above two minutes at a time, but not t V. ‘A beat to arms, is to advertise them to stand to their arms, or to repair to their alarm-posts To Arms is the signal for getting under arms in case of an alarm MARCH OFF WITH TOMMS No 8, Memsne DLRDLRDLRDLRDLRDLRDLRDLR The Rogues March CD 81 There may be a few muffled drums roll as far as the first flam in the last bar, in the Rogues March, the first time over. The open drums next & so on alternately. (Potter, The art of beating the drum) Noto ‘THE ROGUES MARCH po [de pa [le pa | eps [le pe | FFEFFFFFFFEFFEFFFF: ‘The Grenadiers Mareh CD82 (Potter, The art of beating the drum) ‘The Grenadiers March should never be beat but with the Grenadiers; or when the whole advances to charge an enemy ‘THE GRENADIERS MARCH. Pree (Hall the Drummers roll al the fest part) DLF-DLFFFFF-DLF-DLFLFFF-DLF-DLFFFFF-(1)-()FFFF -(1)—() FFF F-(1)-() FEF F- ul‘The Grenadiers March Rolling CD83 Take notice of the staccato mark in the nine stroke roll in signifies which hand finishes each roll (Potter, The art of heating the drum) THE GRENADIERS MARCH ROLLING. No14, Take notice of the staccato Mark in the nine stroke Roll it signifies which Hand finishes. (10) D (10) D9) L RL (10) D (9) LR L (10) D (10) D (9) RL R (7) ~ (7) FFEF ~ R ~ (7) FEF (7) - (7) - FFF - ‘The Dead Mareh CD 77, 78 In the Dead march the drummers begin first. The fifers then play each part of the tune twice over-The drummers again and so on altemately. (Potter, The art of beating the drum) THE DEAD MARCH No 15. Ordinary Time. 1 Ors sf e reliefs re |ierrtes i 1 1 () == (7) --R--L--LR ‘The Dinner Call - The Roast Beef of England CD 60,61 (Powter, The art of beating the drum) The Roast Beef Roll call, whiskey ration, dinner: refer | ()DLDDRDDLDDRDLRLDDRDDLDR- ()DLDDRDDLDDRDLRLDLRDLDLDRD- 12‘The Camp Taps CD 37 The camp taps is the first signal on the drum, it must be repeated from right to left of the line by a drummer of, each regiment, and return back from left to right previous to the reveille. (Potter, The art of heating the drum) oz} pt LRLRLR The Raising of the Troop CD 84 Continue the singlings of the troop, as long as you think proper, then go to the doublings; the signal for that is the last stroke to be stuck strong, Observe the same in the doublings to return back to the singlings. The troop, retreat, taptoo, and the general must finish with three rolls; at the last roll the arms thrown up for the drag and stroke to finish both troop, retreat and general. To taptoo to finish with two drags and strokes, (Potter, The art of beating the drum) the troop assembles them together, to call over the roll and inspect the men for duty The Assembly CD 44 Some time after the General has been beat, the drummers are to beat the Assembly; at which, the men are to repair to, and draw up at the appointed posts of their respective companies; or where else they should be ordered. If only part of the troops are to march, the Assembly is to be beat instead of the General; and some time after that, to be beat a second time, for the men to assemble. The Assembly ts the signal to repair to the colors. The March for the whole to move the assembly to repair to their colours THE RAISING OF THE TROOP MARCH OFF WITH p2— ‘THE RAISING SINGUNGS OF 26 THE TROOP 8 March off with the raising-R DR-DDRLRLRLLRL- Singlings of the troop~ — DLLRRR--RLRLLRRLR- Doublings of the troop-_- D R-D-DF F-DR-D-DL-R-DR-D-DF F-DR-D-DL-R- 13Charge Bayonets CD 32 (Drum Notations, Basic Practice Notations for the Rev War Field Drummer) 1 cnwteee FEF 7 RHS-ME)G)-MS) ‘The Church and Recruiting Call CD 79 The second doublings to the third to be continued till the tune is finished-then beat the first part of the three camps to close the church and recruiting (Pouer, The art of beating the