The Highland bagpipe : $b its history, literature, and music: with some account of the traditions, superstitions, and anecdotes relating to the instrument and its tunesManson, W. L. (William Laird)
History
The Highland bagpipe : $b its history, literature, and music: with some account of the traditions, superstitions, and anecdotes relating to the instrument and its tunes
Manson, W. L. (William Laird)
Bagpipe
The duties of regimental pipers are too numerous to give in detail, but
it may be worth while to describe “Reveille” and “Tattoo.” “Reveille” is
generally sounded at early morn by the bugler on duty, or sometimes by
all the buglers followed by the pipers and drummers playing round the
camp to rouse the troops. No sooner is “Reveille” sounded than the camp
becomes animated with busy men preparing for the routine of the day. The
tune is usually “Up and waur them a’, Willie,” “Hey, Johnnie Cope,” or
sometimes “Up in the morning’s no for me.” As “Reveille” begins the day,
so “Tattoo” is the signal that another day has gone. The guards turn out
and stand under arms, picquets are mounted and sentries posted, all in
undress and greatcoats, and gates are closed for the night. Of all
ceremonies in which a pipe band is engaged, “Tattoo” is the most
attractive to spectators. Drummers and pipers march to the ground in
full kilt and feather, and form up in perfect silence, save for the curt
word of command. The buglers form up in front of the pipers, and at the
order, “Sound off,” a shrill blast is sounded by the buglers, who then
disappear. Drums are slung and pipes placed in position. At the word of
command the tattoo rolls are gone through, then the order, “Quick
march,” is given, and the band steps off, taking up the usual rolls as
in an ordinary march. They march and counter-march the length of the
parade ground, and come to the halt in the exact position they started
from. Then the music ceases, and the tattoo rolls are beat off as
before, after which all are marched back to quarters and dismissed. Old
Highland tunes are invariably played for “Tattoo,” “My Faithful Fair
One,” and the “Cock o’ the North” being favourites. Other tunes, too,
have been dedicated by custom for special occasions—as, for instance,
“Highland Laddie” for the march past, or when troops advance in review
order; “The Crusaders’ March,” for reviews and inspections, at mess,
tattoo, or parade; “Bannocks o’ Barley Meal,” or “Brose and Butter,” for
breakfast, dinner, or tea, and sometimes for officers’ mess; and “Hey
Johnnie Cope” as the warning for parade. “The Haughs o’ Cromdale,” as is
well known, is always played by the Gordons’ pipers when the regiment is
at the charge, though, by some inexplicable slip, it got mixed up with
the “Cock o’ the North” at Dargai.
Public-domain text, read in full here on John Shaqi.
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