The Star-Spangled Banner Melody - "To Anacreon in Heaven" Francis Scott Key, 1814, German, from around the Civil War O say can you see, By the dawn's early light, What so proudly we hail'd At the twilight's last gleaming? Whose broad stripes and bright stars, Thro' the perilous fight, O'er the ramparts we watch'd, Were so gallantly gleaming? And the rocket's red glare, The bombs bursting in air Gave proof thro' the night That our flag was still there. O say, does that star-spangled Banner yet wave O'er the land of the free And the home of the brave. 2. On the shore dimly seen Thro' the mist of the deep, Where the foe's haughty host In dread silence reposes, What is that which the breeze, O'er the towering steep, As it fitfully blows, Half conceals, half discloses? Now it catches the gleam Of the morning's first beam, In full glory reflected Now shines in the stream. Tis the star-spangled banner O long may it wave O'er the land of the free And the home of the brave. 3. And where is the band Who so vauntingly swore, 'Mid the havoc of war And the battles confusion, A home and a country They'd leave us no more? Their blood has wash'd out Their foul footstep's pollution. No refuge could save The hireling and slave From the terror of flight Or the gloom of the grave; And the star-spangled banner In triumph doth wave O'er the land of the free And the home of the brave. 4. O thus be it ever, When free men shall stand Between their loved homes And the war's desolation; Blest with vict'ry and peace, May the heav'n rescued land Praise the Power that hath made And preserved us a nation! Then conquer me must, When our cause it is just, And this be our motto, In God is our trust! And the star-spangled banner In triumph shall wave O'er the land of the free And the home of the brave. The Star-Spangled Banner was certified as the national anthem of the United States of America, by act of Congress on 3. March 1931, although already adopted as such by the Army and Navy. The text was written by the American lawyer and poet Francis Scott Key (1779-1843), on board a British frigate during the British bombardment of Fort McHenry in Baltimore, Maryland Harbor. On September 13-14, 1814, during the War of 1812, the fort successfully withstood a 25-hour bombardment by the British fleet under Vice-Admiral Alexander Cochrane. Key had boarded the ship under a flag of truce to arrange for the release of Dr. William Beanes, a prisoner held by the British during the War of 1812 and had been temporarily detained during the attack. The sight of the 1,260 sq. ft. flag still flying on the following morning inspired Key to write the poem. Some sources state that the subject matter of the tune, to which he'd written a previous poem in 1805 to honor Commodore Stephen Decatur, equally inspired Mr. Key's life. First printed in a handbill and then in a Baltimore newspaper, it soon became a popular song, sung to the tune of the drinking song "To Anacreon in Heaven". The composer of this tune is uncertain. John Stafford Smith, born in 1750, used the tune for an arrangement and is often regarded as the composer of the tune.
O say can you see, By the dawn's early light, What so proudly we hail'd At the twilight's last gleaming? Whose broad stripes and bright stars, Thro' the perilous fight, O'er the ramparts we watch'd, Were so gallantly gleaming? And the rocket's red glare, The bombs bursting in air Gave proof thro' the night That our flag was still there. O say, does that star-spangled Banner yet wave O'er the land of the free And the home of the brave.
2. On the shore dimly seen Thro' the mist of the deep, Where the foe's haughty host In dread silence reposes, What is that which the breeze, O'er the towering steep, As it fitfully blows, Half conceals, half discloses? Now it catches the gleam Of the morning's first beam, In full glory reflected Now shines in the stream. Tis the star-spangled banner O long may it wave O'er the land of the free And the home of the brave.
3. And where is the band Who so vauntingly swore, 'Mid the havoc of war And the battles confusion, A home and a country They'd leave us no more? Their blood has wash'd out Their foul footstep's pollution. No refuge could save The hireling and slave From the terror of flight Or the gloom of the grave; And the star-spangled banner In triumph doth wave O'er the land of the free And the home of the brave.
4. O thus be it ever, When free men shall stand Between their loved homes And the war's desolation; Blest with vict'ry and peace, May the heav'n rescued land Praise the Power that hath made And preserved us a nation! Then conquer me must, When our cause it is just, And this be our motto, In God is our trust! And the star-spangled banner In triumph shall wave O'er the land of the free And the home of the brave.
The Star-Spangled Banner was certified as the national anthem of the United States of America, by act of Congress on 3. March 1931, although already adopted as such by the Army and Navy. The text was written by the American lawyer and poet Francis Scott Key (1779-1843), on board a British frigate during the British bombardment of Fort McHenry in Baltimore, Maryland Harbor.
On September 13-14, 1814, during the War of 1812, the fort successfully withstood a 25-hour bombardment by the British fleet under Vice-Admiral Alexander Cochrane.
Key had boarded the ship under a flag of truce to arrange for the release of Dr. William Beanes, a prisoner held by the British during the War of 1812 and had been temporarily detained during the attack. The sight of the 1,260 sq. ft. flag still flying on the following morning inspired Key to write the poem. Some sources state that the subject matter of the tune, to which he'd written a previous poem in 1805 to honor Commodore Stephen Decatur, equally inspired Mr. Key's life.
First printed in a handbill and then in a Baltimore newspaper, it soon became a popular song, sung to the tune of the drinking song "To Anacreon in Heaven".
The composer of this tune is uncertain. John Stafford Smith, born in 1750, used the tune for an arrangement and is often regarded as the composer of the tune.
O! say, can you see, by the dawn's early light, What so proudly we hailed at the twilight's last gleaming: Whose broad stripes and bright stars through the perilous fight, O'er the ramparts we watched were so gallantly streaming, And the rocket's red glare, the bombs bursting in air, Gave proof through the night that our flag was still there;
O! say, does that Star-spangled Banner yet wave O'er the land of the free and the home of the brave?
On the shore, dimly seen through the mists of the deep Where the foe's haughty host in dread silence reposes, What is that which the breeze, o'er the towering steep, As it fitfully blows, half conceals, half discloses? Now it catches the gleam of the morning's first beam -- In full glory reflected, now shines on the stream;
'Tis the Star-spangled Banner, O! long may it wave O'er the land of the free and the home of the brave.
And where is that band who so vauntingly swore That the havoc of war and the battle's confusion A home and a country should leave us no more? Their blood has washed out their foul footsteps' pollution. No refuge could save the hireling and slave. From the terror of flight or the gloom of the grave!
And the Star-spangled Banner in triumph doth wave O'er the land of the free and the home of the brave.
O! thus be it ever when free men shall stand Between their loved homes and the foe's desolation; Bless'd with victory and peace, may our Heaven-rescued land Praise the Power that hath made and preserved us a nation Then conquer we must, for our cause it is just -- And this be our motto -- "In God is our trust!"
And the Star-spangled Banner in triumph shall wave O'er the land of the free and the home of the brave.
God Bless The USA If tomorrow all the things were gone I'd worked for all my life, And I had to start again with just my children and my wife. I'd thank my lucky stars to be livin' here today, 'cause the flag still stands for freedom and they can't take that away. And I'm proud to be an American where as least I know I'm free. And I won't forget the men who died, who gave that right to me. And I'd gladly stand up next to you and defend her still today. 'Cause there ain't no doubt I love this land God bless the USA. From the lakes of Minnesota, to the hills of Tennessee, across the plains of Texas, from sea to shining sea, From Detroit down to Houston and New York to LA Well, there's pride in every American heart, and it's time to stand and say that I'm proud to be an American where as least I know I'm free. And I won't forget the men who died, who gave that right to me. And I'd gladly stand up next to you and defend her still today. 'Cause there ain't no doubt I love this land God bless the USA. Anchors Aweigh Melody - Lieut. Charles A. Zimmermann, 1906 v. 1,2: Alfred Hart Miles, 1906, v.3: Royal Lovell, 1926; rev. by George D. Lottman Stand Navy down the field, Sails set to the sky. We'll never change our course, So Army you steer shy-y-y-y. Roll up the score, Navy, Anchors Aweigh. Sail Navy down the field And sink the Army, sink the Army Grey. 2. Get underway, Navy, Decks cleared for the fray, We'll hoist true Navy Blue So Army down your Grey-y-y-y. Full speed ahead, Navy; Army heave to, Furl Black and Grey and Gold And hoist the Navy, hoist the Navy Blue 3. Blue of the Seven Seas; Gold of God's great sun Let these our colors be Till All of time be done-n-n-ne, By Severn shore we learn Navy's stern call: Faith, courage, service true With honor over, honor over all. Stand, Navy, out to sea, Fight our battle cry; We'll never change our course, So vicious foe steer shy-y-y-y. Roll out the TNT, Anchors Aweigh. Sail on to victory And sink their bones To Davy Jones, hooray! 2. Anchors Aweigh, my boys, Anchors Aweigh. Farewell to college joys, We sail at break of day-ay-ay-ay. Through our last night on shore, Drink to the foam, Until we meet once more. Here's wishing you a happy voyage home. -------------------------------------------------------------------------------- The word "weigh" in this sense comes from the archaic word meaning to heave, hoist or raise. "Aweigh" means that that action has been completed. The anchor is aweigh when it is pulled from the bottom and breaks the surface of the water. This event is noted in the ship's log. Battle Hymn of the Republic Mark R. Weston Information The tune was originally a camp-meeting hymn "Oh brothers, will you meet us on Canaan's happy shore?" It evolved into John Brown's Body. Then in 1861 Julia Ward Howe wife of a government official, wrote a poem for Atlantic Monthly for five dollars. The magazine called it, Battle Hymn of the Republic. The music may be by William Steffe. Lyrics Mine eyes have seen the glory Of the coming of the Lord; He is trampling out the vintage Where the grapes of wrath are stored; He hath loosed the fateful lightning Of His terrible swift sword; His truth is marching on. Chorus Glory! Glory! Hallelujah! Glory! Glory! Hallelujah! Glory! Glory! Hallelujah! His truth is marching on. I have seen Him in the watchfires Of a hundred circling camps They have builded Him an altar In the evening dews and damps; I can read His righteous sentence By the dim and flaring lamps; His day is marching on. Chorus I have read a fiery gospel writ In burnished rows of steel: "As ye deal with My contemners, So with you My grace shall deal": Let the Hero born of woman Crush the serpent with His heel, Since God is marching on. Chorus He has sounded forth the trumpet That shall never call retreat; He is sifting out the hearts of men Before His judgement seat; Oh, be swift, my soul, to answer Him; Be jubilant, my feet; Our God is marching on. Chorus In the beauty of the lilies Christ was born across the sea, With a glory in His bosom That transfigures you and me; As He died to make men holy, Let us die to make men free; While God is marching on. Chorus Julia Ward Howe: Beyond the Battle Hymn of the Republic Source 1. Julia Ward and Samuel Gridley Howe Julia Ward was born in 1819, in New York City, into a strict Episcopalian Calvinist family. Her mother died when she was young, and Julia was raised by an aunt. When her father, a banker of comfortable but not immense wealth, died, her guardianship became the responsibility of a more liberal-minded uncle. She herself grew more and more liberal -- on religion and on social issues. At 21 years old, Julia married the reformer Samuel Gridley Howe. He was already making his mark on the world at that time. He had fought in the Greek War of Independence and had written of his experiences there. He had become the director of the Perkins Institute for the Blind in Boston, Massachusetts. He was a radical Unitarian who had moved far from the Calvinism of New England, and Howe was part of the circle known as the Transcendentalists. He carried religious conviction in the value of the development of every individual into work with the blind, with the mentally ill, and with those in prison. He was also, out of that religious conviction, an opponent of slavery. Julia Ward Howe about 1860 Portrait from http://womenshistory.about.com/gi/dynamic/offsite.htm?site=http://www.arttoday.com Used with permission Julia became a Unitarian Christian. She retained until death her belief in a personal, loving God who cared about the affairs of humanity, and she believed in a Christ who had taught a way of acting, a pattern of behavior, that humans should follow. She was a religious radical who did not see her own belief as the only route to salvation; she, like many others of her generation, had come to believe that religion was a matter of "deed, not creed." Samuel and Julia Howe attended the church where Theodore Parker was minister. Parker, a radical on women's rights and slavery, often wrote his sermons with a handgun on his desk, ready if necessary to defend the lives of the runaway slaves who were staying that night in his cellar on their way to Canada and freedom. Samuel had married Julia, admiring her ideas, her quick mind, her wit, her active commitment to causes he also shared. But Samuel believed that married women should not have a life outside the home, that they should support their husbands and that they should not speak publicly or be active themselves in the causes of the day. As director at Perkins Institute for the Blind, Samuel Howe lived with his family on campus in a small house. Julia and Samuel had their six children there. (Four survived to adulthood, all four becoming professionals well known in their fields.) Julia, respecting her husband's attitude, lived in isolation in that home, with little contact with the wider community of Perkins Institute or Boston. Julia attended church, she wrote poetry, and it became harder for her to maintain her isolation. The marriage was increasingly stifling to her. Her personality was not one which adjusted to being subsumed in the campus and professional life of her husband, nor was she the most patient person. Thomas Wentworth Higginson wrote much later of her in this period: "Bright things always came readily to her lips, and a second thought sometimes came too late to withhold a bit of a sting." Her diary indicates that the marriage was violent, Samuel controlled, resented and at times mismanaged the financial inheritance her father left her, and much later she discovered that he was unfaithful to her during this time. They considered divorce several times. She stayed, in part because she admired and loved him, and in part because he threatened to keep her from her children if she divorced him — both the legal standard and common practice at that time. Instead of divorce, she studied philosophy on her own, learned several languages — at that time a bit of a scandal for a woman — and devoted herself to her own self-education as well as the education and care of their children. She also worked with her husband on a brief venture at publishing an abolitionist paper, and supported his causes. She began, despite his opposition, to get more involved in writing and in public life. She took two of their children to Rome, leaving Samuel behind in Boston. 3. Writing the Battle Hymn of the Republic As a result of their voluntary work with the Sanitary Commission, in 1862 President Lincoln invited Samuel and Julia Howe to Washington. The Howes visited a Union Army camp in Virginia across the Potomac. There, they heard the men singing the song which had been sung by both North and South, one in admiration of John Brown, one in celebration of his death: "John Brown's body lies a'mouldering in his grave." A clergyman in the party, James Freeman Clarke, who knew of Julia's published poems, urged her to write a new song for the war effort to replace "John Brown's Body." She described the events later: Julia Ward Howeabout 1865Portrait from http://womenshistory.about.com/gi/dynamic/offsite.htm?site=http://www.arttoday.comUsed with permission "I replied that I had often wished to do so…. n spite of the excitement of the day I went to bed and slept as usual, but awoke the next morning in the gray of the early dawn, and to my astonishment found that the wished-for lines were arranging themselves in my brain. I lay quite still until the last verse had completed itself in my thoughts, then hastily arose, saying to myself, I shall lose this if I don't write it down immediately. I searched for an old sheet of paper and an old stub of a pen which I had had the night before, and began to scrawl the lines almost without looking, as I learned to do by often scratching down verses in the darkened room when my little children were sleeping. Having completed this, I lay down again and fell asleep, but not before feeling that something of importance had happened to me." The result was a poem, published first in February 1862 in the Atlantic Monthly, and called "Battle Hymn of the Republic." The poem was quickly put to the tune that had been used for "John Brown's Body" — the original tune was written by a Southerner for religious revivals — and became the best known Civil War song of the North. Julia Ward Howe's religious conviction shows in the way that Old and New Testament Biblical images are used to urge that people implement, in this life and this world, the principles that they adhere to. "As he died to make men holy, let us die to make men free." Turning from the idea that the war was revenge for the death of a martyr, Howe hoped that the song would keep the war focused on the principle of the ending of slavery. Today, that's what Howe is most remembered for: as the author of the song, still loved by many Americans, still hated by many Southerners. Her early poems are forgotten — her other social commitments forgotten. She became a much-loved American institution after that song was published — but even in her own lifetime, all her other pursuits paled besides her accomplishment of one piece of poetry for which she was paid $5 by the editor of Atlantic Monthly. John Brown's Body Melody - Battle Hymn of the Republic |: John Brown's body lies a-mouldering in the grave, :| John Brown's body lies a-mouldering in the grave, But his soul goes marching on. Chorus: |: Glory, glory, hallelujah, :| Glory, glory, hallelujah, His soul goes marching on. 2. |: He's gone to be a soldier in the Army of the Lord, :| He's gone to be a soldier in the Army of the Lord, His soul goes marching on. Chorus: 3. |: John Brown's knapsack is strapped upon his back, :| John Brown's knapsack is strapped upon his back, His soul goes marching on. Chorus: 4. |: John Brown died that the slaves might be free, :| John Brown died that the slaves might be free, His soul goes marching on. Chorus: 5. |: The stars above in Heaven now are looking kindly down, :| The stars above in Heaven now are looking kindly down, His soul goes marching on. Chorus: John Brown's Body Mark R. Weston Information The tune was originally a camp-meeting hymn Oh brothers, will you meet us on Canaan's happy shore? It evolved into this tune. In 1861 Julia Ward Howe wife of a government official, wrote a poem for Atlantic Monthly for five dollars. The magazine called it, Battle Hymn of the Republic. The music may be by William Steffe. John Brown's body lies a-mold'ring in the grave Lyrics John Brown's body lies a-mold'ring in the grave John Brown's body lies a-mold'ring in the grave His soul goes marching on Glory, Glory! Hallelujah! Glory, Glory! Hallelujah! Glory, Glory! Hallelujah! His soul is marching on He captured Harper's Ferry with his nineteen men so true He frightened old Virginia till she trembled through and through They hung him for a traitor, themselves the traitor crew His soul is marching on John Brown died that the slave might be free, John Brown died that the slave might be free, John Brown died that the slave might be free, But his soul is marching on! The stars above in Heaven are looking kindly down The stars above in Heaven are looking kindly down The stars above in Heaven are looking kindly down On the grave of old John Brown 1800 May: John Brown is born in Torrington, Connecticut. His father, Owen, a strict Calvinist, hated slavery and believed that holding humans in bondage was a sin against God. 1812 The War of 1812: A 12-year-old John Brown travels through the Michigan wilderness to deliver a herd of cattle. He lodged with a man who owned a boy slave. Brown was treated well, but the slave was beaten before his eyes with an iron shovel. The memory would forever haunt John Brown. 1820 June 21: John Brown marries Dianthe Lusk. In 1826 they left for the wilderness in Pennsylvania, where Brown built a tannery. She will die in 1832, shortly after the death of her newborn. 1833 June 14: John Brown weds sixteen-year-old Mary Day. Mary takes cares of Brown's five children and will later bear him thirteen of her own. Economic hardships will escalate as he attempts to provide for his ever expanding family. 1836 January: Land speculation reaches dizzying heights. Brown moves his family to Franklin Mills, Ohio, and borrows money to buy land in the area, only to be crushed in the economic turmoil of 1837. 1837 November 7: Elijah Lovejoy, publisher of an antislavery newspaper, is shot to death by a proslavery mob. During his memorial service, John Brown stood and made a vow to end slavery. 1842 September 28, 1842: A federal court decides John Brown's bankruptcy case. Creditors took all but the essentials on which Brown and his family needed to live. It is the culmination of years of poor business decisions made by Brown. 1854 Kansas-Nebraska Act of 1854: The Missouri Compromise, which restricted the expansion of slavery, is swept aside. With a nod to Southern power, the federal government placed the volatile issue of slavery into the hands of those settling the new territories. The people will decide, by popular vote, whether to be "free" or "slave." 1855 June: John Brown follows his sons to Kansas. 1856 May 24: Brown goes to nearby Pottawatomie Creek and directs his men in the murder of five proslavery settlers. 1857 January: Franklin Sanborn, secretary for the Massachusetts State Kansas Committee, introduces Brown to influential abolitionists in the Boston area in effort to further antislavery fight in Kansas. These acquaintances will later constitute the members of the "Secret Six." 1858 January: John Brown rides into Missouri and attacks two proslavery homesteads, confiscating property and liberating eleven of their slaves. Brown travels eighty-two days and covers over a thousand miles to deliver the slaves to freedom in Canada. 1859 July 3: A few miles outside of Harpers Ferry, John Brown rents farmhouse under the name, "Isaac Smith." August 16: John Brown and Frederick Douglass have a clandestine meeting at a rock quarry at Chambersburg, Pennsylvania. Brown tried to convince Douglass to join him at Harpers Ferry. October 16: John Brown attacks the armory at Harpers Ferry. November 2: A Viginia jury finds John Brown guilty of murder, treason, and inciting a slave insurrection after a week of trial and forty-five minutes of deliberation. December 2: John Brown is hanged. 1861 April 12: Confederate batteries open fire on Fort Sumter; the first shots of the Civil War. 1865 The Thirteenth Amendment to the Constitution abolishes slavery. Butterfield's Lullaby Taps Melody - Daniel Butterfield, 1862? Daniel Butterfield, 1862? Day is done Gone the sun From the lakes From the hills From the sky All is well Safely rest God is nigh. -------------------------------------------------------------------------------- Killer Angels is a book written about the battle of Gettysburg. "During the Civil War it was called Butterfield's Lullaby. It was not a song of sadness like it is today. The song was played every night at bed time, like a "lights out song". When an officer died, they would like to do a gun salute but were afraid that the troops would think the Confederates were attacking, so they played this song instead, since it was quiet." - with thanks to Chris Stinson for this commentary. Yankee Doodle Barry Taylor Information Tradition has it that Yankee Doodle had its origins in the French and Indian War when New England troops joined Braddock's forces at Niagara. In contrast to the spit and polish of the British army, the colonials were a motley crew, some wearing buckskins and furs. Dr. Richard Schuckburg, a British Army surgeon reportedly wrote the tune ridiculing the Americans in the early 1750s. Some scholars believe it is a variant of the nursery rhyme Lucy Locket. Despite the fact it began as ridicule, the colonials took the song for their own. Countless versions and parodies evolved, many of which made fun of their officers, including George Washington. These verses are included at the end of the tune. When Cornwallis surrendered at Yorktown it is said while the British played The World Turned Upside Down, the Americans played Yankee Doodle. There are said to be as many as 190 verses of Yankee Doodle. Lyrics Father and I went down to camp Along with Captain Gooding And there we saw the men and boys As thick as hasty pudding. Chorus Yankee doodle, keep it up Yankee doodle dandy Mind the music and the step And with the girls be handy. There was Captain Washington Upon a slapping stallion A-giving orders to his men I guess there was a million. Chorus And then the feathers on his hat They looked so' tarnal fin-a I wanted pockily to get To give to my Jemima. Chorus And then we saw a swamping gun Large as a log of maple Upon a deuced little cart A load for father's cattle. Chorus And every time they shoot it off It takes a horn of powder It makes a noise like father's gun Only a nation louder. Chorus I went as nigh to one myself As' Siah's underpinning And father went as nigh agin I thought the deuce was in him. We saw a little barrel, too The heads were made of leather They knocked upon it with little clubs And called the folks together. Chorus And there they'd fife away like fun And play on cornstalk fiddles And some had ribbons red as blood All bound around their middles. The troopers, too, would gallop up And fire right in our faces It scared me almost to death To see them run such races. Chorus Uncle Sam came there to change Some pancakes and some onions For' lasses cake to carry home To give his wife and young ones. Chorus But I can't tell half I see They kept up such a smother So I took my hat off, made a bow And scampered home to mother. Chorus Cousin Simon grew so bold I thought he would have cocked it It scared me so I streaked it off And hung by father's pocket. Chorus And there I saw a pumpkin shell As big as mother's basin And every time they touched it off They scampered like the nation. Other Verses: And there was Captain Washington, With gentlefolks about him, They say he's gown so 'tarnal proud He will not ride without them. Chorus There came Gen'ral Washington Upon a snow-white charger He looked as big as all outdoors And thought that he was larger. Chorus Yankee Doodle or Return From Camp From the American Antiquarian Society, earliest score sheet Father and I went down to camp, Along with Captain Gooding, There we see the men and boys, As thick as hasty pudding. Chorus: Yankee doodle, keep it up, Yankee doodle, dandy; Mind the music and the step, And with the girls be handy. 2. And there we see a thousand men, As rich as "Squire David"; And what they wasted every day, I wish it could be saved. Chorus: 3. The lasses they eat every day, Would keep an house a winter; They have as much that I'll be bound They eat it when they're amind to. Chorus: 4. And there we see a swamping gun, Large as a log of maple, Upon a deuced little cart, A load for father's cattle. Chorus: 5. And every time they shoot it off, It takes a horn of powder; It makes a noise like father's gun, Only a nation louder. Chorus: 6. I went as nigh to one myself, As 'Siah's underpining; And father went as nigh again, I thought the deuce was in him. Chorus: 7. Cousin Simon grew so bold, I thought he would have cock'd it: It scar'd me so, I shrink'd it off, And hung by father's pocket. Chorus: 8. And Captain Davis had a gun, He kind of clap'd his on't, And struck a crooked stabbing iron Upon the little end on't. Chorus: 9. And there I see a pumpkin shell As big a mother's bason, And every time they touch'd it off, They scamper'd like the nation. Chorus: 10. I see a little barrel too, The heads were made of leather, They knock'd upon't with little clubs, And call'd the folks together. Chorus: 11. And there was Captain Washington, And gentlefolks about him, They say he's grown so tarnal proud, He will not ride without 'em. Chorus: 12. He got him on his meeting clothes, Upon a slapping stallion, He set the world along in rows, In hundred and in millions. Chorus: 13. The flaming ribbons in their hats, They look'd so taring fine, ah, I wanted pockily to get, To give to my Jemimah. Chorus: 14. I see another snarl of men A digging graves, they told me, So tarnal long, so tarnal deep, They 'tended they should hold me. Chorus: 15. It scar'd me so, I hook'd it off, Nor stopt, as I remember, Nor turn'd about till I got home, Lock'd up in mother's chamber. Chorus: -------------------------------------------------------------------------------- Taken from a score sheet dated 1799. When the Revolutionary War began, the colonists had no national song. We are told that during the French and Indian War Dr. Richard Shackburg, in a spirit of derision, gave to the poorly clad and awkward colonial soldiers the words and music of Yankee Doodle, telling them it was a fine martial tune. When they played it the British were greatly amused. Twenty years after these same militiamen marched to victory at Lexington to this much derided tune, while their British teachers skulked behind fences or sought refuge in retreat. Five years later Cornwallis marched to the same tune at Yorktown to surrender his sword and his army to General Washington. Little is known of the history of the tune. No doubt it is several hundred years old, but authorities disagree as to its origin. One says it was commonly used by the Spaniards. Another claims the song was sung by Germans who worked in Holland and sang a harvest song to this well known air. Another tells us that the Puritans of Cromwell's time were ridiculed as "Naukeys" in a stanza adapted to this same tune. The word "Yankee" is sometimes given as an Indian corruption of the word English. Or, as has been said, it was a contemptuous term applied to the Puritans. Others claim it to be a cant word, expressing excellence, which originated in New England, but which finally came to be applied to the people of that region as a derisive epithet. "Doodle", according to the dictionaries, means a trifling or simple fellow. The words which were once sung to this tune by the colonists were little more than meaningless doggerel, and are little known now. It is not the lofty sentiment of the words, but the catchy, rollicking tune and the sacred associations, which give this song its place among our national treasures. - From the Golden Book of Favorite Songs, 1915. Marine Hymn From the Halls of Montezuma To the shores of Tripoli, We fight our country's battles In the air, on land and sea First to fight for right and freedom, And to keep our honor clean, We are proud to claim the title Of United States Marine. 2. Our Flag's unfulr'd to every breeze From dawn to setting sun; We have fought in every clime and place Where we could take a gun. In the snow of far-off northern lands And in sunny tropic scenes, You will find us always on the job The Unites States Marines. 