drum) ‘THE CHURCH AND RECRUITING CALL ‘The Firet Part. Doubles of the frst Part. joer rreeil De Wa pel a badd lta. no D2 ‘Second Part. Dae ANrerferes rere ferret eserefee real First part-LR Doublings of the first part- F RRFRFLLFRELFRFLR Second part-L R-LR—- Doublings of the second part-F LF RFLFRFLFRFLR- DLDLRDLRLERDLDRDLR- Third part~LR-LR-LR-LR Doublings of the third part- FL FRFLFRFLFRFLR-DLDRDLDRDLDRDFR-DLDLDL RLRDLDRLRRLL~ Second doubling of the third part-D LDRLRRRRLLDLDRLRRLR- 14(The Mother and Three Camps (English Reveile) and Scotch Reveile, to be beat all threw in ordinary time) (Potter, The art of beating the drum) The Reveille (the frst part of three eamps) isto be beatin a morning, as soon asi slight enough to see to tead writing: this is to be done by drummers ofthe guard in the front ofthe guard-room, or place where the guard dravs up. the reveille, at day-break, wamns the soldiers to rise, and the centuries to cease challenging Three Camps a salute when receiving and delivering the colours. ‘The Mother and Thaee Camps and Scotch Revell wise) pte scorer eae nan 3s $53 $55 $5 (55 555 558 Hs nie et ES lt pS ES eee eee eee a] Mantis, 5 5 35 S35 5 Tose apes sen SS 5S ce Brcarerrasaare NEWER nde Bien tad. dps Pas OG deds Gefde] mmole] 7 ; ea 15he shakes not figured in the Scotch reveille are seven stroke rolls. the Seoteh reveile should be beat at least twice over, beginning with the preparatory rolls the second time or as often as it is repeated- then finish with the first part of the Three camps. ‘The mother and three camps RGB) R- (1) 5) E) - AD &) 5) (5) ) - GY &) (5) - AD (5) ) - (LD ) 5) (5) (5) 6) ) Second part — (10) (5) (S) - (10) (S) (5) - 1) (5) (5) (5) (S) (5) (5) (10) (S) (5) - (10) (5) (5) - 1) ) ) H) (5). ) ‘Third part (10) ~ (10) ~ (10) (5) (5) - (10) — (10) ~ (10) (5) (3) - 10) - (10) - (10) (5) (8) (3) ) ) The rolls preparatory to scotch reveile - ()LR -()LR - (5) (5) (5) LR-(5) (5) 5) LR- ‘The scotch revei 1*(7)-(1)-(1)-()- (= (D= (7) - 2" (7)-()-()-) 3" (1) DD-()DD- 4") DDDDDD-(7)DDDDDD- 8"(7) DLR -(7)DLR- 6* (7) DLRDLRDLR-DLRDLRDLR- 7") DLRDDDLR-() DLRDDDLR- 8" (7) LR-DLR-DLRLR-(7) LR-DLR-DLRLR- 9”) LRLRLDDLRLR-()LRLRLDDLRLR- 10" (7) LRLR-() LRLR- 11" (10) L-LRL-LERLRL- (10) L-LRL-LLRLRL- Water Call - Wood Call CDS4— CD 53 (Drum Notations, Basic Practice ——— ' Wood Call —)>2 4 ae { « = i] Water cat ote = Jd r [| Lao). LRF- 16‘The Adjutants Call CD 47 (Drum Notations, Basic Practice Notations for the Rev War Field Drummer} ‘The Adjutants call #)-> f te RLRLRLR Prime and Load - The Preparati Beat in Quick time. (Potter, The art of beating the drum) ( The Preparative to commence Firing ) 1g CD 26, 27 No 17. #22 RDLLDLR-- Make Ready CD 28 (Deum Notations, Basie Practice Notations fr the Rev War Field Drummer, Make Ready ©) RDLR Present — Fire CD 29, 30 (Drum Notations, Basic Practice Notations for the Rev War Field Drummer} Present 7 Fire Cease Firing CD 25 Beat in Quick time. (Potter, The art of beating the drum) (Ceace Firing ) Nos #22 Signals for the drum (Drum Notations, Basic Practice Notations for the Rev War Field Drummer) DDRDRLD-DDRDRLRL 7‘The Long Roll CD 18 (Potter, The art of beating the drum) mW mW mW mW mW m mW mW LLRRLLRRLLRRLLRRete March In Column CD 62 (42™ Regiment of Foot) MARCH IN COLUMN LLLLRLRL-LLLLRERL— LRLLRLLLO)LRLRLRLRLRLRLR LRLLRLLLO)LRLERLRLRL Advanee CD 74 (42 Regiment of Foot) ADVANCE CE SSS SS fe | LRLRLR-LRLRLR Easy Quick Step CD 76 AN EASY QUICK STEP +++ dah AR ++ FRRRFRR- ()FFFFRR-()RERERREF-() (FFF 18Tum of face to the right Turn or face to the left To the right about To the left about To wheel to the right To wheel to the left To wheel to the right about To wheel to the left about To front To make ready To charge bayonets To form battalion To secure your arms To