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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.
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.
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 |
| The Federal City Brass Band 124 Maiden Choice Lane Baltimore, MD 21228 (410) 744-7708 federalcitybrassband@erols.co m |
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