Royal Artillery Mounted Band
Encyclopedia
Origins
The Royal Artillery Band The first documented accounts of music in the 'English Artillery' date back to 1557 at the battle of St. Quentin, where the Artillery had their "drumme and phife". Bands known as 'Hoboys' from the hautbois (oboes of the French horse grenadiers), appeared throughout the cavalry and foot guards regiments. Twenty musicians from the 'Artillerie Band' augmented the Royal Band of King George II aboard a barge on the River ThamesRiver Thames
The River Thames flows through southern England. It is the longest river entirely in England and the second longest in the United Kingdom. While it is best known because its lower reaches flow through central London, the river flows alongside several other towns and cities, including Oxford,...
, situated 'close to the Royal Barge' for the performance of the 'Water Music
Water Music
Water Music may refer to*Water Music , orchestral suites by George Frideric Handel*Water Music , an orchestral suite by Georg Philipp Telemann*Water Music , a novel by T.C...
', by George Friederich Haendel (Händel), in 1717. It is likely that the Royal Artillery raised additional musicians on ad hoc terms especially for the occasion. In 1731 we find the 'Hoboys of the honourable Artillery Company, which consisted of three oboes, a curtall "and no more". The composer Händel once again enlisted the services of the Royal Artillery Band on 27 April 1749 at the Royal Fireworks in Green Park. The number of musicians who augmented the Royal Band on that occasion is unspecified, by particular mention of the Artillery kettledrums is well documented. Fifers were added to the Royal Artillery Corps of Drummers in 1748, on a permanent basis, and the Corps continued until after the Crimean War
Crimean War
The Crimean War was a conflict fought between the Russian Empire and an alliance of the French Empire, the British Empire, the Ottoman Empire, and the Kingdom of Sardinia. The war was part of a long-running contest between the major European powers for influence over territories of the declining...
, when the Corps became a bugle band. It soon became apparent that the bandsmen were becoming bored by the limited five-note compass of the instrument, and so they persuaded the instrument maker, Henry Distin to suppy them with sets of his newly patented chromatic attachments, to enable the bugle to have the same compass as the cornet. This proved very successful, particularly after the furore created on Woolwich Front Parade, when two buglers performed the Mess Call, playing 'The Roast Beefe of Olde England' in two part harmony.
The original kettledrums of the Royal Regiment Artillery were of a uniquely large pattern, and were mounted on a carriage, designed especially for the purpose. In 1772 the carriage was used at the funeral of the first Duke of Marlborough, John Churchill. Until 1756 the carriage remained in permanent use, and then was stored in the Tower of London, where it was eventually destroyed by fire in the mid-nineteenth century. The uniform warn by the kettle-drummer, and by the driver and the leader, was not the usual uniform of the Royal Artillery. Instead, they wore court livery, as is still seen worn by the drum majors and mounted musicians of the Household Cavalry today. The entitlement of the Royal Artillery Band, as members of the Royal Household to wear court livery (or State dress) still remains, though it is never excercised. However, the Royal Artillery Band does have the distinction of being the only band, in which each of its members wears, as part of his ceremonial uniform, a band sword, at the waist. The swords were presented to the band by the Duke of Kent, father of Queen Victoria. Towards the end of the Seven Years War (1756 - 1763), the Royal Artillery band was formed, at the battle of Minden in Germany in 1762. The following year, the status of the Band (and of other bands) was made official. Prior to this period, all bands (other than the RA Band) were raised only for special occasions and purposes, and were not paid for by the State, but by the officers of their regiments. Immediately afterwards they were dissolved. The Royal Artillery Band numbered eight players who "should be proficient upon the oboe [and bassoon]". The articles of the band were written in German, but were also available translated into English, by virtue of the fact that the first eight musicians were German military personnel. The fact that the band was raised in Germany is by no means unusual, since most of our senior British military bands were also formed there. By November 1787, the band (by now stationed at Woolwich) was under the command of its 'Master-Musician' Friederich Wiele, an outstanding violinist. Among the eight musicians, there now numbered five Englishmen, and all of the musicians were capable of performing on stringed, as well as on wind instruments. In 1795 the bandmaster George McKenzie described the band as possessing fifteen musicians. The proficiency of the musicians led to the desirability of more bands to entertain the numerous artillery regiments of the day.
The remarkable history of music in the Royal Regiment of Artillery may be explained by the fact that artillery were among the very first troops to be seen in conflicts everywhere, as borne in the regimental motto: "Ubique [Everywhere] Quo Fas Et Gloria Ducunt [where Right and Glory lead]". Bands were raised to boost the morale of troops in battle, and because the artillery were required everywhere, it follows, that more than a modest band of musicians would have been necessary to fulfill these requirements.
The Royal Horse Artillery Band (1797–1886)
The history of music in the Royal Regiment of Artillery dates back to the year 1557, as shown in the list of the army dispatched to St. Quentin, which shows that a 'drumme' and 'phife' were employed at one shilling each per day. Since those times, music has regularly featured in the Royal Artillery, and the Royal Artillery Band consequently has the longest, and most detailed documented history of military music known. Such a history, as magnificent as it might be, is not the purpose of this article, and therefore we begin in more recent times, with the band that directly gave rise to the Royal Artillery Mounted Band, namely the Royal Horse Artillery Band.In January 1793, two troops of Royal Horse Artillery were raised, each being provided with two drummers "who also played upon the bugle-horn". In 1797 trumpeters were designated to these permanent troops. The band was supported financially solely by the officers of that regiment.
At the advent of the nineteenth century, an unofficial mounted band is known to have existed in the regiment, because it was supported and funded by the officers of that branch of the army, and was under the charge of one Trumpet-Major Hall. In 1845, Bombardier Henry Lawson, one of the finest trumpeters in the country, and principal trumpet of both the Royal Artillery Band and the Royal Artillery Brass Band, was appointed as Trumpet-Major of the Royal Horse Artillery Band in 1845. Lawson, who joined the RA Band in 1823, was frequently compared with Koenig, the famous cornet player of Julien's band. The Band improved considerably under his direction. He was succeeded, after his retirement in 1852 by Trumpet-Major George Collins, the brother of William Collins, bandmaster of the Royal Artillery Band. Collins introduced to the band, an instrument that he had helped to develop many years earlier, the 'keyed bugle' [a link to a history of the keyed bugle may be found in §7 below see esp. P.21]. The first bandmaster of the RHA band was James Browne, who was formerly principal flautist, and a violinist in the RA Band at Woolwich, who succeeded Collins in January 1870. Meanwhile, by the year 1869, so many brass instruments had been added to the band of buglers, that the title was changed to the Royal Artillery Brass Band. The RA Brass Band entered the lists of the Crystal Palace Band Contest in 1871, where it won the first prize of £50.
The Royal Horse Artillery Band when mounted now numbered 36 men, with kettle-drums and scarlet bannerols, and was regarded as the equal of the best cavalry bands in the army. As a dismounted band, they often deputized for the band of the Coldstream Guards.
After the Franco-Prussian War
Franco-Prussian War
The Franco-Prussian War or Franco-German War, often referred to in France as the 1870 War was a conflict between the Second French Empire and the Kingdom of Prussia. Prussia was aided by the North German Confederation, of which it was a member, and the South German states of Baden, Württemberg and...
, the numbers of troops in the Field Artillery increased substantially, with the result that the two large previously existing bands, the RA Band, and the RA Brass Band, because they were dismounted, found themselves without duty. The result was that the RHA Band was now required to attend all the parades of the Royal Horse Artillery and the Field Artillery. The financial burden to the RHA officers who supported the band led to deep resentment, and the decision was made, in 1877, by the Duke of Cambridge to form a new band from the best members of the RHA Band, and the RA Brass Band, with the express instruction that Bombardier Henry Lawson (of the RA Brass Band) be its bandmaster. A letter dated 13 November 1877 from the War Office confirms that a committee be set up to consider a plan put forward by the RHA for the formation of a mounted band for the whole regiment of artillery. On the disbandment of the RHA Band, its bandmaster, James Browne retired.
Following the rider-training of the best members of the RA Brass Band, and together with the best members of the RHA Band, the new Royal Artillery Mounted Band came into being.
