Civil War Drum and Fife CD Liberty Hall Drum & Fife Corps

Description

Shrink wrapped brand new CD by the Liberty Hall Drum and Fife Corps
https://m.youtube.com/watch?v=aA4u6D7hDfM
This recording contains the camp duty (the full reveille, breakfast call, dinner call, fatigue call, tattoo, etc.) directly from Klinehanse’s 1853 Manual of Instruction for Drummers, Howe’s 1862 United States Regulation Drum and Fife Instructor, and other period sources. Unlike many “reenactors” our drums have calf or goat skin heads— no plastic heads nor 20th century style mufflers. Some members even used original 19th century drums and original fifes on this recording.
Here’s a expanded version of the liner notes
Carry me back to Virginny
. We play the fife part from the American Veteran Fifer (AVF) and use Bruce and Emmett’s (B&E)  Dedekii for the drums.
Stonewall Jackson's Way
. We play the traditional fife part along with sections of B&E's Corkonian drumbeat, better known as Army 6-8.
QS #4.
We play the first half of this beat from B&E. We know that this standard 6-8 cadence dates back to at least 1797, as it appears in Clark's manuscript as Baltimore.
The Bonnie Blue Flag
was a staple among Confederate fifers. The drummers play B&E's version of Army 6-8 for this tune.
Dixie
was played at the inauguration of Jefferson Davis in Montgomery, Alabama in 1861, but was written an Ohioan by the name of Daniel Emmett. We play the verse and chorus as it appears in B&E. For the "walkaround" we play Samuel Mickey's cornet part from the original 26th NC bandbooks. The walkaround drum beat comes from B&E stick beat, but is modified slightly to conform to the fife part.
Riding a Raid
pays tribute to the Confederate general, J.E.B. Stuart, and is set to the old Scotch tune of Bonnie Dundee. The fife part for Bonnie Dundee comes from Elias Howe's
New Violin Without a Master,
c. 1847. The drumbeat combines Bonny Doon from Hart's
New and Improved Instructor for the Drum
and Haymaker from Alvan Robinson's 1818
Massachusetts Collection of Martial Musick
.
QS #2
is from Bruce and Emmett's
Drummers' and Fifers' Guide
(B&E).
Campbells are Coming
. This venerable tune was sometimes called Hobernob, and was played by Delevan Miller's corps during the war and also by the 6th Wisconsin's drum corps when marching into the town of Gettysburg in 1863. Hart gave a double drag beat for this tune in 1862 as did Benjamin Clark in his 1797 drum manuscript, which we play along with the fife part from the AVF.
The White Cockade,
originally a Jacobite song, was a popular tune both during the war for indepedence from Britain and the South's war for independence from the United States. Charles Nelson Kent's
History of the 17th Regiment
lists this tune among the ones played by the 17th NH's drum corps. It was also mentioned as one of the tunes played by the drum corps in
History of the Fiftieth Regiment of Infantry, Massachusetts Volunteer Militia
by Stevens, Eustis, and Nelson. We play the fife and drum parts from Hart's 1862  manual.
Q.S. #3
is from B&E.
Jordan is a Hard Road to Travel
was composed by Dan Emmett. We play a traditional version of the tune along with Hart's White Cockade beat.
Q.S. #6
is from B&E.
Frog in the Well
. The title for this tune, along with the fife and drum parts were taken from Hart. The original title was Keemo Kimo and has a verse about "a frog that lived in a pool."
Granny Will Your Dog Bite.
A tune by this name was known to have been played by a Confederate fiddler at Sharpsburg and by a fifer in the 26th NC. We play the fife tune from the AVF. The drumbeat used is Army 2-4, which appears to have been one of the most commonly played beats during the 1860s. Versions of this beat appear in B&E as Biddy Oats, Howe's 1862
United States Regulation Drum and Fife Instructor
as the Girl I Left Behind Me, in Hart's as General 2-4, and in Klinehanse as Quickstep No.1. A very similar beat dates back to at least 1817 and appears as Roving Sailor" in Rumrille and Holton's
Drummer's Instructor, or Martial Musician
.
Old Black Joe and Old Joe
were written by Stephen Foster and Frank Bower, respectively. Drumbeats composed in the period style (these two are only beats on the cd not taken from period manuals)
Turkey in the Straw
was first published in 1861. The first part of the fife part is nearly identical to some pre-war versions of Ole Zip Coon, such as the one in
Howe's 1851 School for the Fife
. The chorus is traditional. We use Hart's Ole Zip Coon drumbeat.
Dandy Jim From Caroline
is another early minstrel tune. We use the traditional Connecticut Halftime drumbeat, which is a slight variation of the Rosebud Reel beat published in Hart's 1862  manual.
Kingdom Coming
was composed by Henry Clay Work. We play the Army 2-4 drumbeat with this tune.
When Johnny Comes Marching Home
was first published in 1863. We use a traditional drumbeat based on Army 6-8.
Q.S. #8
is from B&E. A slightly different version of this beat can be found in the 1861 Army
Drum and Fife Book
and also in Howe. A fellow reenactor recounts a story that may be additional evidence of this beats's widespread use during the war:
"It was about 1982 [at a] meeting of the First Minnesota at Fort Snelling. Guys are milling around on the parking lot prior to the drill starting. I tighten the drum and start playing #8. Way over on the other side of the parking lot, one of our charter members, Charlie Fouzie, is chatting with somebody.
