19th Century Rope Drum with Painted Eagle Design

Lot 153. 19TH CENTURY SNARE DRUM, HAND PAINTED EAGLE DECORATION $400
JANUARY, 28, 2007
PRICES REALIZED - BUYERS PREMIUM OF 12% NOT INCLUDED

Mapes Auctioneers Appraisers
1729 Vestal Parkway West - Vestal, NY 13850
607-754-9193 - FAX: 607-786-3549
info@mapesauction.com

Another Tompkins Drum Pops Up on the Internet

The military tenor drum in the exhibit was made by William Tompkins & Sons, MFG., New York. It was used by George H. Cook in 1861. Cook was chief musician of the 27th Regiment of New York State foot volunteers. He lived in Riley Township, Clinton City, Michigan, for seven years after the war.
Website of the Michigan Historical Museum.

The painting is reminiscent of a seated Lady Liberty and a New York theme (Excelsior) which would make sense since Tompkins worked from Yonkers, New York, but I have not been able to find any depictions aside from those on coins.

Regimental Style Drum Sans Banner

The painting on this drum is reminiscent of the scene on Federally-contracted pieces, though the most obvious difference is the lack of a ribbon in which the unit’s name would be painted, $3,000. S.E.L.L. Antiques/Paul Goodwin

Sic Semper Tyrannis -- 1861 3rd Virginia Confederate Painted Civil War Drum

Compare the first
National Confederate Flag
(above right)
with the pattern painted on the drum
Original Confederate National Flag
That Flew over Atlanta
During the Siege of Atlanta.
Sic Semper Tyrannis (background field)
a Latin phrase meaning "thus always to tyrants"
Virginia (lower banner)

Cf. Shako of Virginia Military Institute
bears a similar design
absent the sunburst
The above shako is described as follows at Cowan's Auctions, Inc.'s website:

Lot #33, VMI FELT COVERED SHAKO, planchet with VMI and Sic Semper Tyrannis with image of Roman soldier with dagger in left hand and spear in right hand defiantly posed with his foot upon his fallen foe. Shield with three-quarter laurel wreath with Virginia below on a festooned ribbon on stippled background. Complete with single interlaced chains encompassing front half of the hat attached with two VMI Cadet buttons. Leather band encompassing base of hat. Leather chinstrap. Interior with glazed cotton lining. 6.5" height.

The motto "Sic Semper Tyrannis" is sometimes mistranslated as "death to tyrants". It was the official motto of Virginia and used following the assassination of Abraham Lincoln. http://en.wikipedia.org/wiki/Sic_semper_tyrannis

Old Virginia Blog
September 1, 2007

Confederate Officer's
Virginia Sword Belt Buckle Plate
marked "SIC SEMPER TYRANNIS VIRGINIA"

Seal of Virgina
Also see Virginia on Netstate.

"SIC SEMPER TYRANNIS"
was also the motto for the
22nd Regiment U.S. Colored Troops
according to a March 10, 2009 post to
Civil War Memory blog.
Organized at Philadelphia in January 1864, the 22nd U. S. Colored Troops Infantry Regiment lost 217 men during the last year of the Civil War. David Bustill Bowser was a self-taught black artist. He designed regimental flags for eleven African-American units and also painted portraits of Abraham Lincoln and John Brown. Ibid.

This Confederate button is from a Virginia militia and features the Virginia state motto of "Sic Semper Tyrannis" under an image of Virtus standing over a defeated Tyranny. Confederate buttons also featured thirteen stars representing the eleven states that made up the Confederacy and the two states that the Confederates hoped would eventually secede from the Union and join the Confederacy, Missouri and Kentucky. The George Washington Foundation, Archeology at Historic Kenmore.

eBay seller weiderman_gallery ( 2552) is offering eBay item no. 370233030943, described as follows sold at auction for $1,026.01:

This is a Fantastic, Super Rare, Early Civil War drum. This wonderful Old piece has a Great, Early design, with Beautiful paint, including the Confederate Flag, & a nailed on Brass Virginia state crest, is made of Wood, marked "CSA D - 3rd Virginia" & "Made by Baylor 1861" inside, measures approx. 16" x 15", appears to be 100% Civil War period and would be a wonderful addition to any collection. This was recently acquired from a Very Impressive Antique Militaria collection in Virginia, in which only the finest was included, and this is believed to be an actual field used piece. If you will look at our feedback, you will see that we've sold 100's of Original, Period Civil War items, and those buyers have always been very pleased. This appears to be in Very Good, Crisp condition, and displays MUCH better than the pictures show.

Editor's Note: Yes, it could be all of that. But my nose is twitching. The drum looks too clean. Sorry, but something about it makes me question its purported age. Could it be from 1861? Sure. But the paint, the rope, the leather, the heads all look just too good. Perhaps it was "restored". But to have been an "actual field used piece" as described and to be in the condition it appears to be in, just raises a caution flag. I could be wrong.

1837 Eli Brown and Son Field Drum with Label

Resurfacing on eBay today is this drum (eBay item no. 280375823398).



Leo J. Brennan has put this beauty up for sale on eBay (item no. 280327110774):

Up for auction is an original restored Eli Brown and Son field drum, dated by the interior label from 1837, drum number 1934. The overlapped maple shell bears the signature Eli Brown tack pattern. The tack pattern around the ivory vent hole is a single circle. Overall height of drum is 19 & three quarters inches. The ropes and drag rope are spun from hemp. There are no snares nor assembly. Owned by one Joel Griswold in October of 1948, the drum was reconditioned by Charles Husband in Lowell, MA. The bill of repair states new rope, rims, ears and heads were installed and a coat of varnish applied on shell. Therefore, the 18 inch wide Rogers heads, the rope and ten leather adjustment ears, and the drill through hoops top and bottom are from 1948. The rest of drum is from 1837. Documentation of above included with successful bid. A museum quality drum from the premier American drum maker of his time (1810-1848). This historical gem is highly sought after by collectors and not by the casual drummer.

Frederick Fennell's Moeller Drum and Terry Cornett's Connection with Fennell

[Ed. Note: This article was originally posted March 9, 2009, but has been supplemented with clarifying and correcting information from Terry Cornett and Robert Ubaldo for which we thank them. The clarifying information largely concerned certain design features of Moeller drums (e.g., the widened portion of the top counterhoop near the carry point, and the material from which the legs were made).]

Frederick Fennell
with (probably) a Moeller Drum
Note the perfectly centered tight circle denoting the location on the batter head (above) where Fennell's sticks struck repeatedly -- the mark of an accomplished drummer, which Fennell was.

Frederick Fennell
with a Cooperman reproduction
of a Civil War Eagle Drum
Greetings Ellis,

I enjoyed the article and detail of WFL’s drum "[Wm. F. Ludwig's 1864 Rogers Eagle Drum", this blog, March 2, 2009] and the mention of Frederick Fennell. I first met Dr. Fennell, when he conducted me in Honor Band, back in 1971. Later, I became friends with his wife, Elizabeth*, as we would see each other at Percussive Arts Society conventions. I got to work with Dr. Fennell at the National Civil War Band Festivals (2000 & 2003). [See clip below from the 2003 festival.]

Here [above] are a couple of photos of Dr. Fennell from 2000 with his Civil War snare and his Moeller drum. If my memory serves me, The CW drum was a gift from WFL II, and is a Cooperman reproduction. Neither am I sure of the vintage of the Moeller snare. It may be an original, as it sure has lots of wear.

Terry Cornett**
4021 Apollo Dr. SW
Huntsville, AL 35805
256-533-5498
ropedrum@otbrass.com
http://ropedrum.otbrass.com

Terry supplemented his email with a note:

The more I look at Fred’s Moeller drum, I am thinking it might have been made by Bob Ubaldo at Old Glory Drum Shop. (Note that in a July 23, 2009 email to Terry Cornett, Mr. Ubaldo reported that he did not make that drum and said that it looks like it is a Moeller drum.) (Mr. Ubaldo also reported that Moeller drums had aluminum feet).

Ed. Note: However, see the drum in Leo J. Brennan's Buck Soistmann Drum (ca. 1964), not technically a Moeller drum but a Moeller derivative. It has metal feet. So, the question for the cognoscenti out there is "did Moeller drums have metal feet?"

In response, cognoscentum Will Chappell answered the call and chimed in with this piece of information:

Ellis,

Moeller's drums did have brass feet [Ubaldo says in his email to Terry Cornett dated July 23, 2009 that the feet were aluminum]. A little history of Gus Moeller and his drums can be found in George Carroll's "American Drums of War". Photos of the drum Moeller made for Buck Soistman can be found in this book, which every rope drum collector should find interesting. The book is not on his website yet, but can be purchased by contacting Mr. Carroll at 703-836-7287 and sending $40 ($36 price plus $4 shipping) to:

Mr. George Carroll
203 North Fairfax Street
Alexandria, VA 22314

A photo of three generations' worth of Moeller style drums (Moeller, Soistman, Reamer) can be found at Lancraft's website, http://www.lancraftfd.com/.

Three Generations of Drums
All Constructed using the same techniques and equipment.
(Jack Mcguire with Moeller, Ed Salerno with Soistman, Bill Maling with Reamer)
Will Chappell continued:

I have heard several versions of a story about Moeller making a set of drums for Lancraft in the 1950s. When Moeller learned that they had taken his drums apart and fitted them with cloth strip mufflers (a new idea at the time), he wrote a letter threatening to go to Connecticut and take them back (a copy of this letter is preserved at the Company of Fifers and Drummers library). Moeller was quite upset about the Lancraft drummers using "rags" as "tone sharpeners" in his fine drums. He said that "no good drum needs one." I agree.

Will

-----

Terry Cornett responded with this clarification:

As mentioned, the Leo Brennan drum [Leo J. Brennan's Buck Soistmann Drum (ca. 1964)] is by “Buck” Soistmann; which has brass loops for feet. My friend Bill Hinger has 2 Soistmann drums from the mid-late 1960s, and both have these same brass loops.

A Soistmann Design Feature -- brass loops
Terry continued:

From the looks of the short, fat, aluminum feet, I would venture to say Dr. Fennell’s drum may have been made by Robert Ubaldo (Old Glory Drum Shop). [Again, Robert Ubaldo's July 23, 2009 email says that Fennell's drum is not a Ubaldo but a Moeller.] Besides the similar aluminum feet, the batter hoop of Fennell’s drum has a wider section where the sling hook goes, which is characteristic of Ubaldo’s version of “The Grand Republic” drum. (Ubaldo's email, on the other hand, reports that the wider section was a Moeller design feature.)

A Ubaldo Drum
Close-up on Fennell's Drum -- note the counterhoop's widening at the sling clip, a design feature most observers would have missed and attributed the uneven hoop width to wear or breakage instead of an intentional beefing up of the hoop at a stress concentration point -- the carry point. Robert Ubaldo attributes that design feature to Moeller.



July 23, 2009 Additions to this Story:

Terry Cornett emailed me today with additional information, including interesting feedback from Robert Ubaldo:

FROM TERRY CORNETT:

Greetings Ellis,

After many months, Robert Ubaldo finally made his way to your FieldDrums.com website. Robert is the owner/operator of Old Glory Drum Shop. He noticed errors in our discourse about the Moeller drum and Frederick Fennell. I present his letter and my response.

