1st New Mexico Volunteer Infantry
"Kit Carson's Own"
First New Mexico Field Music
First New Mexico Field Music Tactics
By Dave Poulin
INTRODUCTION
My reasons for writing this book are twofold: one to interpret as well as I
can how Civil War Field Music performed their duty in camp and in the field,
and to suggest to reenactors how best to organize their music during an event.
The recent event at Shiloh Tennessee, April 4-6, 1997 was my first big event.
I was amazed that the event was as well organized as it was, but it was also
obvious that we needed to work out just how the field music can help the
leaders control things even better. This book is intended to help reenactors
make that not only possible but indispensable. I want to hear people say, "How
did we ever do without the music before?" On a small scale, here in New
Mexico, we have worked many things out here in New Mexico and I want to share
them with anyone interested in the subject.
During the Civil War, the field music was constantly busy with one duty after
another. They were soldiers, and were with the troops in camp, on the march,
and in the heat of battle. Contrary to popular belief they had no special
privileges, duty, or pay (usually less pay). They were out there on guard with
the riflemen in the rain and snow. They trudged through the same swamps, over
the mountains, and the endless dusty roads. They lived in the filthy camps and
trenches, ate the same food, and slept in the same tents and blankets (or lack
thereof). Most of them were underage, and if they got a break, it was when
someone helped to carry their drum, or gave them a ride on a horse or wagon
for a while, or shooed them out of the carnage, or shared a package from home,
which most of them (the numerous orphans) didn't get.
Although the story of the drummer boys is as much a part of Americana as the
Pilgrims, the Founding Fathers, and the Pioneers, etc., much less is actually
known about them. Generally, everyone knows that the fifers and drummers were
signallers and communicators; but very few people these days have seen it
done, or know how it actually works. Even people who can play all the calls,
signals, and quicksteps still do not know. Except for "Hardtack and Coffee",
there is nothing in writing which explains in detail how everything was done;
and that book focuses mostly on the artillery and the bugle. Even the U.S.
Army has nothing in writing. Most of the traditions were carried on from drum
major to drum major and possibly every regiment had slightly different
customs. The reason nothing was mentioned in diaries and books is that the
field music was so 'humdrum' and 'everyday' that no one thought it remarkable
enough to write home about -- even the musicians themselves. They probably
never realized that it would almost disappear from existence; or that anyone
would ever be interested in it later.
The purpose of this book is to fill in the gaps between the lines; to work out
the problems of attempting to act as field music. But the accurate picture
cannot be portrayed without the troops and the music working together.
Separately, they do not tell the story. And that's what we're here to do --
living history. A mostly-forgotten part of living history. The routines
outlined herein are mainly for infantry reenactors, although the fife and drum
calls were the same for Infantry, Artillery, and the Navy. Cavalry and Light
Artillery had their own bugle traditions which involved some different calls
than the infantry used. Most people, are more familiar with the cavalry and
artillery calls because they survived Upton's reorganization of the tactics
manuals in 1867. These are the calls heard most in the movies. Upton was not
an infantryman so most of the infantry calls were dropped. Later, in 1875,
when the bugle became the official instrument of the U.S. Army, Sousa was
asked to write drum beats for the bugle calls which he did in a publication of
his at that time. All the regulations listed herein are taken from the 1861
U.S. Revised Regulations.
CONVENTIONS
Regiments which were organized by Scott's tactics usually had one company
of 'light infantry' which was issued two bugles for their use. These bugles
were assigned to attend the brigade, division, and corps guard and play calls
at the request of their respective 'officer of the day'. Union fifers and
drummers remained mustered on the regimental level to play calls for their
regiments, while buglers were employed on a brigade level and higher. Some
'rifle' or 'light infantry' units (such as the Pennsylvania Bucktails) were
only issued bugles to every company. The cavalry also used bugles and the
artillery designated as 'light' or 'horse artillery' also were issued bugles.
But all the other artillery, whether they were horse drawn or not were
considered line artillery and were issued fifes and drums per ancient
tradition. Confederate fifes and drums in the Army of Northern Virginia were
collected on a brigade level after General Lee reorganized the brigades by
states. Division and corps used bugles.
Reenactors have been using battalions, brigades, and divisions as units to
organize large events, so I will use those terms also. The fifes and drums are
usually mustered on a brigade level. The best way to control an entire
division is to have the division duty bugler(s) play the call first. This
would be considered an order by the division commander. The fife and drums
would then echo the order on the Brigade level throughout the division. For
example, if the division commander desired the entire unit to prepare to
march, the division bugler should play "Assembly of the Buglers" and the duty
drummers at their brigade posts should play "Drummer's Call" to assemble the
respective field music in each brigade. Then, five or ten minutes later, the
division bugler can play "The General", which then would also be performed by
the regimental fifers and drummers in turn. In this way, the entire division
can muster at exactly the same command, instead of one battalion at a time,
depending on when they get the order.
Most camp calls can be identified by the event schedule and what time it is
currently. But when they can't, this system requires that the drummers and
fifers be able to recognize the bugle calls and vice versa, and be ready to
interpret the calls to their officers and NCOs. This must be the duty of all
who desire to be field music. Also, the division bugler should use only the
infantry calls, if possible, (the Hardee Tactics, Cayce's Tactics, and the
Howe book have the correct ones for infantry). Other units should use their
respective calls (infantry, cavalry, or artillery) without using the
"Attention" signal.
What about the units which are using bugles as well as the division? The
answer is that the division bugler should play "Attention" or a call listed in
Cayce's tactics as a type of Brigade Call, "for units commanding a Brigade or
higher", before each division call. These calls are easily recognized by most
anyone, and that way the reenactors will know that it is not a unit call but
is a division call. It is the same for fifers and drummers. How do the
riflemen men know that a call is being played for them? To let reenactors know
that a bonafide order for the brigade is being played, the field music should
play "Three Cheers" or "Brigade Call" first. "Three Cheers" is the 'Attention'
call of the fifes and drums; and a "Brigade Call", if desired, is listed in
the Howe book. If an order is being played for one battalion only, it is
played on the parade ground without Three Cheers; and if an order is for one
company only, it is played on the company street by a single drummer without
Three Cheers.
The Field Music has to be very disciplined or the men will get confused. When
they get to an event they start playing and sometimes never stop. Ideally, an
event should be a performance, not a practice, but if it is necessary to
practice they should not do that in camp. They should only practice away from
the camps, if possible, and they should not play or practice in camp at all.
