_ACKNOWLEDGMENTS_
For help in collecting data for this book, I am especially grateful
to--
MISS NORA BEUST
_Specialist for Schools and Children’s Libraries
United States Department of Education._
MISS VANETT LAWLER
_Associate Executive Secretary of the Music Educators’
National Conference._
MRS. W. H. POWELL, for her aid in research and cooperation
on the manuscript.
The following members of the staff of the Library of
Congress:
COLONEL WILLARD WEBB, _Chief of the Stack and Reader Division_;
MR. FRANK C. CAMPBELL
MRS. MARGARET HASSELBUSH
MR. OLIVER A. DUDLEY
_All of the Music Division_;
MR. DAVID H. COLE
MR. STEWARD DICKSON
MR. FRANK E. LORRAINE
_Assistants in Charge of Public Reference._
_There’s Something About a Band_
What is more thrilling than a fine brass band? There’s something about
a band that sets hearts pounding and pulses racing.
Band music stirs all ages. Young and old pour into the streets to
see and hear a band. Mothers with babies in their arms and wide-eyed
youngsters clinging to their skirts, line the sidewalks. Small boys run
to keep pace with the drummer, then with shoulders back and stomachs
stuck out, they proudly march beside them. Old men lift heads high,
women’s eyes are tear-filled as the band brings sad memories.
All America loves a band. Even in Washington, the National Capital,
the most popular parade ground in the United States, crowds quickly
jam the streets to the very curb, as a band leads a parade along the
Avenue. For it is a marching band which makes the deepest appeal to the
emotions of the human mind and heart. A lively march will bring smiles
to the faces, sparkles to the eyes and a rhythmic step to the feet.
Since that long-ago day when Joshua commanded his seven high
priests--probably the first seven-piece wind band--to blow their
rams’-horn trumpets as they marched seven times around the walled city
of Jericho, countless marches have been played. And the walls still
“come tumbling down” in hearts that thrill to band music.
Down through the ages the band, in its development, has sounded the
call to arms and played the hymns of peace. In years gone by the music
of the band led the townsfolk to the village green. Today the concert
bands draw thousands of people to the public parks.
In our own country neither the Puritans nor the Quakers of New
England’s early days would allow the use of musical instruments. But
the German and Swedish colonists brought their music with them to this
country.
The first band in New York City consisted of four sturdy Dutch citizens
who played the trumpet, flute, violin and drum. They gave a free
concert every Saturday afternoon at Bowling Green to crowds of one
hundred or more people. This was in the 1630’s. A few years later seven
younger, better-looking men made up a rival band. They played louder
and became more popular.
Many small bands were organized in Boston during the next few years.
Several little German bands came to this country and stopped in Boston.
Some played on streets and were called Gutter Bands. Others were
excellent musicians and one of their flute players became the flutist
in the Boston Symphony Orchestra.
In 1773 Mr. Josiah Flagg formed a band of fifty or more men and gave
concerts in Faneuil Hall. This was the first band of any size in
America. Other bands were soon organized in Boston: The Green Dragon,
and the Boston Brigade Band were very well known.
* * * * *
Bands may come and bands may go, but none like those found in a few
small towns in the early 1800’s will ever be seen again.
Even in those days everyone loved gay uniforms. Some of the bandsmen
wore home-made bandsuits which challenge description. The members of
one little band in New England wore lined, red flannel trousers with
dark but decorated coats. The bandleaders in those days seemed to
concentrate on their hats. Some wore big plug hats with gay rosettes
made of ribbon or flowers. Others wore gorgeous plumes. The men in the
bands usually had cloth epaulets sewn on their shoulders; the leaders’
epaulets were trimmed so that they looked like glistening jewels. They
usually wore whiskers, or at least well-waxed moustaches. The members
of the bands, like their leaders, were often untrained and always
unpaid. Though most of them could read music, many played “by ear.”
Human folk need some form of self-expression and music is an ideal mode
for an individual to give vent to his feelings and voice his desires.
Often the mousiest, quietest little man in town joins the band and
insists upon playing the tuba or pounding the largest drum. It gives
him a feeling of importance and the satisfaction of achievement. He
may not make speeches, or write influential articles, but he can beat
the rhythm or blow the loud “oompas” that set the pace for the whole
band.
As America’s population increased, almost every village and town had
a band. Their concerts in the public square became regular features.