shoulder your arms To call the Adjutant To call a Sit & Cpl of each Company To call all the Sjts & Cpls To assemble the Pioneers To assemble the Drummers hup:/www.eveo.org/sigs/reg64/music.huml Signals One single stroke and flam CD 64 Two single strokes and flam CD 63 Three single strokes and flam CD 66 Four single strokes and flam CD 65 Roll, one single stroke and flam CD 73 Roll, two single strokes and flam CD 71 Roll, three single strokes and flam CD 72 Roll, four single strokes and flam CD 70 Strong double flam CD 75 Preparative CD 27,28 Point of war Toarms CD57 First part of the taptoo Last part of the taptoo First part of the troop Two rolls, six flams Three rolls, nine flams Pionecr’s march CD 51 Drummers’ call CD 38, 39 19A Days Events Daily Routine Drummers Calls and Signals, 18the Taps - The duty drummer should beat taps upon the orders of the night officer. Reveille - The Reveille is be played “as soon as it is light enough to read writings. ‘© On days when the Regiment isto march, the Reveille isto be replaced with the General, and i is to be played at a specific time appointed by the commanding officer. The Assembly - The assembly is to be beat shortly after the General, and is the signal for the troops to “draw up at the appointed posts of their respective companies, or where else they shall be ordered.” To Arms - To Arms, “which is the signal for the whole to take arms; or for the battal they have grounded them.” nto stand to their arms, if The Troop - The Troop is the same beating as the assembly, “and it is to be beat at the head of the battalion... before it marches off, to call the officers...to their posts.” The Troop is also a signal for when the Grenadiers march off for the colours, and when they return with the colours. It ean also be used when guards are relieved, at which, “the officer is to order the guard to club, and the drummers beat the troop in marching back to the parade.” The Retreat - The Retreat, “which is to be beat when the battalion is to retreat, and then very slowly : and also at sunset, at some fixed post, by the drummers of the guard, in order the men to assemble, for the rolls of ‘the companies to be called, and for the officers to read and deliver, what orders they have received for the men of their respective companies.” The Tattoo - The Tattoo, in which he states is “to be beat at an hour appointed by the commanding officer, (generally at eight in the winter, and ten in the summer:) by all drummers. This is the signal for all the men to be in their quarters, and the serjeants to go around and see that they are s0."i ‘The Drum and Fife-Majors with all the drummers and fifers off duty, are to beat the troop, retreat, and taptoo beatings every day. Also, no drummer or fifer is to beat or play after tattoo, or before reveille beating, on pain of severe punishment, except with the orders of the Commanding-officer.ii While on the march, the Regiment was not to march in step, and the interval between the ranks was to be kept open to avoid confusion. In 1740, the idea of Drums and Fifes keeping cadence was being used in some regiments, but it isn’t until the end of the Seven Years War that the idea of marching in step with a cadence became standard practice. “The cadence, once it became adopted, became fairly quickly a training aid only.” At the review of the 25" Regiment of foote on the 18" day of July in 1777, the reviewing officer notes that the cadence is @ slow 64 beats per a second, and at 94 beats per a second for the quick step. iti 20The following is an example of a day’s signals and calls and will vary depending on the activities or duties required. In this situation the Duty Drummer would therefore need to know these signals and calls:- Camp Taps-Reveille -The General -The