The Royal Artillery Mounted Band (1886–1984)
The Royal Artillery Mounted Band was "the largest mounted band ever seen..." The band was originally formed at Woolwich, London, on 19 January 1878, under the direction of its bandmaster, James Lawson, who had formerly led the Royal Artillery Bugle Band, and the Royal Artillery Brass Band. A surplus of horses from the Royal Horse Artillery, and Royal Field Artillery prompted the creation of The Royal Artillery Mounted Band (Woolwich) which comprised 62 musicians, 42 of whom were mounted.Early Years
Later in the foundation year of the Mounted Band at Woolwich, news was received that the Duke of Cambridge had made the decision, that because of the large proportion of Horse and Field Artillery equipment, and troops situated in Aldershot, it was only right that the Garrison should have a mounted band permanently stationed there. During the following year, 25 mounted musicians and horses were posted to Aldershot, leaving 35 mounted musicians with the Royal Artillery Band in Woolwich. On 26 August 1887, the Woolwich 'mounted band' was suppressed. All of its members transferred to the Aldershot band. The remaining 12 musicians were absorbed into the Royal Artillery Band, which was ordered to provide a 'Mounted Portion' of twenty players. Eight musicians were required to undergo rider training to prepare for mounted duty. The 'Mounted Portion' comprised: 1 'Serjeant in charge', 2 Bombardiers, and 17 'Bandsmen'. In 1894, the then Duke of Connaught arranged for a searchlight display to take place in Aldershot, for Queen Victoria. The Royal Artillery Mounted Band, as the main band opened the impressive display, that would become the first of the Aldershot Command searchlight tattoos, held annually to audiences often exceeding 500,000. Among its other prestigious engagements, the Royal Artillery Mounted Band had the privilege of heading the Lord Mayor of London's processions, and also the funeral procession of Queen Victoria in 1901. Under its famous bandmaster, Mr James Lawson, the band contributed regularly to the Woolwich Town Hall concerts, but purely as a military band, "in which sphere [as was widely documented at the time], it eclipsed the Royal Artillery Band. It ought to be mentioned, that the famous Italian conductor of the Royal Artillery Band, deliberately took no notice of Mr Lawson's achievements, preferring to concentrate his efforts into transforming the Royal Artillery Orchestra (Britain's oldest-established permanent orchestra, founded in 1763) into the famous ensemble that would become renowned throughout Europe.The instrumentation of the Royal Artillery Band in Aldershot
Aldershot
Aldershot is a town in the English county of Hampshire, located on heathland about southwest of London. The town is administered by Rushmoor Borough Council...
came largely from the Royal Artillery Brass Band (formerly under the charge of Lawson), and consisted of 8 cornets, 3 tenor horns, two baritones, 2 E-Flat bombardons, and 1 pair of kettledrums. To this, 5 woodwinds, including E-Flat 'clarionette' and piccolo were added. All of the musicians were required to become proficient on stringed instruments - a required condition that has remained in all Royal Artillery bands from 1887 to the current day.
In 1897 the 'mounted portion' of the Royal Artillery Band was disbanded, leaving the Aldershot band to fulfil all remaining mounted ceremonial duties.
During the tour of New Zealand, by the Royal Artillery Band (May 1913 - March 1914), approximately half of the Woolwich band remained in London to provide an orchestra. Interestingly, the RA Bands Committee chose to allow Mr Henry Sims and the Royal Artillery Mounted Band to fulfill the London concerts at Queen's Hall, although the strings were augmented by string players from Woolwich. On 17 May 1913 The Band gave the first performance at the opening of the new bandstand, at the riverside promenade (The Groves) in Chester.
