air cadet march book table of contents table of contents % section one: drill and ceremonial...

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AIRCADETMARCH BOOK

"Through Adversity to the Stars""Per Ardua Ad Astra"

A,B,C,D Arrangements

Issued 1 Apr 97

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Air Cadet March Book Table of Contents

Table of Contents

%SECTION ONE: Drill and Ceremonial Information

DESCRIPTION's: ii_ _ _:: : _;: CHAPTER :i<; . ..... :.:_ .:. : - : . . : :

How to use the Marchbook Chapter One

History of the Military Band Chapter Two

Parade Procedures Chapter ThreeCeremonial Card: Advance/General Salute/O Canada/

God Save the Queen Page 3-3

Ceremonial Parades Chapter FourRemembrance Day Ceremonies Page 4-1Battle of Bdtain Ceremonies Page 4-2Sunset Ceremony Page 4-3Piling Drums Page 4-6Tattoo Page 4-7The Fly Past Page 4-8

History of the Royal Canadian Air Force Chapter FiveCanadian Aces of World War I Page 5-3Canadian Aces of World War II Page 5-4Royal Canadian Air Cadets Page 5-5

SECTION TWO - Ceremonial, March and Inspection Scores

A-25 Chapter 6

Airmen's Prayer Chapter 7

Amazing Grace Chapter 8

Band of Banshee Airmen Cha pter 9

Battle of Britain Chapter 10

Bells of Blazes Chapter 11

Bless 'era all Chapter 12

Bold Aviator Chapter 13

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Calvalry of the Clouds Chapter 14

Comin'in on a Wing and a Prayer Chapter 15

Cfimond Chapter 16

Dambusters Chapter 17

Danny Boy Chapter 18

The Day Thou Gavest Chapter 19

Don't Sit Under the Apple Tree Chapter 20

Eagle Squadron Chapter 21

First Fanfare Chapter 22

First Thing They asked for Chapter 23

Flagships of the Air Chapter 24

Flying Eagle Chapter 25

Flying Fortress (Battle Hymn) Chapter 26

Flying Review Chapter 27

Golden Hawks Chapter 28

Great Escape, The Chapter 29

Hey look me over Chapter 30

High Flight Chapter 31

Hogan's Heroes Chapter 32

i Was Chasing One-Elevens (Battle Hymn) Chapter 33

In The Mood Chapter 34

Kiss Me Goodnight Sergeant-Major Chapter 35

La Feuille d'erable Chapter 36

Last Post (orchestrated) Chapter 37

Lili Marfene Chapter 38

Longest Day Chapter 39

Magnificent Seven Chapter 40

My Home Chapter 41

Nightingale Sang in Berkley Square Chapter 42

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Pack up Your Troubles Chapter 43

Pathfinders March Chapter 44

Red Baron Chapter 45

RCAF (original key) Chapter 46

RCAF (lower key) Chapter 47

RCAF (lower key simplified) Chapter 48

Scipio Chapter 49

See The Conquering Hero Comes Chapter 50

Skidding Down the Runway (Vocal) Chapter 51

Snowbird, Flight of The Chapter 52

Space Odyssey Chapter 53

St. Louis Blues Chapter 54

Standard of St. George Chapter 55

Star Wars Chapter 56

Sunset (orchestrated)_ Chapter 57

Top Gun Chapter 58

Vice Regal Salute Chapter 59

Waltzing Matilda Chapter 60

White Cliffs of Dover chapter 61

Wings Chapter 62

Wings of the Empire Chapter 63

SECTION THREE: Drum and Buqle Information

Bugle Ca/Is Chapter 64

Drum Patterns or Cadences Chapter 65

Bibliography Annex A

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Air Cadet March Book Instructions

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INSTRUCTIONS Ji

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HOWTO BEST USE THE CADET MARCH BOOK

The music in this manual is arranged in such a way as to allow inexperiencedmusicians to play the same marches as intermediate or experienced musicians. The musicalso allows for any combination of players in a band situation. The melody is written out forevery instrument therefore if you do not have a "lead trumpet" then whichever musician is yourstrongest can play the melody if need be.

Each march is written in four parts for every instrument. All part A's will sound thesame, regardless of the instrument. (same for B, C, or D)

The four parts .qenera/!yfollow this set up:

f_ PART A MELODY -for more experienced players _'_//

PART B HARMONY -for intermediate players //

PART C HARMONY -for beginner.players IIand/or BASS PART /

PART D COUNTER MELODY -for intermediate or experienced IIor HARMONY players IIor BASS PART J

All parts are essential for a complete harmonic sound so if there are no beginnerplayers in your band, ensure that the C part is still played.

Most pieces are specifically written for cadet unit but may be played by any band.

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Air Cadet March Book Instructions

HELPFULHINTS

If you have experienced clarinet players and they find their music too low, substitutetheir music for Tenor Saxophone music which is often written up the octave.

If your Clarinet players are not experienced enough to play the high parts thensubstitute their music for Bass Clarinet or Trumpet parts which are often written down theoctave.

If the Oboe part is too low, then have the Oboe player try the Flute music which is oftenwritten up the octave.

If the Oboe part is too high, then have the Oboe player try the Bell music which is oftenwritten down the octave.

If music is lost, the music of these instruments may be substituted for others in thesame group. (check ranges of the music)

1. Trumpet, Clarinet, Bass Clarinet, Tenor Saxophone or Badtone treble clef.

2. Alto Saxophone can play Baritone saxophone music and vice versa.

3. French Horn has no substitutes.

4. Trombone, Baritone bass clef, or Bassoon.

5. Tuba often has no substitute but try Trombone, Baritone bass clef or Bassoon.

6. Flute, Oboe or Bells.

The introduction to many of the pieces is the hardest part of the music, therefore if yourband is having difficulty with the introduction, start the music at the beginning of the melodyand skip the introduction.

If you have a less experienced or small band, they may have difficulty covering all A, B,C and D parts, therefore have them all play the melody (Part A) or the melody (Part A) and thebasic part (Part C).

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Air Cadet March Book The History of Military Bands

The History of Military Bands

The first recorded instance of musicians being employed by the army was in 1557

when Regiments of Foot (Infantry) were authorized one drummer and one liter to a companyof 100 men. Those early drummers and fifers were not ordinary soldiers, but hired civilianmusicians who usually signed on for short periods paid for privately by the Colonel and officersof the regiment. Fife and drums would have played the first military music heard in Canada, asthe Regiment De La Reine of the French Army brought their fifes and drums with them whenthey garrisoned Quebec in the early 1700's. . :_

1685 is an important milestone in the evolution of the military band as it was in this yearthat King Charles II authorized an establishment of 12 oboes in the King's Regiment of FootGuards. As oboe bands of the army developed in size and ability, an early type of bassoonwas introduced to provide a bass voice in these combinations. At the end of the 17th centuryoboes had become so popular that infantry regiments were doing away with their fifes anddrums.

In the eady part of the 18th century valveless horns and trumpets were added to theoboes in some bands, but these members of the brass family were limited to playing theharmonics of the chosen key. It was during this period that experiments were being conductedin Europe that was to result in laying the foundations of the modem military band.

By 1750 a fixed instrumentation had been devised for the bands of the German Army,this was known as the "Harmonie-Musick". This instrumentation consisted of two oboes, twoclarinets, two horns, and two bassoons. The band of the Royal Artillery was the first Britishband to use this combination of instruments. This combination quickly caught on and by the

1770's most British infantry bands consisted of eight to ten based on the Germanicinstrumentation. The band of the U.S. Marines also used this combination in 1779.

In 1785 the band of the Coldstream Guards was fired because they refused to parade,

they were civilians, and more to the point, it was their day off! The Duke of York, theColonel-in-Chief hired a new band as requested by his officers. To find a replacement bandhe sent to Hanover, Germany, then the Mecca of military music. The result was a larger bandconsisting of tour clarinets, two homs, two oboes, two bassoons, trumpet, and a serpent (abass instrument). This was a major milestone in the evolution of military music.

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Air Cadet March Book The History of Military Bands

I I I I

During the last quarters of the 18th century bass drums, tenor drums, cymbals(originally called clash pans), triangle, and tambourines were added. This was the result of amusical craze that swept Europe, it was called Janissary or Turkish music. The volume ofsound produced by the "Turkish Music" has a habit of drowning out the rest of the band, so inan effort to boost the bands volume the number of clarinets was increased. It was about thistime that drummers started to wear leopard skins, a tradition that continues to this day in somebands. By 1800 both the flute and trombone had been added to the instrumentation of militarybands.

1800 saw the introduction of the Kent Bugle, initially fitted with five keys, later changedto seven. This, for the first time allowed a brass instrument to play the melody line instead ofrelying solely on the clarinets and the oboe for this. It was not until 1848 that a Bb trumpet isreported to have been used by a military band. By 1860 most members.of the brass familywere in use with the bands, saxophones had been introduced in 1846 and 1850 saw Bb tuba'sin use for the first time. The 19th century was one of great changes for the military bandmusician.

There have been very few changes in the instrumentation of military bands in thiscentury. The few changes that have occurred have been a result of smoothing out theinstrumentation after increases or decreases in size after governments brought down theirbudgets. Unfortunately most of these have been decreases.

Although the beginning of military bands are Army in origin, an interesting point aboutAirforce bands is the style they have become known for. Particularly during World War II, theAirforce bands became known for their upbeat style of music in that they often portrayed the"Big Band" feel that had become so popular during that time. Not restricting their repertoire totraditional military music, they were apt to include tunes with a Jazz or Blues feel to it.

I I Ii

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Air Cadet March Book Parade Procedures

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Parade Procedures _

It is a reality in the military that life revolves around parades, and ceremonial. In aCadet Squadron the main ceremonial parades are the monthly CO's parade and the AnnualInspection. The parade format for these two types of parade is similar, and can be brokendown into nine distinct phases. These phases are:

1. The Fall In

2. March on the flags:

The band should play "The Maple Leaf Forever."

3. Arrival of the inspecting officer:

The band should play the appropriate salute:

a. The General Salute;

b. The Vice Regal Salute; or

c. The Royal Salute.

4. The Inspection:

This is the time that the band should play some popular tunes.

5. The Marchpast:

The band will play the official Marchpast of the unit which is the Royal CanadianAirforce Marchpast for all Air units. It is also polite to play the official Marchpastof the inspecting officer if it is different from your own unit's Marchpast.

6. The Advance in Review Order:

Traditionally the Coda of "RCAF Marchpast" is played for the advance. TheGeneral Salute provided on the Ceremonial March card is acceptable to use.

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Air Cadet March Book Parade Procedures

7. The Departure:

Again the band should play the appropriate salute as it did for the arrival.

a. The General Salute;

b. The Vice Regal Salute; or

c. The Royal Salute.