It is not authentic for fifes and drums to play anytime they feel like it.
When they do that they are not functioning as field music but are really
acting as bandsmen. This should not be allowed since every regiment had a
standing order of "The drummers shall practice a hundred paces in front of the
battalion, at the hours fixed by the adjutant general; and any found beating
at any other time, (except ordered) shall be punished" (quoted by George
Carroll in "The Drum Major's Handbook"). If an individual musician needs to
warm up, fifers can 'whisper blow, drummers can play on their ropes, and
buglers can play on their mouthpieces.
GUARD BUGLER, GUARD DRUMMER AND ORDERLY FIFER
Per Regulation 573, guards and musicians were on duty for 24 hours. One
drummer for the police guard and one or two for the perimeter guard. The guard
drummer stayed at the guardhouse or tent, with his drum tensioned, ready to
play any "Come for Orders" signals (Reg. 232-233): "Officer's Call", various
"NCO Calls", "Drummers Call" (to assemble the music); or, "To Arms" to alert
the camp to a surprise attack. The guard drummer is directed by the 'Officer
of the Day' (Reg. 577). While drummers were used as regimental signallers,
fifers on duty were used as regimental or camp orderlies to carry messages to
and from various people at the post or camp (Bruce and Emmett). Brigade and
higher HQ's had designated, mounted orderlies so the staff buglers did not
have to perform that function.
It's not practical to put reenactors on guard duty for 24 hours. Same with the
musicians. One or two hour intervals work quite well for the event field music
-- and just between reveille and retreat (except for assemblies) is all that's
necessary. Civil War camp calls were played by the duty fifer and drummer, not
by massed field music the way we do at reenactments; however, we can't beat
our musiciansoff with a stick, even when they are not on duty, so we play most
calls with massed music. Civil War field music only massed four times a day in
camp. These times corresponded with the four regulation roll calls of the day:
Reveille, Troop or Guard Mount, Dress Parade, and Tattoo.
The importance of reenactors using a guard drummer or bugler is not just
ceremonial. It takes the music at least five minutes to put away whatever
they're doing at the moment, get their gear on, tension the drums, and
assemble at the appointed place to play a call. When the troops are geared up
and walking out onto the parade, it's not very efficient to yell at the
nearest musician, "Hey you! Play assembly!"; or to announce "We're going to do
something now," when most of the music is at the sutler's. The purpose of the
guard drummer or bugler is to give the music this essential time. I recommend
that only seven guard calls be used at reenactments. Let's face it, we are not
even "weekend warriors" at best and it is impossible to remember for than a
half-dozen or so calls. Even the drummer's can't remember them and have to
refresh their memories before each event. Officers should know "Officer's
Call", 1st Sergeants should know their call; adjutants should know "Adjutant's
Call", field musicians must know "Assembly of the buglers" and "Drummer's
Call".
COME FOR ORDERS
Guard Bugler:
1. "Officer's Call"
2. "Orders for Orderly Sergeants"
3. "Assembly of the Buglers"
4. "To Arms"
5. "Fatigue Call"
6. "Taps"
Guard Drummer:
1. "Officer's Call"
2. "1st Sergeant's Call"
3. "Adjutant's Call"
4. "Drummer's Call"
5. "To Arms"
6. "Fatigue Call"
7. "Taps"
DAILY CAMP SCHEDULE
The U.S. Regulations, revised 1861:
230. In garrision, "reveille" will be sounded immediately after day-break;
and "retreat" at sunset; the "troop", surgeon's call", signals for breakfast
and dinner at the hours prescribed by the commanding officer, according to
climate and season. In the cavalry, "stable-calls" immediately after reveille,
and an hour and a half before retreat; "water-calls" at the hours directed by
the commanding officer.
231. In camp, the commanding officer prescribes the hours of reveille,
reports, roll-calls, guard-mounting, meals, stable-calls, issues,fatigues, &c.
232. SIGNALS
1. To go for fuel - poing stroke and ten-stroke roll.
2. To go for water - two strokes and a flam.
3. For a fatigue party - pioneer's march.
4. Adjutant's Call - first part of the troop.
5. First sergeant's call - one roll and four taps.
6. Sergeant's call - one roll and three taps.
7. Corporal's call - one roll and two taps.
8. For the drummers - the drummers call.
233. The "drummer's call" shall be beat by the drums of the police guard five
minutes before the time of beating the stated call, when the drummers will
assemble before the colors of their respective regiments, and as soon as the
beat begins on the right, it will be immediately taken up along the line.
577. The officer of the day is charged with the order and cleanliness of the
camp... He has the calls beaten by the drummer of the guard."
A typical daily schedule for events which require music might be as follows
(taken form the Camp Regulations for HQ First Brigade, First Division, M.V.M.
Long Island, Boston Harbor, May 11, 1861, which was included in the
introduction to Howe's Manual (here paraphrased):
Morning Duty:
Daybreak: 'Reveille'.
6:00 'Assembly'
7:00 Breakfast Call
8:00 Assembly and 'To the Color' (for drill).
10:00 'The Troop' (guard mounting)
12:00 Dinner Call
Afternoon Duty:
4:00 'Assembly' and 'To the Color'
6:00 Retreat
7:00 Supper Call
10:00 Tattoo
REVEILLE
The least favorite call of all. Weather was often rainy or cold, so getting
out of your warm blankets and walking out into a cold and/or muddy street just
so somebody could make sure you were still around, had to be a nightmare,
especially for those who weren't feeling well. Many dairies and accounts
relate that the coughing and sneezing of the army every morning was deafening.
Played on the bugle "Reveille" is very short. But on the fife and drum,
reveille is a long series of tunes and beats lasting about four or five
minutes. This is because each company is conducting a roll call during the
time the music is being played.
During Colonial times, the fifes and drums marched about the camp while they
played Reveille. But by the time of the Civil War, they usually stood on the
parade ground. The music even changed from a marching cadence to a standing
one (fancier and more upbeat). The troops assembled on their own company
parades for roll call by their Orderly (First) Sergeant. The C.O. directed the
times set for camp calls per regulations 230 & 231. Some manuals call for
"Three Cheers" before and after "Reveille" and some do not. The tunes and
beats for reveille are detailed in the Bruce and Emmett book. Reveille can be
shortened in bad weather. Buglers would only play "Attention" as "1st Call",
and "Reveille".
