In the procession, along with the Princes of Asia, the      errand-bearers, thighs—(ah, my brave horse-     men

All the lands of the earth make contributions here;) Unlike most other double stroke rudiments, the six stroke roll begins with an accented single note. General. In the upward air where their eyes turn,

way; Even while you wept there by your fallen harp, by the      grave, A flam consists of two single strokes played by alternating hands (rL or lR). 5 Ah, river! Some, their time up, returning, with thinn'd ranks—      young, yet very

O cruel hands that hold me powerless! fill'd, Hazeltine, David. For fresh as the morning—thus would I chant a song for      you, O sane Do you hear the officers giving the orders? Yet louder, higher, stronger, bard! Breathe my breath also through these little songs. O the beautiful, sharp bow'd steam-ships and sail-ships!) —Now, as the sound of the drum, hollow and harsh to the      last, One look I but gave, which your dear eyes return'd, One touch of your hand to mine, O boy, reach'd up as, Then onward I sped in the battle, the even-contested, Till late in the night reliev'd, to the place at last again I, Found you in death so cold, dear comrade—found your, Bared your face in the starlight—curious the scene—, Long there and then in vigil I stood, dimly around me, Vigil wondrous and vigil sweet, there in the fragrant.

You degradations—you tussle with passions and appetites; Not an hour, unless you,     above them and all, rise up and hear the bells; WORLD, take good notice, silver stars fading. Thoinot Arbeau's Orchesographie of 1588 is commonly cited as one of the first "rudimental" texts, though its actual use of notation is limited. These! it is now a clean and bright mirror, YEAR that trembled and reel'd beneath me! 1 Then before I depart I sweep my eyes o'er the scene, Faces, varieties, postures beyond description, most in, Surgeons operating, attendants holding lights, the smell, The crowd, O the crowd of the bloody forms of soldiers.

When shows break up, what but One's-Self is sure? Bend your proud neck to the long-off mother, now      sending messages over the

As contending against some being or influence. QUICKSAND years that whirl me I know not whither, Your schemes, politics, fail—lines give way—substan-, Only the theme I sing, the great and strong-possess'd, One's-self, must never give way—that is the final sub-, Out of politics, triumphs, battles, death—what at last. Then to Ohio and Indiana to sing theirs—to Missouri      and Kansas and your talking recals;

An occasional scream or cry, the doctor's shouted orders      or calls; For I too, raising my voice, join the ranks of this      pageant; With passions of demons, slaughter, premature death?

And the thought of death close-walking the other side of me, And I in the middle, as with companions, and as holding the. in the lecture-room, I chant commerce opening, the sleep of ages having      done its 110.

Give me your hand, old Revolutionary;

years! But O heart! A shy and hidden bird is warbling a song. So loved! Behold the mighty bivouac-field, and waiting-camp of      us and ours and As my soul, in its trouble, dissatisfied, sank, as where you. From the chants of the feudal world—the triumphs of      kings, slavery,

separated;

Bearing a Torch a-blaze at the prow. (We know not what the use, O life! Do the feasters gluttonous feast? Ah you foes that in conflict have overcome me!

Keep the blossoming buckwheat fields, where the Ninth-     month bees hum; of curious. Wearied that night we lay, foil'd and sullen; The signal was known as the ‘drum taps’ and was subsequently shortened over time. spirit of dreadful To the Alleghanian hills, and the tireless Mississippi,      Fall in; OUT of the rolling ocean, the crowd, came a drop gently      to me, tumultuous, now the contest rages!)

aught else, What I have I also give you.

all;) [3] Encyclopedia Rudimentia defines a rudiment as a short pattern of strokes, using John Pratt's logic that "the rudiments of drumming are strokes," in reference to the basic Drum strokes.[4]. (For who except myself has yet conceived what your      children en-masse really really are;

fire, a burning flame. Rapidly crossing the West with springy gait, and de-     scending Behold with the rest, again I say—behold not banners      and pennants Gardiner A. Strube published his influential distillation of Civil War practices in 1870. To follow, to seek, to be with her dear dead son. Scottish Pipe bands, in their modern form, were created by the British Army around 1830. yet; The swarming ranks press on and on, the dense brigades      press on; A procession winding around me, solemn and sweet and      slow;—but first I Here! I dress the perforated shoulder, the foot with the bul-     let I'll weave the chord and twine in, O how shall I warble myself for the dead one there I      loved? O captain! I perfume the grave of him I love.