8. March off the flags:

The "Maple Leaf Forever" may be played.

9. Dismissal.

For more detailed information on parade procedures, refer to the Canadian ForcesManual of Drill and Ceremonial (A-PD-201-000/PT-000). The information in this chapter ismeant only as a general outline.

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Air Cadet March Book Ceremonial March Card

ADVANCE(BRITISH GRENADIERS)

Bb Conductorwritten in full in QUICK MARCH

individual parts [1. ][ 2. ]A

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B

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Flute/Oboe A DVAN CEPartc (British Grenadiers)

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Alto/Bari Saxophone ADVANCEtar, A (British Grenadiers)

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Alto/Bah Saxophone ADVANCEpartc (British Grenadiers)

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Fr,nch Born ADVANCErnrt X (British Grenadiers)

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French Horn ADVANCEPart c (British Grenadiers)

f_Fr,n=hhorn GENERAL SALUTEPart C IL 112. I

ADVANCEFr,ochHorn (British Grenadiers)Part D

f_French Horn GENERAL SALUTEpartV 1t. II2. I

French Horn GOD SAVE THE QUEEN

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Air, Cadet March Book Ceremonial March Card

Trumpet/13antoneT.C./Bass Clarinet ADVANCE

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Trumpet/BaritoneT.C./Bass Clarinet ADVAN CE

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Trumpet/BaritoneT.C./Bass Clarinet AD VAN CE

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Trombone/Baritone B.C.Bassoon ADVANCEr,rt A (British Grenadiers)

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Air CadetMarch Book Ceremonial

Ceremonial -

INTRODUCTION

The purpose of thischapteris notto detailthe way inwhichany particularceremonyisto be carriedout. It is intendedto providean overviewof a few ceremoniescommonlyperformedbyair cadets. Beforeattemptingany ceremony,the CanadianForcesManualofDrilland Ceremonial(A-PD-201-000/PT-000) mustbe consulted. A chart outliningeachceremonyfollowsafter the textof each section.

REMEMBRANCE DAY CEREMONIES

AlthoughRemembranceDay servicesare usuallyorganizedbycivicauthorities,cadetunitsare often requestedto assist,especiallyif the unithasa band. The followingistoprovideband officerswith someguidanceon what may be expected of their bandsor othercadets.

THE VIGIL

The vigilconsistsof four personnelwho rest on theirarms reversed,one at each cornerof the cenotaph. Customarily,a seaman, soldier,airmanand a memberof the Royal CanadianMountedPoliceare selected for thisduty(if practicable). The vigilis mounted 15 minutespriorto the ceremonyand remainsuntilthe completionof the ceremony.

The parade shouldbe in positionten minutespriorto the ceremony. When the seniordignitaryarrives,complimentsare paidas for a normalparade.The band willusuallyberequiredto playthe appropriatesalute.

The ceremonyitselfbeginswiththe playingof the NationalAnthem. The ParadeCommandershall havethe parade removeheaddressduringany prayers. At thecommencementof the periodof silence,usuallyat 1100 hrs,the buglerswillsoundthe "LastPost". Followingthe two-minuteperiodof silence,the buglerswillsound"Reveille". Any pipelamentusuallyfollowsthe "Reveille". If cadets are requiredas wreath bearers, theyare tomarchone pace to the left rear of the dignitaryand carry the wreath inthe left hand. Bearersshallsalutewhenthe dignitarysalutesor bowshishead. The band may be requestedtoquietlyplayhymnsas the wreathsare being laid. onceall wreathshave been laid,the bandplays"God Save the Queen" and the ceremonyis complete.

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Air Cadet March Book Ceremonial

The ceremony may be followed with a march past. Regardless, the appropriatecompliments will be paid to the senior dignitary prior to departure.

.... REMEMBRANCE DAY CEREMONY

i............_i:__._9_.ii_ii_i_ii_.i'_.!!iiii.!iii.!.ii.__ i___i_i_i_ii.iiii!iii!iiii!#ii!iiiiiii!iii!i_i!iii!ii!!ii_i!iii!ii_iiiiiiii!iii_i!ii_ii!iiii!iii__iii_!iiiiiiiii!iiiiii!iiiiiii!ii!iiiiliiiiiiiiiiii!iiiii!iiiiiii!i!iiiiii!iliiFORM UP QUICK MARCH DURING MARCH ON (IF REQUIRED)

_kRRIVALOF GENERAL (ROYAL) ON ARRIVAL OF REVIEWING OFFICERREVIEWING SALUTEOFFICER

CEREMONY NATIONAL ANTHEM BEGINNING OF CEREMONY .....

CEREMONY LAST POST PRIOR TO TWO-MINUTE SILENCE

CEREMONY REVEILLE FOLLOWING TWO-MINUTE SILENCE

CEREMONY PIPE LAMENT FOLLOWING REVEILLE

CEREMONY HYMNS DURING LAYING OF WREATHS

CEREMONY ROYAL ANTHEM CONCLUSION OF CEREMONY

MARCH PAST QUICK MARCH DURING MARCH PAST

DEPARTURE OF iGENERAL (ROYAL) PRIOR TO DEPARTURE OF.REVIEWINGREVIEWING SALUTE OFFICEROFFICER

BATTLE OF BRITAIN PARADE

Similar in context to a Remembrance Day Ceremony, a Battle of Britain Parade willfollow a similar format. Although there may be some differences in the Parade Formations orMarch Past routes, the parade will still follow the same general outline:

a. fall in, sizing and dressing;

b. arrival of the Reviewing Officer;

c. inspection of cadets;

d. a memodal service is performed and address by Reviewing Officer;

e. march past along applicable route set prior to ceremonies: and

f. dismissal.

The Memorial Services may be performed inside a Church or auditorium, depending onwhat is available in that community. The music for a Battle of Britain parade is outlined below.

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BATTLE OF BRITAIN PARADE

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ARRIVAL OF GENERAL (ROYAL) ON ARRIVAL OF REVIEWING OFFICERREVIEWING SALUTEOFFICER

CEREMONY NATIONAL ANTHEM BEGINNING OF CEREMONY

INSPECTION INSPECTION MUSIC APPROPRIATE TO THE OCCASION

CEREMONY HYMNS AS DIRECTED FOR MEMORIAL SERVICES

MARCH PAST THEME FROM BATTLE OF DURING MARCH PASTBRITAINPLUS OTHER SUITABLEQUICK MARCHES

DEPARTURE OF GENERAL (ROYAL) PRIOR TO DEPARTURE OF REVIEWINGREVIEWING SALUTE OFFICEROFFICER * PARADE MAY END AT A DIFFERENT LOCATION

THE SUNSET CEREMONY

The sunset ceremony is a display which combines elements of the Retreat, Tattoo, andother ceremonial procedures. Field guns and a rifle Feu de Joie are fired to symbolize theorigins of these ceremonies, when evening guns were fired and the night watch proved theirweapons and cleared damp charges for the night.

The ceremony was created by the navy and eventually evolved into the form it takestoday. Although the ceremony is Naval in tradition, there may be occasions where additionalcadet units may be asked to participate in a ceremony. This chapters intent is not to repeatthe Canadian Forces Manual of Drill and Ceremonial but to give an overview of this traditionalnaval ceremony. The ceremony was designed to be performed by the following personnelalthough a cadet corps could perform it with fewer numbers:

a. a 50-person guard;

b. two field guns (cannon) crews;

c. a military band, including corps of drums and buglers;

d. one signalman.

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SEQUENCE

The ceremony is divided into eight phases, a brief description of each will follow later:

a. The March On;

.... b. Beating Retreat and Tattoo;

c. The March Past;

d. Section Ddll;

e. Feu de Joie;

f. The Evening Hymn;

g. Sunset; and

h. The March Off.

THE MARCH ON

All sub-units of the ceremony march on at the order of the Guard Commander. Theguard halts near the rear of the parade ground and centred on the dais. The guncrews wheeltoward the dais then split apart and halt in the front two comers of the parade ground. Theband, which leads onto the parade, wheels toward the dais, countermarches, retires towardthe guard, countermarches again and halts in front of the guard, facing the dais.

BEATING RETREAT AND TATTOO

When the band halts, one of the guns fires "The Evening Gun" as a signal to begin theTattoo. The Corps of Drums steps off and completes a series of countermarches and drumbeatings, finally leading the buglers to the front of the parade. Here the buglers play "FirstPost" before returning to their positions in the band.

THE MARCH PAST

On the orders of the Guard Commander, the guard and band step off. the bandmarches toward the dais before wheeling right twice and proceeding back toward the centre ofthe parade ground. The guard moves to the left then wheels right twice to meet the band headon in the centre of the parade. The guard and band march through each other before theband follows on a march past. Thetwo sub-units return to their former positions.

SECTION DRILL

The Section Drill is a complicated sedes of manoeuvres during which the guard splitsinto two divisions each marching to the edges of the parade area. The divisions then advance,in slow time, fixing bayonets on the march. Once near the front of the parade, the two

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divisions turn toward the centre and rejoin into one guard. All the Section Drill is accompaniedto the music of the band.

FEU DE JOIE

Following Section Drill, the guard fires a feu de joie. This involves three volleys fired bythe guard members with a ripple effect, starting with the marker and proceeding up and downthe ranks. Occasionally, three simultaneous volleys are fired.

THE EVENING HYMN

On completion of the Feu de Joie, the guard is stood at ease and the band plays asuitable hymn, usually, the naval hymn, "Eternal Father".

SUNSET

After the Evening Hymn, the guard presents arms, one of the guns fires a round andthe signalman prepares to lower the Canadian flag. The band plays the "OrchestratedSunset", the National Anthem and "God Save the Queen" while the Canadian flag is lowered.

THE MARCH OFF

When the Canadian flag has been lowered, the Guard shoulders arms and, under theGuard Commander's orders, all sub-units march off and are dismissed off the parade ground.

SUNSET CEREMONY

MARCH ON FANFARE PRIOR TO MARCHING ON

MARCH ON QUICK MARCH DURING MARCH ON

BEATING DRUM BEATINGS FOLLOWING THE EVENING GUNRETREAT ANDTATTOO

BEATING FIRST POST FOLLOWING THE DRUM BEATINGSRETREAT ANDTATTOO

MARCH PAST HEART OF OAK DURING MARCH PAST

SECTION DRILL QUICK MARCH DURING SPLITTING OF GUARD

EVENING HYMN NAVAL HYMN WHEN GUARD IS STANDING AT EASE

SUNSET ORCHESTRATED SUNSET, COMMENCES ON LAST MOTION OFNATIONAL ANTHEM, PRESENT ARMSGOD SAVE THE QUEEN

MARCH OFF QUICK MARCH DURING MARCH OFF

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Air Cadet March Book CeremonialI I

PILING DRUMS

Drums are traditionally piled to provide an altar for the purpose of holding churchservices in the field. Today the practice is primarily used during the presentation of coloursceremony.