3. Here's health to you and to our Corps Which we are proud to serve; In many a strife we've fought for life And never lost our nerve. If the Army and the Navy Ever look on Heaven's scenes, They will find the streets are guarded By United States Marines! Semper Fidelis March (Marching music; no words) The march takes its title from the motto of the U. S. Marine Corps: Semper Fidelis -- Always Faithful. It was dedicated to those who inspired it - the officers and men of the United States Marine Corps. In Sousa's own words: "I wrote Semper Fidelis one night while in tears, after my comrades of the Marine Corps had sung their famous hymn at Quantico." It became one of his most popular marches, and Sousa considered it his best march, musically speaking. According to Sousa, Semper Fidelis is one of the five most effective street marches. The others are The Thunderer, National Emblem, Washington Post, and High School Cadets. Dixie Information This Confederate War Song was written by a Northerner, Daniel Decatur Emmett before the Civil War for the Bryant Minstrels. It was first played in New York. The word "dixie" could refer to the area below the Mason-Dixon Line, but is generally believed to refer to the worthless ten dollar bills issued in New Orleans which were called "dixies" because of the word "dix" (ten in French) printed on them. Lyrics I wish I was in the land of Cotton Old times there are not forgotten Look away! Look away! Look away! Dixie Land In Dixie Land where I was born in early on one frosty morning' Look away! Look away! Look away! Dixie Land Chorus Then I wish I was in Dixie Hooray! Hooray! In Dixie Land I'll take my stand To live and die in Dixie Away! Away! Away! Down South in Dixie. Away! Away! Away! Down South in Dixie. Ole Missus marry "will the weaver" Willum was a gay deceiver Look away! Look away! Look away! Dixie Land But when he put his arm around er, He smiled fierce as a forty pounder, Look away! Look away! Look away! Dixie Land His face was sharp as a butcher's cleaver But that did not seem to grieve 'er Look away! Look away! Look away! Dixie Land Ole Missus acted the foolish part And died for a man that broke her heart Look away! Look away! Look away! Dixie Land Now here's a health to the next ole Missus An' all the gals that want to kiss us; Look away! Look away! Look away! Dixie Land But if you want to drive 'way sorrow Come and hear this song tomorrow Look away! Look away! Look away! Dixie Land There's buckwheat cakes and Injun batter, Makes you fat or a little fatter; Look away! Look away! Look away! Dixie Land Then hoe it down and scratch your gravel, To Dixie's Land I'm bound to travel, Look away! Look away! Look away! Dixie Land Oh, Susanna Melody - Stephen Foster; Seq. by Werner Tomaschewski Stephen Foster, 1848 I come from Alabama with my banjo on my knee I'm going to Louisiana, my true love for to see It rained all night the day I left The weather it was dry The sun so hot, I froze to death Susanna, don't you cry Chorus: Oh, Susanna, Oh don't you cry for me For I come from Alabama With my banjo on my knee 2. I had a dream the other night when everything was still I thought I saw Susanna a-coming down the hill The buckwheat cake was in her mouth The tear was in her eye Says I, I'm coming from the south Susanna, don't you cry Chorus: Old MacDonald had a farm Old MacDonald had a farm Ee i ee i o And on his farm he had some chicks Ee i ee i o With a cluck-cluck here And a cluck-cluck there Here a cluck, there a cluck Everywhere a cluck-cluck Old MacDonald had a farm Ee i ee i o Old MacDonald had a farm Ee i ee i o And on his farm he had some cows Ee i ee i oh With a moo-moo here And a moo-moo there Here a moo, there a moo Everywhere a moo-moo Old MacDonald had a farm Ee i ee i o Old MacDonald had a farm Ee i ee i o And on his farm he had some pigs Ee i ee i o With an oink-oink here And an oink-oink there Here an oink, there an oink Everywhere an oink-oink Old MacDonald had a farm Ee i ee i o Add in other animals that you teach on the farm like : dogs - woof-woof cat - meow-meow sheeps - baa-baa horses - neigh-neigh Waltzing Matilda Bill Basham Information The words to Waltzing Matilda were written in 1895 by Andrew Barton (Banjo) Paterson. It is believed the music is based on an old Scottish tune called Craigielea. Lyrics Once a jolly swagman sat beside the billabong, Under the shade of a coulibah tree, And he sang as he sat and waited by the billabong You'll come a waltzing matilda with me Waltzing matilda, waltzing matilda You'll come a waltzing matilda with me And he sang as he sat and waited by the billabong You'll come a waltzing matilda with me. Down came a jumbuck to drink beside the billabong Up jumped the swagman and seized him with glee And he sang as he tucked jumbuck in his tuckerbag You'll come a waltzing matilda with me Waltzing matilda, waltzing matilda You'll come a waltzing matilda with me And he sang as he sat and waited by the billabong You'll come a waltzing matilda with me. Down came the stockman, riding on his thoroughbred, Down came the troopers, one, two, three. "where's the jolly jumbuck you've got in your tuckerbag? You'll come a waltzing matilda with me Waltzing matilda, waltzing matilda You'll come a waltzing matilda with me And he sang as he sat and waited by the billabong You'll come a waltzing matilda with me. Up jumped the swagman and plunged into the billabong, "You'll never catch me alive," cried he And his ghost may be heard as you ride beside the billabong, You'll come a Waltzing Matilda with me. History of Taps Of all the military bugle calls, none is so easily recognized or more apt to render emotion than Taps. Up to the Civil War, the traditional call at day's end was a tune, borrowed from the French, called Lights Out. In July of 1862, in the aftermath of the bloody Seven Days battles, hard on the loss of 600 men and wounded himself, Union General Daniel Adams Butterfield called the brigade bugler to his tent. He thought "Lights Out" was too formal and he wished to honor his men. Oliver Wilcox Norton, the bugler, tells the story, "...showing me some notes on a staff written in pencil on the back of an envelope, (he) asked me to sound them on my bugle. I did this several times, playing the music as written. He changed it somewhat, lengthening some notes and shortening others, but retaining the melody as he first gave it to me. After getting it to his satisfaction, he directed me to sound that call for Taps thereafter in place of the regulation call. The music was beautiful on that still summer night and was heard far beyond the limits of our Brigade. The next day I was visited by several buglers from neighboring Brigades, asking for copies of the music which I gladly furnished. The call was gradually taken up through the Army of the Potomac." This more emotive and powerful Taps was soon adopted throughout the military. In 1874 It was officially recognized by the U.S. Army. It became standard at military funeral ceremonies in 1891. There is something singularly beautiful and appropriate in the music of this wonderful call. Its strains are melancholy, yet full of rest and peace. Its echoes linger in the heart long after its tones have ceased to vibrate in the air. - from an article by Master Sergeant Jari A Villanueva, USAF. FIRST CALL Sound as a warning that personnel will prepare to assemble for a formation. REVEILLE Signals the troops to awaken for morning roll call. Used to accompany the raising of the National Colors. ASSEMBLY Signals troops to assemble at a designated place MESS CALLSignals mealtime. OFFICER'S CALLSignals all officers to assemble at a designated place. ADJUTANT'S CALL Signals that the adjutant is about to form the guard, battalion, or brigade. The bugler plays the bugle part of the call. RETREAT Signals the end of the official day. TO THE COLOR To the Color is a bugle call to render honors to the nation. It is used when no band is available to render honors, or in ceremonies requiring honors to the nation more than once. To the Color commands all the same courtesies as the National Anthem. TATTOO Signals that all light in squad rooms be extinguished and that all loud talking and other disturbances be discontinued within 15 minutes. Taps History The true story is that in July 1862, after the Seven Days battles at Harrison's Landing (near Richmond), Virginia, the wounded Commander of the 3rd Brigade, 1st Division, V Army Corps, Army of the Potomac, General Daniel Butterfield reworked, with his bugler Oliver Wilcox Norton, another bugle call, "Scott Tattoo," to create Taps. He thought that the regular call for Lights Out was too formal. The custom, thus originated, was taken up throughout the Army of the Potomac and finally confirmed by orders." Soon other Union units began using Taps, and even a few Confederate units began using it as well. After the war, Taps became an official bugle call. Col. James A. Moss, in his Officer's Manual first published in 1911, gives an account of the initial use of Taps at a military funeral: "During the Peninsular Campaign in 1862, a soldier of Tidball's Battery A of the 2nd Artillery was buried at a time when the battery occupied an advanced position concealed in the woods. It was unsafe to fire the customary three volleys over the grave (This practice of firing three volleys over a grave originated in the old custom of halting the fighting to remove the dead from the battlefield. Once each side had finished retrieving their dead, they would fire three volleys to indicate that they were ready to go return to the fight.), on account of the proximity of the enemy, and it occurred to Capt. Tidball that the sounding of Taps would be the most appropriate ceremony that could be substituted. Taps Day is done, gone the sun, From the hills, from the lake, From the skies. All is well, safely rest, God is nigh. Go to sleep, peaceful sleep, May the soldier or sailor, God keep. On the land or the deep, Safe in sleep. Love, good night, Must thou go, When the day, And the night Need thee so? All is well. Speedeth all To their rest. Fades the light; And afar Goeth day, And the stars Shineth bright, Fare thee well; Day has gone, Night is on. Thanks and praise, For our days, 'Neath the sun, Neath the stars, 'Neath the sky, As we go, This we know, God is nigh. Its sad, haunting melody is one of the most familiar tunes in America. It will be played tonight, just as it has been played for the past 134 years, at United States military establishments throughout the world. The sad tune not only marks the end of the day for soldiers; it also denotes the end of their lives. The melody might spring to mind, but the title of the tune may not: The tune is Taps, and it was written by Dan Butterfield. Butterfield was a Union General, awarded the Congressional Medal of Honor, and after the war he served as the Assistant Secretary of the Treasury Department. He was born in Utica, New York, on October 31st, 1831. He was the third son of John Butterfield, renowned for his dealings with both the Overland Stage and American Express. Taps sprang from Dan Buttefield's imagination in 1862. During the Civil War, as the United States fought to either tear itself asunder or heal its differences, Buttefield spent July in Virginia with his men. He was as restless as his men that night. Sweat made it's sticky trailings under dirty blue uniforms, plastering the wool against the too hot skin. The brigade was camped at Berkley Plantation, overlooking the James River near Tidewater. Buttefield sat on his cot and thought about the good fortune he had had last month during the battle of Gaines' Mill - his wounds had not been serious. Others, of course, hadn't shared his good fortune. Many dead and wounded had been left behind there. Those that had escaped might have fallen a few days later at Malvern Hill, when Lee's troops attacked but fell back before the Union soldiers. But Butterfield's ruminations were interrupted by his bugler sounding Extinguish Lights. Butterfield had never liked Extinguish Lights, a tune borrowed from the French and played to signal the end of the day. He thought it too stiff and formal for everyday use. In his imagination played a different melody to signal day's end - something peaceful, soothing, and just a bit meloncholy. Besides his soldiering skills, Buttefield had other talents. He reached into his pocket and drew forth a crumpled, stained envelope. Whistling and humming, he got down to work, finishing his imagination's song. O.W. Norton, Buttefield's 22 year old bugler, recounts what happened next: "Buttefield, showing me some notes on staff written in pencil on the back envelope, asked me to sound them on my bugle. I did this several times, playing the music as written. He changed it somewhat, lengthening some notes and shortening others, but retaining the melody as he first gave it to me. " After getting it to his satisfaction, he directed me to sound the call thereafter, in place of the regular call. The music was beautiful on the still summer nights and was heard far beyond the limits of our brigade. The next day I was visited by several other buglers from neighboring brigades asking for a copy of the music, which I gladly furnished." The music also drifted across the battlefield and was soon taken up by the Confederate buglers. Later, at a Union military funeral, Taps was substituted for the customary rifle volleys at the graveside. It seems that Union officers were worried that the ceremonial gunshots would set off an attack by the edgy Confederates. Taps was well on its way to becoming the nation's requiem. it was played when General Dan Buttefield was laid to rest on July 17th, 1901, thirty nine years after he spent a steamy night in Virgina scribbling on an old envelope. He was buried at West Point where his white marble monument still stands. In the Oneida, New York, Historical Society's collection resides General Buttefield's Medal of Honor, his silver mess gear, two of his swords and other memorabilia. That, and the haunting melody at sunset, are all that's left of him. Source The Cruel War Version 1 Barry Taylor Information I first heard The Cruel War on a Peter, Paul and Mary album. My source traces it back to the American Civil War, but it's likely based on an older English tune. There is another set of lyrics at The Cruel War (2). There are, of course, many others. Lyrics The cruel war is raging Johnny has to fight I want to be with him From morning till night I'm counting the minutes The hours and the days, Oh Lord, stop the cruel war, For this, my heart prays. I made my decision, I will join up too, Oh Johnny, dear Johnny, I'll soon be with you. We women are fighters, We can help you win, Oh Johnny, I'm hoping, That they'll take me in. Repeat first verse The Cruel War Version 2 Barry Taylor Lyrics The cruel war is raging Johnny has to fight I want to be with him From morning till night Oh Johhny, dear Johnny, Morning, noon and night, I think of you marching, Left, right, left and right I know you're so gentle When you hold me tight, Oh how will they make you Get out there and fight? Go speak to your sergeant, And say you want out, Just say you're allergic To this kind of bout. Oh Johnny, dear Johnny, Yes, I know you're brave, But oh how I miss you, It's your love I crave. Oh why did the army Take you from my side, To go into battle, Away from your bride.
If tomorrow all the things were gone I'd worked for all my life, And I had to start again with just my children and my wife. I'd thank my lucky stars to be livin' here today, 'cause the flag still stands for freedom and they can't take that away. And I'm proud to be an American where as least I know I'm free. And I won't forget the men who died, who gave that right to me. And I'd gladly stand up next to you and defend her still today. 'Cause there ain't no doubt I love this land God bless the USA.
From the lakes of Minnesota, to the hills of Tennessee, across the plains of Texas, from sea to shining sea, From Detroit down to Houston and New York to LA Well, there's pride in every American heart, and it's time to stand and say that
I'm proud to be an American where as least I know I'm free. And I won't forget the men who died, who gave that right to me. And I'd gladly stand up next to you and defend her still today. 'Cause there ain't no doubt I love this land God bless the USA.
Anchors Aweigh Melody - Lieut. Charles A. Zimmermann, 1906 v. 1,2: Alfred Hart Miles, 1906, v.3: Royal Lovell, 1926; rev. by George D. Lottman Stand Navy down the field, Sails set to the sky. We'll never change our course, So Army you steer shy-y-y-y. Roll up the score, Navy, Anchors Aweigh. Sail Navy down the field And sink the Army, sink the Army Grey. 2. Get underway, Navy, Decks cleared for the fray, We'll hoist true Navy Blue So Army down your Grey-y-y-y. Full speed ahead, Navy; Army heave to, Furl Black and Grey and Gold And hoist the Navy, hoist the Navy Blue 3. Blue of the Seven Seas; Gold of God's great sun Let these our colors be Till All of time be done-n-n-ne, By Severn shore we learn Navy's stern call: Faith, courage, service true With honor over, honor over all. Stand, Navy, out to sea, Fight our battle cry; We'll never change our course, So vicious foe steer shy-y-y-y. Roll out the TNT, Anchors Aweigh. Sail on to victory And sink their bones To Davy Jones, hooray! 2. Anchors Aweigh, my boys, Anchors Aweigh. Farewell to college joys, We sail at break of day-ay-ay-ay. Through our last night on shore, Drink to the foam, Until we meet once more. Here's wishing you a happy voyage home. -------------------------------------------------------------------------------- The word "weigh" in this sense comes from the archaic word meaning to heave, hoist or raise. "Aweigh" means that that action has been completed. The anchor is aweigh when it is pulled from the bottom and breaks the surface of the water. This event is noted in the ship's log. Battle Hymn of the Republic Mark R. Weston Information The tune was originally a camp-meeting hymn "Oh brothers, will you meet us on Canaan's happy shore?" It evolved into John Brown's Body. Then in 1861 Julia Ward Howe wife of a government official, wrote a poem for Atlantic Monthly for five dollars. The magazine called it, Battle Hymn of the Republic. The music may be by William Steffe. Lyrics Mine eyes have seen the glory Of the coming of the Lord; He is trampling out the vintage Where the grapes of wrath are stored; He hath loosed the fateful lightning Of His terrible swift sword; His truth is marching on. Chorus Glory! Glory! Hallelujah! Glory! Glory! Hallelujah! Glory! Glory! Hallelujah! His truth is marching on. I have seen Him in the watchfires Of a hundred circling camps They have builded Him an altar In the evening dews and damps; I can read His righteous sentence By the dim and flaring lamps; His day is marching on. Chorus I have read a fiery gospel writ In burnished rows of steel: "As ye deal with My contemners, So with you My grace shall deal": Let the Hero born of woman Crush the serpent with His heel, Since God is marching on. Chorus He has sounded forth the trumpet That shall never call retreat; He is sifting out the hearts of men Before His judgement seat; Oh, be swift, my soul, to answer Him; Be jubilant, my feet; Our God is marching on. Chorus In the beauty of the lilies Christ was born across the sea, With a glory in His bosom That transfigures you and me; As He died to make men holy, Let us die to make men free; While God is marching on. Chorus Julia Ward Howe: Beyond the Battle Hymn of the Republic Source 1. Julia Ward and Samuel Gridley Howe Julia Ward was born in 1819, in New York City, into a strict Episcopalian Calvinist family. Her mother died when she was young, and Julia was raised by an aunt. When her father, a banker of comfortable but not immense wealth, died, her guardianship became the responsibility of a more liberal-minded uncle. She herself grew more and more liberal -- on religion and on social issues. At 21 years old, Julia married the reformer Samuel Gridley Howe. He was already making his mark on the world at that time. He had fought in the Greek War of Independence and had written of his experiences there. He had become the director of the Perkins Institute for the Blind in Boston, Massachusetts. He was a radical Unitarian who had moved far from the Calvinism of New England, and Howe was part of the circle known as the Transcendentalists. He carried religious conviction in the value of the development of every individual into work with the blind, with the mentally ill, and with those in prison. He was also, out of that religious conviction, an opponent of slavery. Julia Ward Howe about 1860 Portrait from http://womenshistory.about.com/gi/dynamic/offsite.htm?site=http://www.arttoday.com Used with permission Julia became a Unitarian Christian. She retained until death her belief in a personal, loving God who cared about the affairs of humanity, and she believed in a Christ who had taught a way of acting, a pattern of behavior, that humans should follow. She was a religious radical who did not see her own belief as the only route to salvation; she, like many others of her generation, had come to believe that religion was a matter of "deed, not creed." Samuel and Julia Howe attended the church where Theodore Parker was minister. Parker, a radical on women's rights and slavery, often wrote his sermons with a handgun on his desk, ready if necessary to defend the lives of the runaway slaves who were staying that night in his cellar on their way to Canada and freedom. Samuel had married Julia, admiring her ideas, her quick mind, her wit, her active commitment to causes he also shared. But Samuel believed that married women should not have a life outside the home, that they should support their husbands and that they should not speak publicly or be active themselves in the causes of the day. As director at Perkins Institute for the Blind, Samuel Howe lived with his family on campus in a small house. Julia and Samuel had their six children there. (Four survived to adulthood, all four becoming professionals well known in their fields.) Julia, respecting her husband's attitude, lived in isolation in that home, with little contact with the wider community of Perkins Institute or Boston. Julia attended church, she wrote poetry, and it became harder for her to maintain her isolation. The marriage was increasingly stifling to her. Her personality was not one which adjusted to being subsumed in the campus and professional life of her husband, nor was she the most patient person. Thomas Wentworth Higginson wrote much later of her in this period: "Bright things always came readily to her lips, and a second thought sometimes came too late to withhold a bit of a sting." Her diary indicates that the marriage was violent, Samuel controlled, resented and at times mismanaged the financial inheritance her father left her, and much later she discovered that he was unfaithful to her during this time. They considered divorce several times. She stayed, in part because she admired and loved him, and in part because he threatened to keep her from her children if she divorced him — both the legal standard and common practice at that time. Instead of divorce, she studied philosophy on her own, learned several languages — at that time a bit of a scandal for a woman — and devoted herself to her own self-education as well as the education and care of their children. She also worked with her husband on a brief venture at publishing an abolitionist paper, and supported his causes. She began, despite his opposition, to get more involved in writing and in public life. She took two of their children to Rome, leaving Samuel behind in Boston. 3. Writing the Battle Hymn of the Republic As a result of their voluntary work with the Sanitary Commission, in 1862 President Lincoln invited Samuel and Julia Howe to Washington. The Howes visited a Union Army camp in Virginia across the Potomac. There, they heard the men singing the song which had been sung by both North and South, one in admiration of John Brown, one in celebration of his death: "John Brown's body lies a'mouldering in his grave." A clergyman in the party, James Freeman Clarke, who knew of Julia's published poems, urged her to write a new song for the war effort to replace "John Brown's Body." She described the events later: Julia Ward Howeabout 1865Portrait from http://womenshistory.about.com/gi/dynamic/offsite.htm?site=http://www.arttoday.comUsed with permission "I replied that I had often wished to do so…. n spite of the excitement of the day I went to bed and slept as usual, but awoke the next morning in the gray of the early dawn, and to my astonishment found that the wished-for lines were arranging themselves in my brain. I lay quite still until the last verse had completed itself in my thoughts, then hastily arose, saying to myself, I shall lose this if I don't write it down immediately. I searched for an old sheet of paper and an old stub of a pen which I had had the night before, and began to scrawl the lines almost without looking, as I learned to do by often scratching down verses in the darkened room when my little children were sleeping. Having completed this, I lay down again and fell asleep, but not before feeling that something of importance had happened to me." The result was a poem, published first in February 1862 in the Atlantic Monthly, and called "Battle Hymn of the Republic." The poem was quickly put to the tune that had been used for "John Brown's Body" — the original tune was written by a Southerner for religious revivals — and became the best known Civil War song of the North. Julia Ward Howe's religious conviction shows in the way that Old and New Testament Biblical images are used to urge that people implement, in this life and this world, the principles that they adhere to. "As he died to make men holy, let us die to make men free." Turning from the idea that the war was revenge for the death of a martyr, Howe hoped that the song would keep the war focused on the principle of the ending of slavery. Today, that's what Howe is most remembered for: as the author of the song, still loved by many Americans, still hated by many Southerners. Her early poems are forgotten — her other social commitments forgotten. She became a much-loved American institution after that song was published — but even in her own lifetime, all her other pursuits paled besides her accomplishment of one piece of poetry for which she was paid $5 by the editor of Atlantic Monthly. John Brown's Body Melody - Battle Hymn of the Republic |: John Brown's body lies a-mouldering in the grave, :| John Brown's body lies a-mouldering in the grave, But his soul goes marching on. Chorus: |: Glory, glory, hallelujah, :| Glory, glory, hallelujah, His soul goes marching on. 2. |: He's gone to be a soldier in the Army of the Lord, :| He's gone to be a soldier in the Army of the Lord, His soul goes marching on. Chorus: 3. |: John Brown's knapsack is strapped upon his back, :| John Brown's knapsack is strapped upon his back, His soul goes marching on. Chorus: 4. |: John Brown died that the slaves might be free, :| John Brown died that the slaves might be free, His soul goes marching on. Chorus: 5. |: The stars above in Heaven now are looking kindly down, :| The stars above in Heaven now are looking kindly down, His soul goes marching on. Chorus: John Brown's Body Mark R. Weston Information The tune was originally a camp-meeting hymn Oh brothers, will you meet us on Canaan's happy shore? It evolved into this tune. In 1861 Julia Ward Howe wife of a government official, wrote a poem for Atlantic Monthly for five dollars. The magazine called it, Battle Hymn of the Republic. The music may be by William Steffe. John Brown's body lies a-mold'ring in the grave Lyrics John Brown's body lies a-mold'ring in the grave John Brown's body lies a-mold'ring in the grave His soul goes marching on Glory, Glory! Hallelujah! Glory, Glory! Hallelujah! Glory, Glory! Hallelujah! His soul is marching on He captured Harper's Ferry with his nineteen men so true He frightened old Virginia till she trembled through and through They hung him for a traitor, themselves the traitor crew His soul is marching on John Brown died that the slave might be free, John Brown died that the slave might be free, John Brown died that the slave might be free, But his soul is marching on! The stars above in Heaven are looking kindly down The stars above in Heaven are looking kindly down The stars above in Heaven are looking kindly down On the grave of old John Brown 1800 May: John Brown is born in Torrington, Connecticut. His father, Owen, a strict Calvinist, hated slavery and believed that holding humans in bondage was a sin against God. 1812 The War of 1812: A 12-year-old John Brown travels through the Michigan wilderness to deliver a herd of cattle. He lodged with a man who owned a boy slave. Brown was treated well, but the slave was beaten before his eyes with an iron shovel. The memory would forever haunt John Brown. 1820 June 21: John Brown marries Dianthe Lusk. In 1826 they left for the wilderness in Pennsylvania, where Brown built a tannery. She will die in 1832, shortly after the death of her newborn. 1833 June 14: John Brown weds sixteen-year-old Mary Day. Mary takes cares of Brown's five children and will later bear him thirteen of her own. Economic hardships will escalate as he attempts to provide for his ever expanding family. 1836 January: Land speculation reaches dizzying heights. Brown moves his family to Franklin Mills, Ohio, and borrows money to buy land in the area, only to be crushed in the economic turmoil of 1837. 1837 November 7: Elijah Lovejoy, publisher of an antislavery newspaper, is shot to death by a proslavery mob. During his memorial service, John Brown stood and made a vow to end slavery. 1842 September 28, 1842: A federal court decides John Brown's bankruptcy case. Creditors took all but the essentials on which Brown and his family needed to live. It is the culmination of years of poor business decisions made by Brown. 1854 Kansas-Nebraska Act of 1854: The Missouri Compromise, which restricted the expansion of slavery, is swept aside. With a nod to Southern power, the federal government placed the volatile issue of slavery into the hands of those settling the new territories. The people will decide, by popular vote, whether to be "free" or "slave." 1855 June: John Brown follows his sons to Kansas. 1856 May 24: Brown goes to nearby Pottawatomie Creek and directs his men in the murder of five proslavery settlers. 1857 January: Franklin Sanborn, secretary for the Massachusetts State Kansas Committee, introduces Brown to influential abolitionists in the Boston area in effort to further antislavery fight in Kansas. These acquaintances will later constitute the members of the "Secret Six." 1858 January: John Brown rides into Missouri and attacks two proslavery homesteads, confiscating property and liberating eleven of their slaves. Brown travels eighty-two days and covers over a thousand miles to deliver the slaves to freedom in Canada. 1859 July 3: A few miles outside of Harpers Ferry, John Brown rents farmhouse under the name, "Isaac Smith." August 16: John Brown and Frederick Douglass have a clandestine meeting at a rock quarry at Chambersburg, Pennsylvania. Brown tried to convince Douglass to join him at Harpers Ferry. October 16: John Brown attacks the armory at Harpers Ferry. November 2: A Viginia jury finds John Brown guilty of murder, treason, and inciting a slave insurrection after a week of trial and forty-five minutes of deliberation. December 2: John Brown is hanged. 1861 April 12: Confederate batteries open fire on Fort Sumter; the first shots of the Civil War. 1865 The Thirteenth Amendment to the Constitution abolishes slavery. Butterfield's Lullaby Taps Melody - Daniel Butterfield, 1862? Daniel Butterfield, 1862? Day is done Gone the sun From the lakes From the hills From the sky All is well Safely rest God is nigh. -------------------------------------------------------------------------------- Killer Angels is a book written about the battle of Gettysburg. "During the Civil War it was called Butterfield's Lullaby. It was not a song of sadness like it is today. The song was played every night at bed time, like a "lights out song". When an officer died, they would like to do a gun salute but were afraid that the troops would think the Confederates were attacking, so they played this song instead, since it was quiet." - with thanks to Chris Stinson for this commentary. Yankee Doodle Barry Taylor Information Tradition has it that Yankee Doodle had its origins in the French and Indian War when New England troops joined Braddock's forces at Niagara. In contrast to the spit and polish of the British army, the colonials were a motley crew, some wearing buckskins and furs. Dr. Richard Schuckburg, a British Army surgeon reportedly wrote the tune ridiculing the Americans in the early 1750s. Some scholars believe it is a variant of the nursery rhyme Lucy Locket. Despite the fact it began as ridicule, the colonials took the song for their own. Countless versions and parodies evolved, many of which made fun of their officers, including George Washington. These verses are included at the end of the tune. When Cornwallis surrendered at Yorktown it is said while the British played The World Turned Upside Down, the Americans played Yankee Doodle. There are said to be as many as 190 verses of Yankee Doodle. Lyrics Father and I went down to camp Along with Captain Gooding And there we saw the men and boys As thick as hasty pudding. Chorus Yankee doodle, keep it up Yankee doodle dandy Mind the music and the step And with the girls be handy. There was Captain Washington Upon a slapping stallion A-giving orders to his men I guess there was a million. Chorus And then the feathers on his hat They looked so' tarnal fin-a I wanted pockily to get To give to my Jemima. Chorus And then we saw a swamping gun Large as a log of maple Upon a deuced little cart A load for father's cattle. Chorus And every time they shoot it off It takes a horn of powder It makes a noise like father's gun Only a nation louder. Chorus I went as nigh to one myself As' Siah's underpinning And father went as nigh agin I thought the deuce was in him. We saw a little barrel, too The heads were made of leather They knocked upon it with little clubs And called the folks together. Chorus And there they'd fife away like fun And play on cornstalk fiddles And some had ribbons red as blood All bound around their middles. The troopers, too, would gallop up And fire right in our faces It scared me almost to death To see them run such races. Chorus Uncle Sam came there to change Some pancakes and some onions For' lasses cake to carry home To give his wife and young ones. Chorus But I can't tell half I see They kept up such a smother So I took my hat off, made a bow And scampered home to mother. Chorus Cousin Simon grew so bold I thought he would have cocked it It scared me so I streaked it off And hung by father's pocket. Chorus And there I saw a pumpkin shell As big as mother's basin And every time they touched it off They scampered like the nation. Other Verses: And there was Captain Washington, With gentlefolks about him, They say he's gown so 'tarnal proud He will not ride without them. Chorus There came Gen'ral Washington Upon a snow-white charger He looked as big as all outdoors And thought that he was larger. Chorus Yankee Doodle or Return From Camp From the American Antiquarian Society, earliest score sheet Father and I went down to camp, Along with Captain Gooding, There we see the men and boys, As thick as hasty pudding. Chorus: Yankee doodle, keep it up, Yankee doodle, dandy; Mind the music and the step, And with the girls be handy. 