The War Years (1939–1945)
In 1939 on the outbreak of war, the horses were returned to the Remount Depot. Before the end of 1940, the main four artillery bands were allotted their separate War stations. The Royal Artillery (Woolwich) Band was made responsible for tours in the Northern and Scottish Commands, and a single tour of duty in Northern Ireland. The Royal Artillery Mounted Band was renamed 'The Royal Artillery (Aldershot) Band' for the duration of the war, and moved in 1941 to Harrogate in North Yorkshire, to take over the Northern and Scottish Commands (to be stationed at Hildebrand Barracks, Penny Pot Lane, Harrogate), while the Woolwich band returned to London, to serve the South Eastern Command, with a small detachment of the band at Watford for the Eastern Command [the RA (Portsmouth) Band went to Cheshire for the Western Command, while the RA (Salisbury Plain) Band was sent to Bulford Camp for the Southern Command]. The number of days the Aldershot band spent away from headquarters, some of them in battle zones is: 176 (in 1941); 214 (in 1942); 171 (in 1943); 123 (in 1944).Upon the Band's return to Aldershot at the end of the war, at the King's suggestion, it was reinstated with the highly-prized title 'Mounted Band' because of its former associations with the Royal Horse Artillery, and on the understanding that the RHA may at any time claim entitlement to the services of the Band above all requests by other regiments.
The Royal Artillery Mounted Band, renamed 'Royal Artillery (Aldershot) Band' as the band of Northern Command, stationed from 1940-1945 in Hildebrand Barracks, Harrogate, North Yorkshire [Picture used by kind permission of its owner, Joyce Teasdale, and with grateful thanks to Sarah Sanderson of the Picture Stockton Team]
Post-war History and Final Years (1945–1984)
On 1 August 1947 the Royal Artillery Mounted Band was granted minor staff band status, with three other corps bands. The then serving bandmaster, Mr David McBain was commissioned as the first director of music. At that time, the band was stationed at Minden Barracks, Deepcut, Surrey.In 1967 the band moved to Germany where it replaced the Royal Artillery (BAOR) Band at Dortmund
Dortmund
Dortmund is a city in Germany. It is located in the Bundesland of North Rhine-Westphalia, in the Ruhr area. Its population of 585,045 makes it the 7th largest city in Germany and the 34th largest in the European Union....
. During the band's extensive tour throughout Germany and in other European countries the band fulfilled many important engagements, including the British Week in Vienna in October 1969.
The band returned to the UK in 1972 to be stationed for the first time at Larkhill, on Salisbury Plain
Salisbury Plain
Salisbury Plain is a chalk plateau in central southern England covering . It is part of the Southern England Chalk Formation and largely lies within the county of Wiltshire, with a little in Hampshire. The plain is famous for its rich archaeology, including Stonehenge, one of England's best known...
, where it replaced the newly-styled 'Royal Artillery Alanbrooke Band' (formerly the Royal Artillery (BAOR) Band). By now, it had been decided that the two bands would alternate locations every five years. The new arrangement continued until the final return of the Mounted Band to Larkhill, where it was disbanded within months of making its last-ever appearance at the Edinburgh Military Tattoo in 1984. The Royal Artillery was required in 1976 to provide a band to play for the Mounting of the Guard at Buckingham Palace. So that the Royal Artillery Band was able to still meet its previously agreed commitments for orchestra, the Royal Artillery Mounted Band formed the bulk of the 50-piece Palace band, with its remaining men drawn from Woolwich. The Woolwich musicians being in the minority were thereby required to remove their band swords, to satisfy a uniform appearance. All three RA bands were reunited, with support from the various affiliated Territorial Army bands, at the Beating of the Retreat in June, 1980 on Horse Guards Parade, Whitehall, in London, in the presence of Her Majesty the Queen, the Captain General of the royal regiment.
During the Band´s final five year tenure in Germany, stationed at Dortmund, its strength rose to 43 musicians. This would be the high point in the size of the Band, before it began to slowly diminish in size, though not in stature.
Prior to the Band's return to the United Kingdom in 1982, it could still muster 38 musicians, however, following voluntary redundancies and postings to other bands, the number of musicians declined to 24 by the time its ultimate album was recorded, towards the end of 1983, at Wembley Studios, under the baton of Frank Renton.
Throughout its long history the Royal Artillery Mounted Band maintained a particularly high standard of performance, for which it will always be remembered. This held the Band in good stead on the various occasions when, owing to its seniority, it would be required to take precedence at prestigious events, such as during the Festival of Flanders, on 6 September 1980, where at the 'Sportpaleis' in Gent, it was seen with the larger, and similarly famous Band of the Grenadier Guards. At the Sportpaleis, and at the Paleis des Beaux Arts (also in Gent), the Band excelled both musically, and visually, with that of the Grenadier Guards again also participating.
