This Manual is posted Courtesy of

 Ludwig, a division of Conn-Selmer, Inc.

The

DRUM MAJOR'S

MANUAL

GEORGE N. MALSTROM

3rd Edition

LUDWIG & LUDWIG CHICAGO

Printed in U. S. A.  Copyrighted, 1924, 1928, and 1930.  2 1/2M Jan., 1930

In presenting this Manual the publishers are fulfilling a promise to a multitude of bandsmen and other friends to try to produce a book containing within its pages all the available information gathered from the manuals and regulations of the Army and from the laws and practices relating to bands in civil life together with the unwritten code passed on from drum major to drum major which governs their acts with the hope that a standard American procedure for all drum majors may hereby be established and made available for all bands.

In the second edition of the Manual, certain movements have been modified to conform to and coincide with the suggestions of authorities such as H. D. Pryor, Drum Major, United States Marine Band, and the latest training regulations prepared under the direction of the Army Music School, Washington, D. C.

It is gratifying to note that many movements and ideas contained in our first issue have been incorporated wholly or in part in the new training regulations and that the original purpose in publishing this Manual, "to standardize the Drum Major's work," is gradually being realized.

Major, 33rd Division Staff

The author of this book has had a life of unusual opportunities to qualify him in becoming an authority on the subject of the drum major.

At 14 years of age he was a drummer in an organization known as the Fullerton Cadets on the north side of Chicago.

In the year of 1897, when 17 years old, he became drummer in the 1st Regiment of Infantry, I. N. G., and the following year enlisted for the duration of the war against Spain and served with that regiment as a drummer throughout the war.  He was present at the fall of Santiago de Cuba and the surrender of the Spanish forces.  He continued as a drummer playing with many nationally known bands as a member of the famous 1st Regiment Drum Corps until 1914 when he was appointed drum major of the 1st Regiment I. N. G. Band.  In 1915 he led this band which was increased to 100 pieces to the Pan American Exposition at San Diego and the World's Fair at San Francisco.

During 1916 he served on the Mexican border as 1st Sergeant and drum major of Headquarters Company.  When the World War broke out he and the band were assigned to aid recruiting.  Later he was sent with the band to the 1st Officers Training Camp at Fort Sheridan as the official band of the post, aiding in the training of the student officers in ceremonies, guard mounting, and inspections.  For this service he was personally commended by Colonel Nicholsen the commanding officer.  After rejoining his regiment he was commissioned 1st Lieutenant and assigned to the Intelligence Service and later while in battle in France was promoted to Captain and Operations Officer and was cited by General Pershing for bravery.  While in France he was for a time assigned with British and Australian troops, and attended their training schools at which he was enabled to study the bands of the allied countries.

He has aided in organizing numerous large and successful bands and is still acting as drum major for the largest Knight Templar band in the World, that of Columbia Commandery No. 63 K. T., also the Shrine band of Medinah Temple, Chicago.

Foreword

The blasts of the trumpets of the ancient warriors that made the walls of the cities tremble and the rhythmic beatings of the tom tom that stirred the savage breasts of past ages to deeds of valor and conquest, have been developed till today the military brass band with its varied instrumentation and its technique pour forth music capable of swaying nations with its beautiful and stirring melody.

The greatest inspirational effect produced on the senses is that of martial music as played by a military brass band.  Mankind has always been inspired to deeds of valor and heroic effort by martial music.  National Anthems are martial and are written for and best interpreted by military bands.  The return of victorious armies is heralded by its bands.  Band music is written around the history of the world's greatest moments.  It exemplifies the deeds that brought the nations to their greatness.

A well trained and well balanced military band playing the inspiring strains of a march or martial airs has the qualification of producing an exhilarating influence remarkable in its effect. Tired and dejected bodies of troops respond to its stimulus instantly.  Grumbling and complaints change to songs and shouts.  Even crowds are swayed by its music and will burst into wildest cheers at the playing of a national or martial air.  It stirs the blood of the people and imbues them with patriotic pride, loyalty, and fervor.  Witness, if you please the emotions of the assembled multitudes wherever is played The Star Spangled Banner, Dixie, the Marseilles, or similar melodies.