2. And there we see a thousand men, As rich as "Squire David"; And what they wasted every day, I wish it could be saved. Chorus: 3. The lasses they eat every day, Would keep an house a winter; They have as much that I'll be bound They eat it when they're amind to. Chorus: 4. And there we see a swamping gun, Large as a log of maple, Upon a deuced little cart, A load for father's cattle. Chorus: 5. And every time they shoot it off, It takes a horn of powder; It makes a noise like father's gun, Only a nation louder. Chorus: 6. I went as nigh to one myself, As 'Siah's underpining; And father went as nigh again, I thought the deuce was in him. Chorus: 7. Cousin Simon grew so bold, I thought he would have cock'd it: It scar'd me so, I shrink'd it off, And hung by father's pocket. Chorus: 8. And Captain Davis had a gun, He kind of clap'd his on't, And struck a crooked stabbing iron Upon the little end on't. Chorus: 9. And there I see a pumpkin shell As big a mother's bason, And every time they touch'd it off, They scamper'd like the nation. Chorus: 10. I see a little barrel too, The heads were made of leather, They knock'd upon't with little clubs, And call'd the folks together. Chorus: 11. And there was Captain Washington, And gentlefolks about him, They say he's grown so tarnal proud, He will not ride without 'em. Chorus: 12. He got him on his meeting clothes, Upon a slapping stallion, He set the world along in rows, In hundred and in millions. Chorus: 13. The flaming ribbons in their hats, They look'd so taring fine, ah, I wanted pockily to get, To give to my Jemimah. Chorus: 14. I see another snarl of men A digging graves, they told me, So tarnal long, so tarnal deep, They 'tended they should hold me. Chorus: 15. It scar'd me so, I hook'd it off, Nor stopt, as I remember, Nor turn'd about till I got home, Lock'd up in mother's chamber. Chorus: -------------------------------------------------------------------------------- Taken from a score sheet dated 1799. When the Revolutionary War began, the colonists had no national song. We are told that during the French and Indian War Dr. Richard Shackburg, in a spirit of derision, gave to the poorly clad and awkward colonial soldiers the words and music of Yankee Doodle, telling them it was a fine martial tune. When they played it the British were greatly amused. Twenty years after these same militiamen marched to victory at Lexington to this much derided tune, while their British teachers skulked behind fences or sought refuge in retreat. Five years later Cornwallis marched to the same tune at Yorktown to surrender his sword and his army to General Washington. Little is known of the history of the tune. No doubt it is several hundred years old, but authorities disagree as to its origin. One says it was commonly used by the Spaniards. Another claims the song was sung by Germans who worked in Holland and sang a harvest song to this well known air. Another tells us that the Puritans of Cromwell's time were ridiculed as "Naukeys" in a stanza adapted to this same tune. The word "Yankee" is sometimes given as an Indian corruption of the word English. Or, as has been said, it was a contemptuous term applied to the Puritans. Others claim it to be a cant word, expressing excellence, which originated in New England, but which finally came to be applied to the people of that region as a derisive epithet. "Doodle", according to the dictionaries, means a trifling or simple fellow. The words which were once sung to this tune by the colonists were little more than meaningless doggerel, and are little known now. It is not the lofty sentiment of the words, but the catchy, rollicking tune and the sacred associations, which give this song its place among our national treasures. - From the Golden Book of Favorite Songs, 1915. Marine Hymn From the Halls of Montezuma To the shores of Tripoli, We fight our country's battles In the air, on land and sea First to fight for right and freedom, And to keep our honor clean, We are proud to claim the title Of United States Marine. 2. Our Flag's unfulr'd to every breeze From dawn to setting sun; We have fought in every clime and place Where we could take a gun. In the snow of far-off northern lands And in sunny tropic scenes, You will find us always on the job The Unites States Marines. 3. Here's health to you and to our Corps Which we are proud to serve; In many a strife we've fought for life And never lost our nerve. If the Army and the Navy Ever look on Heaven's scenes, They will find the streets are guarded By United States Marines! Semper Fidelis March (Marching music; no words) The march takes its title from the motto of the U. S. Marine Corps: Semper Fidelis -- Always Faithful. It was dedicated to those who inspired it - the officers and men of the United States Marine Corps. In Sousa's own words: "I wrote Semper Fidelis one night while in tears, after my comrades of the Marine Corps had sung their famous hymn at Quantico." It became one of his most popular marches, and Sousa considered it his best march, musically speaking. According to Sousa, Semper Fidelis is one of the five most effective street marches. The others are The Thunderer, National Emblem, Washington Post, and High School Cadets. Dixie Information This Confederate War Song was written by a Northerner, Daniel Decatur Emmett before the Civil War for the Bryant Minstrels. It was first played in New York. The word "dixie" could refer to the area below the Mason-Dixon Line, but is generally believed to refer to the worthless ten dollar bills issued in New Orleans which were called "dixies" because of the word "dix" (ten in French) printed on them. Lyrics I wish I was in the land of Cotton Old times there are not forgotten Look away! Look away! Look away! Dixie Land In Dixie Land where I was born in early on one frosty morning' Look away! Look away! Look away! Dixie Land Chorus Then I wish I was in Dixie Hooray! Hooray! In Dixie Land I'll take my stand To live and die in Dixie Away! Away! Away! Down South in Dixie. Away! Away! Away! Down South in Dixie. Ole Missus marry "will the weaver" Willum was a gay deceiver Look away! Look away! Look away! Dixie Land But when he put his arm around er, He smiled fierce as a forty pounder, Look away! Look away! Look away! Dixie Land His face was sharp as a butcher's cleaver But that did not seem to grieve 'er Look away! Look away! Look away! Dixie Land Ole Missus acted the foolish part And died for a man that broke her heart Look away! Look away! Look away! Dixie Land Now here's a health to the next ole Missus An' all the gals that want to kiss us; Look away! Look away! Look away! Dixie Land But if you want to drive 'way sorrow Come and hear this song tomorrow Look away! Look away! Look away! Dixie Land There's buckwheat cakes and Injun batter, Makes you fat or a little fatter; Look away! Look away! Look away! Dixie Land Then hoe it down and scratch your gravel, To Dixie's Land I'm bound to travel, Look away! Look away! Look away! Dixie Land Oh, Susanna Melody - Stephen Foster; Seq. by Werner Tomaschewski Stephen Foster, 1848 I come from Alabama with my banjo on my knee I'm going to Louisiana, my true love for to see It rained all night the day I left The weather it was dry The sun so hot, I froze to death Susanna, don't you cry Chorus: Oh, Susanna, Oh don't you cry for me For I come from Alabama With my banjo on my knee 2. I had a dream the other night when everything was still I thought I saw Susanna a-coming down the hill The buckwheat cake was in her mouth The tear was in her eye Says I, I'm coming from the south Susanna, don't you cry Chorus: Old MacDonald had a farm Old MacDonald had a farm Ee i ee i o And on his farm he had some chicks Ee i ee i o With a cluck-cluck here And a cluck-cluck there Here a cluck, there a cluck Everywhere a cluck-cluck Old MacDonald had a farm Ee i ee i o Old MacDonald had a farm Ee i ee i o And on his farm he had some cows Ee i ee i oh With a moo-moo here And a moo-moo there Here a moo, there a moo Everywhere a moo-moo Old MacDonald had a farm Ee i ee i o Old MacDonald had a farm Ee i ee i o And on his farm he had some pigs Ee i ee i o With an oink-oink here And an oink-oink there Here an oink, there an oink Everywhere an oink-oink Old MacDonald had a farm Ee i ee i o Add in other animals that you teach on the farm like : dogs - woof-woof cat - meow-meow sheeps - baa-baa horses - neigh-neigh Waltzing Matilda Bill Basham Information The words to Waltzing Matilda were written in 1895 by Andrew Barton (Banjo) Paterson. It is believed the music is based on an old Scottish tune called Craigielea. Lyrics Once a jolly swagman sat beside the billabong, Under the shade of a coulibah tree, And he sang as he sat and waited by the billabong You'll come a waltzing matilda with me Waltzing matilda, waltzing matilda You'll come a waltzing matilda with me And he sang as he sat and waited by the billabong You'll come a waltzing matilda with me. Down came a jumbuck to drink beside the billabong Up jumped the swagman and seized him with glee And he sang as he tucked jumbuck in his tuckerbag You'll come a waltzing matilda with me Waltzing matilda, waltzing matilda You'll come a waltzing matilda with me And he sang as he sat and waited by the billabong You'll come a waltzing matilda with me. Down came the stockman, riding on his thoroughbred, Down came the troopers, one, two, three. "where's the jolly jumbuck you've got in your tuckerbag? You'll come a waltzing matilda with me Waltzing matilda, waltzing matilda You'll come a waltzing matilda with me And he sang as he sat and waited by the billabong You'll come a waltzing matilda with me. Up jumped the swagman and plunged into the billabong, "You'll never catch me alive," cried he And his ghost may be heard as you ride beside the billabong, You'll come a Waltzing Matilda with me. History of Taps Of all the military bugle calls, none is so easily recognized or more apt to render emotion than Taps. Up to the Civil War, the traditional call at day's end was a tune, borrowed from the French, called Lights Out. In July of 1862, in the aftermath of the bloody Seven Days battles, hard on the loss of 600 men and wounded himself, Union General Daniel Adams Butterfield called the brigade bugler to his tent. He thought "Lights Out" was too formal and he wished to honor his men. Oliver Wilcox Norton, the bugler, tells the story, "...showing me some notes on a staff written in pencil on the back of an envelope, (he) asked me to sound them on my bugle. I did this several times, playing the music as written. He changed it somewhat, lengthening some notes and shortening others, but retaining the melody as he first gave it to me. After getting it to his satisfaction, he directed me to sound that call for Taps thereafter in place of the regulation call. The music was beautiful on that still summer night and was heard far beyond the limits of our Brigade. The next day I was visited by several buglers from neighboring Brigades, asking for copies of the music which I gladly furnished. The call was gradually taken up through the Army of the Potomac." This more emotive and powerful Taps was soon adopted throughout the military. In 1874 It was officially recognized by the U.S. Army. It became standard at military funeral ceremonies in 1891. There is something singularly beautiful and appropriate in the music of this wonderful call. Its strains are melancholy, yet full of rest and peace. Its echoes linger in the heart long after its tones have ceased to vibrate in the air. - from an article by Master Sergeant Jari A Villanueva, USAF. FIRST CALL Sound as a warning that personnel will prepare to assemble for a formation. REVEILLE Signals the troops to awaken for morning roll call. Used to accompany the raising of the National Colors. ASSEMBLY Signals troops to assemble at a designated place MESS CALLSignals mealtime. OFFICER'S CALLSignals all officers to assemble at a designated place. ADJUTANT'S CALL Signals that the adjutant is about to form the guard, battalion, or brigade. The bugler plays the bugle part of the call. RETREAT Signals the end of the official day. TO THE COLOR To the Color is a bugle call to render honors to the nation. It is used when no band is available to render honors, or in ceremonies requiring honors to the nation more than once. To the Color commands all the same courtesies as the National Anthem. TATTOO Signals that all light in squad rooms be extinguished and that all loud talking and other disturbances be discontinued within 15 minutes. Taps History The true story is that in July 1862, after the Seven Days battles at Harrison's Landing (near Richmond), Virginia, the wounded Commander of the 3rd Brigade, 1st Division, V Army Corps, Army of the Potomac, General Daniel Butterfield reworked, with his bugler Oliver Wilcox Norton, another bugle call, "Scott Tattoo," to create Taps. He thought that the regular call for Lights Out was too formal. The custom, thus originated, was taken up throughout the Army of the Potomac and finally confirmed by orders." Soon other Union units began using Taps, and even a few Confederate units began using it as well. After the war, Taps became an official bugle call. Col. James A. Moss, in his Officer's Manual first published in 1911, gives an account of the initial use of Taps at a military funeral: "During the Peninsular Campaign in 1862, a soldier of Tidball's Battery A of the 2nd Artillery was buried at a time when the battery occupied an advanced position concealed in the woods. It was unsafe to fire the customary three volleys over the grave (This practice of firing three volleys over a grave originated in the old custom of halting the fighting to remove the dead from the battlefield. Once each side had finished retrieving their dead, they would fire three volleys to indicate that they were ready to go return to the fight.), on account of the proximity of the enemy, and it occurred to Capt. Tidball that the sounding of Taps would be the most appropriate ceremony that could be substituted. Taps Day is done, gone the sun, From the hills, from the lake, From the skies. All is well, safely rest, God is nigh. Go to sleep, peaceful sleep, May the soldier or sailor, God keep. On the land or the deep, Safe in sleep. Love, good night, Must thou go, When the day, And the night Need thee so? All is well. Speedeth all To their rest. Fades the light; And afar Goeth day, And the stars Shineth bright, Fare thee well; Day has gone, Night is on. Thanks and praise, For our days, 'Neath the sun, Neath the stars, 'Neath the sky, As we go, This we know, God is nigh. Its sad, haunting melody is one of the most familiar tunes in America. It will be played tonight, just as it has been played for the past 134 years, at United States military establishments throughout the world. The sad tune not only marks the end of the day for soldiers; it also denotes the end of their lives. The melody might spring to mind, but the title of the tune may not: The tune is Taps, and it was written by Dan Butterfield. Butterfield was a Union General, awarded the Congressional Medal of Honor, and after the war he served as the Assistant Secretary of the Treasury Department. He was born in Utica, New York, on October 31st, 1831. He was the third son of John Butterfield, renowned for his dealings with both the Overland Stage and American Express. Taps sprang from Dan Buttefield's imagination in 1862. During the Civil War, as the United States fought to either tear itself asunder or heal its differences, Buttefield spent July in Virginia with his men. He was as restless as his men that night. Sweat made it's sticky trailings under dirty blue uniforms, plastering the wool against the too hot skin. The brigade was camped at Berkley Plantation, overlooking the James River near Tidewater. Buttefield sat on his cot and thought about the good fortune he had had last month during the battle of Gaines' Mill - his wounds had not been serious. Others, of course, hadn't shared his good fortune. Many dead and wounded had been left behind there. Those that had escaped might have fallen a few days later at Malvern Hill, when Lee's troops attacked but fell back before the Union soldiers. But Butterfield's ruminations were interrupted by his bugler sounding Extinguish Lights. Butterfield had never liked Extinguish Lights, a tune borrowed from the French and played to signal the end of the day. He thought it too stiff and formal for everyday use. In his imagination played a different melody to signal day's end - something peaceful, soothing, and just a bit meloncholy. Besides his soldiering skills, Buttefield had other talents. He reached into his pocket and drew forth a crumpled, stained envelope. Whistling and humming, he got down to work, finishing his imagination's song. O.W. Norton, Buttefield's 22 year old bugler, recounts what happened next: "Buttefield, showing me some notes on staff written in pencil on the back envelope, asked me to sound them on my bugle. I did this several times, playing the music as written. He changed it somewhat, lengthening some notes and shortening others, but retaining the melody as he first gave it to me. " After getting it to his satisfaction, he directed me to sound the call thereafter, in place of the regular call. The music was beautiful on the still summer nights and was heard far beyond the limits of our brigade. The next day I was visited by several other buglers from neighboring brigades asking for a copy of the music, which I gladly furnished." The music also drifted across the battlefield and was soon taken up by the Confederate buglers. Later, at a Union military funeral, Taps was substituted for the customary rifle volleys at the graveside. It seems that Union officers were worried that the ceremonial gunshots would set off an attack by the edgy Confederates. Taps was well on its way to becoming the nation's requiem. it was played when General Dan Buttefield was laid to rest on July 17th, 1901, thirty nine years after he spent a steamy night in Virgina scribbling on an old envelope. He was buried at West Point where his white marble monument still stands. In the Oneida, New York, Historical Society's collection resides General Buttefield's Medal of Honor, his silver mess gear, two of his swords and other memorabilia. That, and the haunting melody at sunset, are all that's left of him. Source The Cruel War Version 1 Barry Taylor Information I first heard The Cruel War on a Peter, Paul and Mary album. My source traces it back to the American Civil War, but it's likely based on an older English tune. There is another set of lyrics at The Cruel War (2). There are, of course, many others. Lyrics The cruel war is raging Johnny has to fight I want to be with him From morning till night I'm counting the minutes The hours and the days, Oh Lord, stop the cruel war, For this, my heart prays. I made my decision, I will join up too, Oh Johnny, dear Johnny, I'll soon be with you. We women are fighters, We can help you win, Oh Johnny, I'm hoping, That they'll take me in. Repeat first verse The Cruel War Version 2 Barry Taylor Lyrics The cruel war is raging Johnny has to fight I want to be with him From morning till night Oh Johhny, dear Johnny, Morning, noon and night, I think of you marching, Left, right, left and right I know you're so gentle When you hold me tight, Oh how will they make you Get out there and fight? Go speak to your sergeant, And say you want out, Just say you're allergic To this kind of bout. Oh Johnny, dear Johnny, Yes, I know you're brave, But oh how I miss you, It's your love I crave. Oh why did the army Take you from my side, To go into battle, Away from your bride.
Stand Navy down the field, Sails set to the sky. We'll never change our course, So Army you steer shy-y-y-y. Roll up the score, Navy, Anchors Aweigh. Sail Navy down the field And sink the Army, sink the Army Grey.
2. Get underway, Navy, Decks cleared for the fray, We'll hoist true Navy Blue So Army down your Grey-y-y-y. Full speed ahead, Navy; Army heave to, Furl Black and Grey and Gold And hoist the Navy, hoist the Navy Blue
3. Blue of the Seven Seas; Gold of God's great sun Let these our colors be Till All of time be done-n-n-ne, By Severn shore we learn Navy's stern call: Faith, courage, service true With honor over, honor over all. Stand, Navy, out to sea, Fight our battle cry; We'll never change our course, So vicious foe steer shy-y-y-y. Roll out the TNT, Anchors Aweigh. Sail on to victory And sink their bones To Davy Jones, hooray!
2. Anchors Aweigh, my boys, Anchors Aweigh. Farewell to college joys, We sail at break of day-ay-ay-ay. Through our last night on shore, Drink to the foam, Until we meet once more. Here's wishing you a happy voyage home.
-------------------------------------------------------------------------------- The word "weigh" in this sense comes from the archaic word meaning to heave, hoist or raise. "Aweigh" means that that action has been completed. The anchor is aweigh when it is pulled from the bottom and breaks the surface of the water. This event is noted in the ship's log.
Battle Hymn of the Republic Mark R. Weston Information The tune was originally a camp-meeting hymn "Oh brothers, will you meet us on Canaan's happy shore?" It evolved into John Brown's Body. Then in 1861 Julia Ward Howe wife of a government official, wrote a poem for Atlantic Monthly for five dollars. The magazine called it, Battle Hymn of the Republic. The music may be by William Steffe. Lyrics Mine eyes have seen the glory Of the coming of the Lord; He is trampling out the vintage Where the grapes of wrath are stored; He hath loosed the fateful lightning Of His terrible swift sword; His truth is marching on. Chorus Glory! Glory! Hallelujah! Glory! Glory! Hallelujah! Glory! Glory! Hallelujah! His truth is marching on. I have seen Him in the watchfires Of a hundred circling camps They have builded Him an altar In the evening dews and damps; I can read His righteous sentence By the dim and flaring lamps; His day is marching on. Chorus I have read a fiery gospel writ In burnished rows of steel: "As ye deal with My contemners, So with you My grace shall deal": Let the Hero born of woman Crush the serpent with His heel, Since God is marching on. Chorus He has sounded forth the trumpet That shall never call retreat; He is sifting out the hearts of men Before His judgement seat; Oh, be swift, my soul, to answer Him; Be jubilant, my feet; Our God is marching on. Chorus In the beauty of the lilies Christ was born across the sea, With a glory in His bosom That transfigures you and me; As He died to make men holy, Let us die to make men free; While God is marching on. Chorus Julia Ward Howe: Beyond the Battle Hymn of the Republic Source 1. Julia Ward and Samuel Gridley Howe Julia Ward was born in 1819, in New York City, into a strict Episcopalian Calvinist family. Her mother died when she was young, and Julia was raised by an aunt. When her father, a banker of comfortable but not immense wealth, died, her guardianship became the responsibility of a more liberal-minded uncle. She herself grew more and more liberal -- on religion and on social issues. At 21 years old, Julia married the reformer Samuel Gridley Howe. He was already making his mark on the world at that time. He had fought in the Greek War of Independence and had written of his experiences there. He had become the director of the Perkins Institute for the Blind in Boston, Massachusetts. He was a radical Unitarian who had moved far from the Calvinism of New England, and Howe was part of the circle known as the Transcendentalists. He carried religious conviction in the value of the development of every individual into work with the blind, with the mentally ill, and with those in prison. He was also, out of that religious conviction, an opponent of slavery. Julia Ward Howe about 1860 Portrait from http://womenshistory.about.com/gi/dynamic/offsite.htm?site=http://www.arttoday.com Used with permission Julia became a Unitarian Christian. She retained until death her belief in a personal, loving God who cared about the affairs of humanity, and she believed in a Christ who had taught a way of acting, a pattern of behavior, that humans should follow. She was a religious radical who did not see her own belief as the only route to salvation; she, like many others of her generation, had come to believe that religion was a matter of "deed, not creed." Samuel and Julia Howe attended the church where Theodore Parker was minister. Parker, a radical on women's rights and slavery, often wrote his sermons with a handgun on his desk, ready if necessary to defend the lives of the runaway slaves who were staying that night in his cellar on their way to Canada and freedom. Samuel had married Julia, admiring her ideas, her quick mind, her wit, her active commitment to causes he also shared. But Samuel believed that married women should not have a life outside the home, that they should support their husbands and that they should not speak publicly or be active themselves in the causes of the day. As director at Perkins Institute for the Blind, Samuel Howe lived with his family on campus in a small house. Julia and Samuel had their six children there. (Four survived to adulthood, all four becoming professionals well known in their fields.) Julia, respecting her husband's attitude, lived in isolation in that home, with little contact with the wider community of Perkins Institute or Boston. Julia attended church, she wrote poetry, and it became harder for her to maintain her isolation. The marriage was increasingly stifling to her. Her personality was not one which adjusted to being subsumed in the campus and professional life of her husband, nor was she the most patient person. Thomas Wentworth Higginson wrote much later of her in this period: "Bright things always came readily to her lips, and a second thought sometimes came too late to withhold a bit of a sting." Her diary indicates that the marriage was violent, Samuel controlled, resented and at times mismanaged the financial inheritance her father left her, and much later she discovered that he was unfaithful to her during this time. They considered divorce several times. She stayed, in part because she admired and loved him, and in part because he threatened to keep her from her children if she divorced him — both the legal standard and common practice at that time. Instead of divorce, she studied philosophy on her own, learned several languages — at that time a bit of a scandal for a woman — and devoted herself to her own self-education as well as the education and care of their children. She also worked with her husband on a brief venture at publishing an abolitionist paper, and supported his causes. She began, despite his opposition, to get more involved in writing and in public life. She took two of their children to Rome, leaving Samuel behind in Boston. 3. Writing the Battle Hymn of the Republic As a result of their voluntary work with the Sanitary Commission, in 1862 President Lincoln invited Samuel and Julia Howe to Washington. The Howes visited a Union Army camp in Virginia across the Potomac. There, they heard the men singing the song which had been sung by both North and South, one in admiration of John Brown, one in celebration of his death: "John Brown's body lies a'mouldering in his grave." A clergyman in the party, James Freeman Clarke, who knew of Julia's published poems, urged her to write a new song for the war effort to replace "John Brown's Body." She described the events later: Julia Ward Howeabout 1865Portrait from http://womenshistory.about.com/gi/dynamic/offsite.htm?site=http://www.arttoday.comUsed with permission "I replied that I had often wished to do so…. n spite of the excitement of the day I went to bed and slept as usual, but awoke the next morning in the gray of the early dawn, and to my astonishment found that the wished-for lines were arranging themselves in my brain. I lay quite still until the last verse had completed itself in my thoughts, then hastily arose, saying to myself, I shall lose this if I don't write it down immediately. I searched for an old sheet of paper and an old stub of a pen which I had had the night before, and began to scrawl the lines almost without looking, as I learned to do by often scratching down verses in the darkened room when my little children were sleeping. Having completed this, I lay down again and fell asleep, but not before feeling that something of importance had happened to me." The result was a poem, published first in February 1862 in the Atlantic Monthly, and called "Battle Hymn of the Republic." The poem was quickly put to the tune that had been used for "John Brown's Body" — the original tune was written by a Southerner for religious revivals — and became the best known Civil War song of the North. Julia Ward Howe's religious conviction shows in the way that Old and New Testament Biblical images are used to urge that people implement, in this life and this world, the principles that they adhere to. "As he died to make men holy, let us die to make men free." Turning from the idea that the war was revenge for the death of a martyr, Howe hoped that the song would keep the war focused on the principle of the ending of slavery. Today, that's what Howe is most remembered for: as the author of the song, still loved by many Americans, still hated by many Southerners. Her early poems are forgotten — her other social commitments forgotten. She became a much-loved American institution after that song was published — but even in her own lifetime, all her other pursuits paled besides her accomplishment of one piece of poetry for which she was paid $5 by the editor of Atlantic Monthly. John Brown's Body Melody - Battle Hymn of the Republic |: John Brown's body lies a-mouldering in the grave, :| John Brown's body lies a-mouldering in the grave, But his soul goes marching on. Chorus: |: Glory, glory, hallelujah, :| Glory, glory, hallelujah, His soul goes marching on. 2. |: He's gone to be a soldier in the Army of the Lord, :| He's gone to be a soldier in the Army of the Lord, His soul goes marching on. Chorus: 3. |: John Brown's knapsack is strapped upon his back, :| John Brown's knapsack is strapped upon his back, His soul goes marching on. Chorus: 4. |: John Brown died that the slaves might be free, :| John Brown died that the slaves might be free, His soul goes marching on. Chorus: 5. |: The stars above in Heaven now are looking kindly down, :| The stars above in Heaven now are looking kindly down, His soul goes marching on. Chorus: John Brown's Body Mark R. Weston Information The tune was originally a camp-meeting hymn Oh brothers, will you meet us on Canaan's happy shore? It evolved into this tune. In 1861 Julia Ward Howe wife of a government official, wrote a poem for Atlantic Monthly for five dollars. The magazine called it, Battle Hymn of the Republic. The music may be by William Steffe. John Brown's body lies a-mold'ring in the grave Lyrics John Brown's body lies a-mold'ring in the grave John Brown's body lies a-mold'ring in the grave His soul goes marching on Glory, Glory! Hallelujah! Glory, Glory! Hallelujah! Glory, Glory! Hallelujah! His soul is marching on He captured Harper's Ferry with his nineteen men so true He frightened old Virginia till she trembled through and through They hung him for a traitor, themselves the traitor crew His soul is marching on John Brown died that the slave might be free, John Brown died that the slave might be free, John Brown died that the slave might be free, But his soul is marching on! The stars above in Heaven are looking kindly down The stars above in Heaven are looking kindly down The stars above in Heaven are looking kindly down On the grave of old John Brown 1800 May: John Brown is born in Torrington, Connecticut. His father, Owen, a strict Calvinist, hated slavery and believed that holding humans in bondage was a sin against God. 1812 The War of 1812: A 12-year-old John Brown travels through the Michigan wilderness to deliver a herd of cattle. He lodged with a man who owned a boy slave. Brown was treated well, but the slave was beaten before his eyes with an iron shovel. The memory would forever haunt John Brown. 1820 June 21: John Brown marries Dianthe Lusk. In 1826 they left for the wilderness in Pennsylvania, where Brown built a tannery. She will die in 1832, shortly after the death of her newborn. 1833 June 14: John Brown weds sixteen-year-old Mary Day. Mary takes cares of Brown's five children and will later bear him thirteen of her own. Economic hardships will escalate as he attempts to provide for his ever expanding family. 1836 January: Land speculation reaches dizzying heights. Brown moves his family to Franklin Mills, Ohio, and borrows money to buy land in the area, only to be crushed in the economic turmoil of 1837. 1837 November 7: Elijah Lovejoy, publisher of an antislavery newspaper, is shot to death by a proslavery mob. During his memorial service, John Brown stood and made a vow to end slavery. 1842 September 28, 1842: A federal court decides John Brown's bankruptcy case. Creditors took all but the essentials on which Brown and his family needed to live. It is the culmination of years of poor business decisions made by Brown. 1854 Kansas-Nebraska Act of 1854: The Missouri Compromise, which restricted the expansion of slavery, is swept aside. With a nod to Southern power, the federal government placed the volatile issue of slavery into the hands of those settling the new territories. The people will decide, by popular vote, whether to be "free" or "slave." 1855 June: John Brown follows his sons to Kansas. 1856 May 24: Brown goes to nearby Pottawatomie Creek and directs his men in the murder of five proslavery settlers. 1857 January: Franklin Sanborn, secretary for the Massachusetts State Kansas Committee, introduces Brown to influential abolitionists in the Boston area in effort to further antislavery fight in Kansas. These acquaintances will later constitute the members of the "Secret Six." 1858 January: John Brown rides into Missouri and attacks two proslavery homesteads, confiscating property and liberating eleven of their slaves. Brown travels eighty-two days and covers over a thousand miles to deliver the slaves to freedom in Canada. 1859 July 3: A few miles outside of Harpers Ferry, John Brown rents farmhouse under the name, "Isaac Smith." August 16: John Brown and Frederick Douglass have a clandestine meeting at a rock quarry at Chambersburg, Pennsylvania. Brown tried to convince Douglass to join him at Harpers Ferry. October 16: John Brown attacks the armory at Harpers Ferry. November 2: A Viginia jury finds John Brown guilty of murder, treason, and inciting a slave insurrection after a week of trial and forty-five minutes of deliberation. December 2: John Brown is hanged. 