Assembly-The Troop C -The Pioneers March - Dinner Call — Retreat -Taptoo To confirm all drummers are up and awake - Camp Taps- CD 37 The camp taps is the first signal on the drum, it must be repeated from right to left of the line by a drummer of each regiment, and return back from left to right previous to the reveille. (Potter, The art of beating the drum) To wake the men up — play the Reveille - (first part of the three camps) CD 40, 41 The Reveille is to be beat in a moming, as soon as it is light enough to see to read writing; this is to be done by drummers of the guard in the front of the guard-room, or place where the guard draws up. u55 15 5 115 55 55 tt ios 5 105 Sa ‘Third Part 10 10+ 10S OR - To wake them up and strike tents to march -play The General Ifall the troops are to march that day, the reveille is to be omitted and the General is to be beat, by all drummers round the quarters, at the time appointed by the commanding officer; that is to say, if all the troops that are present in quarters are to march; but not otherwise, it being a signal for the whole to turn out, and prepare for marching, The General is to be beat only when the whole are to march, and is the signal to strike the tents and prepare for the march To beat the general, is an order for the whole to make ready t march. CD 42, 2oFe loko General Fall In - tC ‘Pee = tot Right Marker CD 45 This calls the right marker to get into position. ze vig | To get the men together to form up - play The ASSEMBLY CD 44 Some time after the General has been beat, the drummers are to beat the Assembly; at which, the men are to repair to, and draw up at the appointed posts of their respective companies; or where else they should be ordered. If only part of the troops are to march, the Assembly is to be beat instead of the General; and some time after that, to be beat a second time, for the men to assemble. The Assembly is the signal to repair to the colours The Assembly Play when Raising the Colours ~ play The Troop ~ Ceremonial CD 84 The Troop sounded at 9:00 AM. Roll call and inspection of the men for duty. This turned into a rather elaborate ceremony involving morning parade, and the raising of the colours. Charles S. Ashworth 22‘THE TROOP - CEREMONIAL Play to assemble for work duty — play The Pioneers Mareh CD 51 Work details or drill, Return to duty, ‘No 9. bin = fer Play when a meal is ready or to partake of a meal, ete - play The Dinner Call ~ The Roast Beef of England CD 60, 61 The Roast Beef Roll call, whiskey ration, dinner.After midday meal a few ch s would be played depending on the day’s orders and duties. Play to assemble for work duty — play The Pioneers Mareh CD 51 Work details or drill, Return to duty, ‘THE PIONEERS MARCH. No 9. oe «| Wood Call DF wero oid J Jj 4. = ] OR - To get the men together to form up - play The ASSEMBLY CD 44 24OR ~ To strike camp and move, Play ~ The General CD 42 Play when a meal is ready or to partake of a meal, ete - play The Dinner Call ~The Roast Beef of England CD 60, 61 The Roast Beef Roll call, whiskey ration, dinner. ‘The Retreat is beat at sunset, for calling over the roll again or to warn the men for duty, and to read the orders of the next day. CD 86 ‘The Taptoo beats at ten o'clock every night in summer, and at nine in winter; the soldiers must then repair to their quarters or barracks, when the Non-commissioned Officers of each squad call over their rolls, and every man must remain there till reveille beating next morning. CD58, 59 THE TAPTOOPoints of War “There are Six several Beats generally used that are Points of War. 1. A Call, 2. A Troop, 3. A March, 4. A Preparative, 5. A Batiail, 6. A Retreat. The call (1800+ = Assembly) is the order to prepare to hear present Proclamation, or Orders, to repair to your