A brass band, through its music, can create a name for itself and a sphere of influence whether attached to a military organization or as part of a community or civic body, that is second to none in its influence for good.

As brass bands have been developed to their present status because of the fact that it is the music of the armies, it is essential and fitting if a high state of perfection is to be attained (which of course includes precision, snap, and vigor in movement as well as in playing), not only to develop musically but also to train the men in marching and parading and to instill in them the soldierly qualities of discipline.

Bands can be organized with as few as sixteen men.  This amount can be increased to any desired number so long as a balance of instrumentation is maintained.  The author successfully assembled and paraded a band of 960 men during the summer of 1922.

A band organization musically can be made as attractive and individualistic as the leader may chose.  The great range of the present day available music arranged for bands from which to select a library, is only limited by the leader's own powers of imagination and personality, and his own musical ability to visualize and interpret the same, through the proper selection of instruments and artists.

Definitions

Cadence:  The measure of a beat of any rhythmical motion as music.  It is also the rate of steps per minute in quick time marching.  The cadence in quick time is at the rate of 128 steps per minute.  The cadence in double time is at the rate of 180 steps per minute.

Column:  A formation in which the elements are placed one behind the other.

Depth:  The space from front to rear of any formation including the leading and rear elements.  The depth of a man is assumed to be 12 inches.

Distance:  Space between elements in the direction of depth.  Distance is measured from the back of the man in front to the breast of the man in rear.  The distance between ranks in the band is two paces or 60 inches.

Element:  A file, a squad, or other body in formation forming part of a larger body.  Each file of a band is an element of the band.  The band is an element of the regiment or of the parade or procession wherein there is more than one body of men or organizations.

File:  Two or more men ranged one behind the other in line.

Guide:  The one upon whom the rank or element regulates      its march or position.

Interval:  Space between elements of the same line or rank placed side by side.  The interval between men in ranks of the band is 40 inches or about an arms length.

Pace:  A pace is the length of the full step in quick time marching or 30 inches measured from the heel of one foot to the heel of the other.

The length of the half step is 15 inches in quick time and 18 inches in double time. 

The length of the step in double time is 36 inches.

Rank:  A line of men placed side by side.

Tempo:  Time or rate of movement.

EXPLANATION OF ORDERS, COMMANDS AND SIGNALS FOR THE BAND

Orders:  An order consists of instructions or directions either given orally or in writing, embracing the indicated will of the commander or person in authority in terms best suited to the particular occasion and is issued previously to the time they are to take effect.

Orders for the band should be thoroughly understood by the drum major and band leader.

Commands:  Commands and signals are employed as best suits the occasion and may be used in conjunction with each other.  They are the will of the commander or drum major expressed orally or by signal of the staff of the movement about to be executed.

(b)                 The command of execution.

MILITARY AND PROPER POSTURE

Position of a Bandsman at Attention:  Heels on the same line as close together as the conformation of the man permits; toes turned out forming the angle of 45 degrees, knees straight, hips level and drawn slightly back, body erect and resting equally on hips, chest lifted and arched, shoulders square, head erect and to the front, chin drawn in so axis of the head and neck is vertical, eyes to the front, weight of body resting equally upon the heels and balls of the feet and the instrument held in or with left hand, the right hand hanging naturally at the side.

Note: In all instances except where specially noted in the following pages all movement and signals herein prescribed, conform to the Infantry Drill Regulations of the United States Army 1919, Army Regulations revised to 1923, and changes as published in training regulations to January, 1927.  Where any deviation occurs, footnotes explain the reason for same.

The drum major is the tactical commander of the band.

He should be chosen from among non-commissioned officers for

(b)  His military bearing, stature and general appearance.

(c)  His ability to handle and control men with tact.