From: oldmanubaldo@aol.com

Hello [Terry],

I do not get to use the computer much but did find the [FieldDrums.com] site and [I found an error] in [the discussion concerning] the intentional beefing up of the hoop [near the sling attachment point]. ... This [design feature] was a trademark of Gus Moeller. Soistman didn't do it and neither did Reamer.

For one reason -- it is hard to do. I make ... exact cop[ies] of the Moeller drum, down to the last measurement as he did it. My wood is not 1/8 inch Ash in veneer form but a modern day 1/8 inch laminate. Other than that the parts are the same.

Please have this error corrected as soon as possible.

Sincerely,

Robert C. Ubaldo
-----

TERRY CORNETT RESPONDS:

Hello Mr. Ubaldo,

I apologize for the confusion. Before I saw Mr. Fennell’s drum, the only time I saw such a hoop was when I met you at a fife & drum muster at Westbrook (my only foray into New England).

As an expert in the field, would you say the drum carried by Mr. Fennell is an original Moeller, or could it be one of your impressive reproductions? The conversation initially concerned the metal feet on the counterhoops to distinguish these from Soistmann drums, which had bent brass feet. Finding a genuine Moeller “Grand Republic” to make comparisons is difficult for me. So your metal feet are exact copies of Moeller feet, as well? Are they cast zinc? They almost look like aluminum, which I mentioned in my comments.

When I contacted Ellis Mirsky [BlogMaster@FieldDrums.com], I mentioned that I had only seen this characteristic design feature on one of your drums ... .

While you are certainly welcome to add your own comments to the website, I can contact Mr. Mirsky with your details. Ellis desires to make his blog as accurate as possible and he needs the help of knowledgeable persons/historians such as you.

For clarity, please provide information on the origin and make-up of the drum feet; origins (if known) of Mr. Fennell’s drum; the widening of the counterhoop was a trademark feature of Gus Moeller.

Following your response, I will see to it that corrections are made.

Thank you for all you do,

Terry Cornett

-----

FROM ROBERT UBALDO:

Terry,

From what I could see on the drum that Mr. Fennell is carrying, I would say it is a Moeller. It certainly is not one of mine (a Ubaldo). I believe that he (Fennell) just passed away in the last couple of years.

My workshop has a bunch of Moeller hoops bent, broken and otherwise for I do all the work for Dickerson [Charles W. Dickerson Fife and Drum Corps] and they have a set of Moeller drums and I keep them with Moeller parts. Other people worked on them and put their [!@#$%^] on the drums which I took off.

I repair ... Soistman drums, ... Reamer drums and, of course, ... Moeller drums. Those hoops require a lot of work and time. The feet were not cast zinc but aluminum. I keep replacing the Soistman-type brass feet for the screws come off and the crown nuts get lost. Moeller had the best snare strainer of all. Soistman and Reamer didn't.

...

Look at the FieldDrums.com site and the Army Drum used at the funeral of President Kennedy. The hoop has Moeller feet and what looks like a raised section on the hoop. [From] the blurred picture I have, it looks like the Moeller snare strainer. Soistman had a poor hook-up that wore out on his drums. I could tell you what is what if I could get close to the drum. There is no Soistman hook up on the drum [nor] any of his work on this drum [which is, nonetheless] credited to him.

[Robert C. Ubaldo]

(N.B.: Mr. Ubaldo had more to say, but for the sake of harmony and tranquilty we'll leave it at that. He is reachable at oldmanubaldo@aol.com.)


----------
* Elizabeth Ludwig Fennell (no relation to William F. Ludwig) was the widow of Carl Ludwig (no relation to William F. Ludwig), president of Ludwig Music Publishing Company (not affiliated with any Ludwig drum company).

In 1989 Elizabeth Ludwig Fennell was presented the OSMA (Outstanding Service to Music Award) at the closing banquet of the 1989 National Convention of Tau Beta Sigma, National Honorary Band Sorority. At the time, Mrs. Fennell was the president of the Ludwig Music Publishing Company. Her and her late first husband Carl Ludwig had built the publishing company and it has become one of the prominent music publishers in the country. A native of Cleveland, Ohio, her business skills were notable, especially in a male-dominated field. Early in her career at Ludwig, Mrs. Fennell composed beginning band level music under a pseudonym, fearing that band directors would not buy music written by a woman. She penned music with the junior high band in mind, since that was not a common audience that composers were writing for. When Mr. Ludwig passed in 1982, Mrs. Fennell gained control of the company. She continued to promote quality band literature and repertoire. In 1985 she married fellow Interlochen alum Fredrick Fennell. Mrs. And Dr. Fennell founded ELF Records in 2000. Mrs. Fennell was the first woman elected to the Music Publishers Association. The 1990 composition by Robert Foster Crest of Allegiance was commissioned for Tau Beta Sigma with funds donated by Mrs. Fennell.

** Terry Cornett has served as principal percussionist for the Huntsville Symphony Orchestra since 1975. An excellent and versatile freelance musician with 33 years professional experience, Mr. Cornett enjoys "first-call" status for regional theater, chorus, ballet and church productions, as well as touring Broadway musicals.

Terry is also the sole propietor/maker of Heritage Drums, which specializes in historically accurate, custom hand-crafted, rope-tensioned drums patterned after 17th- through 19th-century models. He also performs restorations for National museums. Drums built by Mr. Cornett have been used in films such as "Last of the Mohicans," "The Class of '61," "The Blue and The Grey," "Gods and Generals" and several Smithsonian productions. Turner Broadcasting Company purchased a drum for use in advertisements for the NBA play-offs.

Mr. Cornett's early exposure to classical music began in Germany, where his father was stationed with the U. S. Army. "It was the only thing on the radio," he recalls. His formal musical studies began with piano lessons from his Cub Scout den mother in Oklahoma, Mrs. Cook. The family relocated to Huntsville when he was eight; he began studying drumming at age 12.

Here's Terry in uniform as he played with Olde Towne Brass:

-----

See also "The Sousa March: A Personal View" by Frederick Fennell.

A Short History of the Drum

Source: Vienna Symphonic Orchestra

The frame drum and timbrel in the Middle Ages

Frame drum
from: Praetorius,
Syntagma musicum,
1620
Medieval Europe was home to an enormous variety of drums, most of which had originated in the Orient. The most widespread forms were the frame drum and the timbrel, a forerunner of the present-day tambourine. The frame drum consisted of a rectangular or circular wood frame with a head; the underside was open. The main difference between the frame drum and the timbrel was the presence of the jingles that were attached to the latter’s shell. While the timbrel was still struck with the flat of the hand in the Middle Ages, like its predecessor in antiquity, an additional, one-handed technique was emerging for the frame drum: traveling minstrels used it mostly to accompany the single-handed pipe and hung it to one side on a strap over the shoulder, where the musician struck it with a beater while playing the pipe with the other hand.

The medieval tabor


Tabor
from: Praetorius,
Syntagma musicum,
1620
Evidence of a forerunner of the snare or side drum in Europe exists at least from the 14th century in the form of the tabor, a small, double-headed drum with a cylindrical shell of wood and one or more snares stretched across the batter head. The calfskin or sheepskin heads were rope tensioned, the ropes criss-crossing between the hoops of the batter and snare heads. The drum hung at the side of the “player of the pipe and tabor” who beat the rhythm with a drumstick while playing a melody on the single-handed pipe with the other hand. The minstrels’ drum had to be fairly light and easy to carry because it hung over the player’s forearm, and for this reason it was rather small and not very loud.

Drum names

In the Middle Ages there were no standard names for drums. The oldest appellation was probably the Latin tympanum, which originally described flat frame drums but in the later Middle Ages was used for every drum-like instrument (including timpani). In addition to this the term tabor (German tambur, French tabour, tambour) became widespread. In German-speaking countries the onomatopoeic name Trommel (from the Old High German trumme, trumbe = booming instrument) appeared in the 12th century and initially described both membranophones and trumpets. It is from this term that the English word drum (drome, drume) evolved which replaced the name tabor in the 16th century.

Side drum or field drum


Lansquenet drum
"Soldiers' drum"
from: Praetorius,
Syntagma musicum,
1620
In the 14th century the practice of one man playing both pipe and drum ended, the instruments being played henceforth by two musicians. This separation was a consequence of the way the two instruments were evolving: the pipe’s compass was increased, making it necessary to use both hands to play the instrument, and the relatively soft-sounding tabor was made larger to increase its volume, which was a requirement particularly of military music. The result was the side or field drum.

The history of the town of Basel in Switzerland records the existence of an “Association of Drum and Fife” as early as 1332. The members of this “guild” were important figures at public festivities.

In the course of the 15th century the drum that was struck from the side became ever larger and ever louder to meet the changing requirements of military bands. It became too large to be hung over the forearm and was now attached to a strap over the drummer’s shoulder or tied to a belt around his waist. The widely known “Swiss” drums became the model for drum-makers all over Europe. The small tabor remained in use as a folk instrument while the new, large drum became an important instrument with lansquenets (German foot soldiers). It is for this reason that the side drum is sometimes also called the field drum, or, in historical contexts, the lansquenet drum (tambour de lansquenet) or long drum. “Fife and drum” symbolized the common foot soldiers, while trumpets and kettledrums represented the cavalry.

The field drum was between 50 and 70 cm deep (some models were as deep as one meter) and had a diameter of 50 cm. It was beaten with a pair of heavy sticks. From the 16th century the snares were stretched across the lower skin, the snare head.

Basel drum

Basel drum
The field drum’s main task was to give signals and mark the marching rhythm. Single and double beats and rolls were already standard playing techniques.
In the 17th and 18th centuries the field drum continued to evolve within the context of military bands. One of the principal aims was to reduce its dimensions, especially the depth of the shell, while retaining the volume.

This smaller version of the field drum is nowadays called the Basel or parade drum. The drums used by the distinguished Basel Drum Associations still have the original form, the head tensioned extremely tightly by criss-crossing cords to produce a bright tone. The Basel drumming style has a long tradition in which bounces and virtuoso embellishments play an important role. On contemporary models of this drum the head is tensioned with screws.

Military side drum

When in the mid 18th century the bass drum and Turkish drum arrived at the courts of European princes with Janissary music the depth of the side drum’s shell had already been reduced to 40–45 cm, its diameter to 40 cm. The body, previously made of wood, could now also be brass.

In the 19th century the drum’s dimensions were reduced to a shell depth of about 40 cm and a diameter of 40 cm, in other words, the depth now corresponded to the head diameter. Such drums became widespread in many countries. English speakers called it the military snare drum, Germans the Militärtrommel, the French the tambour militaire and the Italians the tamburo militare. This drum is still used in military bands today.

At the same time manuals on the basics of drumming began appearing in Europe and the USA. In addition, drummers in military bands had to be able to play a large number of signal calls which with orders were passed on to the troops in a coded drum pattern. In the 19th century bugles took over this task. Drums were also used as signaling instruments in shipping and navigation, and, albeit rarely, in civilian life.


