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Y [All rghts reserved.} OFFICIAL COPY. DRUM AND FLUTE DUTY FOR THE INFANTRY BRANCH OF THE ARMY, WITH INSTRUCTIONS FOR THE TRAINING OF DRUMMERS AND FLAUTISTS, From the Authorsed Sergeant Drummers' Manual, publshed by Messrs. Henry Potter & Co., Charng Cross, London. HORSE GUARDS, WAR OFFICE, st OCTOBER, 887. ^ublh^tb fog &ut rjffn. LONDON: PRINTED FOR HER MAJESTY'S STATIONERY OFFICE, BY HARRISON AND SONS, ST. MARTIN'S LANE, PRINTERS IN ORDINARY TO HER MAJESTY. And to be purchased, ether drectly or through any Bookseller, from EYRE & SPOTTISWOODE, East Hardng Street, Fleet Street, E.C.; or ADAM and CHARLES BLACK, 6, North Brdge, Ednburgh ; or HODGES, FIGGIS & Co., 04, Grafton Street, Dubln. Prce Two Shllngs.
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Horse Guards, War Offce, - st October, 887. Hs Royal Hghness the Feld Marshal Commandng n Chef desres that the Drum and Flute Duty, as heren publshed, may be strctly adhered to, and no other Drum and Flute Calls wll be permtted to be used. By Command of Hs Royal Hghness The Feld Marshal Commandng n Chef. a2
CONTENTS. PART.. DRUM AND FLUTE DUTY. Sec. I. Drum Calls. Sec. No.. For Battalon Parade 5 2. For Sprng Drll by Squads 6 3. In Camp or Quarters 7 4. In the Feld - 8 II. Drum and Flute Calls. No.. Drummers 9 2. Poneers............ 9 3. Fatgue 0 4. Pcquet............ IL 5. " Men's (st) Breakfast and Tea... 2 6. Men's (2nd) Breakfast and Tea... 2 7. Men's Dnner....,......... 4 8. Ratons 6 9. School 7 0. Offcers' Dress for Dnner 8. Offcers' Dnner 9 2. Dress for Parade 9 3. Recrutng (and Church Call) 2 4. Royal Salute 22 5. General Salute 23 6. Queen's Guard Colour Salute 23 7. The Salute, or Pont of War 24 8. The Troop 25 9. The General (on Change of Quarters) 29 20. The Revelle 3 2. The Retreat (at Sunset) 37 22. The Tattoo 39 23. Funeral March 4 2 24. God. save the Queen 45 PART 2. INSTRUCTIONS FOR DRUMMERS AND FLAUTISTS. SEC. I. Elementary -.. 47 SEC. II. Instructons and Exercses for Drummers... 63 Sec. III. Instructons and Exercses for Flautsts... 76
PAET. DRUM AND FLUTE DUTY. SECTION I. DRUM CALLS. No.. For Battalon Parade. For the non-commssoned offcers, band, &c, to fall n by companes, or otherwse : Drum only. Whlst callng the roll of the above : Drum only. :p=p= / H rr :p=«b f!" r^zza: E^Sr :*=p: *=:*: "EEEEzz H-l P For the battalon to fall n by companes, or otherwse : Drum only. B Whlst callng the roll of the battalon : Drum only. ^ =tf= JB^P 3^,
6 Part L] Drum and Flute Duty. [Sec. I. The Orderly Sergeants, or Markers, to take up the coverng postons for the companes : rse 5E^: / v**& Drum only. Attenton for the Commandng Offcer : Drum only. -w mlel^ p? ff No. 2. For Sprng Drll by Squads. To stand at ease : 3-mm ~? ff p ff p Drum only. ~~^ ~~, ~_ Repeated for stand easy. ff To commence drll agan : Drum only. -y a^ t^=e^ / Attenton for the Commandng Offcer : Drum only. P P P ff''
Part.] Drum and Flute Duty. [Sec. I. No. 3. In Camp or Quarters. Men's (st) Dnner. Drum only. Defaulters (The Taps). Drum only. -^M~ f - ^ P -r-! I ff V tf 9 Guard Salute. Drum only. ffvffv ff * Change Guard. Drum only. To Arms. Drum only. 7 t*?
; Drum.. 8 Part.] Drum and Flute Duty. [Sec. I. No. 4. In the Feld. Commence Fre. Drum only. P.^A^jt^Aw=kjff" Cease Fre. only. y ^ A.L^J: B ^=^:p:?» g: -
.,/: - ^~l Part.] Drum and Flute Duty. [Sec. II. SECTION II. DRUM AND FLUTE CALLS. No.. Drummers (or once through for "Quarter Call"). Flute. Drum. ~frd±~- =tq :t Jj-^p^fr-frC No. 2. Flute. Drum. -Poneers. bt 36 as- fry-r =ft^ -_3E: j. '^L^<»U-C-P~f~^: I.. Aqfe r mm grg - P--fEP3E -I, I [ -... *-w~p 5^
L Part.] Drum and Flute Duty. [Sec. II. t_ : t f _f^- ±t=e: * I I J I [ gzfc -*-F No. 3. Flute. Drum. Fatgue. :fl 3Ef :% 3-r~3: njj j ' Ej :ta=c # #-* g^ ^^ **: J:=^gH E ^SS ^zp ->! ag- -* =t=t2=t- PBMfc :fe Allegro marca. *~~ m -p_ Jb -*-r- _ -(- -*lf-m-m- ^^ fcz p:g y k l $ The Calls ^ A^ y-g-jr-y ; - -^-f^ 5= t fe -F =b ±:\z: ~W K=* A *=* X=2= Ef=ggC=ES marked " Allegro marta " are played n Quck March tme, those marked " Allegro molto " somewhat faster.
I fcg» Part.] Drum and Flute Duty. [Sec. II. *=^ fe I* felc=z?eqfz-3-rt> > *r-*^-g - -'a -Z?~~*~» f». Jy -a '> F ~ ^~ ^Bg^T! r * ^ I ^, L: m $= y» 9~jf~9~fr-9 jr j= =g^e^= No. 4. PlCQUET Flute. tl Allegro molto..^fr : -.jb_ ^.jr*" 4 fc E=3r& fefep t*= : Drum. * ^^Sg^ ft PMW «PP =P=Pk_l tg =: =j=^-tnrgg:
2 Part. Drum and Flute Duty. [Sec. II. P -*- -f -F-l- -»- m -0- m -3-hr ^ =HI No. 5. Men's (st) Breakfast and Tea. Flute. Drum. Allegro marca. tezzrezb^ 3 j*. ' ~-*-0- [#: /. llf^sl =J -g-p>-^ * >> k-*=* ^&- 4Sfe 2^0. =t. J". 9 =rg-r> *yzz*zjk ^^P fr-a" 5? No. 6. Men's (2nd) Breakfast and Tea. Flute. Drum.
3 Part.] Drum and Flute Duty. [Sec. II. *gg m- jl -0-*- P -Ss* P N-/ l# _,#_. #,,.r vw=m... p\ p ^3% :! t 3 ^czraaqc urfm n, Jf Jf 4L-U* +=t ^ m;_*_:?- W -r- A- 35 -t- -F- ^ - - l 8 s felllf^^- 5* 3E =mtrtrrp t H ( I FH ±Z >^* I I 3
I J^ 4 Part I.] Drum and Flute Duty. [Sec. II. No. 7. Men's Dnner. " Roast Beef of Old England." Flute. Drum. Drum. Allegro marca. ne 3Ee? t f t^z3=3^_-^: &--t t-t -4=- =' Another beatng A m :*=p:z=r#. y * ' Jl +JBf ' rw p - ff 4*- r,, "J "H *'- *rrr f ""
hzd ULM- 5 Part.] Drum and Flute Duty. [Sec. II. J ±E=3= TSprjfcpp: -ft- -*- -*- *»- rfcp* S^, a=p: S- " f- :? :f jt -F -t- -\- -F -t- -; -* g»- * qc»?=p= g gg E= af gff ^=^a«-j. _. > _.. ft ±EE9 \=± &± M=^-
6 Part.] Drum and Flute Duty. [Sec II. No. 8. Ratons. " Hearts of Oak." Flute. Allegro molto. ^" ~ zl& m & 4 HJ=. *=f r r Drum. HEP jgj-jg^. / N p^*xpq>l=p: J> L--V-gg- ^rrp^p: IP -#- -P- -In+- -r -h HH :»=E, *- p r tt?: :U3fc *^ ^ > >. > :t= == -P=^ *=tg zt= * S^ IS^^ «* m ^ZE7TF~W= -» p 4= 4= ±L,. q=- f«*" 4= I =W^:^ 4*=* qqcppa^acaj ±jq^tq
r 7 Part.] Drum and Flute Duty. [Sec. II. fa! - «- m -m- -w~ -»- m -w- m /-"\ m pfefaj L^._^^^j pe^^gg * ^ H H I bj t=t t t ^PP No. 9. School. " Salor Jack." Allegro marca Flute. Drum. ^ =5 S3? ft-. / ^P^fe 2do, -m- ^ ^^n^p^; * - =*=*-- ~-m
$ F 8 Part I. Drum and Flute Duty. [Sec. II. ^ ^z 5t =fc±j No. o. Offcers' Dress for Dnner.* Allegro marca. ^~ t n h=± fc p=3gg "- a j w k I 3L *-* * -fe -I ^- -»- ' m ^L u \ I ffzzpc JIP=2--p: ^^3^8 :!g=fl^ * A part of the "Roast Beef of Old England" s sometmes played n leu of ths Call.
