When I picked up my badge at the registration desk of the 2011 Percussive Arts Society International Convention, there was a green ‘Presider” ribbon, my first ever. As a presider it was my privilege to introduce the first ever Drummers Heritage Concert Event, the first in what would be a series of annual Heritage Events.
Presiding was a privilege because it was the desire of more than 220 field drummers, fifers and pipers who participated in the 1st Drummers Heritage Concert in Columbus, Ohio in 2002, for all future proceeds attending the concert and their performances to be put into a fund to support Drummers Heritage events.
Within a few years of that concert, The Historic Drummers Heritage Concert DVD was completed and put on sale. It was an historic DVD documenting the longest and most comprehensive concert of field drumming during the 41 year history of the Percussive Arts Society. It is really a treasure of drumming styles covering the American War for Independence, the Civil War, the veteran drum and bugle corps’s of the 20th century, Drum Core International and African-American Show Bands. Included were players who specialized in Swiss drumming, Fastnacht and Scotish drumming.
Finally after 9 years and serendipitously during the 50th anniversary of the P A S, the 1st Heritage Event took place.
In 2002 Lance Pedigo and the Colonial Williamsburg Fifes and Drums opened the Drummers Heritage Concert. It was therefore fitting and proper for them to perform the first Heritage Event.
Lance had chosen the theme “The Art of Drumming” and had prepared slides which showed a a chronology of drumming techniques and music from the late 16th century to the 1861 Civil War in the United States. He also brought a Tabor and Pipe, a replica of a Renaissance drum and field drums of colonial American and Civil War dimensions.
Four field snare drummers, a bass drummer, four fifer’s and a Drum Major represented Colonial Williamsburg, the Virginia State Garrison Regiment. It is important to point out that all of the colonial Williamsburg fifers and drummers range in age from 10 to 18 years. They cannot be accepted into the program unless they are unable to read music, play fights or drums. Long before they muster out, they will have memorized 150 tunes and drum beatings. The waiting list to join the core is many years.
I have long admired the quality of Colonial Williamsburg players so an added special treat for me was meeting once again John C. Moon, one of the early Music Masters of Colonial Williamsburg and a dour, but knowledgeable Scotsman.
Moon is the author of a number of books and no mean historian. He explained the famous “British March” on the Charles 1st (1625-49) Warrant and Lance played the beating as well as the Poing strokes that end each phrase. Though many scholars insist an accurate deciphering of this March is impossible today, Moon’s beating was convincing.
The large PASIC convention room was almost filled to capacity. Since the initial Drummers Heritage Concert, the number of fife and field drum presentations and their audiences have increased substantially during international Percussive Arts Society conventions.
To purchase the Historic Drummers Heritage Concert DVD and support future Heritage Events, please see below.
Retail price US $30.00.
All proceeds go to: PAS Drummer’s Heritage Concert Events Fund.
Order your copy from:
All photos by R.E. Click on photo to view larger images.
Colonial Williamsburg Programme.
John C. Moon and Lance Pedigo. Pipe and Tabor music from Arbeau.
Moon, Pedigo and the English March.
Lance Pedigo and Fifers.
Colonial Williamsburg Fife & Drum contingent.
Drum Major, , Drums, Fifes & PAS audience
Robin Engelman 
He Who Hesitates Can.
Alfons Grieder.
John S. (Jack) Pratt.
After the 2002 Drummers’ Heritage Concert my wife and I invited a few of the participants to our hotel room for some R & R. Besides the pleasure of their company, I had an ulterior motive for gathering these gurus of field drumming. For many years a question had rankled my brain and now this assemblage offered a chance, perhaps my only one, for my question to be definitively answered.
Among others our invitees included Alfons Grieder, world renowned Swiss Basel drummer; Dennis DeLucia. our concert moderator and himself a famous rudimental player and teacher; John S. (Jack) Pratt, legendary player and composer of “14 Modern Contest Solos”; and Doug Stronach, renowned teacher, and Scots drumming master. The majority of these artists had never before met though most had heard of each other.
After we all settled down and smiled a bit self consciously someone, I think it was Doug Stronach, asked why the Swiss drummers play the way they do – the strange wobble at the end of every measure? Jack Pratt was first to jump in with an answer. “I’ve heard this is the result of drummers growing up in a mountainous country. One foot is always lower than the other and so they developed this style from hobbling around the mountains while trying to play drums”. There were a few giggles and then Alfons Grieder spoke.
“I’ve always been told and always believed we play this way because beginning students hesitate before going over the bar line into the next measure”. Alfons was obviously serious. No giggles in the room this time. It seems one of our most honored drum traditions had developed because of student insecurities.
Everything was quiet for awhile so I decided this was the time to ask my question. “Why do many North American military field drummers hesitate before starting a 7 stroke roll that ends on a downbeat?” To demonstrate, I whistled the Yellow Rose of Texas, and accompanied myself by playing sevens on my knee.
Jack Pratt was again first to speak. “We do it because we can”. And again the room was quiet. No rebuttals. Another master had spoken and I let the matter drop. Perhaps we dig to deeply, Sometimes answers are simple.
A few years later Jack and I had the pleasure of playing “Gingersnap” one of his greatest solos. We warmed up together in an Eastman school of music practice room. During our session I complained to Jack about his 7 stroke rolls. “Am I being a bad boy?” Jack asked. “Yes” I said. “ It’s not that you’re hesitating on the sevens, it’s that you’re hesitating more and more as the piece goes on and I don’t know how to follow”. “I’ll be a good boy” Jack said.
At concert time he was better then good. I doubt if I contributed much to the performance, but I managed to keep up with him. Playing with Jack that day is one of my fondest memories. Looking over our shoulders were members of the United States Military Academy Field Music Unit “Hellcats”, a group Jack had led more than 30 years earlier. One of the “Hellcats” was David Smith (the younger) a former student of mine.
For those of you who may not be familiar with the hesitating style of playing 7 stroke rolls, click on the audio file below to hear the Lancraft Fife and Drum Corp of North Haven, Connecticut.
Posted by robinengelman on December 16, 2011 in Commentaries & Critiques, History, Unassigned
Tags: Alfons Grieder, John S. (Jack) Pratt, Military drumming