1861 April 12: Confederate batteries open fire on Fort Sumter; the first shots of the Civil War. 1865 The Thirteenth Amendment to the Constitution abolishes slavery. Butterfield's Lullaby Taps Melody - Daniel Butterfield, 1862? Daniel Butterfield, 1862? Day is done Gone the sun From the lakes From the hills From the sky All is well Safely rest God is nigh. -------------------------------------------------------------------------------- Killer Angels is a book written about the battle of Gettysburg. "During the Civil War it was called Butterfield's Lullaby. It was not a song of sadness like it is today. The song was played every night at bed time, like a "lights out song". When an officer died, they would like to do a gun salute but were afraid that the troops would think the Confederates were attacking, so they played this song instead, since it was quiet." - with thanks to Chris Stinson for this commentary. Yankee Doodle Barry Taylor Information Tradition has it that Yankee Doodle had its origins in the French and Indian War when New England troops joined Braddock's forces at Niagara. In contrast to the spit and polish of the British army, the colonials were a motley crew, some wearing buckskins and furs. Dr. Richard Schuckburg, a British Army surgeon reportedly wrote the tune ridiculing the Americans in the early 1750s. Some scholars believe it is a variant of the nursery rhyme Lucy Locket. Despite the fact it began as ridicule, the colonials took the song for their own. Countless versions and parodies evolved, many of which made fun of their officers, including George Washington. These verses are included at the end of the tune. When Cornwallis surrendered at Yorktown it is said while the British played The World Turned Upside Down, the Americans played Yankee Doodle. There are said to be as many as 190 verses of Yankee Doodle. Lyrics Father and I went down to camp Along with Captain Gooding And there we saw the men and boys As thick as hasty pudding. Chorus Yankee doodle, keep it up Yankee doodle dandy Mind the music and the step And with the girls be handy. There was Captain Washington Upon a slapping stallion A-giving orders to his men I guess there was a million. Chorus And then the feathers on his hat They looked so' tarnal fin-a I wanted pockily to get To give to my Jemima. Chorus And then we saw a swamping gun Large as a log of maple Upon a deuced little cart A load for father's cattle. Chorus And every time they shoot it off It takes a horn of powder It makes a noise like father's gun Only a nation louder. Chorus I went as nigh to one myself As' Siah's underpinning And father went as nigh agin I thought the deuce was in him. We saw a little barrel, too The heads were made of leather They knocked upon it with little clubs And called the folks together. Chorus And there they'd fife away like fun And play on cornstalk fiddles And some had ribbons red as blood All bound around their middles. The troopers, too, would gallop up And fire right in our faces It scared me almost to death To see them run such races. Chorus Uncle Sam came there to change Some pancakes and some onions For' lasses cake to carry home To give his wife and young ones. Chorus But I can't tell half I see They kept up such a smother So I took my hat off, made a bow And scampered home to mother. Chorus Cousin Simon grew so bold I thought he would have cocked it It scared me so I streaked it off And hung by father's pocket. Chorus And there I saw a pumpkin shell As big as mother's basin And every time they touched it off They scampered like the nation. Other Verses: And there was Captain Washington, With gentlefolks about him, They say he's gown so 'tarnal proud He will not ride without them. Chorus There came Gen'ral Washington Upon a snow-white charger He looked as big as all outdoors And thought that he was larger. Chorus Yankee Doodle or Return From Camp From the American Antiquarian Society, earliest score sheet Father and I went down to camp, Along with Captain Gooding, There we see the men and boys, As thick as hasty pudding. Chorus: Yankee doodle, keep it up, Yankee doodle, dandy; Mind the music and the step, And with the girls be handy. 2. And there we see a thousand men, As rich as "Squire David"; And what they wasted every day, I wish it could be saved. Chorus: 3. The lasses they eat every day, Would keep an house a winter; They have as much that I'll be bound They eat it when they're amind to. Chorus: 4. And there we see a swamping gun, Large as a log of maple, Upon a deuced little cart, A load for father's cattle. Chorus: 5. And every time they shoot it off, It takes a horn of powder; It makes a noise like father's gun, Only a nation louder. Chorus: 6. I went as nigh to one myself, As 'Siah's underpining; And father went as nigh again, I thought the deuce was in him. Chorus: 7. Cousin Simon grew so bold, I thought he would have cock'd it: It scar'd me so, I shrink'd it off, And hung by father's pocket. Chorus: 8. And Captain Davis had a gun, He kind of clap'd his on't, And struck a crooked stabbing iron Upon the little end on't. Chorus: 9. And there I see a pumpkin shell As big a mother's bason, And every time they touch'd it off, They scamper'd like the nation. Chorus: 10. I see a little barrel too, The heads were made of leather, They knock'd upon't with little clubs, And call'd the folks together. Chorus: 11. And there was Captain Washington, And gentlefolks about him, They say he's grown so tarnal proud, He will not ride without 'em. Chorus: 12. He got him on his meeting clothes, Upon a slapping stallion, He set the world along in rows, In hundred and in millions. Chorus: 13. The flaming ribbons in their hats, They look'd so taring fine, ah, I wanted pockily to get, To give to my Jemimah. Chorus: 14. I see another snarl of men A digging graves, they told me, So tarnal long, so tarnal deep, They 'tended they should hold me. Chorus: 15. It scar'd me so, I hook'd it off, Nor stopt, as I remember, Nor turn'd about till I got home, Lock'd up in mother's chamber. Chorus: -------------------------------------------------------------------------------- Taken from a score sheet dated 1799. When the Revolutionary War began, the colonists had no national song. We are told that during the French and Indian War Dr. Richard Shackburg, in a spirit of derision, gave to the poorly clad and awkward colonial soldiers the words and music of Yankee Doodle, telling them it was a fine martial tune. When they played it the British were greatly amused. Twenty years after these same militiamen marched to victory at Lexington to this much derided tune, while their British teachers skulked behind fences or sought refuge in retreat. Five years later Cornwallis marched to the same tune at Yorktown to surrender his sword and his army to General Washington. Little is known of the history of the tune. No doubt it is several hundred years old, but authorities disagree as to its origin. One says it was commonly used by the Spaniards. Another claims the song was sung by Germans who worked in Holland and sang a harvest song to this well known air. Another tells us that the Puritans of Cromwell's time were ridiculed as "Naukeys" in a stanza adapted to this same tune. The word "Yankee" is sometimes given as an Indian corruption of the word English. Or, as has been said, it was a contemptuous term applied to the Puritans. Others claim it to be a cant word, expressing excellence, which originated in New England, but which finally came to be applied to the people of that region as a derisive epithet. "Doodle", according to the dictionaries, means a trifling or simple fellow. The words which were once sung to this tune by the colonists were little more than meaningless doggerel, and are little known now. It is not the lofty sentiment of the words, but the catchy, rollicking tune and the sacred associations, which give this song its place among our national treasures. - From the Golden Book of Favorite Songs, 1915. Marine Hymn From the Halls of Montezuma To the shores of Tripoli, We fight our country's battles In the air, on land and sea First to fight for right and freedom, And to keep our honor clean, We are proud to claim the title Of United States Marine. 2. Our Flag's unfulr'd to every breeze From dawn to setting sun; We have fought in every clime and place Where we could take a gun. In the snow of far-off northern lands And in sunny tropic scenes, You will find us always on the job The Unites States Marines. 3. Here's health to you and to our Corps Which we are proud to serve; In many a strife we've fought for life And never lost our nerve. If the Army and the Navy Ever look on Heaven's scenes, They will find the streets are guarded By United States Marines! Semper Fidelis March (Marching music; no words) The march takes its title from the motto of the U. S. Marine Corps: Semper Fidelis -- Always Faithful. It was dedicated to those who inspired it - the officers and men of the United States Marine Corps. In Sousa's own words: "I wrote Semper Fidelis one night while in tears, after my comrades of the Marine Corps had sung their famous hymn at Quantico." It became one of his most popular marches, and Sousa considered it his best march, musically speaking. According to Sousa, Semper Fidelis is one of the five most effective street marches. The others are The Thunderer, National Emblem, Washington Post, and High School Cadets. Dixie Information This Confederate War Song was written by a Northerner, Daniel Decatur Emmett before the Civil War for the Bryant Minstrels. It was first played in New York. The word "dixie" could refer to the area below the Mason-Dixon Line, but is generally believed to refer to the worthless ten dollar bills issued in New Orleans which were called "dixies" because of the word "dix" (ten in French) printed on them. Lyrics I wish I was in the land of Cotton Old times there are not forgotten Look away! Look away! Look away! Dixie Land In Dixie Land where I was born in early on one frosty morning' Look away! Look away! Look away! Dixie Land Chorus Then I wish I was in Dixie Hooray! Hooray! In Dixie Land I'll take my stand To live and die in Dixie Away! Away! Away! Down South in Dixie. Away! Away! Away! Down South in Dixie. Ole Missus marry "will the weaver" Willum was a gay deceiver Look away! Look away! Look away! Dixie Land But when he put his arm around er, He smiled fierce as a forty pounder, Look away! Look away! Look away! Dixie Land His face was sharp as a butcher's cleaver But that did not seem to grieve 'er Look away! Look away! Look away! Dixie Land Ole Missus acted the foolish part And died for a man that broke her heart Look away! Look away! Look away! Dixie Land Now here's a health to the next ole Missus An' all the gals that want to kiss us; Look away! Look away! Look away! Dixie Land But if you want to drive 'way sorrow Come and hear this song tomorrow Look away! Look away! Look away! Dixie Land There's buckwheat cakes and Injun batter, Makes you fat or a little fatter; Look away! Look away! Look away! Dixie Land Then hoe it down and scratch your gravel, To Dixie's Land I'm bound to travel, Look away! Look away! Look away! Dixie Land Oh, Susanna Melody - Stephen Foster; Seq. by Werner Tomaschewski Stephen Foster, 1848 I come from Alabama with my banjo on my knee I'm going to Louisiana, my true love for to see It rained all night the day I left The weather it was dry The sun so hot, I froze to death Susanna, don't you cry Chorus: Oh, Susanna, Oh don't you cry for me For I come from Alabama With my banjo on my knee 2. I had a dream the other night when everything was still I thought I saw Susanna a-coming down the hill The buckwheat cake was in her mouth The tear was in her eye Says I, I'm coming from the south Susanna, don't you cry Chorus: Old MacDonald had a farm Old MacDonald had a farm Ee i ee i o And on his farm he had some chicks Ee i ee i o With a cluck-cluck here And a cluck-cluck there Here a cluck, there a cluck Everywhere a cluck-cluck Old MacDonald had a farm Ee i ee i o Old MacDonald had a farm Ee i ee i o And on his farm he had some cows Ee i ee i oh With a moo-moo here And a moo-moo there Here a moo, there a moo Everywhere a moo-moo Old MacDonald had a farm Ee i ee i o Old MacDonald had a farm Ee i ee i o And on his farm he had some pigs Ee i ee i o With an oink-oink here And an oink-oink there Here an oink, there an oink Everywhere an oink-oink Old MacDonald had a farm Ee i ee i o Add in other animals that you teach on the farm like : dogs - woof-woof cat - meow-meow sheeps - baa-baa horses - neigh-neigh Waltzing Matilda Bill Basham Information The words to Waltzing Matilda were written in 1895 by Andrew Barton (Banjo) Paterson. It is believed the music is based on an old Scottish tune called Craigielea. Lyrics Once a jolly swagman sat beside the billabong, Under the shade of a coulibah tree, And he sang as he sat and waited by the billabong You'll come a waltzing matilda with me Waltzing matilda, waltzing matilda You'll come a waltzing matilda with me And he sang as he sat and waited by the billabong You'll come a waltzing matilda with me. Down came a jumbuck to drink beside the billabong Up jumped the swagman and seized him with glee And he sang as he tucked jumbuck in his tuckerbag You'll come a waltzing matilda with me Waltzing matilda, waltzing matilda You'll come a waltzing matilda with me And he sang as he sat and waited by the billabong You'll come a waltzing matilda with me. Down came the stockman, riding on his thoroughbred, Down came the troopers, one, two, three. "where's the jolly jumbuck you've got in your tuckerbag? You'll come a waltzing matilda with me Waltzing matilda, waltzing matilda You'll come a waltzing matilda with me And he sang as he sat and waited by the billabong You'll come a waltzing matilda with me. Up jumped the swagman and plunged into the billabong, "You'll never catch me alive," cried he And his ghost may be heard as you ride beside the billabong, You'll come a Waltzing Matilda with me. History of Taps Of all the military bugle calls, none is so easily recognized or more apt to render emotion than Taps. Up to the Civil War, the traditional call at day's end was a tune, borrowed from the French, called Lights Out. In July of 1862, in the aftermath of the bloody Seven Days battles, hard on the loss of 600 men and wounded himself, Union General Daniel Adams Butterfield called the brigade bugler to his tent. He thought "Lights Out" was too formal and he wished to honor his men. Oliver Wilcox Norton, the bugler, tells the story, "...showing me some notes on a staff written in pencil on the back of an envelope, (he) asked me to sound them on my bugle. I did this several times, playing the music as written. He changed it somewhat, lengthening some notes and shortening others, but retaining the melody as he first gave it to me. After getting it to his satisfaction, he directed me to sound that call for Taps thereafter in place of the regulation call. The music was beautiful on that still summer night and was heard far beyond the limits of our Brigade. The next day I was visited by several buglers from neighboring Brigades, asking for copies of the music which I gladly furnished. The call was gradually taken up through the Army of the Potomac." This more emotive and powerful Taps was soon adopted throughout the military. In 1874 It was officially recognized by the U.S. Army. It became standard at military funeral ceremonies in 1891. There is something singularly beautiful and appropriate in the music of this wonderful call. Its strains are melancholy, yet full of rest and peace. Its echoes linger in the heart long after its tones have ceased to vibrate in the air. - from an article by Master Sergeant Jari A Villanueva, USAF. FIRST CALL Sound as a warning that personnel will prepare to assemble for a formation. REVEILLE Signals the troops to awaken for morning roll call. Used to accompany the raising of the National Colors. ASSEMBLY Signals troops to assemble at a designated place MESS CALLSignals mealtime. OFFICER'S CALLSignals all officers to assemble at a designated place. ADJUTANT'S CALL Signals that the adjutant is about to form the guard, battalion, or brigade. The bugler plays the bugle part of the call. RETREAT Signals the end of the official day. TO THE COLOR To the Color is a bugle call to render honors to the nation. It is used when no band is available to render honors, or in ceremonies requiring honors to the nation more than once. To the Color commands all the same courtesies as the National Anthem. TATTOO Signals that all light in squad rooms be extinguished and that all loud talking and other disturbances be discontinued within 15 minutes. Taps History The true story is that in July 1862, after the Seven Days battles at Harrison's Landing (near Richmond), Virginia, the wounded Commander of the 3rd Brigade, 1st Division, V Army Corps, Army of the Potomac, General Daniel Butterfield reworked, with his bugler Oliver Wilcox Norton, another bugle call, "Scott Tattoo," to create Taps. He thought that the regular call for Lights Out was too formal. The custom, thus originated, was taken up throughout the Army of the Potomac and finally confirmed by orders." Soon other Union units began using Taps, and even a few Confederate units began using it as well. After the war, Taps became an official bugle call. Col. James A. Moss, in his Officer's Manual first published in 1911, gives an account of the initial use of Taps at a military funeral: "During the Peninsular Campaign in 1862, a soldier of Tidball's Battery A of the 2nd Artillery was buried at a time when the battery occupied an advanced position concealed in the woods. It was unsafe to fire the customary three volleys over the grave (This practice of firing three volleys over a grave originated in the old custom of halting the fighting to remove the dead from the battlefield. Once each side had finished retrieving their dead, they would fire three volleys to indicate that they were ready to go return to the fight.), on account of the proximity of the enemy, and it occurred to Capt. Tidball that the sounding of Taps would be the most appropriate ceremony that could be substituted. Taps Day is done, gone the sun, From the hills, from the lake, From the skies. All is well, safely rest, God is nigh. Go to sleep, peaceful sleep, May the soldier or sailor, God keep. On the land or the deep, Safe in sleep. Love, good night, Must thou go, When the day, And the night Need thee so? All is well. Speedeth all To their rest. Fades the light; And afar Goeth day, And the stars Shineth bright, Fare thee well; Day has gone, Night is on. Thanks and praise, For our days, 'Neath the sun, Neath the stars, 'Neath the sky, As we go, This we know, God is nigh. Its sad, haunting melody is one of the most familiar tunes in America. It will be played tonight, just as it has been played for the past 134 years, at United States military establishments throughout the world. The sad tune not only marks the end of the day for soldiers; it also denotes the end of their lives. The melody might spring to mind, but the title of the tune may not: The tune is Taps, and it was written by Dan Butterfield. Butterfield was a Union General, awarded the Congressional Medal of Honor, and after the war he served as the Assistant Secretary of the Treasury Department. He was born in Utica, New York, on October 31st, 1831. He was the third son of John Butterfield, renowned for his dealings with both the Overland Stage and American Express. Taps sprang from Dan Buttefield's imagination in 1862. During the Civil War, as the United States fought to either tear itself asunder or heal its differences, Buttefield spent July in Virginia with his men. He was as restless as his men that night. Sweat made it's sticky trailings under dirty blue uniforms, plastering the wool against the too hot skin. The brigade was camped at Berkley Plantation, overlooking the James River near Tidewater. Buttefield sat on his cot and thought about the good fortune he had had last month during the battle of Gaines' Mill - his wounds had not been serious. Others, of course, hadn't shared his good fortune. Many dead and wounded had been left behind there. Those that had escaped might have fallen a few days later at Malvern Hill, when Lee's troops attacked but fell back before the Union soldiers. But Butterfield's ruminations were interrupted by his bugler sounding Extinguish Lights. Butterfield had never liked Extinguish Lights, a tune borrowed from the French and played to signal the end of the day. He thought it too stiff and formal for everyday use. In his imagination played a different melody to signal day's end - something peaceful, soothing, and just a bit meloncholy. Besides his soldiering skills, Buttefield had other talents. He reached into his pocket and drew forth a crumpled, stained envelope. Whistling and humming, he got down to work, finishing his imagination's song. O.W. Norton, Buttefield's 22 year old bugler, recounts what happened next: "Buttefield, showing me some notes on staff written in pencil on the back envelope, asked me to sound them on my bugle. I did this several times, playing the music as written. He changed it somewhat, lengthening some notes and shortening others, but retaining the melody as he first gave it to me. " After getting it to his satisfaction, he directed me to sound the call thereafter, in place of the regular call. The music was beautiful on the still summer nights and was heard far beyond the limits of our brigade. The next day I was visited by several other buglers from neighboring brigades asking for a copy of the music, which I gladly furnished." The music also drifted across the battlefield and was soon taken up by the Confederate buglers. Later, at a Union military funeral, Taps was substituted for the customary rifle volleys at the graveside. It seems that Union officers were worried that the ceremonial gunshots would set off an attack by the edgy Confederates. Taps was well on its way to becoming the nation's requiem. it was played when General Dan Buttefield was laid to rest on July 17th, 1901, thirty nine years after he spent a steamy night in Virgina scribbling on an old envelope. He was buried at West Point where his white marble monument still stands. In the Oneida, New York, Historical Society's collection resides General Buttefield's Medal of Honor, his silver mess gear, two of his swords and other memorabilia. That, and the haunting melody at sunset, are all that's left of him. Source The Cruel War Version 1 Barry Taylor Information I first heard The Cruel War on a Peter, Paul and Mary album. My source traces it back to the American Civil War, but it's likely based on an older English tune. There is another set of lyrics at The Cruel War (2). There are, of course, many others. Lyrics The cruel war is raging Johnny has to fight I want to be with him From morning till night I'm counting the minutes The hours and the days, Oh Lord, stop the cruel war, For this, my heart prays. I made my decision, I will join up too, Oh Johnny, dear Johnny, I'll soon be with you. We women are fighters, We can help you win, Oh Johnny, I'm hoping, That they'll take me in. Repeat first verse The Cruel War Version 2 Barry Taylor Lyrics The cruel war is raging Johnny has to fight I want to be with him From morning till night Oh Johhny, dear Johnny, Morning, noon and night, I think of you marching, Left, right, left and right I know you're so gentle When you hold me tight, Oh how will they make you Get out there and fight? Go speak to your sergeant, And say you want out, Just say you're allergic To this kind of bout. Oh Johnny, dear Johnny, Yes, I know you're brave, But oh how I miss you, It's your love I crave. Oh why did the army Take you from my side, To go into battle, Away from your bride.
Lyrics
Mine eyes have seen the glory Of the coming of the Lord; He is trampling out the vintage Where the grapes of wrath are stored; He hath loosed the fateful lightning Of His terrible swift sword; His truth is marching on.
Chorus
Glory! Glory! Hallelujah! Glory! Glory! Hallelujah! Glory! Glory! Hallelujah! His truth is marching on.
I have seen Him in the watchfires Of a hundred circling camps They have builded Him an altar In the evening dews and damps; I can read His righteous sentence By the dim and flaring lamps; His day is marching on.
I have read a fiery gospel writ In burnished rows of steel: "As ye deal with My contemners, So with you My grace shall deal": Let the Hero born of woman Crush the serpent with His heel, Since God is marching on.
He has sounded forth the trumpet That shall never call retreat; He is sifting out the hearts of men Before His judgement seat; Oh, be swift, my soul, to answer Him; Be jubilant, my feet; Our God is marching on.
In the beauty of the lilies Christ was born across the sea, With a glory in His bosom That transfigures you and me; As He died to make men holy, Let us die to make men free; While God is marching on.
Julia Ward Howe: Beyond the Battle Hymn of the Republic Source 1. Julia Ward and Samuel Gridley Howe Julia Ward was born in 1819, in New York City, into a strict Episcopalian Calvinist family. Her mother died when she was young, and Julia was raised by an aunt. When her father, a banker of comfortable but not immense wealth, died, her guardianship became the responsibility of a more liberal-minded uncle. She herself grew more and more liberal -- on religion and on social issues.
At 21 years old, Julia married the reformer Samuel Gridley Howe. He was already making his mark on the world at that time. He had fought in the Greek War of Independence and had written of his experiences there. He had become the director of the Perkins Institute for the Blind in Boston, Massachusetts. He was a radical Unitarian who had moved far from the Calvinism of New England, and Howe was part of the circle known as the Transcendentalists. He carried religious conviction in the value of the development of every individual into work with the blind, with the mentally ill, and with those in prison. He was also, out of that religious conviction, an opponent of slavery.
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Julia became a Unitarian Christian. She retained until death her belief in a personal, loving God who cared about the affairs of humanity, and she believed in a Christ who had taught a way of acting, a pattern of behavior, that humans should follow. She was a religious radical who did not see her own belief as the only route to salvation; she, like many others of her generation, had come to believe that religion was a matter of "deed, not creed."
Samuel and Julia Howe attended the church where Theodore Parker was minister. Parker, a radical on women's rights and slavery, often wrote his sermons with a handgun on his desk, ready if necessary to defend the lives of the runaway slaves who were staying that night in his cellar on their way to Canada and freedom.
Samuel had married Julia, admiring her ideas, her quick mind, her wit, her active commitment to causes he also shared. But Samuel believed that married women should not have a life outside the home, that they should support their husbands and that they should not speak publicly or be active themselves in the causes of the day.
As director at Perkins Institute for the Blind, Samuel Howe lived with his family on campus in a small house. Julia and Samuel had their six children there. (Four survived to adulthood, all four becoming professionals well known in their fields.) Julia, respecting her husband's attitude, lived in isolation in that home, with little contact with the wider community of Perkins Institute or Boston.
Julia attended church, she wrote poetry, and it became harder for her to maintain her isolation. The marriage was increasingly stifling to her. Her personality was not one which adjusted to being subsumed in the campus and professional life of her husband, nor was she the most patient person. Thomas Wentworth Higginson wrote much later of her in this period: "Bright things always came readily to her lips, and a second thought sometimes came too late to withhold a bit of a sting."
Her diary indicates that the marriage was violent, Samuel controlled, resented and at times mismanaged the financial inheritance her father left her, and much later she discovered that he was unfaithful to her during this time. They considered divorce several times. She stayed, in part because she admired and loved him, and in part because he threatened to keep her from her children if she divorced him — both the legal standard and common practice at that time.
Instead of divorce, she studied philosophy on her own, learned several languages — at that time a bit of a scandal for a woman — and devoted herself to her own self-education as well as the education and care of their children. She also worked with her husband on a brief venture at publishing an abolitionist paper, and supported his causes. She began, despite his opposition, to get more involved in writing and in public life. She took two of their children to Rome, leaving Samuel behind in Boston.
3. Writing the Battle Hymn of the Republic As a result of their voluntary work with the Sanitary Commission, in 1862 President Lincoln invited Samuel and Julia Howe to Washington. The Howes visited a Union Army camp in Virginia across the Potomac. There, they heard the men singing the song which had been sung by both North and South, one in admiration of John Brown, one in celebration of his death: "John Brown's body lies a'mouldering in his grave."
A clergyman in the party, James Freeman Clarke, who knew of Julia's published poems, urged her to write a new song for the war effort to replace "John Brown's Body." She described the events later:
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The result was a poem, published first in February 1862 in the Atlantic Monthly, and called "Battle Hymn of the Republic." The poem was quickly put to the tune that had been used for "John Brown's Body" — the original tune was written by a Southerner for religious revivals — and became the best known Civil War song of the North.
Julia Ward Howe's religious conviction shows in the way that Old and New Testament Biblical images are used to urge that people implement, in this life and this world, the principles that they adhere to. "As he died to make men holy, let us die to make men free." Turning from the idea that the war was revenge for the death of a martyr, Howe hoped that the song would keep the war focused on the principle of the ending of slavery.
Today, that's what Howe is most remembered for: as the author of the song, still loved by many Americans, still hated by many Southerners. Her early poems are forgotten — her other social commitments forgotten. She became a much-loved American institution after that song was published — but even in her own lifetime, all her other pursuits paled besides her accomplishment of one piece of poetry for which she was paid $5 by the editor of Atlantic Monthly.
John Brown's Body Melody - Battle Hymn of the Republic
|: John Brown's body lies a-mouldering in the grave, :| John Brown's body lies a-mouldering in the grave, But his soul goes marching on.
Chorus: |: Glory, glory, hallelujah, :| Glory, glory, hallelujah, His soul goes marching on.
2. |: He's gone to be a soldier in the Army of the Lord, :| He's gone to be a soldier in the Army of the Lord, His soul goes marching on.
Chorus:
3. |: John Brown's knapsack is strapped upon his back, :| John Brown's knapsack is strapped upon his back, His soul goes marching on. Chorus:
4. |: John Brown died that the slaves might be free, :| John Brown died that the slaves might be free, His soul goes marching on. Chorus:
5. |: The stars above in Heaven now are looking kindly down, :| The stars above in Heaven now are looking kindly down, His soul goes marching on. Chorus:
John Brown's Body Mark R. Weston Information The tune was originally a camp-meeting hymn Oh brothers, will you meet us on Canaan's happy shore? It evolved into this tune. In 1861 Julia Ward Howe wife of a government official, wrote a poem for Atlantic Monthly for five dollars. The magazine called it, Battle Hymn of the Republic. The music may be by William Steffe. John Brown's body lies a-mold'ring in the grave
John Brown's body lies a-mold'ring in the grave John Brown's body lies a-mold'ring in the grave His soul goes marching on
Glory, Glory! Hallelujah! Glory, Glory! Hallelujah! Glory, Glory! Hallelujah! His soul is marching on
He captured Harper's Ferry with his nineteen men so true He frightened old Virginia till she trembled through and through They hung him for a traitor, themselves the traitor crew His soul is marching on
John Brown died that the slave might be free, John Brown died that the slave might be free, John Brown died that the slave might be free, But his soul is marching on!
The stars above in Heaven are looking kindly down The stars above in Heaven are looking kindly down The stars above in Heaven are looking kindly down On the grave of old John Brown
1800 May: John Brown is born in Torrington, Connecticut. His father, Owen, a strict Calvinist, hated slavery and believed that holding humans in bondage was a sin against God. 1812 The War of 1812: A 12-year-old John Brown travels through the Michigan wilderness to deliver a herd of cattle. He lodged with a man who owned a boy slave. Brown was treated well, but the slave was beaten before his eyes with an iron shovel. The memory would forever haunt John Brown. 1820 June 21: John Brown marries Dianthe Lusk. In 1826 they left for the wilderness in Pennsylvania, where Brown built a tannery. She will die in 1832, shortly after the death of her newborn. 1833 June 14: John Brown weds sixteen-year-old Mary Day. Mary takes cares of Brown's five children and will later bear him thirteen of her own. Economic hardships will escalate as he attempts to provide for his ever expanding family. 1836 January: Land speculation reaches dizzying heights. Brown moves his family to Franklin Mills, Ohio, and borrows money to buy land in the area, only to be crushed in the economic turmoil of 1837. 1837 November 7: Elijah Lovejoy, publisher of an antislavery newspaper, is shot to death by a proslavery mob. During his memorial service, John Brown stood and made a vow to end slavery. 1842 September 28, 1842: A federal court decides John Brown's bankruptcy case. Creditors took all but the essentials on which Brown and his family needed to live. It is the culmination of years of poor business decisions made by Brown. 1854 Kansas-Nebraska Act of 1854: The Missouri Compromise, which restricted the expansion of slavery, is swept aside. With a nod to Southern power, the federal government placed the volatile issue of slavery into the hands of those settling the new territories. The people will decide, by popular vote, whether to be "free" or "slave." 1855 June: John Brown follows his sons to Kansas. 1856 May 24: Brown goes to nearby Pottawatomie Creek and directs his men in the murder of five proslavery settlers. 1857 January: Franklin Sanborn, secretary for the Massachusetts State Kansas Committee, introduces Brown to influential abolitionists in the Boston area in effort to further antislavery fight in Kansas. These acquaintances will later constitute the members of the "Secret Six." 1858 January: John Brown rides into Missouri and attacks two proslavery homesteads, confiscating property and liberating eleven of their slaves. Brown travels eighty-two days and covers over a thousand miles to deliver the slaves to freedom in Canada. 1859 July 3: A few miles outside of Harpers Ferry, John Brown rents farmhouse under the name, "Isaac Smith." August 16: John Brown and Frederick Douglass have a clandestine meeting at a rock quarry at Chambersburg, Pennsylvania. Brown tried to convince Douglass to join him at Harpers Ferry. October 16: John Brown attacks the armory at Harpers Ferry. November 2: A Viginia jury finds John Brown guilty of murder, treason, and inciting a slave insurrection after a week of trial and forty-five minutes of deliberation. December 2: John Brown is hanged. 1861 April 12: Confederate batteries open fire on Fort Sumter; the first shots of the Civil War. 1865 The Thirteenth Amendment to the Constitution abolishes slavery.