Tambourin
(tambour provençal)
Admittance into the orchestra

100 years later than the timpani – in the second half of the 18th century – the side or field drum appeared in the orchestra for the first time, under the name tambour: Georg Friedrich Handel and Christoph Willibald Gluck used the instrument in their Fireworks Music (1749) and Iphigenie auf Tauris (1779) respectively. But drums have never achieved the same importance as timpani in the orchestra and their chief province remains marching music to this day. Because the drum had often been used in the midst of battle its first tasks in the orchestra were to evoke a military atmosphere, as in Josef Haydn’s Military Symphony (1794). Ludwig van Beethoven gave the drums authentic tasks in his battle symphony Wellington’s Victory (1813), giving each of the armies its own drum signal.

The drum was used more extensively in the opera orchestra, e.g. by Gioacchino Rossini, who even used it as a solo instrument in his opera The Thieving Magpie (1817), which earned him the nickname “Tamburossini”.

Beside the tambour – in historical scores this refers to whichever form of the side drum was in use at the time – an instrument with the name tambourin enjoyed huge popularity especially in 18th century French opera. This was a drum played with one hand and made of very light wood, with a shell about 70 cm deep and a single head. Direct descendants of this tambourin or tambour provençal are still used today in folk music in southern France. The instrument should not be confused with the tambourine with its jingles.

The modern snare drum

In 1837 the Englishman Cornelius Ward was a central figure in the invention of screw tensioning, which rapidly replaced rope or cord tensioning. This innovation meant that the snare drum could now be even flatter: the shell depth was reduced to 20 cm, in some instances even to 10 cm.

In the second half of the 19th century flat drums with a larger diameter (approx. 35 cm) than shell depth were adopted as rhythm instruments by salon orchestras, dance bands and jazz ensembles. At the beginning of the 20th century this small version became generally known as the snare drum or side drum. The best-known orchestra piece in which the snare drum plays a vital role is Maurice Ravel’s Boléro (1928).

New impulses from jazz

At the beginning of the 20th century the snare drum was already an essential component of jazz percussion. The influence of jazz brought a host of innovations to the snare drum’s construction and playing techniques.

The hoops, which until the end of the 19th century had been made of wood, were replaced by metal ones. In 1898 the percussionist Ulysses Grant Leedy made the first adjustable stands for the snare drum. In about 1914 Robert Danly invented the snare strainer to lift off the snares, making it possible to produce a kind of tom-tom effect on the snare drum. In 1957 the first drum with a synthetic head appeared on the market. Because of its resistance to changes in temperature and humidity – it is waterproof, robust and cheap – the plastic head proved a huge success in popular music, whereas orchestra musicians preferred to continue with natural heads, which, for the most part, they still do today.

20th century composers expanded the snare drum’s range of tasks: beside its traditional rhythmic function, which became more complex and varied, tonal aspects gained importance. Moreover, the drum was also used as a solo instrument. Efforts to find new timbres resulted in experiments with the striking spot and various types of stick. Ultimately new techniques such as striking the rim, or the rim shot (striking the head and the rim at the same time) or playing with wire brushes were able to establish themselves in more recent orchestral works.

Source: Vienna Symphonic Orchestra

Drums of J.W. Pepper Company Made by Soistman Drum Company of Camden, NJ

Supplementing information concerning the J.W. Pepper Company in our post "Signed 1860's (J.W. Pepper) Civil War Drum", this additional information from Jedistar's website:

James Welsh Pepper (1853-1919) founded music publishing house in 1876. [Source wikipedia]

"Drums for the J.W. Pepper Company were made by the Soistman Drum Company of Camden, New Jersey. Even though all of the drums were made by the Soistman Drum Company, these instruments were made according the specifications of the Pepper Company. Jimmy Pepper felt that the Soistman Company was better at making these instruments than his own. These instruments were made, and sold between 1876 thru 1910. The Pepper company was not in business prior to 1876. [Source: George B. Class, J.W. Pepper & Son, Inc. email 6/3/2009]

[Other information concerning J.W. Pepper Co.:]

[National Music Museum]

[William F. Ludwig, Jr.'s Letter re Drum with "20th Century Drums" Label]

1803 Carmarthenshire Militia Bass Drum

From the private collection of James L. Kochan sold by Richard Opfer Auctioneering, Inc.

Regimental Bass or Side Drum of the Carmarthenshire Militia, c. 1803 This striking bass drum was used by the band of the Carmarthenshire Regiment (Welsh Militia) during the late 18th and into the early 19th century. It bears a stag on a yellow ground, the remainder of the shell being painted blue. The stag is presumed to be the old regimental device (or the crest of its colonel-commandant) prior to it being redesignated the Royal Carmarthen Fusiliers, upon which the device was changed to the Prince of Wale’s feathers. Like the snare drum above, the yellow ground indicates the earlier facing color of the regiment. The blue around the balance of the shell may have been applied when the facing color changed in 1799. The shell and rims are original and the heads and cords are modern replacements. $3000/3500

1803 39th Regiment of Militia

From the private collection of James L. Kochan sold by Richard Opfer Auctioneering, Inc.

Regimental Drum of the 39th Regiment of Militia, c. 1803 This is a rope-tension, snare drum as issued to the Carmarthenshire Regiment, which was renumbered as the 39th Regiment of Militia in 1803. Per royal warrant, drums were to have their fronts “painted with the colour of the facing of the Regiment, with the King’s cypher and the crown, and the number of the regiment under it.” It is most likely that this drum had been issued earlier in the 18th century, as the facings for this corps were changed to blue in 1799 when they received a “Royal” designation and ground is yellow. In all other respects, it conforms to that regulation. There is a split in the wooden shell around the center of the drum which was repaired by a previous owner; during this restoration, the old varnish of the shell was removed and new varnish reapplied after light inpainting of loss in the damaged area--hence the brightness of the yellow paint as opposed to that on the rim (which still has its original now-darkened, varnish over it). The shell and rims are original, while the heads and cords are modern replacements. $3000/3500

Bird's Eye Maple Drum

eBay seller dutchboy5663 ( 3988) sold item no. 270419336995 for $175 last week (July 8, 2009):

I am offering this early marching side drum. that measures app. 15" wide and 11.5" tall. The drum is in good shape. The skins do need to be replaced, and it is missing one leather tug. The birdseye maple is in great shape. There is wear to the black bands which you would expect from a drum this old. There is a name printed on the leather that anchors the gut snare that looks like RANDL? ..see pic... With a little work this would be an awesome drum!

Painted Bass Drum Heads

Source:Airform Archives by Sroden, Pasadena, California
http://inbetweennoise.blogspot.com/search?q=drum

Civil War Drummer Poem

when all is still and hands quiver, still.
when time so quiet, as stopped.

the faint sound of a drum
remains a whisper
gentleness, an air.

a fading of skin struck, a day
a week
a month
ago.

a soft kind of exhale.

and the hand, the quivering
from within.
knocking from the inside
shaking on the outside.

some tiny area at the tip
of a finger, opens.

spirit released.
all blurred edges and shifting forms
upwards. drifting. moving
as if a cloud.

then still.

the hand
and its fingers
emptied
of visual vibration and stutter
becomes.

an image of absolute clarity
without breath-
quiet as a group of small stones
sounding for those
with gentle ears.

certain moments
continue to drift towards us
resting, still, out of breath
upon our shoulders.
sounding softly
as we continue,
always,
to listen.

Airform Archives
By Sroden (Pasadena, California)
http://inbetweennoise.blogspot.com/2009/05/when-drummers-have-quivering-hands.html

CDVs of Women with Drums

This unidentifed young woman may well be a vivandier, one of those unoffical women who were accepted by and often accompanied their regiment. These were not women who disguised themselves as male and enlisted, nor were they cheap "women of the town" but were instead women who played a ceremonial role in military parades and frequently also performed the duties as a nurse, sutler or other function. While most remained behind when their regiment left their home state, a few followed the men into the war zone.

Note this woman's full military size drum, the canteen on her hip and her very basic military style uniform adapted to female style and compare to this other picture (below) of a Daughter of the Regiment.

Photo by Smith & Richardson, Birmingham, Connecticut.
Taken c. 1863 (+/- 1 year)
http://www.flickr.com/photos/piedmont_fossil/2407949713/
-----
The young woman in this photo from January 1866 appears to be in the costume of a "Daughter of the Regiment." Unlike a vivandier that was affiliated with an actual regiment, this woman is probably an actress playing the lead part in Donizetti's Comic Opera "The Daughter of the Regiment." This stage production was popular in the United States during the Civil War years and immediatley afterwards. The plot is about a young orphan girl raised by the men of a regiment. Later a woman claiming to be her "aunt" takes her away and insists that she marry a rich duke. The heroine expresses her gratitude to the men who had raised her and laments her lover, who had joined the regiment just to be near her. In the end her "aunt" (revealed to be her true mother) relents and the lovers are allowed to be married.

Compare this photo to a picture believed to be a true vivandier (above).

Photo by Mrs. A. Fletcher, Massillon, Ohio
Taken January 26, 1866
http://www.flickr.com/photos/piedmont_fossil/2407949511/in/photostream/

19th Century Norwegian Drum Bears Striking Resemblance to the Work of the Brown Family

Kjell Tore Innervik
An old military drum from the 19 century.

Probably used in "Drangedal" western Telemark, Norway. The drum was bought at an auction in Skien in 2002. The owner was living on a farm in Drangedal in Telemark, Norway. No more history was possible to get.

It was restored in 2003 by Ingvald and Kjell Tore Innervik. New hoops, "ears" and dear skin from the western part of Norway shot by Dr Stene from Fredrikstad made the drum sound again. The string is the original horse tail.

The drum is probably British. I saw a similar drum in Büchler trommelbau in Basel, and they had bought it from a museum which operated with a dating from around 1780. A similar drum is also at the Castle of London.

These three really heavy sticks came with the drum.

In the collaboration with Hans Olav Gorset he uses the Copperman flute, and I the Cooperman 21P Connecticut drummer.

A hollow tree from Narvik, Norway made by my father Ingvald Innervik with pig skin has been made as well, for performing this kind of music.

kjell tore innervik 2008

Confederate Army Brass Drum

135. IDENTIFIED CONFEDERATE ARMY DRUM Brass bodied drum complete and all original including heads and snare. According to respected expert Dale Anderson, such drums of the description may be found in Southern museums labeled as having been captured from the Hessians during the American Revolution. The drum came from the deep South and displays an old inscription, faded but legible for the most part encircling head near rim providing both Seminole and Civil War provenance. At least one-third of the captured Confederate drums were brass bodied, and it is known they used drums from earlier periods. This is a superb example: tight, original, untouched. The shell is aged, almost black except where prior owner cleaned a test spot to see the metal. This drum is 101/2" in height and 13" in diameter with plain heavy leather tugs and original rope with braided tail. Rims appear to be of oak construction. Adjuster is long screw with hook end and tall wing nut on other. The top head is inscribed "Used in the Great Seminole War and The Rally of 1861 by Grandfather Caleb Johnson of Corbitts Field." Last portion of faded lettering "Corbitts Field" was interpreted by original owner, but can be ascertained. A very desirable military collectible with wonderful historical associations. Est: $800-1500

Source: Signature House Auctions, Auction 32, 4/28/07 and 4/29/07, "War Between the State" portion.

G.A.R. Post Fife and Drum Corps, 1914

Members of the National Soldiers Home fife and drum corps at Salina, 1914. All are members of Custer Post No. 6 Grand Army of the Republic.

Source: Kansas State Historical Society, KSHS Call Number: FK2.L3 / L.8 / USNSH / *59

Early 18th Century English Battle Drum

Painted Battle Drum, early 1700s.