In spite of its many public appearances as a marching band and concert band, the Band retained the kudos it had always received for its orchestra, and as such, by far exceeded the number of engagements it fulfilled as a military band. During its time in Dortmund, the orchestra regularly provided a 20-piece pit orchestra, to accompany the West Rhine Musical Society at the Garrison Theatre, Rheindahlen. Productions included 'Princess Ida', 'Yeoman of the Guard', 'Fiddler on the Roof', 'Carousel', 'Patience', and 'My Fair Lady' among others.
The Orchestra travelled regularly throughout the British Army of the Rhine
British Army of the Rhine
There have been two formations named British Army of the Rhine . Both were originally occupation forces in Germany, one after the First World War, and the other after the Second World War.-1919–1929:...
area, and occasionally across European borders, to perform at military bases, embassies, and also for civilian private hires. The orchestral library was almost as extensive as that of the military band. The Mounted Band was the only band of the British Army of the Rhine, to possess a true capability on stringed instruments, as each of its personnel, in the tradition of all Royal Artillery Band musicians, was expected to also play a stringed instrument in addition to either a wind, or a percussion instrument. These assets were suitably accorded the esteem they deserved, when on 25 October 1982, the last of the Band's quinquennial inspections, by the Inspector of Army Bands took place at Larkhill. The number of band members by that time at fallen to 33. In the traditions set by the Band, as has indeed was also the case at the two previous 'Kneller Hall inspections' (as they are usually dubbed), the Royal Artillery Band was awarded the highest possible marks in all areas, involving all ensemble combinations within the Band.
1984 - The final year
By the beginning of the year, the Band comprised 24 members, not including its Director of Music. By The last official photographs of the individual members of the Band were taken, and mounted in a large frame, to commemorate a band that had existed for almost a century. This set of photographs (shown above, right) is now in the possession of the Royal Artillery Band at Woolwich, London.The Orchestra and Dance Band were invited to play at the British Dental Association's Gala Dinner, at the Guildhall, London
Guildhall, London
The Guildhall is a building in the City of London, off Gresham and Basinghall streets, in the wards of Bassishaw and Cheap. It has been used as a town hall for several hundred years, and is still the ceremonial and administrative centre of the City of London and its Corporation...
, on 16 June 1984, in the presence of the Lord Mayor of London. The Orchestra was conducted on that occasion by its Director of Music, Captain Frank Renton, RA.
On the evening of 11 July the Band was present for a massed bands display, at the Royal School of Artillery, with the Royal Artillery Band, and bands of the 1st Battalion The Gloucester Regiment, 2nd Battalion The Parachute Regiment, and the Royal Electrical and Mechanical Engineers.
The final year of the Band was filled with numerous major engagements, culminating in a resounding triumph in Italy where the Band took part in the International Music Week in Turin and performed at the British Embassy in Rome (in June 1984). Despite considerable uproar from the military and public alike, who commented that "the wrong band was being axed" and vehemant criticisms against the MoD, the truth of the matter was, quite simply, that the Band was in the wrong location at the wrong time; that there was no justification in having two bands belonging to the same regiment, to be stationed in the UK.
The last major engagement at which the Band performed, from mid-July until mid-August, was at the Edinburgh Military Tattoo, as the senior band under the command of WO2 (BSM) S.M. Day. The other bands taking part at the time, including the Band of the Scots Guards, the Band of the Queen's Own Highlanders, the Band of the Argyll and sutherland Highlanders, and the Royal Band South, of H.M. The Sultan of Oman. As the Mounted Band was at the time bereft of a director of music, the Tattoo Director of Music that year was Major D. Carson, Scots Guards.
On 20 October 1984, a farewell dinner was held for the Royal Artillery Mounted Band, at the Warrant Officers' and Sergeants' Mess at Larkhill. Aside from the current members of the Band, three former band members attended, including Ernie Langhope, who served in the band when they from 1920 - 1945. For the occasion the RA (Woolwich) Band provided a six-piece mess orchestra. Days after the farewell dinner, the Band's remaining 24 members were posted to each of the remaining Royal Artillery's bands, with some following those who had already taken voluntary redundancy.
Bandmasters and Directors of Music
James Lawson became the first bandmaster of the Royal Artillery Mounted Band in Woolwich, and was succeeded by Henry Sims in Aldershot, who was bandmaster from 1886 - 1918.In 1919 it was decided by the Royal Military School of Music and the War Office, that 'Directors of Music' would head the three bands of the Household Cavalry
Household Cavalry
The term Household Cavalry is used across the Commonwealth to describe the cavalry of the Household Divisions, a country’s most elite or historically senior military groupings or those military groupings that provide functions associated directly with the Head of state.Canada's Governor General's...
, the Royal Artillery's bands, the Band of the Royal Engineers, and the regimental bands of the five foot regiments of the Brigade of Guards. All other bands retained a 'Bandmaster' as head, and the Royal Artillery Band retained a bandmaster in addition to its director of music, for the reason that it was the largest of all British military bands.
Successors to Henry Sims were:
Augustus Joseph Dunn (1918–1920); Thomas James Hillier (1920–1935); Sam Rhodes (1935–1938); David McBain (1938–1948); Basil Hector Brown (1948–1958); William Williams (1958–1966); George Edwin Evans (1966–1972); Terence Alan John Kenny (1972–1977); Brian Erwin Hicks (1977–1982), and Frank Anthony Renton (1982–1984).
In its last few months in existence, the band was conducted and managed by Drum Major Shaun Day. It is noteworthy that four directors of Music of the Royal Artillery Mounted Band, during the postwar era, succeeded to the highest post in military music, that of Principal Director of Music, of the Royal Military School of Music, at Kneller Hall, Twickenham, which may rightly be seen as a truly remarkable achievement. The four DoMs were: David McBain, Basil Brown, George Evans and Frank Renton.
Locations of the Royal Artillery Mounted Band
"(i)" 1886 until 1887 at Royal Artillery Barracks, Woolwich"(ii)" 1887 until 1940 at Mons Barracks, Aldershot"(iii) 1940 until 1944 at Hildebrand Barracks, Harrogate, North Yorkshire
(iv) 1947 until 1950? at Minden Barracks, Deepcut, Surrey.
(v) 1950[?] until January 1967 at Mons Barracks, Aldershot.
(vi) January 1967 until January 1972 at West Riding Barracks Dortmund, West Germany.
(vii) January 1972 until January 1977 at the Royal School of Artillery, Larkhill, Wiltshire.
(viii) January 1977 until January 1982 at West Riding Barracks, Dortmund, West Germany.
(vi) January 1982 until disbandment on 31 March 1985 at RSA, Larkhill, Wiltshire.
From 1886–1939
Originally the only headdress worn by when mounted, was the blue forage cap. As a marching band, all RA bands wore the busby. In 1894 a new style black sable busby was introduced (the earlier busby having once replaced the shakoShako
A shako is a tall, cylindrical military cap, usually with a peak or visor and sometimes tapered at the top...
from c. 1850 until the end of the 1860s) with a scarlet bag on the right, and a brass grenade on the left, which held a red cut feather plume. The busby
Busby
Busby is the English name for the Hungarian prémes csákó or kucsma, a military head-dress made of fur, worn by Hungarian hussars. In its original Hungarian form the busby was a cylindrical fur cap, having a bag of coloured cloth hanging from the top. The end of this bag was attached to the right...
was held in place on the head by a brass chin chain, on a black leather strap. The busby (originally the headdress of hussar
Hussar
Hussar refers to a number of types of light cavalry which originated in Hungary in the 14th century, tracing its roots from Serbian medieval cavalry tradition, brought to Hungary in the course of the Serb migrations, which began in the late 14th century....