PROCEDURE:

The procedure for piling drums is as follows:

a. the old Colours have been marched off parade, the battalion will form a hollowsquare;

b. the Commanding Officer will order the Drum Major to "Pile Drums";

c. the Drum Major will march the drummers forward in single file to the centre ofthe hollow square;

d. they will march into a circle, halt, and turn inward;

e. on the word of command from the Drum Major each drummer will step forwardand individually place his or her drum into position;

f. the pile will consist of four snare drums in a circle with the emblazoning the rightway up, facing outward. The bass drum is placed upon the snare drums, andthe tenor drum placed on top of the bass drum;

g. the Drum Major will then march the drummers back and rejoin the band;

h. at the conclusion of the ceremony the Drum Major will march the drummersback to the pile and form a circle around it;

i. each drummer will recover his or her own drum individually, making sure thatthey have been properly secured onto their slings; and

j. the drummers are then marched back by the Drum Major and rejoin the band.

The procedure is identical for both the Church Parade and the Presentation of Colours Parade.

Snare Drum Snare Drum

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Snare Drum Snare Drum

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TATTOO

The word "Tattoo" is said to be derived from the Dutch "die den tap toe" which istranslated as "turn off the taps". It probably originated from the campaigns in Holland in thelate 17th and early 18th centuries. This ceremony is associated with the practice of a drummerbeing detached to beat an order to the tavern and innkeepers to stop serving ale. This wasalso the order for the soldiers to stop drinking and parade for a final muster before returning totheir quarters.

The "Tattoo" ceremony took place after sunset and was inextricably linked with thesounding of the First and Last Post, filling the period between these two calls. A duty of theOrderly Officer was to inspect the sentries at their posts, ensuring that they were alert andfamiliar with their duties. The officer was accompanied on his rounds by a drummer who,when they reached the first sentry, would beat a call to indicate that they were about to starttheir rounds. On reaching the last sentry post, the drummer would again beat a call to advisethat the inspection was complete. While this was taking place it became the custom for theband to beat "Tattoo" up and down the main street.

DRESS AND PROCEDURES:

Today a "Tattoo" has come to mean a military pageant, but there may be occasionswhen it would be appropriate for a band to perform the traditional ceremony. Although theceremony is Army in origin, an Air Cadet Squadron may also perform the ceremony.Traditionally, the ceremony was performed in Cadet C1 dress. In its present form, it is onlyperformed on special occasions.

The ceremony is performed by carrying out the following steps:

a. the band will form up in normal marching formation;

b. on the command of the Drum Major, the band will march onto the parade squareplaying a quick march;

c. the band will halt in front of the reviewing stand, and the trumpeters will sound"First Post";

d. at the conclusion of the First Post the Drum Major will give the command"Troop!", all side drummers will give three loud beats in quick successionfollowed by one beat of the bass drum;

e. the band will then play the F Major chord. As in the retreat ceremony, this chordshould last 12 beats in quick time. Starting quietly it rises to a crescendo andfalls away to nothing on the twelfth beat;

f. the band will now step off in quick time and play three or four marches.Traditional regimental music is normally chosen. The band shouldcountermarch back and forth across the parade square;

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II I

DRESS AND PROCEDURE - Continued

g. the band will halt and play a suitable hymn such as "Abide with me";

h. the National Anthem, "O'Canada" is then played, followed by the trumpeterssounding the "Last Post";

i. the Drum Major will then request permission to march off the band from thesenior officer present; and

j. they will leave the parade square to their Regimental or Elemental March.

THE FLY PAST

The Fly Past is a form of salute used by the Air Force. A Fly Past is often arranged inconjunction with a ceremony of significant importance. In the event of a high ranking officer ordignitaries passing, a Fly Past using the missing man formation will be used. This signifies theloss of a member. Other formations using various numbers of aircraft may be used as deemedapplicable or simply based on what aircraft are available

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Air Cadet March Book History of the Royal Canadian Air Force

The Royal Canadian Air Force saw it's beginnings in October of 1914 when a singleBurgess-Dunne biplane was purchased from the United States. This and two officers formedthe basis for the Canadian Aviation Corps. Although the aircraft and the officers were sent toEngland with the Canadian Expeditionary Force, the plane sat unused on Salisbury Plain,deteriorating until is was finally scraped. Men rather than machines were to be the maincontribution by Canada to the first war in the air. In September 1915, a Curtiss School ofaviation was established at Long Branch, Ontario. It was either here or at schools in theUnited States, that most young hopefuls went.

Although the Canadian aviators mostly served in either the Royal Naval Air Service orthe Royal Flying Corps, there were some of noteable skill. The first Canadian aerial victorywas December 14, 1915 when Flight Sub Lt Arthur Strachan Ince shot down a Germanseaplane off the coast of Belgium. The first Canadian "ace" was Fit Lt Edward R. Grange andone of the most noteable Canadian "aces" was Maj W. A. 'Billy' Bishop VC, DSO, MC, DFC.Maj Bishop was the official British Empire top-scoring scout pilot of World War I with a total of72 victories.

The Royal Canadian Air Force was formed in England in 1918 with two squadrons.Former 81 squadron, renamed as 1 Squadron, Canadian Air Force, was forrned at UpperHeyford, Oxfordshire with allCanadian personnel. It was followed by 123 Squadron, renamedas 2 Squadron, Canadian Air Force. The war ended before either squadron would see anyaction. The Canadian Air Force was disbanded in late January 1920 but re-established inFebruary in Canada to provide refresher training for veterans.

In the years following World War I, the role of the Royal Canadian Air Force wasprimarily training. When the new Air Force was formed in February 1920, it consisted of 1340officers and 3905 airmen. This was to be on a non-permanent basis with all members beingpart-time auxiliaries. Camp Borden was selected as the main training centre as the facilitiesremained virtually intact after the war.

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1938 proved to be a year of expansion and independence. With an enormous uplift inthe budget of $11.25 million and following the Munich Crisis later that year it was pushed up to$30 million. On 19 November 1938, the Air Force became independent and responsibledirectly to the Minister of National Defense. An Air Council was formed with Air Vice-MarshalG.M. Croil as the first Chief of Air Staff. When Germany invaded Poland on 1 September1939, the Royal Canadian Air Force had grown considerably to reach a size of 20 squadronsand a personnel strength of 4061 officers and men. It was evident though, that the equipmentscarcely matched the new 'paper' strength with only 270 aircraft on hand. Eady in 1939, theAir Force was busy recruiting men, training aircrew and flying a few new service aircraft andscores of obsolete airplanes. It was good news to the Air Force when is was announced inFebruary that ten Hawker Hurricane fighters had arrived in Vancouver, BC by sea. Thestrength both in aircraft and in personnel would grow considerably through World War I1. Newaircraft were constantly being added and new squadrons formed to meet the increaseddemands on the Air Force.

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Canadian Aces

WorId War IThe top two scoring aces of World War I on the allied side, were both Canadians:

Major William A 'Billy' Bishop, VC, DSO, MC, DFC 72 victoriesMajor Ray Collishaw DSO, DFC 60 victories

Other high scoring Canadian pilots of World War I include:

Major D.R. MacLaren 54Major W.G. Barker 53Captain Frederick McCall 37Captain William Claxton 36J. Stuart Fall 34Major A.D. 'Nick' Carter 31Captain Andrew E McKeever 30Lieutenant C.M. MacEwen 27A. T. Whealy 27Captain Francis Quigley 25Stanley Rosevear 23Captain J.M. White 22Charles Hickey 21Captain W.E. Shields 20

VC - Victoria CrossDSO -MC -

DFC - Distinguished Flying Cross

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Canadian Aces

World War ll

Top scoring Canadian Pilots in World War !1include:

Fit Lt G.F. Beurling RAF 31 1/3 victoriesSqn Ldr H.W. McLeod RCAF 21Wg Cdr V.C. Woodward RAF 19 & 3 sharedWg Cdr R.W. McNair RCAF 17Wg Cdr D.C. Laubman RCAF 16 1/2Pit Off W.L McKnight RAF 16 1/2Wg Cdr E.J.F. Charles RAF 15 1/2Sqn Ldr W.T. Klersy RCAF 14 1/2Sqn Ldr R.A. Barton RAF 13 & 6 sharedSqd Ldr R.I.A. Smith RCAF 13 1/5Wg Cdr R.C. Fumerton RCAF 13Wg Cdr G.C. Keefer RCAF 13Wg Cdr J.A. Kent RAF 13Fit Lt J.F. McElroy RCAF 12 & 3 shared

plus 2 or 3 with Israel in1948

Fit Lt J. MacKay RCAF 12.1/5 (includes 1 Mig-15in Korea)

F! Lt J.H Tumbull RCAF 12 1/5Wg Cdr P.S. Turner RAF 11 & 1 sharedSqd Ldr G.U. Hill RCAF 10 & 8 shared

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Royal Canadian Air Cadets

How does Air Cadets fit into the big picture? The Air Cadet League was formed in1941 to provide a training program for young men nearing the age at which they could join theAir Force. The idea was to create a pool of pretrained airmen, ready to become pilots andfight in the war. In 1943, the Air Cadet Leaque became a component of the Royal CanadianAir Force and reached a peak of 29,000 cadets by 1944.

Today the Royal Canadian Air Cadets sees approximately 30,000 teenagers at morethan 450 Squadrons across the country. With the emphasis now put on citizenship, selfdiscipline and an interest in aviation, Air Cadets produces young leaders who often go on to beleaders in communities or business. The skills developed in cadets are valuable both in amilitary career and in a civilian career.

Royal Canadian Air Cadets is supported by the Department of National Defence andthe Air Cadet League of Canada. Both work together to offer support and develop policiesand procedures to assist the Air Cadet Squadrons in their operations. At a local level, eachSquadron is also supported by a Sponsor who will provide monetary support for activities notsupported by DND. In a time of budget cut-backs and fiscal restraint, it is becoming more andmore important for activities to be supported at the local level.

Although the goals and focus of the Royal Canadian Air Cadets may change from timeto time, one thing remains constant. The mystery and awe young people feel about aviationand the freedom of flight will always remain the same. It is often thought that the reason AirCadets draws more youth than Sea or Army cadets is the wonders of flying. Not every AirCadet will become a pilot but most will enjoy the chance to fly in the wild blue yonder.

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Air Cadet March Book History of, the Royal Canadian Air Force

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Air Cadet March Book A-25 Song

A-25 Song

Form "A-25" was the accident report form that had to filled out after each time anaccident occured. Because of the nature of aviation, the accident rate was quite high. Out of101 aircraft written off, 39 were lost in battle and the remainder in deck landings and otheraccidents. The A-25 form was so lengthy and detailed that some suggest death by drowningwas less of a burden and more desirable. By custom, the report had to begin with the words "1have the honour to report...", which seemed inappropriate when followed by something like"...that I missed the arrestor wires and crashed into three parked aircraft..."

