American Rifleman TV

makes them easier to play on and march with but is somewhat disparaging to purists. Playing Civil War Style Unlike the popular mental pictures of the “animal” rock drummer beating his drums with abandon, Civil War drumming is “rudimental” and is as regimented as keyboard playing. Duty calls must always sound the same; one drummer must always be able to play with another; and drums must accompany the fifes. Beatings range the spectrum from the common Civil War style slow “open” rudiments, through the faster concert drumming, to the very fast “crushed” snare drum used in bagpipe bands. There are 26 essential rudiments composed of single strokes, double strokes, and combination tap and accent strokes. Each rudiment has a name that describes either its method of playing, such as a five or seven stroke roll, the sound the rudiments make, like a “paradiddle” or a “ratamacue”, or a name like “lesson 25” simply because there is no other way to describe it. Rudiments are learned from the slowest mechanics of the stroke to playing it as fast as possible. Practicing a rudiment is called “breaking it down”, and is done by playing it very slowly, gradually speeding it up as fast as you can play, holding to that speed until you tire, then gradually returning it to a slower speed. Slow to fast is called “open to closed.” When practicing, rudiments are played “hand to hand,” which means that each hand must do the same thing with the same speed and power, even though the left hand holds the stick differently from the right. To use an analogy, that’s like writing with your dominant hand, then switching hands and writing with the same speed and character as before. Rudimental drumming is also analogous to language. The rudimental “words” make sentences, sentences make up paragraphs, and all together they form a story, or tune. In theory, any rudimental drummer can play in unison with any other, even if they have never played together. But, in fact, there are regional variations in accents, just as there are differences in speech of Yanks and Rebels. Nevertheless, with a little practice, you can pull it together and get through a tune tolerably well. If Daniel Emmett were to come back to life and visit a contemporary Civil War Event, this Union musician would be pleased to hear his most popular composition played on a fife and drum pretty much like he wrote it more than 130 (156 now – Editor) ago. The name of the tune is “Dixie”.

American Rifleman TV visits the 146th Nationals

Bruce W. Miller, N-SSA Public Information Officer

This National welcomed a crew from the NRA’s television program “American Rifleman TV” seen on The Outdoor Channel. Evan Brune, Executive Editor, American Rifleman Publications, conducted interviews with N-SSA experts regarding specific firearms: Chris DeFrancisci on revolvers; Mike Santarelli on carbines; Phil Spaugy on smoothbore muskets and Kevin Oyarzo on mortars. The NRA crew also covered the action of the many matches held over the weekend. Brune was also treated to the thrill of firing both a bronze Coehorn mortar and a James Rifle cannon, both courtesy of Tim Scanlan and the 1st Maryland Cavalry. The final edits are expected to create several feature segments for the programs that will air with the new season starting in February of next year.

Skirmish Adjutant and national revolver range officer Chris DeFrancisci, demonstrates for the camera the working of Civil War revolvers; in this case the Model 1860 Colt Army Revolver. Public Information Officer Bruce Miller expands on the history, organization and skirmishing in general for Evan Brune and cameraman Jake Stocke.