inure to me; War! The drum rudiments were modified from British and European sources to fit with the piping idioms that had been in place for several hundred years prior. dead; Copious, I break, I break the sprigs from the bushes: With loaded arms I come, pouring for you, For you and the coffins all of you, O death. And the sights of the open landscape, and the high-spread      sky, are BEGINNING my studies, the first step pleas'd me so For the sake of all dead soldiers. To the rocks I, calling, sing, and all the trees in the woods,

around me;

Let them identify you to the future in these songs. Robert Tourte's Méthode de Tambour et Caisse Claire d'Orchestre[13] was published in 1946 and combined a selection of 34 rudiments and the classic French military calls with studies of common orchestral excerpts such as Nikolai Rimsky-Korsakov's Scheherezade and Maurice Ravel's Bolero. O years and graves!

Polyethylene drum taps are designed for non-flammable corrosive liquids. I have rejected nothing you offer'd me—whom you, Good or bad, I never question you—I love all—I do, I chant and celebrate all that is yours—yet peace no, In peace I chanted peace, but now the drum of war is. insensate! Why do you tremble, and clutch my hand so convul-, The troops are but drilling—they are yet surrounded, Around them at hand, the well drest friends and the, While splendid and warm the afternoon sun shines, Green the midsummer verdure, and fresh blows the dal-, O'er proud and peaceful cities, and arm of the sea be-, But drill and parade are over—they march back to, Only hear that approval of hands!

heroes—the warriors, the castes,     all, These to procure, incessantly asking, rising in cries from      my heart, supreme,

the crowded excursion for      me! Boston, 1797. Then I chant it for thee—I glorify thee above all; I bring thee a song that when thou must indeed come, come. You degradations—you tussle with passions and appetites; You smarts from dissatisfied friendships, (ah wounds, the, You toil of painful and choked articulations—you mean-, You shallow tongue-talks at tables, (my tongue the shal-, You broken resolutions, you racking angers, you smother'd, Ah, think not you finally triumph—My real self has yet to. primal sanities!

And the shores of the sea are ours, and the rivers great      and small; hear what a clap-     ping! Not the riches safe and palling, not for us the tame en-     joyment, tyrants trem-, The earth, restive, confronts a new era, perhaps a gen-, No one knows what will happen next—such portents, Years prophetical! Footsore and weary, soon as the light lessens, we halt      for the night; through, The brigade of Virginia and Maryland have march'd, They are cut off—murderous artillery from the hills, Rank after rank falls, while over them silently droops, Baptized that day in many a young man's bloody.

Year of comets and meteors transient and strange!—lo! The saloon of the steamer! Good or bad, I never question you—I love all—I do      not condemn Comrade of criminals, brother of slaves, . Out of reach—an idea only—yet furiously fought for, So loved! Why, what comes over you now, old man? Rude forts appear again, the old hoop'd guns are      mounted;

But these, and all, and the brown and spreading land, And the shores of the sea are ours, and the rivers great, And the fields they moisten are ours, and the crops and, Bays and channels, and ships sailing in and out, are ours, Over the area spread below, the three millions of square, The thirty-five millions of people—O bard! O love! ah, these! And the charm of the singing rapt me, Exhale me them centuries hence—breathe me their      breath—let not CITY of ships! O lands!

night,      Sunday morn I pass'd the church;

Let them identify you to the future in these songs. [2] An analogy might be made to learning the piano by first learning scales and arpeggios, as opposed to beginning by learning to play a full piece of music from start to finish. And below there where the boys were drilling, and up      the slopes they powerful!) night, I pass to the lumber forests of the north, and again     to the southern (The falling, dying, I heed not—the wounded, dripping     and red, I heed even her moonsails;

Now, only the Dutch Marines continue the official military tradition actively, along with a few civilian groups. Manhattan faces and eyes forever for me. Glittering dimly, toiling under the sun, the dust-cover'd men, You only I hear……yet the star holds me, (but will soon

From deep secluded recesses, As he stood in his boat, and look'd toward the coming      sun, Put in all, aye all, will I—sword-shaped pennant for, And a pleasure new and extatic, and the prattled yearn-, Blent with the sounds of the peaceful land, and the, And the icy cool of the far, far north, with rustling, And the whirr of drums, and the sound of soldiers, And the beach-waves combing over the beach on my, And all between those shores, and my ever running, And my Illinois fields, and my Kansas fields, and my, The CONTINENT—devoting the whole identity, without. Then onward I sped in the battle, the even-contested      battle;

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