Marching Bands

If a book could have a granny flat, then I have already done that with the first Fluter's Companion, if it could have a conservatory, well I've already done that with the last book, so consider the Appendix1. a new basement for the last book, adding a further 125 tunes to the 700 existing tunes. These are tunes that bands play today or will lay tomorrow, with a couple dozen I have composed myself. This will be available soon to purchase as a paperback for about £6 but feel free to download it and use it in it's draft form.

The final book of notes for nearly 700 tunes written for the BFlat Flute. This includes the tutorials, finger charts and other helpful information contained in the first two books and combines the 500 tunes plus 200 new tunes, all written in a simple abc format to help learners grasp the tunes quicker.

All tunes are backed up by a video on Youtube or you may email me for a specific tutorial and I will send you one, usually within a few days.

A collection of over 200 tunes which are popular with flute bands today. This is the second book in the series and all tunes are written in an easy to learn abc format. Blood and Thunder, Melody Flute, Corps of Drums. eter Worrell Flutes, Millyard Molem Flutes, Miller Wicks Flutes, Ferris Flutes, Mullan Flutes, Cliffy Rae Flutes, Miller Browne Flutes

From the 1850s wind and brass bands started mushrooming in all the towns and villages of the Maltese Islands. This brought great changes to the Musicians of traditional instruments who previously had defined roles within the Maltese community and who played music that was improvised or unwritten.

This was a paper read in the Seminar EXPLORING THE TRADITIONS AND ARTISTIC CONTRIBUTION OF LOCAL BANDS (Gozo, 2015).

This paper explores the interaction of the embodied practices of musicking and discourse in bringing forth identity and creating community in contexts of marching, playing, singing, dancing and bantering during the visit of Sir George White Memorial Flute Band from Broughshane, County Antrim, to an Orange lodge in the Ayrshire mining village of New Cumnock, on the occasion of the annual celebration of the Battle of the Boyne. 

    The paper shows that communal embodied experiences of musicking can both define and transcend boundaries whilst bringing forth communal identities, and also highlights the strategic uses of discourse to account for embodied ways of being in the world, and to define and redefine the nature of the community being produced.
In Reily, Suzel & Katherine Brucher. 2013. Brass Bands of the World: Militarism, Colonial Legacies and Local Music Making. Ashgate: Farnham.

The paper draws on work by Victor and Edith Turner to explore the long term political effects of transitory but powerful emotional experiences in bonding band members to each other and to the broader social world of working-class loyalism within which these experiences are brought forth.

For a complete performance recording with score-video see: https://www.youtube.com/watch?v=3B4p0JjK-so

A trio for Clarinet, Violin, and Piano written for and premiered by The Bold City Contemporary Ensemble of Jacksonville, Florida, this work attempts to make a mockery of and musically challenge/problematize the suggested violence and toxic nationalism inherent in the tradition of "marches." As we all revel in the glory and celebration of a march, we are often celebrating and endorsing the likely, if not inevitable, death of those marching. Furthermore, even if the march is not militarily oriented, it still rests in a violent tradition of propagandized warmongering.

This work begins with a "tongue-in-cheek," cheery march that slowly dissolves, reemerging as a slightly more sinister, militaristic march. This march also works itself out, decaying again, to reemerge as something only vaguely reminiscent to a march in tempo and strong, regulated beat structure. This third, chaotic march gradually transforms into abstract chaos, reminiscent of battle, the implicit ultimate result of any "march" activity. This progression represents the easy and often subtle path from innocent celebration and festivity to violence, war, and mass death.

Following this battle, a wasteland emerges, with only fragments of the marches persisting. Here, the implicit consequence of the tradition of march is symbolized in the final death of the music, the end to the pulsing that is both the dissolution of the march and the heartbeat of our metaphorical "hero," who marched to their death for our celebratory delight.