Butterfield's Lullaby Taps Melody - Daniel Butterfield, 1862? Daniel Butterfield, 1862? Day is done Gone the sun From the lakes From the hills From the sky All is well Safely rest God is nigh. -------------------------------------------------------------------------------- Killer Angels is a book written about the battle of Gettysburg. "During the Civil War it was called Butterfield's Lullaby. It was not a song of sadness like it is today. The song was played every night at bed time, like a "lights out song". When an officer died, they would like to do a gun salute but were afraid that the troops would think the Confederates were attacking, so they played this song instead, since it was quiet." - with thanks to Chris Stinson for this commentary. Yankee Doodle Barry Taylor Information Tradition has it that Yankee Doodle had its origins in the French and Indian War when New England troops joined Braddock's forces at Niagara. In contrast to the spit and polish of the British army, the colonials were a motley crew, some wearing buckskins and furs. Dr. Richard Schuckburg, a British Army surgeon reportedly wrote the tune ridiculing the Americans in the early 1750s. Some scholars believe it is a variant of the nursery rhyme Lucy Locket. Despite the fact it began as ridicule, the colonials took the song for their own. Countless versions and parodies evolved, many of which made fun of their officers, including George Washington. These verses are included at the end of the tune. When Cornwallis surrendered at Yorktown it is said while the British played The World Turned Upside Down, the Americans played Yankee Doodle. There are said to be as many as 190 verses of Yankee Doodle. Lyrics Father and I went down to camp Along with Captain Gooding And there we saw the men and boys As thick as hasty pudding. Chorus Yankee doodle, keep it up Yankee doodle dandy Mind the music and the step And with the girls be handy. There was Captain Washington Upon a slapping stallion A-giving orders to his men I guess there was a million. Chorus And then the feathers on his hat They looked so' tarnal fin-a I wanted pockily to get To give to my Jemima. Chorus And then we saw a swamping gun Large as a log of maple Upon a deuced little cart A load for father's cattle. Chorus And every time they shoot it off It takes a horn of powder It makes a noise like father's gun Only a nation louder. Chorus I went as nigh to one myself As' Siah's underpinning And father went as nigh agin I thought the deuce was in him. We saw a little barrel, too The heads were made of leather They knocked upon it with little clubs And called the folks together. Chorus And there they'd fife away like fun And play on cornstalk fiddles And some had ribbons red as blood All bound around their middles. The troopers, too, would gallop up And fire right in our faces It scared me almost to death To see them run such races. Chorus Uncle Sam came there to change Some pancakes and some onions For' lasses cake to carry home To give his wife and young ones. Chorus But I can't tell half I see They kept up such a smother So I took my hat off, made a bow And scampered home to mother. Chorus Cousin Simon grew so bold I thought he would have cocked it It scared me so I streaked it off And hung by father's pocket. Chorus And there I saw a pumpkin shell As big as mother's basin And every time they touched it off They scampered like the nation. Other Verses: And there was Captain Washington, With gentlefolks about him, They say he's gown so 'tarnal proud He will not ride without them. Chorus There came Gen'ral Washington Upon a snow-white charger He looked as big as all outdoors And thought that he was larger. Chorus Yankee Doodle or Return From Camp From the American Antiquarian Society, earliest score sheet Father and I went down to camp, Along with Captain Gooding, There we see the men and boys, As thick as hasty pudding. Chorus: Yankee doodle, keep it up, Yankee doodle, dandy; Mind the music and the step, And with the girls be handy. 2. And there we see a thousand men, As rich as "Squire David"; And what they wasted every day, I wish it could be saved. Chorus: 3. The lasses they eat every day, Would keep an house a winter; They have as much that I'll be bound They eat it when they're amind to. Chorus: 4. And there we see a swamping gun, Large as a log of maple, Upon a deuced little cart, A load for father's cattle. Chorus: 5. And every time they shoot it off, It takes a horn of powder; It makes a noise like father's gun, Only a nation louder. Chorus: 6. I went as nigh to one myself, As 'Siah's underpining; And father went as nigh again, I thought the deuce was in him. Chorus: 7. Cousin Simon grew so bold, I thought he would have cock'd it: It scar'd me so, I shrink'd it off, And hung by father's pocket. Chorus: 8. And Captain Davis had a gun, He kind of clap'd his on't, And struck a crooked stabbing iron Upon the little end on't. Chorus: 9. And there I see a pumpkin shell As big a mother's bason, And every time they touch'd it off, They scamper'd like the nation. Chorus: 10. I see a little barrel too, The heads were made of leather, They knock'd upon't with little clubs, And call'd the folks together. Chorus: 11. And there was Captain Washington, And gentlefolks about him, They say he's grown so tarnal proud, He will not ride without 'em. Chorus: 12. He got him on his meeting clothes, Upon a slapping stallion, He set the world along in rows, In hundred and in millions. Chorus: 13. The flaming ribbons in their hats, They look'd so taring fine, ah, I wanted pockily to get, To give to my Jemimah. Chorus: 14. I see another snarl of men A digging graves, they told me, So tarnal long, so tarnal deep, They 'tended they should hold me. Chorus: 15. It scar'd me so, I hook'd it off, Nor stopt, as I remember, Nor turn'd about till I got home, Lock'd up in mother's chamber. Chorus: -------------------------------------------------------------------------------- Taken from a score sheet dated 1799. When the Revolutionary War began, the colonists had no national song. We are told that during the French and Indian War Dr. Richard Shackburg, in a spirit of derision, gave to the poorly clad and awkward colonial soldiers the words and music of Yankee Doodle, telling them it was a fine martial tune. When they played it the British were greatly amused. Twenty years after these same militiamen marched to victory at Lexington to this much derided tune, while their British teachers skulked behind fences or sought refuge in retreat. Five years later Cornwallis marched to the same tune at Yorktown to surrender his sword and his army to General Washington. Little is known of the history of the tune. No doubt it is several hundred years old, but authorities disagree as to its origin. One says it was commonly used by the Spaniards. Another claims the song was sung by Germans who worked in Holland and sang a harvest song to this well known air. Another tells us that the Puritans of Cromwell's time were ridiculed as "Naukeys" in a stanza adapted to this same tune. The word "Yankee" is sometimes given as an Indian corruption of the word English. Or, as has been said, it was a contemptuous term applied to the Puritans. Others claim it to be a cant word, expressing excellence, which originated in New England, but which finally came to be applied to the people of that region as a derisive epithet. "Doodle", according to the dictionaries, means a trifling or simple fellow. The words which were once sung to this tune by the colonists were little more than meaningless doggerel, and are little known now. It is not the lofty sentiment of the words, but the catchy, rollicking tune and the sacred associations, which give this song its place among our national treasures. - From the Golden Book of Favorite Songs, 1915. Marine Hymn From the Halls of Montezuma To the shores of Tripoli, We fight our country's battles In the air, on land and sea First to fight for right and freedom, And to keep our honor clean, We are proud to claim the title Of United States Marine. 2. Our Flag's unfulr'd to every breeze From dawn to setting sun; We have fought in every clime and place Where we could take a gun. In the snow of far-off northern lands And in sunny tropic scenes, You will find us always on the job The Unites States Marines. 3. Here's health to you and to our Corps Which we are proud to serve; In many a strife we've fought for life And never lost our nerve. If the Army and the Navy Ever look on Heaven's scenes, They will find the streets are guarded By United States Marines! Semper Fidelis March (Marching music; no words) The march takes its title from the motto of the U. S. Marine Corps: Semper Fidelis -- Always Faithful. It was dedicated to those who inspired it - the officers and men of the United States Marine Corps. In Sousa's own words: "I wrote Semper Fidelis one night while in tears, after my comrades of the Marine Corps had sung their famous hymn at Quantico." It became one of his most popular marches, and Sousa considered it his best march, musically speaking. According to Sousa, Semper Fidelis is one of the five most effective street marches. The others are The Thunderer, National Emblem, Washington Post, and High School Cadets. Dixie Information This Confederate War Song was written by a Northerner, Daniel Decatur Emmett before the Civil War for the Bryant Minstrels. It was first played in New York. The word "dixie" could refer to the area below the Mason-Dixon Line, but is generally believed to refer to the worthless ten dollar bills issued in New Orleans which were called "dixies" because of the word "dix" (ten in French) printed on them. Lyrics I wish I was in the land of Cotton Old times there are not forgotten Look away! Look away! Look away! Dixie Land In Dixie Land where I was born in early on one frosty morning' Look away! Look away! Look away! Dixie Land Chorus Then I wish I was in Dixie Hooray! Hooray! In Dixie Land I'll take my stand To live and die in Dixie Away! Away! Away! Down South in Dixie. Away! Away! Away! Down South in Dixie. Ole Missus marry "will the weaver" Willum was a gay deceiver Look away! Look away! Look away! Dixie Land But when he put his arm around er, He smiled fierce as a forty pounder, Look away! Look away! Look away! Dixie Land His face was sharp as a butcher's cleaver But that did not seem to grieve 'er Look away! Look away! Look away! Dixie Land Ole Missus acted the foolish part And died for a man that broke her heart Look away! Look away! Look away! Dixie Land Now here's a health to the next ole Missus An' all the gals that want to kiss us; Look away! Look away! Look away! Dixie Land But if you want to drive 'way sorrow Come and hear this song tomorrow Look away! Look away! Look away! Dixie Land There's buckwheat cakes and Injun batter, Makes you fat or a little fatter; Look away! Look away! Look away! Dixie Land Then hoe it down and scratch your gravel, To Dixie's Land I'm bound to travel, Look away! Look away! Look away! Dixie Land Oh, Susanna Melody - Stephen Foster; Seq. by Werner Tomaschewski Stephen Foster, 1848 I come from Alabama with my banjo on my knee I'm going to Louisiana, my true love for to see It rained all night the day I left The weather it was dry The sun so hot, I froze to death Susanna, don't you cry Chorus: Oh, Susanna, Oh don't you cry for me For I come from Alabama With my banjo on my knee 2. I had a dream the other night when everything was still I thought I saw Susanna a-coming down the hill The buckwheat cake was in her mouth The tear was in her eye Says I, I'm coming from the south Susanna, don't you cry Chorus: Old MacDonald had a farm Old MacDonald had a farm Ee i ee i o And on his farm he had some chicks Ee i ee i o With a cluck-cluck here And a cluck-cluck there Here a cluck, there a cluck Everywhere a cluck-cluck Old MacDonald had a farm Ee i ee i o Old MacDonald had a farm Ee i ee i o And on his farm he had some cows Ee i ee i oh With a moo-moo here And a moo-moo there Here a moo, there a moo Everywhere a moo-moo Old MacDonald had a farm Ee i ee i o Old MacDonald had a farm Ee i ee i o And on his farm he had some pigs Ee i ee i o With an oink-oink here And an oink-oink there Here an oink, there an oink Everywhere an oink-oink Old MacDonald had a farm Ee i ee i o Add in other animals that you teach on the farm like : dogs - woof-woof cat - meow-meow sheeps - baa-baa horses - neigh-neigh Waltzing Matilda Bill Basham Information The words to Waltzing Matilda were written in 1895 by Andrew Barton (Banjo) Paterson. It is believed the music is based on an old Scottish tune called Craigielea. Lyrics Once a jolly swagman sat beside the billabong, Under the shade of a coulibah tree, And he sang as he sat and waited by the billabong You'll come a waltzing matilda with me Waltzing matilda, waltzing matilda You'll come a waltzing matilda with me And he sang as he sat and waited by the billabong You'll come a waltzing matilda with me. Down came a jumbuck to drink beside the billabong Up jumped the swagman and seized him with glee And he sang as he tucked jumbuck in his tuckerbag You'll come a waltzing matilda with me Waltzing matilda, waltzing matilda You'll come a waltzing matilda with me And he sang as he sat and waited by the billabong You'll come a waltzing matilda with me. Down came the stockman, riding on his thoroughbred, Down came the troopers, one, two, three. "where's the jolly jumbuck you've got in your tuckerbag? You'll come a waltzing matilda with me Waltzing matilda, waltzing matilda You'll come a waltzing matilda with me And he sang as he sat and waited by the billabong You'll come a waltzing matilda with me. Up jumped the swagman and plunged into the billabong, "You'll never catch me alive," cried he And his ghost may be heard as you ride beside the billabong, You'll come a Waltzing Matilda with me. History of Taps Of all the military bugle calls, none is so easily recognized or more apt to render emotion than Taps. Up to the Civil War, the traditional call at day's end was a tune, borrowed from the French, called Lights Out. In July of 1862, in the aftermath of the bloody Seven Days battles, hard on the loss of 600 men and wounded himself, Union General Daniel Adams Butterfield called the brigade bugler to his tent. He thought "Lights Out" was too formal and he wished to honor his men. Oliver Wilcox Norton, the bugler, tells the story, "...showing me some notes on a staff written in pencil on the back of an envelope, (he) asked me to sound them on my bugle. I did this several times, playing the music as written. He changed it somewhat, lengthening some notes and shortening others, but retaining the melody as he first gave it to me. After getting it to his satisfaction, he directed me to sound that call for Taps thereafter in place of the regulation call. The music was beautiful on that still summer night and was heard far beyond the limits of our Brigade. The next day I was visited by several buglers from neighboring Brigades, asking for copies of the music which I gladly furnished. The call was gradually taken up through the Army of the Potomac." This more emotive and powerful Taps was soon adopted throughout the military. In 1874 It was officially recognized by the U.S. Army. It became standard at military funeral ceremonies in 1891. There is something singularly beautiful and appropriate in the music of this wonderful call. Its strains are melancholy, yet full of rest and peace. Its echoes linger in the heart long after its tones have ceased to vibrate in the air. - from an article by Master Sergeant Jari A Villanueva, USAF. FIRST CALL Sound as a warning that personnel will prepare to assemble for a formation. REVEILLE Signals the troops to awaken for morning roll call. Used to accompany the raising of the National Colors. ASSEMBLY Signals troops to assemble at a designated place MESS CALLSignals mealtime. OFFICER'S CALLSignals all officers to assemble at a designated place. ADJUTANT'S CALL Signals that the adjutant is about to form the guard, battalion, or brigade. The bugler plays the bugle part of the call. RETREAT Signals the end of the official day. TO THE COLOR To the Color is a bugle call to render honors to the nation. It is used when no band is available to render honors, or in ceremonies requiring honors to the nation more than once. To the Color commands all the same courtesies as the National Anthem. TATTOO Signals that all light in squad rooms be extinguished and that all loud talking and other disturbances be discontinued within 15 minutes. Taps History The true story is that in July 1862, after the Seven Days battles at Harrison's Landing (near Richmond), Virginia, the wounded Commander of the 3rd Brigade, 1st Division, V Army Corps, Army of the Potomac, General Daniel Butterfield reworked, with his bugler Oliver Wilcox Norton, another bugle call, "Scott Tattoo," to create Taps. He thought that the regular call for Lights Out was too formal. The custom, thus originated, was taken up throughout the Army of the Potomac and finally confirmed by orders." Soon other Union units began using Taps, and even a few Confederate units began using it as well. After the war, Taps became an official bugle call. Col. James A. Moss, in his Officer's Manual first published in 1911, gives an account of the initial use of Taps at a military funeral: "During the Peninsular Campaign in 1862, a soldier of Tidball's Battery A of the 2nd Artillery was buried at a time when the battery occupied an advanced position concealed in the woods. It was unsafe to fire the customary three volleys over the grave (This practice of firing three volleys over a grave originated in the old custom of halting the fighting to remove the dead from the battlefield. Once each side had finished retrieving their dead, they would fire three volleys to indicate that they were ready to go return to the fight.), on account of the proximity of the enemy, and it occurred to Capt. Tidball that the sounding of Taps would be the most appropriate ceremony that could be substituted. Taps Day is done, gone the sun, From the hills, from the lake, From the skies. All is well, safely rest, God is nigh. Go to sleep, peaceful sleep, May the soldier or sailor, God keep. On the land or the deep, Safe in sleep. Love, good night, Must thou go, When the day, And the night Need thee so? All is well. Speedeth all To their rest. Fades the light; And afar Goeth day, And the stars Shineth bright, Fare thee well; Day has gone, Night is on. Thanks and praise, For our days, 'Neath the sun, Neath the stars, 'Neath the sky, As we go, This we know, God is nigh. Its sad, haunting melody is one of the most familiar tunes in America. It will be played tonight, just as it has been played for the past 134 years, at United States military establishments throughout the world. The sad tune not only marks the end of the day for soldiers; it also denotes the end of their lives. The melody might spring to mind, but the title of the tune may not: The tune is Taps, and it was written by Dan Butterfield. Butterfield was a Union General, awarded the Congressional Medal of Honor, and after the war he served as the Assistant Secretary of the Treasury Department. He was born in Utica, New York, on October 31st, 1831. He was the third son of John Butterfield, renowned for his dealings with both the Overland Stage and American Express. Taps sprang from Dan Buttefield's imagination in 1862. During the Civil War, as the United States fought to either tear itself asunder or heal its differences, Buttefield spent July in Virginia with his men. He was as restless as his men that night. Sweat made it's sticky trailings under dirty blue uniforms, plastering the wool against the too hot skin. The brigade was camped at Berkley Plantation, overlooking the James River near Tidewater. Buttefield sat on his cot and thought about the good fortune he had had last month during the battle of Gaines' Mill - his wounds had not been serious. Others, of course, hadn't shared his good fortune. Many dead and wounded had been left behind there. Those that had escaped might have fallen a few days later at Malvern Hill, when Lee's troops attacked but fell back before the Union soldiers. But Butterfield's ruminations were interrupted by his bugler sounding Extinguish Lights. Butterfield had never liked Extinguish Lights, a tune borrowed from the French and played to signal the end of the day. He thought it too stiff and formal for everyday use. In his imagination played a different melody to signal day's end - something peaceful, soothing, and just a bit meloncholy. Besides his soldiering skills, Buttefield had other talents. He reached into his pocket and drew forth a crumpled, stained envelope. Whistling and humming, he got down to work, finishing his imagination's song. O.W. Norton, Buttefield's 22 year old bugler, recounts what happened next: "Buttefield, showing me some notes on staff written in pencil on the back envelope, asked me to sound them on my bugle. I did this several times, playing the music as written. He changed it somewhat, lengthening some notes and shortening others, but retaining the melody as he first gave it to me. " After getting it to his satisfaction, he directed me to sound the call thereafter, in place of the regular call. The music was beautiful on the still summer nights and was heard far beyond the limits of our brigade. The next day I was visited by several other buglers from neighboring brigades asking for a copy of the music, which I gladly furnished." The music also drifted across the battlefield and was soon taken up by the Confederate buglers. Later, at a Union military funeral, Taps was substituted for the customary rifle volleys at the graveside. It seems that Union officers were worried that the ceremonial gunshots would set off an attack by the edgy Confederates. Taps was well on its way to becoming the nation's requiem. it was played when General Dan Buttefield was laid to rest on July 17th, 1901, thirty nine years after he spent a steamy night in Virgina scribbling on an old envelope. He was buried at West Point where his white marble monument still stands. In the Oneida, New York, Historical Society's collection resides General Buttefield's Medal of Honor, his silver mess gear, two of his swords and other memorabilia. That, and the haunting melody at sunset, are all that's left of him. Source The Cruel War Version 1 Barry Taylor Information I first heard The Cruel War on a Peter, Paul and Mary album. My source traces it back to the American Civil War, but it's likely based on an older English tune. There is another set of lyrics at The Cruel War (2). There are, of course, many others. Lyrics The cruel war is raging Johnny has to fight I want to be with him From morning till night I'm counting the minutes The hours and the days, Oh Lord, stop the cruel war, For this, my heart prays. I made my decision, I will join up too, Oh Johnny, dear Johnny, I'll soon be with you. We women are fighters, We can help you win, Oh Johnny, I'm hoping, That they'll take me in. Repeat first verse The Cruel War Version 2 Barry Taylor Lyrics The cruel war is raging Johnny has to fight I want to be with him From morning till night Oh Johhny, dear Johnny, Morning, noon and night, I think of you marching, Left, right, left and right I know you're so gentle When you hold me tight, Oh how will they make you Get out there and fight? Go speak to your sergeant, And say you want out, Just say you're allergic To this kind of bout. Oh Johnny, dear Johnny, Yes, I know you're brave, But oh how I miss you, It's your love I crave. Oh why did the army Take you from my side, To go into battle, Away from your bride.
Day is done Gone the sun From the lakes From the hills From the sky All is well Safely rest God is nigh.
-------------------------------------------------------------------------------- Killer Angels is a book written about the battle of Gettysburg. "During the Civil War it was called Butterfield's Lullaby. It was not a song of sadness like it is today. The song was played every night at bed time, like a "lights out song". When an officer died, they would like to do a gun salute but were afraid that the troops would think the Confederates were attacking, so they played this song instead, since it was quiet." - with thanks to Chris Stinson for this commentary.
Yankee Doodle Barry Taylor Information Tradition has it that Yankee Doodle had its origins in the French and Indian War when New England troops joined Braddock's forces at Niagara. In contrast to the spit and polish of the British army, the colonials were a motley crew, some wearing buckskins and furs. Dr. Richard Schuckburg, a British Army surgeon reportedly wrote the tune ridiculing the Americans in the early 1750s. Some scholars believe it is a variant of the nursery rhyme Lucy Locket. Despite the fact it began as ridicule, the colonials took the song for their own. Countless versions and parodies evolved, many of which made fun of their officers, including George Washington. These verses are included at the end of the tune. When Cornwallis surrendered at Yorktown it is said while the British played The World Turned Upside Down, the Americans played Yankee Doodle. There are said to be as many as 190 verses of Yankee Doodle. Lyrics Father and I went down to camp Along with Captain Gooding And there we saw the men and boys As thick as hasty pudding. Chorus Yankee doodle, keep it up Yankee doodle dandy Mind the music and the step And with the girls be handy. There was Captain Washington Upon a slapping stallion A-giving orders to his men I guess there was a million. Chorus And then the feathers on his hat They looked so' tarnal fin-a I wanted pockily to get To give to my Jemima. Chorus And then we saw a swamping gun Large as a log of maple Upon a deuced little cart A load for father's cattle. Chorus And every time they shoot it off It takes a horn of powder It makes a noise like father's gun Only a nation louder. Chorus I went as nigh to one myself As' Siah's underpinning And father went as nigh agin I thought the deuce was in him. We saw a little barrel, too The heads were made of leather They knocked upon it with little clubs And called the folks together. Chorus And there they'd fife away like fun And play on cornstalk fiddles And some had ribbons red as blood All bound around their middles. The troopers, too, would gallop up And fire right in our faces It scared me almost to death To see them run such races. Chorus Uncle Sam came there to change Some pancakes and some onions For' lasses cake to carry home To give his wife and young ones. Chorus But I can't tell half I see They kept up such a smother So I took my hat off, made a bow And scampered home to mother. Chorus Cousin Simon grew so bold I thought he would have cocked it It scared me so I streaked it off And hung by father's pocket. Chorus And there I saw a pumpkin shell As big as mother's basin And every time they touched it off They scampered like the nation. Other Verses: And there was Captain Washington, With gentlefolks about him, They say he's gown so 'tarnal proud He will not ride without them. Chorus There came Gen'ral Washington Upon a snow-white charger He looked as big as all outdoors And thought that he was larger. Chorus Yankee Doodle or Return From Camp From the American Antiquarian Society, earliest score sheet Father and I went down to camp, Along with Captain Gooding, There we see the men and boys, As thick as hasty pudding. Chorus: Yankee doodle, keep it up, Yankee doodle, dandy; Mind the music and the step, And with the girls be handy. 2. And there we see a thousand men, As rich as "Squire David"; And what they wasted every day, I wish it could be saved. Chorus: 3. The lasses they eat every day, Would keep an house a winter; They have as much that I'll be bound They eat it when they're amind to. Chorus: 4. And there we see a swamping gun, Large as a log of maple, Upon a deuced little cart, A load for father's cattle. Chorus: 5. And every time they shoot it off, It takes a horn of powder; It makes a noise like father's gun, Only a nation louder. Chorus: 6. I went as nigh to one myself, As 'Siah's underpining; And father went as nigh again, I thought the deuce was in him. Chorus: 7. Cousin Simon grew so bold, I thought he would have cock'd it: It scar'd me so, I shrink'd it off, And hung by father's pocket. Chorus: 8. And Captain Davis had a gun, He kind of clap'd his on't, And struck a crooked stabbing iron Upon the little end on't. Chorus: 9. And there I see a pumpkin shell As big a mother's bason, And every time they touch'd it off, They scamper'd like the nation. Chorus: 10. I see a little barrel too, The heads were made of leather, They knock'd upon't with little clubs, And call'd the folks together. Chorus: 11. And there was Captain Washington, And gentlefolks about him, They say he's grown so tarnal proud, He will not ride without 'em. Chorus: 12. He got him on his meeting clothes, Upon a slapping stallion, He set the world along in rows, In hundred and in millions. Chorus: 13. The flaming ribbons in their hats, They look'd so taring fine, ah, I wanted pockily to get, To give to my Jemimah. Chorus: 14. I see another snarl of men A digging graves, they told me, So tarnal long, so tarnal deep, They 'tended they should hold me. Chorus: 15. It scar'd me so, I hook'd it off, Nor stopt, as I remember, Nor turn'd about till I got home, Lock'd up in mother's chamber. Chorus: -------------------------------------------------------------------------------- Taken from a score sheet dated 1799. When the Revolutionary War began, the colonists had no national song. We are told that during the French and Indian War Dr. Richard Shackburg, in a spirit of derision, gave to the poorly clad and awkward colonial soldiers the words and music of Yankee Doodle, telling them it was a fine martial tune. When they played it the British were greatly amused. Twenty years after these same militiamen marched to victory at Lexington to this much derided tune, while their British teachers skulked behind fences or sought refuge in retreat. Five years later Cornwallis marched to the same tune at Yorktown to surrender his sword and his army to General Washington. Little is known of the history of the tune. No doubt it is several hundred years old, but authorities disagree as to its origin. One says it was commonly used by the Spaniards. Another claims the song was sung by Germans who worked in Holland and sang a harvest song to this well known air. Another tells us that the Puritans of Cromwell's time were ridiculed as "Naukeys" in a stanza adapted to this same tune. The word "Yankee" is sometimes given as an Indian corruption of the word English. Or, as has been said, it was a contemptuous term applied to the Puritans. Others claim it to be a cant word, expressing excellence, which originated in New England, but which finally came to be applied to the people of that region as a derisive epithet. "Doodle", according to the dictionaries, means a trifling or simple fellow. The words which were once sung to this tune by the colonists were little more than meaningless doggerel, and are little known now. It is not the lofty sentiment of the words, but the catchy, rollicking tune and the sacred associations, which give this song its place among our national treasures. - From the Golden Book of Favorite Songs, 1915. Marine Hymn From the Halls of Montezuma To the shores of Tripoli, We fight our country's battles In the air, on land and sea First to fight for right and freedom, And to keep our honor clean, We are proud to claim the title Of United States Marine. 2. Our Flag's unfulr'd to every breeze From dawn to setting sun; We have fought in every clime and place Where we could take a gun. In the snow of far-off northern lands And in sunny tropic scenes, You will find us always on the job The Unites States Marines. 3. Here's health to you and to our Corps Which we are proud to serve; In many a strife we've fought for life And never lost our nerve. If the Army and the Navy Ever look on Heaven's scenes, They will find the streets are guarded By United States Marines! Semper Fidelis March (Marching music; no words) The march takes its title from the motto of the U. S. Marine Corps: Semper Fidelis -- Always Faithful. It was dedicated to those who inspired it - the officers and men of the United States Marine Corps. In Sousa's own words: "I wrote Semper Fidelis one night while in tears, after my comrades of the Marine Corps had sung their famous hymn at Quantico." It became one of his most popular marches, and Sousa considered it his best march, musically speaking. According to Sousa, Semper Fidelis is one of the five most effective street marches. The others are The Thunderer, National Emblem, Washington Post, and High School Cadets. Dixie Information This Confederate War Song was written by a Northerner, Daniel Decatur Emmett before the Civil War for the Bryant Minstrels. It was first played in New York. The word "dixie" could refer to the area below the Mason-Dixon Line, but is generally believed to refer to the worthless ten dollar bills issued in New Orleans which were called "dixies" because of the word "dix" (ten in French) printed on them. Lyrics I wish I was in the land of Cotton Old times there are not forgotten Look away! Look away! Look away! Dixie Land In Dixie Land where I was born in early on one frosty morning' Look away! Look away! Look away! Dixie Land Chorus Then I wish I was in Dixie Hooray! Hooray! In Dixie Land I'll take my stand To live and die in Dixie Away! Away! Away! Down South in Dixie. Away! Away! Away! Down South in Dixie. Ole Missus marry "will the weaver" Willum was a gay deceiver Look away! Look away! Look away! Dixie Land But when he put his arm around er, He smiled fierce as a forty pounder, Look away! Look away! Look away! Dixie Land His face was sharp as a butcher's cleaver But that did not seem to grieve 'er Look away! Look away! Look away! Dixie Land Ole Missus acted the foolish part And died for a man that broke her heart Look away! Look away! Look away! Dixie Land Now here's a health to the next ole Missus An' all the gals that want to kiss us; Look away! Look away! Look away! Dixie Land But if you want to drive 'way sorrow Come and hear this song tomorrow Look away! Look away! Look away! Dixie Land There's buckwheat cakes and Injun batter, Makes you fat or a little fatter; Look away! Look away! Look away! Dixie Land Then hoe it down and scratch your gravel, To Dixie's Land I'm bound to travel, Look away! Look away! Look away! Dixie Land Oh, Susanna Melody - Stephen Foster; Seq. by Werner Tomaschewski Stephen Foster, 1848 I come from Alabama with my banjo on my knee I'm going to Louisiana, my true love for to see It rained all night the day I left The weather it was dry The sun so hot, I froze to death Susanna, don't you cry Chorus: Oh, Susanna, Oh don't you cry for me For I come from Alabama With my banjo on my knee 2. I had a dream the other night when everything was still I thought I saw Susanna a-coming down the hill The buckwheat cake was in her mouth The tear was in her eye Says I, I'm coming from the south Susanna, don't you cry Chorus: Old MacDonald had a farm Old MacDonald had a farm Ee i ee i o And on his farm he had some chicks Ee i ee i o With a cluck-cluck here And a cluck-cluck there Here a cluck, there a cluck Everywhere a cluck-cluck Old MacDonald had a farm Ee i ee i o Old MacDonald had a farm Ee i ee i o And on his farm he had some cows Ee i ee i oh With a moo-moo here And a moo-moo there Here a moo, there a moo Everywhere a moo-moo Old MacDonald had a farm Ee i ee i o Old MacDonald had a farm Ee i ee i o And on his farm he had some pigs Ee i ee i o With an oink-oink here And an oink-oink there Here an oink, there an oink Everywhere an oink-oink Old MacDonald had a farm Ee i ee i o Add in other animals that you teach on the farm like : dogs - woof-woof cat - meow-meow sheeps - baa-baa horses - neigh-neigh Waltzing Matilda Bill Basham Information The words to Waltzing Matilda were written in 1895 by Andrew Barton (Banjo) Paterson. It is believed the music is based on an old Scottish tune called Craigielea. Lyrics Once a jolly swagman sat beside the billabong, Under the shade of a coulibah tree, And he sang as he sat and waited by the billabong You'll come a waltzing matilda with me Waltzing matilda, waltzing matilda You'll come a waltzing matilda with me And he sang as he sat and waited by the billabong You'll come a waltzing matilda with me. Down came a jumbuck to drink beside the billabong Up jumped the swagman and seized him with glee And he sang as he tucked jumbuck in his tuckerbag You'll come a waltzing matilda with me Waltzing matilda, waltzing matilda You'll come a waltzing matilda with me And he sang as he sat and waited by the billabong You'll come a waltzing matilda with me. Down came the stockman, riding on his thoroughbred, Down came the troopers, one, two, three. "where's the jolly jumbuck you've got in your tuckerbag? You'll come a waltzing matilda with me Waltzing matilda, waltzing matilda You'll come a waltzing matilda with me And he sang as he sat and waited by the billabong You'll come a waltzing matilda with me. Up jumped the swagman and plunged into the billabong, "You'll never catch me alive," cried he And his ghost may be heard as you ride beside the billabong, You'll come a Waltzing Matilda with me. History of Taps Of all the military bugle calls, none is so easily recognized or more apt to render emotion than Taps. Up to the Civil War, the traditional call at day's end was a tune, borrowed from the French, called Lights Out. In July of 1862, in the aftermath of the bloody Seven Days battles, hard on the loss of 600 men and wounded himself, Union General Daniel Adams Butterfield called the brigade bugler to his tent. He thought "Lights Out" was too formal and he wished to honor his men. Oliver Wilcox Norton, the bugler, tells the story, "...showing me some notes on a staff written in pencil on the back of an envelope, (he) asked me to sound them on my bugle. I did this several times, playing the music as written. He changed it somewhat, lengthening some notes and shortening others, but retaining the melody as he first gave it to me. After getting it to his satisfaction, he directed me to sound that call for Taps thereafter in place of the regulation call. The music was beautiful on that still summer night and was heard far beyond the limits of our Brigade. The next day I was visited by several buglers from neighboring Brigades, asking for copies of the music which I gladly furnished. The call was gradually taken up through the Army of the Potomac." This more emotive and powerful Taps was soon adopted throughout the military. In 1874 It was officially recognized by the U.S. Army. It became standard at military funeral ceremonies in 1891. There is something singularly beautiful and appropriate in the music of this wonderful call. Its strains are melancholy, yet full of rest and peace. Its echoes linger in the heart long after its tones have ceased to vibrate in the air. - from an article by Master Sergeant Jari A Villanueva, USAF. FIRST CALL Sound as a warning that personnel will prepare to assemble for a formation. REVEILLE Signals the troops to awaken for morning roll call. Used to accompany the raising of the National Colors. ASSEMBLY Signals troops to assemble at a designated place MESS CALLSignals mealtime. OFFICER'S CALLSignals all officers to assemble at a designated place. ADJUTANT'S CALL Signals that the adjutant is about to form the guard, battalion, or brigade. The bugler plays the bugle part of the call. RETREAT Signals the end of the official day. TO THE COLOR To the Color is a bugle call to render honors to the nation. It is used when no band is available to render honors, or in ceremonies requiring honors to the nation more than once. To the Color commands all the same courtesies as the National Anthem. TATTOO Signals that all light in squad rooms be extinguished and that all loud talking and other disturbances be discontinued within 15 minutes. Taps History The true story is that in July 1862, after the Seven Days battles at Harrison's Landing (near Richmond), Virginia, the wounded Commander of the 3rd Brigade, 1st Division, V Army Corps, Army of the Potomac, General Daniel Butterfield reworked, with his bugler Oliver Wilcox Norton, another bugle call, "Scott Tattoo," to create Taps. He thought that the regular call for Lights Out was too formal. The custom, thus originated, was taken up throughout the Army of the Potomac and finally confirmed by orders." Soon other Union units began using Taps, and even a few Confederate units began using it as well. After the war, Taps became an official bugle call. Col. James A. Moss, in his Officer's Manual first published in 1911, gives an account of the initial use of Taps at a military funeral: "During the Peninsular Campaign in 1862, a soldier of Tidball's Battery A of the 2nd Artillery was buried at a time when the battery occupied an advanced position concealed in the woods. It was unsafe to fire the customary three volleys over the grave (This practice of firing three volleys over a grave originated in the old custom of halting the fighting to remove the dead from the battlefield. Once each side had finished retrieving their dead, they would fire three volleys to indicate that they were ready to go return to the fight.), on account of the proximity of the enemy, and it occurred to Capt. Tidball that the sounding of Taps would be the most appropriate ceremony that could be substituted. Taps Day is done, gone the sun, From the hills, from the lake, From the skies. All is well, safely rest, God is nigh. Go to sleep, peaceful sleep, May the soldier or sailor, God keep. On the land or the deep, Safe in sleep. Love, good night, Must thou go, When the day, And the night Need thee so? All is well. Speedeth all To their rest. Fades the light; And afar Goeth day, And the stars Shineth bright, Fare thee well; Day has gone, Night is on. Thanks and praise, For our days, 'Neath the sun, Neath the stars, 'Neath the sky, As we go, This we know, God is nigh. Its sad, haunting melody is one of the most familiar tunes in America. It will be played tonight, just as it has been played for the past 134 years, at United States military establishments throughout the world. The sad tune not only marks the end of the day for soldiers; it also denotes the end of their lives. The melody might spring to mind, but the title of the tune may not: The tune is Taps, and it was written by Dan Butterfield. Butterfield was a Union General, awarded the Congressional Medal of Honor, and after the war he served as the Assistant Secretary of the Treasury Department. He was born in Utica, New York, on October 31st, 1831. He was the third son of John Butterfield, renowned for his dealings with both the Overland Stage and American Express. Taps sprang from Dan Buttefield's imagination in 1862. During the Civil War, as the United States fought to either tear itself asunder or heal its differences, Buttefield spent July in Virginia with his men. He was as restless as his men that night. Sweat made it's sticky trailings under dirty blue uniforms, plastering the wool against the too hot skin. The brigade was camped at Berkley Plantation, overlooking the James River near Tidewater. Buttefield sat on his cot and thought about the good fortune he had had last month during the battle of Gaines' Mill - his wounds had not been serious. Others, of course, hadn't shared his good fortune. Many dead and wounded had been left behind there. Those that had escaped might have fallen a few days later at Malvern Hill, when Lee's troops attacked but fell back before the Union soldiers. But Butterfield's ruminations were interrupted by his bugler sounding Extinguish Lights. Butterfield had never liked Extinguish Lights, a tune borrowed from the French and played to signal the end of the day. He thought it too stiff and formal for everyday use. In his imagination played a different melody to signal day's end - something peaceful, soothing, and just a bit meloncholy. Besides his soldiering skills, Buttefield had other talents. He reached into his pocket and drew forth a crumpled, stained envelope. Whistling and humming, he got down to work, finishing his imagination's song. O.W. Norton, Buttefield's 22 year old bugler, recounts what happened next: "Buttefield, showing me some notes on staff written in pencil on the back envelope, asked me to sound them on my bugle. I did this several times, playing the music as written. He changed it somewhat, lengthening some notes and shortening others, but retaining the melody as he first gave it to me. " After getting it to his satisfaction, he directed me to sound the call thereafter, in place of the regular call. The music was beautiful on the still summer nights and was heard far beyond the limits of our brigade. The next day I was visited by several other buglers from neighboring brigades asking for a copy of the music, which I gladly furnished." The music also drifted across the battlefield and was soon taken up by the Confederate buglers. Later, at a Union military funeral, Taps was substituted for the customary rifle volleys at the graveside. It seems that Union officers were worried that the ceremonial gunshots would set off an attack by the edgy Confederates. Taps was well on its way to becoming the nation's requiem. it was played when General Dan Buttefield was laid to rest on July 17th, 1901, thirty nine years after he spent a steamy night in Virgina scribbling on an old envelope. He was buried at West Point where his white marble monument still stands. In the Oneida, New York, Historical Society's collection resides General Buttefield's Medal of Honor, his silver mess gear, two of his swords and other memorabilia. That, and the haunting melody at sunset, are all that's left of him. Source The Cruel War Version 1 Barry Taylor Information I first heard The Cruel War on a Peter, Paul and Mary album. My source traces it back to the American Civil War, but it's likely based on an older English tune. There is another set of lyrics at The Cruel War (2). There are, of course, many others. Lyrics The cruel war is raging Johnny has to fight I want to be with him From morning till night I'm counting the minutes The hours and the days, Oh Lord, stop the cruel war, For this, my heart prays. I made my decision, I will join up too, Oh Johnny, dear Johnny, I'll soon be with you. We women are fighters, We can help you win, Oh Johnny, I'm hoping, That they'll take me in. Repeat first verse The Cruel War Version 2 Barry Taylor Lyrics The cruel war is raging Johnny has to fight I want to be with him From morning till night Oh Johhny, dear Johnny, Morning, noon and night, I think of you marching, Left, right, left and right I know you're so gentle When you hold me tight, Oh how will they make you Get out there and fight? Go speak to your sergeant, And say you want out, Just say you're allergic To this kind of bout. Oh Johnny, dear Johnny, Yes, I know you're brave, But oh how I miss you, It's your love I crave. Oh why did the army Take you from my side, To go into battle, Away from your bride.
