See also:

• DRUM (early forms drome or dromme, a word common to many Teut. languages, cf. Dan. tromme, Ger. Trommel: the word is ultimately the same as " trumpet," and is probably onomatopoeic in origin; it appears late in Eng. about the middle of the 16th century)

DRUM (See also:

• EARLY
• EARLY, JUBAL ANDERSON (1816-1894)

early forms See also:

• DROME

drome or dromme, a word See also:

• COMMON

common to many Teut. See also:

• LANGUAGES

languages, cf. See also:

• DAN

Dan. tromme, Ger. Trommel: the word is ultimately the same as " See also:

• TRUMPET (Fr. trompette, clairon; Ger. ,Trompete, Klarino, Trummet; Ital. tromba, trombetta, clarino)
• TRUMPET, SPEAKING AND HEARING

trumpet," and is probably onomatopoeic in origin; it appears See also:

• LATE

late in Eng. about the See also:

• MIDDLE

middle of the 16th See also:

• CENTURY (from Lat. centuria, a division of a hundred men)

century)  , the name given to the well-known musical See also:

• INSTRUMENT (Lat. instrumentum, from insincere, to build up, furnish, arrange, prepare)

instrument (see below) and also to many See also:

• OBJECTS

objects resembling it in shape . Thus it is used of any receptacle of similar shape, as a " See also:

• DRUM (early forms drome or dromme, a word common to many Teut. languages, cf. Dan. tromme, Ger. Trommel: the word is ultimately the same as " trumpet," and is probably onomatopoeic in origin; it appears late in Eng. about the middle of the 16th century)

drum " of oil, &c.; in machinery, of a revolving See also:

• CYLINDER (Gr. KvAwSpos, from KvXivaety, to roll)

cylinder, See also:

• ROUND (O. Fr. rond, Lat. rotundus, the Fr. is the source also of Du. rond; Ger., Swed., Dan. and Nor. rond)

round which belting is passed; of the tympanum or cylindrically shaped See also:

• MIDDLE

middle See also:

• EAR (common Teut.; O.E. are, Ger. Ohr, Du. oor, akin to Lat. auris, Gr. ovs)

ear, and specially of the membrane that closes the See also:

• EXTERNAL

external auditory meatus; and, in See also:

• ARCHITECTURE (Lat. architectura, from the Gr. ap)(LTEKrwv, a master-builder)

architecture, of the sub-structure of a See also:

• DOME (Lat domus, house; Ital. duomo, cathedral)

dome when raised to some height above the pendentives . The architectural drum had a twofold See also:

• OBJECT

object; first, to give greater See also:

• ELEVATION

elevation to the dome externally so that it should rise well above the surrounding See also:

• BUILDING

building, and secondly, to allow of the interior being lighted with See also:

• VERTICAL (from Lat. vertex, highest point)

vertical windows cut in the drum, instead of forming penetrations in the dome itself, as in St See also:

• SOPHIA (1630-1714)

Sophia, See also:

• CONSTANTINOPLE
• CONSTANTINOPLE, COUNCILS OF

Constantinople . The See also:

• TERM

term is also applied to the circular blocks of See also:

• STONE
• STONE (0. Eng. shin; the word is common to Teutonic languages, cf. Ger. Stein, Du. steen, Dan. and Swed. sten; the root is also seen in Gr. aria, pebble)
• STONE, CHARLES POMEROY (1824-1887)
• STONE, EDWARD JAMES (1831-1897)
• STONE, FRANK (1800-1859)
• STONE, GEORGE (1708—1764)
• STONE, LUCY [BLACKWELL] (1818-1893)
• STONE, MARCUS (184o— )
• STONE, NICHOLAS (1586-1647)

stone, which in columns of large dimensions were built with a See also:

• SERIES (a Latin word from serere, to join)

series of drums . At See also:

• SELINUS (EeXsvoiis)

Selinus in See also:

• SICILY (Ital. Sicilia)

Sicily some of these See also:

• GREAT

great circular blocks are found on the road between the quarries and the temples; they vary from 8 to 10 ft. in See also:

• DIAMETER (from the Cr. &a, through, µErpov, measure)

diameter, being about 6 ft. high . The term frusta is sometimes applied to them . In See also:

• MUSIC

music the drum (Fr. See also:

• TAMBOUR (Fr. for " drum " )

tambour; Ger . Trommel; Ital. tamburo) is an instrument of percussion See also:

• COMMON

common in some See also:

• FORM (Lat. forma)

form to all nations and ages . It consists of a See also:

• FRAME

frame or See also:

• VESSEL (O. Fr. vaissel, from a rare Lat. vascellum, dim. of vas, vase, urn)

vessel forming a resonant cavity, over one or both ends of which is stretched a skin or vellum set in vibration by See also:

• DIRECT

direct percussion of See also:

• HAND
• HAND (a word common to Teutonic languages; cf. Ger. Hand, Goth. handus)
• HAND, FERDINAND GOTTHELF (1786-185r)

hand or stick . Drums fall into two divisions according to the nature of their sonority:—(1) See also:

• INSTRUMENTS

instruments producing sounds of definite musical See also:

• PITCH
• PITCH, MUSICAL

pitch, and qualified thereby to take See also:

• PART

part in the See also:

• HARMONY (Gr. dpµovia, a concord of musical sounds, dpA'ew to join; &plan midi (sc. TeXvil)

harmony of the See also:

• ORCHESTRA (Fr. Orchestre; Ger. Kapelle, Orchester; Ital. Orchestra)

orchestra, such as the kettledrum (q.v.); (2) instruments of indefinite sonorousness, and therefore excluded from the harmony of the orchestra; such are the See also:

• BASS
• BASS (the same word as " base," and so pronounced, but influenced in spelling by the Ital. basso)

bass drum, the See also:

• SIDE
• SIDE (mod. Eski Adalia)

side or snare drum, the See also:

• TENOR (through Fr. and It. from Lat. tenor, holding on, course, sense of a law, tone)

tenor drum, the See also:

• TAMBOURINE (Fr. tambour de Basque; Ger. baskische Trommel, Tambourin, or Schellen-trommel)

tambourine, all used for marking the See also:

• RHYTHM (Greek pvBµds, from bap, to flow)

rhythm and adding See also:

• TONE, THEOBALD WOLFE (1763-1798)

tone See also:

• COLOUR (Lat. color, connected with celare, to hide, the root meaning, therefore, being that of a covering)

colour . Drums are further divided into three classes according to See also:

• SPECIAL

special features of construction:—(1) instruments having a skin stretched over one end of the resonant cavity, the other being open, such as the tambourine (q.v.) and the darabukkeh or See also:

• EGYPTIAN

Egyptian drum, shaped like a See also:

• MUSHROOM

mushroom; (2) instruments consisting of a See also:

• CUP (in O.E. cuppe; generally taken to be from Late Lat. cuppa, a variant of Lat. cupa, a cask, cf. Gr. KuaeXXov)

cup-shaped receptacle of See also:

• METAL
• METAL (through Fr. from Lat. metallum, mine, quarry, adapted from Gr. µATaXAov, in the same sense, probably connected with ,ueraAAdv, to search after, explore, µeTa, after, aAAos, other)

metal, See also:

• WOOD, ANTHONY A2 (1632-1695)
• WOOD, JOHN GEORGE (1827—1889)
• WOOD, MRS HENRY [ELLEN] (1814—1887)
• WOOD, SEARLES VALENTINE (1798—188o)

wood or earthen-See also:

• WARE

ware entirely closed by a skin or vellum stretched across theopening, as in the kettledrum; (3) a receptacle in the shape of a cylinder closed at both ends by skins, as in the bass drum, side drum, &c . Skin or See also:

• PARCHMENT

parchment only acquires the See also:

• ELASTICITY

elasticity requisite to produce vibration by tension; the vibrations of the parchmelt are taken up by the See also:

• AIR (from an Indo-European root meaning " breathe," " blow ")
• AIR, or ASBEN

air enclosed in the receptacle, which thus reinforces the See also:

• SOUND
• SOUND, THE (Danish Oresund)

sound produced by the parchment .