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Air Cadet March Book Chapter 6

f A-25 SongThey say in the Air Force a landing's OK,If the pilot gets out and can still walk away.But in the Fleet Air Arm the prospects are grimIf the landing's so poor and the pilot can't swim.

Cracking show, rm alive,But I've still got to render my A-25!

They gave me a Seafire to beat up the fleet,I beat up the Nelson and Rodney a treat,But forgot the high mast that sticks out from Forrnid.And a seat in the Goofers was worth fifty quid.

Cracking show, I'm alive,But I've still got to render my A-25!

I thought I was coming in low enough butI was twenty feet up when the batsman gave cut!And loud in my earholes the sweet angels sang,'Float...float...float...float...float...float barrier- Prang!'


When the batsman made 'lower' I always went higher,Bounced on the deck and missed the last wire,A bloody great barrier loomed up in front,And Wings shouted 'Switch off your engine, you twit!'


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A-25SLOW MARCH or

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Air CadetMarchBook A-25Song

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Air Cadet March Book Airmen's Prayer

Airmen's Prayer

Airrnen's Prayer is a suitable hymn for a Battle of Britain Service.

fAIRMEN'SPRAYER

1. Pilot divine, and lord of all on high!Thine are the starry squadrons of the sky!Lead us whose wings for Freedom's sake now soar,Into our hearts Thy faith and courage pourOh, hear our prayer!

2. Set Thou our course, whose trust is laid on Thee!Oh, Thou who chartest all eternity!Through cloud and sunshine, through the darkest night,Guide Thou Ourwings who battle for the rightOh, hear our prayer!

3. Father and friend, in whose almighty name!We dedicate our lives to Freedom's flame,Bless now our wings as on through space we wend!Bless us who to Thy care our souls commendOh, hear our prayer!

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INTERCESSION FOR THOSE WHO ARE TRAVELLING BY AIR.

1. Lord of the firmament, humbly we come to Thee, pleadingGuard Thou Thy servants who now through the airways are speeding;By day or night,In all the hours of their flight,Be Thou their Shield and Defender.

2. Lord of the firmament, save Thou Thy servants from danger,Through storm and tempest, or flying 'midst coudland's rich splendor.O'er land and sea,Piloted always by Thee,Be Thou their Shield and Defender.

3. Lord of the firmament, in Thy supreme love outstanding,Send holy angels, and give to Thy servants safe landing;When from the sku,Back to the earth they shall fly, __ 'Be Thou their Shield and Defender.

4. Lord of the firmament, make Thou Thy servants, when flying,Bearers of love and of friendship, on Thy help relying;may they instil,In all the nations goodwill,Welding the earth in one family.

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Air Cadet March Book Airrnen's Prayer

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Air Cadet March Book Amazing Grace

Amazing Grace, Hymn

Traditionally, Amazing Grace is played as the Lament at Remembrance Dayceremonies by a lone piper but can be played on any occasion where a hymn is appropriate.The dictionary states the meaning of "Lament" as "a passionate expression of grief'. AmazingGrace is based on an old English hymn written in 1779 by the Reverend John Newton. Thearrangement provided in this book can be played by a military band alone or with pipes.

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va,,t_/o_ .AMAZING GRACE

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• Air Cadet March Book Amazing Grace

Flute/Oboe AMAZING GRACEPart C

(Modified)

AMAZING GRACEFlute/Oboe

Part D 1"-7"1 (Modified)L2J

Page 8-4

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Clarinet/TenorSax AMAZING GRACEPart B (Modified)

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Page 8-7

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Page 8-8

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Part A (Modified)

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French Horn AMAZING GRACE

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Page 8-10

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Page 8-11

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Page 8-12

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Page 8-14

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Page 8-15

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Page 8-19

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Air Cadet March Book A Band of Banshee Airmen

A Band of Banshee Airmen

The Somersetshire was "the queen of all RAF Troopships". The ship was not anairforce or RN vessel but was a civilian liner owned by the Bibby Line of Liverpool. TheSomersetshire was used to transport personnel between England and the Middle East in thedays between the First World War and the Second World War. The song was created in Iraqin the 1920's based on the naval song "The Tiddley Ship", which cam to the Royal Air Forceduring the time when many air force instructors cam the Fleet Air Arm.

f -,,1. A band of banshee airmen, way out in the sunny Sudan,

Where all the erks are banshee, and so's the lazy Old Man.There's bags and bags of NCO's saluting on the square,And when we're not saluting, we're up in the blooming air.

2. O Shire, Shire, Somersetshire,The skipper looks on her with pride.He'd have a big huff, if he e'er saw the stuffOn the side of the Somersetshire.

3. This is my story, this is my song,We've been in this Air Force too blooming long;So roll on the Nelson, the Rodney, Renown,We can't sink the Hood, she's already gone down

* Old Man is the Commanding Officer,* banshee means wild or crazy,* Nelson, Rodney and Renown were all battlecruisers of the Royal Navy,* Hood was the most prestigious battleship in the Royal Navy, sunk by the

German battleship the Bismark in 1941.

Page 9-1

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A BAND OF BANSHEE AIRMEN

Bb CONDUCTOR QUICK MARCH

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Band of Banshee Airmen Page 2

Page 9-3

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Air Cadet March Book A Band of Banshee AirmenI

Flute A BAND OF BANSHEE AIRMENOboe

PartA [_

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Page 9-4

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Air Cadet March Book A Band of Banshee AirmenI I

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Page 9-6_

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Air Cadet March Book A Bane of Banshee Airmen


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Page 9-8

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Page 9-9

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Alto Saxophone A BAND OF BANSHEE AIRMENBaritone Saxophone

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Page 9-10

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Page 9-11

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Page 9-12

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Page 9-13

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Page 9-14|

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Page 9-15

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Page 9-16

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Air Cadet March Book A Band of Banshee AirmenI

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Page 9-17

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Air Cadet March Book A Band of Banshee AirmenI I

A BAND OF BANSI-_E AIRMENTuba

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Part B [-_

Page 9-18_

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Page 9-19

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Page 9-20

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Page 9-21

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Page 9-22

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Air Cadet March Book The Battle of Britain

The Battle of Britain

"Never in the field of human conflict was so much

owed by so many to so few"

Prime Minister Winston Churchill, 20 August 1940

"The Battle of Britain" was considered the turning point of WWlI. Germany h_laidplans to invade and conquer Great Britain, thus securing the western flank of the GermanEmpire. What Germany had underestimated was the ability of Britain's air power to defendand drive off the attacks from the German air force, the Luftwaffe. Germany failed to conquerGreat Britain because of the inability of the Luftwaffe to find a strategy for attack and stick withit as well as the poor intelligence information which grossly over estimated Britain's loss inaircraft and personnel. What started as a plan to conquer Great Britain and thus Germany'scontrol of Europe ended in what is thought to be the beginning of the end for Germany.

Immediately after Britain's retreat from Dunkirk and the occupation of France in May1940, Germany started laying plans to invade Great Britain. The first phase of the operationwas to lure Britain's Air Force out for battle where the Luftwaffe intended to destroy andeliminate any significant air defence of Great Britain. The second phase of the plan was tocross the English Channel and invade Britain with as many as 250,000 German soldiers in anoperation named "Operation Sea Liod'. It was a grand plan but operation Sea Lion nevercame to be.

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Page 10-1

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Although the Luftwaffe had managed to gage numerous air strikes against GreatBritain, it never managed to inflict the widespread damage they had planned. The strategykept changing, never allowing the Luftwaffe to concentrate on a single goal. The hostilitiesbegan on July 10, 1040 when Commander in Chief of the Luftwaffe, Hermann Goering initiatedand strike against British shipping in the English Channel by attacking a convoy of ships. No11 Group quickly responded with a mixture of Spitfire and Hurricane aircraft. The British lostthree aircraft and the Luftwaffe lost four. Over the next three months, the Luftwaffe gagedmany airstrikes on both military and civilian targets. Both sides saw heavy losses but theLuftwaffe continued to see higher losses than Britain.

The bombing of London began on the eve of August 24, 1940 when a group.of tenLuftwaffe bombers, mistakenly bombed London instead of an oil storage site at Thameshaven.Thinking this was a direct strike on a civilian site, Britain retaliated with bombing stdkes againstBedin. On September 7th, Germany began the intended bombing of the city of London. Thistime it was not a navigational error. The bombing raids continued on London and the numberof casualties continued to dse. The battle came to a climax on September 15, 1940 whenGermany launched what would be their final bombing raid on London. Britain's Air Forceresponded quickly and the raiders were attacked from the moment they hit the English coastand the clashes continued all day. At the end of the battle, the figures showed the Luftwaffehad lost 56 aircraft and the RAF had lost 26. Several more Luftwaffe bombers limped back tobase with dead crew members, engines ablaze or undercarriages shot away. At least 20Me-109's had come down in the water having run out of fuel. September 15th was marked asBattle of Britain Day as this is the day declared as the end of the Battle of Britain. PrimeMinister Winston Churchill described the day as "the most brilliant and fruitful of any foughtupon a large scale up to that date by the fighters of the Royal Air Service. On September 17,1940, Hitler decided to postpone Operation Sea Lion indefinitely.

In the years to follow, September 15 is commemorated as "Battle of Bdtain Day" and istraditionally honoured in "Battle of Britain" parades across the country. Similar in context to"Battle of the Atlantic" and Remembrance Day ceremonies, it is a day when the lives anddeaths of the men and women who sacrificed so much in the name of freedom for our country,are remembered and celebrated. "Never in the field of human conflict was so much owed byso many to so few.".

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Page 10-2

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Air Cadet March Book The Battle of Bdtain

The Theme From'BATTLE OF BRITAIN"

Bb CONDUCTOR INSPECTIONTUNEF_qA A A A A AA A

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Page 10-4

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Page 10-5

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Air Cadet March Book The Battle _,Britain

F1u_ The Theme FromOboe "BATTLE OF BRITAIN"

PartA ^ A A A A A A A

Flute The Theme FromOboe "BATTLE OF BRITAIN"

Part B A A A A A A A A

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Page 10-6

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Air Cadet March Book The Battle of Bdtain

The Theme FromFlute "BATTLE OF BRITAIN"Oboe

PartC a A a A ^ ^ A _]

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Part D

Page 10-7

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TenorSaxophone The Theme FromClarinet(high) "BATTLE OF BRITAIN"PartA

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Page 10-8

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Page 10-9

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Page 10-10_ __

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Page 10-11

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Air Cadet March Book The Battle of Britain[I I I

The Theme FromAlto SaxophoneBaritone Saxophone "BATTLE OF BRITAIN"PartA _-]

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Page 10-12

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Page 10-13

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The Theme FromFrenchHorn "BATTLE OF BRITAIN"Part A

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Page 10-14

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The Theme From"BATTLE OF B_TAIN"

French HornPart C

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Page 10-15

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Page 10-16

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Trumpet The Theme FromClarinet(low) "BATTLE OF BRITAIN"Baritone T.C.