Source: Nicole Cargill-Kipar's late 17th Century Clothing History.

1917 U.S. Army Corps of Engineers Bass Drum

eBay Seller bdmills7 ( 19) is offering item no. 140333327076 described as follows:

1917 WORLD WAR 1 BASS DRUM - 30 INCHES HIGH WITH ORIGINAL HOOPS AND HEAD - FAIR CONDITION BUT BEAUTIFUL ARTWORK - SHOULD BE IN A MUSEUM

The logo on the drum's head looks like the insignia of the U.S. Army Corps of Engineers:

Possibly the Ugliest Drum Ever -- WFL's WWII Wood Drum

eBay Seller mattrinc ( 778) has item no. 200363443199 posted with an appropriate starting price of $9.99 (no reserve), described as follows:

Unusual, and rare, World War II era WFL Ludwig marching snare. Recognizable from it's sticker, NOT METAL, badge, and the use of the most minimal amount of metal possible. Drum is in heavily used condition, with knicks and dings etc.; none extremely major, but these are consistent throughout. I did sucessfully remove the wood top hoop to get and shot of the inner workings of the drum, and also to see if a new modern style drum head could be applied to this drum. The old calfskin top head has a tear in it and would need to be replaced. The tuning is achieved by adjusting the tension of bent wooden slats that adjust both bottom and top heads at the same time. I checked each to see that the screws weren't stripped, and the wood slats weren't cracked. I cannot guarantee complete tuning accuracy with this type of "antique" tuning mechanism, but you sohould be somewhat able to replace the head and be able to use the drum if you've had some experience with older drums.

HEAD SIZE: 14"
DEPTH: 12.25"
HOOP SIZE: 1.125"

-----

W. Lee Vinson writes:

Maybe I'm just missing a sense of humor but I disagree with the title of this posting. The predominantly wooden drums of the WWII era are to me every bit as significant as the eagle drums of the Civil War - even if they didn't play a major role on the battle field.

Not only is the appearance of the WFL 'Victorious' drums striking (aka ugly), but the tuning system was highly innovative albeit marginally functional and ultimately ill-fated (see Leedy & Ludwig's knob tension drums of the early - mid 1950s).

I have one of these WFL Victorious drums in my personal collection and it is an instrument that everyone remembers once they've seen it. There is an excellent picture of Bill Ludwig II with one of these drums published in Paul Schmidt's History of the Ludwig Drum Company too. I always open the book to that page when showing the drum because it makes such a powerful connection.

Then again, maybe the only reason my friends remember this one is because it's so ugly... Regardless, thanks for the posting!

And for the record, the badge is metal. It's made of very thin, soft aluminum and is attached to the shell like a sticker.

-Lee

19th Century 10-point Vertical Aligned Inlaid Star Drum by Klem & Brother (Philadelphia)

eBay Seller jojo-au-gogo ( 1125) offering eBay item no. 170358800517 for a Buy-It-Now price of $695.00 is described as follows:

An antique rope snare drum from the mid 1800's in excellent condition. The shell has the original finish with a nice patina. The mahogany shell has a wood engraving [actually an inlay] of a compass rose [not quite, it's a 10-pointed star, vertical alignment]. The rims are maple and have a painted [stenciled] design that goes all around the rims. The heads are adjusted by ropes with leather and metal thongs [tugs, or ears] with the rope going through metal hooks on the top and bottom rims [counterhoops]. The rope looks to be in good shape and the heads are firm with small holes that look like insect or worm holes. I can see through the air hole the label that may help date the drum it says “KLEM & BROTHER Importers Manufactures and Dealers of Musical Instruments & Strings No. 705 Market Street Philadelphia." Klem & Brother was in business from 1819 until 1896 manufacturing flutes (National music museum at University of SD) but they were importers and also dealers. The drum size is 12" (304mm) deep and 16.5" (419mm) in diameter.

Early USMC Eagle Drum by William Ent, ca. 1838

From "Antiques and the Arts Online, 'New Location — Same Great Merch At The East Coast Fine Arms Show'", Jan 15th, 2008, by David S. Smith:

One of the highlights of the show was an exquisite early Nineteenth Century drum painted in bright red with a large spread-winged eagle emblazoned across the front and "U.S. Marines" painted above the eagle's wings. Displayed by Dave Kliener, Bloomingburg, N.Y., the drum retained its original label on the interior, identifying it as made by William Ent, Germantown, Penn. Although Ent had a number of contracts with the US military, his last known contract with the Marines was in 1838, prompting thoughts that this example could possibly be the earliest known regulation USMC drum.

Right-Facing Heraldic Eagle Drums

This post started as a discussion of one drum (the first discussed below). One element of that drum (the right-facing eagle) caught the Blogmaster's attention. Following an email response from Patrick Jones (below), we found a number of drums with right-facing eagles (the eagles on most/all Civil War Regimental drums we have seen have the eagle facing to the viewer's left). Our sense is that the right-facing eagle designs are all pre-Civil War and possibly linked to German designs for the reasons discussed below.

For some background on the heraldic eagle, see "The Heraldic Eagle: The Story Behind The Bird", Robert S. Koppelman & the Numismatic Guaranty Corporation.

smilenandstylin4you( 1 ) is offering eBay item no. 180379954734 desribed as:
Civil War Drum beautifully painted with Eagle. Reburbished - new heads and ropes have been put on and body has been varnished. Came from Massachusetts.

I have never seen this drum before so it is unlikely that the photos were lifted from some website. The seller's low experience rating by eBay (1) causes me some concern.

The placement of a non-period, foreign (European) snare strainer directly on the eagel motif could have been an act of gross incompetence or a field repair done with available materials.

The use of modern machine-made nylon/polyester rope is a giant no-no demanding removal and replacement at the earliest opportunity.

The drum's darkened appearance might result from the varnish mentioned in the description. I wonder whether the varnish could be removed without damaging the underlying painting.

Finally, and perhaps most interesting, is that the eagle faces right. Almost every other eagle drum pictured in this blog has a left-facing eagle. The art work looks otherwise pretty good and possibly authentic/period.

Note, the drum could be pre-Civil War (as the other right-facing eagle drums discussed in this blog below are) and the regimental banner could have been painted on after the original painting was done to ready the drum for service in the Civil War. Just a hypothesis. The banner does look as though it was overlaid onto the eagle motif.

----------

Blog reader Patrick Jones (Camp Chase Fifes and Drums) emailed this contribution about another very similar drum:

I have pictures of a drum very similar to the eagle drum [discussed above]. The eagles are almost identical including tack design and eagle decoration. The heads are turned in the "sub-heraldic" manner, meaning to the eagle's own left. I was told that this particular drum came from a maker in Germantown, PA. I'm not sure if he was referring to William Ent. He was known to have make drums there from 1856-1863.

I have also heard that eagle motifs displaying an eagle with their head turned to their left were pre civil war, I believe that is not true because I have seen some Elias Howe drums of the period with eagles facing that direction.

From what I remember, this particular drum was quite large and I thought it to be a pre-Civil War drum. Without a label or address though, who knows?

Sincerely,

Patrick Jones



Another Heraldic Eagle Drum:

With the lead provided by Patrick Jones, we found the following similar drum:

"Important Drum With Heraldic Eagle Surmounted By 14 Stars, Tin Label "'Light Infanty'"

This drum (above) was reportedly sold at auction by Carlsen Gallery, Inc. of Greenville, New York on November 22, 2008 with a hammer price of $3,200 plus 15% buyer's premium.

Yet Another Heraldic Eagle:

Drum; War of 1812 Era, Militia, Eagle & Shield, Later Harrison Campaign Paint, 23 inch.

A circa 1790 to 1815 original ornately decorated War of 1812 era militia drum with stenciled and painted drum head for political use in the 1840 Harrison campaign. Original paint intact; the central face of the drum displays a wonderful red, white and blue painted American Heraldic Eagle with arrows and olive branch in its talons within a field of turquoise - blue. A white banner is held in its beak, having a fairly ornate arrangement of flowery branches above. Item no. A038577.

And this from Encyclopedia of Percussion By John Beck (p. 286):

See photo and discussion at p. 286.

My Dad, 87 and Still Drumming

My father, Joe Mirsky (now age 87 and pictured above in a jam session last year playing a 1986 Cooperman Fife & Drum Co. 6-ply rosewood 18"x18" snare drum), 1939 NYS VFW Junior Snare Drum Champion (see photo below). Joe is quoted in Ken Mazur's terrific article titled "The Perfectionists, The History of Rudimental Snare Drumming from Military Code to Field Competition", from the April, 2005 edition of Percussive Notes, p. 10, et seq., published by the Percussive Arts Society.

Joe Mirsky in the uniform of Bronx Post 95, Veterans of Foreign Wars, Sons of Veterans Fife, Drum & Bugle Corps, 1939

Dad (Sgt. Jacob Joseph Mirsky, USMC), 1943

Mom (Sgt. Lucille Albert Mirsky, USMC), 1944

Sgt. Joe Mirsky, Marine Corps Air Station ("MCAS"), Miramar, California, 1945

Dad did a short stint as a volunteer in the Israel Defense Force, 1988 at age 66

Mom and Dad, active in the Marine Corps League

1890 Thompson & ODell by J.B. Treat

eBayer eds541( 463) is liquidating some of his Civil War and related militaria collection. This 1890ish Thompson & ODell by J.B. Treat, posted on eBay as item no. 200361061324, is a beauty. The seller is known to the Blogmaster and has been in telephone communication with the Blogmaster numerous times over the past two years discussion drums. The description on eBay is:

This being one of my favorites, is a snare drum with dimensions being 16 1/2" in diameter X 10 1/2" tall. It was made by J.B. Treat for Thompson and Odell of Boston.

The label is still affixed to the inner shell and is crisp and clear. The address on the label lists the company at 177 Washington. According to the "Directory Of American Military Goods & Makers 1755-1915" they were at that address from 1880-86. However, on our label, the 177 has a pencil mark through it and 523 is written underneath. They were at 523 from 1890-1900. Apparently they were using up their remaining stock of labels, thus probably putting this drum at 1889-90.

A military drum with the same label, made by Treat, was listed in one of Flaydermans catalogs back in the 1960s. Thompson and Odell drums are quite desirable, however the ones made by J.B. Treat are RARE, military drums by Treat, VERY RARE.

There is a Thompson and Odell, Treat drum on display at the National Music Museum in South Dakota, it is part of the Ludwig Collection. It however is a later model with a 1905 date.

[Here is] Another excellent site to see a Thompson and Odell, plus MANY great drums and articles.

As you can see from the photos, this drum itself is museum quality. A centerpiece to most any military, or drum collection. If you are buying it to play, it is 100% playable, the skins wouldn't even have to be changed, just adjust the tension!

It is 100% original, down to the tugs and rope. Skins, gut snares, everything looks to be original and untouched! Usually when I get a drum, the first thing I do is hand rub the tugs with Pecards Leather Treatment. BUT NOT THIS ONE, all 12 tugs are present, original, and in great shape! This truly is a rare and beautiful drum.

