St. Louis Q.S.
18--, ? [1st Brigade Band Books]
Salutation To America Grand Polka
18--, R. Albert arr: Mark A. Elrod [piano]
Appalachian Hymn [Southern Harmony, 1835]
This mournful tune is found in several hymnals, especially shape - note hymnals. The tune is in a minor mode and is well suited for funeral marches. Alternative titles include “Ye Daughters of Zion” and “Isaiah, The Prophet, Has Written of Old.”
Santa Anna's Retreat From Buena Vista
1847, Stephen C. Foster (1826-1864) [piano]
This is the only march composed by America's beloved songwriter. The title refers to Gen. Winfield Scott's victory in Mexico over Gen. Antonio Lopez de Santa Anna's Mexican army and subsequent defeat of Mexico in the “Mexican War,” in 1846 and 1847. The cover of the piano sheet music states “as played by military bands.”
Screech Owl Gallop
18--, William H. Hartwell [26th Regt. NC, C.S.A. Band Books]
This is another chart copied from the books of the 16th Mississippi and, judging from the errors, was probably done in a hurry. Hartwell was an excellent composer and arranger and favored adventurous harmony and chromaticism¾sort of an early Charles Ives. These harmonies must have seemed wild in the 1860's, but were fairly common by the turn of the century. After an introductory Larghetto, the piece leaps into a sometimes-frantic gallop. One cannot help but reflect on the title and wonder which came first; the music or the title? In its original form, the Eb Cornetist would be ready to pass out or, at least, quit from lack of oxygen. Some liberties were taken, in the quintet, to lighten the load.
See The Conqu’ring Hero Comes
George Frederick Handel (1685 – 1759) [Squire’s Cornet Band Olio, Set #2, 1872]
From the opera Judas Maccabæus and used in the 1997 film: Fairy Tale: A True Story, starring Harvey Keitel and Peter O’Toole. Beethoven wrote a series of 12 variations on the tune.
7th Regiment Q.S.
?, William Russell [25th Mass. Regt.Band]
Dedicated to the 7th Massachusetts Regiment. Not to be confused with the 7th Regt. (NY) of “Skyrockets”, below.
18--? David L. Downing [4th NH, Manchester Cornet Band Books]
This quickstep is found in the Manchester Brass Band’s 1853 manuscript band books. It was composed by David L. Downing, a well-known New York City band leader, musician, and composer and arranger of band music during the third quarter of the 19th century. The piece was named in honor of Oliver Shaw, a well-known New England arranger and composer of band music and a leader of the American Band of Providence, Rhode Island during the late 1840’s and early 50s.
ca. 1826, traditional American Sea-Chantey [piano]
This popular “capstan” chantey was also used for weighing anchor. It tells the story of a young sailor asking Chief Shenandoah for his daughter's hand.
The Ship That Never Returned
18--, Henry Clay Work (1832 – 1884) [piano]
This delightful song keeps popping up from time to time. The tune was used for the song “The Wreck of the Old '97” and later for the parody of the latter, “Charlie and the M.T.A.” Somehow this “sea-faring” song wound up being a “railroad” piece.
? , G.W.E. Frederich [Brass Band Journal, 1854]
Silver Moon Q.S.
18--, James Hook ? or J.P. Ordway? [26th NC, C.S.A. Band Books]
Skyrockets! or Drum Corps Q.S. or Grafulla's Q.S.
1860, Claudio S. Grafulla (1812 – 1880) [3rd NH “Port Royal Band Books]
Originally written for the band of the 7th Regt. New York State Militia, the chart found its way into the books of the 3rd New Hampshire. It was later published as a piano solo (1860) and again for brass band under the title Skyrockets! Since Olde Towne Brass hails from the “Rocket City,” (Huntsville, AL) we’ve kept that title. This arrangement uses the 3rd NH version with embellishment from the published sources.
Grafulla was a tremendously talented and prolific composer and the foremost arranger for bands. Even today, modern wind bands continue to play his compositions, especially his march/quickstep Washington Grays. Nearly every surviving Civil War band book, Union and Confederate, contains Grafulla originals or his arrangements. It was said that a band wanted a potpourri of Wm. H. Fry’s new opera Leonore, and called on Grafulla. The bandleader whistled some of the opera’s melodies while Grafulla transcribed. A few hours later, he returned with a completed arrangement, and with only minor corrections, the selection was performed that night.
18--, E. Beyer, [26th NC, C.S.A. Band Books]
The original title is Schlummer Polka and has subtitles of “I am tired and sleepy” for the polka and “I am worn out” for the Trio. This tune also appears in Squire's Cornet Band Olio as Sleepy Polka. Several editions by T. Richards and S. Winner were found.
Soldier's Bride (Song)
18--, Conrad [Stratton Military Band Journal]
Soldiers’ Return, The
By age 21, Irish-born Patrick Gilmore was already leader of the Boston Brigade Band. At the start of the Civil War, he was leader of the 24th Mass. Regt. Band. A few years later he was made Bandmaster of the entire U.S. Army. Though his career flourished after the war, he will always be remembered for one tune, which he borrowed from his Irish homeland, When Johnny Comes Marching Home. This is an arrangement of the tune as it was originally published, under the title, The Soldier's Return.