2do. 9 Part.] Drum and Flute Duty. [Sec. H. No.. Offcers' Dnner.* ^ISlg^gp^^fe frf-sglno. j j Z S:pzrz^: 4z =!* fz=3: BSB No. 2. Flute. Drum. Dress for Parade, or "To Arms." mallegro molto. ^*^±*=^ -*--» ±=tc ^=n?e==c=pllp: =E±k EE^E l /' P / -P-o- m -»-P~ ±H fcpe: * The Men's Dnner Call "The Roast Beef of Old England," on Drum and Flute, may be used n leu of ths Call ; or n Scotch Regments an ar on the Bagppes may be played. B 2
20 Part.] Drum and Flute Duty. [Sec. II. = tz=t SeeE %JM^==^^ 7> /* -*t4 t 5^- /" * ^» HEt «^^? #? 4^J3 P a S - > /~ s > ^^ > '**> HE #~. y=>= F^g E5 gazam^s g F /' " <. P m: ^L-JMLMLa^ nf=*- P - /'
2 Part.] Drum and Flute Duty. [Sec. II. P ;B ^r-rj * -P-f*-*- «-»- k- -I I -I -F-r h - 4- ^* f»a 3r-z^r -r-^-j ^ j A ^: / F-r-4-4- -F-, F- -4- BEfet- Wf4-^4- g^f-r =r zr: _) S#a?K? / / 2f No. 3. Recrutng and Church.* Flute. BSE - -L-- fe ==3: Sde drum. j^ L JL Drum. ^ /lass drum/ f 2 H-fr f" 3. --^-- E^^K Quck march. kzojl :3z= : 3C5C 3zr * To fnsh wth the " Salute " on page 24 when used as a Church Call.
;. a -m- -0- -<^>- L ' : =::pqr :p I 22 Part L] Drum and Flute Duty. [Sec. II. -3?--%- bu. I p \ 5.0. -#, -p.- :p:^* a Fne, v?.#*» 'h*» #a! r~p~r- S.. IS IS. IS =?.. =2= j g fe& **? '± c: ^SE B ft.. g; H ll No. 4. Royal Salute. Flute. J>7<5OT. " f-h-«-«^ S3 3?Z* CpZ^ Drum. " r v\ ~ t w\ I r* See paragraph 2, Secton III, Queen's Regulatons.
9 *d-9 23 Part LI Drum and Flute Duty. [Sec. II. No. 5. General or Inspectng Offcer's Salute. Flute. Drum. Rather slow. w&m == :&=: tf s HIP gs t pu* -P te p^^l^^b to-w _3 I I -* *- P^--g g- s fc rr M PF ^^-T f p- * F^E an t t r- jgr 33C No. 6. The "Queen's Guard" Colour Salute. Flute. Solo Drum. Each tme Solo Drummer beats the Flam before startng. tr^. >, q f o - 9 9 -. 9 as 9 : ^ Drum. ISP"
- -^ b ' Part.] 24 Drum and Flute Duty. [Sec. II. * ^ :^t: sza^; E 3) ef : 'A-t Is- -=*=r tf-*-^ p 3 L_ No. 7. Flute. Drum. The Salute (or Pont of War). Allegro vvace. -- -r- ^=^. r m & &-^ / S*» ^ ftfr- Pp rg g «*: a a: &EgE ge0e gem.. f -h -f- I g *.p. -«- -«- g!f =; t=a^=^ * Also used when the Escort delvers to or receves the Colours from an Offcer.
I» m 25 Part.] Drum and Flute Duty. [Sec. II. > - - -ft-» SE r,-r--t=-r- -^- No. 8. The Troop. Flute. Drum. gm It Sde drum. r N.B. Other ars may be substtuted for ths. J, *~ * S=fc=^=^==P=&r # 2 :*=5z=a: f -=pg^-^ - r q -w^-t d_t-_*d_; td_r P 3 oft. SsSEpEESe Allegro marca. The Snglngs ^-jmzt: t=fc _9 _3 ==tz *-!-# tf- ^ fjg gg=e=g +**, *Zt>* -gjf y- '-a ' :_j H \ 0-W _)-» * Qtp=j«:*za-pqz*=p:p / Fne. ^z^zw^ltm&
sm k I _ 26 Part.] Drum and Flute Duty. [Sec. II. =^T -W~ -P=- _ -^- - «*» --h-»-^-f-- ^^^ Half the Drummers roll. * a ^ ALg-g:a!qp^~gzgzr^ ^ -g-^za g:gpp~^:g:^' l^r^l Io_- Zj ct: f *" * M ^^lll] P^ I N azen* atqpzaoo 9 C >d : -& & a a a g ^ g_ ~ I * - jg fl I K TI Nl ff - jp j»t*& rf^qgtf: *«:± ^ s * P3- -*-*_*- -r---f-r -h-h-*-?_t_ "- S** 9 Z>.C.
27 Part.] Drum and Flute Duty. [Sec. II. The 2nd part, or Doublngs. m SE&* --&-- Half the Drummers roll. J-J^-^Jl?cd 6P?53^a r=3: 0-!r3f jf.ft. -JET-a- -*- - - -f -; r~ -dp~ -<fr- -f H l s s S ttrwr--y. <M g Jfet ^=z - r y ^-»^*- -t: - *» af'sf 3 55 3 q: ^s^ffzrg: 2_ff_fc _«td. -a-^-f^ra: ^*_ 3 D Played between the frst and second parts. -Szzt*: ; g^f^f]
a 2S Part.] Drum and Flute Duty. [Sec. II. QST * IT t 3 \ ^ fc^r I -a- m -m- ±^st = S rr «hs- 9 <~ SJ3=JJ & EES y p=p=±jfc: ^ *\. I ^-atf af s^r a ^=^-b rt=t= n njs a p-, a I rqr=p JF «t=f; z>.c. n «*». ^3t==p: Return to the st part for the fnsh before rolls. I &. zrb=fc.; Bass Dram. ^ ^ a I &g z3z Drummers' Call. By Leadng Drum only, after the Band has played the Troop, as a sgnal for offcers to nspect ther Guards. Vvace. ^ ^ >«^ ^. «^ 3Eg ^ - *^ ::afc -*-^ g^g P y :--' #-^> ~SjEF^^ ' M^J^Llf
^\ 29 Part.] Drum and Flute Duty. [Sec. II. No. 9. The General on Change of Quarters. Flute. :F ^ /T> /TN Drum. rn P P P IflJ f Bass Drum. P gt f f:. r _x:_ A $! Quck march. - - -*- -m- m= k==fm& w-y&w: I 's^ ~- 'W 'M l g tfft ft f-rf~f & ±=a q=p=u^-- rrtt l^j=mff ^^^^ e AjL-mjLJ^a -W**M m - ppzp: a^«q j a Bj
30 Part.] Drum and Flute Duty. [Sec. II. p_*. :?»-<,»» L-f*- -^a»-. -B?_ &. jrrrr r *+ z=^g^=?- E3 as _-d-j^l E^Sr ^s ttgrrtx H -«- -* 4=t 4=-4=p _-*: * : *L«- sss ~j~~s~^» r^a-jr**"^ a~tt-q ~p jg~^~g ^t=^.'u. Eg H ^^, I *f- - ^gg^=^ ^j =p*la==p-5-4 d» «l> ff'. *
? 3 Part.] Drum and Flute Duty. [Sec. II. #-. a -*-? Jt-.f. -Pr rgrg;g~g ^ g^qejga re- J"-* jkfcpk^jl D.C, \ad lb ^# ^tre: {P " t a e ^ 5_^ s^!r» ^=p«= ^HE ^==P-^-p=F a p5f=f Bass Drum. No. 20. The Revelle. " The Mother and Three Camps." SLOW MARCH. J_. :_ fet Flute. S. ff. _ tf. Two steps to each bar. Drum. -*=P2= 3E3 ^^ / r-*: 3r=3B^rcs; ^=^E^ «^ qp: f S" f- :r :p=rp=fr: p p g--g C -p?zzgz=:g?=^:: ^F ^F ^^ ^^ ^r ^ *H =: Mr -^r *#H N.B. The st part (6 bars) of the Revelle to be played n QUICK tme for the fnsh.