Information Tradition has it that Yankee Doodle had its origins in the French and Indian War when New England troops joined Braddock's forces at Niagara. In contrast to the spit and polish of the British army, the colonials were a motley crew, some wearing buckskins and furs. Dr. Richard Schuckburg, a British Army surgeon reportedly wrote the tune ridiculing the Americans in the early 1750s. Some scholars believe it is a variant of the nursery rhyme Lucy Locket.
Despite the fact it began as ridicule, the colonials took the song for their own. Countless versions and parodies evolved, many of which made fun of their officers, including George Washington. These verses are included at the end of the tune. When Cornwallis surrendered at Yorktown it is said while the British played The World Turned Upside Down, the Americans played Yankee Doodle.
There are said to be as many as 190 verses of Yankee Doodle.
Father and I went down to camp Along with Captain Gooding And there we saw the men and boys As thick as hasty pudding.
Chorus Yankee doodle, keep it up Yankee doodle dandy Mind the music and the step And with the girls be handy.
There was Captain Washington Upon a slapping stallion A-giving orders to his men I guess there was a million.
And then the feathers on his hat They looked so' tarnal fin-a I wanted pockily to get To give to my Jemima.
And then we saw a swamping gun Large as a log of maple Upon a deuced little cart A load for father's cattle.
And every time they shoot it off It takes a horn of powder It makes a noise like father's gun Only a nation louder.
I went as nigh to one myself As' Siah's underpinning And father went as nigh agin I thought the deuce was in him. We saw a little barrel, too The heads were made of leather They knocked upon it with little clubs And called the folks together.
And there they'd fife away like fun And play on cornstalk fiddles And some had ribbons red as blood All bound around their middles. The troopers, too, would gallop up And fire right in our faces It scared me almost to death To see them run such races.
Uncle Sam came there to change Some pancakes and some onions For' lasses cake to carry home To give his wife and young ones.
But I can't tell half I see They kept up such a smother So I took my hat off, made a bow And scampered home to mother.
Cousin Simon grew so bold I thought he would have cocked it It scared me so I streaked it off And hung by father's pocket.
And there I saw a pumpkin shell As big as mother's basin And every time they touched it off They scampered like the nation.
Other Verses:
And there was Captain Washington, With gentlefolks about him, They say he's gown so 'tarnal proud He will not ride without them.
There came Gen'ral Washington Upon a snow-white charger He looked as big as all outdoors And thought that he was larger.
Yankee Doodle or Return From Camp From the American Antiquarian Society, earliest score sheet
Father and I went down to camp, Along with Captain Gooding, There we see the men and boys, As thick as hasty pudding. Chorus: Yankee doodle, keep it up, Yankee doodle, dandy; Mind the music and the step, And with the girls be handy.
2. And there we see a thousand men, As rich as "Squire David"; And what they wasted every day, I wish it could be saved. Chorus:
3. The lasses they eat every day, Would keep an house a winter; They have as much that I'll be bound They eat it when they're amind to. Chorus:
4. And there we see a swamping gun, Large as a log of maple, Upon a deuced little cart, A load for father's cattle. Chorus:
5. And every time they shoot it off, It takes a horn of powder; It makes a noise like father's gun, Only a nation louder. Chorus:
6. I went as nigh to one myself, As 'Siah's underpining; And father went as nigh again, I thought the deuce was in him. Chorus:
7. Cousin Simon grew so bold, I thought he would have cock'd it: It scar'd me so, I shrink'd it off, And hung by father's pocket. Chorus:
8. And Captain Davis had a gun, He kind of clap'd his on't, And struck a crooked stabbing iron Upon the little end on't. Chorus:
9. And there I see a pumpkin shell As big a mother's bason, And every time they touch'd it off, They scamper'd like the nation. Chorus:
10. I see a little barrel too, The heads were made of leather, They knock'd upon't with little clubs, And call'd the folks together. Chorus:
11. And there was Captain Washington, And gentlefolks about him, They say he's grown so tarnal proud, He will not ride without 'em. Chorus:
12. He got him on his meeting clothes, Upon a slapping stallion, He set the world along in rows, In hundred and in millions. Chorus:
13. The flaming ribbons in their hats, They look'd so taring fine, ah, I wanted pockily to get, To give to my Jemimah. Chorus:
14. I see another snarl of men A digging graves, they told me, So tarnal long, so tarnal deep, They 'tended they should hold me. Chorus:
15. It scar'd me so, I hook'd it off, Nor stopt, as I remember, Nor turn'd about till I got home, Lock'd up in mother's chamber. Chorus:
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Taken from a score sheet dated 1799. When the Revolutionary War began, the colonists had no national song. We are told that during the French and Indian War Dr. Richard Shackburg, in a spirit of derision, gave to the poorly clad and awkward colonial soldiers the words and music of Yankee Doodle, telling them it was a fine martial tune. When they played it the British were greatly amused. Twenty years after these same militiamen marched to victory at Lexington to this much derided tune, while their British teachers skulked behind fences or sought refuge in retreat. Five years later Cornwallis marched to the same tune at Yorktown to surrender his sword and his army to General Washington.
Little is known of the history of the tune. No doubt it is several hundred years old, but authorities disagree as to its origin. One says it was commonly used by the Spaniards. Another claims the song was sung by Germans who worked in Holland and sang a harvest song to this well known air. Another tells us that the Puritans of Cromwell's time were ridiculed as "Naukeys" in a stanza adapted to this same tune.
The word "Yankee" is sometimes given as an Indian corruption of the word English. Or, as has been said, it was a contemptuous term applied to the Puritans. Others claim it to be a cant word, expressing excellence, which originated in New England, but which finally came to be applied to the people of that region as a derisive epithet. "Doodle", according to the dictionaries, means a trifling or simple fellow.
The words which were once sung to this tune by the colonists were little more than meaningless doggerel, and are little known now. It is not the lofty sentiment of the words, but the catchy, rollicking tune and the sacred associations, which give this song its place among our national treasures. - From the Golden Book of Favorite Songs, 1915.
Marine Hymn From the Halls of Montezuma To the shores of Tripoli, We fight our country's battles In the air, on land and sea First to fight for right and freedom, And to keep our honor clean, We are proud to claim the title Of United States Marine. 2. Our Flag's unfulr'd to every breeze From dawn to setting sun; We have fought in every clime and place Where we could take a gun. In the snow of far-off northern lands And in sunny tropic scenes, You will find us always on the job The Unites States Marines. 3. Here's health to you and to our Corps Which we are proud to serve; In many a strife we've fought for life And never lost our nerve. If the Army and the Navy Ever look on Heaven's scenes, They will find the streets are guarded By United States Marines! Semper Fidelis March (Marching music; no words) The march takes its title from the motto of the U. S. Marine Corps: Semper Fidelis -- Always Faithful. It was dedicated to those who inspired it - the officers and men of the United States Marine Corps. In Sousa's own words: "I wrote Semper Fidelis one night while in tears, after my comrades of the Marine Corps had sung their famous hymn at Quantico." It became one of his most popular marches, and Sousa considered it his best march, musically speaking. According to Sousa, Semper Fidelis is one of the five most effective street marches. The others are The Thunderer, National Emblem, Washington Post, and High School Cadets. Dixie Information This Confederate War Song was written by a Northerner, Daniel Decatur Emmett before the Civil War for the Bryant Minstrels. It was first played in New York. The word "dixie" could refer to the area below the Mason-Dixon Line, but is generally believed to refer to the worthless ten dollar bills issued in New Orleans which were called "dixies" because of the word "dix" (ten in French) printed on them. Lyrics I wish I was in the land of Cotton Old times there are not forgotten Look away! Look away! Look away! Dixie Land In Dixie Land where I was born in early on one frosty morning' Look away! Look away! Look away! Dixie Land Chorus Then I wish I was in Dixie Hooray! Hooray! In Dixie Land I'll take my stand To live and die in Dixie Away! Away! Away! Down South in Dixie. Away! Away! Away! Down South in Dixie. Ole Missus marry "will the weaver" Willum was a gay deceiver Look away! Look away! Look away! Dixie Land But when he put his arm around er, He smiled fierce as a forty pounder, Look away! Look away! Look away! Dixie Land His face was sharp as a butcher's cleaver But that did not seem to grieve 'er Look away! Look away! Look away! Dixie Land Ole Missus acted the foolish part And died for a man that broke her heart Look away! Look away! Look away! Dixie Land Now here's a health to the next ole Missus An' all the gals that want to kiss us; Look away! Look away! Look away! Dixie Land But if you want to drive 'way sorrow Come and hear this song tomorrow Look away! Look away! Look away! Dixie Land There's buckwheat cakes and Injun batter, Makes you fat or a little fatter; Look away! Look away! Look away! Dixie Land Then hoe it down and scratch your gravel, To Dixie's Land I'm bound to travel, Look away! Look away! Look away! Dixie Land Oh, Susanna Melody - Stephen Foster; Seq. by Werner Tomaschewski Stephen Foster, 1848 I come from Alabama with my banjo on my knee I'm going to Louisiana, my true love for to see It rained all night the day I left The weather it was dry The sun so hot, I froze to death Susanna, don't you cry Chorus: Oh, Susanna, Oh don't you cry for me For I come from Alabama With my banjo on my knee 2. I had a dream the other night when everything was still I thought I saw Susanna a-coming down the hill The buckwheat cake was in her mouth The tear was in her eye Says I, I'm coming from the south Susanna, don't you cry Chorus: Old MacDonald had a farm Old MacDonald had a farm Ee i ee i o And on his farm he had some chicks Ee i ee i o With a cluck-cluck here And a cluck-cluck there Here a cluck, there a cluck Everywhere a cluck-cluck Old MacDonald had a farm Ee i ee i o Old MacDonald had a farm Ee i ee i o And on his farm he had some cows Ee i ee i oh With a moo-moo here And a moo-moo there Here a moo, there a moo Everywhere a moo-moo Old MacDonald had a farm Ee i ee i o Old MacDonald had a farm Ee i ee i o And on his farm he had some pigs Ee i ee i o With an oink-oink here And an oink-oink there Here an oink, there an oink Everywhere an oink-oink Old MacDonald had a farm Ee i ee i o Add in other animals that you teach on the farm like : dogs - woof-woof cat - meow-meow sheeps - baa-baa horses - neigh-neigh Waltzing Matilda Bill Basham Information The words to Waltzing Matilda were written in 1895 by Andrew Barton (Banjo) Paterson. It is believed the music is based on an old Scottish tune called Craigielea. Lyrics Once a jolly swagman sat beside the billabong, Under the shade of a coulibah tree, And he sang as he sat and waited by the billabong You'll come a waltzing matilda with me Waltzing matilda, waltzing matilda You'll come a waltzing matilda with me And he sang as he sat and waited by the billabong You'll come a waltzing matilda with me. Down came a jumbuck to drink beside the billabong Up jumped the swagman and seized him with glee And he sang as he tucked jumbuck in his tuckerbag You'll come a waltzing matilda with me Waltzing matilda, waltzing matilda You'll come a waltzing matilda with me And he sang as he sat and waited by the billabong You'll come a waltzing matilda with me. Down came the stockman, riding on his thoroughbred, Down came the troopers, one, two, three. "where's the jolly jumbuck you've got in your tuckerbag? You'll come a waltzing matilda with me Waltzing matilda, waltzing matilda You'll come a waltzing matilda with me And he sang as he sat and waited by the billabong You'll come a waltzing matilda with me. Up jumped the swagman and plunged into the billabong, "You'll never catch me alive," cried he And his ghost may be heard as you ride beside the billabong, You'll come a Waltzing Matilda with me. History of Taps Of all the military bugle calls, none is so easily recognized or more apt to render emotion than Taps. Up to the Civil War, the traditional call at day's end was a tune, borrowed from the French, called Lights Out. In July of 1862, in the aftermath of the bloody Seven Days battles, hard on the loss of 600 men and wounded himself, Union General Daniel Adams Butterfield called the brigade bugler to his tent. He thought "Lights Out" was too formal and he wished to honor his men. Oliver Wilcox Norton, the bugler, tells the story, "...showing me some notes on a staff written in pencil on the back of an envelope, (he) asked me to sound them on my bugle. I did this several times, playing the music as written. He changed it somewhat, lengthening some notes and shortening others, but retaining the melody as he first gave it to me. After getting it to his satisfaction, he directed me to sound that call for Taps thereafter in place of the regulation call. The music was beautiful on that still summer night and was heard far beyond the limits of our Brigade. The next day I was visited by several buglers from neighboring Brigades, asking for copies of the music which I gladly furnished. The call was gradually taken up through the Army of the Potomac." This more emotive and powerful Taps was soon adopted throughout the military. In 1874 It was officially recognized by the U.S. Army. It became standard at military funeral ceremonies in 1891. There is something singularly beautiful and appropriate in the music of this wonderful call. Its strains are melancholy, yet full of rest and peace. Its echoes linger in the heart long after its tones have ceased to vibrate in the air. - from an article by Master Sergeant Jari A Villanueva, USAF. FIRST CALL Sound as a warning that personnel will prepare to assemble for a formation. REVEILLE Signals the troops to awaken for morning roll call. Used to accompany the raising of the National Colors. ASSEMBLY Signals troops to assemble at a designated place MESS CALLSignals mealtime. OFFICER'S CALLSignals all officers to assemble at a designated place. ADJUTANT'S CALL Signals that the adjutant is about to form the guard, battalion, or brigade. The bugler plays the bugle part of the call. RETREAT Signals the end of the official day. TO THE COLOR To the Color is a bugle call to render honors to the nation. It is used when no band is available to render honors, or in ceremonies requiring honors to the nation more than once. To the Color commands all the same courtesies as the National Anthem. TATTOO Signals that all light in squad rooms be extinguished and that all loud talking and other disturbances be discontinued within 15 minutes. Taps History The true story is that in July 1862, after the Seven Days battles at Harrison's Landing (near Richmond), Virginia, the wounded Commander of the 3rd Brigade, 1st Division, V Army Corps, Army of the Potomac, General Daniel Butterfield reworked, with his bugler Oliver Wilcox Norton, another bugle call, "Scott Tattoo," to create Taps. He thought that the regular call for Lights Out was too formal. The custom, thus originated, was taken up throughout the Army of the Potomac and finally confirmed by orders." Soon other Union units began using Taps, and even a few Confederate units began using it as well. After the war, Taps became an official bugle call. Col. James A. Moss, in his Officer's Manual first published in 1911, gives an account of the initial use of Taps at a military funeral: "During the Peninsular Campaign in 1862, a soldier of Tidball's Battery A of the 2nd Artillery was buried at a time when the battery occupied an advanced position concealed in the woods. It was unsafe to fire the customary three volleys over the grave (This practice of firing three volleys over a grave originated in the old custom of halting the fighting to remove the dead from the battlefield. Once each side had finished retrieving their dead, they would fire three volleys to indicate that they were ready to go return to the fight.), on account of the proximity of the enemy, and it occurred to Capt. Tidball that the sounding of Taps would be the most appropriate ceremony that could be substituted. Taps Day is done, gone the sun, From the hills, from the lake, From the skies. All is well, safely rest, God is nigh. Go to sleep, peaceful sleep, May the soldier or sailor, God keep. On the land or the deep, Safe in sleep. Love, good night, Must thou go, When the day, And the night Need thee so? All is well. Speedeth all To their rest. Fades the light; And afar Goeth day, And the stars Shineth bright, Fare thee well; Day has gone, Night is on. Thanks and praise, For our days, 'Neath the sun, Neath the stars, 'Neath the sky, As we go, This we know, God is nigh. Its sad, haunting melody is one of the most familiar tunes in America. It will be played tonight, just as it has been played for the past 134 years, at United States military establishments throughout the world. The sad tune not only marks the end of the day for soldiers; it also denotes the end of their lives. The melody might spring to mind, but the title of the tune may not: The tune is Taps, and it was written by Dan Butterfield. Butterfield was a Union General, awarded the Congressional Medal of Honor, and after the war he served as the Assistant Secretary of the Treasury Department. He was born in Utica, New York, on October 31st, 1831. He was the third son of John Butterfield, renowned for his dealings with both the Overland Stage and American Express. Taps sprang from Dan Buttefield's imagination in 1862. During the Civil War, as the United States fought to either tear itself asunder or heal its differences, Buttefield spent July in Virginia with his men. He was as restless as his men that night. Sweat made it's sticky trailings under dirty blue uniforms, plastering the wool against the too hot skin. The brigade was camped at Berkley Plantation, overlooking the James River near Tidewater. Buttefield sat on his cot and thought about the good fortune he had had last month during the battle of Gaines' Mill - his wounds had not been serious. Others, of course, hadn't shared his good fortune. Many dead and wounded had been left behind there. Those that had escaped might have fallen a few days later at Malvern Hill, when Lee's troops attacked but fell back before the Union soldiers. But Butterfield's ruminations were interrupted by his bugler sounding Extinguish Lights. Butterfield had never liked Extinguish Lights, a tune borrowed from the French and played to signal the end of the day. He thought it too stiff and formal for everyday use. In his imagination played a different melody to signal day's end - something peaceful, soothing, and just a bit meloncholy. Besides his soldiering skills, Buttefield had other talents. He reached into his pocket and drew forth a crumpled, stained envelope. Whistling and humming, he got down to work, finishing his imagination's song. O.W. Norton, Buttefield's 22 year old bugler, recounts what happened next: "Buttefield, showing me some notes on staff written in pencil on the back envelope, asked me to sound them on my bugle. I did this several times, playing the music as written. He changed it somewhat, lengthening some notes and shortening others, but retaining the melody as he first gave it to me. " After getting it to his satisfaction, he directed me to sound the call thereafter, in place of the regular call. The music was beautiful on the still summer nights and was heard far beyond the limits of our brigade. The next day I was visited by several other buglers from neighboring brigades asking for a copy of the music, which I gladly furnished." The music also drifted across the battlefield and was soon taken up by the Confederate buglers. Later, at a Union military funeral, Taps was substituted for the customary rifle volleys at the graveside. It seems that Union officers were worried that the ceremonial gunshots would set off an attack by the edgy Confederates. Taps was well on its way to becoming the nation's requiem. it was played when General Dan Buttefield was laid to rest on July 17th, 1901, thirty nine years after he spent a steamy night in Virgina scribbling on an old envelope. He was buried at West Point where his white marble monument still stands. In the Oneida, New York, Historical Society's collection resides General Buttefield's Medal of Honor, his silver mess gear, two of his swords and other memorabilia. That, and the haunting melody at sunset, are all that's left of him. Source The Cruel War Version 1 Barry Taylor Information I first heard The Cruel War on a Peter, Paul and Mary album. My source traces it back to the American Civil War, but it's likely based on an older English tune. There is another set of lyrics at The Cruel War (2). There are, of course, many others. Lyrics The cruel war is raging Johnny has to fight I want to be with him From morning till night I'm counting the minutes The hours and the days, Oh Lord, stop the cruel war, For this, my heart prays. I made my decision, I will join up too, Oh Johnny, dear Johnny, I'll soon be with you. We women are fighters, We can help you win, Oh Johnny, I'm hoping, That they'll take me in. Repeat first verse The Cruel War Version 2 Barry Taylor Lyrics The cruel war is raging Johnny has to fight I want to be with him From morning till night Oh Johhny, dear Johnny, Morning, noon and night, I think of you marching, Left, right, left and right I know you're so gentle When you hold me tight, Oh how will they make you Get out there and fight? Go speak to your sergeant, And say you want out, Just say you're allergic To this kind of bout. Oh Johnny, dear Johnny, Yes, I know you're brave, But oh how I miss you, It's your love I crave. Oh why did the army Take you from my side, To go into battle, Away from your bride.
From the Halls of Montezuma To the shores of Tripoli, We fight our country's battles In the air, on land and sea First to fight for right and freedom, And to keep our honor clean, We are proud to claim the title Of United States Marine.
2. Our Flag's unfulr'd to every breeze From dawn to setting sun; We have fought in every clime and place Where we could take a gun. In the snow of far-off northern lands And in sunny tropic scenes, You will find us always on the job The Unites States Marines.
3. Here's health to you and to our Corps Which we are proud to serve; In many a strife we've fought for life And never lost our nerve. If the Army and the Navy Ever look on Heaven's scenes, They will find the streets are guarded By United States Marines!