GENERAL INSTRUCTIONS

The drum major should be thoroughly familiar with military drill and tactics. He should have a comprehensive understanding of the regulations governing ceremonies, parades and other functions wherein a band participates.

The drum major should anticipate the orders and commands of the commanding officer.  The commands as issued by him to troops should be interpreted for the band by the drum major and the band maneuvered and played accordingly.

The drum major is responsible for the proper military training of the band.  He should also be held responsible for its discipline as soon as he steps in front of the band and while on the march or at drill. Divided authority tends to confusion and dissatisfaction.  He reports to his commanding officer or to the adjutant as the case may be.

The drum major is responsible for the proper execution of orders and for the observance by the band of all regulations, ordinances, and local laws while on the march or on parade.

The whistle should not be sounded by the drum major unless to call the attention of the band to an emergency or as a preparatory signal when the signal by the baton is not anticipated or seen, such as the need for prompt cessation of playing while on the march, obstacles in the path of the band, emergencies or assemblies.

The band should be taught to watch the drum major and his signals at all times.

While on parade and on marches the band plays each number once.  At ceremonies, evening parades or reviews, the band will repeat each number until signalled by the drum major to cease playing.

The drum major should study the marches played by the band so as to give the signal to cease playing at the proper ending.  When it becomes necessary to stop a band at once before the ending of a march, do so at the end of a measure or strain and on the left foot.

Band Formations: The formation of the band for marching depends upon it size.  It should be formed in two or more ranks with sufficient interval between the men and distances between the ranks to permit of the free use of the instruments.  This distance should be 2 paces or 60 inches. It is best to form the band with even numbers in the front rank for convenience in maneuvering.  The usual number of men in the front rank is six for a small band and ranging up to a ten file front for a band of 100 pieces.  As stated, the formation of the band for marching will therefore depend upon its size.  Army bands conform to tables laid out in training regulations, U. S. A, and consist of 28, 35 or 48 musicians.  These are illustrated on pages 54 and 55.  The formation of an 80-piece band or a 100-piece band, including 20 field musicians, is shown on page 57.  A compact band with all ranks filled gives better volume of sound and maintains a more even marching pace than one formed to give the false impression of size wherein the front ranks are filled while other ranks contain blank files.

Arrangement of Instrumentation: The instrumentation for Army bands as noted on pages 54 and 55 may not meet the approval of band leaders organizing or in charge of other bands and considerable latitude is permissible.  The purpose for which the band is organized is also a factor.  It should be remembered that the Army organizes its bands for duty with troops, and therefore must conform to the regulations prepared for its use at ceremonies, parades, etc.

The arrangement of the instruments for playing differs considerable in marching from that at concerts.  Again the arrangement of the instruments for marching has been the subject of much discussion as for instance where it is best for the bass drum to be placed in a large band and if it is not better to distribute the bass horns on each of the ends of the second and third ranks than to keep them together in one rank.  The arrangement of the instruments for concerts is more simple and does not vary.  Brass instruments are on the right of the conductor as he faces the band, the reeds including saxophones on the left and baritones, basses, and drum section in front of and facing him.  Kettle drums become a valued addition to a band at concerts and add an exceptionally effective and powerful yet pleasing vibrating tone and should be a feature in all bands when playing at concert.

To Form the Band for Parade or Drill:  At the command of the drum major:  Band fall in, or at a long blast from the drum major's whistle or at the sounding of a band call the band will assemble by ranks and in formation as directed.  The band is formed on the right guide of the front rank who takes position as indicated by the drum major and stands fast.  Other bandsmen of the front rank take proper interval to the left of the guide as follows:  Place the end of fingers of right hand on the top of the shoulder of the man to the right-give way to the left until the arm is extended-drop the arm; eyes to the front.  The guides of other ranks take distance of two paces behind the guide of the rank in front.  Other men will take interval to the left similar to the front rank.  When all men have taken proper distance and interval the band should be aligned.  Ranks should be dressed on the right guides and files should cover each other.

