Cannon Gallop  , 18-- ,  ?     [5th New York Heavy Artillery Band]

                In this reconstruction, one hears the cannons firing salvos throughout the tune. Only the Eb cornet book exists.


Canton Zouaves March ,  Nothnagle


Cape May Polka, 1855, Gustavus Boettger  arr by J.P. Rowbotham,    [3rd NH  “Port Royal” Band Books]

                Named after the resort community of Cape May, New Jersey. In the published piano version, the tune is dedicated to William G. Woodside, Esq. and is listed “As performed by the Independent Blues Band.”


Captain Blood’s Q.S.         

    (#16) [1st Brigade Band Books]


Capt. Finch’s Q.S.

    18--, Claudio S. Grafulla (1810 – 1880)  [3rd NH  “Port Royal” Band Books #48] [4th NH, Manchester Cornet Band Books #27]


Captain Shepherd's Q.S.  
  1850, Claudio S. Grafulla (1810 – 1880) [1st Brigade Band Books]

        Grafulla was born on the Island of Minorca and came to America in 1838. He quickly occupied a prominent position in Lothian's New York Brass Band, which was attached to the Seventh Regiment, New York State Militia (National Guard) and became its musical director. His talent for composing and arranging military music soon gave him reputation and lucrative employment. His charts are found in the books of many bands, both North and South. In 1860, Grafulla organized a new band for the 7th Regiment. The band was a commercial success, nationally, and enjoyed an extensive public and private patronage. Until his death, Grafulla served as Bandmaster of the 7th Regiment without salary or any compensation. Captain George M. Shepherd was a company officer in the 7th Regiment.


Capt. Smith’s QS, 18--, Claudio S. Grafulla (1810 – 1880) MAN (#14) – piano, Firth & Hall (1845) band, Frankenfield (1882)

 Thos. D. Smith of the Franklin Blues


Carnaval Waltz, traditional Venetian  [music found in the archives of the U.S. Marine Corps]

                Also known as “The Carnival of Venice,” the tune was used by Paganini in an arrangement he wrote for violin and piano, in 1840. Massé and Ambroise Thomas used the theme in operas and it is still a favorite of the concert stage. Musicologist, Sigmund Spaeth, credits the tune to J. Bellak.


Casta Diva from Norma, 1831, Vincenzo Bellini  (1801 – 1835)   [4th NH, Manchester Cornet Band Books]

                The opera deals with the struggle between Druidic Gauls and the legions of imperial Rome. Violating her religious vows, Norma, high priestess and daughter of the Druid chieftain, has married the Roman proconsul and borne him two children. Yet only her attendant knows her secret. The Druids launch an attack and drive the Romans back. In an attempt to save her husband and at the same time soothe her own people's passion for war, Norma, professes the Romans are doomed to an early fall, so there is no need for fighting. She cuts the sacred mistletoe, and in “an aria of inimitable grace and tender pathos” (Casta diva) she invokes peace from the moon.


Cavalry Polka
  18--, Karault   [25th Mass. Band Books]
    This selection uses a fanfare motif, in the middle section, which was common in Austrian military musics. The Strauss family often incorporated this material into their own compositions. On this writer's first hearing of the tune, castagñets were thought to be used. As it turned out, the sound was that of the keys, on the rotary valves, clicking. Some “purists” prefer their keys click, while others attribute the effect to ignorance of proper instrument maintenance.


C.B. & Q. R.R. March, 1886, Claudio S. Grafulla (1810 – 1880)

Chicago Burlington and Quincy Railroad more commonly known as the Burlington Route.

Centennial Quickstep  
  1862, Claudio S. Grafulla (1810 – 1880)  [1st Brigade Band Books]

Before discovering the actual source, this editor thought the tune may have been written for the centennial celebration of the Treaty of Paris (1763), which gave England control of the Wisconsin territory following the French and Indian War. It makes a nice story connection with the band from Wisconsin. However, new research has revealed the tune was written to commemorate the centennial of the Hibernia Engine Co, No. 1, of Philadelphia. It came as no surprise that the composer was the great C.S. Grafulla. This terrific arrangement takes the melody to more lyrical heights in a 6/8 pattern, as opposed to the original 2/4.


Charming Waltz, 1859, Charles Kinkel/arr: J. Schatzman  [Peters' Saxhorn Journal]

                This piece comes from Peters' Saxhorn Journal of 1859. The waltz was dedicated to the “Young Ladies of the Shelbyville Female College.”


Cheer Boys Cheer, pre 1840, Henry Russell   (1812 – 1900)  [26th NC, C.S.A. Band Books]

                Henry Russell, the famous English showman, lived in America from 1833 through 1841 and wrote several of his most enduring songs during his stay. A Life On the Ocean Wave, Woodman, Spare That Tree, and The Old Arm Chair were others composed during his tenure as organist of the First Presbyterian Church in Rochester, New York. He studied with Rossini in Naples. “Cheer”, which was later adopted by the British Army as the official troop departure song, originally appeared in a production entitled “Far West or the Emigrant's Progress.” Dr. Charles Mackay, who later became the editor of The Illustrated London News and war correspondent of The Times during America’s Civil War, wrote the words.


Chester, 1770, William Billings (1746 – 1800) [The New-England Psalm-Singer, or American Chorister]

                By far the most musically significant song of the American Revolution was “Chester”, which received new, patriotic words, written by the composer in 1778. Originally, it was a setting of a spiritual text by Isaac Watts and published in the first of Billings’ 6 tune-books. The engraver was Paul Revere. The new text appeared in his second, The Singing Master’s Assistant, 1778, and immediately became a favorite Revolutionary anthem. Billings, originally a tanner, was the first American composer to make music his full-time profession. His compositional style reflected the fact he had no formal training, and it was this new, energetic spark that created the American style – a complete break from European influence.


Chorus from Ernani  “O Hail Us Ye Free”, 1844, Guiseppe Verdi  (1813 – 1901)   [Alfred Squire]

                The opera, Ernani, is an adaptation of the Victor Hugo drama: Hernani. The setting is 16th century Spain and is the story of an outlawed Spanish Duke, turned bandit, who is fighting for his birthright. In the manner of “grande opera,” an extraordinarily large chorus was included and had to be toned down after it incited political demonstrations. A program from an 1862 benefit concert, for the sick and wounded, held at Willard's Hotel in Washington DC, lists Francis Scala and the U.S. Marine Band, performing this piece.


Col. Ellsworth's Requiem March, 1861, A.J. Vaas    [piano / Perry Roland]

                This is one of many commemorative works composed in honor of Col. Elmer Ellsworth, student and friend of Abraham Lincoln, leader of the New York Fire Zouaves. Ellsworth was sent to Alexandria, Virginia to seize control from the Confederacy. There was a large Confederate flag flying over the town hotel and Ellsworth rushed in and tore down the flag. On the way down from the roof, the hotel owner, Jesse Jackson, fired point-blank at Ellsworth. Another Union soldier shot and mortally wounded the owner. Ellsworth was the first Union officer to die in the war. According to the title page of the sheet music, the piano score is “As performed by the LIGHT GUARD BAND at the Ellsworth Obsequies, Bryan Hall, Chicago, June 2, 1861.”


Col. Kirkland's March, 1863, Edward Leinbach   [26th North Carolina C.S.A. Band Books]

                The first unit to be formed in the Moravian community of Salem was the 11th NCV, Col. W.W. Kirkland, commanding. By June of 1861 the unit had become the 21st Regiment North Carolina C.S.A. 10 days after the Pettigrew - Pickett Charge at Gettysburg, Pettigrew is mortally wounded and Kirkland is given command of his brigade. Gen. Kirkland later gives an arrangement of an aria from “Il Trovatore” to the 26th after commissioning the work for them.           