The tone of the instrument whether definite or indefinite depends upon the dimensions of the vellum, the shape of the resonant receptacle, and the method of percussion . The intensity of the sound depends upon the degree of percussive force used and the diameter of the vellum in proportion to the dimensions of the resonant receptacle; the material of which the latter consists has little or no See also:

• INFLUENCE (Late Lat. influentia, from influere, to flow in)

influence on the tone of the instrument . The pitch of the sound is determined by the dimensions of the vellum taken in See also:

• CONJUNCTION (from Lat. conjungere, to join together)

conjunction with the degree of tension, the pitch varying in acuteness directly with the degree of tension and inversely with the See also:

• SIZE

size of the vellum . The bass drum or See also:

• TURKISH

Turkish drum (Fr. See also:

• GROSSE, JULIUS WALDEMAR (1828—1902)

grosse caisse; Ger . Grosse Trommel; Ital. gran cassa or tamburo grande) consists of a See also:

• SHORT, FRANCIS JOB (1857– )

short cylinder of very wide diameter covered at both ends by vellum stretched over thin hoops, which in turn are kept in See also:

• PLACE (through Fr. from Lat. platea, street; Gr. IrAar6s, wide)

place by larger hoops fitting tightly over them . At See also:

• REGULAR

regular intervals in the two large hoops are bored holes through which passes an endless See also:

• CORD (derived through the Fr. corde, from the Lat. chorda, Gr. xop(5rt, the string of a musical instrument)

cord stretched in zig-zag round the cylinder and connecting the two hoops . The tension of the vellum is controlled by means of See also:

• LEATHER (a word which appears in all Teutonic languages; cf. Ger. Leder, Dutch leer or leder, Swed. leder, and in such Celtic forms as Welsh llader)
• LEATHER, ARTIFICIAL

leather braces which are made to slide up and down the zig-zag of cord, slackening or tightening the large hoops, and with them the vellum, at the will of the per-former . Systems of rods and screws are also used FIG . 1.-Military Bass Drum for the purpose . The Besson & Co.) bass drum is mounted on a stand when used in the orchestra . The sound is produced by striking the centre of the vellum on the one end of the drum with a stick having a large soft round knob composed of wood covered with See also:

• CORK
• CORK (perhaps through Sp. corcha from Lat. cortex, bark, but possibly connected with quercus, oak)
• CORK, RICHARD BOYLE

cork, sponge or See also:

• FELT (cognate with Ger. Filz, Du. vilt, Swed. and Dan. fill; the root is unknown; the word has given Med. Lat. filtrum, " filter ")

felt . The bass drum cannot be tuned since it gives out no definite See also:

• NOTE
• NOTE (Lat. nota, mark, sign, from noscere, to know)

note, but the pitch may be varied, according as a See also:

• RICH, BARNABE (c. 1540-1617)
• RICH, CLAUDIUS JAMES (1787-1821)
• RICH, JOHN (1692-1761)
• RICH, PENELOPE, LADY (c. 1562–1607)
• RICH, RICHARD, 1ST BARON RICH (1490?-1567)

rich full tone or a See also:

• MERE
• MERE, ADALBERT (1838-1909)

mere dull thud be required, by tightening or loosening the braces; the instrument can, moreover, be muffled by covering it with a piece of See also:

• CLOTH

cloth .

The music for the bass drum is generally written on a stave with a bass clef, , the C being merely used to show the rhythm andaccents . Some-times the stave is dispensed with, a single note on a single See also:

• LINE

line being sufficient . The bass drum has a place in every orchestra, although it is used but sparingly to accentuate the rhythm . It is possible to make gradations in forte and piano on the bass drum, and to See also:

• PLAY

play quavers and semi-quavers in moderate tempo . A See also:

• ROLL (O. Fr. rolle, roulle, mod. role, Lat. rotulus, dim. of rota, wheel)
• ROLL, ALFRED PHILIPPE (1846– )

roll is sometimes played by holding a short stick, furnished with a knob at each end, in the middle and striking in See also:

• QUICK

quick See also:

• SUCCESSION (Lat. successio, from succedere, to follow after)

succession with each knob alternately; two kettledrum sticks See also:

• ANSWER (derived from and, against, and the same root as swear)

answer the purpose still better . It is under-stood that the See also:

• CYMBALS (Fr. cymbales; Ger. Becken; Ital. piatti or cinelli)

cymbals play the same music as the bass drum unless the composer has written senza See also:

• PIATTI, CARLO ALFREDO (1822-1901)

piatti over the part See also:

• WAGNER, ADOLF (1835- )
• WAGNER, RUDOLPH (1805-1864)
• WAGNER, WILHELM RICHARD (1813-1883)

Wagner did not once See also:

• SCORE (O.E. scor, from sceran, to cut, notch, cf. " shear ")

score for the bass drum after he composed See also:

• RIENZI, COLA DI (c. 1313–1354)

Rienzi, but See also:

• VERDI, GIUSEPPE FORTUNINO FRANCESCO (1813-1901)

Verdi, See also:

• GOUNOD, CHARLES FRANCOIS (1818--1893)

Gounod, See also:

• BERLIOZ, HECTOR (1803-1869)

Berlioz and See also:

• SULLIVAN, JOHN (1740–1795)
• SULLIVAN, SIR ARTHUR SEYMOUR (1842—1900)
• SULLIVAN, THOMAS BARRY (1824-1891)

Sullivan used it effectively . The bass drum was formerly known as the See also:

• LONG, GEORGE (1800-1879)
• LONG, JOHN DAVIS (1838– )

long drum, the cylinder being long in proportion to the diameter . The side or snare drum (Fr. tambour militaire; Ger . Militltrtrommel; Ital. tamburo militare) is an instrument consisting of a small wooden or See also:

• BRASS
• BRASS (O. Eng. braes)

brass cylinder with a vellum at each end . The parchments are lapped over small hoops and pressed firmly down by larger hoops . As in the bass drum, these and the vellums are tightened or slackened by means of cords and leather braces, or by a See also:

• SYSTEM

system of rods and screws . Across the See also:

• LOWER

lower See also:

• HEAD (in 0. Eng. heafad; the word is common to Teutonic languages; cf. Dutch hoofd, Ger. Haupt, generally taken to be in origin connected with Lat. caput, Gr. KerbOvi7)
• HEAD, SIR EDMUND WALKER, BART
• HEAD, SIR FRANCIS BOND, BART

head are stretched two or more See also:

• CATGUT

catgut strings called snares, which produce a rattling sound at each stroke on the upper head, owing to the sympathetic vibration of the lower head which jars against the snares .

The upper head, set in vibration by Side Drum (Besson & Co.) . Drum (Besson & Co.) . direct percussion from the sticks, induces sympathetic vibrations in the air contained within the resonating receptacle, and these vibrations are communicated to the lower head . The presence of the snares across the diameter of the latter produces a phenomenon which gives the side drum its See also:

• PECULIAR

peculiar timbre, changing the nature of the vibrations, now no longer See also:

• FREE

free: the snares form a See also:

• KIND (O. E. ge-cynde, from the same root as is seen in " kin," supra)

kind of nodal contact, inducing See also:

• DOUBLE
• DOUBLE (from the Mid. Eng. duble, the form which gives the present pronunciation, through the Old Er. duble, from Lat. duplus, twice as much)

double the number of vibrations and a sound approximately an See also:

• OCTAVE (from Lat. octavus, eighth, octo, eight)

octave higher than would be the See also:

• CASE
• CASE, JOHN (d. 1600)

case were the heads See also:

• LEFT

left to vibrate freely . More-over, the vibrations of the upper head being weaker, the latter is compelled to vibrate synchronously with the lower vellum.' The side drum, so called because it is worn at the side, is struck in the centre by two small wooden sticks with elongated heads or knobs of hard wood, producing a hard rasping sound when the drum is played singly and in See also:

• CLOSE
• CLOSE (from Lat. clausum, shut)
• CLOSE, MAXWELL HENRY (1822-1903)

close proximity to the hearer; when, however, several drums are played simultaneously or with other instruments the effect is brilliant and exhilarating . The roll is produced by striking two blows alternately with each hand quite regularly and very rapidly, the result being a rattling tremolo . This roll (" daddy-mammy ") is very difficult to acquire, and requires long practice . The side drum can be muffled by loosening the snares or by inserting a piece of See also:

• SILK

silk or cloth between the snares and the parchment . An impressive effect is produced by a continued roll on muffled drums in funeral See also:

• MARCHES, THE (It. Le Marche)

marches . The notation for the side drum is similar to that in use for the bass drum; the value of the note is alone of importance; the place of the note on the See also:

• STAFF (O. Eng. staef, cf. Du. staf, Ger. Stab, &c.; Icel. stafr meant also a written letter, and O. Eng. stafas, the letters of the alphabet; " stave," one of the thin pieces of wood of which a cask is made, is a doublet)

staff is immaterial and purely a See also:

• MATTER

matter of See also:

• CUSTOM (from O. Fr. costume, costume or coustume; Low Lat. costuma, a shortened form of consuetudo)

custom . In orchestral scores, a single line is often used, or the part for side and bass drum is written on the same staff . A great variety of rhythmical figures can be played on the side drum, such as tr .