Solid Men to the Front
1870 C. S. Grafulla
“National (?) Sovereignty - Guaranteed Rights - Good Faith - Among Men” is stated on the cover of the piano version of this quick step dedicated to the Honorable William M. Tweed. The band arrangement is by J. Schott and was published by Carl Fisher in the 1885 “American Star Journal.”
1855, Stephen Collins Foster (1826 – 1864) [piano]
“Some Folks” is a simple, witty, tongue-in-cheek toast to the carefree life.
Song Without Words
1845, Felix Mendelssohn-Bartoldy (1809 – 1847) No.? [Stratton Military Band Journal]
The collection of 48 Songs Without Words were very popular in America. One selection, “Spring Song” became a stand-by for classic dancers, but acquired a special value in burlesques such as the Marx Brothers.
18--, Johann Strauss (1825 – 1899) op. 185 [1st Brigade Band Books]
The correct title is “Sophie.”
Southern Soldier Boy
1863, Capt. G.W. Alexander [piano]
The tune is the “The Boy With the Auburn Hair.” Miss Sallie Partington in The Virginia Cavalier, at the Richmond New Theatre, popularized it, in 1863. In the song, Nannie sings of the darling of her heart, her “Southern Soldier Boy.” Another tune and lyrics was written and published, with the same title, by Rev. Abram J. Ryan and W. Ludden. This song tells of the young Confederate standard bearer who fell before his flag.
The Standard Bearer Q.S.
18--, ?, [1st Brigade Band Books]
Star of the County Down
traditional Irish, 18th century, arr: Charles L. Johnston
Though the tune is much older, it was first printed in the book: English Country Songs, in 1893. It’s the story of courting the most beautiful girl in county Down, Ireland, by a young suitor. The lyric is attributed to Cathal McGarvey, a poet of the second half of the 19th century. The melody was formerly known as “May love Nell”. It is also known as “When a Man’s in Love,” where the meter is a bold march in 4/4. In 1906, British composer Ralph Vaughn-Williams used the tune for his setting of Louis Fitzgerald Benson’s hymn, “O Sing a Song of Bethlehem” for the English Hymnal. The hymn tune is listed as KINGSFOLD. Charles Johnston, a former band director from Monroe Louisiana, and member of the 2nd Louisiana String Band, arranged it for full Eb brass band.
Star - Spangled Banner
John Stafford Smith (1750 – 1836) tune: To Anacreon In Heaven [3rd NH Band Books]
With words written by Francis Scott Key, (The Defense of Fort McHenry) this tune was one of several patriotic airs that were popular during the war. The South had its own version with new words, called The Cross of the South. This arrangement is by Claudio S. Grafulla and is found in the 3rd NH “Port Royal” band books. It was played during the raising of the U.S. flag over Fort Sumter on April 14, 1865 at the conclusion of the war. The song officially became the U.S. National Anthem in 1931. The original tune was popular in England (pre Anacreon) as early as the 1770's with the publication of The Anacreontic Song in 1778.
St. Patrick's Day In The Morning & Garry Owen
traditional Irish / Welsh [3rd NH “Port Royal” Band Books]
“St. Patrick's Day” was reportedly played by the pipers of an Irish brigade at the battle of Fontenoy on May 11, 1745, and published as early as 1748. The tune has been popular with American fifers since the latter part of the 18th century. “Garry Owen” is said to have been played in 1800 in a pantomime entitled “Harlequin Amulet.” The title is a corruption of Garryowen, an Irish town located in Limerick. Though no documentation has surfaced, legend states that George Armstrong Custer liked the tune so much he had his mounted 7th Cavalry Band play it wherever they went, including into battle during the Indian Wars.
Stonewall Jackson's Way
1862, John Williamson Palmer (1825 – 1906) tune: anon [piano: George Zwillig]
General Thomas Jonathan “Stonewall” Jackson was, and continues to be, one of the great legendary figures of the Confederacy. His untimely death left a gaping hole in Confederate ranks. Many musical tributes were composed shortly after his death, although the best known, Stonewall Jackson's Way, was written before. Palmer, a physician, poet, playwright and war correspondent for the New York Times, wrote the song during the battle of Antietam, and published it, anonymously, to avoid being arrested as a Southern sympathizer. To further disguise his identity, an inscription on the title page claims the lyric was “found on the body of a Confederate sergeant of the old Stonewall Brigade who was killed at Winchester, Virginia.” The song details many of the peculiar mannerisms of the good General and the dedicated men that followed him.
ca. 1851, Charles d' Albert (1809 – 1886) [Squire's Cornet Band Olio, Set #1 1871]
Born in Germany, d' Albert became one of England's finest “dancing masters” after settling in London. This type of light “salon type” polka (some say “saloon”) was very popular in America as well. According to one source, this is taken from the operetta “ The String of Pearls.” A piano arrangement from 1851 indicates the tune was in its “75th Edition,” testifying to its popularity. This “Turkish Polka”, though sometimes called “Esmeralda” should not be confused with “The Esmeralda Polka” by Joseph Labitzky.
Sunny Hours Waltz
Charles Kinkel, arr: J. Schatzman 1859 [Peters' Saxhorn Journal, 1859]