Brass Bands in the American Civil War

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.

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
instruments became able to play chromatic and diatonic scales rather than just the notes limited to bugle calls. One of
these first innovations was the development of the keyed bugle (also known as the Kent Bugle) which looked like a
cross between a saxophone and a bugle. This innovation proved popular and extended the use of brass instruments
in bands. The system of valves for changing notes on brass instruments was developed during the 1830s and 40s and
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
also came into their own as performing
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.

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
photos but also by the many collections of music written for the genre. These books of arrangements were popular in
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.