George Kubicek, Yonkers Drummaker, Cranks Out Two Large Swiss-types

George Kubicek (shown above in his usual casual garb, sans the pseudo doo-rag, which appears to have been inspired by the Ancient Mariners) of Yonkers, New York (about a mile from where William S. Tompkins made his masterpieces 150 years ago) and near Mt. Vernon where Pat Cooperman got his start, has used the Winter months productively cutting, bending, and fashioning materials for two new Swiss-type rope drums (top photo). George is an engineer by day, drummer, drum restorer and drum-maker in his spare time.

George told the Blogmaster that the blond drum is spoken for but that the darker drum is available for sale (asking price $1,200). Contact George through this blog.

William H. Reamer, Drummer, Drum Instructor, Drum Maker

This article is reprinted from CADRE's Website:

W. H. REAMER
Bill Reamer passed away on February 21, 2007. Bill was the drum instructor for The Archer Epler Drum & Bugle Corps of Upper Darby PA which many of us had the privelege of competing against in the 1950's and 60's. Bill was the propieter of DRUMMERS SERVICE located in East Earl PA. As a master craftsman he produced custom rope drums that are legend. His hand crafted custom drum sticks are collectors items. Paul Mosley and myself purchased several pairs of Bill's sticks a few years ago and continue to use them.

An obituary and pictures of one of Bill's custom rope drum's built for Dick Filkins, a Reamer student, is attached. Bill Reamer made a significant contribution to the rudimental art form. His accomplishments will not be forgotten. On behalf of all CADRE members and associates, our condolences to the Reamer family.

Fred Johnson,
President
[CADRE
(Canadian Associates Rudimental Drumming Excellence)]
--------------------------------------------------------------------------------
Obituary
William H. Reamer, 85, New Holland, PA died Wednesday, February 21, 2007 at his home. He is survived by his wife Elizabeth (Sinclair) Reamer with whom he shared 59 years of marriage.

A lifelong drummer and instructor, Bill taught rudimental drumming to many who later became champions. He picked up the baton from "Buck" Soistman upon his death and carried on the tradition of the "Grand Republic Drum," following in the footsteps of Gus Moeller and others. He also did fine restorations of historic drums for many museums. After retirement, he had pursued drum making and drum restoration full time. His drums are used by many major orchestras throughout the world, as well as by the U.S. Military, including the Old Guard Field Music of Ft. Meyer, VA. He was a member of Archer Eppler Drum & Bugle Corps of Upper Darby and a founder of Independence Fife & Drum Corps of Broomall.

Bill served in the U.S. Army during WWII in New Guinea, Philippines, and Japan. He was a member of the V.F.W. and American Legion of Upper Darby and also enjoyed camping.

Surviving in addition to his wife are two sons, William S., married to Karen, of Ithaca, N.Y., and Andrew L., married to Ruth Ann, of Pittsburgh; six grandchildren, Billy, Jessica, Dana, Christine, Elizabeth, and James; and a sister, Elizabeth, married to Jack Ritchie, of Newtown Square.

A memorial service will be held on Saturday, February 24, 2007 at 2 p.m. in the Garden Spot Village Garden Towers (3rd Floor) with Pastor E. Clair Martin officiating. The family will greet friends on Saturday from 1 to 2 p.m.
Drummers are invited to bring their instruments. "Downfall of Paris" will be played in honor of Bill.

Kindly omit flowers. If desired, memorial contributions in his memory may be sent to Hospice of Lancaster County, PO Box 4125, Lancaster, PA 17604-4125; Garden Spot Village Benevolent Fund, 433 S. Kinzer Ave., New Holland, PA 17557; or to Cedar Grove Presbyterian Church, 4833 Division Hwy., East Earl, PA 17519. The Groff-High Funeral Home, New Holland is in charge of arrangements. Online condolences may be sent at: www.groffeckenroth.com

Edmund W. Boyle

------------

This article reprinted from Legacy.com Memorial Websites.


Full Name: William H. "BIG" Reamer
Date of Birth: October 26, 1921
Date of Death: February 21, 2007
Country of Birth: United States
Place of Birth: Philadelphia, PA
Place of Death: New Holland, PA
Biography: William H. Reamer, affectionately known as "BIG," was a well known snare drummer, instructor, drum judge, drum & drumstick maker, mentor, loving husband, father and grandfather.

Bill started drumming in 1933 with a Boy Scout drum and bugle corps and worked weekends (between the years 1935 and 1938) at the drum shop of William A. Barry, located at 3426 Market Street in Philadelphia, PA, a youthful precursor to the establishment of his drum making business 41 years later. He studied drumming under Joseph L. Walters, Charles S. Walton (drum maker of Philadelphia), prior to W.W.II, Al Moffat (Connecticut drum instructor) and Benjamin Podemski - 1st Chair Percussionist with the Philadelphia Orchestra. In 1936, Bill was a member and drum instructor of Archer Epler Jr. and Sr. "Musketeers" Drum & Bugle Corps of Upper Darby, PA. Many times this corps was V.F.W. and A.L. State and National Champs throughout his approximately 27 years with the group. From the years 1938 - 1941, Bill had the prestigious honor of winning the V.F.W. National Snare Drum Championship (Jr.) for 4 years. During his Army years, 1942-46 (where he served in New Guinea, the Philippines and Japan), he played with the Army Field Forces band under Edwin Franko Goldman and later went on to coach several national champion individual competitors. From 1946 - 1956 he instructed Howard W. McCall "BlueBirds" Jr. Drum & Bugle Corps of Philadelphia (A.L. Jr. National Champions) - the first junior corps to play Ratamacues - and the Osmond Hurricanes in 1948 and 1949; 1947 - 1968 he instructed the National Champion Audubon "Bon-Bons" All Girls Drum & Bugle Corps of Audubon, NJ (See YouTube video of 1972 Bon Bons' "Reamer" Drum Solo). From 1950 - 1958, Bill was a judge for the All-American Drum and Bugle Corps and Band Association and also served as Chief Judge of the Mid-Atlantic States Assoc. He organized "Patriots of Broomall" Fife & Drum Ancients in 1969, "Drums," a rudimental drum group, in 1971, and "Company of Drummers" in 1972 (all located in Broomall). In 1974, along with with fifer Edmund Boyle, Bill was co-organizer, President and Assistant Drum Sgt. of the Independence Fife & Drum Corps of Broomall, PA. This award winning corps had the honor of entertaining a number of dignitaries such as U.S. Presidents Gerald R. Ford and Jimmy Carter, Queen Elizabeth, President Valéry Giscard d'Estaing of France and King Carl XVI Gustaf of Sweden and performed numerous times at Independence Hall in Philadelphia (including in 1976 for the Bicentennial), as well as a plethora of fife and drum musters from Virginia to Connecticut and appearances on television & radio. Though the group never competed, the Independence Fife & Drum Corps was well respected among the fife & drum corps elite, worldwide.

From the years 1968 - 1971, Bill Reamer enjoyed a teaching career as drum instructor for the award winning Marple-Newtown High School Symphonic Marching Band, as result of band director, Larry McGriff, seeking out the best drum instructor he could find, which began a long tradition of superior rudimental drumming skills being taught on a level not found in any other high school band drum sections at the time. Due to the geographical location of M-N High School, both of Bill's sons, Bill & Andrew, were members of the band, as well as most of his private drum students. McGriff was also one of the pioneering band directors, in the country, who began featuring the "drumline" during performances and competitions, many years before the influence of Drum Corps began to permeate the styles of what we see in high school & college bands today. The influence of Reamer's rudimental drumming adroitness was obvious with the M-N High School Band Drumline - introducing rudiments never before seen on the high school level, such as the "6 Stroke Roll," which Bill coined as "Troublemakers" and had taught for many years to his Drum Corps drumlines. Under the unique & innovative musical direction of Larry McGriff and along with Reamer's drum instruction, the Marple-Newtown High School Symphonic Marching Band had the privilege of winning a myriad of 1st Place trophies in high school band competitions all along the East Coast and Northeast Corridor.

In 1976, Bill bought Charles "Buck" Soistman's "Rolling Drum Shop" drum making equipment and established the rope drum and drumstick manufacturing business he named "Drummer's Service" - in tribute to the name used by C.S. Walton for his drum making business in Philadelphia. In 1978, Bill finally retired from the Philadelphia Electric Company after 36 years of service as Clerical Supervisor, so he could devote all of his time to drum & drumstick making. With the volunteer help from many of his faithful drum students, the "shop" was transported from "Buck" Soistman's location in Baltimore, MD, to his residence at 2419 North Greenhill Road in Broomall, PA, then subsequently to Fetterville & New Holland, both in Lancaster County, PA (the heart of Amish country), where he later resided. This is where Bill remained for the rest of his life with his loving wife, the late Elizabeth "Renie" of 59 years (who passed on April 9, 2008). His finely crafted & tuned rope tensioned snare drums, which he branded as the "Grand Republic Drum" (the name used by and in honor and as successor to renowned drum teacher, author & drum maker, Sanford A. Moeller) and rope tensioned bass drums, as well as his drumsticks (most models & templates acquired as successor to Soistman & M.D. Healy) are used by drummers and fife & drum corps throughout the world, including the Colonial Williamsburg Fifes & Drums. Reamer's hand crafted orchestral bass drums and Tambour de Provencal, are used by many major orchestras such as the Philadelphia Orchestra, and Pittsburgh Symphony. He was contracted for many years by the U.S. Military and his drums were a part of the order of music for the U.S. Army Band "Pershing's Own" and the Old Guard Fife & Drum Corps of Ft. Meyer, VA.

Over the years, "BIG," as he was lovingly referred to by his loyal drum students, was the member of a number of drumming associations, such a N.A.R.D. (National Association of Rudimental Drummers) where he was a 1975 nominee for President, I.A.R.P. (International Association of Rudimental Percussionists), the Company of Fifers & Drummers, the PAS (Percussive Arts Society - where he served as a guest clinician for PASIC) and was the subject of several magazine articles, including Percussive Notes (PAS Publication) & a feature article in Modern Drummer Magazine. In the year 1983, "BIG" was inducted into the World Drum Corps Hall of Fame, in 2000 into the New Jersey Drum Corps Hall of Fame, and in 2005, into the American Patriots Rudimental Drummers Club (of which he was also a member), as well as the Pennsylvania Drum Corps Hall of Fame.

Besides drumming and drum making, Bill enjoyed canoeing and camping.

William H. Reamer, 85, passed away at his home in New Holland, PA, on February 21, 2007.

Bill & Renie are both survived by their sons, William S. (employed w/Wallace Industries, Inc. in Ithaca, N.Y.), married to Karen, of Ithaca, N.Y., and Andrew L. (Principal Percussionist with the Pittsburgh Symphony and Chair of Percussion at Duquesne University), married to Ruth Ann, of Pittsburgh; six grandchildren, Billy, Jessica, Dana, Christine, Elizabeth, and James; and a sister, Elizabeth, married to Jack Ritchie, of Newtown Square and a multitude of loving and devoted rudimental drum students.

-----

See also "The Troublemakers - Rudimental Drum League" on YouTube, a clip of "TheTroublemakers: Rudimental Drum Tribute to William H. Reamer" (champion drummer, drum teacher & drum maker), recorded live @ Rose Tree Park, Media, PA as a part of a concert feature for the Marple Newtown Community Band under the direction of the legendary Larry McGriff. The drummers are (Left to Right): Lilli Beiduk Middlebrooks, Bruce Reminger & Mark Beecher.