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Page 10-17

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Page 10-18

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Page 10-20

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Part D A

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Page 10-21

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Page 10-22

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Page 10-23

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The Theme From"BATTLE OF BRITA_"

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Air Cadet March Book The Bells of Blazes

The Bolls of Blazes

Many songs have been written about the nearness of death, but most pay more_attention to being alive. Because of the nature of aviation, flying or service related to aircraftwas considered the most dangerous and terrifying. An engine dying in mid air could be thecause of death rather than in an air to air combat situation which would be considered a

courageous and dignified way to die. Air warfare creates a tremendous psychological strain onthe pilots with short trips through the night sky exploding with flak. _i:_

f \

1. The bells of blazes go ting-a-ling-a-lingFor you but not for me.And the little devils how they sing-a-ling-a-lingFor you but not for me.

2. O, Death, where is thy sting-a-ling-a-ling?O, Grave, thy victory?The bells of hell go ting-a-ling-a-lingFor you but not for me.

Page 11-1

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Page 11-2

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Page 11-5

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Page 11-7

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Page 11-8

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Page 11-9

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Air Cadet March Book The Bellsof Blazes

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Air Cadet March Book Bless 'em All

Bless 'em All was first introduced in England around 1916 by Fred Godfrey. The"soldiers" version was seldom heard in civilized areas and Jimmy Hughes introduced the"decent" version in 1940. There had never really been a set of appropriate words with thistune until then. This version of Bless em' All could be openly sung in loud voices with littlechance of reprisal. The music was composed by Frank Lake. Although this song is regardedas a Wodd War II song, it's earliest associations are with the Royal Naval Air Service. In someversions, it became the unofficial Royal Air Force song in the years between the wars.

Bless 'em All

They say there's a troopship just leaving BombayBound for old Blighty's shore,Heavily laden with time expired menBound for the land they adore.There's many an airman just finished his timeAnd many a twerp signing on.They'll get no promotion this side of the ocean,So cheer up my lads, Bless 'em all.

ChorusBless'em all!Bless'em all!

The long and theshortand thetall.Blessallthe sergeantsand WO Ones,Blessallthe corp'ralsand theirblessedsons.Forwe'resayinggood bye tothem all,As back totheirbarrackstheycrawl.

We'llget no promotion,thissideofthe ocean,So cheer up my lads,bless'em all!

Page 12-1

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Bless 'em All - Lancasters

A Lancaster was a heavy bomber flown by the allied forces in World War I1. Capable ofcarrying bomb loads up to 18,000 pounds and a crew of seven it had a range of 2,530 miles.Many Lancasters were manufactured in Canada and a great deal were flown by Canadians.The following chorus, from the Airman's Song Book, are a Coastal Command version.

fBless 'era A# - Lancasters

A Lancaster leaving the RuhrBound for old Blighty shore,Heavily laden with flak frightened crew,Scared Stiff and prone on the floor.There's many a bomber long finished his tour,There's many a plonk signing on,We'll get no promotion this side of the ocean,So, cheer up, my lads, bless 'era all.

Page 12-2

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Bless 'em All - Wellingtons

Wellingtons were two engine bombers nicknamed Wimpey for the character J.Wellington Wimpy in the cartoon Popeye the Sailor. Both the aircraft and 'Wimpey' werethought to be fat, lazy, messy and in the case of 'Wimpey', devoted to eating great quantitiesof hamburgers. The Wellington was capable of carrying a bomb load of 4,500 pounds andreaching speeds of 234 mph.

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Bless 'em All- Wellingtons

Worry me, worry me,Wellingtons don't worry me.Oil-chewing Wimpey's with flaps on their wings,Buggered up pistons, and buggered up rings,The bomb load is so blessed small,

Four-fifths of five-eighths is not muchThere'll be such a commotion when o'er the ocean,So cheer up my lads, bless 'em all.

Page 12-3

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Page 12-10

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Air Cadet March Book The Bold Aviator

I II I

This song has been identified as the oldest airman's song, predating the formation ofthe Royal Flying Corps in 1916. The tune is "The Tarpaulin Jacket", a song from the CrimeanWar period. Although more versus were written, they simply extend and lengthen the list ofpieces of a man that can be made into an airplane to the point where it becomes ridiculous

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The Bold A viatorOh, the bold aviator was dyingAnd as 'neath the wreckage he lay, he layTo the sobbing mechanics about himThese last parting words he did say:

"Take the cylinders out of my kidneysThe connecting rod out of my brain, my brain,From the small of my back get the crankshaftAnd assemble the engine again."

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Air Cadet March Book Cavalry of the Clouds

Cavalry of the Clouds has been adopted as the marchpast for the Canadian ArmedForces Special Service Force. The Special Service Force was formed in 1977 as animmediate response force capable of responding to disasters or emergencies in a national orinternational situation. The first Special Service Force, which was known as the "DevilsBrigade" was created in World War 2 for special operations. This American-Canadian forcecame a legend in its time and was depicted in a movie by the same name starring WilliamHolden and Cliff Robertson.

The quick march "Cavalry of the Clouds" was composed by Kenneth J. Alford whowrote such famous marches as "The Standard of St. George", "Army of the Nile", "On theQuarter Deck" and "The Great Little Army" to name a few. Born in London in 1881, Alfordretired as a Major in the British Army in 1944 and died in May 1945. Kenneth J. Alford isrevered as one of the most talented march composers with the likes of John Philip Souse ofthe United States. Both were known to write stirring, patriotic marches that have become"classics" of their kind. Many of Alford's marches were written to mark special events andplaces.

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Air Cadet March Book Coming in on a Wing and a Prayer

Coming in on a Wingand a Prayer

Written in 1943, some people might suggest this song should not have been printed.Referring to a serious subject, it might have been in poor taste to make such references ascoming in on one engine after returning from a bombing raid. Composer Jimmy McHugh alsowrote such famous and well composed songs as "On the Sunny Side of the Street" and 'Tm inthe Mood for Love"

Comin' in on a wing and a prayer,Comin' in on a wing and a prayer,Though there is one motor gone, We can still carry on,Comin' in on a wing and a prayer.

What a show, what a fight,Yes we really hit our target for tonight,How we sing as we limp through the air,Look below, there's our field over there

With a full crew a board and our trust in the Lord,We're comin' in on a wing and a prayer.

Page 15-1

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Air Cadet March Book Comin' in on a Wing and a Prayer

COMIN' IN ON AWING AND A PRAYER


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Air Cadet March Book Comin' in on aWing and a Prayer

COMIN' IN ON AClarinet(high) WING AND A PRAYERTenorSaxophone

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Page 15-10

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Page 15-13

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Page 15-15

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COMIN' IN ON ABells- WING AND A PRAYERPart C

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Percussion A [I

Page 15-22

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Air Cadet March Book Crimond

Crimond may be played at services or any ceremonial parade at which a hymn isrequired. An "Evening Hymn" is played in both the Sunset ceremony and the Ceremony ofthe Flags. "Crimond" would be a suitable choice for one of these events.

"Crimond" is based upon Psalm 23, and the melody was composed by Jesse Irvine wholived from 1836 to 1887.

Practicing hymns such as "Naval Hymn", "Crimond" and "Day Thou Gavest" is anexcellent method of developing tone, balance and blend in an ensemble. "Crimond" is__particularly good for developing a solid tone.

f L ,csThe Lord's my shepherd, I'll not want:He makes me down to lie

in pastures green; He leadeth methe quiet waters by.

My soul He doth restore again,and me to walk doth make

within the paths of righteousness,even for His own name's sake.

Yea, though I walk through death's dark vale,yet will I fear no ill;for Thou art with me, and thy rodand staff me comfort still.

My table Thou hast furnishedin presence of my foes;my head Thou dost with oil anoint,and my cup overflows.

Goodness and mercy all my lifeshall surely follow me,and in God's house for evermore

my dwelling-place shall be.

Page 16-1

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Air Cadet March Book Cdmond

Bb Conductor CR.IMOND

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Page 16-2

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Flute/Oboe Part A CRIMOND

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Page 16-3

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Page 16-4

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Page 16-5

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Page 16-6

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Page 16-7

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Page 16-8

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French Horn CRIMONDPart A

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Page 16-9

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Page 16-11

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Page 16-12

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Page 16-13

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Page 16-14

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Air Cadet March Book Cdmend

Tuba Part A CRIMOND

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Tuba Part B CRIMOND

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Page 16-15

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Page 16-16

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Page 16-17

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Page 16-18

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Air Cadet March Book The Dambusters

1

The Dambusters ,,, \

The Dambuster raids were carded out in 1943 against the M_hne and Eder dams inGermany. The idea was to "bust" the dams and flood the low countries to disrupt Germancommunications. Special water skipping bombs were dropped from RAF Lancaster bombers.The bombs were designed to skip along the surface of the water until it reached the dam,where they were to sink down to a certain depth before detonating. The bombs were barrelshaped which allowed them to spin in the water which held them against the surface of thedams. By detonating the bombs below the surface of the water, it would do more damage asthere is already significant stress on the dam from the weight of the water pushing against it.

The crews of the Lancaster were comprised largely of Canadian airmen.

Page 17-1

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Air Cadet March Book Dambusters

• DAMBUSTERS


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Page 17-2

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Page 17-3

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Oboe DAMBUSTERSFlute

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Page 17-4

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Page 17-5

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Air Cadet March Book DambustersI

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Page 17-6

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Page 17-7

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Page 17-8

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Page 17-9

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Page 17-10

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Page 17-11

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Page 17-12

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Air Cadet MarchBook Dambusters

Trumpet

BaritoneT.C. DAMBUSTERSClarinet (low)

Part A [_

TrumpetBaritone T.C.

Clarinet (low) DAMBUSTERS

PartB [_]

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Page 17-13

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Air Cadet March Book .... Dambusters

Trumpet

Baritone T.C. DAMBUSTERSClarinet (low)

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Page 17-14

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Page 17-15

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Page 17-16

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Page 17-17

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Page 17-18

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Bells DAMBUSTERS

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Page 17-19

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Page 17-20

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Page 17-21

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Air Cadet March Book Danny Boy

Danny Boy

Danny Boy is an old Irish Air that would be suitable as an inspection piece. Thisarrangement is simple enough that an inexperienced band will be able to play it easily.

f

Oh, Danny Boy, the pipes are callingFrom glen to glen, and down the mountain side,The summer's gone, and all the roses falling,It's you, it's you must go and I must bide.