F ' Ta F 0-0- 32 Part.] Drum and Flute Duty. [Sec. II. :p a f-t-c-f -*- -m- s Sm: 2 I = y T-*-,, P -p- F m -+-m _ * +- -*- * ^F >F- -»- ^ -+- -t na-r-l,4- -f- M Ml,. -»- W h P I f^-fr g t^*;^ f ftsgugg ^ jjg L^! ZZ=0 * 0- -* * W- *PFft=s& EBEg B Fne.
' 33 Part.] Drum and Flute Duty. [Sec. II. t=t= Z B^=gg^^EEE^ -* *- rt -P- -o- 0-0- )»-*- fr *»t~f t>t'. ^~ ' J* -a>- -P- -»- j f F-^- :* = S- _q, r~g QUICK MARCH. J=I20 & :a=p= (N.B. Other ars may be substtuted for ths.) SCOTCH REVEILLE. : = =*= /
P P' 34 Part.] Drum and Flute Duty. [Sec. II. 9 - -I -I - -t- -I «- I I I 4= UJ=j a ^ f= ^- m-fc-m- g : g^ ± -*- =: / ' Jj-p-sv-g =&=&&= =&=&: gfc^fcez -se we / ' ' / -*^fe^ r^t^-r-^* g> ' Uj> «U g " ardj t -q» JJj j J g-s5-» r^5 -m-jjmrj'jfr e 5 3 -»-F- - - - -( 4- +- - -F- +--»-» -f-) I f-h--h T--r F- P=F= t:
. I -p r 35 Part.] Drum and Flute Duty. [Sec. II. 3=F3 & _a ^rfr.fy :Ez:=.-pf^-Kfejf r;r ^ B. B. 5 Be. >' *»-*?-? I ^-a-.rg-jar-ygv-y-p--p-y^-artg-ar KE 2-* *-P^«- *#*#-»- *d= "P -("- 77 rg^pza~g?g^:-fg«^'y^:^ ^:^g»±pe^^ & -I E gg-'^l I! " W. Pffrtf». 9- ^ p=j f-r-r I I L-Zp ^-^] -fm- u«^ ^ B B. B B ^. =/ \=* p- «4- h! SH 3?t: -m- -«: fe -rf T- I t- zfezztzz ^?j^gz^sgg^ c 2
. # 36 Part.] Drum and Flute Duty. [Sec. II. -»- m-mrtt bapawc3c r:«sp= p=p z t-_-^-_jt_jp,- - -(«- - P- f»-? ar»~rfl» «_; te.nl.l_ ^ b- - ; tx _ L_ u -»- ^-.a -("- -h- " -t- nr t -t- «H ^^jd.c. ^=g^a=^zg^g^^=g^[j
-rp» a *j3= *- * -*- :E3 -*- a 37 Part.] Drum and Flute Duty. [Sec. II. No. 2.»The Retreat (Sunset). Flute. Drum. f Bass Drum 32. I P- T-.».p.-.ft-m- -p^-*-p- *- m- P ' Quck March. ^ :p=«te=?e #Half the Drummers roll alternately. I 3», a La m -0- fc a H r^^^bsb^d mo. 2do. '» p- S3 m j=q : ^ES
I ±- { s 38 Part.] Drum and Flute Duty. [Sec. II. N.B Other ars of the same capacty may be substtuted for ths. 9»»«,;, $= -*- ' -m- -?- : = = ;. 3caaac=pc ^**-V=#L :p:?jm *z "-, ^F m M *-0 ' I r^-w-- *-** jm- # _-Qa:g Wzjj_m A 2do - «. o- -I -jr -ft J-sU-a< j -' s{ -ttllr* n tzz.^ a ^*" I «j ^- =g= -r- ; ^ at -l- -r~ -t- Jt 3B=-^-c=p: «lp^ :^
39 Part.] Drum and Flute Duty. [Sec. II. I a * -0- ^f ffwm* as J: ^_-h.^. j_«a-^j ^E Sg- z^==3 / -C ~ I = 2do. s jf------jjp ]rf - n j j^^t-n 2 P zfez: ^ ^ ra-ere T" Bass Drum. ^ ^ ±fczp=a j!j3fc No. 22. Flute. Drum. The Tattoo. Bugles sound the st Post.^-^ > ** ts Before commencng the Tattoo on the halt..,, /T\ Tn st\ Sde drum. L, L, L, -fa- -P-P- -9 9 9- # Bass drum. & & & I _ -±4- -fc! j. at -P-^ at
I R a 40 Part.] Drum and Flute Duty. [Sec. IL mgpf-ff-*- $ Quck step ad lb. Commence tune n 3fc on the march. : t At the word change or doublngs, between each tune play ths. 4=--, ±3 4r_ "j^3 Doublngs One half of the Drummers roll as marked.! H I rr- **- r JA ^^ «*»_#- ^HOI WtH Change the Doublngs. Tune. - =pn
n 4 Part.] Drum and Flute Duty. [Sec. II. I k t t m -*- -#- 3=t,. \^ff.<w ^r M L3J ^r -Ff-Mr jl p ^ EEj! TI ^ I Segue. h- E=3zEf= rr^ z FFr J -^g I 2? «aj==* ^-F-^* Halt. 3^ -»- JL 4 jj» - - lfe Fnsh wth " God save the Queen." Bugles sound the Last Post.
42 Part.J Drum and Flute Duty. [Sec. II. The Tattoo and Retreat peces for Drums and Flutes are prncpally used n garrson towns, where two or more regments are statoned, each corps takng ts turn alternately by weeks or days to play them. In towns where only one regment s statoned t s customary to play them on alternate days, vz. : Tattoo on Mondays, Wednesdays, and Frdays ; Retreat on Tuesdays, Thursdays, and Saturdays. Sundays always excepted. No. 23. The Funeral March. " Dead March n Saul." Four paces n' each bar. Adago. {fc^=sg 9 f f Muffled Drums only to begn. / -p Flute. to rs CZ> CJ s> & e> l*m Muffled Drums to the Grave. Drum. db^z^ n r-~ ra L-- Q-^ H-- a-p Bass Drum. f
43 Part.] Drum and Flute Duty. [Sec. II. P l= d* s m b*- -«- -»- -S-fcrT" T' T" & - * g Sll - C#- g a»»- gr :t=& gf?-jujl S -p: : P 3 : F=F S, :S=& :N=&=gJ - I I l-h = *~ w- - # g r / -s -- fg~^ P=5I m UJL&L^gr-_S=«H P! \ p a ' tt :*zzs; I* ; f- :^
44 Part.] Drum and Flute Duty. [Sec. II. 3P grtzz±» *=p: E Drums unmuffled. E: -fe ^E^g^ :^J^_ ^ =[ After the st volley. After the 2nd volley. The Salute. After the last volley. or, After the frst and second Volleys, half the Salute, thus : /. II ^^ ^& -bnh -r- * m I r-.- ^ -t-'t-'j^-m- 4M u ^ 8- * r T r : ^=^==^=^=lg=?l -^ PF ^ -ffp S^~ :3= After the thrd Volley the whole of the " Salute " as on page 24.
I I -I I J 4.5 Part.] Drum and Flute Duty. [Sec. II. No. 24. God Save the Queen. Pecolo n Ejj. -*- -a- -G- -f-4- -#- -»- -*- r r -- Flute n Bjj, st. * ^=^ -# --, Flutes 2nd & 3rd. aas $.zz fl F Flute. -S» ^ a Sde Drum. : " Bass Drum. * V ^ g tf flr --^f-t P_c=z^_ 2do. =3 :E=& fl~e fce: ^ * mw \?Jf «-,-* I ; ^ -a.-!! ^r^* *"- r r -g.j> E - ^ ps =4==T l-^-a-a--ah-al-a e~ P P-f -g F P.