FATIGUE CALL - and, UNRULY WOMEN OUT OF CAMP
Fatigue Call is described in the Bruce and Emmett book as being played in
the early morning after "Reveille". According to other period schedules I've
seen, it was also played after the noon meal for
afternoon fatigue details. The "Unruly Women out of Camp" routine was
conducted in the morning by a small detail under arms. This procedure is
called "Unruly women out of camp" and not "Women out of camp" because
officer's 'wives' were exempt from such treatment, as were the official
laundresses of course (whether they were unruly or not). One would imagine
that this was sometimes quite a spectacle to watch.
The procedure begins with the Guard Drummer playing "Fatigue Call" at the
guard house, played on the drum only. This is the signal for the assigned
details to assemble on the parade ground in their respective groups. Each
fatigue detail is marched separately to their own duties, while Corporal and
the music march up and down the company streets. The armed guards scour the
camp for women who are brought out and put into line before the music (similar
to a punishment detail). The detail proceeds throughout the camp and then
marches the women out of camp where they are released. The drummers start with
a common time march and go into "The Pioneer's March" (Fatigue Call) once,
then the fifes and drums play together. They continue alternating between
drums only and fife accompaniment, until the women are released. On the way
back to the parade ground, the drummer's can play any cadence of their choice;
fifes tacit (as in guard duty). Duty Buglers would simply play "Fatigue Call".
SICK CALL
This call was normally done early in the morning after fatigue by the duty drummer and fifer. If reenactors want to assemble the music, they should begin with "Drummer's Call", five minutes after which, the music plays "Surgeon's Call". The company 1st Sergeant lines up the sick on the company parade, takes a roll of the names, and leads them (without music) to the surgeon, who takes over from there. Buglers play "Sick Call". Then the music is dismissed. This can be a humorous and entertaining scenario for the public (if done later in the day), with every 'sick' man trying his best to get out of a day's hard work.
BREAKFAST CALL
This has been called "the soldier's favorite call" but I think most
soldiers had mixed feelings about this; yes they can fill their bellies, but
with what? In the field, when the mess was prepared by small squads, or was
simply what one had in his haversack, the hungry faces staring at the cook did
not need music to tell them when to line up. But if we were more authentic and
had various and remote details going on, a signal call for food would be vital
for them. At a fort or post, this call would have been a regular feature of
garrison life. Based on wartime pictures I've seen, I believe the music did
not mess at the same time as the troops. Despite regulations that they mess
with their company, they apparently oftened messed together at a makeshift
table set up near the staff cook. Contrary to popular myth, musicians did do
mess duty (Reg. 118), but I think this is not practical at a busy event
schedule. Field music should be exempt from such duty because they are so busy
all day. Fifes and drums played "Peas on a Trencher" for Breakfast Call while
buglers played their own "Breakfast Call".
Back to First NM Field Music.
TO FORM BATTALION
The procedure to form battalion is a three step process:
1. "First Call" - There are two "First Calls" which are used to form
battalion and they both mean different things. "First Call", a massed
"Drummer's Call" (Bruce and Emmett), is the signal for the troops to get under
arms without field packs. This is used for Dress parades, or Battalion Drill,
etc. When the troops hear this call they should get their rifles and leather
gear on.
"The General" was the signal for Civil War troops to break camp and get ready
to march. The U.S. regulations (#681-683) specify that "The General" be played
one hour before leaving as a signal for the men to break camp, but I would cut
the times between calls down for convenience of a busy reenacting schedule. If
the unit is not going to actually reenact breaking down camp, I suggest that
"The General" be played ten minutes before "Assembly" as a warning for the men
to get their gear on. We will not normally break camp at a reenactment, but
what it does mean to reenactors is to get under arms with field packs. If the
troops must assemble without arms, do not play any "1st Call".
2. "2nd Call" - "Assembly" is the signal to form companies on company
streets (never directly on the parade ground). If "Assembly" is played without
"1st Call" or "The General", it means that the troops immediately assemble
without arms. This is used for issue of rations, pay call, unit fatigue duty,
etc. Even if there is no roll call, the First Sergeants should take a few
minutes to do quick inspections on the men and their equipment. When
assembling for the march, the color guard forms behind the field music at this
time.
3. "Form Battalion" - There are two signals for the troops to form
battalion. "Adjutant's Call" is the signal used for Dress Parade and Guard
Mount. In the Dress Parade, the field music immediately begins a quickstep
after Adjutant's Call and the troops march to music out to the parade ground;
in the Guard Mount no march is played. The different details are marched by
their respective Sergeants out to the parade ground. "To the Colors" is used
at all other formations (drill or march, etc.) to signal 'form battalion'.
Each company marches out into the road without cadence in order of march. If a
brigade is being formed, the bugles would then sound a brigade "To the Colors"
and successive battalions would have to move to their places in the column.
Then the bugles would sound brigade "Forward" (Common time or Quick Time) and
battalion drummers would signal "Common Time" or "Quick Time" also.
Alignment: In all cases, the music will align itself on the Parade Ground
where the right of the line will be (for battalion formation) or the road at
the head of where the column will be (for column formation) and the 1st
company out will form itself on the music, then the 2nd company on the first,
and so on. It was customary, especially in the Regular Army, for the Field
Music to play "The Girl I Left Behind Me" whenever leaving a camp or fort.
DRESS PARADE AND MORNING TROOP
The Regulations (starting at #337) called for at least one dress parade per
day when the weather permitted (usually at 8:00AM, or 10:00AM, or one hour
before Retreat). A Dress Parade in the morning is referred to as 'Morning
Troop', while in the evening, it is referred to as a 'Dress Parade'. Either
morning or evening parade can be done with an optional "inspection" and an
optional "March in Review"; also some drill can be performed. Dress parades
are very useful to reenactors in that they allow them to perform an inspection
of arms. In garrison, the troops are expected to wear their best uniforms,
with polished brass and white gloves. There are ten steps to the Dress Parade.
1. 1st Call - Troops get ready for Assembly (under arms/without field
packs).
2. 2nd Call (Assembly) - Troops assemble on company parade; 1st
Sergeants conduct quick inspections and roll calls.
3. Form Battalion - The Field Music forms to the right of where the
battalion line is to be, and plays "Adjutant's Call" and then the Regimental
March. The 1st company in line marches out to the parade ground and falls in,
dressing on the music; subsequent companies dress on the previous company
until all are in line. I do not believe the Regimental Colors were normally
presented to the battalion for Dress Parade, but if they are, the Field Music
should play "To the Colors' twice ( the regs say half-a minute).