But come ye back when summer's in the meadow,Or when the valley's hushed and white with snow,It's I'll be here in sunshine or in shadow,Oh Danny Boy, oh, Danny Boy I love you so!

Page 18-1

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- DANNY BOY

(Londonderry Air)Bb CONDUCTOR INSPECTION TUNE

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Page 18-2

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Danny Boy Page 2

Page 18-3

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Air Cadet March Book Danny BoyI I

Flute Danny BoyOboe

PartA [_

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Flute Danny BoyOboe

Part B

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-- _ Rf a tempo Rit.

Page 18-4

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Flute Danny BoyOhne

Part D ._IlL _# I _, _I I I _" I Ill I 11,ILl _ I I I I ] 1 III IP_ " r] /i t [ I [ I

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Page 18-5

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Air Cadet March Book Danny BoyI I

i

Clarinet (high) Danny BoyTenorSaxophone

PartA _-_.¢_. -0-"

Rit. _ f a tempo Rit. ff Maestoso

__f a tempo Rit. D.S. al Fine : '

Clarinet(high) Danny BoyTenor Saxophone

Part B _]@ "_'" -0-

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-- -- Rf a tempo Rit.

Page 18-6

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Part C

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Page 18-7

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Bass Clarinet Danny BoyPartA

Bass Clarinet Danny Boy

Part B ._

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Page 18-8

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Bass Clarinet Danny BoyPart D

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Rit. _ f a tempo Rit ff M_aest°s°1 I ] + I 11i _" = [_,_ I

_ a tempo Rit. _ D.S. al Fine

Page 18-9

ABC000001320

Air Cadet March Book Danny Boy -

AltoSaxophone Danny BoyBaritone Saxophone

Part A._ IA[

AltoSaxophone Danny BoyBaritone Saxophone

Part B•_ L_

_f Rit. _ f a tempo Rit. j_ Maestoso


I

Page 18-10

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- Alto-Saxophone Danny BoyBaritone SaxophonePart C

- N- _zp Fine > > >

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Alto Saxophone

BaritoneSaxophone Danny BoyPart D

Rit _ f a tempo _-_

1_f Rit. _ f a tempo Rit ff Maestoso

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Page 18-11

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French Horn Danny BoyPartA

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Danny BoyFrenchHornPart B

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Page 18-12

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Part D r-_

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Rit. _ .f a tempo _-_ _-->>> I t illL'Ob , , .... DI ILl

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Page 18-13

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-TrumDet

Baritone T.C. Danny BoyClarinet(low)

PartA

Fine > > >

f a tempo

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Page 18-14

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Trumpet Danny BoyBaritone T.C.

Clarinet(low)

PartC

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Page 18-15

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Air Cadet March Book Danny BoyI

- Trombone Danny BoyBaritone B.C.

Bassoon

PartA _'_

=f Rit_ f a tempo Rit. ff Maestoso-f

r ----- =f a tempo Rit. D.S. al Fine

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Baritone B.C. Danny BoyBassoonPart B

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I

Page 18-16

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Page 18-17

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Tuba Danny BoyPart A

Tuba Danny Boy

Part B [-_

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Page 18-18

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Tuba

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Page18-19

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Danny BoyBells

PartA ._ [_

Danny BoyBells

Part B "_ _

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Fine

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f a tempo Flit. ff MaestosoD.S. al Fine

-- _ =f a tempo Rit.

Page 18-20

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Bells Danny BoyPart D

F__ - ' L__J

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Page 18-21

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Page 18-22

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Air Cadet March Book Day Thou Gavest

Day Thou Gavest

As with "Crimond", "Day Thou Gavest" may be played at services or any ceremonialparade at which a hymn is required. An "Evening Hymn" is played in both the Sunsetceremony and the Ceremony of the Flags. "Day Thou gavest" would be a suitable choice forone of these events.

Practicing hymns such as "Crimond" and "Day Thou Gavest" is an excellent method ofdeveloping tone, balance and blend in an ensemble. "Day Thou Gavest" is particularly goodfor developing flexibility in the embouchure as the cadets will learn to slur smoothly withpractice.

Lyrics

The day Thou gavest, Lord, is ended,The darkness falls at Thy behest;to Thee our morning hymns ascended,Thy praise shall sanctify our rest.

Page 19-1

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The Day Thou GavestBb Conductor

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Page 19-2

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Page 19-3

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Page 19-4

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Page 19-5

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Page 19-6

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Air Cadet March Book DayThou Gavest

The Day Thou GavestTrumpet/ClarinetBaritone T.C.

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Page 19-7

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Page 19-8

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Part D

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Page 19-9

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Part A

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Part C

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Part D

Page 19-11

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Air Cadet March Book Day Thou GavestI

The Day Thou GavestFrench Horn

Part A

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Page 19-12

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Part C


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Page 19-13

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Page 19-14

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Page 19-15

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Page 19-16

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Page 19-17

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Page 19-i8

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Page 19-19

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THE DAY THOU GAVEST

Percussion

TACET

Page 19-20

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Air Cadet March Book Don't Sit Under the Apple Tree

Don't Sit Under the Apple Tree _'"_-_

Page 20-1

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Air Cadet March Book Don't Sit Under the Apple TreeI I

DON'T SIT UNDER THE APPLE TREE

Bb CONDUCTOR INSPECTION TUNE mm J=140

A

B

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Page 20-2

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Don't Sit Under The Apple Tree Page 2

Page 20-3

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Page 20-4

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Flute DON'T SIT UNDEROboe THE APPLE TREEPartD [-_

Page 20-5

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Tenor Saxophone DON'T SIT UNDERClarinet (high) THE APPLE TREEPart A _]

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Tenor Saxophone DON'T SIT UNDERClarinet(high) THE APPLE TREEPartB _-7

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Tenor Saxophone DON'T SIT UNDERClarinet(high) THE APPLE TREEPart C r_

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Page 20-7

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DON'T SIT UNDERBass Clarinet

THE APPLE TREEPart A lm

o 1J t-- I


Part B _ THE APPLE TREE

[..0 IL_ _

If. 112. I

Page 20-8

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Part C _ THE APPLE TREE

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Page 20-9

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Alto Saxophone DON'T SIT UNDERBaritone Saxophone THE APPLE TREE

Part A

I1. > > > 112. I

f

Alto Saxophone

BaritoneSaxophone DON'T SIT UNDER t

Part B r-_ THE APPLE TREEIA!

f

Page 20-10

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Alto Saxophone DON'T SIT UNDERBaritone Saxophone THE APPLE TREEPart C_

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f

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Page 20-11

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FrenchHorn DON'T SIT UNDER

Part A _-] THE APPLE TREE

qO e- > > >

j I

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DON'T SIT UNDERFrenc_ Horn

Part B _] THE APPLE TREE

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Page 20-12

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DON'T SIT UNDERFrench Horn

THE APPLE TREEPart C

,0,_ ,,s

DON'T SIT UNDERFrench Horn THE APPLE TREEPartD I-A-]

Page 20-13

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Air Cadet March Book Don't Sit Underthe Apple Tree

Trumpet

Clarinet (low) DON'T SIT UNDERBaritoneT.C. THE APPLE TREEPart A

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Page 20-14

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Trumpet DON'T SIT UNDERClarinet (low)BaritoneT.C. THE APPLE TREEPart C _]

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Clarinet 0ow) DON'T SIT UNDERBaritone T.C.

Part D r-A-] THE APPLE TREE

." ''.., o, J ;; [j. j tII. 112.> I

Page 20-15

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Air Cadet March Book. Don't Sit Under the Apple Tree

Trombone DON'T SIT UNDERBaritoneB.C.Bassoon THE APPLE TREEPart A [-_

_,' I1. > >> 112.

j,Trombone

Baritone B.C. DON'T SIT UNDERBassoon THE APPLE TREEPartB _'_

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Page 20-16

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Trombone DON'T SIT UNDERBaritone B.C.

Bassoon THE APPLE TREEPart C F_

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Page 20-17

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i

Tuba DON'T SIT UNDERPart A _A] THE APPLE TREE

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Page 20-18

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Page 20-19

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- DON'T SIT UNDERBells

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Page 20-20

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Bells DON'T SIT UNDERTHE APPLE TREE

PartC _

I

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Page 20-21

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DON'T SIT UNDERPercussion THE APPLE TREE

II I "_... I I lip i; I I I I ---- i I I • • I ]II _ id

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Page 20-22

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Air Cadet March Book Eagle Squadron

l

Eagle Squadron _,,

The "Eagle" Squadrons of WOII were all-American units of the Royal Air Force, madeup of men who made their way to England to fly in the name of freedom and adventure. Manyhad to evade the Federal Bureau of Investigations to get there as the United States remainedneutral at that time. Some padded their log books to bolster their claims to flight experience,some lied about their ages if they were too young.

Although the Eagles destroyed or damaged many hundreds of enemy aircraft, ships,locomotives, cargo trains, tanks, anti aircraft guns and weapons stores, the price was high.One Eagle in three did not live to see the United States again. The pilots flew on the edge ofoperational limits, with little regard for safety margins. Men were killed or seriously injured inflying accidents that might have been avoided. After the attack on Pearl Harbour, the UnitedStates entered the war and the Eighth Airforce was formed in England. This lead to thetransfer of the Eagle pilots to the United States Army Air Force.

Page 21-1

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EAGLE SQUADRON


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Page 21-2

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Page 21-3

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=/

Eagle Squadron Page 3

Page 21-4

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Air Cadet March Book Eagle SquadronI

Page 21-5

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Page 21-6

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Flute

Oboe Eagle SquadronPart A

A _ B

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obo_ Eagle SquadronPart B

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Page 21-7

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"Flute

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Page 21-8

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Tenor Saxophone

Clarinet (high) Eagle SquadronPart A

A _ B

ID

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Clarinet (high) Eagle SquadronPart B

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Page 21-9

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Tenor Saxophone

Clarinet (high) Eagle SquadronPart CA B

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Page 21-10

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.. Baritone Treble Clef

Bass Clarinet Eagle SquadronPart A

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Bass Clarinet Eagle SquadronPart B

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Page 21-11

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Page 21-12

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Baritone Saxophone Eagle SquadronPart B

A B

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Page 21-13

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_dto Saxophone

Baritone Saxophone Eagle SquadronPart CA B "

fAlto Saxophone

Baritone Saxophone Eagle SquadronPart D

A B

f =P

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Page 21-14

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French Horn Eagle SquadronPart A

A B

D

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French Horn Eagle SquadronPart B

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Page 21-15

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French Horn Eagle SquadronPart CA B

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French Horn Eagle SquadronPart D

A B

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Page 21-16

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Clarinet (low)

Baritone T.C. Eagle SquadronPart A

A B

F

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Page 21-17

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Baritone T.C. Eagle SquadronPart CA B

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Trumpet eClarinet (low)

Baritone T.C. Eagle SquadronPart DA B

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Page 21-18

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_,o.. _c. Eagle SquadronBaa._on

Part AA B

T

fTrombone

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Page 21-19

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Air Cadet March Book Eagle SquadronI I

Trombone

Baritone B.C.

