My drumming experience began when I was four years old.
My dad took me to an American Civil War re-enactment to check out a unit he was joining. The event was at an historic village and near the outer portion was a large field, enclosed by a dirt road and wooden fence. As we walked around, I saw a fifer leaning against the wooden fence playing along to two drummers. They were all teenagers. The sound of the drums was loud and powerful and captivated me the moment I heard it.
On our drive home that day, I took out a piece of paper and pencil. I drew out a list of equipment I would need to be a drummer by the next re-enactment.
At only eight years old, I sought out and befriended drummers at re-enactments. At nine – after unknowingly missing the day to sign-up for elementary school band – I personally spoke with the band teacher to make sure I would be playing percussion the following year. Determined to drum for re-enacting, I purchased a 19th century drum tutor (Keach, Burrdit, and Cassidy’s The Army Drum and Fife Book) and taught myself rudiments from their archaic pages.
I think those stories highlight the immediate passion and tenacity I’ve always had for drumming.
Since 4th grade, I’ve been drumming for various corps and impressions. I have been able to act as a Drum Sergeant, drum instructor, private tutor, and researcher in various styles.
Currently, I work as an interpreter, researcher, and maker for Old Fort Niagara. This opportunity has allowed me to portray drummers of various time periods and nationalities and explore the music for each. I also act as the Drum Sergeant and lead instructor for the Old Fort Niagara Fife and Drum Corps.
18th Century British, American Revolution: I portray a drummer in the British 8th Regiment of Foot for work, and privately the British 47th Regiment of Foot and American Continentals, 1st Maryland.
War of 1812: At work, I occasionally portray a drummer in the American 1st US Artillery.
French & Indian War: At work, and occasionally privately, I am able to portray a drummer in the French Marines during the early 18th century / French and Indian War.
American Civil War: I was Drum Sergeant and the main drum instructor for the musicians in my unit, Reynolds’ Battery L, and my old corps, Excelsior Brigade Fife and Drum. I also helped a third corps, the 20th Maine, to start their drum line. I have portrayed a drummer for various progressive units at several events under the Army of the Ohio.
Modern Scottish Drumming: I was coerced by my mother-in-law to join her Bagpipe Band, the Buffalo Caledonians. The band is filled with cool people and playing with them is a great opportunity to explore rudiments I rarely play in my more historic focuses – as well as to notice a lot of remnant phrasing, rudiments, etc. from older styles!
My favorite impression: French, because the music is so unique from British and American styles of performance and utterly underrepresented in North America.
The History of French Rudiments
Performing 18th century French Duty Calls
My favorite research topic: The history of tempo and time signature. I don’t think we often consider the longer history of music theory when we explore 18th and 19th century music and I’ve found this background really enlightening.
My most exciting research topic: The English March. This has been a bit of a mystery for the past century and I’m really proud of the work I’ve done on it.
My most controversial research topic: I strongly believe that the American Reveille sequence, commonly seen in 1812-era manuals and later American Civil War manuals, has its origin in British military tradition.
The most shockingly under-research topic in the Fife and Drum community: The history and evolution of the Snare Drum as a musical instrument. Finding reliable information on this topic and the snare drum’s ancestor (the Tabor) was incredibly difficult.