strings are not u»ed at all. The rellex influence of such music on the concert band has been to cause tlie invention and introduction of new instruments, in order to secure the desired tone color. The militarj- concert band has received its greatest impetus in the United States, where it may lie said to have been inaugurated in the Fourth of .July concerts given by the Boston City Government as a feature of the regular Inde- pendence Day celebration visually held on the iiistoric Common. The series of promenade eon- certs which followed met with remarkable suc- cess, and brought Patrick Sarsfield C4ilmore (q.v. ) into prominence as a bandmaster'. D. W. Reeves succeeded Gilmore at the lattcr's death, but soon resigned in favor of Victor Herbert, who is held to have rivaled .John Philip Sousa (q.v.) in the advancement of the military band. The organization known as Sousa's Band, marked at the Ijeginning of the Twentieth Centurv what was unicrsally regarded to be the highest t,vpe of concert militarv band. Sousa, who had at- tained national eminence in connection with the United States Marine Band at Washington, re- signed his position in order to devote himself to concert work entirclv, with a band whose meml)ership was as carefully recruited as those of the great orchestras. The band of the French Garde Republicainc was his model, and he has succeeded in placing his organization at the head of the concert bands of the world.
Band Ixstrument.^tio.y for brass, military, and concert bands is as follows: Brass (if of 10 pieces), E flot tuba, barytone, 2d alto, B flat tenor. E flat cornet, 1st alto. 2d B flat cornet. 1st B flat comet, bass drums and snare drum. For a band of 20 pieces, the following instruments are added: 1 solo. A flat cornet, and 2 1st B flat cornets; 1 3d B flat comet; 1st, 2d. and 3d trnmbones. and 1 B flat bass. The average mili- tar.v band is composed as follows: 2 1st B flat clarinets; 2 seconds, and 1 3d B flat clarinet, 1 piccolo, 1 E flat clarinet, 2 1st B fiat cornets, 1 2d and 1 3d B flat cornets, 1st, 2d, and 3d altos, 1st, 2d, and 3d trombones, oboe, glockenspiel, saxophones (occasionally), barytone, B flat bass, E flat tuba, bass drum and snare drum. The concert militarv band inchules such additions to the regnlar military band as are demanded by the programme undertaken. String bass, glock- enspiel, saxophones, contra-fagotti, and tympani are invariably added.
BAND, MILITARY. In the army service, an
organized body of musicians, instrumentalists,
under a bandmaster or chief musician, generally
assigned to each regiment of cavalry and in-
fantry, and to the headquarters of the branches
of the service, ililitarv bands of one form or
another are coeval with militarv bodies them-
selves. Eve?y ancient nation had its peculiar
music, instruments, and national songs. If tra-
dition assigns the reed. lute, and string to the
shepherd and herdsman, it is no less the au-
thority for im])uting the jarring instruments
of i)ercussion and strident brass to men of war.
Ancient songs referred invariablv to great vic-
tories, memorable sieges, and valorous deeds,
and were sung in camp and on the march. With
the Spartans, the song of Castor was the signal
for combat; the Romans charged to the musical
accompaniment of trumpets and horns ; while
the ancient Germans preferred the more com-
plex aggregation of drums, flutes, cymbals, and
clarions. At the beginning of the period of the
iliddle Ages, the instruments handed down and
preserved by most European nations were those
used in the r'allying of troops, calling them to
battle, or enlivening a fatiguing march with the
few crude melodies of which they were capable.
In France the minstrels and troubadours greatly aided instrumental piogression. They would frequently accompany the troops on the march and to battle, having as instruments the rebec, a small, three-stringed violin ; the bag- pipe, and the flute, or fife, to which, in 1330, was added the clarion. The cornet, another war instrument of the ancients, made its appearance about the same time. Toward the end of the ]ifteenth Century regularl,y organized military bands began to make their appearance, their collection of instruments comprising drums and trumpets principall,y, which, in the case of the Italian bands, was further augmented bv the pandean pipes, together with the llute and fife. The drummer used a single stick. Bagpipes and violins were added about the beginning of the Sixteenth Century, the invention of the former instrument belonging to the Alps or Pied- montese inhabitants.
The Swiss mercenaries, in 1535, introduced into France the combination of fife and drum, which has ever since, and in nearly every land, been the popular musical vehicle for the expression of martial spirit.
In the Seventeenth Century the Prussians introduced the haut!)o,v, which was given to the dragoons and nuisketeers of the Guard. To the Eastern nations, through the Himgarians, we owe the kettledrums, bassoon, and true flute; to the Italians the tambourine ; to the Hano- verians the modern horn ; and to the Turks the cvmbals and big drum. The entire musical scheme of military bands at the beginning of the Eighteenth Centur,v, was a combination of all these instruments, with the addition of the cavalry trumpet. The average infantry band consisted of drums, fife, horn, bassoon, big drum, and cymbals; the cavalry bands of hautbo,v, bagpipe, and kettledrums. The bassoon, haut- boy, horn, and tnunpet, however, were indiffer- ently emploved by either troops. A French ordinance dated April 19, 1706, ajipoints a Ijand of music to each regiment. New instru- ments making their appearance are: the clarinet (q.v.), which, however, is not incorporated into the band until 1755; the serpent, triangle, and trombone, each entering successively and from difl'crent sources. Practically it was not until 1792 that militarv music and military bands began the development that has brought them to their present high state of efficiency. In England, officers hired civilian musicians to act as the band of their respective regiments — a s.ys- tem which obtained until the fomidation of Knel- ler Hall (q.v.) in 1S57: but in France and Russia bands were part of the army organization. About this time the individual bandmaster be- comes prominent as the great factor of progress, among the most important of whom must be placed the famous Neithardt, born August 10, 1793, who, when still a young man, was for two years bandmaster of the Garde-SchUtzen Bat- talion, and afterwards for twentv .vears the band- master of the Kaiser-Franz Grenadiers. This latter band he brought to a high state of perfec- tion. Progress in England must be credited