B,.OO.PartC Eagle SquadronA B .

Trombone f

Baritone B.C.

_'_" Eagle SquadronPart DA B

fI I I

Page 21-20

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Tuba Eagle SquadronPart AA B

E

Page 21-21

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Tuba Eagle SquadronPart C A B

C

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Part D Eagle SquadronA B

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-_u, EAGLE SQUADRONPartA

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Page 21-23

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w

Bells EAGLE SQUADRON

Part C [-_

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Page 21-24

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• Eagle SquadronPercussion

A

DI

Page 21-25

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Air Cadet March Book First Fanfare

First Fanfare may be used on an occasion where a salute is not appropriate. It may beplayed as a fanfare for Trumpets only, or played as a complete band.

Page 22-1

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Bb _onauctor I St FANFARE/

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Flute/Oboe part B I st FANFARE

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Page 22-5

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Flute/OboePart D Ist FANFARE

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Page 22-6

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Alto/Bari Saxophone I st FANFAREPart A _ _ [=_=]r' ^ _ A -..'_"m m:_ :F:'m ,|1 _ J_ _ i: "i _'_ if I I I I I I _1 I I ! I l - i A

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Page 22-10

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French Horn Ist FANFARE

Part B [-_'] _

Page 22-11

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Page 22-12

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Trumpet/Baritone T C

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Page 22-13

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Page 22-14

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Trombone/Baritone B.C.Bassoon _-I" a Ist FANFARE

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Page 22-16

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Page 22-17

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Page 22-18

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Air Cadet March Book The First Thing They Asked For

The song is also sometimes referred to as "The Airman's Prayer'' and was anopportunity for the overworked airmen to voice their displeasure at their superiors and theirjobs. In any other context than singing, the words of the song would be considered mutinous.

_1. The first thing they asked for, they asked for some rootbeer,Gallons and Gallons of beautiful rootbeer,And if we have one drink, may we also have ten?May we have the whole brewery? Said the airmen amen!

Chorus: There were Squadron Leaders and Wing Commander andGroup Captains, too,Hands in their pockets with nothing to do,Stealing the drink of the poor Ac2,

May the lord look at them sideways,May the lord look at them sideways,May the lord look at them sideways,Said the airmen, amen!

2. The next thing they asked for, they asked for some pay,Mountains and mountains of beautiful pay.And if we have one pound, may we also have ten?May we have the whole mint, sir?. Said the airmen amen!

Chorus

3. The third thing they asked for, they asked for some planes,Hundreds and hundreds of beautiful planes.And if we have one plane, may we also have ten.'?May we have the whole factory? Said the airmen amen!

Chorus

Ac2 = Air Crewman Second Class

Page 23-1

ABC000001420

Air Cadet March Book The First Thing They Asked ForI

THE FIRST THINGTHEY ASKED FOR


A

B

C

D

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Air Cadet March Book The FirstThing They Asked For

- THE FIRST THINGFlute THEY ASKED FOROboe

Part A [-_

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Flute THE FIRST THINGOboe THEY ASKED FORPart B _-]

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Page 23-3

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Air Cadet March Book The First ThingThey Asked ForI

- THEY FIRST THINGFlute

Oboe THEY ASKED FOR

Part C

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Part D _-]-o-

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Page 23-4

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THE FIRST THINGClarinet (high)

Tenor Saxophone THEY ASKED FOR

Part A _-]-O-

Clarinet(high) THE FIRST THINGTenor Saxophone THEY ASKED FORPart B

Page 23-5

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_ THEY FIRST THINGClarinet(high) THEY ASKED FORTenorSaxophone

Part C r_

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PartD _ _ " " l_ "_ _' "_ [

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Page 23-6

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- THE FIRST THING

Bass Clarinet THEY ASKED FOR

Part A L_

THE FIRST THING

Bass Clarinet THEY ASKED FORPart B

_,0k 11. 112.

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Page 23-7

ABC000001426

Air Cadet March Book The First.ThingThey Asked For

- THEY FIRST THING "

Bass Clarinet THEY ASKED FOR

Part C F_

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Bass ClarinetPart D

Page 23-8

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AltoSaxophone THE FIRST THINGBaritone Saxophone THEY ASKED FOR

Part A [_

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Baritone Saxophone THEY ASKED FOR

Part B _-], m ,- _. - 1

il 1[2.

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Page 23-9

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PartC

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BaritoneSaxophone THEY ASKED FOR

Part D

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Page 23-10

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- THE FIRST THING

r_-_hI-Io,-n THEY ASKED FOR

Part A _]

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Page 23-11

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FrenchHorn

Part D [-_

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Page 23-12

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Clarinet(low) THEY ASKED FOR

Part A l_

Trumpet THE FIRST THINGBaritone T.C.

Clarinet(low) THEY ASKED FORPart B

iJ .hj _ {

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Page 23-13

ABC000001432

Air Cadet March Book The First Thing They Asked ForI I

Trumpet THE FIRST THINGB_toneT.C. THEY ASKED FORClarinet(low)

Part D

I

Page 23-14

• , • _ •

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I1. 112.

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Page 23-15

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Part C [_

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Page 23-16

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Tuba

Part A _]

Page 23-17

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- THEY FIRST THING

Tuba THEY ASKED FOR

Part C

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112.


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Part D

Page 23-18

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Air Cadet March Book The First Thing They Asked ForI

- THE FIRST THING

Bells THEY ASKED FOR

PartA [_

THE FIRST THING


Part B _]

-iv

Page 23-19

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- THEY FIRST THING


Part C

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Page 23-20

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Percussion

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Page 23-21

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Air Cadet March Book Flagships of the Air

Page 24-1

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- FLAGSHIPS OF THE AIR

' I

Page 24-2

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Flagships of the Air Page 2

Page 24-3

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Air Cadet March Book Flagships of the AirI


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Page 24-4

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Page 24-5

ABC000001446


Flute FLAGSH_S OF THE AEROboe

Part A

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Oboe FLAGSHIPS OF THE AIRPart B

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Page 24-6

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ff,,t_ FLAGSHEPS OF THEOboe

Part C _

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Page 24-7

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TenorSaxophone FLAGSHIPS OF THE AIRClarinet (high)Part A

TenorSaxophone FLAGSHIPS OF THE AIRClarinet(high)

Page 24-8

I

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T_or Saxophone _GS]]EPS OF TH_ AERclarinet (hi_)Part C

Page 24-9

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tl,= a_t FLAGSHIPS OF THE AIRPart A

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Page 24-10

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B_ Oa,i.et FLAGSHIPS OF THEPart C

rE]

Page 24-11

ABC000001452


AltoSaxophone FLAGSHIPS OF THE AIRBaritone SaxophonePart A

_V, e.J ._.

fl. I

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Page 24-12

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Alto Saxophone FLAGSHIPS OF THE AIRBaritone SaxophonePart C

I1. I

Page 24-13

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Frenchnorn FLAGSHIPS OF THE AIRPart A

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FrenchHorn FLAGSHIPS OF THE AIRPart B

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Page 24-14

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French Ham FLAGSHIPS OF THE AIRPart C

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Page 24-15

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Tr_npeta,,i.=t 0ow) FLAGSHIPS OF THE AIRBaritone T.C.

Part A

1

Page 24-16

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Trumpet FLAGSHIPS OF TRE AIRClarinet (low)Baritone T.C.

PartC _-_

Page 24-17

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Air Cadet MarchBook Flagshipsof the Air

Tt"ombone

Baritone B.C. FLAGSHIPS OF THeE AIRBassoonPart A f"T"-1

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TromboneBaritone B.C.Baboon FLAGSHIPS OF THE AIRPart B

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Page 24-18

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TromboneB,rito.e B.C. FLAGSHIPS OF TH_ AIRBaboon

Part C

T rombone

B, ritone B.C. FLAGSHIPS OF THE AIRBassoonPart D

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Air Cadet March Book Flagships of the AirI

Tuba FLAGSH_S OF THE AIRPart A

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Page 24-20

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_b,, FLAGSHIPS OF TKE AIRPart C

Page 24-21

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Air Cadet March Book Flagshipsof the Air

B_, FLAGSHIPS OF THE AIRPart A

B_, FLAGSHIPS OF THE A_Part B

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Page 24-22

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B.u, FLAGSHIPSOFTI_ AIRPart C

Page 24-23

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Air Cadet MarchBook Flagshipsof the Air

FLAGSmlPS OF TlqE AIR

Percussion

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Air Cadet March Book Flying Eagle

Page 25-t

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FLYING EAGLE


A

Page 25-2

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Flying Eagle Page 2

Page 25-3

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Air Cadet March Book Flying EagleI I I

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Page 25-4

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Page 25-5

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Air Cadet March Book Flying EagleI I I

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Page 25-6

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Page 25-7

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Air Cadet March Book FlyingEagle

Fl.,. FLYINGEAGLEObo¢

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Page 25-8

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Tenor Saxophone FLYING EAGLE

Clarinet (high)

Part A

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Page 25-9

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Page 25-10

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- FLYING EAGLEBa_ Clarinet

Part A []

Page 25-11

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- FLYING EAGLEBsss Clarinet

PartC []

Page 25-12

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A_to Saxophone FLYING EAGLE

Baritone Saxophone

Part A []•IA m

I I II

Page 25-13

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_Jt* Saxophone FLYING EAGLEBaritone Saxophone

Part C

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Page 25-14

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French Horn FLYING EAGLE

Part B []

Page 25-15

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Pnrt C _7

Page 25-16

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Page 25-17

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Page 25-18

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Page 25-20

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- FLYING EAGLETuba

Part A []

Page 25-21

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Tuba FLYINGEAGLEP_ C []

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Page 25-22

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- FLYING EAGLEBellsPart A []

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Page 25-23

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FLYING EAGLEBells

Part C

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Page 25-24

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Percussion FLYING EAGLE

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Page 25-25

ABC000001490

Air Cadet March Book Flying Fortress

ii i I I I

.-.7-7,_

Flying Fo ress

The "Flying Fortress" was a Boeing B-17G bomber used towards the end of the war.With a range of 2,100 miles and a maximum bomb load of 8,000 pounds, the "Flying Fortresswas not an accurate name when comparing it to bombers such as the Lancaster B-3. TheLancaster was capable of carrying up to a 18,000 pound bomb load with a range of 2,530miles. This song is one of the few songs that make reference to American deficiencies, ordeficiencies of any other formation for that matter.