Semper Fidelis March (Marching music; no words) The march takes its title from the motto of the U. S. Marine Corps: Semper Fidelis -- Always Faithful. It was dedicated to those who inspired it - the officers and men of the United States Marine Corps. In Sousa's own words: "I wrote Semper Fidelis one night while in tears, after my comrades of the Marine Corps had sung their famous hymn at Quantico." It became one of his most popular marches, and Sousa considered it his best march, musically speaking. According to Sousa, Semper Fidelis is one of the five most effective street marches. The others are The Thunderer, National Emblem, Washington Post, and High School Cadets. Dixie Information This Confederate War Song was written by a Northerner, Daniel Decatur Emmett before the Civil War for the Bryant Minstrels. It was first played in New York. The word "dixie" could refer to the area below the Mason-Dixon Line, but is generally believed to refer to the worthless ten dollar bills issued in New Orleans which were called "dixies" because of the word "dix" (ten in French) printed on them. Lyrics I wish I was in the land of Cotton Old times there are not forgotten Look away! Look away! Look away! Dixie Land In Dixie Land where I was born in early on one frosty morning' Look away! Look away! Look away! Dixie Land Chorus Then I wish I was in Dixie Hooray! Hooray! In Dixie Land I'll take my stand To live and die in Dixie Away! Away! Away! Down South in Dixie. Away! Away! Away! Down South in Dixie. Ole Missus marry "will the weaver" Willum was a gay deceiver Look away! Look away! Look away! Dixie Land But when he put his arm around er, He smiled fierce as a forty pounder, Look away! Look away! Look away! Dixie Land His face was sharp as a butcher's cleaver But that did not seem to grieve 'er Look away! Look away! Look away! Dixie Land Ole Missus acted the foolish part And died for a man that broke her heart Look away! Look away! Look away! Dixie Land Now here's a health to the next ole Missus An' all the gals that want to kiss us; Look away! Look away! Look away! Dixie Land But if you want to drive 'way sorrow Come and hear this song tomorrow Look away! Look away! Look away! Dixie Land There's buckwheat cakes and Injun batter, Makes you fat or a little fatter; Look away! Look away! Look away! Dixie Land Then hoe it down and scratch your gravel, To Dixie's Land I'm bound to travel, Look away! Look away! Look away! Dixie Land Oh, Susanna Melody - Stephen Foster; Seq. by Werner Tomaschewski Stephen Foster, 1848 I come from Alabama with my banjo on my knee I'm going to Louisiana, my true love for to see It rained all night the day I left The weather it was dry The sun so hot, I froze to death Susanna, don't you cry Chorus: Oh, Susanna, Oh don't you cry for me For I come from Alabama With my banjo on my knee 2. I had a dream the other night when everything was still I thought I saw Susanna a-coming down the hill The buckwheat cake was in her mouth The tear was in her eye Says I, I'm coming from the south Susanna, don't you cry Chorus: Old MacDonald had a farm Old MacDonald had a farm Ee i ee i o And on his farm he had some chicks Ee i ee i o With a cluck-cluck here And a cluck-cluck there Here a cluck, there a cluck Everywhere a cluck-cluck Old MacDonald had a farm Ee i ee i o Old MacDonald had a farm Ee i ee i o And on his farm he had some cows Ee i ee i oh With a moo-moo here And a moo-moo there Here a moo, there a moo Everywhere a moo-moo Old MacDonald had a farm Ee i ee i o Old MacDonald had a farm Ee i ee i o And on his farm he had some pigs Ee i ee i o With an oink-oink here And an oink-oink there Here an oink, there an oink Everywhere an oink-oink Old MacDonald had a farm Ee i ee i o Add in other animals that you teach on the farm like : dogs - woof-woof cat - meow-meow sheeps - baa-baa horses - neigh-neigh Waltzing Matilda Bill Basham Information The words to Waltzing Matilda were written in 1895 by Andrew Barton (Banjo) Paterson. It is believed the music is based on an old Scottish tune called Craigielea. Lyrics Once a jolly swagman sat beside the billabong, Under the shade of a coulibah tree, And he sang as he sat and waited by the billabong You'll come a waltzing matilda with me Waltzing matilda, waltzing matilda You'll come a waltzing matilda with me And he sang as he sat and waited by the billabong You'll come a waltzing matilda with me. Down came a jumbuck to drink beside the billabong Up jumped the swagman and seized him with glee And he sang as he tucked jumbuck in his tuckerbag You'll come a waltzing matilda with me Waltzing matilda, waltzing matilda You'll come a waltzing matilda with me And he sang as he sat and waited by the billabong You'll come a waltzing matilda with me. Down came the stockman, riding on his thoroughbred, Down came the troopers, one, two, three. "where's the jolly jumbuck you've got in your tuckerbag? You'll come a waltzing matilda with me Waltzing matilda, waltzing matilda You'll come a waltzing matilda with me And he sang as he sat and waited by the billabong You'll come a waltzing matilda with me. Up jumped the swagman and plunged into the billabong, "You'll never catch me alive," cried he And his ghost may be heard as you ride beside the billabong, You'll come a Waltzing Matilda with me. History of Taps Of all the military bugle calls, none is so easily recognized or more apt to render emotion than Taps. Up to the Civil War, the traditional call at day's end was a tune, borrowed from the French, called Lights Out. In July of 1862, in the aftermath of the bloody Seven Days battles, hard on the loss of 600 men and wounded himself, Union General Daniel Adams Butterfield called the brigade bugler to his tent. He thought "Lights Out" was too formal and he wished to honor his men. Oliver Wilcox Norton, the bugler, tells the story, "...showing me some notes on a staff written in pencil on the back of an envelope, (he) asked me to sound them on my bugle. I did this several times, playing the music as written. He changed it somewhat, lengthening some notes and shortening others, but retaining the melody as he first gave it to me. After getting it to his satisfaction, he directed me to sound that call for Taps thereafter in place of the regulation call. The music was beautiful on that still summer night and was heard far beyond the limits of our Brigade. The next day I was visited by several buglers from neighboring Brigades, asking for copies of the music which I gladly furnished. The call was gradually taken up through the Army of the Potomac." This more emotive and powerful Taps was soon adopted throughout the military. In 1874 It was officially recognized by the U.S. Army. It became standard at military funeral ceremonies in 1891. There is something singularly beautiful and appropriate in the music of this wonderful call. Its strains are melancholy, yet full of rest and peace. Its echoes linger in the heart long after its tones have ceased to vibrate in the air. - from an article by Master Sergeant Jari A Villanueva, USAF. FIRST CALL Sound as a warning that personnel will prepare to assemble for a formation. REVEILLE Signals the troops to awaken for morning roll call. Used to accompany the raising of the National Colors. ASSEMBLY Signals troops to assemble at a designated place MESS CALLSignals mealtime. OFFICER'S CALLSignals all officers to assemble at a designated place. ADJUTANT'S CALL Signals that the adjutant is about to form the guard, battalion, or brigade. The bugler plays the bugle part of the call. RETREAT Signals the end of the official day. TO THE COLOR To the Color is a bugle call to render honors to the nation. It is used when no band is available to render honors, or in ceremonies requiring honors to the nation more than once. To the Color commands all the same courtesies as the National Anthem. TATTOO Signals that all light in squad rooms be extinguished and that all loud talking and other disturbances be discontinued within 15 minutes. Taps History The true story is that in July 1862, after the Seven Days battles at Harrison's Landing (near Richmond), Virginia, the wounded Commander of the 3rd Brigade, 1st Division, V Army Corps, Army of the Potomac, General Daniel Butterfield reworked, with his bugler Oliver Wilcox Norton, another bugle call, "Scott Tattoo," to create Taps. He thought that the regular call for Lights Out was too formal. The custom, thus originated, was taken up throughout the Army of the Potomac and finally confirmed by orders." Soon other Union units began using Taps, and even a few Confederate units began using it as well. After the war, Taps became an official bugle call. Col. James A. Moss, in his Officer's Manual first published in 1911, gives an account of the initial use of Taps at a military funeral: "During the Peninsular Campaign in 1862, a soldier of Tidball's Battery A of the 2nd Artillery was buried at a time when the battery occupied an advanced position concealed in the woods. It was unsafe to fire the customary three volleys over the grave (This practice of firing three volleys over a grave originated in the old custom of halting the fighting to remove the dead from the battlefield. Once each side had finished retrieving their dead, they would fire three volleys to indicate that they were ready to go return to the fight.), on account of the proximity of the enemy, and it occurred to Capt. Tidball that the sounding of Taps would be the most appropriate ceremony that could be substituted. Taps Day is done, gone the sun, From the hills, from the lake, From the skies. All is well, safely rest, God is nigh. Go to sleep, peaceful sleep, May the soldier or sailor, God keep. On the land or the deep, Safe in sleep. Love, good night, Must thou go, When the day, And the night Need thee so? All is well. Speedeth all To their rest. Fades the light; And afar Goeth day, And the stars Shineth bright, Fare thee well; Day has gone, Night is on. Thanks and praise, For our days, 'Neath the sun, Neath the stars, 'Neath the sky, As we go, This we know, God is nigh. Its sad, haunting melody is one of the most familiar tunes in America. It will be played tonight, just as it has been played for the past 134 years, at United States military establishments throughout the world. The sad tune not only marks the end of the day for soldiers; it also denotes the end of their lives. The melody might spring to mind, but the title of the tune may not: The tune is Taps, and it was written by Dan Butterfield. Butterfield was a Union General, awarded the Congressional Medal of Honor, and after the war he served as the Assistant Secretary of the Treasury Department. He was born in Utica, New York, on October 31st, 1831. He was the third son of John Butterfield, renowned for his dealings with both the Overland Stage and American Express. Taps sprang from Dan Buttefield's imagination in 1862. During the Civil War, as the United States fought to either tear itself asunder or heal its differences, Buttefield spent July in Virginia with his men. He was as restless as his men that night. Sweat made it's sticky trailings under dirty blue uniforms, plastering the wool against the too hot skin. The brigade was camped at Berkley Plantation, overlooking the James River near Tidewater. Buttefield sat on his cot and thought about the good fortune he had had last month during the battle of Gaines' Mill - his wounds had not been serious. Others, of course, hadn't shared his good fortune. Many dead and wounded had been left behind there. Those that had escaped might have fallen a few days later at Malvern Hill, when Lee's troops attacked but fell back before the Union soldiers. But Butterfield's ruminations were interrupted by his bugler sounding Extinguish Lights. Butterfield had never liked Extinguish Lights, a tune borrowed from the French and played to signal the end of the day. He thought it too stiff and formal for everyday use. In his imagination played a different melody to signal day's end - something peaceful, soothing, and just a bit meloncholy. Besides his soldiering skills, Buttefield had other talents. He reached into his pocket and drew forth a crumpled, stained envelope. Whistling and humming, he got down to work, finishing his imagination's song. O.W. Norton, Buttefield's 22 year old bugler, recounts what happened next: "Buttefield, showing me some notes on staff written in pencil on the back envelope, asked me to sound them on my bugle. I did this several times, playing the music as written. He changed it somewhat, lengthening some notes and shortening others, but retaining the melody as he first gave it to me. " After getting it to his satisfaction, he directed me to sound the call thereafter, in place of the regular call. The music was beautiful on the still summer nights and was heard far beyond the limits of our brigade. The next day I was visited by several other buglers from neighboring brigades asking for a copy of the music, which I gladly furnished." The music also drifted across the battlefield and was soon taken up by the Confederate buglers. Later, at a Union military funeral, Taps was substituted for the customary rifle volleys at the graveside. It seems that Union officers were worried that the ceremonial gunshots would set off an attack by the edgy Confederates. Taps was well on its way to becoming the nation's requiem. it was played when General Dan Buttefield was laid to rest on July 17th, 1901, thirty nine years after he spent a steamy night in Virgina scribbling on an old envelope. He was buried at West Point where his white marble monument still stands. In the Oneida, New York, Historical Society's collection resides General Buttefield's Medal of Honor, his silver mess gear, two of his swords and other memorabilia. That, and the haunting melody at sunset, are all that's left of him. Source The Cruel War Version 1 Barry Taylor Information I first heard The Cruel War on a Peter, Paul and Mary album. My source traces it back to the American Civil War, but it's likely based on an older English tune. There is another set of lyrics at The Cruel War (2). There are, of course, many others. Lyrics The cruel war is raging Johnny has to fight I want to be with him From morning till night I'm counting the minutes The hours and the days, Oh Lord, stop the cruel war, For this, my heart prays. I made my decision, I will join up too, Oh Johnny, dear Johnny, I'll soon be with you. We women are fighters, We can help you win, Oh Johnny, I'm hoping, That they'll take me in. Repeat first verse The Cruel War Version 2 Barry Taylor Lyrics The cruel war is raging Johnny has to fight I want to be with him From morning till night Oh Johhny, dear Johnny, Morning, noon and night, I think of you marching, Left, right, left and right I know you're so gentle When you hold me tight, Oh how will they make you Get out there and fight? Go speak to your sergeant, And say you want out, Just say you're allergic To this kind of bout. Oh Johnny, dear Johnny, Yes, I know you're brave, But oh how I miss you, It's your love I crave. Oh why did the army Take you from my side, To go into battle, Away from your bride.
The march takes its title from the motto of the U. S. Marine Corps: Semper Fidelis -- Always Faithful. It was dedicated to those who inspired it - the officers and men of the United States Marine Corps. In Sousa's own words: "I wrote Semper Fidelis one night while in tears, after my comrades of the Marine Corps had sung their famous hymn at Quantico." It became one of his most popular marches, and Sousa considered it his best march, musically speaking. According to Sousa, Semper Fidelis is one of the five most effective street marches. The others are
Dixie Information This Confederate War Song was written by a Northerner, Daniel Decatur Emmett before the Civil War for the Bryant Minstrels. It was first played in New York. The word "dixie" could refer to the area below the Mason-Dixon Line, but is generally believed to refer to the worthless ten dollar bills issued in New Orleans which were called "dixies" because of the word "dix" (ten in French) printed on them. Lyrics I wish I was in the land of Cotton Old times there are not forgotten Look away! Look away! Look away! Dixie Land In Dixie Land where I was born in early on one frosty morning' Look away! Look away! Look away! Dixie Land Chorus Then I wish I was in Dixie Hooray! Hooray! In Dixie Land I'll take my stand To live and die in Dixie Away! Away! Away! Down South in Dixie. Away! Away! Away! Down South in Dixie. Ole Missus marry "will the weaver" Willum was a gay deceiver Look away! Look away! Look away! Dixie Land But when he put his arm around er, He smiled fierce as a forty pounder, Look away! Look away! Look away! Dixie Land His face was sharp as a butcher's cleaver But that did not seem to grieve 'er Look away! Look away! Look away! Dixie Land Ole Missus acted the foolish part And died for a man that broke her heart Look away! Look away! Look away! Dixie Land Now here's a health to the next ole Missus An' all the gals that want to kiss us; Look away! Look away! Look away! Dixie Land But if you want to drive 'way sorrow Come and hear this song tomorrow Look away! Look away! Look away! Dixie Land There's buckwheat cakes and Injun batter, Makes you fat or a little fatter; Look away! Look away! Look away! Dixie Land Then hoe it down and scratch your gravel, To Dixie's Land I'm bound to travel, Look away! Look away! Look away! Dixie Land Oh, Susanna Melody - Stephen Foster; Seq. by Werner Tomaschewski Stephen Foster, 1848 I come from Alabama with my banjo on my knee I'm going to Louisiana, my true love for to see It rained all night the day I left The weather it was dry The sun so hot, I froze to death Susanna, don't you cry Chorus: Oh, Susanna, Oh don't you cry for me For I come from Alabama With my banjo on my knee 2. I had a dream the other night when everything was still I thought I saw Susanna a-coming down the hill The buckwheat cake was in her mouth The tear was in her eye Says I, I'm coming from the south Susanna, don't you cry Chorus: Old MacDonald had a farm Old MacDonald had a farm Ee i ee i o And on his farm he had some chicks Ee i ee i o With a cluck-cluck here And a cluck-cluck there Here a cluck, there a cluck Everywhere a cluck-cluck Old MacDonald had a farm Ee i ee i o Old MacDonald had a farm Ee i ee i o And on his farm he had some cows Ee i ee i oh With a moo-moo here And a moo-moo there Here a moo, there a moo Everywhere a moo-moo Old MacDonald had a farm Ee i ee i o Old MacDonald had a farm Ee i ee i o And on his farm he had some pigs Ee i ee i o With an oink-oink here And an oink-oink there Here an oink, there an oink Everywhere an oink-oink Old MacDonald had a farm Ee i ee i o Add in other animals that you teach on the farm like : dogs - woof-woof cat - meow-meow sheeps - baa-baa horses - neigh-neigh Waltzing Matilda Bill Basham Information The words to Waltzing Matilda were written in 1895 by Andrew Barton (Banjo) Paterson. It is believed the music is based on an old Scottish tune called Craigielea. Lyrics Once a jolly swagman sat beside the billabong, Under the shade of a coulibah tree, And he sang as he sat and waited by the billabong You'll come a waltzing matilda with me Waltzing matilda, waltzing matilda You'll come a waltzing matilda with me And he sang as he sat and waited by the billabong You'll come a waltzing matilda with me. Down came a jumbuck to drink beside the billabong Up jumped the swagman and seized him with glee And he sang as he tucked jumbuck in his tuckerbag You'll come a waltzing matilda with me Waltzing matilda, waltzing matilda You'll come a waltzing matilda with me And he sang as he sat and waited by the billabong You'll come a waltzing matilda with me. Down came the stockman, riding on his thoroughbred, Down came the troopers, one, two, three. "where's the jolly jumbuck you've got in your tuckerbag? You'll come a waltzing matilda with me Waltzing matilda, waltzing matilda You'll come a waltzing matilda with me And he sang as he sat and waited by the billabong You'll come a waltzing matilda with me. Up jumped the swagman and plunged into the billabong, "You'll never catch me alive," cried he And his ghost may be heard as you ride beside the billabong, You'll come a Waltzing Matilda with me. History of Taps Of all the military bugle calls, none is so easily recognized or more apt to render emotion than Taps. Up to the Civil War, the traditional call at day's end was a tune, borrowed from the French, called Lights Out. In July of 1862, in the aftermath of the bloody Seven Days battles, hard on the loss of 600 men and wounded himself, Union General Daniel Adams Butterfield called the brigade bugler to his tent. He thought "Lights Out" was too formal and he wished to honor his men. Oliver Wilcox Norton, the bugler, tells the story, "...showing me some notes on a staff written in pencil on the back of an envelope, (he) asked me to sound them on my bugle. I did this several times, playing the music as written. He changed it somewhat, lengthening some notes and shortening others, but retaining the melody as he first gave it to me. After getting it to his satisfaction, he directed me to sound that call for Taps thereafter in place of the regulation call. The music was beautiful on that still summer night and was heard far beyond the limits of our Brigade. The next day I was visited by several buglers from neighboring Brigades, asking for copies of the music which I gladly furnished. The call was gradually taken up through the Army of the Potomac." This more emotive and powerful Taps was soon adopted throughout the military. In 1874 It was officially recognized by the U.S. Army. It became standard at military funeral ceremonies in 1891. There is something singularly beautiful and appropriate in the music of this wonderful call. Its strains are melancholy, yet full of rest and peace. Its echoes linger in the heart long after its tones have ceased to vibrate in the air. - from an article by Master Sergeant Jari A Villanueva, USAF. FIRST CALL Sound as a warning that personnel will prepare to assemble for a formation. REVEILLE Signals the troops to awaken for morning roll call. Used to accompany the raising of the National Colors. ASSEMBLY Signals troops to assemble at a designated place MESS CALLSignals mealtime. OFFICER'S CALLSignals all officers to assemble at a designated place. ADJUTANT'S CALL Signals that the adjutant is about to form the guard, battalion, or brigade. The bugler plays the bugle part of the call. RETREAT Signals the end of the official day. TO THE COLOR To the Color is a bugle call to render honors to the nation. It is used when no band is available to render honors, or in ceremonies requiring honors to the nation more than once. To the Color commands all the same courtesies as the National Anthem. TATTOO Signals that all light in squad rooms be extinguished and that all loud talking and other disturbances be discontinued within 15 minutes. Taps History The true story is that in July 1862, after the Seven Days battles at Harrison's Landing (near Richmond), Virginia, the wounded Commander of the 3rd Brigade, 1st Division, V Army Corps, Army of the Potomac, General Daniel Butterfield reworked, with his bugler Oliver Wilcox Norton, another bugle call, "Scott Tattoo," to create Taps. He thought that the regular call for Lights Out was too formal. The custom, thus originated, was taken up throughout the Army of the Potomac and finally confirmed by orders." Soon other Union units began using Taps, and even a few Confederate units began using it as well. After the war, Taps became an official bugle call. Col. James A. Moss, in his Officer's Manual first published in 1911, gives an account of the initial use of Taps at a military funeral: "During the Peninsular Campaign in 1862, a soldier of Tidball's Battery A of the 2nd Artillery was buried at a time when the battery occupied an advanced position concealed in the woods. It was unsafe to fire the customary three volleys over the grave (This practice of firing three volleys over a grave originated in the old custom of halting the fighting to remove the dead from the battlefield. Once each side had finished retrieving their dead, they would fire three volleys to indicate that they were ready to go return to the fight.), on account of the proximity of the enemy, and it occurred to Capt. Tidball that the sounding of Taps would be the most appropriate ceremony that could be substituted. Taps Day is done, gone the sun, From the hills, from the lake, From the skies. All is well, safely rest, God is nigh. Go to sleep, peaceful sleep, May the soldier or sailor, God keep. On the land or the deep, Safe in sleep. Love, good night, Must thou go, When the day, And the night Need thee so? All is well. Speedeth all To their rest. Fades the light; And afar Goeth day, And the stars Shineth bright, Fare thee well; Day has gone, Night is on. Thanks and praise, For our days, 'Neath the sun, Neath the stars, 'Neath the sky, As we go, This we know, God is nigh. Its sad, haunting melody is one of the most familiar tunes in America. It will be played tonight, just as it has been played for the past 134 years, at United States military establishments throughout the world. The sad tune not only marks the end of the day for soldiers; it also denotes the end of their lives. The melody might spring to mind, but the title of the tune may not: The tune is Taps, and it was written by Dan Butterfield. Butterfield was a Union General, awarded the Congressional Medal of Honor, and after the war he served as the Assistant Secretary of the Treasury Department. He was born in Utica, New York, on October 31st, 1831. He was the third son of John Butterfield, renowned for his dealings with both the Overland Stage and American Express. Taps sprang from Dan Buttefield's imagination in 1862. During the Civil War, as the United States fought to either tear itself asunder or heal its differences, Buttefield spent July in Virginia with his men. He was as restless as his men that night. Sweat made it's sticky trailings under dirty blue uniforms, plastering the wool against the too hot skin. The brigade was camped at Berkley Plantation, overlooking the James River near Tidewater. Buttefield sat on his cot and thought about the good fortune he had had last month during the battle of Gaines' Mill - his wounds had not been serious. Others, of course, hadn't shared his good fortune. Many dead and wounded had been left behind there. Those that had escaped might have fallen a few days later at Malvern Hill, when Lee's troops attacked but fell back before the Union soldiers. But Butterfield's ruminations were interrupted by his bugler sounding Extinguish Lights. Butterfield had never liked Extinguish Lights, a tune borrowed from the French and played to signal the end of the day. He thought it too stiff and formal for everyday use. In his imagination played a different melody to signal day's end - something peaceful, soothing, and just a bit meloncholy. Besides his soldiering skills, Buttefield had other talents. He reached into his pocket and drew forth a crumpled, stained envelope. Whistling and humming, he got down to work, finishing his imagination's song. O.W. Norton, Buttefield's 22 year old bugler, recounts what happened next: "Buttefield, showing me some notes on staff written in pencil on the back envelope, asked me to sound them on my bugle. I did this several times, playing the music as written. He changed it somewhat, lengthening some notes and shortening others, but retaining the melody as he first gave it to me. " After getting it to his satisfaction, he directed me to sound the call thereafter, in place of the regular call. The music was beautiful on the still summer nights and was heard far beyond the limits of our brigade. The next day I was visited by several other buglers from neighboring brigades asking for a copy of the music, which I gladly furnished." The music also drifted across the battlefield and was soon taken up by the Confederate buglers. Later, at a Union military funeral, Taps was substituted for the customary rifle volleys at the graveside. It seems that Union officers were worried that the ceremonial gunshots would set off an attack by the edgy Confederates. Taps was well on its way to becoming the nation's requiem. it was played when General Dan Buttefield was laid to rest on July 17th, 1901, thirty nine years after he spent a steamy night in Virgina scribbling on an old envelope. He was buried at West Point where his white marble monument still stands. In the Oneida, New York, Historical Society's collection resides General Buttefield's Medal of Honor, his silver mess gear, two of his swords and other memorabilia. That, and the haunting melody at sunset, are all that's left of him. Source The Cruel War Version 1 Barry Taylor Information I first heard The Cruel War on a Peter, Paul and Mary album. My source traces it back to the American Civil War, but it's likely based on an older English tune. There is another set of lyrics at The Cruel War (2). There are, of course, many others. Lyrics The cruel war is raging Johnny has to fight I want to be with him From morning till night I'm counting the minutes The hours and the days, Oh Lord, stop the cruel war, For this, my heart prays. I made my decision, I will join up too, Oh Johnny, dear Johnny, I'll soon be with you. We women are fighters, We can help you win, Oh Johnny, I'm hoping, That they'll take me in. Repeat first verse The Cruel War Version 2 Barry Taylor Lyrics The cruel war is raging Johnny has to fight I want to be with him From morning till night Oh Johhny, dear Johnny, Morning, noon and night, I think of you marching, Left, right, left and right I know you're so gentle When you hold me tight, Oh how will they make you Get out there and fight? Go speak to your sergeant, And say you want out, Just say you're allergic To this kind of bout. Oh Johnny, dear Johnny, Yes, I know you're brave, But oh how I miss you, It's your love I crave. Oh why did the army Take you from my side, To go into battle, Away from your bride.
Information This Confederate War Song was written by a Northerner, Daniel Decatur Emmett before the Civil War for the Bryant Minstrels. It was first played in New York.
The word "dixie" could refer to the area below the Mason-Dixon Line, but is generally believed to refer to the worthless ten dollar bills issued in New Orleans which were called "dixies" because of the word "dix" (ten in French) printed on them.
Lyrics I wish I was in the land of Cotton Old times there are not forgotten Look away! Look away! Look away! Dixie Land
In Dixie Land where I was born in early on one frosty morning' Look away! Look away! Look away! Dixie Land
Chorus Then I wish I was in Dixie Hooray! Hooray! In Dixie Land I'll take my stand To live and die in Dixie Away! Away! Away! Down South in Dixie. Away! Away! Away! Down South in Dixie.
Ole Missus marry "will the weaver" Willum was a gay deceiver Look away! Look away! Look away! Dixie Land But when he put his arm around er, He smiled fierce as a forty pounder, Look away! Look away! Look away! Dixie Land
His face was sharp as a butcher's cleaver But that did not seem to grieve 'er Look away! Look away! Look away! Dixie Land Ole Missus acted the foolish part And died for a man that broke her heart Look away! Look away! Look away! Dixie Land
Now here's a health to the next ole Missus An' all the gals that want to kiss us; Look away! Look away! Look away! Dixie Land But if you want to drive 'way sorrow Come and hear this song tomorrow Look away! Look away! Look away! Dixie Land
There's buckwheat cakes and Injun batter, Makes you fat or a little fatter; Look away! Look away! Look away! Dixie Land Then hoe it down and scratch your gravel, To Dixie's Land I'm bound to travel, Look away! Look away! Look away! Dixie Land
Oh, Susanna Melody - Stephen Foster; Seq. by Werner Tomaschewski Stephen Foster, 1848 I come from Alabama with my banjo on my knee I'm going to Louisiana, my true love for to see It rained all night the day I left The weather it was dry The sun so hot, I froze to death Susanna, don't you cry Chorus: Oh, Susanna, Oh don't you cry for me For I come from Alabama With my banjo on my knee 2. I had a dream the other night when everything was still I thought I saw Susanna a-coming down the hill The buckwheat cake was in her mouth The tear was in her eye Says I, I'm coming from the south Susanna, don't you cry Chorus: Old MacDonald had a farm Old MacDonald had a farm Ee i ee i o And on his farm he had some chicks Ee i ee i o With a cluck-cluck here And a cluck-cluck there Here a cluck, there a cluck Everywhere a cluck-cluck Old MacDonald had a farm Ee i ee i o Old MacDonald had a farm Ee i ee i o And on his farm he had some cows Ee i ee i oh With a moo-moo here And a moo-moo there Here a moo, there a moo Everywhere a moo-moo Old MacDonald had a farm Ee i ee i o Old MacDonald had a farm Ee i ee i o And on his farm he had some pigs Ee i ee i o With an oink-oink here And an oink-oink there Here an oink, there an oink Everywhere an oink-oink Old MacDonald had a farm Ee i ee i o Add in other animals that you teach on the farm like : dogs - woof-woof cat - meow-meow sheeps - baa-baa horses - neigh-neigh Waltzing Matilda Bill Basham Information The words to Waltzing Matilda were written in 1895 by Andrew Barton (Banjo) Paterson. It is believed the music is based on an old Scottish tune called Craigielea. Lyrics Once a jolly swagman sat beside the billabong, Under the shade of a coulibah tree, And he sang as he sat and waited by the billabong You'll come a waltzing matilda with me Waltzing matilda, waltzing matilda You'll come a waltzing matilda with me And he sang as he sat and waited by the billabong You'll come a waltzing matilda with me. Down came a jumbuck to drink beside the billabong Up jumped the swagman and seized him with glee And he sang as he tucked jumbuck in his tuckerbag You'll come a waltzing matilda with me Waltzing matilda, waltzing matilda You'll come a waltzing matilda with me And he sang as he sat and waited by the billabong You'll come a waltzing matilda with me. Down came the stockman, riding on his thoroughbred, Down came the troopers, one, two, three. "where's the jolly jumbuck you've got in your tuckerbag? You'll come a waltzing matilda with me Waltzing matilda, waltzing matilda You'll come a waltzing matilda with me And he sang as he sat and waited by the billabong You'll come a waltzing matilda with me. Up jumped the swagman and plunged into the billabong, "You'll never catch me alive," cried he And his ghost may be heard as you ride beside the billabong, You'll come a Waltzing Matilda with me. History of Taps Of all the military bugle calls, none is so easily recognized or more apt to render emotion than Taps. Up to the Civil War, the traditional call at day's end was a tune, borrowed from the French, called Lights Out. In July of 1862, in the aftermath of the bloody Seven Days battles, hard on the loss of 600 men and wounded himself, Union General Daniel Adams Butterfield called the brigade bugler to his tent. He thought "Lights Out" was too formal and he wished to honor his men. Oliver Wilcox Norton, the bugler, tells the story, "...showing me some notes on a staff written in pencil on the back of an envelope, (he) asked me to sound them on my bugle. I did this several times, playing the music as written. He changed it somewhat, lengthening some notes and shortening others, but retaining the melody as he first gave it to me. After getting it to his satisfaction, he directed me to sound that call for Taps thereafter in place of the regulation call. The music was beautiful on that still summer night and was heard far beyond the limits of our Brigade. The next day I was visited by several buglers from neighboring Brigades, asking for copies of the music which I gladly furnished. The call was gradually taken up through the Army of the Potomac." This more emotive and powerful Taps was soon adopted throughout the military. In 1874 It was officially recognized by the U.S. Army. It became standard at military funeral ceremonies in 1891. There is something singularly beautiful and appropriate in the music of this wonderful call. Its strains are melancholy, yet full of rest and peace. Its echoes linger in the heart long after its tones have ceased to vibrate in the air. - from an article by Master Sergeant Jari A Villanueva, USAF. FIRST CALL Sound as a warning that personnel will prepare to assemble for a formation. REVEILLE Signals the troops to awaken for morning roll call. Used to accompany the raising of the National Colors. ASSEMBLY Signals troops to assemble at a designated place MESS CALLSignals mealtime. OFFICER'S CALLSignals all officers to assemble at a designated place. ADJUTANT'S CALL Signals that the adjutant is about to form the guard, battalion, or brigade. The bugler plays the bugle part of the call. RETREAT Signals the end of the official day. TO THE COLOR To the Color is a bugle call to render honors to the nation. It is used when no band is available to render honors, or in ceremonies requiring honors to the nation more than once. To the Color commands all the same courtesies as the National Anthem. TATTOO Signals that all light in squad rooms be extinguished and that all loud talking and other disturbances be discontinued within 15 minutes. Taps History The true story is that in July 1862, after the Seven Days battles at Harrison's Landing (near Richmond), Virginia, the wounded Commander of the 3rd Brigade, 1st Division, V Army Corps, Army of the Potomac, General Daniel Butterfield reworked, with his bugler Oliver Wilcox Norton, another bugle call, "Scott Tattoo," to create Taps. He thought that the regular call for Lights Out was too formal. The custom, thus originated, was taken up throughout the Army of the Potomac and finally confirmed by orders." Soon other Union units began using Taps, and even a few Confederate units began using it as well. After the war, Taps became an official bugle call. Col. James A. Moss, in his Officer's Manual first published in 1911, gives an account of the initial use of Taps at a military funeral: "During the Peninsular Campaign in 1862, a soldier of Tidball's Battery A of the 2nd Artillery was buried at a time when the battery occupied an advanced position concealed in the woods. It was unsafe to fire the customary three volleys over the grave (This practice of firing three volleys over a grave originated in the old custom of halting the fighting to remove the dead from the battlefield. Once each side had finished retrieving their dead, they would fire three volleys to indicate that they were ready to go return to the fight.), on account of the proximity of the enemy, and it occurred to Capt. Tidball that the sounding of Taps would be the most appropriate ceremony that could be substituted. Taps Day is done, gone the sun, From the hills, from the lake, From the skies. All is well, safely rest, God is nigh. Go to sleep, peaceful sleep, May the soldier or sailor, God keep. On the land or the deep, Safe in sleep. Love, good night, Must thou go, When the day, And the night Need thee so? All is well. Speedeth all To their rest. Fades the light; And afar Goeth day, And the stars Shineth bright, Fare thee well; Day has gone, Night is on. Thanks and praise, For our days, 'Neath the sun, Neath the stars, 'Neath the sky, As we go, This we know, God is nigh. Its sad, haunting melody is one of the most familiar tunes in America. It will be played tonight, just as it has been played for the past 134 years, at United States military establishments throughout the world. The sad tune not only marks the end of the day for soldiers; it also denotes the end of their lives. The melody might spring to mind, but the title of the tune may not: The tune is Taps, and it was written by Dan Butterfield. Butterfield was a Union General, awarded the Congressional Medal of Honor, and after the war he served as the Assistant Secretary of the Treasury Department. He was born in Utica, New York, on October 31st, 1831. He was the third son of John Butterfield, renowned for his dealings with both the Overland Stage and American Express. Taps sprang from Dan Buttefield's imagination in 1862. During the Civil War, as the United States fought to either tear itself asunder or heal its differences, Buttefield spent July in Virginia with his men. He was as restless as his men that night. Sweat made it's sticky trailings under dirty blue uniforms, plastering the wool against the too hot skin. The brigade was camped at Berkley Plantation, overlooking the James River near Tidewater. Buttefield sat on his cot and thought about the good fortune he had had last month during the battle of Gaines' Mill - his wounds had not been serious. Others, of course, hadn't shared his good fortune. Many dead and wounded had been left behind there. Those that had escaped might have fallen a few days later at Malvern Hill, when Lee's troops attacked but fell back before the Union soldiers. But Butterfield's ruminations were interrupted by his bugler sounding Extinguish Lights. Butterfield had never liked Extinguish Lights, a tune borrowed from the French and played to signal the end of the day. He thought it too stiff and formal for everyday use. In his imagination played a different melody to signal day's end - something peaceful, soothing, and just a bit meloncholy. Besides his soldiering skills, Buttefield had other talents. He reached into his pocket and drew forth a crumpled, stained envelope. Whistling and humming, he got down to work, finishing his imagination's song. O.W. Norton, Buttefield's 22 year old bugler, recounts what happened next: "Buttefield, showing me some notes on staff written in pencil on the back envelope, asked me to sound them on my bugle. I did this several times, playing the music as written. He changed it somewhat, lengthening some notes and shortening others, but retaining the melody as he first gave it to me. " After getting it to his satisfaction, he directed me to sound the call thereafter, in place of the regular call. The music was beautiful on the still summer nights and was heard far beyond the limits of our brigade. The next day I was visited by several other buglers from neighboring brigades asking for a copy of the music, which I gladly furnished." The music also drifted across the battlefield and was soon taken up by the Confederate buglers. Later, at a Union military funeral, Taps was substituted for the customary rifle volleys at the graveside. It seems that Union officers were worried that the ceremonial gunshots would set off an attack by the edgy Confederates. Taps was well on its way to becoming the nation's requiem. it was played when General Dan Buttefield was laid to rest on July 17th, 1901, thirty nine years after he spent a steamy night in Virgina scribbling on an old envelope. He was buried at West Point where his white marble monument still stands. In the Oneida, New York, Historical Society's collection resides General Buttefield's Medal of Honor, his silver mess gear, two of his swords and other memorabilia. That, and the haunting melody at sunset, are all that's left of him. Source The Cruel War Version 1 Barry Taylor Information I first heard The Cruel War on a Peter, Paul and Mary album. My source traces it back to the American Civil War, but it's likely based on an older English tune. There is another set of lyrics at The Cruel War (2). There are, of course, many others. Lyrics The cruel war is raging Johnny has to fight I want to be with him From morning till night I'm counting the minutes The hours and the days, Oh Lord, stop the cruel war, For this, my heart prays. I made my decision, I will join up too, Oh Johnny, dear Johnny, I'll soon be with you. We women are fighters, We can help you win, Oh Johnny, I'm hoping, That they'll take me in. Repeat first verse The Cruel War Version 2 Barry Taylor Lyrics The cruel war is raging Johnny has to fight I want to be with him From morning till night Oh Johhny, dear Johnny, Morning, noon and night, I think of you marching, Left, right, left and right I know you're so gentle When you hold me tight, Oh how will they make you Get out there and fight? Go speak to your sergeant, And say you want out, Just say you're allergic To this kind of bout. Oh Johnny, dear Johnny, Yes, I know you're brave, But oh how I miss you, It's your love I crave. Oh why did the army Take you from my side, To go into battle, Away from your bride.