' ' J V r L^ * ' j S \ ' I ' ^^ L* v» ' 46 Part.] Drum and Flute Duty. [Sec. II. -e- 3= r^ -Je- -F * -fy- s ' a * "*' '?' -*- *" r * o * ff j > *> «"3* fm * ^ vy «*. "a r r - f W f : to vu II: U>,. Jfc ** /» a F- IT ^T J *' '! \r V,/» m 7 4 CI V A m J. "" " y * * % f- F- f-^s 4 ' * * J ^» tf "N /" -s f "\ cj fj> ' fj -<. p*3 ss ' fh>v (W. ' ^ IN> ^ ' a d o d. d o 4 4? d S * xxxtn I P^sg w p g F l S*V 77Z0. j 2d0. * tr ^H F-^F-, :pc ^ g * f2-tf P-»-*- r r -f- F fc ±; pz 32: fel
47 Part 2.] Drum and Flute Duty. [Sec. I. INSTRUCTIONS FOR DRUMMERS AND FLAUTISTS. SECTION I. ELEMENTARY. THE RUDIMENTS OF MUSICAL NOTATION. Muscal sounds are represented by characters called notes, whch are named after the frst seven letters of the alphabet, vz., A, B, C, D, E, F, G ; and these notes repeated n successon of sound are called octaves. The notes are wrtten on and between fve parallel lnes called a stave, and the successve repetton of sounds called octaves are wrtten on and between lnes placed above and below the stave ; these addtonal lnes are called ledger lnes. Stave. Ledger lnes. Ledger lnes..".*. -»- - G A B C D E F.&- C D There are characters at the commencement of the staves called clefs. The four clefs most generally n use are called Treble, Alto, Tenor, and Bass. The notes on the stave preceded by the Treble or G clef (on the second lne) are : fes=--!^±^fef=^^==b D
» 48 Part 2.] Drum and Flute Duty. [Sec. I. > to j 3 w 3 <u O rt! o > o <u *"* ) ««CS 3 ^ w J s f -3 CO H s H g U o H < & S3 w c-l «W «f H o Z M co \c > o CO ^ K H ra P w q fcn o a < ro W % < 2 M 3 to OJ 3.3 rt > O >-. ts u rt mm ~«OJ 3 tk. DO > S«cr rr * P S3 g n "a co S CO fh o U <u 3 to 3 j ca T O <u r3 a> 0) - ~' rt,3 3 rt os r Mv CO S 3 o <Jt-J - w,o o U,3 ou CD to 7n 3 rt.2 P * rt w. C3-3 s ou <u M 3 to 3!" rt o > <u -3 S - <" j. *3 S rt 'S rt r2 I < S CO w * s s o <u u H ** 3 3 Efl u OS rt CD ) S > <D. <" J rt U ( 6 CO OS g*m on c_> 3 CQ g B s S o s o U U ]
I Crotc w I I Measure. V\ oable-c I 49 Part 2.] Drum and Flute Duty. [Sec. I. c o n HI r o n M ) O ^3 O a > o a) K,cj 3 l*h TJ o d) Im XS r *J rc n OJ <D [/J r r o 3.2 u n -< r (/J 3 Tj P4 0& / > r a J r M rr u <) G «H.3 o C r u o o T3 a t3 a O u rt & o -a r r». m *& 3 3 e G< < C/5 III rajr r SB 3uo[ SB pajapsuoo aq 5snj^ ^ O r B 3 n a n! «S * / o-g S rrasr rjfr SB Suo[ SB pajapsuoo aq }snj\[ ] rah fll III I'll?< ts J r *r p,:!fl!; 3 -H-a 5 t \ " >.-rl 6 Qua Crot an emc X 3 ll rt <; r << * IUJ SB 3uO[ SB 53 J p uapsuoo aq jsnj I S a ja o X dot I HO *S». r.2.3 SB JoUO[ SB jaaapsuoa aq jsnj^ 2 rote J r IL <JO 8(3 o 0 Mn and A a J rths Is J sb Snot s^ ajapsuoo aq ;snjt o a,3 S >< J3 o HO ' T b«s IT! M Ho o 4 d I SB SuO[ SB ajapsuoa aq ;snj^ c a r Adot Mn A Mn * * S3 ^3 d? a s a o o -f a 3 d y <u ra n So S r r fa w<«o U (U 3 r > T3 C r 3 P 03 u XJ Q -a co s S u H
50 Part 2.] Drum and Flute Duty. [Sec. I. Relatve Value of Notes.
Part 2.] Drum and Flute Duty. [Sec. I. Examples of the dfferent Measures. In Common Measure (or Tme).* & &- -0 <? a- 3=q: 3 I I- H I <-m-&-»» 9 * m-*-m-m-\ (- Three Four Tme. m Two Four Tme. * All other Tmes are fractonal parts of Common Tme D
52 Part 2.] Drum and Flute Duty [Sec. I. Three Eght Tme. -Hz b: -9 O- 55 IMP Sx Eght Tme. z z r3=: :3s= : l qs=^2?5q=p!=^==: -I I e> o e> o-0-m 0-9-m-m-m-m Nne Eght Tme :fc E=^a : S^^^q^^Fq ^m ^qvbapan -T=,^^^sqaq^a^: g o o a 0 o a Id I : (j> - ~e> o o o o-o go -o a Twelve Eght Tme. E±( IE -s> s»- 3=3^3 =z=stzz:
Part 2.] Drum AND Flute DUTY. [Sec. I. -Q ' vl).n. g-»-g -»- -»- 0000»-f> - -m m-m--0 0 0--0-0 -0 0-O-0-* 0-&-0-C-9-0-0-0-0-0-O-0 -c-0-0-9-0 &-0-0-O 0-0-0-0-0-0-0-0-0-0-0-0 L0 e y The notes as wrtten on the stave n ther orgnal state are called natural notes. The dfference between any note and that mmedately above or below t s called a degree. There are two knds of degrees, vz., a greater, called a tone ; and a less, called a sem-tone. Any natural note may be rased a semtone, by havng a sharp (%) placed before t ; or depressed a semtone by means of a. flat (Jz). A double sharp (x ) rases a note a full tone, and & double flat (p-7-) depresses t a full tone. The natural sgn (#) restores any note that has been altered by a sharp or a fat to ts orgnal state. When a dot ( ) s placed after a note, notwthstandng ts value, t sgnfes that the note so marked must be played onehalf longer, so that a dotted sembreve would be equal n duraton to three mnms ; thus : Wrtten. Played. rj rj' 'I'J and so on wth the remander of all the notes. In some cases two dots are placed after a note, the second dot must then be made one-half shorter than the frst, thus : Wrtten. Played. -JLl 32= :t=u Also when a rest s dotted, t must be held one-half ts value longer, and when double dotted, by three-fourths ts orgnal duraton. It s of the utmost mportance that the pupl should carefully study the value of the notes and rests, both wthout and wth
54 Part 2.] Drum and Flute Duty. [Sec. I. the dots added to them, at ths stage ; and when he has satsfed the nstructor that he s capable of judgng the duraton of all notes under ther dfferent condtons, he may proceed to learn the dfferent speces of tme. TIME. Muscal notes, dotted notes, rests, &c, are dvded nto sectons by perpendcular lnes drawn across the stave ; these lnes are called bars, and are for the purpose of dvdng the tme of any gven pece of musc nto equal parts. The dfferent speces of tme are marked ether by a C or by fgures, whch ndcate the smple value of the notes n common order, or as the fgures may otherwse denote. For example, take the lower fgure as the parts of a sembreve, and the upper fgure wll gve the number of parts thereof requred n each bar ; vz., tme must have two crotchets (or two-fourths of a sembreve or ts equvalent) n each bar ; tme would have sx quavers (or sx-eghths of a sembreve or ts equvalent) ; tme would have three mnms n a bar, or ther equvalent I and tme would have three crotchets, or ther equvalent, n each bar ; and so on. Smple common tme contans two or four equal parts n each bar. Compound common tme contans sx or twelve equal parts n each bar. Smple trple tme contans three equal parts n each bar. Compound trple tme contans nne equal parts n each bar. THE SCALES. Havng progressed thus far, the pupl can now drect hs attenton to the dfferent keys and ther scales, to demonstrate whch the characters called " sharps " and " flats " are used. These are occasonally used n other postons ; for nstance, f t should, as already descrbed, be requred to rase a note a semtone, a sharp (t) s placed before t, and f to depress t, a flat ($), but when the note s to be restored to ts orgnal sound we contradct the $ or ty by a " natural " (ft).