The tenor drum (Fr. caisse roulante; Ger . Roll- or Ruhrtrommel; Ital. tamburo rulante) is similar to the side drum but has a larger cylinder of wood and no snares; consequently its timbre lacks the brilliancy and incisiveness of the side drum . It is used for the roll in military bands, in some See also:

• THEATRE (BEarpov, " a place for seeing," from OeacOae)

theatre orchestras, and on the See also:

• STAGE (Fr. 6/age; from Lat. stare, to stand)

stage . The tambourin de See also:

• PROVENCE (Provincia, Proenza)

Provence is a small drum with a long cylinder of narrow diameter used in the Basque provinces with a small See also:

• PIPE

pipe (galoubet) having three holes . The drum is beaten with one stick only, the performer steadying it with the hand which fingers 1 See See also:

• VICTOR
• VICTOR, GAIUS JULIUS (4th cent. A.D.)
• VICTOR, SEXTUS AURELIUS

Victor Mahillon, See also:

• CATALOGUE (a Fr. adaptation of the Gr. KaraXoyos, a register, from Karalyety, to enrol or pick out)

Catalogue descriptif (See also:

• GHENT (Flem. Gent, Fr. Gand)

Ghent, 1880), vol. i. pp . 19 and 20.the pipe . The tambourin and galoubet are in fact a survival of the pipe and See also:

• TABOR

tabor (q.v.) . The popularity of all kinds of drums in the most See also:

• ANCIENT
• ANCIENT (also spelt ANTIENT; derived, through the Fr. ancien, old, from the late Lat. antianum, from ante, before)

ancient civilizations is established beyond a doubt by the numerous representations of the instrument in a variety of shapes and sizes on the monuments and paintings of See also:

• EGYPT

Egypt, See also:

• ASSYRIA

Assyria, See also:

• INDIA
• INDIA, FRENCH

India and See also:

• PERSIA

Persia . The See also:

• TYMPANON, or TYMPANUM

tympanon, under which name seem to have been included tambourines and kettledrums, as well as the See also:

• DULCIMER (Fr. tympanon; Ger. Hackbrett, Cymbal; Ital. cembalo, timpanon or salterio tedesco)

dulcimer (during the middle ages), was in use among Greeks and See also:

• ROMANS
• ROMANS, EPISTLE TO THE

Romans chiefly in the See also:

• WORSHIP (i.e. " worth-ship," O. Eng. weor8scipe)

worship of See also:

• CYBELE, or CYBEBE (Gr. Ku/3X, Ku,(3i7sn)

Cybele and Bacchus; it was introduced through the See also:

• MEDIUM

medium of the See also:

• ROMAN

Roman See also:

• CIVILIZATION

civilization into western See also:

• EUROPE

Europe . It is often said that the drum was introduced by the crusaders, but it was certainly known in See also:

• ENGLAND
• ENGLAND, THE CHURCH OF

England lqng before the See also:

• CRUSADES

crusades, for See also:

• BEDE, BEDA, or B
• BEDE, CUTHBERT

Bede (Musica practica) mentions it in his See also:

• LIST (O.E. lisle, a Teutonic word, cf. Dut. lust, Ger. Leiste, adapted in Ital. lista and Fr. lisle)
• LIST, FRIEDRICH (1789-1846)

list of instruments, and See also:

• CASSIODORUS (not Cassiodorius)

Cassiodorus (ii. p . 507) describes it . The side drum was, until the reign of See also:

• ELIZABETH
• ELIZABETH (1533-1603)
• ELIZABETH (1596-1662)
• ELIZABETH (1635–1650)
• ELIZABETH [ AMELIE EUGENIE ] (1837—1898)
• ELIZABETH [1lisabeth Philippine Marie Helene of France] (1764—1794)
• ELIZABETH [PAULINE ELIZABETH OTTILIE LOUISE] (1843– )
• ELIZABETH [PETROVNA] (1709-1762), EMPRESS
• ELIZABETH, SAINT (1207-1231)

Elizabeth, of a much larger size than now and was held horizontally and beaten on one head only .