I come from Alabama with my banjo on my knee I'm going to Louisiana, my true love for to see It rained all night the day I left The weather it was dry The sun so hot, I froze to death Susanna, don't you cry
Chorus: Oh, Susanna, Oh don't you cry for me For I come from Alabama With my banjo on my knee
2. I had a dream the other night when everything was still I thought I saw Susanna a-coming down the hill The buckwheat cake was in her mouth The tear was in her eye Says I, I'm coming from the south Susanna, don't you cry Chorus:
Old MacDonald had a farm Old MacDonald had a farm Ee i ee i o And on his farm he had some chicks Ee i ee i o With a cluck-cluck here And a cluck-cluck there Here a cluck, there a cluck Everywhere a cluck-cluck Old MacDonald had a farm Ee i ee i o Old MacDonald had a farm Ee i ee i o And on his farm he had some cows Ee i ee i oh With a moo-moo here And a moo-moo there Here a moo, there a moo Everywhere a moo-moo Old MacDonald had a farm Ee i ee i o Old MacDonald had a farm Ee i ee i o And on his farm he had some pigs Ee i ee i o With an oink-oink here And an oink-oink there Here an oink, there an oink Everywhere an oink-oink Old MacDonald had a farm Ee i ee i o Add in other animals that you teach on the farm like : dogs - woof-woof cat - meow-meow sheeps - baa-baa horses - neigh-neigh Waltzing Matilda Bill Basham Information The words to Waltzing Matilda were written in 1895 by Andrew Barton (Banjo) Paterson. It is believed the music is based on an old Scottish tune called Craigielea. Lyrics Once a jolly swagman sat beside the billabong, Under the shade of a coulibah tree, And he sang as he sat and waited by the billabong You'll come a waltzing matilda with me Waltzing matilda, waltzing matilda You'll come a waltzing matilda with me And he sang as he sat and waited by the billabong You'll come a waltzing matilda with me. Down came a jumbuck to drink beside the billabong Up jumped the swagman and seized him with glee And he sang as he tucked jumbuck in his tuckerbag You'll come a waltzing matilda with me Waltzing matilda, waltzing matilda You'll come a waltzing matilda with me And he sang as he sat and waited by the billabong You'll come a waltzing matilda with me. Down came the stockman, riding on his thoroughbred, Down came the troopers, one, two, three. "where's the jolly jumbuck you've got in your tuckerbag? You'll come a waltzing matilda with me Waltzing matilda, waltzing matilda You'll come a waltzing matilda with me And he sang as he sat and waited by the billabong You'll come a waltzing matilda with me. Up jumped the swagman and plunged into the billabong, "You'll never catch me alive," cried he And his ghost may be heard as you ride beside the billabong, You'll come a Waltzing Matilda with me. History of Taps Of all the military bugle calls, none is so easily recognized or more apt to render emotion than Taps. Up to the Civil War, the traditional call at day's end was a tune, borrowed from the French, called Lights Out. In July of 1862, in the aftermath of the bloody Seven Days battles, hard on the loss of 600 men and wounded himself, Union General Daniel Adams Butterfield called the brigade bugler to his tent. He thought "Lights Out" was too formal and he wished to honor his men. Oliver Wilcox Norton, the bugler, tells the story, "...showing me some notes on a staff written in pencil on the back of an envelope, (he) asked me to sound them on my bugle. I did this several times, playing the music as written. He changed it somewhat, lengthening some notes and shortening others, but retaining the melody as he first gave it to me. After getting it to his satisfaction, he directed me to sound that call for Taps thereafter in place of the regulation call. The music was beautiful on that still summer night and was heard far beyond the limits of our Brigade. The next day I was visited by several buglers from neighboring Brigades, asking for copies of the music which I gladly furnished. The call was gradually taken up through the Army of the Potomac." This more emotive and powerful Taps was soon adopted throughout the military. In 1874 It was officially recognized by the U.S. Army. It became standard at military funeral ceremonies in 1891. There is something singularly beautiful and appropriate in the music of this wonderful call. Its strains are melancholy, yet full of rest and peace. Its echoes linger in the heart long after its tones have ceased to vibrate in the air. - from an article by Master Sergeant Jari A Villanueva, USAF. FIRST CALL Sound as a warning that personnel will prepare to assemble for a formation. REVEILLE Signals the troops to awaken for morning roll call. Used to accompany the raising of the National Colors. ASSEMBLY Signals troops to assemble at a designated place MESS CALLSignals mealtime. OFFICER'S CALLSignals all officers to assemble at a designated place. ADJUTANT'S CALL Signals that the adjutant is about to form the guard, battalion, or brigade. The bugler plays the bugle part of the call. RETREAT Signals the end of the official day. TO THE COLOR To the Color is a bugle call to render honors to the nation. It is used when no band is available to render honors, or in ceremonies requiring honors to the nation more than once. To the Color commands all the same courtesies as the National Anthem. TATTOO Signals that all light in squad rooms be extinguished and that all loud talking and other disturbances be discontinued within 15 minutes. Taps History The true story is that in July 1862, after the Seven Days battles at Harrison's Landing (near Richmond), Virginia, the wounded Commander of the 3rd Brigade, 1st Division, V Army Corps, Army of the Potomac, General Daniel Butterfield reworked, with his bugler Oliver Wilcox Norton, another bugle call, "Scott Tattoo," to create Taps. He thought that the regular call for Lights Out was too formal. The custom, thus originated, was taken up throughout the Army of the Potomac and finally confirmed by orders." Soon other Union units began using Taps, and even a few Confederate units began using it as well. After the war, Taps became an official bugle call. Col. James A. Moss, in his Officer's Manual first published in 1911, gives an account of the initial use of Taps at a military funeral: "During the Peninsular Campaign in 1862, a soldier of Tidball's Battery A of the 2nd Artillery was buried at a time when the battery occupied an advanced position concealed in the woods. It was unsafe to fire the customary three volleys over the grave (This practice of firing three volleys over a grave originated in the old custom of halting the fighting to remove the dead from the battlefield. Once each side had finished retrieving their dead, they would fire three volleys to indicate that they were ready to go return to the fight.), on account of the proximity of the enemy, and it occurred to Capt. Tidball that the sounding of Taps would be the most appropriate ceremony that could be substituted. Taps Day is done, gone the sun, From the hills, from the lake, From the skies. All is well, safely rest, God is nigh. Go to sleep, peaceful sleep, May the soldier or sailor, God keep. On the land or the deep, Safe in sleep. Love, good night, Must thou go, When the day, And the night Need thee so? All is well. Speedeth all To their rest. Fades the light; And afar Goeth day, And the stars Shineth bright, Fare thee well; Day has gone, Night is on. Thanks and praise, For our days, 'Neath the sun, Neath the stars, 'Neath the sky, As we go, This we know, God is nigh. Its sad, haunting melody is one of the most familiar tunes in America. It will be played tonight, just as it has been played for the past 134 years, at United States military establishments throughout the world. The sad tune not only marks the end of the day for soldiers; it also denotes the end of their lives. The melody might spring to mind, but the title of the tune may not: The tune is Taps, and it was written by Dan Butterfield. Butterfield was a Union General, awarded the Congressional Medal of Honor, and after the war he served as the Assistant Secretary of the Treasury Department. He was born in Utica, New York, on October 31st, 1831. He was the third son of John Butterfield, renowned for his dealings with both the Overland Stage and American Express. Taps sprang from Dan Buttefield's imagination in 1862. During the Civil War, as the United States fought to either tear itself asunder or heal its differences, Buttefield spent July in Virginia with his men. He was as restless as his men that night. Sweat made it's sticky trailings under dirty blue uniforms, plastering the wool against the too hot skin. The brigade was camped at Berkley Plantation, overlooking the James River near Tidewater. Buttefield sat on his cot and thought about the good fortune he had had last month during the battle of Gaines' Mill - his wounds had not been serious. Others, of course, hadn't shared his good fortune. Many dead and wounded had been left behind there. Those that had escaped might have fallen a few days later at Malvern Hill, when Lee's troops attacked but fell back before the Union soldiers. But Butterfield's ruminations were interrupted by his bugler sounding Extinguish Lights. Butterfield had never liked Extinguish Lights, a tune borrowed from the French and played to signal the end of the day. He thought it too stiff and formal for everyday use. In his imagination played a different melody to signal day's end - something peaceful, soothing, and just a bit meloncholy. Besides his soldiering skills, Buttefield had other talents. He reached into his pocket and drew forth a crumpled, stained envelope. Whistling and humming, he got down to work, finishing his imagination's song. O.W. Norton, Buttefield's 22 year old bugler, recounts what happened next: "Buttefield, showing me some notes on staff written in pencil on the back envelope, asked me to sound them on my bugle. I did this several times, playing the music as written. He changed it somewhat, lengthening some notes and shortening others, but retaining the melody as he first gave it to me. " After getting it to his satisfaction, he directed me to sound the call thereafter, in place of the regular call. The music was beautiful on the still summer nights and was heard far beyond the limits of our brigade. The next day I was visited by several other buglers from neighboring brigades asking for a copy of the music, which I gladly furnished." The music also drifted across the battlefield and was soon taken up by the Confederate buglers. Later, at a Union military funeral, Taps was substituted for the customary rifle volleys at the graveside. It seems that Union officers were worried that the ceremonial gunshots would set off an attack by the edgy Confederates. Taps was well on its way to becoming the nation's requiem. it was played when General Dan Buttefield was laid to rest on July 17th, 1901, thirty nine years after he spent a steamy night in Virgina scribbling on an old envelope. He was buried at West Point where his white marble monument still stands. In the Oneida, New York, Historical Society's collection resides General Buttefield's Medal of Honor, his silver mess gear, two of his swords and other memorabilia. That, and the haunting melody at sunset, are all that's left of him. Source The Cruel War Version 1 Barry Taylor Information I first heard The Cruel War on a Peter, Paul and Mary album. My source traces it back to the American Civil War, but it's likely based on an older English tune. There is another set of lyrics at The Cruel War (2). There are, of course, many others. Lyrics The cruel war is raging Johnny has to fight I want to be with him From morning till night I'm counting the minutes The hours and the days, Oh Lord, stop the cruel war, For this, my heart prays. I made my decision, I will join up too, Oh Johnny, dear Johnny, I'll soon be with you. We women are fighters, We can help you win, Oh Johnny, I'm hoping, That they'll take me in. Repeat first verse The Cruel War Version 2 Barry Taylor Lyrics The cruel war is raging Johnny has to fight I want to be with him From morning till night Oh Johhny, dear Johnny, Morning, noon and night, I think of you marching, Left, right, left and right I know you're so gentle When you hold me tight, Oh how will they make you Get out there and fight? Go speak to your sergeant, And say you want out, Just say you're allergic To this kind of bout. Oh Johnny, dear Johnny, Yes, I know you're brave, But oh how I miss you, It's your love I crave. Oh why did the army Take you from my side, To go into battle, Away from your bride.
Old MacDonald had a farm Ee i ee i o And on his farm he had some chicks Ee i ee i o With a cluck-cluck here And a cluck-cluck there Here a cluck, there a cluck Everywhere a cluck-cluck Old MacDonald had a farm Ee i ee i o
Old MacDonald had a farm Ee i ee i o And on his farm he had some cows Ee i ee i oh With a moo-moo here And a moo-moo there Here a moo, there a moo Everywhere a moo-moo Old MacDonald had a farm Ee i ee i o
Old MacDonald had a farm Ee i ee i o And on his farm he had some pigs Ee i ee i o With an oink-oink here And an oink-oink there Here an oink, there an oink Everywhere an oink-oink Old MacDonald had a farm Ee i ee i o
Add in other animals that you teach on the farm like : dogs - woof-woof cat - meow-meow sheeps - baa-baa horses - neigh-neigh
Waltzing Matilda Bill Basham Information The words to Waltzing Matilda were written in 1895 by Andrew Barton (Banjo) Paterson. It is believed the music is based on an old Scottish tune called Craigielea. Lyrics Once a jolly swagman sat beside the billabong, Under the shade of a coulibah tree, And he sang as he sat and waited by the billabong You'll come a waltzing matilda with me Waltzing matilda, waltzing matilda You'll come a waltzing matilda with me And he sang as he sat and waited by the billabong You'll come a waltzing matilda with me. Down came a jumbuck to drink beside the billabong Up jumped the swagman and seized him with glee And he sang as he tucked jumbuck in his tuckerbag You'll come a waltzing matilda with me Waltzing matilda, waltzing matilda You'll come a waltzing matilda with me And he sang as he sat and waited by the billabong You'll come a waltzing matilda with me. Down came the stockman, riding on his thoroughbred, Down came the troopers, one, two, three. "where's the jolly jumbuck you've got in your tuckerbag? You'll come a waltzing matilda with me Waltzing matilda, waltzing matilda You'll come a waltzing matilda with me And he sang as he sat and waited by the billabong You'll come a waltzing matilda with me. Up jumped the swagman and plunged into the billabong, "You'll never catch me alive," cried he And his ghost may be heard as you ride beside the billabong, You'll come a Waltzing Matilda with me. History of Taps Of all the military bugle calls, none is so easily recognized or more apt to render emotion than Taps. Up to the Civil War, the traditional call at day's end was a tune, borrowed from the French, called Lights Out. In July of 1862, in the aftermath of the bloody Seven Days battles, hard on the loss of 600 men and wounded himself, Union General Daniel Adams Butterfield called the brigade bugler to his tent. He thought "Lights Out" was too formal and he wished to honor his men. Oliver Wilcox Norton, the bugler, tells the story, "...showing me some notes on a staff written in pencil on the back of an envelope, (he) asked me to sound them on my bugle. I did this several times, playing the music as written. He changed it somewhat, lengthening some notes and shortening others, but retaining the melody as he first gave it to me. After getting it to his satisfaction, he directed me to sound that call for Taps thereafter in place of the regulation call. The music was beautiful on that still summer night and was heard far beyond the limits of our Brigade. The next day I was visited by several buglers from neighboring Brigades, asking for copies of the music which I gladly furnished. The call was gradually taken up through the Army of the Potomac." This more emotive and powerful Taps was soon adopted throughout the military. In 1874 It was officially recognized by the U.S. Army. It became standard at military funeral ceremonies in 1891. There is something singularly beautiful and appropriate in the music of this wonderful call. Its strains are melancholy, yet full of rest and peace. Its echoes linger in the heart long after its tones have ceased to vibrate in the air. - from an article by Master Sergeant Jari A Villanueva, USAF. FIRST CALL Sound as a warning that personnel will prepare to assemble for a formation. REVEILLE Signals the troops to awaken for morning roll call. Used to accompany the raising of the National Colors. ASSEMBLY Signals troops to assemble at a designated place MESS CALLSignals mealtime. OFFICER'S CALLSignals all officers to assemble at a designated place. ADJUTANT'S CALL Signals that the adjutant is about to form the guard, battalion, or brigade. The bugler plays the bugle part of the call. RETREAT Signals the end of the official day. TO THE COLOR To the Color is a bugle call to render honors to the nation. It is used when no band is available to render honors, or in ceremonies requiring honors to the nation more than once. To the Color commands all the same courtesies as the National Anthem. TATTOO Signals that all light in squad rooms be extinguished and that all loud talking and other disturbances be discontinued within 15 minutes. Taps History The true story is that in July 1862, after the Seven Days battles at Harrison's Landing (near Richmond), Virginia, the wounded Commander of the 3rd Brigade, 1st Division, V Army Corps, Army of the Potomac, General Daniel Butterfield reworked, with his bugler Oliver Wilcox Norton, another bugle call, "Scott Tattoo," to create Taps. He thought that the regular call for Lights Out was too formal. The custom, thus originated, was taken up throughout the Army of the Potomac and finally confirmed by orders." Soon other Union units began using Taps, and even a few Confederate units began using it as well. After the war, Taps became an official bugle call. Col. James A. Moss, in his Officer's Manual first published in 1911, gives an account of the initial use of Taps at a military funeral: "During the Peninsular Campaign in 1862, a soldier of Tidball's Battery A of the 2nd Artillery was buried at a time when the battery occupied an advanced position concealed in the woods. It was unsafe to fire the customary three volleys over the grave (This practice of firing three volleys over a grave originated in the old custom of halting the fighting to remove the dead from the battlefield. Once each side had finished retrieving their dead, they would fire three volleys to indicate that they were ready to go return to the fight.), on account of the proximity of the enemy, and it occurred to Capt. Tidball that the sounding of Taps would be the most appropriate ceremony that could be substituted. Taps Day is done, gone the sun, From the hills, from the lake, From the skies. All is well, safely rest, God is nigh. Go to sleep, peaceful sleep, May the soldier or sailor, God keep. On the land or the deep, Safe in sleep. Love, good night, Must thou go, When the day, And the night Need thee so? All is well. Speedeth all To their rest. Fades the light; And afar Goeth day, And the stars Shineth bright, Fare thee well; Day has gone, Night is on. Thanks and praise, For our days, 'Neath the sun, Neath the stars, 'Neath the sky, As we go, This we know, God is nigh. Its sad, haunting melody is one of the most familiar tunes in America. It will be played tonight, just as it has been played for the past 134 years, at United States military establishments throughout the world. The sad tune not only marks the end of the day for soldiers; it also denotes the end of their lives. The melody might spring to mind, but the title of the tune may not: The tune is Taps, and it was written by Dan Butterfield. Butterfield was a Union General, awarded the Congressional Medal of Honor, and after the war he served as the Assistant Secretary of the Treasury Department. He was born in Utica, New York, on October 31st, 1831. He was the third son of John Butterfield, renowned for his dealings with both the Overland Stage and American Express. Taps sprang from Dan Buttefield's imagination in 1862. During the Civil War, as the United States fought to either tear itself asunder or heal its differences, Buttefield spent July in Virginia with his men. He was as restless as his men that night. Sweat made it's sticky trailings under dirty blue uniforms, plastering the wool against the too hot skin. The brigade was camped at Berkley Plantation, overlooking the James River near Tidewater. Buttefield sat on his cot and thought about the good fortune he had had last month during the battle of Gaines' Mill - his wounds had not been serious. Others, of course, hadn't shared his good fortune. Many dead and wounded had been left behind there. Those that had escaped might have fallen a few days later at Malvern Hill, when Lee's troops attacked but fell back before the Union soldiers. But Butterfield's ruminations were interrupted by his bugler sounding Extinguish Lights. Butterfield had never liked Extinguish Lights, a tune borrowed from the French and played to signal the end of the day. He thought it too stiff and formal for everyday use. In his imagination played a different melody to signal day's end - something peaceful, soothing, and just a bit meloncholy. Besides his soldiering skills, Buttefield had other talents. He reached into his pocket and drew forth a crumpled, stained envelope. Whistling and humming, he got down to work, finishing his imagination's song. O.W. Norton, Buttefield's 22 year old bugler, recounts what happened next: "Buttefield, showing me some notes on staff written in pencil on the back envelope, asked me to sound them on my bugle. I did this several times, playing the music as written. He changed it somewhat, lengthening some notes and shortening others, but retaining the melody as he first gave it to me. " After getting it to his satisfaction, he directed me to sound the call thereafter, in place of the regular call. The music was beautiful on the still summer nights and was heard far beyond the limits of our brigade. The next day I was visited by several other buglers from neighboring brigades asking for a copy of the music, which I gladly furnished." The music also drifted across the battlefield and was soon taken up by the Confederate buglers. Later, at a Union military funeral, Taps was substituted for the customary rifle volleys at the graveside. It seems that Union officers were worried that the ceremonial gunshots would set off an attack by the edgy Confederates. Taps was well on its way to becoming the nation's requiem. it was played when General Dan Buttefield was laid to rest on July 17th, 1901, thirty nine years after he spent a steamy night in Virgina scribbling on an old envelope. He was buried at West Point where his white marble monument still stands. In the Oneida, New York, Historical Society's collection resides General Buttefield's Medal of Honor, his silver mess gear, two of his swords and other memorabilia. That, and the haunting melody at sunset, are all that's left of him. Source The Cruel War Version 1 Barry Taylor Information I first heard The Cruel War on a Peter, Paul and Mary album. My source traces it back to the American Civil War, but it's likely based on an older English tune. There is another set of lyrics at The Cruel War (2). There are, of course, many others. Lyrics The cruel war is raging Johnny has to fight I want to be with him From morning till night I'm counting the minutes The hours and the days, Oh Lord, stop the cruel war, For this, my heart prays. I made my decision, I will join up too, Oh Johnny, dear Johnny, I'll soon be with you. We women are fighters, We can help you win, Oh Johnny, I'm hoping, That they'll take me in. Repeat first verse The Cruel War Version 2 Barry Taylor Lyrics The cruel war is raging Johnny has to fight I want to be with him From morning till night Oh Johhny, dear Johnny, Morning, noon and night, I think of you marching, Left, right, left and right I know you're so gentle When you hold me tight, Oh how will they make you Get out there and fight? Go speak to your sergeant, And say you want out, Just say you're allergic To this kind of bout. Oh Johnny, dear Johnny, Yes, I know you're brave, But oh how I miss you, It's your love I crave. Oh why did the army Take you from my side, To go into battle, Away from your bride.
Information The words to Waltzing Matilda were written in 1895 by Andrew Barton (Banjo) Paterson. It is believed the music is based on an old Scottish tune called Craigielea.
Once a jolly swagman sat beside the billabong, Under the shade of a coulibah tree, And he sang as he sat and waited by the billabong You'll come a waltzing matilda with me
Waltzing matilda, waltzing matilda You'll come a waltzing matilda with me And he sang as he sat and waited by the billabong You'll come a waltzing matilda with me.
Down came a jumbuck to drink beside the billabong Up jumped the swagman and seized him with glee And he sang as he tucked jumbuck in his tuckerbag You'll come a waltzing matilda with me
Down came the stockman, riding on his thoroughbred, Down came the troopers, one, two, three. "where's the jolly jumbuck you've got in your tuckerbag? You'll come a waltzing matilda with me
Up jumped the swagman and plunged into the billabong, "You'll never catch me alive," cried he And his ghost may be heard as you ride beside the billabong, You'll come a Waltzing Matilda with me.
- from an article by Master Sergeant Jari A Villanueva, USAF.
FIRST CALL Sound as a warning that personnel will prepare to assemble for a formation. REVEILLE Signals the troops to awaken for morning roll call. Used to accompany the raising of the National Colors. ASSEMBLY Signals troops to assemble at a designated place MESS CALLSignals mealtime. OFFICER'S CALLSignals all officers to assemble at a designated place. ADJUTANT'S CALL Signals that the adjutant is about to form the guard, battalion, or brigade. The bugler plays the bugle part of the call. RETREAT Signals the end of the official day. TO THE COLOR To the Color is a bugle call to render honors to the nation. It is used when no band is available to render honors, or in ceremonies requiring honors to the nation more than once. To the Color commands all the same courtesies as the National Anthem. TATTOO Signals that all light in squad rooms be extinguished and that all loud talking and other disturbances be discontinued within 15 minutes.
Taps History
The true story is that in July 1862, after the Seven Days battles at Harrison's Landing (near Richmond), Virginia, the wounded Commander of the 3rd Brigade, 1st Division, V Army Corps, Army of the Potomac, General Daniel Butterfield reworked, with his bugler Oliver Wilcox Norton, another bugle call, "Scott Tattoo," to create Taps. He thought that the regular call for Lights Out was too formal. The custom, thus originated, was taken up throughout the Army of the Potomac and finally confirmed by orders." Soon other Union units began using Taps, and even a few Confederate units began using it as well. After the war, Taps became an official bugle call. Col. James A. Moss, in his Officer's Manual first published in 1911, gives an account of the initial use of Taps at a military funeral:
"During the Peninsular Campaign in 1862, a soldier of Tidball's Battery A of the 2nd Artillery was buried at a time when the battery occupied an advanced position concealed in the woods. It was unsafe to fire the customary three volleys over the grave (This practice of firing three volleys over a grave originated in the old custom of halting the fighting to remove the dead from the battlefield. Once each side had finished retrieving their dead, they would fire three volleys to indicate that they were ready to go return to the fight.), on account of the proximity of the enemy, and it occurred to Capt. Tidball that the sounding of Taps would be the most appropriate ceremony that could be substituted.
Taps
Day is done, gone the sun, From the hills, from the lake, From the skies. All is well, safely rest, God is nigh.
Go to sleep, peaceful sleep, May the soldier or sailor, God keep. On the land or the deep, Safe in sleep.
Love, good night, Must thou go, When the day, And the night Need thee so? All is well. Speedeth all To their rest.
Fades the light; And afar Goeth day, And the stars Shineth bright, Fare thee well; Day has gone, Night is on.
Thanks and praise, For our days, 'Neath the sun, Neath the stars, 'Neath the sky, As we go, This we know, God is nigh.
Its sad, haunting melody is one of the most familiar tunes in America. It will be played tonight, just as it has been played for the past 134 years, at United States military establishments throughout the world. The sad tune not only marks the end of the day for soldiers; it also denotes the end of their lives. The melody might spring to mind, but the title of the tune may not: The tune is Taps, and it was written by Dan Butterfield. Butterfield was a Union General, awarded the Congressional Medal of Honor, and after the war he served as the Assistant Secretary of the Treasury Department. He was born in Utica, New York, on October 31st, 1831. He was the third son of John Butterfield, renowned for his dealings with both the Overland Stage and American Express.
Taps sprang from Dan Buttefield's imagination in 1862. During the Civil War, as the United States fought to either tear itself asunder or heal its differences, Buttefield spent July in Virginia with his men. He was as restless as his men that night. Sweat made it's sticky trailings under dirty blue uniforms, plastering the wool against the too hot skin. The brigade was camped at Berkley Plantation, overlooking the James River near Tidewater. Buttefield sat on his cot and thought about the good fortune he had had last month during the battle of Gaines' Mill - his wounds had not been serious. Others, of course, hadn't shared his good fortune. Many dead and wounded had been left behind there. Those that had escaped might have fallen a few days later at Malvern Hill, when Lee's troops attacked but fell back before the Union soldiers. But Butterfield's ruminations were interrupted by his bugler sounding Extinguish Lights.
Butterfield had never liked Extinguish Lights, a tune borrowed from the French and played to signal the end of the day. He thought it too stiff and formal for everyday use. In his imagination played a different melody to signal day's end - something peaceful, soothing, and just a bit meloncholy. Besides his soldiering skills, Buttefield had other talents. He reached into his pocket and drew forth a crumpled, stained envelope. Whistling and humming, he got down to work, finishing his imagination's song.
O.W. Norton, Buttefield's 22 year old bugler, recounts what happened next: "Buttefield, showing me some notes on staff written in pencil on the back envelope, asked me to sound them on my bugle. I did this several times, playing the music as written. He changed it somewhat, lengthening some notes and shortening others, but retaining the melody as he first gave it to me. "
After getting it to his satisfaction, he directed me to sound the call thereafter, in place of the regular call. The music was beautiful on the still summer nights and was heard far beyond the limits of our brigade. The next day I was visited by several other buglers from neighboring brigades asking for a copy of the music, which I gladly furnished." The music also drifted across the battlefield and was soon taken up by the Confederate buglers.
Later, at a Union military funeral, Taps was substituted for the customary rifle volleys at the graveside. It seems that Union officers were worried that the ceremonial gunshots would set off an attack by the edgy Confederates. Taps was well on its way to becoming the nation's requiem. it was played when General Dan Buttefield was laid to rest on July 17th, 1901, thirty nine years after he spent a steamy night in Virgina scribbling on an old envelope. He was buried at West Point where his white marble monument still stands. In the Oneida, New York, Historical Society's collection resides General Buttefield's Medal of Honor, his silver mess gear, two of his swords and other memorabilia. That, and the haunting melody at sunset, are all that's left of him.
Source
The Cruel War Version 1 Barry Taylor Information I first heard The Cruel War on a Peter, Paul and Mary album. My source traces it back to the American Civil War, but it's likely based on an older English tune. There is another set of lyrics at The Cruel War (2). There are, of course, many others. Lyrics The cruel war is raging Johnny has to fight I want to be with him From morning till night I'm counting the minutes The hours and the days, Oh Lord, stop the cruel war, For this, my heart prays. I made my decision, I will join up too, Oh Johnny, dear Johnny, I'll soon be with you. We women are fighters, We can help you win, Oh Johnny, I'm hoping, That they'll take me in. Repeat first verse
Information I first heard The Cruel War on a Peter, Paul and Mary album. My source traces it back to the American Civil War, but it's likely based on an older English tune.
There is another set of lyrics at The Cruel War (2). There are, of course, many others.
Lyrics The cruel war is raging Johnny has to fight I want to be with him From morning till night
I'm counting the minutes The hours and the days, Oh Lord, stop the cruel war, For this, my heart prays.
I made my decision, I will join up too, Oh Johnny, dear Johnny, I'll soon be with you.
We women are fighters, We can help you win, Oh Johnny, I'm hoping, That they'll take me in.
Repeat first verse
The Cruel War Version 2 Barry Taylor
Oh Johhny, dear Johnny, Morning, noon and night, I think of you marching, Left, right, left and right
I know you're so gentle When you hold me tight, Oh how will they make you Get out there and fight?
Go speak to your sergeant, And say you want out, Just say you're allergic To this kind of bout.
Oh Johnny, dear Johnny, Yes, I know you're brave, But oh how I miss you, It's your love I crave.
Oh why did the army Take you from my side, To go into battle, Away from your bride.