4. Trooping the Line - The Adjutant verifies the alignment, and, on
word from him, each company orders arms and puts their troops at Parade Rest.
Then the Adjutant orders "Field Music, Beat off". The Field Music begins
playing, marches down the line, wheels & stops; marches back up the line,
wheels again & stops. The Adjutant steps two paces to the front and orders
"Attention. Battalion. Shoulder-Arms. Prepare to open ranks. To the rear, open
order. March!". The 1st and 2nd Sgts. move four paces to the rear of the front
rank. Then the ranks open. All company officers move four paces to the front
of their companies, opposite their places in line of battle. The 1st Sgts.
replace their company commanders in the front rank when the rear has been
aligned. The Adjutant commands, "Front". The field officers advance six paces
in front. He then marches along the front of the battalion to the center,
faces front marches eight paces past the company officers, faces about and
commands, "Present Arms". He then faces the commander, salutes, and reports,
"Sir, the parade is formed". The Commander or reviewing officer acknowledges
the salute. At this time the field music plays a salute which is appropriate
to the rank of the officer or visiting V.I.P. Then the Adjutant orders
"Recover, arms!".
VIP Salutes:
Colonel, General, or other V.I.P.: 7-count roll (drums).
Two or three star general: "Three Cheers" (fifes and drums).
Senator or Governor: "Fourth Camp" (End of Reveille).
President: "Hail to the Chief".
5. Report - The Adjutant moves to midway between the commander and the
officers and orders, "1st Sergeants, to the front and center. March." At the
first command, the sergeants shoulder arms, march forward two paces and face
toward the center. At "March" they march to the center and halt. Then the
Adjutant orders "Front-face. Report." From right to left, each Sgt. salutes
and gives the result of their roll calls. (Co. A all present and accounted
for; or, Co. F, one corporal and two privates absent, etc.). Then the Adjutant
orders "1st Sergeants, outward-face. To your posts, March. The NCOs retake
their places and order arms. The Adjutant faces the commander and gives him
the names of absent officers and the count of enlisted men absent ("Sir. All
present and accounted for". or, "Sir, __ enlisted men are absent", etc.).
6. Orders of the Day - The commander orders, "Publish the Orders, Sir."
The Adjutant faces the battalion and orders, "Attention to Orders", and he
reads the orders and other announcements. Then the Adjutant faces the
commander, salutes and reports, "Sir, the orders are published."
7. Standing Review (Optional) - If a Standing Review (inspection) is
desired, the commander directs the Adjutant, "Take your post, sir". The
Adjutant moves around the commander's right, three paces left and one to the
rear of the commander, who then orders "Prepare for Review". The Adjutant will
order "fix bayonets. Open boxes, etc." The band or field music begins to play
waltzes, polkas and quicksteps. Then the C.O. and the Adjutant (busily taking
notes) will march down/up the ranks, checking each man in each rank, after
which the music ceases playing. This is a great time for reenactors to perform
an inspection of arms before a 'battle'.
8. March in Review (optional) - As described in regulation 353, the
troops right face, march some distance, then countermarch to the right back
past the reviewing officer; the Field Music wheels out of column and ends up
facing the reviewing officer (still playing) while the troops continue
marching around the parade ground. The Officer leading the column must not
follow the Field Music! When the end of the line passes the music again, they
cease playing and fall in behind. The troops countermarch right and come back
to their original place in line. The music silently marches behind the troops
back to their place to the right of the line. If the troops are to pass in
review twice, the second march is done in quick time. The Music remains in
place until the second march is completed. If countermarching is inconvenient,
the column (including the Field Music can simply march counter-clockwise
around the parade ground). This is much simpler less prone to cause
embarrasing mistakes.
9. Troop or Retreat - There is no description of how a Dress Parade and
Guard Mount are done in conjunction with each other, but I imagine that at
this point in the Dress parade, the Guard is called out and formed up a few
paces ahead of the battalion. Then the battalion is dismissed. If a flag must
be raised, it is done at this time. If this is an evening Dress Parade,
Retreat is beat and then a flag is lowered. See the section on Retreat which
also discusses flag lowering.
Flag Raising - In garrison, the entire unit remains in place on the
regimental parade. At the moment the color guard marches from their place in
line toward the flagpole, the music plays "To the Colors" twice. Once the flag
is hitched to the lanyard, the color bearer stops and waits for "Three Cheers"
to conclude, at which time he commences to slowly raise the flag. The music
immediately begins to play a National Air, continues to play while the flag is
hoisted, and then plays "Three Cheers" to signal the end of the ceremony. The
color guard returns to their place in line. If there is no morning Dress
parade, raising the flag is done separately. The field music and the color
guard meet on the parade ground and perform the ceremony without the troops.
10. Dismissal - The commander orders, "Dismiss the Parade, Sir" and the
Adjutant announces, "Parade is Dismissed". All the officers sheath their
swords, face inward, and march toward the center, where the Adjutant will be,
having moved into their line. The Adjutant then orders the officers to, "Front
Face. Forward March". They march to within six paces of the battalion
commander, halting at the Adjutant's "Halt", and then salute the commander.
The commander gives any additional instructions and indicates that the parade
is dismissed. When the officers Step forward the band begins a quickstep. The
1st Sergeants close ranks and march their companies back to the company
parades where they break ranks. The band continues to play until the companies
clear the regimental parade.
CHURCH CALL
The fife and drum "Church Call" is the same tune as "The Parley", which is
used when desiring a conference with the enemy. Most encampments have church
services (or even a 'wedding') on Sunday. Most of the time we'd rather play
"Minstrel Boy" than "Church Call"(because of the movie Gettysburg). If the
service was in the field, and no furniture was available, it was customary to
use stacked drums as a pulpit. It also possible to use "The parley" in
reenactment battles to initiate a conference with the enemy. The Battle of
Glorieta Pass ended with a flag of truce. I don't know if they actually played
"The Parley" or not, but they could have. Buglers also have a corresponding
"Church Call".
Back to Field Music.
GUARD MOUNTING
The Bruce and Emmett book says this routine is the same as Dress Parade,
but the U.S. Regulations Book (starting at #376) actually reads differently --
therefore, I would guess that some interpretation is open to reenactors
whether they want the Guard Mount to be exactly like Dress Parade, or to be
less fancy.