It is not known at what date snares were added; See also:

• PRAETORIUS, MICHAEL (1571_1621)

Praetorius (Syntagma musicum,1618) and See also:

• MERSENNE, MARIN

Mersenne (L'Harmonie universelle, See also:

• PARIS
• PARIS (also called ALEXANDROS)
• PARIS, ALEXIS PAULIN (1800-x881)
• PARIS, BRUNO PAULIN GASTON (1839-1903)
• PARIS, FRANCOIS DE (169o-1727)
• PARIS, LOUIS PHILIPPE ALBERT
• PARIS, TREATIES OF (1814-1815)

Paris, 1636) both mention them . A See also:

• DRAWING

drawing of a side drum showing a snare appears in a book2 from the See also:

• PRINTING (from Lat. imprimere, O. Fr. empreindre)

printing See also:

• PRESS (through Fr. presse from Lat. pressare, frequentative of premere, to crush, squeeze, press)

press of J . See also:

• BADIUS, JODOCUS

Badius Ascensius (1510); the instrument also has cords and braces . Another woodcut of the same See also:

• CENTURY (from Lat. centuria, a division of a hundred men)

century is given as See also:

• FRONTISPIECE (through the French, from Med. Lat. frontispicium, a front view, frons, frontis, forehead or front, and specere, to look at; the English spelling is a mistaken adaptation to " piece ")

frontispiece to an edition of Flavius See also:

• VEGETIUS (FLAvjUS VEGETIUS RENATUS)

Vegetius Renatus.3 An actual side drum with two curved drumsticks belonging to the ancient Egyptians was found during the excavations conducted at See also:

• THEBES (anciently &Oat, Thebae, or in poetry sometimes Oif3a, in modern Greek Phiva, or, according to the corrected pronunciation, Thivae)
• THEBES (e 3a1)
• THEBES, ROMANCE OF

Thebes in 1823.4 It measured si ft. in height by 2 ft. in diameter; the tension of the heads was regulated by cords braced by means of catgut encircling both ends of the drum, and See also:

• WOUND (O. Eng. wund,connected with a Teutonic verb, meaning to strive, fight, suffer, seen in O. Eng. winnan, whence Eng. " win ")

wound separately round each cord so that these could be tightened or slackened at will by pulling the catgut bands closer together or pushing them farther apart . The See also:

• BERLIN
• BERLIN, CONGRESS AND TREATY OF
• BERLIN, ISAIAH (1725–1799)

Berlin Museum possesses some ancient Egyptian straight drumsticks with handle and knob . Drums were used at the See also:

• BATTLE

battle of Halidon See also:

• HILL
• HILL (0. Eng. hyll; cf. Low Ger. hull, Mid. Dutch hul, allied to Lat. celsus, high, collis, hill, &c.)
• HILL, A
• HILL, AARON (1685-175o)
• HILL, AMBROSE POWELL
• HILL, DANIEL HARVEY (1821-1889)
• HILL, DAVID BENNETT (1843–1910)
• HILL, GEORGE BIRKBECK NORMAN (1835-1903)
• HILL, JAMES J
• HILL, JOHN (c. 1716-1775)
• HILL, MATTHEW DAVENPORT (1792-1872)
• HILL, OCTAVIA (1838– )
• HILL, ROWLAND (1744–1833)
• HILL, SIR ROWLAND (1795-1879)

Hill (1333) . An old ballad celebrating See also:

• EDWARD

Edward III.'s victory on this occasion appears in a See also:

• CHRONICLE (from Gr. Xpovos, time)

chronicle of the 14th century, preserved in the See also:

• BRITISH

British Museum (Harl . MS . 4690), " This was do with merry sowne, With pipes trumpes and tabers thereto, And loud clariones they blew also." A See also:

• PROSE

prose See also:

• ACCOUNT
• ACCOUNT (through O. Fr. acont, Late Lat. comptum, cornputare, to calculate)

account of the battle 'in the same MS. states that the " Englische mynstrelles beaten their tabers and blewen their trompes and pipers pipenede loude and made a great schowte upon the Skottes." See also:

• FROISSART, JEAN (1338-1410?)