And see a clip of our drum group "The Troublemakers: Rudimental Drum Tribute to William H. Reamer" which was just recorded live @ the Deep River Ancient Muster 2008 (7/19/08), in Deep River, CT. This is only 1/3 of our actual drum group, which includes a bass drummer, but the others were unable to attend. Our performance consists of 3 pieces: "This is True" (written by the late William H. Reamer), "Independence Fancy 2/4" (written by Andrew Reamer) & "3 Camps."

19th Century Military Carry Snare Drum

Not every drum pictured in this blog is pretty. This drum is certainly in the "not pretty" category (though far from face brute). But it is interesting. For one thing, it sports a military carry (the metal plate with a hole in it for a sling hook, screwed into the top counterhoop.


eBay seller danielrg( 1169) describes eBay item no. 200359663009 as follows:

I'm afraid I don't know a lot about antique drums, however this one appears to be consistent with those made in the 1800s. I took the drum apart to try to identify the maker [no label noted] but discovered that someone had done a really sound internal restoration of the drum [please see photos]. If you intend to bid on the drum for actual use in civil war reenactments or other period activities it should hold up nicely.....It has 16 original brackets for the ropes and seven original metal tighteners [one is missing]. It also has what I believe is the mounting bracket for the snare but the snare is missing. The tighteners were lined with leather but the leather is decomposing. I have posted a number of pictures so please take a look and contact me if there is anything I should add to this description or anything I should clarify.....This is a nice historic piece and, with a little work, should be a good functioning antique drum.......I also should note that the metal parts have some surface oxidation and will need some cleaning.

R. A. Austin, Brooklyn, New York

eBay seller wwolst12( 20339) sold his drum for $376.76 this evening and described his drum, eBay item no. 130314907760, as follows:

In my first photograph, you can see just how this drum looked when I first received it. The original walnut drumsticks were stuck inside the cord and as you can see there is a layer of old attic dust covering the whole drum. All I did was take a brush, and cleaned this antique mid-19th century snare drum, so you could see the original Faux Rosewood Painted surface. I couldn't wait to take a peek through the small hole and sure enough, this drum is signed. Hand written right onto the wood it reads, "R. A. Austin, 210 fourth Street, Brooklyn EB, NY." The skin at the top has a small split on the side and several of the leather tighteners on the cord are missing, but that's it. The rest of this antique 16 3/4" diameter by 13" tall Civil War Period Snare Drum is in perfect, original condition, and there are no repairs.

Another Toy Drum

From MULESKINNER'S Photo Gallery:

Rare make-do storage box. This is actually the body of a centennial child’s parade drum, circa 1870. Somewhere along the way it lost it’s strappings and skins and rather than throwing it out they just added a wooden bottom and used it for a box. Yankee ingenuity and they saved the all important original paint too. Furrowing flag on the front and star on the back. A CUTIE! 9” diameter x 7” tall.

Eagle Bass Drum

From MULESKINNER'S Photo Gallery:


A Big Civil War Era Bass Drum. This birds eye maple drum body has a great natural old patina as well as an outstanding original painted decoration of an Eagle and a Shield! Nice large decoration because the drum itself is so large. This was probably used as a parade marching drum. A Real Beauty! It measures a large 27” in diameter x 15” deep. These great old decorated drums don’t come along much any more.

Parade Drums in the Museum of the Percussive Arts Society

From the website of the Percussive Arts Society's Museum:

Ludwig & Ludwig Parade Drum
Donated by Velma Lee Williams
This highly ornate drum, measuring 17" x 14", was manufactured by Ludwig & Ludwig in Chicago, Illinois, most likely in the 1920s. The drum has hoops inlaid with pearl, double-tension tube lugs, and three hand-painted scenes on the shell. Although the paint has deteriorated, one can tell that each scene depicted some type of Renaissance setting. The strainer is of simple design that does not allow the snares to be turned off.

Soistman Parade DrumOn loan to PAS from Randy Eyles
This is a modern reproduction of an American Revolutionary Era parade drum. Its shell is a natural varnish finish decorated with tacks, which provide a simple means of applying a decorative pattern, and which support the shell at the point where it overlaps itself when it is bent into a circle. This drum was handmade by Charles 'Buck' Soistman in 1972 at the Rolling Drum Shop in Baltimore, Maryland for John Bosworth. It was one of the last drums made by Soistman, and features a rope-tensioning mechanism with wood hoops on a 16" x 16" wood shell. The snares consist of heavy-gauge, gut strands.

Royal Air Force Band Parade DrumDonated by Carroll Bratman
This parade drum bears the coat of arms for the Royal Air Force Band, and would therefore have been manufactured after the Royal Air Force was established during World War I. It measures 11" x 14" and is tuned or 'braced' with ropes, a common method of tightening the heads without using screws or lugs. To tune a rope drum, the leather 'ear' is pulled down on the ropes, providing increased tension on both heads simultaneously.

Wurlitzer Bass Drum, Model No. 1460

From the website of the Percussive Arts Society's Museum:

Wurlitzer Bass Drum, Model No. 1460
Donated by Tom Lonardo, Jr., 2009-02-04

The Rudolph Wurlitzer Company was established in 1856 in Cincinnati, Ohio by Rudolph Wurlitzer (1831–1941), a German immigrant whose family had manufactured and sold musical instruments for over a century before his birth. Wurlitzer’s Catalog Number 118, dated 1921, states that Wurlitzer is the “Largest General Musical House in the World,” and as such, manufactured and sold all types of drums and percussion instruments.

Page 75 of the catalog bears the heading “The Unrivaled Wurlitzer Bass Drums” and includes the Model No. 1460 Bass Drum, a rope-tuned drum available in ten different sizes, ranging from 12 to 14 inches in depth and from 24 to 36 inches in width. The drum was available in either maple or mahogany shells, and it had detachable leather ears with “improved type cord hooks.” Twelve ears, each with a pair of hooks, are shown on the catalog picture.

This 12 x 26-inch drum was part of a collection belonging to Tom Lonardo, Sr., who owned Lonardo Piano Co. in Paris, Tennessee from 1963 to 1991. It features a 3-ply mahogany shell—reinforced inside by two maple hoops—and natural-finished maple counterhoops. Though originally manufactured with twelve leather tuning ears, only eleven decorated, leather tuning ears remain. These ears, in conjunction with the eleven “improved” cord hooks on each side of the drum, provide tension on the rope for tuning the two calfskin heads. Inside, a prominent paper label identifies the maker: “The Rudolph Wurlitzer Co. Manufacturers of Drums, Band Instruments. Cincinnati, O. Send for Catalogue.”

Interior of the drum showing the manufacturer’s label and the two maple reinforcing hoops for the shell

Picture of the drum as it appeared in the 1921 Wurlitzer Catalog No. 118
— Otice C. Sircy, PAS Museum Curator and Librarian, and James A. Strain, PAS Historian

WFL Rope-Tensioned Field Drum

From the website of the Percussive Arts Society's Museum:

During the Second World War, restrictions were placed on the manufacture of musical instruments and other objects considered non-essential to the war effort in the United States. The metal components in these objects could constitute no more than 10% of the total weight.

In response to this law, Cecil Strupe, of the WFL Drum Company, revived an age-old design for tensioning parade drums using woven rope and leather ears. The single rope was strung through holes drilled in the solid maple counterhoops, which allowed the player to tune both heads simultaneously by pulling on the leather ears. The simplicity of the design and ease of use resulted in WFL being awarded a bid to the United States Army in 1942 for 4,000 drums—the largest single order for drums ever awarded to a manufacturer by the United States military.

This 15 x 14-inch drum is constructed with a lacquered, maple shell, two solid maple counterhoops, calfskin drumheads, woven rope, and leather tuning ears. A knurled-knob snare strainer, which lacks an instant “on/off” mechanism, is mounted by means of a wood bracket and used to tension the 12 gut snares. The drum features a gray aluminum badge: “W.F.L. DRUM CO. / Wm. F. LUDWIG / PRESIDENT / 1728 N. DAMEN AVE / CHICAGO.” Stamped inside the drum are the numbers “5 69 6,” the meaning or significance of which is unknown at present.

Acquisition of this unique drum was made possible through the Ralph Pace Museum Acquisition Fund. It was purchased from an organization that had received the drum as a fund-raising donation from a private collector who had rescued it from a “second-hand” shop.

Detail showing the aluminum badge. Picture of workers assembling rope drums at the WFL factory in 1942 (from The Ludwig Book, courtesy of Rebeats Publishing).

—James A. Strain, PAS Historian, and Otice C. Sircy, PAS Museum Curator and Librarian, with contributions by Rob Cook and Harry J. Cangany, Jr. We are grateful for the assistance of James Ellis of the Cooperman Fife & Drum Company, who donated the replacement batter head.

Detail showing the aluminum badge.

Picture of workers assembling rope drums at the WFL factory in 1942 (from The Ludwig Book, courtesy of Rebeats Publishing).

Cut Down Brown Drum in Vicksburg Museum

This photo of a heavily tacked drum, and the below accompanying information, from the website of the National Park Service's Virtual Museum of Vicksburg National Military Park.

Drum
Wood, Brass. Dia 45, H 45 cm
Vicksburg National Military Park , VICK 841

Musical Instruments in Battle

Musicians, particularly drummers, played a crucial role during the Civil War. They helped raise troop morale. Drummer boys woke the troops, called them to meals, and on the battlefield, tapped out rhythms to help units stay together.

Orion Howe, a 14-year old musician served with the 55th Illinois Infantry at Vicksburg. He played both drum and fife. The Howe family carried these fifes, and Orion played a drum similar to this, during the 47-day Siege of Vicksburg. During the Vicksburg Campaign, Howe's unit came under fire at the battle of Stockade Redan. His unit was running low on cartridges. Young Howe was ordered to make his way to the supply wagon and secure more cartridges. Dodging gunfire, Orion was struck by a minié ball that severely wounded his thigh. This didn't stop him from trying to fulfill his orders. Major William T. Sherman told the bleeding young boy to seek medical treatment. Howe refused to leave until Sherman promised that he would get the desperately needed cartridges to his unit. Only then, did Howe leave the battlefield to have his leg tended. For his bravery, Orion received the Medal of Honor, America's highest military award. To date, he is the youngest recipient of this award.

Compare the tack pattern on the center drum in the photo below (from the collection of the National Music Museum,

with the tack pattern on the Vicksburg drum. It is clearly the same, the Vicksburg drum having unfortunately been cut down.

(Center Drum: NMM 10039. Side drum by Eli Brown & Son, Bloomfield, Connecticut, 1841. Printed on paper label inside drum shell, visible through vent hole: ELI BROWN & SON. / DRUM MANUFACTURERS, / HAVE CONSTANTLY FOR SALE / BASS AND SNARE DRUMS / MADE IN THE NEATEST AND BEST MANNER / Bloomfield, Conn. 1841. Maple shell, natural finish, 495mm (19-1/2") x 471mm (18-1/2"). Rope tension. Ten leather tugs. Wood rims painted red, with holes drilled for the rope to pass through. Brass snare adjuster. William F. Ludwig II Collection, 2001. Lit.: Jayson Dobney, "Museum Enhances its Percussion Collections with Rare Instruments That Document the American Percussion Industry," America's Shrine to Music Museum Newsletter, Vol. 29, No. 1 (February 2002), pp. 4-5. -------, Innovations in American Snare Drums 1850-1920, M.M. Thesis (Vermillion: University of South Dakota, 2003), pp. 105-107.)

