or, The Swift Revaley
Buttrey’s next tune is called “The Swift Revaley”. This tune proves to be identical to The Austrian Reveille from the American sequence.
Comparison Of Fife Music
A comparison demonstrates that Buttrey performs the tune AABBA, the same as most of the American versions. While Robinson and Woburn don’t notate it this way, the structure may have been assumed, as is often the case with other tunes.
Do you have any fife music for the Austrian reveille, or other German reveilles, pre-1800? If so, please contact me.
Comparison Of Drum Music
Buttrey’s use of the term “swift” probably refers to the quick single drag drum beating the Americans pair with the tune.
In Ashworth and Rumrille, we find the same Single Drag beating that persists into the mid-19th century nearly unchanged.
Unfortunately, at this time, we don’t have access to the original Austrian tune. However, we do know the Austrian drum beating from Kastner (1848) in “Batteries et Sonneries de l’Infanterie Autrichienne” (1846). While the Austrian music is a little basic, the general concept of a simple single drag beating matches the American version. The American version is performed AABBAA. While the B line matches the length of the Austrian phrase, the A line has an added two measures, which matches the fife part.
Do you have any drum music for the Austrian reveille, or other German reveilles, pre-1800? If so, please contact me.
The Reveille Sequence: A British Origin
Why the Austrian Reveille enters the British sequence should be obvious: as supporters of the Habsburg Monarchy, the British fought alongside Austrian troops throughout the war.
Next, learn about ‘The Scotch Reveille’.
Or, jump to the end of the discussion to see my conclusions about ‘The Origin of the English / American Reveille Sequence’.