Froissart, under date 1338, gives details of the means taken by the Scots to intimidate the soldiers of Edward III.6 Having mentioned their great horns, he adds, " ils See also:

• FONT (Lat. fans, " fountain " or " spring," Ital. fonte, Fr. les fonts)

font si See also:

• GRAND

grand' See also:

• NOISE (a word of doubtful origin; O. Fr. nogse or nose; Prov. nausa, which points to Lat. nausea, sickness, as the origin; others take Lat. noxia, harm, as the source)

noise avec grands tambours qu'ils ont aussi." The same chronicler, describing the triumphal entry of Edward III. into See also:

• CALAIS

Calais (1347), gives the following list of instruments used: " trompes, tambours, nacaires, chalemies, See also:

• MUSES, THE (Gr. Mo6o-at, the thinkers)

muses." 6 Drums were used in the British See also:

• ARMY
• ARMY (from Fr. armee, Lat. armata)

army in the 16th century to give signals in See also:

• WAR
• WAR (O. Eng. werre, Fr. guerre, of Teutonic origin; cf. O.H.G. werran, to confound)

war and See also:

• PEACE
• PEACE, BREACH OF THE

peace—side drums by the See also:

• INFANTRY

infantry and dragoons, and kettledrums by the See also:

• CAVALRY (Fr. cavalerie, Ger. Kavallerie or Reiterei, derived ultimately from late Lat. caballus, horse)

cavalry ? In the reign of See also:

• HENRY
• HENRY (1129-1195)
• HENRY (c. 1108-1139)
• HENRY (c. 1174–1216)
• HENRY (Fr. Henri; Span. Enrique; Ger. Heinrich; Mid. H. Ger. Heinrich and Heimrich; O.H.G. Haimi- or Heimirih, i.e. " prince, or chief of the house," from O.H.G. heim, the Eng. home, and rih, Goth. reiks; compare Lat. rex " king "—" rich," therefore " mig
• HENRY, EDWARD LAMSON (1841– )
• HENRY, JAMES (1798-1876)
• HENRY, JOSEPH (1797-1878)
• HENRY, MATTHEW (1662-1714)
• HENRY, PATRICK (1736–1799)
• HENRY, PRINCE OF BATTENBERG (1858-1896)
• HENRY, ROBERT (1718-1790)
• HENRY, VICTOR (1850– )
• HENRY, WILLIAM (1795-1836)

Henry VIII. two drummers were allowed to every See also:

• COMPANY

company of See also:

• LOO (formerly called " Lanterloo," Fr. lanturlu, the refrain of a popular 17th-century song)

loo men . The See also:

• CHIEF (from Fr. chef, head, Lat. caput)

chief drum beats used by the infantry in the 17th century 8 were See also:

• CALL (from Anglo-Saxon ceallian, a common Teutonic word, cf. Dutch kallen, to talk or chatter)

call, See also:

• TROOP (an adaptation of Fr. troupe, O. Fr. trope; cf. Ital. troppa, troppa; Med. Lat. truppus; the origin is doubtful; suggestions have been made that it represents a German conception of Latin turba, crowd, or is an adaptation of Norw. tarp, flock)

troop, preparative, See also:

• MARCH
• MARCH (1) (from Fr. marcher, to walk; the earliest sense in French appears to be " to trample," and the origin has usually been found in the Lat. marcus, hammer; Low Lat. marcare, to hammer; hence to beat the road with the regular tread of a soldier: cf.
• MARCH, AUZIAS (c. "1395-1458)
• MARCH, EARLS OF
• MARCH, FRANCIS ANDREW (1825– )

march, battaile and See also:

• RETREAT (O. Fr. retrete, mod. retraite, from Lat. retrahere, to draw back)

retreat; these were later 9 changed to See also:

• GENERAL
• GENERAL (Lat. generalis, of or relating to a genus, kind or class)

general, See also:

• REVEILLE (Fr. reveillez, imperative of reveiller, to awaken, Lat. re- and vigilare, to watch)

reveille, See also:

• ASSEMBLY, UNLAWFUL

assembly or troop, See also:

• TATTOO

tattoo, chamade, &c . The side drum was admitted into the orchestra in the 17th century, when Marais (1636-1728) scored for it in his See also:

• OPERA (Italian for " work ")

opera Alcione .