55 Part 2.] Drum and Flute Duty. [Sec. I. The scale of C has nether sharp nor flat placed after the clef, t s therefore the natural or Datonc scale. It conssts of seven sounds only, and n order to make t euphonous, the frst note must be repeated after the seventh, or, as t s commonly termed, the Octave Doubled. Ths rule apples to all the scales. As the pupl proceeds wth the scale of C, he wll fnd n ascendng and descendng that the ntervals between some of the notes are of less degree than others, vz., the thrd and fourth, and the seventh and eghth. The ntervals between the notes are called tones and semtones, ; thus t s perfectly clear that from E to F and from B to C, and vce versa, are always semtones ; the ntervals between the other notes beng tones. By way of further study, any other note can be taken to form a scale, observng that the semtones must be made to occur as n the key of C, by the use of a sharp, whch rases a note a semtone, or by a flat, whch lowers a note a semtone. The progresson of the major scale s fxed, and cannot be altered ; ths s not so wth the mnor scale. The semtones n ascendng each mnor scale must be between the second and thrd degrees, and the seventh and eghth degrees, but n descendng they are found between the sxth and ffth, and thrd and second degrees. Each major scale has ts relatve mnor scale, whch s a mnor thrd below the major. There are twelve major scales, wth ther twelve relatve mnor scales, n general use. THE MAJOR SCALE OF C, WITH ITS RELATIVE MINOR OF A. C Major. A Mnor. &. w Tone Tone Semtone Tone Tone Semtone Tone Tone
56 Part 2.] Drum and Flute Duty. [Sec. I. -&- -C2- m ^ Tone Tone Semtone Semtone Tone Tone Tone Semtone Tone Tone t* Tone Tone Semtone Tone Tone Q=-_===r^rzz :zc2 Semtone Tone Tone Semtone Tone G major. E mnor. 4 D major. B mnor. m Jg A major. Fft mnor. rfa* =SPI f =sp -.^-^n^-j, E major. C4 mn n^^gj=^p jj=n
57 Part 2.] Drum and Flute Duty. [Sec. I. ll -4-4* H g * B major, H** fcfe^ te GjT major. EJ7 mnor. «* D major. fet AJ7 majc j^ BJT mnor. -&- j^ F mnor. EJ7 major. Bp major. F major. tfc td?0^5- C mnor. «-<s> G mnor. D mnor. ]gg=g f N.B. The scale of Gj? (6 flats) s the same as F4 (6 sharps). The scale of Cj? (7 flats) s the same as B (5 sharps) ; and the scale of C jt {7 sharps) s the same as Dj? (5 flats). The Appoggatura (leanng note) was wrtten n small character. It s played wth pressure, always has the value of the note wrtten, and takes so much tme from the followng note. It s rarely at a greater dstance than a second above or below the next note : Wrtten. s*~"* ' m <-JS_ Played. =5:
58 Part 2.] Drum and Flute Duty. [Sec. I. Groups of two or more notes wrtten small often precede long notes, and, wth rare exceptons, they are to be played before the dvson of a bar that contans the accented note : The Shake, or Trll (tr) s the alternaton of a wrtten note and the note above t as rapdly as possble. In modern musc two small notes are wrtten on the staff, as n the example below, to form a fnsh to the shake. In musc of earler date ths s never found, and was never ntended to be played. A $, fc, or $' over a shake shows that the upper note s to be nflected accordngly : "Wrtten. tr _ tr The Mordent (~w) ndcates that the wrtten note and the note above t are to be played as rapdly as possble, returnng to the wrtten note : Wrtten. TV* ~w Played. -! W:
. * Part 2.] Drum and Flute Dutv. [Sec. I. The Inverted Mordent s wrtten thus \p, and ndcates that the wrtten note and the note below t are to be played as rapdly as possble. The Turn or Gruppetto (~) conssts of the note above that over whch the turn s marked, followed by the wrtten note, the note below, and then the wrtten note agan. A #, fe, or # wrtten over or under the turn shows that the note over or under the wrtten note s to be nflected accordngly. When the ornament s marked over a plan note, the four notes are ot equal length, and are to be played more or less quckly, : accordng to the tme of the movement m =bc m P=Ie~e^^ When placed over a dotted note, the turn conssts of the frst three notes, and, nstead of the fourth, a note the length of the dot s played : Wrtten. P Played. The Inverted Turn ( I ) conssts of the note below that on whch the turn s marked, followed by the wrtten note, the note : above, and then the wrtten note agan Wrtten. t Played.
60 Part 2.] Drum and Flute Duty. [Sec. I. The varous modfcatons of the above ornamentatons requre explanaton from teachers of partcular nstruments, and are too elaborate to come under the ttle of Elements of Musc. MUSICAL TERMS. Adago means very slow and expressve. Andantno, not qute so slow as Adago. Andante, rather slow and easy. Allegro, quck and lvely. Allegretto, not qute so fast as Allegro. Agtato, n an agtated manner. Ad lotum, at pleasure. Assa, very ; as Allegro Assa (very quck), A tempo, return to proper tme. Bs, twce. Calando, gradually softer and slower. Coda, an extra part to produce a more complete and effectve termnaton. Forzando, wth emphass. Furoso, furously. Gojoso, merrly. Grave, solemn and majestc.
6 Part 2.] Drum and Flute Duty. [Sec. I. Largo, slow and broad. Larghetto, not qute so slow as Largo. Lento, very slow. Legato, smoothly. Maestoso, majestc and martal. Marcato, well pronounced. Moderate, moderate. Motto, much. Non, not. Pu, more. Presto, very quck. Prestssmo, the quckest tme. Rallentando. or Rtardando, to get gradually slower. Segue, to go on. Sostenuto, to sustan the sound. Vvace, wth lfe and sprt. Volt Subto, to turn over quckly. N.B. For other terms see Muscal Dctonary,
63 Part 2.] Drum and Flute Duty. [Sec. II. SECTION II. INSTRUCTIONS AND EXERCISES FOR DRUMMERS. There are three knds of drums, vz., the bass drum, wth two heads held laterally, and played on both ends by the performer ; the sde or snare drum, havng two heads, the upper one only beng played upon ; and the kettle drum, an nstrument formed of shells of copper, over the top of whch parchment s stretched. The most mportant of all mltary drums s the sde or snare drum. It s carred on the left leg above the knee, and s suspended by a leather carrage, whch passes over the rght shoulder and under the left arm. A buckle s attached to the carrage, so that ts length may be regulated to sut the stature of the player. (See Fgure). In order to make a good sde drummer t s of the utmost mportance that the tranng should take place durng boyhood, whlst the muscles of the wrsts are supple. Havng mastered the rudmentary rules of musc set forth n ths work to the satsfacton of the nstructor, the pupl can now proceed to drum practce, care beng taken that the drum and carrage are attached as drected above. He wll then fall nto : Poston One (Ready), the body beng kept perfectly uprght, wth the heel of the left foot n the hollow of the rght, the left knee slghtly bent, elbows back, and the drum sloped, so that the drum-head may be struck wth equal force by each stck, the left-hand stck restng n the hollow between the thumb and frst fnger, and held between the second and thrd fngers, palm upwards, wth the wrst restng on the drum-hoop ; the rght-hand stck n a grasp, palm downwards, wth the frst and fourth fngers rather easy, the knob of the stck close to the centre of the drum-head, but not touchng t. Poston Two (Attenton), rase the arms, brngng the elbows nearly n a lne wth the shoulders, and brng the stcks perfectly parallel, the knobs nearly touchng, and n a lne just below the eyes.
64 Part 2.] Drum and Flute Duty. [Sec. II. Poston Three (for Practce), throw out the rght arm to ts full extent, n a lne wth the shoulder, the wrst turned back as far as possble, so as to brng the back of the hand under also, brng the left-hand stck n a lne wth the eyes, wth the back of the hand to the front. Commence practce by makng a sngle stroke wth each stck, begnnng wth the left hand, at frst very slowly, throwng each hand smartly back to ts poston, but gradually lowerng the elbows as the beats qucken. Care must be taken that the weght of the strokes from each stck s equal. To ensure ths, the pupl should be taught to exert hmself more wth the left hand than wth the rght, and to strke on the centre of the drum-head. When the pupl can produce slowly an equal stroke from each hand, he may proceed wth the followng example, begnnng wth slow strokes and gradually ncreasng : &c When steady and progressve acton s ensured by sngle strokes from each hand, the pupl may begn to beat double strokes from each hand, the second stroke beng a trfle harder than the frst. Ths s the foundaton of drum-beatng, and forms the Roll. thus : ^g^eg^gg^js b2hss22s5
65 Part 2.] Drum and Flute Duty. [Sec. II. Constant supervson s here necessary n closng the roll, whch must be done very gradually. Immedately any awkward movement' or mstake s detected, the roll must be at once stopped, and the pupl requred to commence afresh, very slowly. It wll take many 7veeks' regular p?-actce to accomplsh a roll tolerably. As the pupl advances n the closeness of hs drum beatng he must cause hs left hand to be contnually turnng nwards, so that by the unted acton of the double strokes from each hand alternately a close and even roll wll be obtaned. In practsng the open roll the pupl must not attempt to beat quckly untl he can produce every stroke alke, whch requres many manpulatons to accomplsh ; and t must be remembered that unless he s able to beat a good even roll he wll never attan profcency as a sde-drummer. The pupl havng managed to make a tolerable roll, : thus The Long Roll. may now proceed to practce a short roll, begnnng wth the left hand, and countng seven strokes only. The last stroke from the rght hand beng the seventh, must be struck a lttle stronger than the rest, wth a slght pause between each " sevenstroke " roll, as t s called, ^S^^@ The seven-stroke Roll &c. thus : *5 At the end of each roll the drummer should throw both arms smartly up, n order to acqure a method of regularty and precson n drum beatng on the march. The next s the " eleven-stroke roll," or half bar of the Slow March tme (formerly n great use), by beatng eleven strokes precsely n the same manner as the seven,
m 66 Part 2.] Drum and Flute Duty. [Sec. II. thus The Eleven-stroke Roll. ~ Jg^^^^jJEg^^j^E^ ~r ^r* ^r- ^r ^x 5H aa* m &c. Then next n the order of drum-beatng s the " ffteen-stroke roll," beng a half bar roll of ordnary common tme, produced by beatng ffteen strokes, the same as the seven, and elevenstroke rolls, thus : The Ffteen-stroke Roll. pc pe3 ^3:= - 5=c ^B $Sg -t g- -C»*- : &c. N.B. The dots beng placed above the notes n the foregong examples show for left hand strokes, those below are for rght hand strokes. The rolls may now be lengthened, One-bar Roll. thus :- L - ' m m :cr«: 3gf=t± -p jpc - P F- &c. Two-bars Roll. ft ^& H 3z= =IS=E :=E:
Part 2.] 67 Drum and Flute Duty. [Sec. II. Three-bars Roll. ^SEE3 : ^: m ^^m gg" c_ Et^3=F=±E Sx-bars Roll. ~g3z q: ~e2~ -pre?=p=g mm^m^m =&~- ^ =3=f= The sngle stroke aganst tme can now be practsed, beng greatly used after the Bass Drum note n tme ; t s mostly used wth the rght hand, but can be used wth the left, at the pupl's own dscreton. The Bass Drum note s the lower one, the Sde Drum note s the hgher, Sngle Stroke. thus E*=g: ^=H > r> N h * &c. The double Sstroke aganst tme, Double Stroke. thus -q-p :=LU =c=rlt=^=h &c The treble stroke wll be found easest to beat commencng wth the rght hand, k 2
68 Part 2.] Drum and Flute Duty. [Sec. II. Treble Stroke. * H= W-±- kz :<2_f2 <*_ E=W :.- : :t= :azza=^:m &.C. The trplet stroke s used both n and aganst tme, 3 3 =^geg=f^g ^ 3 bsb^ef? r 0 qr a e ^ p : rj The " open flam " s beaten wth one stroke from the left hand, and one from the rght, n successon, The Open Flam. thus : ^ErgEg -' : &c. The " close flam " s beaten wth one hard stroke from the left hand, and a fant touch from the rght mmedately precedng the stroke of the left hand. Ths s beaten from hand to hand, and s called rght hand flam and left hand flam, as the case may be, thus I The Close Flam. ^e^e5 SESE3 SE3E _t *«* -r~m~ -MX.Z &c S
Ef u r 69 Part 2.] Drum and Flute Duty. [Sec. II, The " drag " s beaten wth two strokes from the left hand precedng one hard stroke from the rght, thus The Drag. a B : =&*F=Z. Is ^=r^z=3: ~* ±m - EX t=±b=t= ^±s: -y!«5-p q A, J3-» - ^4.! r r C_. r j &c. The " flam and fant " s beaten from hand to hand alternately, t conssts of a fant stroke beng made between the flams, The Flam and Fant. thus # -m r-- 'jtrz^zez. ~met-lvz m See. A "flam and stroke" may also be practsed, n the same style as the last, only beatng a stroke nstead of a fant, The Flam and Stroke. thus:- j:e^=gegg=g -\^- j^zatzrrzpr q: =3 &c.
70 Part 2.] Drum and Flute Duty. [Sec. II. The " sngle drag and stroke " (or sngle drag) from hand to hand, s seldom used, The Sngle Drag and Stroke. thus *flrt feef==±se363 &c The " double drag and stroke " tor double drag) to hand, s smlar to the last, from hand The Double Drag. The followng exercses must begn wth the rght hand, unless otherwse marked : As a rule, n sde drum beatng the rght hand should be used for the accented parts of a bar, and the left hand for the unaccented, vz., n common tme, one and three for the rght, and two and four for the left, and so on ; but ths rule does not apply when beatng wth the Bass drum aganst tme, as t s more often done wth the rght hand n that case, as shewn n prevous exercses. The pupl may now proceed to learn what s called the fve-stroke roll, whch s a contnuous roll, wth the ffth stroke beng struck hard from the rght and left hands alternately. He must begn very slowly and gradually qucken, as n the seven-, eleven- and ffteen-stroke rolls,
7 Part 2.] Drum and Flute Duty. [Sec. II. The Fve-Stroke Roll. 5 - ^ ~p r ~ w # -# &c. The " nne-stroke " roll s smlar to the fve, except that the nnth stroke must be struck hard n the contnuous roll wth alternate hands. Ths s used more often than the last roll, thus The Nne-Stroke Roll. 9»..'.. :.;. ^2 ^^=: The " seventeen-stroke roll" s smlar to the nne and fve; but the seventeenth stroke s the prevalng one, as n the precedng rolls, The Seventeen-Stroke Roll. 7 thus : ^=^- ;. &C. Next n turn comes the " Paraddle " ; ths s extensvely used n mltary drum beatngs, and s produced by a hard stroke from the left hand, one from the rght, and two fant strokes
72 Part 2.] Drum and Flute Duty. [Sec. II. from the left agan n successon. Ths s changed each tme from hand to hand, the frst stroke beng the loudest, alternately, The Paraddle. The " Flam paraddle s beaten n the same manner, only the flam must be used alternately for the loudest note nstead of a stroke, The Flam Paraddle. thus :- ^ez^^^^^r^^^^^l-^-h &C - The " Drag paraddle " s smlar to the others, but wth a drag nstead of a flam or stroke, thus : The Drag Paraddle. a a ^^S &c. In practce the paraddles are often beaten wth two, and even three drags, and a stroke before the drags. In orchestral musc the paraddles are seldom used, strokes from hand to hand, or for the rght hand only, beng those adopted. Ths rule, however, s not mperatve n drum beatng generally, as the use of both hands should be equally practsed, and t could not be followed wth effect n beatng aganst tme.
