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The roots of the American band movement are found in the
musical traditions of Western Europe. In the middle of the
18th century there were various types of wind and brass
bands in many European towns and cities. These groups
performed concerts and various ceremonial duties such as
parades and funerals. This band tradition was carried to the
New World and found a renewed life in the United States.
The Moravians, for example, placed a high value on musical
activities, forming bands in the communities where they
settled. Their repertoire contained secular as well as
religious themes. Military bands were also formed in
Philadelphia and Boston by the turn of the 19th century, and
the US Marine Band was formed in 1799.
musical traditions of Western Europe. In the middle of the
18th century there were various types of wind and brass
bands in many European towns and cities. These groups
performed concerts and various ceremonial duties such as
parades and funerals. This band tradition was carried to the
New World and found a renewed life in the United States.
The Moravians, for example, placed a high value on musical
activities, forming bands in the communities where they
settled. Their repertoire contained secular as well as
religious themes. Military bands were also formed in
Philadelphia and Boston by the turn of the 19th century, and
the US Marine Band was formed in 1799.
A drawing of a Civil Warbrass band, serenading the troops
as they cross the river
as they cross the river
| The US Marine Band at Gettysburg, 1863 |
At the turn of the 19th century, bands included oboes, clarinets, bassoons and drums, as brass instruments of the
time were limited to the notes of the overtone series. With innovations made in the early part of the 19th century,
brass cross between a saxophone and a bugle. This innovation proved popular and extended the use of brass
instruments it eventually replaced the keyed bugle.
An instrumental piece written in 1835, Wood Up Quickstep was composed by John Holloway (dates unknown).
The piece became closely associated with Edward "Ned" Kendall (1808-61) who was a virtuoso on the keyed bugle
in the days before valved cornets. Despite the invention of valves, Kendall continued to play the keyed bugle all
his life. In 1856, he took part in a famous contest with himself on the keyed bugle playing against Patrick Gilmore
on the valved cornet. The contest, which consisted of the two soloists playing sections of Wood Up Quickstep
after each other, ended in a tie of virtuosity for both men. However, it sounded the death knell for the keyed bugle
and signaled the rise of the valved cornet.
time were limited to the notes of the overtone series. With innovations made in the early part of the 19th century,
brass cross between a saxophone and a bugle. This innovation proved popular and extended the use of brass
instruments it eventually replaced the keyed bugle.
An instrumental piece written in 1835, Wood Up Quickstep was composed by John Holloway (dates unknown).
The piece became closely associated with Edward "Ned" Kendall (1808-61) who was a virtuoso on the keyed bugle
in the days before valved cornets. Despite the invention of valves, Kendall continued to play the keyed bugle all
his life. In 1856, he took part in a famous contest with himself on the keyed bugle playing against Patrick Gilmore
on the valved cornet. The contest, which consisted of the two soloists playing sections of Wood Up Quickstep
after each other, ended in a tie of virtuosity for both men. However, it sounded the death knell for the keyed bugle
and signaled the rise of the valved cornet.
Although these new instruments were
integrated into wind bands, all-brass
bands ensembles. These all-brass bands
grew in popularity and soon bands were
to be found in all parts of the country.
One style of instrument associated with
the bands was the over-the-shoulder
(OTS) Saxhorn (named for its inventor,
Adolph Sax). The distinguishing
characteristic of these horns was the bell
that pointed towards the rear so troops
marching behind the band could hear the
music.
integrated into wind bands, all-brass
bands ensembles. These all-brass bands
grew in popularity and soon bands were
to be found in all parts of the country.
One style of instrument associated with
the bands was the over-the-shoulder
(OTS) Saxhorn (named for its inventor,
Adolph Sax). The distinguishing
characteristic of these horns was the bell
that pointed towards the rear so troops
marching behind the band could hear the
music.
| A drawing of a brass band with OTS Saxhorns |
Bands were formed of fraternal organizations, militia groups, police and firemen associations and professional
guilds. The Boston Brass Band, American Brass Band, Dodworth Saxhorn Band and Salem Brass Band are a few
of the brass bands that were formed. By 1850 these bands were well established, as seen not only by concert
programs and pre-war America as brass bands flourished throughout the country. An example of these collections
was The Musicians Companion, compiled by Elias Howe Jr. of Boston and arranged by J. H. Seipp and A. F. Knight
of the Boston Brigade Band. Marches, quicksteps, waltzes, polkas, schottisches and more were arranged for
various groups of instruments ranging in size from 5-10 musicians.
guilds. The Boston Brass Band, American Brass Band, Dodworth Saxhorn Band and Salem Brass Band are a few
of the brass bands that were formed. By 1850 these bands were well established, as seen not only by concert
programs and pre-war America as brass bands flourished throughout the country. An example of these collections
was The Musicians Companion, compiled by Elias Howe Jr. of Boston and arranged by J. H. Seipp and A. F. Knight
of the Boston Brigade Band. Marches, quicksteps, waltzes, polkas, schottisches and more were arranged for
various groups of instruments ranging in size from 5-10 musicians.
| The Boston Brass Band |
| Contact Us contact@nationalcivilwarbrassmusic.org |
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