As I’ve alluded to in each section, all of the music found in both Buttrey and American reveille sequence appear to originate from the countries fighting with the British during the War of Spanish Succession (1701-1714).
During this war, Britain (England and Scotland) fought alongside Habsburg Spain, the Dutch Republic, Prussia, Portugal, Savoy (who employed Swiss mercenaries), and the Holy Roman Empire (basically Austria).
Each of these countries’ style of Reveille appears in both the American Reveille sequence and Buttrey’s Reveille sequence.
As a recap:
- The English Reveille / Three Camps – English
- The Huson Camps / The Dutch / Compound Drag – the Dutch, the Swiss, and the Prussians
- The Second Dubble Drag / A Double Drag – the Swiss, Spanish, and possibly Portuguese
- The Prickley March / The French Reveille / The Hessian – the French via Savoy
- The Swift Revaley / The Austrian – The Austrians
- The Scotch Revaley / The Slow Scotch – The Scottish
- The 2nd Revaley
- The 3rd Revaley
- The 4th Revaley / The Scotch Repeat / The Quick Scotch – The Scottish
Why the War of Spanish Succession?
The War of Spanish Succession (1701-1714) was the first war in which all the major players in this Reveille sequence. The British, The Austrians, The Dutch, a French-influenced country, and the Swiss or Swiss-influenced country fought alongside one another. Afterwards, the combination of allies aren’t conducive to the creation of this unified sequence.
Before the War of Spanish Succession
Prior to the War of Spanish Succession, most wars involving England do not involve nearly the same degree of allies. England never fights alongside a similar cast of allies until the Nine Years’ War (1688-1697). During this war, England fights alongside: The Dutch Republic, the Holy Roman Empire (The Austrians and Prussians), the Spanish Empire, the Duchy of Savoy (French inspired; Swiss troops), Scotland, and the Swedish Empire (until 1691). Perhaps the sequence begins during this war, and is solidified during the War of Spanish Succession.
Before The French & Indian War
Between the War of Spanish Succession and the French & Indian War, Britain was only involved in two major wars: The Great Northern War and The War of Austrian Succession.
In the Great Northern War (1700-1721), Britain fought initially alongside the Dutch Republic (1700), later against them (1717-1719), and later alongside of them (1719-1720). The Austrians and French were not involved. The large involvement of Scandinavian and Slavic countries in this war, as well as the absences of the Austrians, French, and/or Swiss, makes it an unlikely origin for the reveille sequence.
Following this, the War of Austrian Succession (1740-1748) was the last time the British, Austrians, Dutch, and a French-influenced country all worked together prior to the American Revolution.
The French & Indian War
During the Seven Years War, Britain fought against France and Austria and the Dutch Republic was not involved. The War of Austrian Succession could be a possible origin of this Reveille Sequence, as many similar players fought with the British: Austria (the Habsburgs), the Dutch Republic, Savoy-Sardinia, as well as Hanover, Saxony, and Russia. Without proper resources for these last three countries, it’s difficult to say how their reveilles fit into this sequence.
Why Develop the Sequence?
Unlike the 19th and 20th century bugle Reveille, the earlier Reveille was performed several times over. According to 18th century military manuals, the musicians were to form at the head of the Main Guard and parade around the Grand Parade while performing main beatings, like Retreat and Tattoo. They were to begin at the center of the Grand Parade, march to the right, then march all the way to the left, and then return to the center (Bland, 1727, 155-6, 173; System of Camp Discipline, 1757, 1).
If we assume a large camp is comprised of four Regimental Parade grounds, with the Main Guard tent located at the head and center, the Grand Parade would be about 700 yards long. To march the entire length of four regiments to the right, back to the left, and returning to the center at a 24-inch step (Windham, 1759, 60) would require 2,100 steps. Marching at 60 beats per minute, this entire process would take thirty-five minutes. Most often, the exact duration was probably shorter, especially for troops stationed at small and remote forts.
But, never-the-less, the Reveille was performed more than once through. The English Reveille, at two lines of 8 bars performed at 60 BPM, represents only one minute of performance.
Adding more tunes for variation
For that reason, it would make sense for Drum Majors to incorporate alternative tunes in the middle to dispel boredom and perhaps make it easier for the corps and the soldiers to keep track of how much time had elapsed since the duty call began.
Similar concepts occur in The Troop, The Retreat, and The Tattoo, in which tunes selected at the discretion of the Drum Major alternate with the regulation beatings. To begin and end the Reveille with the English Reveille, but vary things in the middle, would therefore make a great deal of sense.
Performing with other Countries
Additionally, we see some tradition of the musicians of different countries, when serving together, to also perform together. In a French ordonnance, the military regulation states that “All the drums will beat [La Retraite], and when there are regiments of different nations in the place, those of the French regiments will all march together, and the foreigners separately, following them” (Ordonnance … Concernant les Gouverneurs … 1750, 55).
We see here that for a major duty (La Retraite) all the drummers of the different armies will perform together. They assemble and form a corps with their own nation, but march one after the other performing. To avoid a cacophony of noise, it would make sense if they performed each other’s beatings in sequence.
Learning other nations’ music is not an unusual requirement. Musicians were often required to know the marches and parleys of other countries. For example, in 1587, Gawen Smithe writes in his petition to be made a drummer in the King’s service that he is able to play ten different national marches:
“Thenlishe Marche, Th’allmaigne Marche, The flemishe Marche, The frenche Marche, The Pyemonnt Marche, The highe Allmaigne, The Gascoigne Marche, The Spanishe Marche, Th’emperours Marche, The Italian in postr, The Battery, The Italian at length, Besides all manner of Dannces and songes to be sownded on the Drume with the fyffe”
Gawen Smithe’s petition, PRO SP 12-157 f.49, quoted in Byrne, “The English March,” 49
With this in mind, we could easily expect British and foreign musicians to learn each other’s reveilles.
Conclusion: Reveille, a British Origin
It’s impossible to say whether this reveille sequence began during the War of Spanish Succession. However, it seems clear that the American sequence originates with the British.
Across all available American sources, the reveille sequence follows consistent and clear rules. These similar rules appear in Buttrey’s MS and later in a simplified version presented by Potter.
What I hope this study demonstrates is the origin of many of the well-known tunes in the reveille sequence. I also hope it shows that the British reveille was much more complex than we have previously thought.
I would like to encourage fifers and drummers representing both 18th century American and 18th century British musicians to explore this reveille sequence and develop this original reveille sequence.
Do you have any thoughts on this theory of the origin of the American Reveille Sequence?
If you have any additional evidence (either for or against the theory) or find some of my argument vague or unconvincing, please contact me.
Feel free to leave comments and open a discussion.
If you found learning about this Major Duty Call interesting, check out my discussions on the other major duty calls: