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The Rise & Development Of Military Music

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THE RENAISSANCE.                              141
4 Cornets, B flat. 2 Trumpets. 2 Flugel Horns.
4  French Horns.
2 Horns, E flat Alto. 2 Horns, B flat Tenor.
2  Euphoniums.
3  Trombones.
5  Bombardons.
4  Drums, etc.
Total, 66.'
6 Trombones.
1 Contra Bass.
3 Bombardons, E flat.
2 Bombardons, B flat. 3 Drums.
                                 Total, 60/
Here I must cry halt! for I do not intend, for ob­vious reasons, to encroach upon the "present." How­ever, I would like to conclude with a reference to a work recently published, " Musical England," by W. J. Galloway, in which a chapter is devoted to military bands. The author says "that at the present moment no other country has more good military bands than England." He also lays stress, and justly too, upon the important position our bands have now assumed in the musical life of this country. "The employment of military bands at places of public entertainment," says Mr. Galloway, "enables them to appeal to larger audiences than can be reached even by the leading metropolitan orchestras. At exhibitions and fetes, as well as at private gatherings, they have enormous op­portunities for influencing public taste, and if in turn public taste has reacted on them, it is only fair to say that the musicians of the army in the past—and still more in the present—have taken full advantage of the educational openings put before them."
* Grove's "Dictionary" (article, Wind Band), 9 Marr, " Music for the People."
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