The drum major will verify the formation, return to the front of the band, take distance three paces in front of and in the center of the band and command:  Band attention.  And face to the front.  The band is then formed.

Note:  The new Army training regulations differ in a few non essential instances to the principle of procedure to form a band herein set forth, but as this Manual is written for use of all bands, especially civilian and semi-military bands, the system as herein outlined (which has been in use for over 100 years) is allowed to remain.  The author is of the opinion that certain rules and movements in the new training regulations governing bands are not practical in practice, such as “open formation in line" and “in column of squads."  The first movement is seldom used and the second is more conveniently executed by the command, DIMINISH FRONT!, or CLOSE TOWARDS CENTER!

Interval and Distance: The distance between ranks is two paces or 60 inches.  The interval between men in ranks is 40 inches.  This interval can be increased or decreased at will on signal of the drum major to increase (decrease) interval.

The Right Guide:  The right guide of each rank regulates the distance of that rank.  He maintains a distance of two paces or 60 inches from the guide in front.  Each rank dresses on the right guide and each man preserves his proper interval from the man on the right of 40 inches or an arms length by giving way to the left or closing in to the right as the case may be.  The right guide of the front rank sets the pace for the band.  He watches the signals of the drum major to increase or decrease the pace.

Bass Drum:  When the band is playing, the bass drummer is the regulator of the tempo or pace of the band.  He will watch the baton of the drum major to note variations in the pace.  Through the bass drummer, the drum major may control the pace while band is playing.  This is essential when the band lags or is given marches with difficult passages, the tempo or rate of step per minute should be maintained without variation to prevent undue fatigue of the marchers, or the breaking of their step.

It is within the power of the Bass Drummer to spoil the entire effect of a band performance either on the March or in Concert.  He must be well versed in the rudimentary principles of Music, Time and Rhythm.

Drummers should not attempt to play on the March without music.  Drummers when "Faking" seldom if ever are able to play in unison.  The rhythm assigned to them is highly important and must be precise and accurate.  Guessing should not be tolerated.  To secure the brilliant results so highly desired in Cymbals it will be necessary to use only those of the very finest quality.

Marching at Attention:  If the band is not playing the snare drums will beat time.  If a field music is attached to the band, the field drums only will beat time or the march tap.

Sound Off:  The sound off at evening parade may be played either by the drums or by the band. If played by the band, the chords should be in the key of the march to follow.

For musical interpretation of sound off, see page 53.

Local Ordinances:  Ordinances regulating the appearance of bands on the streets are in force in many cities.  They are just and sensible and bands should comply with the same at all times even though they may not be generally enacted.  The most common of these laws are herewith explained.

(a) Zones of Quiet:

Bands will cease playing when approaching and passing hospitals and churches while services are being held.

(b) Bridges and Viaducts:

Bands will cease playing and break step while passing over bridges and viaducts.

(c) Permits to Parade:

Bands except when connected with the military or when part of a parade, should obtain police permission to march over the streets of the cities except that when a band is part of a parade, the general permit for the parade embraces also all bands thereof.

Band Drill with Troops:  The drum major gives the signals or commands for the movements of the band and field music as for a squad, substituting in the commands the word band for squad.

When the battalion, regiment or other body turns about by squads, the band executes the countermarch; when the battalion, regiment or other body executes right, left, or about face, the band faces in the same manner.

Salutes by the Drum Major:  The drum major performs the salute with the staff when

(a) An officer approaches.

(b) An officer wishes to speak to the drum major.

(c) At the end of a conversation with an officer.

(d) Passing in review, he salutes all reviewing officers.  This salute is made six paces in advance of and held until six paces beyond the reviewing officer unless the distance is changed by order.

(e) The band plays the Star Spangled Banner.  The salute is made at the commencement of the first note and held until the end of the last note.  The drum major if at the head of the band will face to the front during the salute.  If on the side lines with the staff and not with the band that is playing, the drum major will salute as above facing the music except at retreat when he shall face the flag.

