Music has always played a major role in battle ever since regular armies came into being. It is a known fact that regimental marches and martial music have had great effect upon men in camps or during marches, normal or forced. Battle-weary men, worn out with fatigue and smothered with dust, have been seen to brighten up the moment drums, bugles or bands begin to play. A full-size military band is not required to inspire combatants, even a single musical instrument or a lively tune can have a stirring effect on men.

In earlier days, the band actually used to go into battle, but this has not been so for a very long time. The strains of a bagpipe playing martial tunes have always had an inspiring effect upon men in battle. The fact was fully realised by the pipers themselves who disregarded all the dangers of war in their effort to play music which brought comfort and cheer to the men, particularly when they were battle weary or ‘shell shocked’.

The two World Wars revealed the utmost value of the services’ bands. It is true that the era has passed when regiments marched into the smoke and din of battle "with colours flying, trumpets sounding and drums beating" but the cheering and heartening strains of martial music still play their part in another field - just behind the fighting line. During the 1914-18 war, the bands took their turn at this duty. Only those, who know how national and regimental traditions are linked with military music, can appreciate how the playing of an army band revived the spirits of the tired and wounded behind the lines. After the end of the war in 1918, bands were maintained by almost all units because of their effect on the morale of their men.

In World War II, music was not required to such an extent, to get the men moving, but on a number of occasions soldiers went into actual battle singing. Many songs with a military setting and composed during the wars became songs of the various campaigns. There are several cases of famous songs sung by soldiers during the two World Wars. The Eighth Army, in Africa, adopted a song from Rommel’s ‘Afrika Korps’, now famous as ‘Lilli Marlene’, with highly sentimental words and a very catchy tune. Indian troops, withdrawing from Burma, sang a song ‘Chal Chal re Nau jawan’ from an Indian film to keep them going. World War II enabled the services bands to earn distinction behind the battle front. The services bands gave concerts for the wounded and weary in various theatres of war.

There are two types of bands used by the services in India-the Military Bands and the Pipes and Drums Bands. For some unknown reason, the Military Band in India has been referred to as the ‘Brass Band’. There are, of course, Brass Bands in many countries, but none in India. The anomaly of nomenclature can be realised when it is explained that the Brass Band is made up entirely of brass instruments and the Military Band has a mixture of both woodwind and brass instruments.

The bagpipe is one of the ancient musical instruments. It is mentioned in many ancient writings. It was used in the Roman army and it reached Britain during the Renaissance. The literature of all European countries testifies to the bagpipes’ universality from the Middle Ages onwards. Most countries have bagpipes in one form or another. The Highland Pipe or Scottish Pipe was first mentioned in the Scottish military history in 1594. It is used by the Scottish people in their Army, and also in the Indian Army. It is known almost the world over.

Regarding pipers in the officers’ messes, in case a pipe band is in attendance, four pipers led by the Pipe-Major enter the dining room playing a tune and marching in slow time. They move clockwise around the table and after one round halt behind the senior guest and the senior host. In some cases, a piper halts on each side of the table and plays two more tunes, one of which is in quick time and the other a reel. They then break into slow time again and march out. After a brief interval, the Pipe-Major enters again playing a tune in slow time and stands behind the chief host. After finishing the tune he requests if the guests or the senior host would like him to play any tune for them. If requested, he plays a tune for them after which he takes permission to leave. The sequence, however, varies a little with different regiments and battalions.

Both of these bands play at unit and other parades, and at various functions and sports meets in the units and formations. They give concerts for the sick in the hospitals and officers’ messes. They play a combined ‘Beating Retreat’ on the Republic Day or other important functions. The Bandmaster is usually a junior commissioned officer or a Warrant Officer. All bandsmen are regular members of a unit to which they belong. In the Army, they are thoroughly trained soldiers. The bandsmen wear the same uniform as that worn by the regiment, with certain modifications to give it colour. A regiment is allowed bugles, trumpets and drums from public funds and a small yearly grant for the maintenance of the band instruments. The rest of the fund is provided by the officers of the regiment.

There are special regimental calls for use in camps and garrisons. Regular daily bugle calls include the Rouse or Reveille, Orderly for non-commissioned officers, fire Alarm, Retreat, First Post, Last Post, Parade calls, Lights Out and various officer mess calls.

Similarly, there are exclusive mess calls for officers. The ‘First Call’, half an hour before the second mess call, is a warning call for the officers to get ready for the mess. Officers have to be present inside the ante-room before the ‘Second Call’ is sounded. Those not present are considered late for parade.

‘Beating the Retreat’ is an ancient custom. As soon as the conches, horns, trumpet or, later, the bugles sounded ‘Retreat’, troops stopped fighting and withdrew from the battle field. It is for this reason that the custom of standing still during the sounding of the call has been retained to this day. Colours and standards are cased and regimental or corps flags are lowered at ‘Retreat’.

‘Retreat’ was originally a drum signal to retire during action but the modern ‘Retreat’ originated in the 16th century when it was called ‘watch setting’, a daily routine at sunset. Later, it was sounded half-an-hour before the gates of a fortress, camp or walled town were to be shut. The drummers beat their drums on the ramparts or at the gates for about fifteen minutes to give everyone time to come in before locking up or placing the barriers. A distinction was made between the ceremony performed after nightfall and the one carried out at the setting of the sun. It is more than probable that what was earlier called ‘Retreat’ was in fact what is known today as ‘Tattoo’.

At ‘Beating Retreat’, particularly when mess bands perform, a beautiful tune of ‘Abide With Me’, a Gandhiji’s favourite, is usually played just before the bugles sound the ‘Retreat’. The sentiments expressed in this tune always stir the listeners.

– Col Anil Shorey