Charlie was born in the first decade of the 20th Century, and as a kid had played the fife in a F&D unit in St. Charles, Minnesota, a sleepy farm town near the Iowa border. The old timers in that unit were old aged Federal vets from the Civil War, so Charlie had learned from them.
As I'm about half way through #8, the +/- 75 year old Charlie Fouzie comes jogging across the parking lot shaking his finger at me, hollering
'That's it. That's it. That's the one the old vets used to play!'
He then asked me to play it again, and, pulling out his fife, we played some [6-8] quickstep."
Jefferson and Liberty
. We play the fife part from the AVF and use the drumbeat from Howe's 1862 manual. This beat is a version of Army 6-8.
Lorena
Hell on the Wabash
Old Kentucky Home
My Love She Is
is another tune popular with fifers in the 18th and 19th centuries. We play the fife part from the AVF and use
Hart's Girl I Left Behind Me drumbeat. The second time through we play Howe's Clog Dance Q.S. beat.
Lassie art though Sleeping
is another 18th century tune which remained popular through the 19th century. We play the fife part from the AVF and a traditional variation of Army 6-8.
Coal Black Rose
. We play the fife part from Howe's 1851
School for the Fife
. The drum part combines Hart's White Cockade beat with Howe's 1862 White Cockade beat.
Old King Crow
is one of the earliest minstrel tunes. We play the fife part from Carl Fischer's c. 1890 fife book. The drum part uses sections from three beats from B&E: Ft. McHenry Q.S., Capt. Whiting's, and Downshire.
Simpson's Q.S.
is from Simpson and Canterbury's 1862
Union Drum and Fife Book
.
Camptown Races and Oh Susanna
are Stephen Foster tunes. We use Army 2-4 and Connecticut Halftime.
Irishman's Shanty
. We play the version from Nevins with a minor correction. The drumbeat is based on Hart's Bonny Doon with a slight modification in the chorus.
College Hornpipe
has been a favorite with fiddlers for several centuries, although the 20th century name for the tune is Sailor's Hornpipe. We play the fife part and drumbeat from Howe's 1862 manual.
Duke's Q.S
is found in Keach, Howe, Simpson & Canterbury, as well as in B&E under the title of King Wiliam. The drumbeat predates the war by several decades.
Soldiers Joy.
We play the fife part from the AVF. The drumbeat consists of the first half of Howe's Soldier's Joy beat and the second half of B&E's Ancient and Honorable Artillery.
Wait for the Wagon
is played as written as written in Howe's 1862 drum and fife book.
German Q.S
. comes from Howe's 1862 manual.
Alabama Joe
. The melody and drumbeat come from Hart's Le Petit Tambour, but we like the title of the song that uses the same tune.
Arkansas Traveller
. We play the fife part from the AVF and play the beat from Howe's for the first half and incorporate Hart's Downfall of Paris drumbeat into the second half.
Jim along Josie.
We play the verse based on the banjo melody, which is oddly missing from the version in Howe's 1851 fife book, which is where we got the second and third parts. The drum part uses sections of The Muffled Drum from B&E and the Quick Scotch from Howe's 1862 manual.
Girl I Left Behind Me
comes from Howe's 1862 manual. The fife part is identical to the one from Weller's 1862 fife book. The drumbeat included in Howe's 1862 manual is Army 2-4.
Reveille
(3 Camps, Slow Scotch, Austrian, Hessian, Quick Scotch) comes from Klinehanse's Manual of Instruction for Drummers (1853), which was heavily borrowed from by Nevins in 1861 and 1864. This manual best matches up with the versions in Scott's, Gilham's, and Casey's tactics. The Dutch Reveille is from Keach’s Army Drum and Fife Book (1861)
Fatigue Call - Howe's
Surgeon's Call - Howe's
Breakfast Call - Howe's
Drummer's Call - Howe's
Assembly - Klinehanse
Adjutant's Call - Howe's
To the Color - B&E / Scott's Tactics
Dog and Gun - Klinehanse (also in Howe)
Dinner Call - Howe
Rory O'More
was perhaps one of the most commonly played fife tunes during the war of 1861-1865. Fife parts were published in Nevins' 1861
Army Regulations for Drum, Fife, and Bugle
and
Klinehanse's 1853
Manual of Instruction for Drummers.
Veteran drummer Delavan Miller of the 2nd N.Y.H.A. recalled playing this tune during the war, and in
Our Country,
Lincoln Phelps mentions "fifes" being "pitted against each other in fiercest rivalry" and "Rory O'Moore" being "squeaked out" in a camp on Dec. 16, 1863. Drum and Fife parts are from Howe's 1862
United States Regulation Drum and Fife Instructor
Gov. King's March - Klinehanse (also in Howe)
Kinloch - fife part from Klinehanse/Howe. Drumbeat from Scott's tactics (same as "Lodging" in B&E)
Downfall - fife from Hart, drum from B&E
Moneymusk - breakfast call drumbeat, fife from B&E. Known to have been Played by a fiddler in the 12th Alabama