Honors and Salutes

The band and field music when acting as escort or while passing in review render honors to the following: (A. R. 375.)

(a) To the President, the drums give four ruffles and bugles play four flourishes simultaneously, followed by the National Anthem or in the absence of a band, the field music or bugles will sound to the color.

(b) To the Vice President or Ex-President of the United States, the same honors as for a president, except that the ruffles and flourishes will be followed by a march in lieu of the National Anthem.

(c) To the President of a foreign republic, a foreign Sovereign or member of a royal family, the same honors as for the President of the United States, except that the ruffles and flourishes will be followed by the National Anthem of the country represented.

(d) To a General, Member of the President's cabinet, Secre­tary of War, the Chief Justice, the President pro tempore of the Senate, the Speaker of the House of Representatives, American or foreign ambassadors, the Governors within their respective states and territories, the same as for the President, except that the General's march will be played in lieu of the National Anthem.

(e) To a Lieutenant General, the Assistant Secretary of War, American or foreign envoys or ministers, the same as for a General, except that three ruffles and flourishes will be given instead of four.

(f) To a Major General, the same as for a General, except that two ruffles and flourishes will be given instead of four.

(g) To a Brigadier General, the same as for a General, except that one ruffle and flourish will be given instead of four. '

Officers of the Navy and Marine Corps, the National Guard, and Officer's Reserve Corps, when in the active service of the United States will be rendered honors due like grades in the regular service.

An officer assigned to duty according to his brevet rank is entitled to the prescribed salutes of that rank. Similarly, a retired general officer on official visits or duty is entitled to the honors and salutes of his rank (A. R. 401).

When Honors are rendered.

(a) Honors are paid to persons entitled to receive them both on arrival at and departure from a place when the band is present as part of the escort whether or not the occasion is under military auspices.

When several persons, each of whom are entitled to salutes, are present, the highest in rank or position alone is saluted. (A. R. 401.) .

In addition to the foregoing, occasions of a public nature frequently arise when salutes are both desirable and proper.  Orders should be issued for the proper salutes in such cases. (A. R. 404.)

(b) If the rank of the reviewing officer entitles him to the honor, the band plays the prescribed National air or march, or the field music sounds to the color, march, flourishes, or ruffles, when arms are presented.

When passing in review, the field music posted with the band, sound to the color, march, flourishes, or ruffles, at the moment the regimental color salutes; the drum major brings his staff to the position prescribed for the particular honors rendered.

The National or regimental color or standard, uncased, passing a guard or other armed body, will be saluted by the field music sounding to the color. (A. R. 377.)

Flourishes and Ruffles: The field music sounds the march, flourishes, or ruffles, and to the color at the signal of the drum major.

THE NATIONAL ANTHEM

The National Anthem or Star Spangled Banner or the National Anthem of any country is not to be played as part of a medley. (A. R. 264.)

When Played by an Army Band: The National Anthem shall be played through without repetition of any part not required to be repeated to make both words and music complete. (A. R. 378.)

ILLUSTRATIONS IN THE USE OF THE DRUM MAJOR'S STAFF OR BATON

AT A HALT OR ORDER while standing at attention and the band is not playing, the staff is grasped near the ball, back of the hand to the front at an angle of about 60 degrees, the ferrule touching the ground near the toe of the right foot, ball pointing upward and to the right; left hand on the hip, fingers in front, thumb to the rear.

NOTE:  The new army training regulations prescribe that the baton should be carried under the right arm in reverse position, as described under illustration at right, but experience soon teaches the drum major that after a long period of beating time with the staff, the right arm and shoulder become tired and cramped, and even numb, and it is necessary to rest and relax the same.  Therefore, during the march at attention, the band not playing, the baton should be carried on the left side, and the position as illustrated with the baton hanging on the left side, hand across the chest, is the most restful.  This position can be alternated with the one prescribed previously, using the position at the left side only.