1. "1st Call" - "1st Call" is played to assemble the men on their
company parades for a quick inspection by their company 1st Sergeant. Since
one or two drummers (the regs say two drummers were detailed for police guard
and one for advance guard) will continue marching with the guard, they will
have to post themselves to the right of the 1st company detail but to the left
of, and separate from, the rest of the field music. Their proper place on the
march would be at the head of the guard as if they were in company formation,
while the other musicians march in battalion at the head of the column. This
will avoid any potential collisions when the music not on guard duty wheels
out of the column.
2. "2nd Call" - Five minutes later the "2nd Call" is played (the Howe
book has special calls for Guard Mount, but the Bruce & Emmett does not). This
is the signal for the troops to 'repair' to the regimental parade conducted by
their 1st Sergeants. I read this to mean that the music does not play marches
or the "Adjutant's Call" as in the Dress Parade. The Adjutant then assigns the
detail to various places in the guard.
3. Standing Review - The new O.D. inspects the Guard.
Open Ranks - The NCOs open ranks for an inspection during which the
music plays.
Close Ranks - After inspection, the officer of the guard and the new
and old officers of the day take their places (no salute). Field Music ceases
playing.
4. Trooping the Line - The Adjutant will put the men at parade rest and
will order the music, "Troop -- Beat off!" The music plays "Three Cheers", and
begins marching at slow step down the line to the left, between the companies
and the officers, playing "The Troop" or a fancy troop like "Duke of York's
Troop", the same procedure as in a dress parade. This is called 'Trooping the
Guard'. The adjutant salutes, and reports to the new OD that the guard is
formed. The new OD orders him to march the guard 'in review' or by the right
flank to its post.
5. March in Review - A march in review is conducted (as in a dress
parade) by ordering the new guard to face right, march a short distance,
countermarch, then march past the new OD & the Adjutant, giving a salute as
they do so. The music (not detailed for guard duty) then wheels to the left,
out of line after passing the officer, performs a 3/4 wheel, and ends up
facing the officer. The troops continue to march between the officer and the
music (which is still playing), and go straight-on out to their duty post. The
music stops when the guard clears the parade ground. The guard musicians can
take up th ebeat at this time. When the column has passed, the old Officer of
the Day salutes, and reports his standing orders to the new Officer of the
Day. The rest of the music is then marched back to camp and dismissed. The
whole operation need not take more than 20 or 30 minutes, depending on whether
a real 'inspection of arms' is conducted or not. Buglers play "Attention" for
"1st Call" and "Assembly of the Guard" for "2nd Call".
PUNISHMENT DETAIL
This is a very good assignment for younger musicians, since it is not very
demanding. Most of the pictures of this type of detail show one corporal or a
junior officer in charge, two guards leading the prisoner(s), two guards
trailing, and two musicians behind them. The procedure starts with the Guard
Drummer playing "Drummer's Call". The assigned musicians assemble at the
flagpole and play "Assembly" without "Three Cheers" five minutes later. In
this case, the drummer's call is the signal for the detail to get ready. The
detailed guard assembles at the flagpole under the direction of the corporal,
who marches the detachment with a drum cadence (fifes tacit) to the detention
area. One or several 'prisoners' would be under guard at a specific location.
They should be wearing no equipment, and could be bound with their hands tied
behind their backs. If a unit has a bald member he can correctly portray a
prisoner -- they customarily had their heads shaved -- otherwise, just a bare
head is good enough. Some signs with the description of the prisoner's offense
should be hung around the prisoner's necks with loops of rope. These signs
should describe their offense, such as "Thief", "Coward", "Drunkard",
"Looter", or "Shirker". Some signs were very elaborate stating details such
as, "This man stole from a wounded comrade".
The corporal relieves the duty guard of his prisoners and puts them into line.
He orders bayonets fixed, then he and the leading guards reverse arms. The
rear guards 'charge bayonets'. When the corporal orders the detail forward,
the drummer begins with a Common Time, then switches to "The Rogue's March"
which he plays twice. First the drummer plays alone, and then along with the
fifer, continuing to alternate as many times as required. The corporal marches
the detail around the parade ground several times and then back to the
detention area, where the prisoners are left with the original guard again.
The prisoners can be simply left under guard, sitting on the ground, or can be
"Buck and Gagged". To do this, the prisoner sits on the ground with a bayonet
clamped between his teeth and tied around the back of his head with a rag or
rope. Then a pole is inserted over his elbows but under his knees; the wrists
are tied together, and a cup of water is placed where he can see it. At this
point an officer or the corporal can ham it up with a speech of admonishments
to the prisoner and prophecies of impending suffering from thirst.
Another method of punishment was to tie the prisoner's hands to a tree limb,
forcing them to stand. There is sketch of this punishment, described as being
for drunkards. If the prisoner is a young musician, he would have been made to
stand on a wooden barrel stave for a time, or made to "kiss the gunner's
daughter". This is when the prisoner is lashed to a gun wheel or gun barrel,
which is also correct for a prisoner who is to be whipped. The people in
charge of the reenactment will have to decide whether one punishment or
another is too 'gruesome' or is suitable for the audience; and care should be
taken as well that only volunteer prisoners be used, for obvious reasons. The
guard is then marched back to the flagpole and dismissed. I could not find any
specific regulations related to these procedures.
TO DRUM OUT OF SERVICE
This procedure is exactly the same as above, but the prisoner is not bound although he should be shaved or at least hatless. Wearing no equipment, but wearing a sign as before, hands at his sides, he is marched around the parade ground to the same music, and out of the camp and released. A dishonorable discharge is given to him and he heads down the road alone (hopefully to return for the next event on the weekend schedule).
DRILL CALL
A company drill starts with the "Drummer's Call" on the company street.
This is not played at the guard house or tent because it involves the company,
not the battalion. The company musicians, one fifer and one drummer (or two
drummers) play "Assembly" on the company street. In formation, the company
music is posted per Scott's Tactics: "If a company be detached, its pioneer
will be posted in the line of file closers, on the right, and its music four
paces on its right, in a line with the front rank; the drummer on the right of
the fifer or bugler." This is a good formation for one fifer and one drummer,
because when a "Right Face!" is ordered, the fifer steps up beside the drummer
on the right side. This places the fifer with fife pointing away from the
drummer, and the drum pointing away from the fifer. Then the company officer
marches the troops (with cadence) out to the drill field and puts the company
through drill, hopefully using the marching cadences and "Field Signals" by
the drummer(s). Another good 'show' for the public is to run the men through
bayonet drill while the music plays some popular marching tunes.