College Galop, 1862, arr: Gustavus W. Ingalls (1824 –?)  [3rd NH “Port Royal” Band Books]

                This is a medley of “College” songs arranged by G.W. Ingalls who served as Band Master of the 3rd New Hampshire Volunteer Infantry Band, later the 2nd Brigade Band, 10th Army Corps stationed at Port Royal, Hilton Head, South Carolina. Several school songs are presented along with some student favorites. Included is Lauriger Horatious (O Tannenbaum) from Yale and Oxford, Upidee, which was used as a parody of Longfellow’s Excelsior, Benny Haven's Oh! (Wearing of the Green) from West Point Academy, Litoria! Litoria! from Yale, and the German student song, Gaudeamus Igitur, used in Brahms' Academic Overture.


Col. Meeker's Q.S.  ,  186-, J.P. King   [3rd NH “Port Royal” Band Books]

                This tune is also known as Loving Hearts Q.S. The arrangement was copied by the members of the 3rd NH from bandbooks of the 8th Conn. Regt. Band. “Loving Hearts” is the title of one of Louis Moreau Gottschalk's romantic piano pieces. Gottschalk was the first American-born artist to achieve international acclaim. Frederick Chopin commented that Gottschalk would become the “King of Pianists”, after hearing him in Paris. Gottschalk was 15 at the time.


Come Dearest The Daylight is Gone, 1852, Brinley Richards  (1819 – 1885)  [26th North Carolina C.S.A. Band Books]

                Richards was a Welsh pianist, teacher and composer. He was a pupil at the Royal Academy of Music in London and wrote the Welsh National Anthem, God Bless the Prince of Wales. “Dearest” was said to be one of Robert E. Lee's favorite songs.


Come Where My Love Lies Dreaming Q.S.  , 1855, Stephen Collins Foster (1826 – 1864)  [Alfred Squire]

                The original version this tune was written for unaccompanied vocal quartet. With it listed as a “Serenade, per voci sole” and with an operatic Coda marked: “Finale ad lib,” an air of pretentiousness, uncommon with Foster, arises. It is as if the composer were saying, “Now I have high class.”


Come Where My Love Lies Dreaming Q.S.  , 1855, Stephen Collins Foster (1826 – 1864)  [26 NC]


Continental Guards March

    Claudio S. Grafulla (1810 – 1880) [pub: 1885 by J.W. Pepper]                   


Cornflower Waltz, 185-, Charles Coote (1809 – 1880)  [Squire's Cornet Band Olio No.2, 1872] [piano:  S. Brainard & Sons]

                The original piano music for this piece Corn Flower Valse was published in the 1850's. The piano score includes several variations not found in the Squire's arrangement. They have been incorporated here along with some minor melodic changes that were not present in “Squire’s.”


Coronation March, 1849, Giocomo Meyerbeer  (1792 – 1864) [Alfred Squire]

                From Le Prophete


Cossette  (Waltz), 1864, John C. Walling   [Squire's Cornet Band Olio No.2, 1872]

                The title comes from Victor Hugo’s Les Misérables. Cossette is the orphan girl that Jean Valjean raises as his own. The popularity of Les Misérables, published in 1862, was tremendous.


Cottage By The Sea, 1856, John Rogers Thomas   (1829 – 1896)  [26th NC, C.S.A. Band Books]

                The original song spoke of yearning for the simple life resting in Mother's arms “in the cottage by the sea.” This is another medley in the tradition of turning slow ballads into rousing quicksteps. The tune is also used in a medley with Dixie's Land found in the 25th Massachusetts Bandbooks.                             


Crystal Lake Grand March

    Claudio S. Grafulla (1810 – 1880)   [pub: 1882 by H.G. Frankenfield]
upstate NY, near Albany


Currier’s Quick Step, 185-, D.L. Downing [4th NH, Manchester Cornet Band Books]

                This selection may have been dedicated to Lorenzo M. Currier, a bandmaster and cornetist from NH.  He was also a member of Gustavus Ingal's 2nd Brigade Band, 10th Army Corps. This band became more popularly known as the Port Royal Band.