These village bands have done much for the advancement of music in our
country. They have given more pleasure and delight to a greater number
of people than any other agency. These bands have helped the love of
music to find its way into the lives and hearts of the American people.
[Illustration]
_U. S. Military Bands_
“When I hear music, I fear no danger. I am invulnerable. I see no foe.”
Thus wrote Henry D. Thoreau in his journal a century ago.
General Washington knew how a brisk, rhythmical tune helped hungry,
poorly-clad soldiers on the march and also inspired them to fight
bravely in battle. He felt that music was so important that he ordered
forty to sixty fifers and drummers in each regiment of his army. The
bands were chosen from the troops. These “musics”, as Benjamin Franklin
called them, were untrained and each man played in his own fashion, but
their music gave the Revolutionists heart.
The influence of band music on the fighting man’s morale has been
recognized since historians began to write. A band, especially a
military band, may inspire courage, a wish to fight or a will to
win. It beats the rhythm for marching feet and gives a tune for
whistling. Lively, tuneful marches send the troops quick-stepping off
to the battlefront. Grand, triumphal strains herald the return of the
victorious army.
Troops will step faster and march for a longer time to the rhythm of
a drum than to any other way of keeping time. What is more stirring
than the heavy, measured boom-boom-boom of the bass drum, the rhythmic
clatter of the snare drum and the great blasts of tone from the huge,
wide-mouthed horns?
In the beginning American military band music mainly consisted of the
shrill tones of the fife paced by the rattle of the snare drums with
their vibrating snares. The famous picture “The Spirit of Seventy-six”
shows a revolutionary “fife and drum” band of this type. They were
often called the “Drum and Foof” bands. Since those early days of
military bands there has been notable change in instrumentation.
Gradually more mellow-sounding instruments such as the oboes, trumpets
and clarinets came into use. Present day bands are superior to our ears
not only because the modern instruments are more perfectly manufactured
but because of this new tonal balance.
_The Marine Band_
“Boom-Boom-Boom-Boom!”
The drums beat loud, the fifes tooted shrilly, and the Marines tramped
steadily down the dusty road. The offices of the U. S. Capitol had been
moved from Philadelphia to the new Federal City on the Potomac early in
June, 1800. Now late in July, on a hot muggy day, the Marine Corps and
their band were on their way to Washington, 136 miles away. And they
were marching on foot.
Since the organization of a Marine Corps in 1775, drums and fifes had
furnished the music. The fife’s piercing tones carried the melody while
the drums beat the rhythm and gave the signals for the officers’ orders.
These drums were wondrous things. Their tall, double-headed cylinders
were capable of great vibrations caused by the gut strings across the
lower head. The drums had red bodies and blue heads, painted to match
the colors of the band uniforms. A coiled rattlesnake, with raised
head ready to strike, was painted on the side of each drum, over the
warning motto, “Don’t tread on me.”
At the close of the Revolutionary War, 1783, all military organizations
were disbanded. But eleven years later the U. S. Navy was authorized by
Congress; new duties were found for “Musics.” They were ordered to play
on recruiting duty and on frigates. After they had become so generally
useful, Congress decided that there must be a fully organized band in
the Marine Corps. President John Adams approved the bill to form this
branch of the Marine Corps in 1798. The very first U. S. Marine Band
consisted of a “drum major, fife major, and thirty-two drums and fifes.”
Some Marine troops and their bands were sent to the U. S. warships
engaged in the French Naval War. Others were dispatched to serve under
Commander Stephen Decatur in his battles with the Barbary pirates in
Tripoli Harbor.
One Marine Band unit, stationed in Philadelphia under Colonel William
Ward Burrows, became the nucleus of the now famous Marine Band. Drum
Major William Farr was appointed its leader.
Philadelphia people liked the Marine Band and its lively martial music.
An especially large crowd enjoyed their playing on July 4, 1800, at
the celebration of Independence Day. This was their last performance
in Philadelphia; they moved to Washington in that same month, weary,
footsore Marines camped in tents on a grassy slope overlooking the
Potomac and the beautiful hills of Virginia beyond.
The people of Washington were thrilled and excited over the coming of
the band and gladly welcomed it. This Federal City had proved sadly
disappointing to its new residents, many of them from busy cities
like New York, Philadelphia and Richmond. To them Washington was a
desolate, forlorn-looking place--“mudhole in a wilderness” many called
it. To these lonely people the band’s lively music hinted at dances and
parties.
The Marine Band received orders to do all in their power to cheer the
inhabitants of Washington. Shortly after reaching the city on August
21, the band gave its first concert. Fortunately they played in the
open air, for almost everyone in the town and country around attended.
Everyone was joyous and happy at this first attempt at any kind of
entertainment for the people. Young and old were there, dressed in
their best, all eager to hear the first band concert in Washington.
Similar evening entertainments were enjoyed throughout those summer
and autumn months. The Marine Band grew very popular with everyone,
particularly President Adams, Vice-President Jefferson and the
Secretary of the Navy, Benjamin Stoddard. Colonel Burrows, proud of
his band, bought a number of new instruments which included two French
horns, two clarinets, one bassoon and a bass drum.
On New Year’s Day, 1801, the Marine Band for the first time played at
the “President’s Palace,” as the White House was always called until
it was burned by the British in the war of 1812. The occasion of this
band concert was the formal reception held by President and Mrs. John
Adams. Since that time the Marine Band’s playing at the Presidents’ New
Year’s receptions has become traditional.
Not only was the music pleasing, but the players were glamorous. The
band uniforms were gay and striking--short, scarlet, gold-buttoned
coatees, faced and edged with blue and gold; high blue collars and
blue shoulder straps trimmed with gold; blue pantaloons with a scarlet
stripe; and brown hats turned up on the left side with a black leather
cockade. Each bandsman wore the black leather stock, or collar, which
gave the Marines their familiar nickname of Leathernecks.
Besides playing at many parties and balls, the band took part in
religious services. The newspapers of that day say that it often played
at the Sunday church services held in the Hall of Congress. “Their
polished instruments and colorful uniforms made a dazzling appearance
and their music was excellent.”
On their first Fourth of July in Washington, 1801, the Marine Corps,
led by the band, marched in review before President Jefferson on the
lawn of the Executive Mansion. Because of his great interest in it,
President Jefferson was called the god-father of the band, and the
name, _The President’s Own_, was often applied to it.
During the war with Great Britain in 1812, many Marine bandsmen laid
aside their instruments and joined the fighting. They fought in the
Battle of Bladensburg and also helped to save the records of the U. S.
Marine Corps when the Capital was fired by the enemy troops.
It became customary for the different presidents to ask the band to
perform many and varied services. Jefferson, during his presidency,
received a huge cheese weighing 750 pounds from some of his
enthusiastic admirers. He invited his friends to share the tasty
delicacy and had the Marine Band play for their entertainment. Some
years later when President Jackson was presented with a 1,400 pound
cheese, he wanted the Band’s music to accompany the feasting of his
guests too. But play as they would, no one heard them; for on that
occasion the public stormed the White House, ruining carpets and
furnishings in attempts to get portions of the immense cheese they had
heard about.
Not only has this famous band played for the highest officials at all
White House and State social affairs, but also for the first children’s
party at the White House which was given by President Jackson. The
youngsters at the first egg-rolling on the White House lawn were
serenaded by the Marine Band.
The Marine Band has always been a part of inauguration ceremonies. It
played at the first inaugural ball, James Madison’s, at Long’s Hotel.
And beginning with that of James Monroe, this group has played at
almost every inaugural ceremony, and it has marched in every inaugural
parade.
President Lincoln insisted that the Marine Band give frequent
out-of-door concerts during the Civil War to help the morale of
the people in Washington. It accompanied him to Gettysburg when he
delivered his famous address.
During its long life--more than 170 years--the Marine Band has had
eighteen leaders. Although each did his best according to his musical
training and experience, it was not until John Philip Sousa took
over the leadership that the band reached the highest peak of its
achievement.
The vigorous and dynamic Sousa saw the band’s possibilities and things
began to happen. He reorganized the personnel and increased the number
of players. He inspired his men to high performance. He persuaded
Congress to send them on nation-wide tours. Soon the Marine Band was
the best-known and most popular band in America.
Other leaders have carried on where Sousa left off--Francisco
Fanciulli, W. H. Santelmann, Taylor Branson and W. F. Santelmann. The
work of its great leaders together with the invention and improvement
of instruments has revolutionized the Marine Band’s performance since
the fife and drum days of 1775.
“The motto of the Marine Corps, _Semper Fidelis_--_Always Faithful_--is
the keynote to which the band strives and it hopes to bring honor,
glory and distinction to its proud history.”