s) became the correct headdress for all mounted ceremonial duties, as well as for marching band. At some time during late 1860s, the familiar modern helmet, with a ball replacing the usual spike (similar to that worn by policemen) appeared, which remained part of the uniform until 1894. [Shako >busby (c. 1850) >>modern helmet (from c. 1860) >>>modern busby (from 1894)]
The tunic was not worn on horseback: the patrol jacket of the royal artillery was worn instead. The patrol jacket was made of navy blue cloth with a scarlet collar edged in gold lace; at each side on the front were gilt grenade badges. The front of the jacked was piped with yellow-ochre rope (later replaced with gold russia braid) and was fastened by hooks and eyes. The shoulder straps were gold cords held in place by a gilt button at the collar. The cuffs of the jacket were navy blue with an austrian knot in gold cord. The pouch belt (worn over the left shoulder) was white leather with a large black patent leather pouch (for carrying music cards, on the flap of which was fastened the RA gun badge. The waistbelt was also of white leather, with a brass snake-hook clasp. The RA band-sword [see "The Royal Artillery Band" (¶1) above] was not worn, and so the sword slings were linked together. Peculiar to the Mounted band were the girdles (similar to the broader stable belts of today) that were worn together with the pouch belts. The girdle (introduced in 1904) sported the RA colours, red, and blue, and was fastened with brass olivettes and loops (originally at the wearer's front, then at the side). A year later, a wider version, with a central stripe in blue was introduced to the RA Mounted Band, and later into the RA bands in Dover, Plymouth, and Portsmouth. In 1920, it was finally introduced into the RA Band at Woolwich. A more recent girdle design, still to be seen worn by some of the musicians in the 1980s, featured brass clasp-fastenings, adorned with the RA musicians' lyre. White leather gloves with clay-piping were uniquely worn in the Mounted Band (those worn in the other bands were of white brushed cotton). The riding breeches were navy blue with a broad scarlet stripe down the outer seam. The riding boots were of black leather and spurs were held on by straps. In undress, a blue forage (pill-box) cap with a gold lace band was worn. When marching, the mounted bands wore the standard officer pattern 'George' boot with dress spurs fixed to the heel with screws, rather than the box spurs as worn by officers.
The silver-plated kettledrums were covered in a dark blue 'bib' (drum banner). The harness was of brown leather with a brass-studded bridle and a breast plate of brass, depicting the grenade badge. The shabraque was likewise decorated. The third, or 'foot rein' was fastened on to the stirrups. The bit, and bridal reins rested in the neck of the animal. The saddle was the standard army pattern. So as to make a distinction between the two bands, no kettle drum bib or shabraque was used by the 'Mounted Portion' at Woolwich.
In 1899, in anticipation of the start of the new millennium, the brass 'bomb' plume holder was moved to the front of the Royal Artillery busby, and the plume was changed from cut feather to scarlet horsehair.
From 1939 -1984
During World War II, the band's uniform was identical to that worn by the RHA troops: khaki Service Dress with boots with puttees. The headdress was the khakiKhaki
This article is about the fabric. For the color, see Khaki . Kaki, another name for the persimmon, is often misspelled "Khaki".Khaki is a type of fabric or the color of such fabric...
Service Dress cap, with a black leather chin strap, which continued to be worn by the Mounted Band until its last days. On the right arm forearm of the jacket, was a khaki worsted lyre, unique to artillery musicians.
After the war, the band adopted, as its 'ceremonial' uniform, the No. 1 Dress jacket (blues) with scarlet facings, replaced the tunic. The corresponding No. 1 Dress trousers sporting a wide scarlet stripe on the outside seam were worn. Service stripes were permitted on No. 1 Dress jackets, and the RA stable belt continued to be worn. The busby was not reintroduced until the 1960s, the headdress of the time being the No. 1 Dress peaked cap. Interestingly, the Royal Artillery Woolwich Band continued to wear the band sword [an image of the sword can be found by following the link at the bottom of the page] with this uniform. Standard pattern black leather shoes were worn. After the reintroduction of the busby, close-fitting cavalry-style trousers were adopted, and these were buckled under the instep of the 'George' boot, by the aid of leather straps. Silver dress spurs were screwed to the heel of the boot. The stable belt was no longer worn, but replaced by the standard officer pattern leather cross belt, worn over the left shoulder, which was covered in 18 carat gold wire, with a small black patent leather pouch, onto which a gilt RA gun badge was fastened.
