or, The French Reveille, The Prickley March
Referred to as the Prickley March by Buttrey, the tune is actually La Diane, the French Reveille found in Kastner’s (1848). It is also the beginning of the Hessian Reveille from the American reveille sequence.
Comparison of Fife Music
This connection is confirmed by Brown’s MS. Brown, a New Jersey fifer whose MS is dated c. 1777, includes “The French Reveily”, a tune that matches La Diane and Buttrey’s Prickley March. Brown’s tune is also significant because it includes the third section that defines the difference between the French Reveille and The Hessian. This fuller tune continues into the 19th century as “The Hessian”.
While these additional lines might at first make The Hessian seem unique from the French Reveille, the lines are simply an 18th century style variation on the original French. They represent very normal 18th century musical tendencies. The comparison between Brown, Rumrille, Robinson, and Woburn shows very clearly how this third (or fourth) line are American variations, largely different from manual to manual.
Do you have any thoughts on the variations seen in the American “The Hessian” from the French “La Diane”? Please contact me or comment below.
Comparison of Drum Music
The American drum beating, likewise, is nearly identical to the original French La Diane. There are some typical American alterations (leading 5-stroke rolls becoming 7-stroke rolls; the longer roll becoming also a 7-stroke roll).
The second and third lines, like the fife, prove to be simple variations on the first line. They mirror other Single Drag beatings and the nature of the variant fife rhythm.
The Reveille Sequence: A British Origin
Since the additional lines appear to be an American variant, Buttrey’s MS suggests the original French Reveille was adopted into the British sequence. The variations were probably incorporated during or following the American Revolution, based on how unique they are from manual to manual.
During the War of Austrian Succession, the French fought against the British; however, there are a few reasons why the French reveille may have entered the British sequence. Fighting along with the British was the Kingdom of Savoy-Sardinia, a kingdom that shared borders with France, Italy, and Switzerland. French armies controlled the area throughout 16th and 17th Centuries.
While music for this kingdom does not appear to have survived, there is a significant chance that Savoy played the French duty. Savoy, for example, has a march in Philidor’s military marches (French MS, 1706). Thus, the French Reveille may have entered this sequence via the musicians of Savoy-Sardinia.
Next, learn about ‘The Swift Revaley – or, The Austrian’.
Or, jump to the end of the discussion to see my conclusions about ‘The Origin of the English / American Reveille Sequence’.