. A 73 Part 2.] Drum and Flute Duty. [Sec. II. ON THE MANAGEMENT OF THE DRUM. good drummer can generally be told by a glance at hs drum ; and, certanly, no nstrument better repays careful treatment. The followng remarks wll therefore be of servce to young players. A very general fault s that of the hoops beng what s termed " pulled over," that s to say, drawn down lower on one sde than the other. The lowest sde wll generally be found to be that next the cord loop, because the drummer there commences afresh to slng up the cord, but by the tme he gets round to the other sde, he s somewhat fatgued, and ths, wth the trfle lost n makng the knot, wll account for the hoops beng unevenly drawn down. Ths can, n tme, be remeded by carefully watchng the hoops n the process of slngng up, and commencng opposte the loop, or where the hoop s hghest. To slng up a drum well requres practce. The best method of dong ths s to frst place the drum on a table wth the snare hoop up, then press the hoop away wth the palm of the left hand, at the same tme gve the frst cord to the rght of the hoop a sharp pull wth the rght hand ; then the second cord, pullng t upwards from the cord hole ; and then the thrd cord, drawng t downwards, at the same tme movng the left hand to the rght, so as to grasp the hoop over the hole to prevent the cord runnng back each tme, and so proceed round the drum, pullng the cord so as to make t crack, untl the knot s reached (whch should be undone before commencng to slng up the drum), and the cord pulled down wth full strength, before remakng the knot. Another plan s to place the drum under a form, n a sloped poston, so that the feet of the batter hoop wll catch the framework of the form or other furnture, pressng the front of the snare hoop wth the knees, and usng the left and rght hands alternately to slng up the cord. Under no crcumstances should ether the hands or knees be allowed to press the shell of any drum, as drum shells are not constructed to bear a heavy sde pressure. When the drum s not n use, the braces should always be loosened, and the tenson of the snares also reduced- The pupl should endeavour to keep hs beats as near to the
74 Part 2.] Drum and Flute Duty. [Sec. II. centre of the head as possble, as drected, and so avod damagng the hoops and stcks. It s a good plan to make a rng n the centre of the head about the sze of a crown pece, and try to keep the beats wthn ths space. Stout heads are not more durable than those of a moderate thckness, except wth young nexperenced players, as the extra thckness s more than compensated for by the heavy beatng requred to brng out the tone. In fttng a new head, frst see that t s large enough. A sde-drum head should be fve nches more n dameter than the drum shell, and a bass drum head sx or seven nches larger, accordng to the thckness of the flesh hoops. The head should be steeped n cold water for ffteen mnutes, then folded and left for about half-an-hour, when t wll be ft for lappng. If left too long n cold water t wastes away and becomes rotten. All superfluous mosture should be removed from the head, whch should then be lapped well round the flesh hoop, wth a " tucker " (a tool shaped lke the handle of a spoon), so as to brng the edge of the head well round to the outer sde of the flesh hoop. Avod lappng the head too tght, as t draws the hoop out of shape t ought to be a perfect crcle when done. The head should then be ftted on to the drum, and left for two days or more, accordng to the weather, that the vellum may get thoroughly dry under the hoop before takng t nto use. If ths s not attended to, the head wll most lkely gve way round the edge soon after the drum s slung up. It s, therefore, advsable to take the head off, and f t s found to be n the least damp round the edge, leave t to get qute dry before puttng t on agan. No artfcal means must be used to hasten the dryng of the head, such as placng t n a very warm room, by the fre, or n the sun. A cool dry ar s the best.
76 Part 2.] Drum and Flute Duty. [Sec. III. SECTION III. INSTRUCTIONS AND EXERCISES FOR FLAUTISTS. The old march ffe has for many years been superseded n the Army by the B!? flute, wth four, fve, and sx keys, asssted by E \? pccolos, F pccolos, and F flutes. Unson notes of the- Mltary Flute and Bugle. Flutes n B^. Bugles n Bj./ A j\ 2 5^ ON HOLDING THE FLUTE. The pupl must take the flute n the left hand, between the thumb and lttle fnger, wth the frst three fngers bent ready to cover the three holes nearest the mouth ; the rght hand must be held n a smlar poston, wth the three frst fngers bent and ready to cover the three bottom holes. The flute wll then be supported between the thumb and lttle fnger of each hand. It must then be placed aganst the under lp, wth the upper lp over the mouth-hole ; suffcent space only beng left between them to allow the breath to pass drectly nto the mouth-hole. The pupl must then blow wth suffcent force only to produce a smooth tone. When ths s obtaned to the satsfacton of the nstructor, the pupl's fngers can cover the holes, and he can proceed n the followng manner to learn the Gamut :
! W 00 j P I I h o I ^O b cs I t Part 2.] Drum and Flute Duty [Sec. III. THE GAMUT. The followng scale wll gve the postons of the fngers when : playng the notes delneated ejn on d A o =w= <{ o o O o ooo [j. o oo 0 0 o ooo o CjO oo o o o ooo 9 <J o ooo o ooo 9 ^ ooo W o 9 P o qooo o pq»oo ooo 9 < oo ooo 9 O ooo 9 o o ooo M O O 3p P 4* a Oq o e nl Oh ooo d^3 OO O III o ooo o $ III <: o ooo 9 O O OOO o O O 9 O p o M OO O h v O o o O OOO o <{ O OOO o fflooo ooo o o o o po «ooo o W o o«o «oo e o ooo < o 9 O
IB Part 2.] Drum and Flute Duty. [Sec. III. THE KEYS. The frst key nearest the mouth-hole s used by the thumb of the left hand to produce B fe, the second key s used by the lttle fnger of the same hand for G # ; the thrd key, by the thrd fnger of the rght hand for F ; ft and the fourth, D $, by the lttle fnger of the same hand. The ffth key s a long key, runnng beyond the B Jj key, and s used by the frst fnger of the rght hand n shakng the notes C ft, B ft, and B > ; the sxth s also a long key, and s used by the left-hand lttle fnger to shake on the notes F ft, Eft, and E j?, and also when playng the notes of the scale from D to F, or from E fr to F. The pupl should now commence practsng the scales n conjuncton wth the followng exercses, the tme may be marked wth the feet, usng the left foot for the begnnng of each bar, at the same tme soundng the notes ndcated. It s better, however, that outward moton be avoded. The pupl should mark the tme mentally, a far better arrangement than markng tme wth the feet. In smple common tme the left foot marks the frst and thrd portons, and the rght foot the second and fourth portons of the bar, thus : E: =*= - t 6> - 234 234 234 and so on. Left, rght, left, rght and so on. =**"- fe =?
< I I! I I =*=v '., l l ^999? 79 Part 2.] Drum and Flute Duty. [Sec. III. THE CHROMATIC SCALE. N.B. Where the two ways are shewn of makng certan notes, the second way s for Flutes wth only one key. (The C's wth the ffth trll key excepted.) H %JJJ L tr o o o JL» o o IO w 9 o o poo O O u o O 9 9 II %j_l pq l'l=**= -rr! l ft h o o 9 e 9 Q O 09 e O O O O O O o o o o TC&J «! 9 O O O O III Tl rttr w 9 =*%= JT^q 9 9 9 m M 9 O O o o 9\Q 9 O HHQ o o < o O o o =\W= u o o o o m mr o o o o o o o o o P LU.LL ul **' <J o 9 O 9 =*vo o 5 o o o o 6 o o o tunjj CJ O o o o &. o o H- L * 9 9 0 NO fyj **' tlljj II,!l %LU <W. «l J -S5T M ll] ll] 'II J Tl Yo 6 o W 9 O o o q^o 9 9 O O P O 9 o o o o O^O 9 9 O O 9 O O u o- O 9 O o o o o pq 9 o o o o o o =ft» o ^ 9 9C> \0 o o o 0 < 9 9 O o o o o o o o O O O O 9 9 O o o o o o
. ' <! 80 Part 2.] Drum and Flute Duty. [Sec. III. LL < II j- m jt - l 9 9! -t o 9 9 9? o o o o o o O O O. << 9 O o o o o d, ll.: ^ "y- 9 O W 9 O To O O O O o o Y pq O O O o o,, o o u o- O 9 O o o o o 9 9 g O 9 9 O O O L... Q O o o o O O 9 9 O n... W O O 9 O! h M " ' 4 O O 9IO O O O 9 9 9 ^j -$ O O fw4-l Cj o O O O wl 4..P p ^ o o O O O o o o - -m tmfl 9 [jjw O TT% W O o o \h::: o o '.\ t o o o.. CJ 9 9 o o o o. J _fcx O g ^ 9 - "Ṭ L ^ -- X. J. o 9 o o O <J O o o o o P o m o t 0 m o o o o o o o o o o- o o o o o O O O <l - o o 9 O... poo o - "jy O O - w GOO pfrh < O O j 00 o'o <jo O O O - - & o o ft lb
8 Part 2.} Drum and Flute Duty. [Sec. III. The followng Exercses are wrtten n the keys most generally used for mltary musc :- Key of C. r? -0- _Q- -0- -0- _ 2. -0- r? JLU- &-T7 fc Key of G. -O--0 Q^ * -Q- -0- r? -0- ^2. -0- Q - V «* <V /T </ -Q.-^' -Q. -2" _" = l(t f> *»k TT m Key ffjfe a & I of D. ej. le, 2 3 4 r-ms qq 33 --q =j=j: z^re.gjl-g^hg -0- --rlt n=t g pa. ^2. -&..&. -P--CL -0--0- _ 2 j- r-f- m*--0 fgq^q 0-rv-j E0 Z22Tp: StElppI, j. j), Key of A. ^^^^EJBEEJ
4= 82 Part 2.] Drum and Flute Duty. [Sec. III. *-»-»- -0-0-0-^-P «- rntb *> **ss -0- -o- -0- -0- -*- -*- &- frfrfrp jz ± f: f: :t :t t f u -Q- - #- -P- -P- J. -»--»- -*- -»- H t -I - -I -I -F- -I -I -. = - ; t 't 4 I I I l I L- Jt ^L _*. JL -»- -*.- - - -»- V ^Mt^ ' Vl u -&-* S 2 '.. + J0..0. Jk. J0. r + -jr.0..0. -0-.0. T ~ T~ "tl, ** Jt, Jt -#- #. -*- -#- -*- -0- p,-w, lazpzar^ Key of E. 4**! gff -I ^ ^- ZMZX 0 0 3z: 0 0-0 0 : ^gg] ff5j - L I ^= ^ E" - f- -t:-*~^ 0.0 *#rt=e=^eq^ r- n p- P» azc:
ttt 83 Part 2.] Drum and Flute Duty [Sec. III. >-*! I ' *+-*- *-*-\- 2 Key of F. 2-?!E=? L^L_L.^.^_(«_«. &- -f- Jp, -P- ^~ "-p" :, ^, t- r T^-4= -r ~~ t -- rp:p:t:t= :p:p:t:p rr-r, II m w w P f >. ^^^^t- zp^r^- =^-^fargz^zprz^^: -»- -«- -*- -»- -<#- -»- -*- - - -*- -*- -P~ -P -j- P" -I-" T^" -P' ^t t -P -P ^mzm'- -aj-y-et-* - 4-} W" Key of Bfc. zv pzjp =s *=P=*: -?-ft-m- :! crc St -»- -*- -*- -P -p #- :r r r-r4=^r-tf2
I- d» «#, -u I 84 Part 2.] Drum and Flute Duty. [Sec. III. _ -0- -0- -0- Jfc -F- #- -«- -*- -»- -F- -F- -F- -r- - - - - -(- -j- -H -r t :t :[= t 5_t_^ "-F? fe t m :t :t I n - - -#- -*- «. -p-.«-.*,-.0..0. t 4= jm. jft..#-. - -»- h t : E t Hh-Jj ± :t t j-. I "L t~[zj I p r~~ =n JR. _«#_ -b t- ^L.p. ^- -0- -0- -r-f-f-f- t j t=mt^mzl~! fc t Key of Ejt BE^ES^SEfES^ - - -*- - - *- -F.«. ^- -*- -*- --c -I- 4- -t- ^Jl>-a--0 = sgeg
Part 2.] Drum and Flute Duty. [Sec. III. THESE SCALES TO BE PLAYED AS EXERCISES, AS THEY SHEW THE PRINCIPAL MAJOR MODES (OR KEYS) USED IN DRUM AND FLUTE MUSIC. G Major. E Mnor. m -G>- JOt. w fe^s^^lgr -G>-.Q- -O- JZL. -Q- -e>- -s>- _Q- -&>- -&- ~y~9 _Q. fe" fo. -&- flefe _Q..Q_._0 -^- -Qt «_===: D Major. B Mnor. S ^^-H^4n : #-^=^-J ps!^'^~ 3
j 86 Part 2.] Drum and Flute Duty. [Sec. III. J Q _ - -Q- FT -5" - " -S-.a. g_fe:, -Q - ^.feja =^ll 93 22: rsz: _ cr A Major. F 4 Mnor, le ~CT m=mm tfeg $0 o. ~ rpr -n* &M ;. n "ft 4 _C8 -e- - - -Q - -«>- Q { ^-*#* f j - lla ^(o-fe- -?- ^ te-flo. ^ ^ -Mf j j :: :, { \
I 87 Part 2.] Drum and Flute Duty. [Sec. III. «^ tjl^l"! o-f-rr^rsznazrs= Bfe Major. G Mnor. te BEE S rez ate IH ^2. -Q- -«>. Jjg. fa. -f- f- flo. fc». -Q- -Q- - - -^-.Q. -&- r Q -n l-o! ". _ -Q - C3q ~ct"" _5L.Q. fj _Q o-
.. o. Part 2.] Drum and Flute Duty. [Sec. III. F Major. ( "7 f 7 k T3 -e>- 22" r-e- _G> -o- -&- fj D Mnor. ( 2l^ -9 C5. ^- **" &- r" T3T ^ xa. -s- -5- -?- S-.42. te.q- J2. fej GL S &-' c^ o _. c^ ^rn # 2 _^_ -e^ -T5- =S=^ <s>- -r^- _C2_ <s>- C Major. A Mnor. E^r t7 -^>- o PPl Z52
I:.89 Part 2.] Drum and Flute Duty. [Sec. III. # *=! 2 <e3-.cl -&- -<s- -Q- -&- _Q_ =S =I J I & J I 22Z: ^=m=^fl -t-nh-odzrz± J EXEKCISES ON CHORDS, OCTAVES, AND DUET PLAYING. (Also the other sx keys not generally used, &c.) s -o- <3 *- [+*- -o- - =3- rfc rfez _ 2_ O -&- Q. fr -,-E^Q -4 O- jdzf -Q..p. -O- -t -fsjjlcj...rt^rsl - act +h+- "; ^H "H ~. ' -. fcgzccztj. n
- 90 Part 2.] Drum and Flute Duty [Sec. III. -e-f -! r-h-^- r - ] I : ^~ e- z& p?z: 4=L JCU.&. =P- *fo $ ES-g - - =p=rp- TT-p- 53E ±=t n ~p^ 3= P==Q In Sharps. fe In Flats. S -P- -pm 2P T-^6 V&~\ ^ few g p3- -W u
9 Part 2.] Drum and Flute Duty. [Sec. Ill, :t=r^q mp#* =p: feq-mfe e=< n H =7=: ffp ~, fea ^3-»^ H ±r _<SL 72:.p. tea. :^" EH E& 2Q=: :=e-,j» - :c2: - A 3p <9- -»- -*- --* «, ^r-p- E]E^BEp ^B^j 4^S-a-?,- :& -f ' E =F&fc *fee -t= a -«,- _ 2- t _#. _*. f& l" : -*,- -«-.p. r-
I -r- 92 Part 2.] Drum and Flute Duty. [Sec. III. -<s»-,-.*_ GL g P 3=f zh: fc P P w jczl 3 3fc jf!s :?=!= at± -* *- EE^» -^ #» -». *. - - -*- #- * m JL^tPP^t I r * * r zpg^t P *- -J - 4=p: -*-+ 4ml '
93 Part 2.] Drum and Flute Duty. [Sec. III. <? no :*=*: * *- m *= * sj^-t-t j -r- -P -I - -h- + -I*- -F *m > t dt=3z-t *= t=t #-ft -!-!»- ^ M -f 0 ^F=g a -**...r> f-.f^-.f - fp--"--^ g =*= -s> *» 2-
94 Part 2.] Drum and Flute Duty. [Sec. III. :C5: Jz_^ r tr EB^^SE ^ J. -P- 4- f" j* **! P F -m- -s»- -(»- c> \ '*" o ft P * -P- V V Pa X t t- r * f- M Op r! * r! ±fefee te ==t n Jt e» :*= = -* =r=p=q =*fe=g= ^e== a. 2. -«--*- SPt m -0-Sr?s- s -- -o- 4- -:t-j^ r r t^ l ^ -0- -! - =t= =3
I m 95 Part 2.] Drum and Flute Duty. [Sec. III. The pupl havng advanced thus far n hs nstructon may now proceed to learn double tongueng. When staccato passages are wrtten wth the notes followng each other n rapd successon, t s mpossble to produce them by the ordnary sngle-tongue method, hence the use of "double tongue." Ths s produced by the acton and reacton of the tongue aganst the roof of the mouth near the teeth, as f pronouncng a word of two syllables to oneself. There are many opnons as to the knd of word whch should be used ; some nstructors nclne to " deu-reu" others to " too-tell ;" but t has been found, from long experence, that the word " tut-tle " s by far the most sutable. It s, however, not mperatve that any partcular word should be used, but t s most mportant that each syllable should be of exactly equal proportons. Great care must be taken that the tone of the nstrument s perfectly sustaned, and that the tongue and fngers move together, as n sngle-tongueng passages. The rules lad down above are applcable to trple-tongueng, but nstead of the word " tut-tle " the syllable " tu " should be added, vz., " tut-le-tu." To ensure success great care and patence must be exercsed, and especally avod ntroducng grace notes whch are not marked n the musc. EXAMPLE OF DOUBLE AND TRIPLE TONGUEING. 2333= - I I a-0-m-0ae-w^- ^H tut-tle, tut-tle, and so on. tut-tle-tu, tut-tle-tu, and so on.
(Wt.,68 2500 0 87 H & S 87).
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