In preparation for the birthday parade for Her Majesty The Queen, on Horse Guards Parade, London (June 1986), musicians from the surviving RA (Woolwich), and RA (Alanbrooke) bands were measured for the new design of tunic, in navy with scarlet cuffs and collar, quilted silk lining, and additional 18 carat gold braiding. The braiding was more pronounced according to the rank of the wearer. This is the design that continues to be worn by the present Royal Artillery Band.
The British Grenadiers
The tune 'The British GrenadiersThe British Grenadiers
The British Grenadiers is a marching song for the grenadier units of the British and Commonwealth militaries, the tune of which dates from the 17th century. It is the Regimental Quick March of the Grenadier Guards, Corps of Royal Engineers, the Honourable Artillery Company and the Royal Regiment of...
' was first adopted for use as a regimental march by the Honourable Artillery Company (the oldest British regiment), during the English Civil War
English Civil War
The English Civil War was a series of armed conflicts and political machinations between Parliamentarians and Royalists...
. Although grenades were first thrown by artillerymen in 1643, the term 'grenade' was first documented in 1688. Originally a Dutch song, the melody now known as 'The British Grenadiers' was brought to England by King William III of the Netherlands. Soon after the melody became popular in these islands, a version of it, titled 'The New Bath' appeared in a '17th Century Dance Book' by Playford. In the Netherlands, it is known as 'De jonge prins van Friesland' ('The Young Friesian Prince') after Prince Johann Willem Friso. In 1706, the march became the regimental quick march of the Royal Artillery, and was known as the 'Royal Artillery Grenadiers March', although was not declared 'official' until 1882. It first appeared in print, as 'The British Grenadiers' in 1740. As a regimental quick march, the short duration of the melody has always resulted in unwanted repetition, but in 1983, Lieutenant-Colonel Stanley Patch (then Director of Music) provided a suitable solution, by adding the 'Trio' section of another favourite artillery march, 'The Voice of The Guns' composed by Major F.J. Ricketts, under the pseudonym 'Kenneth J. Alford'. The popularity of the tune 'The British Grenadiers' rivalled that of its contemporary 'Lilliburlero', and subsequently led to its adoption by all regiments who wear as their cap or collar badges, the symbol of the grenade.
The Trayne of Artillery's Grenadiers March
Prior to the Royal Artillery adopting 'The British Grenadiers' as its regimental quick march, 'The Train of Artillery' (as it is now known) was the quick march of the royal regiment. This march first appeared in print, published by Thompson & Son, London, in 'The Compleat Tutor for the Fife', circa 1760.The Minden Rose
The origins of this march in 6/8 time are obscure. The piece was first documented as 'Mindener-Marsch', and possibly came into being during the battle of Minden.The Marquess of Granby's March
This is the original slow march of the Royal Artillery, and appeared in print, published by Thompson & Son, London, in 'The Compleat Tutor for the Fife', circa 1760. The Marquis of Granby was Master-General of the Regiment (1763–1772), and was preceded by General Ligonier (1759–1763) after whom, a now forgotten slow march 'General Ligonier's March' was named. The appointment 'Master-General' is nowadays known as 'Master Gunner, St. James's Park' (not to be confused with 'Master Gunner', which is a Warrant Officer special skills appointment).The Royal Artillery slow march
The Royal Artillery Slow March was written by Her Royal Highness, the Duchess of Kent, mother of Queen Victoria (herself a most competent musician), circa 1836. It is also the regimental walk march of the Royal Horse Artillery.Regimental Trot 'The Keel Row'
The Royal Horse Artillery (and cavalry regiments) adopted this Tyneside air in 1903 on its publication by the War Office.Regimental canter 'Bonnie Dundee'
The melody of 'Bonnie Dundee' dates back to the battle of BannockburnBattle of Bannockburn
The Battle of Bannockburn was a significant Scottish victory in the Wars of Scottish Independence...
in 1314. By 1600 the melody was certainly known all over Scotland and England. It appears in 'The Beggar's Opera' and was also used by Robert Burns. It is also associated with a poem by Sir Walter Scott, which commemorates the Viscount of Dundee's bravery in the 1689 rebellion. It is believed that the title of this melody refers to the Viscount of Dundee, rather than to the City of the same name.