Battalion drill, that is, drill by several companies is initiated with the
"Form Battalion" procedure described above, followed by the column marching
out to the drill field. When I refer to 'Battalion' signals below, I mean
signals used for troops who are in a line of battle formation (as opposed to
skirmish formation). The Commanding Officer should practice battalion
formation drills using the drum field signals, then break into a skirmish line
to perform those maneuvers, finally returning to battalion formation, and
marching back to camp. A company would have been dismissed on the company
parade. Battalions must be dismissed on the regimental parade. Buglers have a
specific "Drill Call" which they can use.
In battalion formation, the music is posted per the description in Scott's
Tactics: "The drummers and fifers, or bugles, (the field music,) will be drawn
up in two ranks, the drummers in the rear, and posted twelve paces in the rear
of the file closers, the left opposite to the centre of the left centre
company. The senior principal will be two paces in front of the field music,
and the other, two paces in the rear." This formula places the field music
centered behind the firing line. The drum major stands with his back to the
fighting (the only man in the regiment to officially do so), facing the field
music. The commander of the battalion stands behind the field music, so he and
the drum major are facing each other. Then the commander can easily give
commands to the drum major who relays them to the field music. Consequently,
it is very honorable for a drum major to be shot in the back.
If a brigade is to be controlled in the field, the brigade bugler(s) should
play the desired signal and the regimental drummers (with permission of their
respective commanders) should take it up immediately after. This way, the
whole brigade can be moved as one. In 1863, Dan Butterfield invented a call
for his own brigade which would distinguish the calls from those for other
units. This helped avoid confusion in battle. There are accounts in dairies of
situations when even the opposing forces thought the call they heard was for
them.
Skirmish can also be done by drum signals. There are many drum skirmish
signals to be found in various manuals on tactics. We use the ones from
Cayce's because they are easier to read, and possibly were used as much or
more than Scott's. Buglers have two additional calls: "Fix Bayonets" and
"Unfix Bayonets".
The skirmish procedure was described by Delavan Miller of the 2nd New York
Heavy Artillery in his book "Drum Taps in Dixie". Musicians who are assigned
to specific companies run to take their places beside the company officer as
the unit goes into skirmish formation. The Lead Drummer or Drum Major stays
with the battalion commander to initiate the signals. The lead drummer will
start a command he receives from the CO, and the company drummers will join in
as soon as they recognize it, repeating it if necessary. No cadence or music
is played in skirmish formation. The drums are used only for signals, and the
fifers are used only as orderlies. The nice part about skirmish is that the
men (and officers) do not need to know all the calls, because they have a
musician right there with them to tell them what order is being played.
Back to Field Music.
FIELD SIGNALS
These commands should be preceded by the word 'Music' so that the drummers
know they must play the command (instead of responding to a voice command).
For example "Music, Forward!" or "Forward by the Music!", instead of "Forward
March!". Drum commands are executed on the last beat the same as voice
commands (George Carroll). The last beat of the command should be slammed
(forte) by the drummers so that the troops know when to execute the command.
As in the Guard Calls, I recommend that reenactors only use a few signals. Of
course, the more signals, the better. But if a reenactment group can do this
much they should do themselves proud. There are no signals for fifers; I think
they were used as messengers in the field as well. The lead drummer does not
need to tap off. He should just begin and the others join right in. Most of
the signals listed here are for both battalion and skirmish formations.
1. "Forward" - or "Forward at the Common Time" - is the signal to commence
'forward march' at common time (90 beats per minute). In battalion, this
signal is called the "Common Time". The drummers play it through once while
standing or marching in place (at the preference of the commander). On the
first beat of the repeat, the troops all step off at the same moment. After
finishing the repeat, the drummers can go into a quickstep for drum corps. We
usually use Q.S.#1 because it sounds like a logical extension of the Common
Time and gets the drummers rolling with a nice easy start-off. This method is
the only way to get a battalion to march at the same step at the same time.
If the commander were to use the voice command repeated by the company
captains, each company will start at a different time and be in a different
step, not to mention the gaps created by the companies and the accordion
motions to close them up. If a battalion commander forgets and uses the voice
command, the field music should step-off as ordered, but play the common time
command at least once upon beginning to step-off anyway. Then the troops and
the officers will get used to hearing it at the beginning of a march.
In Skirmish formation, this order is called forward. "Forward". It is played a
little faster (100 beats), is not repeated, and does not involve a coordinated
step-off. The troops advance without music at the 'Route Step' and continue
going forward until they hear otherwise. To avoid confusion, the field music
should probably not play music while in skirmish formation. Or, if they do,
they could play "Three Cheers" before the next call to alert the men.
2. "Quick Time" - to commence marching at quick time. This signal is used exactly as the Common Time except it is played faster (110 beats per minute). This signal is not listed in the signal section of the Bruce and Emmett Book because it is the Quickstep for Drum Corps #7. This is apparent from the "Quick Time" in Cayce's Tactics. In the B&E book the first eight bars of #7 are played four times. Therefore, I think it should be played twice before marching, and twice after beginning to march (similar to the "Common Time". The drummers should probably go into a 6/8 cadence after finishing the repeat instead of a 2/4 beat. Fifers can play along at this speed also (now you're doing 'quicksteps'! For some applications, reenactors might find 90 beats too slow and 110 too fast.
3. "Double Quick" - to commence a quick march at 130 beats per minute. The drums should play a different cadence than usually used (maybe ruffs on the left foot only). Fifers will not play at this rate. If the troops are ordered to run, I usually tell the drummers to put both stick in one hand, grab the ropes with the other and just tap one beat on the left foot only.
4. "Halt" - to signal a halt in the march. This signal takes some time to execute (sixteen steps), so the officers should be aware so they don't run the troops into the bushes (or a wall) before coming to a halt. When the troops hear the distinctive flams they should be prepared to stop. The end of the signal is well-marked with a five-roll and a rest, followed by two quick flams. These flams should be interpreted by the troops as a quick 'left-right'. The left foot stops on the first flam, and the right foot is drawn up beside it on the second flam. It works, with a little practice. Unlike the other signals, "Halt" must be played at the speed of the current march, 90 beats for common time, and 110 for Quick Time. In skirmish, of course, people just stop at a convenient spot, wherever they are (find some cover, though).