Mattatuck (nee Wolcott) Drum Band

Mattatuck (nee Wolcott) Drum Band drum
Wolcott Historical Society Museum
(Note one of the Brown family signature tack patterns)
Mattatuck (nee Wolcott) Drum Band suvivors in 1922

Reprinted from:

Wolcott Historical Society News - June 2009
By Florence Goodman

In this edition, I will share the history of the oldest drum band in the Waterbury area, the Mattatuck Drum Band, because its origins are meshed with our early history. The Drum Band has had various names throughout its history. It originated as the Training Band, followed by the 10th Regiment Band, the Farmingbury Band, the Wolcott Drum Band, and since 1881, the Mattatuck Drum Band.

Early settlers of the town were peace-loving people, but they realized it was important to be prepared to protect themselves and their property in times of need. By law, all male persons from the ages of 16 to 60 were subject to military duty and required to participate in Training Days, which took place six times a year. The Farmingbury men were attached to the Waterbury companies until the formation of their own militia. In 1767, the newly formed Farmingbury Train Band, which was part of the towns of Waterbury and Farmington, was founded under the command of Captain Aaron Harrison, Lt. Heman Hall, and Ensign Josiah Rogers.

Drummers and fifers were essential components of the First Militia Company and were skillful in martial music and became known throughout the region for their patriotic sound. A quote from the Waterbury Republican-American recounts a colorful description of Wolcott's "Training Day" held in 1803. "It is with the pride and boast of all farmers that their oxen and steers excel in stature; and that their military company is the tallest and the best equipped and disciplined in regiment, and at annual Train-Day their Drum Band is famous and sought by all public occasions far and near.

During those early years of the establishment of the Farmingbury Parish and their Militia, the settlers were feeling the unrest that "taxation without representation" was creating throughout the English Colonies. Town residents protested the tyranny of King George III around "Liberty Poles" that had been placed on their Town Greens. As late as 1841, a Liberty Pole was still found on our Green.

In May 1774, Captain John Alcott was commissioned by Governor Trumbull as captain of the Thirteenth Company of the trainband of Farmingbury Parish. In 1775, the trainband Company in Farmingbury consisted of 41 men.

When a National Army was established in 1775 under General George Washington, the Farmingbury Company was disbanded. Many Farmingbury men enlisted as drummers and fifers in this newly formed Army; records indicate that at least 100 Farmingbury men served in various areas of action from Montreal, Canada, to Yorktown, Virginia.

Zaccheus Gillet enlisted in July 1775 as a drummer in Col. Huntington's regiment operating near Boston and reenlisted in 1776 serving in the New York area. Samuel Benham, drummer, enlisted on May 1, 1775 and re-enlisted in 1776 and 1777. Benoni Gillet, son of Zaccheus, served as a drummer in the Continental Army. Nathan Gillet, fifer, another son of Zaccheus, enlisted in 1776 and served under General Washington. Thomas Welton, 3rd., fifer, enlisted in 1779. These are just a few of the soldiers from Farmingbury that served in the Revolutionary War and some of who gave their lives for our independence.

At the end of the war, two companies of Trainbands were organized and commanded by Captain Heman Hall and Captain Levi Gaylord. Again, the Drum Band, although a separate unit, became an important part of the two companies. On general training days, the men were outfitted in bright red coats with brass buttons, buff pants, and plumed hats. Their leader was Nathan Gillet, who was said to be one of the best Fife Majors in the Continental Army. Their music was in great demand at social activities and at General Trainings. In 1796, when the town was incorporated and took the name of Wolcott, the Drum Band changed its name to the Wolcott Drum Band.

During the War of 1812, recruits were again needed to help fight the war, so a recruiting station was set up in the far southern section of Wolcott at Lewis Tavern and another in Waterbury at East Farms. The officers of these companies called upon the Wolcott drummers to "drum up" volunteers for this war effort and they did.

In 1830, Samuel Wilcox became the leader of the Drum Band. He introduced a new, original style of drumming based on notation with a full set of rudiments and beats; this became known as the "Wilcox Style." The Drum Band became renowned for its fine music and appearance until 1845, but soon after that date, the State Militia died out and so did interest in drum bands. The Wolcott Drum Band was not the same; uniforms were lost and worn out, members died and others moved away. Those that were left turned out at parades, rallies, and fairs without uniforms and many instruments were missing.

When the Civil War broke out, drummers were scarce, but greatly sought after and again, the Wolcott drummers rallied. Sherman Moulthrop enlisted as a drummer in 1861 and served in New Orleans. Elihu Moulthrop enlisted in 1862 and served with General Sherman in Georgia. Newell Moulthrop enlisted in 1862, served in Louisiana and had his bass drum captured by the Confederates at Irish Bend. Drum Major George F.Hotchkiss enlisted as Captain in 1862 and served in the Army of the Potomac. Many of his men were killed or captured at Chancellersville, Virginia, on May 3, 1863.

Early in 1862, Col. H.C. Hart was in Southington recruiting drummers and fifers for the Regimental Drum Band. While staying at a local inn, he heard drums in the distance and was told that the Wolcott Drum Band was practicing six miles away in the center of town. He hired a team and hastened to Wolcott. There he hired Mr. Henry Chatfield as leader and instructor and Hezekiah and Leslie Todd as fifers. They were able to recruit other drummers and fifers needed for the 71st Regiment of New York. Later, the 71st Regiment was said to be one of the best Drum Corps in the Army.

When the war ended, many of the fifers and drummers found residence elsewhere, thus the Drum Band numbers were few, but they kept the band going. In 1872, Charles S. Miller joined the Drum Band at the age of fourteen. As a youngster, he lived in Wolcott with his grandmother, Mrs. A. Frisbie Somers, and attended school at the old stone schoolhouse on Nichols Road.

By 1876, there were only five members left. In the fall of 1877, Mr. Levi Atkins and his son, Homer, reorganized the Band by teaching about 16 new young men how to fife and drum. They bought new uniforms, which consisted of red shirts, three-cornered hats, blue pants and white belts. They also had assistance from Elihu Moulthrop as Drum Major, and the hills of Wolcott once again were filled with that wonderful sound. Later, Captain George F. Hotchkiss took over as Drum Major.

After several years, many of the younger boys lost interest and the older men were tired, so in 1881, Charles Miller and several East End Waterbury boys bought the equipment from the old Band and moved it to Waterbury; they renamed it the Mattatuck Drum Band. They chose the name because Mattatuck was the Indian name for Waterbury. There were still some Wolcott men that belonged to the new band. They were Charles S. Tuttle, Arthur Harrison, Franklin Browne, Robert Wakelee, Frederick C. Moulthrop, Bement Wakelee, Edgar Upson, and Morris Tyler.

Much of the information that I used for this article was taken from the History of the Mattatuck Drum Band written by Charles Miller. Miller, also known as "Uncle Charlie" moved to the East End of Waterbury and lived at the corner of East Main Street and Frost Road. He made many of the drums that were used by the drummers in the Band and he taught more boys to drum during this period than anyone in Connecticut. Charles S. Miller kept daily journals throughout his life from 1876 until his death in 1943. His journals continually made reference to teaching students how to drum and fife. A portrait bust of Mr. Miller was unveiled on February 15, 1942, on the occasion of the 175th anniversary of the Mattatuck Drum Corps and Band. It also marked the 50th anniversary of Mr. MillerÕs direction of the Band. It is obvious that the Mattatuck Drum Band holds a special place in the hearts and history of early Wolcott residents. This is just one more example of the wonderful legacy our forefathers have left for us to enjoy.

(Information for this article was taken from the Wolcott, Connecticut 175th Anniversary booklet 1796-1971 by John Washburne, History of the Town of Wolcott, Connecticut from 1731 to 1874 by Samuel Orcutt, History of the Mattatuck Drum Band by Charles Miller, and WOLCOTT in the French and Indian Wars, The Revolutionary War and The War of the Rebellion.)

Note: Additional information concerning the Mattatuck Drum Band can be found on its website.

Drums in the Ticonderoga Museum

The following reprinted from:

"Drums & Lancets", Go Do A Test (blog name)
Posted on Monday, April 7, 2008 at 02:20 by Jeff


On a trip to upstate New York a few years ago, Nancy and I toured Fort Ticonderoga, just across the border with Vermont. In the Fort’s museum, more than 30,000 18th century artifacts are stored and exhibited for visitors to see and read about. Two of those items that were of particular interest to me were a display case of antique drums, and a two hundred year old “state of the art” blood lancet device. Let’s look at the lancet first.

The collection at Ticonderoga includes something that most GDAT!! readers can associate with. The photo below is of a blood lancet circa 1800, which would date it to about the Adams administration -- the first Adams, not Quincy. According to the notes on the display, the device was used for opening a vein for bloodletting, a procedure used for removing poisons commonly referred to as “excesses,” that were believed to contribute to the health problems of a patient.

I wonder when they finally caught on that the lancet was making some of its own sizable “contributions” to the health problems of patients.

No one was exempt from the procedure if a doctor deemed it necessary. No less a man than George Washington saw the “therapy” used on himself in the hours before, as George Washington Custis wrote, his “noble spirit took its noiseless flight.”

Now, the drums.

My childhood career as a drummer began in the basement of my parents’ home one afternoon when I came across a pair of long wooden dowels in close proximity to a large cardboard box. With the makeshift kit readily available, my family was soon enduring relentless, repetitive performances of “Wipe Out.” My father, a life-long musician, picked up on my ability to hammer out a solid beat punctuated with creative fills. He signed me up for lessons, and sealed the family’s fate of daily concussive pounding resonating throughout our otherwise bucolic home in the country.

So with keen interest I spent a fair amount of time looking over the various drums in the Ticonderoga museum. Six or seven of them stood behind protective glass, in varying degrees of condition. Several sets of drumsticks were present, but their symmetric, well-balanced, lathe-turned quality led me to think they might have come from a much later time.

It was in my teenage years when my grandmother told me that (because I was the little drummer boy of the family) I was going to inherit a musical instrument that belonged to her own grandfather in the 1800s. She left her living room and returned with a large plastic shopping bag. Inside was the snare drum pictured here, along with a pair of sticks that were hand-carved by my great-great-grandfather sometime (to use another Executive Branch timeline) around the administrations of Ulysses Grant or Rutherford Hayes. She informed me that, at one point in the drum’s life, her sister expressed a desire to cut out the drum’s upper skin with a borrowed pocketknife, and plant flowers in it. Egads.

Changing circumstances over the years brought an end to my drumming, and two years ago I sold my beautiful vintage Ludwigs and the five Zildjian cymbals that had served me well since the early 1970s. For so many years they provided me with sweaty, strenuous, muscle-building sessions, as drumming is a much more physical activity than many folks realize. Today, I sometimes look at my scrawny arms and yearn for those long ago upper-body workouts.

But not on great-great grandpa’s snare, of course.