A Collection of over 300 traditional and novelty tunes written in a simple abc notation to help students with no prior knowledge on how to read music. The book includes a finger chart for all notes and information on how to play, where to buy and how to care for your B Flat Flute

The history, impact, and legacy of the marching bands at Historically Black Colleges and Universities (HBCUs) is infinite and immeasurable for not only the members, but also for the students, faculty, administrators, staff, family, and community members. At the member level, HBCU Marching Bands can be a “home away from home,” providing structure, routine, and discipline. At the fan level, for HBCU students, alumni, community members and others, HBCU marching bands and traditions also can provide the social and emotional bonding, as well as financial support to the institution that may span for multiple generations. In this edited volume we will capture the rich history and legacy of HBCU marching band from former members and affiliates. While this book will reveal triumphant stories, it will also provide counter-narratives to debunk the myth that HBCU marching bands are inherently negative, as in the case of recently reported hazing incidents. We openly acknowledge, and do not seek to dismiss or minimize the tragedies of these isolated cases. However, we would like to highlight HBCU Marching Bands as organizations that are not defined by these extremely unfortunate, embarrassing, and tragic moments, but rather as critical to the support and expression of our HBCU communities and culture.

Chapter 1: Introduction
Part 1: Culture
Chapter 2: The gentlemen of the regiment: Musicians in the regular army
Chapter 3: ‘Breaking in’ the young hands: The dependence on band boys
Part 2: Performance
Chapter 4: Seaside, ceremonial, and an unhappy union: Bands and live performance
Chapter 5: A clear and homogenous sound: Performance practice and recording
Chapter 6: ‘Tonic’ music and discord with the BBC: Repertoire and broadcasting
Part 3: Influence
Chapter 7: Kneller hall and the pitch battle with the War Office
Chapter 8: Punching above their weight: Soft power influence of British army bands overseas
Chapter 9: The Youghal ‘outrage’: Political appropriation of military bands and the founding of the Irish Free State
Appendix 1: Broadcasts (excluding outside broadcasts) by staff bands from January 1932 to September 1933
Appendix 2: Colonel Somerville’s list to the BBC of army bands graded ‘outstanding’ by Kneller Hall in 1933.
Appendix 3: Colonel Jervis’s ‘order of merit’ army band list sent to the BBC in 1934, notable for its absence of
staff bands.
Appendix 4: Walton O’Donnell’s BBC audition reports for three bands in Northern Ireland.
Appendix 5: Internal 1941 BBC memo rejecting the Kneller Hall band grading system.
Appendix 6: Army Council Instruction – 544: Pitch of Instruments of Army Bands
Appendix 7: An anonymous humorous poem about the change to low pitch published in The Leading Note in 1929
Bibliography
The author

There were approximately 7,000 full-time bandsmen serving in the British army in the interwar years. This was about a third of the total number of musicians in the music profession in the United Kingdom, making the War Office the largest single employer of professional musicians in the country. British army musicians were a key stakeholder in the music industry in the United Kingdom, but also farther afield, where it made a significant contribution to the maintenance of British imperial authority.

To sustain the large number of bands, residential institutions provided young boys for recruitment into the army as bandsmen and, as a consequence, the army set the standard for musical training and performance. The music industry relied upon the existence of army bands for its business and the military played a significant part in the adoption of an international standard of musical pitch. Nevertheless, there was a tempestuous relationship between army bands and the BBC, as well as the recording industry as a whole.

Using untapped sources and original material, Major David Hammond reveals the role and soft power influence of British army music in the interwar years.

A look at a march book consisting of the Repiano cornet parts of 50 bound marches (of which two are missing) for the Riddings United Prize Band. Dating from around the 1890s/1900s - possibly slightly earlier. Most bands at this time had at least one set of music similar to this, either filled with marches, or simple "tunes & toasts" or equivalents.

This paper explores the interaction of the embodied practices of musicking and discourse in bringing forth identity and creating community in contexts of marching, playing, singing, dancing and bantering during the visit of Sir George White Memorial Flute Band from Broughshane, County Antrim, to an Orange lodge in the Ayrshire mining village of New Cumnock, on the occasion of the annual celebration of the Battle of the Boyne. The paper shows that communal embodied experiences of musicking can both define and transcend boundaries whilst bringing forth communal identities, and also highlights the strategic uses of discourse to account for embodied ways of being in the world, and to define and redefine the nature of the community being produced. In Reily, Suzel & Katherine Brucher. 2013. Brass Bands of the World: Militarism, Colonial Legacies and Local Music Making. Ashgate: Farnham. The paper draws on work by Victor and Edith Turner to explore the long term political effects of transitory but powerful emotional experiences in bonding band members to each other and to the broader social world of working-class loyalism within which these experiences are brought forth.