5. "Commence Firing" - to signal 'Independent Fire' (in skirmish formation),
or 'Fire by Files' (in battalion); also often called 'Fire by Drum' when it is
used as a signal to volley (on the last beat). Drums: "Commence Firing" - In
battalion we can use this signal to denote either 'Volley Fire', or 'Fire by
Files', but there is no evidence (I can find) that this command is actually
related to 'Volley Fire'. The correct name of the command is "Commence Firing"
which sounds more like 'Fire by Files', or Independent Fire'. The choice is
yours. Since no distinction is made in the manuals, it was most probably left
up to the whims of the regimental command anyway.
Method "A": To perform volley fire by drums, the officer can start the command
with "Prepare to Volley", or "Fire by the drum!" and the drums start. During
the first pause, the officer shouts, "Ready!", second pause, "Aim!", third
pause, "Fire!". Then the troops fire a volley on exactly the last (single)
beat of the drum command. Or, this can be done without voice. But if this
command is used this way in battalion, to 'Fire by Files' would have to be
done without drums.
Method "B": Use the voice only to perform volley fire (this makes sense), and
use the drums to signal 'Fire by Files'. In skirmish, this command can only
mean fire by files (as per the skirmish drill) and would never be used to
signal volley fire. I tend to think method "B" is more authentic.
6. "Cease Firing" - to signal 'Cease Firing'. Some Tactics use the Long roll to signal "Cease Firing" but I think that can be misconstrued as another signal for "To Arms". So we use the Bruce & Emmett signal. It cannot be mistaken for another signal. The drummers may have to repeat this signal several times until everyone has heard it and the firing has stopped. This signal is good for both battalion and skirmish formations.
7. "March in Retreat" - to signal 'about face' and march to the rear. In battalion we use this as a cadence and keep playing it until the troops stop retreating. George Carroll pointed out that this signal is backwards from the Common time; it is meant to be the reverse of forward. In Skirmish, this signal need only be played as written. The troops turn around and march route step to the rear until they hear theHalt.
8. "Deploy as Skirmishers" - to signal the troops to go into skirmish formation. The troops break into a skirmish line per whatever tactics manual they're using. The field music separates and goes with their respective companies or staff.
9. "Assemble on the Battalion" - to signal troops to return to battalion
formation from skirmish or any other disordered formation in the field. The
only problem with this signal is that it is similar to "Quick Time". If this
is a problem use another signal instead, such as "Rally on the Battalion" or
"Recall Detachments".
A suggested simple drill by drum:
Music: "Forward" - The battalion advances; the field music can play
quicksteps.
Music: "Halt" - The battalion halts.
Music: "Commence Firing" - Companies open fire by files.
Music: "Cease Fire" - The officers can advance in front of the line to spy out
the enemy with their field glasses. Three taps on the drums brings them back
into line.
Music: "March in Retreat" - The troops march back to their original line.
Music: "Halt" - The battalion halts and 'about faces'.
Music: "Deploy as Skirmishers" - Troops deploy by whatever tactics manual they
are using. Music disperses to assigned positions with each company.
Music: "Forward" - The troops advance without music at the 'Route Step'.
Music: "Halt" - The troops halt; troops and field music taking appropriate
cover.
Music: "Commence Firing" - Each company commences 'Fire by Fours'. Troops
never volley in skirmish formation.
Music: "March in Retreat". Troops fall back, firing as they do so.
Music: "Cease Firing" - Troops cease firing.
Music: "Halt" - The battalion halts. Facing is not important in skirmish.
Music: "Assemble on the Battalion" - The troops and field music rush back to
their places in line, and the battalion is quickly reformed.
DINNER CALL
Dinner is at noon. Same procedure as breakfast. If the musicians do not know
"Roast Beef", just play "Peas on a Trencher" again. When there is a company
mess, the musicians are quick to learn that after playing the call, they will
be last line. I complained about this to our Captain. So now in our company,
musicians who played the call go to the front of the line. Musicians: remember
to get your haversacks ready before you go out to play the call.
FUNERAL DUTY
Per regulations starting at #290, the field music is formed up to the right of
the guard escort, facing the dwelling of the deceased. The numbers to be
allocated to the escort depend on the rank of the deceased as described fully
in the regulations. When the casket appears, the music plays "Three Cheers"
immediately followed by a funeral march at slow tempo (80 beats). An
appropriate march to play for a Civil War impression would be any one of the
five described in the Bruce and Emmett book, and several other dirges which
can be found in other fife and drum manuals. The music plays until the
pallbearers reach their appropriate place at the head of the line. The Officer
in charge has the music and escort face right, reverse arms, and forward
march. The procession can do 'common time' or 'half-step' depending on the
distance to go. The music continues to play funeral marches until route step
is ordered (if the distance to the cemetery is far) or until the enclosure of
the cemetery is reached. The music does not play again until they return
outside the enclosure (after the ceremony), whereupon they immediately break
into a rollicking Irish tune, "Merry Men Home from the Grave", being usually
considered most appropriate (Bruce & Emmett). After that, regular quicksteps
can be played on the way home (unless route step is ordered). The tradition of
having a bugler play "Taps" over the grave possibly did not come into being
until the 1870's or so. Although attributed to Dan Butterfield, "Taps" is most
likely of French origin, as were most of the bugle calls of the day.
Marching Parade
Incidentally, there are a couple of things the troops can do during a marching
parade to spice things up. If there is a reviewing stand or other showy place,
like a town square, or main intersection, the troops can stop, then start
again at slow step. The flag can be dipped in salute, the troops can "Eyes
Right" or left and present arms if desired. The Field Music can play 'troop'
or a fancy troop for a certain distance; then all can resume the common time.
It's really good if the drum section can pick up the march again with an
especially fancy intro. This would look really sharp when the unit continues
on down the road at the common time.
Another good vignette would be especially appropriate on a Memorial Day, or at
a dedication to a monument. When the parade approaches a reviewing stand or
monument, etc., they could stop, reverse arms, and proceed at the half-step
while the music plays a funeral march once over and stops. When the march is
finished, the troops would shoulder arms, then the unit could start up again
at the common time. If desired, the drums could be draped in black cloth and
the troops could wear black arm bands at the discretion of the leadership.
TO ARMS
This vignette represents sounding the alarm "...when the regiment should form
suddenly to meet the enemy." This call (the long roll) would have been played
in camp by the drummer of the guard, or on the march by the field music at the
head of the column. Then comes the centuries-old problem of how to get a
column of men (quickly and efficiently) into a battle line. Schedule this at
midnight and the reenactors will love you forever.