(K . S.) 2 Joannes Mauburnius, Rosetum exercitiorum spiritualium et sacrarum meditationum (Paris, 1510), Alphabetum, ix . 6 Vier See also:

• BUCHER, LOTHAR (1817–1892)

Bucher der Ritterschaft; See also:

• MAT (O. Eng. meatt, from late Lat. mattes, whence Ital. mallet, Ger. and Dan. matte, Du. mat, &c.)

mat manicherleyen gerusten, &c.; (See also:

• AUGSBURG
• AUGSBURG, CONFESSION OF
• AUGSBURG, WAR OF THE LEAGUE OF

Augsburg, 1534) . 4 Carl See also:

• ENGEL, ERNST (1821-1896)
• ENGEL, JOHANN JAKOB (1741-1802)

Engel, The Music of the Most Ancient Nations (See also:

• LONDON

London, 1864), p . 219 . 6 Chron. ii. p . 737, see also See also:

• GROSE, FRANCIS (c. 1730–1791)

Grose's Military Antiquities, ii . 41 . 6 See Froissart in J . A . See also:

• BUCHON, JEAN ALEXANDRE (1791-1849)

Buchon, See also:

• PANTHEON (Lat. pantheum or pantheon; Gr. srav& ov, all-holy, from re, s, all, and Oeor god)

Pantheon litt . (Paris, 1837), vol. i. cap .

See also:

• SIR

Sir See also:

• JOHN
• JOHN (1167–1216)
• JOHN (1290-c. 1320)
• JOHN (1296-1346)
• JOHN (1371–1419)
• JOHN (1468-1532)
• JOHN (1801-1873)
• JOHN (Heb. llni')
• JOHN (ZAPOLYA) (1487-1540)
• JOHN, 4TH MARQUESS OF TWEEDDALE (c. 1695-1762)
• JOHN, DON (1545-1578)
• JOHN, DON (1629–1679)
• JOHN, GOSPEL OF ST
• JOHN, or HAYS (1513–1571)
• JOHN, THE APOSTLE
• JOHN, THE EPISTLES OF

John Smythe, A Brief Discourse (London, 1594), pp . 158-159 . 8 Lieut.-See also:

• COL
• COL (Fr. for " neck," Lat. collum)

Col . W . Bariffe, Militarie Discipline, or the See also:

• YOUNG
• YOUNG, A
• YOUNG, ARTHUR (1741-1820)
• YOUNG, BRIGHAM (1801-1877)
• YOUNG, CHARLES MAYNE (1777–1856)
• YOUNG, EDWARD (1683–1765)
• YOUNG, JAMES (1811-1883)
• YOUNG, THOMAS (1773-1829)

Young Artilleryman (London, 1643) . 9 Sir See also:

• JAMES
• JAMES (Gr. 'IlrKw,l3or, the Heb. Ya`akob or Jacob)
• JAMES (JAMES FRANCIS EDWARD STUART) (1688-1766)
• JAMES, 2ND EARL OF DOUGLAS AND MAR(c. 1358–1388)
• JAMES, DAVID (1839-1893)
• JAMES, EPISTLE OF
• JAMES, GEORGE PAYNE RAINSFOP
• JAMES, HENRY (1843— )
• JAMES, JOHN ANGELL (1785-1859)
• JAMES, THOMAS (c. 1573–1629)
• JAMES, WILLIAM (1842–1910)
• JAMES, WILLIAM (d. 1827)

James See also:

• TURNER, CHARLES (1773–1857)
• TURNER, JOSEPH MALLORD WILLIAM (1775–1851)
• TURNER, NAT (1800-1831)
• TURNER, SHARON (1768-1847)
• TURNER, SIR JAMES (1615–1686)
• TURNER, WILLIAM (d. 1568)

Turner, See also:

• PALLAS, PETER SIMON (1741–1811)

Pallas armata (1685), xxi . 302 .