British drum an object of storied history

The drum captured from the British on Aug. 22, 1777, is preserved at the New York State Military Museum and Veterans Research Center in Saratoga Springs. (Times Union)
This article reprinted from:

British drum an object of storied history
June 23, 2009 at 12:22 pm by Warren Roberts
(Distinguished Teaching Professor, University at Albany)
www.TimesUnion.com

There is a story behind the British drum that was shown with Bruce W. Dearstyne’s May 31 Perspective article on the importance of New York history. It was left behind by a British army that was within 150 yards of Fort Stanwix in 1777 when a strange episode forced it to retreat.

The army under Barrimore St. Leger was moving down the Mohawk corridor to Albany, where it was to join the army of Gen. John Burgoyne that was moving down the Champlain-Hudson corridor. Neither army made it to Albany.

No one played a more important role in the repulsion of one British army and the defeat of the other than Benedict Arnold. He headed up the Mohawk with 1,200 men, to stop the much larger force of British regulars and Indians laying siege to Fort Stanwix.

His ingenious plan was for a somewhat daft distant cousin of Philip Schuyler, Hon Yost Schuyler, who in moments of excitement spoke in tongues and was regarded by Indians as a holy man, to meet with Mohawk Indians allied with the British.

He made his way to St. Leger’s camp and told the Indians about an army moving up the Mohawk. When asked how large it was, he rolled his eyes and looked upward, as if there were more men than leaves in the trees above. The Indians took flight, forcing the British army to abandon the siege of Fort Stanwix.

Having repulsed one British army, Arnold joined the battle with Burgoyne’s forces at Saratoga.

The stunning American victory there was the turning point of the war. It persuaded France to support the American cause, a move that resulted in a fiscal crisis that led directly to the French Revolution. Some historians consider the Battle of Saratoga, fought along the Hudson River, the most important battle of the last thousand years; it saved the American Revolution and led to the French Revolution.

It is useful to keep this in mind as we celebrate the 1609 discovery of the Hudson River and Lake Champlain. The drum shown with Dearstyne’s article is a physical object that is part of a New York story that is of no small historical importance.

Army Drum Used in President John F. Kennedy's Funeral

Americans old enough to remember November 1963, and the horror of the assassination of President Kennedy, no doubt recall the relentless cadence sounded by MSG Vincent Battista, on this drum, as they watched the funeral procession make its way to Arlington Cemetery on national television. Part of the Army National Collection, the instrument is of eighteenth century rope-tension pattern, made of traditional materials for the Army Band by the famed craftsman, the late Charles Soistman of Baltimore. The black crepe, exposing the hand-painted national arms on the shell, is part of the ritual associated with military funerals. The drum is currently [as of June 2009] on loan to the Smithsonian Institution for an exhibit. U.S. Army, Center of Military History, "Artifact of the Month".

Compare the drum worn by Frederick Fennell and pictured in "Frederick Fennell's Moeller Drum and Terry Cornett's Connection with Fennell", this blog, March 9, 2009.

Close-up on Fennell's Drum
As we observed in that article, note the counterhoop's widening at the sling clip, a design feature most observers would have missed and attributed the uneven hoop width to wear or breakage instead of an intentional beefing up of the hoop at a stress concentration point -- the carry point. In email dated July 23, 2009 from Robert C. Ubaldo to Terry Cornett, Mr. Ubaldo attributes that design feature to Moeller. [Correction made 7/23/09. (The article previously incorrectly attributed that design feature to Ubaldo.)]

And see "Leo J. Brennan's Buck Soistmann Drum (ca. 1964)", this blog, March 7, 2009:


Additional Photos:

Source: Life and Death in the White House

Master Sergeant Vincent Battista, a member of the United States Army Band, "Pershing's Own," at Fort Myer, Virginia, was one of the drummers in President Kennedy's funeral procession. Source: Life and Death in the White House

39th Mass. Volunteers Drummer, Drum and Sticks

Heritage Auction Galleries' 2009 June Signature Civil War Auction - Dallas, TX. Auction #6024, item 57218, catalog at p. 105.

Enlarge the photo and you can just make out the faint lettering "VOLUNTEERS" on the drum.

57143 Unique Pose CDV of Drummer Roland F. Spencer, 39th Mass. Vol. Great casual pose with arms crossed in front of him and left leg propped up on his drum, sticks stuck in the ropes. Wears shell jacket open exposing military vest. Drum with shield and “Volunteers” clearly visible on the front. Backmark of “G. H. Nickerson Photographer Chatham and Orleans Mass.” Spencer enlisted in the 39th Mass. on July 26, 1862 as a musician at the age of 18. He mustered out June 2, 1865.

The 39th was heavily engaged in The Wilderness, Spotsylvania and Weldon Railroad. Very fine quality and condition. Great image with excellent history.

Est.: $1,600-$1,800 Start Bid: $800.

Session Two, Auction #6024 • Thursday, June 25, 2009 • 1:00 PM CT

Civil War Snare Drum with Great Patriotic Design

Heritage Auction Galleries' 2009 June Signature Civil War Auction - Dallas, TX. Auction #6024, item 57218, catalog at p. 156:

This original, uncut snare drum is distinguished by an attractive gold and red patriotic stenciled design set against a black painted shell. The design measures a full 16” long and fills the 13” between each drum head.

It consists of an arch of thirty-four gold stars beneath which is a spread winged eagle motif, with red highlights added to the top of the eagle’s head and wings. The eagle is holding a gold banner that reads “North America” beneath which, in one inch high letters, is “UNION/ AND/ LIBERTY” flanked by two gold sunbursts. Both battens are original with only one small tear. The hoops retain much of their original red paint and the drum measures 17” from top hoop to bottom hoop. The rope and leather braces are replacements and the maker is unknown. A nice, solid example of an early Civil War era drum with remarkable patriotic content.
Est.: $2,500-$3,500 Start Bid: $2,000.

Historic Federal Regulation Drum Used by Young Pennsylvanian Wounded in Action

Heritage Auction Galleries' 2009 June Signature Civil War Auction - Dallas, TX. Auction #6024, item 57100, catalog at p. 71:

Having great visual appeal, this classic “eagle” snare drum reflects its service in the field with a famed Keystone State regiment. The folk art inscription on its bottom head shows it was carried by 18-year-old William “Billy” Kirchner of Company L, 62nd Pa. Volunteer Infantry. The drum itself has a superb “look” and wonderful patina, with the traditional multicolored “arms of the United States” eagle/ sunburst/ riband design painted as per regulations on a deep blue background on its front. The colors are clear and fully visible, although subdued from age, and there is essentially no paint loss. Overall, this rarity is perfectly sound and two minor split areas in the painted wood do not detract in any way from the drum’s integrity.

Both original heads are intact as are the wooden rims which retain almost all their original red paint. Only the ropes are correct, old replacements. Five of the original sliding brown leather tightening “ears” or braces are still in place as are the remains of three others. About a half dozen tacks are missing from the usual pattern around the air hole at the side. Contemporary to its wartime use, the drum was apparently shortened about one inch at the bottom.

The top head is complete with only a small two inch tear near the center. The original bottom head is completely intact and is decorated with wonderful ink drawings of a cannon, shield, and flag. Also inscribed on the head in large inked letters (partially obscured but clear) is “Billy Kirchner” and below, in smaller letters, what appears to be “His drum.” At the bottom there are also large penciled letters “D.W.C.C.,” meaning unknown. Three of the original rawhide snares are still partially affixed.

Private Kirchner enlisted in this unit on August 29, 1861, and fought at Mechanicsville and Gaines Mill before being seriously wounded at Malvern Hill on July 1, 1862. He was discharged as a result of that wound on October 26. Eagerly sought by collectors, this attractive classic drum is in exceptional condition and almost impossible to find with such a fine history and connection to a great Army of the Potomac regiment.

Est.: $6,500-$8,500 Start Bid: $3,250.

Session One, Auction #6024 • Thursday, June 25, 2009 • 10:00 AM CT

Boy with [Toy?] Drum in 1865 CDV -- Is It a Field Drum?

A summer education intern at a southern fine arts museum doing research on field drums for a Fourth of July workshop sent us a photograph recently purchased by the museum's decorative arts curator who asked that she inquire about it.

The photo is of a young boy posed with a drum. They were wondering if it was an authentic field drum used in the Civil War (the photograph dates to 1865) or just a photographer’s prop.


We responded as follows:

Judging by the size of the drum in Mr. Brown’s photo, I would say that it looks like a real but toy children’s drum.

It’s real, in that it is built to very similar specifications to those of a field drum. It is a toy, in my opinion, because it is probably only 10 to 12 inches in diameter and about the same size in height. Civil War field drums generally went from 14” to 16” (and earlier drums went to 18” and even 21” in diameter).

Also, although it’s difficult to say for sure, the rope looks a bit thin for a field drum. And, importantly, there appear to be only 8, as opposed to 10 or more, drilled holes in each of the counterhoops (rims).

See, e.g., "J. C. Haynes & Co. Drum (Child Size)", this blog, Sep. 6, 2008.


See, also, this image (below) from the collection of the New York Public Library which looks very much like the drum in your photo. ("The Phenomenal Digital Collection of Prints of the New York Public Library", this blog, Jan. 3, 2009)

Image Title: The Infant Drummer, Wm. Henry Marsh. Aged 2½ Years.
Medium: Engravings
Specific Material Type: Prints
Source: Muller Collection / William Henry Marsh
Location: The New York Public Library for the Performing Arts / Music Division
Catalog Call Number: Muller Collection (Marsh, William Henry #1)
Digital ID: 1270440
Record ID: 624934
Digital Item Published: 10-24-2005; updated 7-31-2007

By comparison, this (below) is what a regulation drum would look like in comparison to the size of a young boy (probably a bit older than the boy in your photo):


Source: "Union Drummer Boy CDV", this blog, Nov. 25, 2008.

So, it looks pretty certain that the drum in your photo is not a regulation drum but a toy drum. Just as real but not for use in the field.

[Also see eBay item no. 120439356949. The drum looks very similar.

The above drum is described on eBay as:
A CHARMING AND DELIGHTFUL CIVIL WAR PERIOD IDENTIFIED CARTE-DE-VISITE BY J. KIRK OF NEWARK, NEW JERSEY SHOWING YOUNG WILLIE PEMBERTON ATWOOD HOLDING TWO DRUMSTICKS AND STANDING NEXT TO A LARGE PAINTED DECORATED DRUM. HE STANDS ON A CHAIR WITH THE DRUM UP ON A TABLE. BEARS KIRK'S IMPRINT LOGO ON VERSO. 1860s.

IN NEAR FINE CONDITION, ONE SMALL EMULSION TEAR OR ABRASION AT TOP CENTER EDGE, ELSE VERY FINE TONALITY AND SHARPNESS, SOME MINOR SPOTTING AS SEEN IN SCAN. 1860s.

And see eBay item no. 120442930383 which also looks dimensionally similar.


The above drum is described as: an antique wooden rope snare drum with leather tabs. ... It measures about 6 and 1/2" tall and is almost 10" in diameter. The wood looks mostly to be in good shape, and the top and bottom wooden bands have a light blue pinstripe that encircles the drum. The top of the drum does look like it has some pencil marks/doodle on it, and there are two very small tears just beginning on the outer edge as shown in the pictures. They are about 3/8" long. The bottom of the drum does have 3 strips that go across the diameter of it, and there are a couple of tears beginning around the edges of this side too. They measure about 1" to 1 and 1/4".]

Best regards.

Ellis Mirsky
BlogMaster@FieldDrums.com