MEDICAL DUTY
Just before a 'battle', or especially, an all-out attack, the field music can
be dismissed to help with the wounded. The procedure is to stack drums behind
the line and tie red armbands onto the sleeves of the musicians. This
indicates they are doing medical work. Then the music can help 'carry' wounded
back to the rear, give water, wrap bandages, etc. But it's very important that
the musicians keep an eye out on the action so they can stay well in the rear.
Musicians who venture too close to the lines (or the artillery) will be asked
to leave the field. And keep an eye out for stray horses (you'll also be asked
to leave the field if you
get run over). A few stretchers manned by the larger boys would be a nice
touch, also. There are no regulations concerning the use of musicians as
medics - this practice probably developed as a reaction to the tender ages of
many of the volunteer musicians, as well as the impracticality of having field
music in some of the situations created by the development of modern warfare.
EXECUTION
I didn't find any references to music for this item in the regulations or any
other manual, but the music was surely present as diaries of the day indicate.
Usually all the troops in a brigade or even a division are called out to
witness this punishment. The Field Music would call the assembly and probably
escort the prisoner to the tune of "The Rogue's March" to the execution site.
The drums can play rolls to accent the suspense which precedes the event. I do
not think the deceased in such cases were ever given any kind of funeral
procession. Buglers would play "Bugler's Call" and "Assembly."
RECRUITING
Regulation 913 specifies that each recruiting party should have a fifer and a
drummer assigned, as well as a lieutenant, a sergeant, and 2 privates to form
the recruiting staff. They should play a few patriotic tunes by the
registration table and march around the area, followed by bumpkins in civilian
clothes. The officers and NCOs should do a few 'soap box' or 'stump' speakers.
Veterans and patriotic ladies can hand out inspiring flyers to the crowd (to
the tourists, too). A good assignment for a couple of younger musicians. The
Regulations do not mention buglers for recruiting duty. (2 Musicians, one
fifer & one drummer).
ISSUE CALL (Pay Call, Mail Call, Rations Issue, Ordnance Issue, etc.)
The only thing the music can do here is play an assembly preceded by a
drummer's call/"Bugler's Call". Incidentally, the traditional "Postmaster" for
Federal regiments was the Drum Major.
SUPPER CALL
The same as Breakfast & Dinner.
RETREAT
If a Retreat is to be beat during an evening Dress Parade, it is done just
before dismissal (Dodworth's Band Tactics). The Field Music plays : Three
Cheers", beats "The Retreat" down the line and back, returns to their place in
line and finishes with "Three Cheers". Then, unless a flag is to be lowered,
the dismissal is performed.
If there is no Dress Parade, the Field Music and Color Guard (if there is a
post flag) meet directly on the parade ground after "Drummer's Call". The
field music beats Retreat down the line and back, and then the flag (if any)
is lowered. In inclement weather, the field music simply plays a "quick
retreat" while standing in place, then they 'beat' a 'quick retreat' back to
their quarters.
Lowering the Flag - The ceremony of raising a camp or garrison flag is not
aptly described in period writing anywhere that I can find. But we know it had
to have been done in garrison duty. In the field camps of the Civil War, there
were only Regimental Colors, no post flags, so raising and lowering the flag
had no part in the Dress Parade for them. Retreat was simply the signal for
the end of the soldier's workday and had no association with lowering the flag
at all (George Carroll). However Retreat is a part of the evening Dress Parade
(the U.S. Regulations), and this is the appropriate time to perform it (Step
#9 in the Dress Parade section above). Therefore, if a post flag needs to be
raised or lowered, both in the morning and in the evening, it should be at the
conclusion of the Dress Parade, after Retreat, and just before Dismissal. In
later Army Tactics manuals, Retreat did become associated with lowering the
flag as we are used to thinking of it today. Per those tactics, Retreat is
played on the bugle first and the flag is lowered while the bugle plays "to
the Colors".
If there is a camp or post flag which must be lowered, the commander orders
"Color Guard, Post". "To the Colors" is played twice while they move to the
flagpole. Then a 'National Air' is played while the flag is lowered. The
commander orders "Present Arms" until the flag reaches the ground. After the
flag is folded, the commander orders, "Dismiss the Parade, Sir" and the
Adjutant announces, "Parade is dismissed".
Terminology: the camp flag is called a 'flag' while the hand carried
regimental flags are called 'the colors'. The flagpole is known as 'the mast',
the top pulley is 'the truck', the rope is 'the hauser', the tie clip at the
bottom is called the cleat. Civil War Period National Airs: "Yankee Doodle",
"Chester", "Hail to the Chief", "The Red, White, and Blue", "Hail Columbia" or
"Star Spangled Banner". Most of these tunes are available in the Howe book.
SOCIAL
DANCES
On the March, or especially out here on the frontier, a fife and drum corps
may find itself to be the only music in town. In those cases, it was expected
that the Officers would have the field music play parlor or folk tunes on
occasion to dance by or listen to. It's good to have a few of these tunes on
hand just 'in case'. An ability to have a couple of people switch to more
folksy instruments might come in handy, but is not necessary. We have found
that many of the common marching tunes can be danced to. Have the drummers
play very lightly or on the rims. Fifers play as normally. 2/4 and 6/8 time
tunes like "Yankee Doodle", "Girl I Left Behind Me", "Gary Owen" are good
selections; and for waltzes, such triple time tunes as "Duke of York's Troop",
"Trust to Luck", and My Lodging's in the Cold, Cold, Ground" work quite well
also.
TATTOO
Tattoo was usually performed at 9:00PM to signal that the troops not on duty
must stay in their quarters. It is a long sequence of very intricate fife and
drum tunes which are considered the very height of quality field music
technique, "The Downfall of Paris" usually being considered the summit of such
excellence. The sequence of tunes are of a prescribed type, but there are many
choices on which ones to play. Besides being a camp signal, it was meant as an
evening concert for the troops -- a chance for the field music to show off.
Buglers play "Tattoo".
TAPS
At 9:15 PM The Guard drummer beats out three distinct taps, the signal for
'lights out'. This is the predecessor of the better-known bugle call "Taps"
which was written or introduced by Dan Butterfield in late 1863. It became
immediately popular and spread from brigade to brigade until the whole army
was using it. It has since become an almost universal symbol for 'lights out'
and funeral honors. taps should be performed by the whole division at the same
time. It is commenced by the designated brigade drummer who is followed by the
next brigade's drummer and the next etc. The regulations say from the center
down to the right, then to the left, and back to the center. Lastly, all the
drummers play it once together. This tradition dates from Colonial times.