colours By a Troop — (1800+ =Assembly). you must diligently March as the Officers direct. Be March Beaten, you are to take your open Order in Rank, to shoulder your Firelock. and to March either Quicker, or Slower, according to the Beat of the Drum. By a Preparative, - (1800+ =Prime & Load) you are to Close to your due Distance, (for an engagement) both in Rank, and File, and to make Ready that you may execute upon the first Command. By the Battail, or Charge, understand the Continuation, or pressing forward in Order of Battle; not lagging behind rather with the highest Pitch of Courage, stepping forward, into the Place of him that fall Dead, or Wounded : And let your Courage, and Prudence be so joyn'd, that you may perform, and attain things Noble and Great. By a Retreat, observe an orderly Retiring, either for Relief, for advantage of Ground, or for some other Political End ; as to draw the Enemy into some Ambushcade, or otherwise to compleat your Commanders Intentions. jen, Militia Discipline. 26On The March ‘The Order - March in Column CD 62 MARCH IN COLUMN _ = ee] iG ewe ueewee fdas vada eadeo | = SS] Advance In File ‘The Order - Will Advance CD 74 ADVANCE SSes nessa |On The Firing Line The Order - Prime & Load CD 26 oe: ea t T ‘The Order - Make Ready (The Preparative) CD 27, 28 1 Make Ready ee ee ‘The Order — Present CD 29 ody The Order ~ Fire CD 30 Fire ( Ceace Firing )To Form Up Troops The Order - Right Marker CD 45 f ‘The Order - The ASSEMBLY CD 44 The Assembly \ SINGUNGSOF 5-26 = THeTRoor © General Fall In CD 46 ' : * HG 6 dsdves =| 29The Point Of War The Point Of War is the first part of The Three Camps. This beat is, traditional, and can be found in Longman & Broderip’s "The Young Drummer’s Assistant" (London, 1780s) as well as Charles Stewart Ashworth's "A New, Useful, and Complete System of Drum Beating.” (Boston, 1812) . A variation of the beating for the same piece is in Potter's manual and forms part of the beating for Reveille. I suppose from your question that you are portraying Crown Forces, correct? If you play the first 16 bars of The Three Camps, you'll have played ‘The Point of War Quoting from Ashworth: "The Point of War, or first part of the Three Camps is a compliment which a guard pays a Governor of a State and to no other person. [It] is also beat when the Regiment's Colors are returned uncased to the Commandant’s Quarters. If the Colors be cased, the Drum pays no compliment, also when Colors are received from the Commander's Quarters. It is understood that the President of the U.S. is also entitled to the Compliment in any state.” [p. 20] "The Church Call ends of War." [p. 22] ith the first part of the three camps, or Point (This is reflective of American practice about the time of the War of 1812, What British practice was during the last third of the 18th century, Feannot say.) Jim Krause Fife Instructor, Music Director Kaw Valley Fife & Drum Corps Point of War would have also been beat when the order "Charge Bayonets” was given. Andrew Ambrus Samuel potter, The Art of Beating the Drum A Plan of Discipline for the use of the Norfolk Militia, Written by William Windham, 1759 Ashworth, Charles Stewart A New, Useful, and Complete System of Drum Beating... G. Graupner, Boston 1812 p.6 Fort Osage Intellegencer, "Selected Topics: Daily Life, The Soldier's Day" 1994 ‘Smyth, Col. Alexander Regulations for the United States’ Infantry transcribed from an original copy by Earley G. Smith, Third Edition 2000 p, 175 The Military Medley by Thomas Simes 1768 Formations of the Music, Composed by Jedediah Dahl July 26, 2001 i Windham i Simes iit Houlding iii Cavan ii Simes iii Cavan iii Simes iii Wolfe, General Wolfe's instructions to young officers: also his orders for a battalion and an army. 30iii Simes 31