1. The Yanks were flying Fortresses at 20,000 feet,The Yanks were flying Fortresses at 20,000 feet,The Yanks were flying Fortresses at 20,000 feet,With bags of ammunition and a teensy-weensy bomb.

2. The RAF were flying Lancasters at zero-zero feet,The RAF were flying Lancasters at zero-zero feet,The RAF were flying Lancasters at zero-zero feet,With little ammunition and a BLOODY GREAT BOMB.

i ii

Page 26-1

ABC000001492

Air Cadet March Book The Flying Fortress

_ THE FLYING FORTRESS

SLOW ORBb CONDUCTOR

[._ QUICK MARC]:[

A

Page 26-2

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Page 26-3

ABC000001494


The Flying Fortress Page 3

Page 26-4

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Flute

Obo_ THE FLYING FORTRESSPart A

Page 26-5

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-Flute

Oboe THE FLYING FORTRESSPart C

Flute THE FLYING FORTRESSOboe

Part D

Page 26-6

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TenorSaxophone THE FLYING FORTRESSClarinet (high)

Part A_


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Page 26-7

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Page 26-8

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Bass Clarinet THE FLYING FORTRESSPart A

Bass Clarinet THE FLYING FORTRESSPart B

I

Page 26-9

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Page 26-10

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_klto Saxophone THE FLYING FORTRESSBaritone SaxophonePart A

Page 26-11

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AltoSaxophone THE FLYING FORTRESSBaritone Saxophone

Part C _-_

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AltoSaxophone THE FLYING FORTRESSBaritone Saxophone

Part D _-_,--_.

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Page 26-12

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THE FLYING FORTRESSFrench Horn

Part A r-_

Page 26-13

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French Horn THE FLYING FORTRESSPart C

FrenchHorn THE FLYING FORTRESS

Part D

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Page 26-14

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Trumpetaarine,0ow) THE FLYING FORTRESSBaritoneT.C.

Part A _-_

©

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Page 26-15

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Page 26-16

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-Trombone THE FLYING FORTRESSBaritone B.C.Bassoon

Part A r-_

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Page 26-17

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Trombone THE FLYING FORTRESSBaritone B.C.Bassoon

Part C _-_

Trombone THE FLYING FORTRESSBaritone B.C.Bassoon

PartD _-] ,a. 'I ,_. J._ J

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Page 26-18

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Tuba THE FLYING FORTRESSPartA [-A-]

Page 26-19

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Page 26-20

. -- _ _ --

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Bells THE FLYING FORTRESSPapa [_

Be._ THE FLYING FORTRESSPart B [-_

Page 26-21

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-Bells THE FLYING FORTRESSPart C

Bells THE FLYING FORTRESS

Part D

Page 26-22

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_ THE FLYING FORTRESSPercussion

I t

Page 26-23

ABC000001514

Air Cadet March Book Flying Review

Flying Review

Page 27-1

ABC000001516

Air Cadet MarchBook FlyingReview

FLYING REVIEW

I

Page 27-2

ABC000001517


Page 27-3

ABC000001518


I=.f

Flying Review Page 3

Page 27-4

- -- 6"

ABC000001519


FlyingReview Page4

Page 27-5

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t I f E

Flying Review Page 5

Page 27-6

ABC000001521


Page 27-7

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Page 27-8

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Clarinet (high) FLYING REVIEWTeno_r Saxophone

Part A

f,

Clarinet (high)

Tenor Saxophone FLYING REVIEWPartB

f _.. [_'-] p

T .._

_ ----------_

Page 27-9

ABC000001524

Air Cadet March Book FlyingReview

Clarinet(high) FLYING REVIEWTenor Saxophone

Part C F_

I"

/

l _" t I'_']

EE_

Clarinet(high) FLYING REVIEW

Tenor SaxophonePartD

/

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Page 27-10

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FLYING REVIEWBas_Clarinet

Part A

•_f> ,¢. []

r •

r

Page 27-11

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FLYING REVIEWBass Clarinet

Part DI

E

Page 27-12

ABC000001527


Alto SaxophoneBaritone Saxophone FLYING REVIEWPart A

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Alto Saxophone FLYING REVIEWBaritone Saxophone

Part B

Lcl

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Page 27-13

ABC000001528


Page 27-14

ABC000001529


FLYING REVIEWFrench Horn

Part A $

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FrenchHorn FLYING REVIEW

Part B __]

I

T '

Page 27-15

ABC000001530


French Horn FLYING REVIEW

Pa_t C _-_

FLYING REVIEWFrench Horn

Part D

Page 27-16

ABC000001531


Trumpet FLYING REVIEWBaritone T.C.

Clarinet(low)PartA s

_-_ ';_


Clarinet (low)

Part B

Page 27-17

ABC000001532



Clarinet (low)

trs-1

I I

Page 27-18

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Trombone FLYING REVIEWBaritoDe B.C.

BassoonPart A ' '

Trombone FLYING REVIEWBaritone B.C.Bassoon

Part B [-_

f

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Page 27-19

ABC000001534


Trombone FLYING REVIEWBaritone B.C.Bassoon

PartD

Page 27-20

et •

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ABC000001535


Tuba FLYING REVIEW

Part-A

Tuba FLYING REVIEWPart B

3

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Page 27-21

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FLYING REVIEWTuba

Part O [-K--]

" :_ _ _ ,, -" - " ;¢BLL]; " ; + - __.::='_ .- _ . i , .... , ---, ! I I I

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Page 27-22

" ' " " ,_,BC000001537


Page 27-23

ABC000001538

Air Cadet March Book Flying ReviewI

FLYING REVIEWBells

Part e [_

FLYING REVIEWBellsPart D

_2

/

._, -v

i

Page 27-24

ABC000001539


Page 27-25

ABC000001540

Air Cadet March Book Golden Hawks

Golden Hawks

One of the predecessors to the "Snowbirds" was the Royal Canadian Air Forceaerobatic team called the "Golden Hawks". Formed in 1959 in Trenton Ontario, they were tohelp celebrate 50 years of flight in Canada and the 35th anniversary of the Royal Canadian AirForce. The Golden Hawks flew Canadair Sabres in 65 airshows in their first season. Theyremained in service until February 1964, by which time they had given 3!7 publicperformances over five seasons.

The march "Golden Hawks" was composed by Major A.C. Furey a former Director ofMusic for the Naden Band and Director of Music for Pacific Region Cadets.

The music was not available at the time of publication.

Page 28-1

ABC000001542

Air Cadet March Book The Great Escape

"The Great Escape" was a movie produced in 1963 depicting one of the largestescapes of allied prisoners from a German prisoner of war camp. The escape plan included atunnel dug under the prison camp coming out beyond the border fence. Details such asappropriate clothing, identification papers and German or French language skills were workedon while the tunnel was being built. According to the movie, 76 prisoners escaped through thistunnel before the escape was noticed. Of those 76 prisoners, most were recaptured with 50being shot and killed. The movie starred such names as Charles Bronson, James Garner,James Coburn, Richard Attenborough, Donald Pleasence and Steve McQueen to name a few.The movie was based on the book by Paul Brickhill. Music was provided by Elmer Bemstein.

Page 29-1

ABC000001544


GREAT ESCAPE


Page 29-2

• • - _

ABC000001545


D.C. al CodaB i I i

9 ,- . -- -, - --'...,_ _.... i "

-h :qLe- i [1t _ ' '

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Great Escape Page 2

Page 29-3

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-Flute GREAT ESCAPEOboe

PartA > > > >> > > >t>

it

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Flute GREAT ESCAPEOboe

Part B > >'>'>" r

r

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* Coda [-9-].., . .

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Page 29-4

ABC000001547


- Flute

Oboe GREAT ESCAPEPart C

,, _ [

/

D.C. al Coda

i_'0 _L, . Coda

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Page 29-5

ABC000001548


-Tenor Saxophone GREAT ESCAPEClarinet (high)PartA >> > > > > > >>

> >> -o_- -o ___ _A __ _ _ ._-o

i_ _ iFTi -'' ",-- j_s _ IBI

D.C. al Coda

Tenor Saxophone GREAT ESCAPEClarinet (high)Part B > >

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3_-o- -_

To Coda _

L_" N iI _ * "il [il i I _W ',1 W I I/ t

D.C. al Coda

• Coda C_ _

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Page 29-6

ABC000001549

Air Cadet March Book The Great EscapeI

- Tenor Saxophone GREAT ESCAPEClarinet (high)

C

I i

1

To Coda

D.C. al Coda

.Coda _-_

fL_ , ,.f ./"

Page 29-7

ABC000001550

Air Cadet March Book The Great EscapeI I

Page 29-8

ABC000001551


Bass Clarinet GREAT ESCAPE

Part D

Page 29-9

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-Alto Saxophone GREAT ESCAPEBaritone Saxophone

PartA > > > >_> _> _ >>

f®

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. Coda

•J _f f

Coda

_f f T

Page 2910

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Alto Saxophone GREAT ESCAPEBaritone Saxophone

Part C

[

f

To Coda @ _

D. C al Coda

. Coda i _ "t_

</ f

Page 29-11

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French l_orn GREAT ESCAPE

Part A

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D. al

French Horn GREAT ESCAPEPart B > >

I

Coda 0

., D.C. al Coda

* Coda

_f f

Page 29-12

" _,BC000001555


- GREAT ESCAPEFrench Horn

Part C

": roco_ *

D.C. al Coda

. Coda

FrenchHorn GREAT ESCAPEPart D

I

4 D.C. al Coda

I

. Coda

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Page 29-13

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Trumpet GREAT ESCAPEClarinet (low)Baritone T.C. Part A

I - It

D.C al Co_da_

*Coda

Trumpet GREAT ESCAPEClarinet 0ow)Baritone T.C. Part B

Page 29-14

• o l, +. .. ,

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Trumpet GREAT ESCAPEClarinet (low)Baritone T.C. Part C

!_ _ if >

Page 29-15

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- Trombone GREAT ESCAPEBaritone B.C.

Bassoon Part A > > > > > > > > >

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Trombone GREAT ESCAPEBaritone B.C.Bassoon Part B > >

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Page 29-16

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!

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Page 29-17

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-Tuba GREAT ESCAPEPart A

fN>

_, Coda

Page 29-18

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Tuba GREAT ESCAPEPart C

i [

r_ .f >> > > >.>

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D.C. al Coda

Page 29-19

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- GREAT ESCAPEBells

Part A

i - '! - I

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D.C al

Bells GREAT ESCAPEPart B

f-a > > >> > >

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D.C. al Coda

Page 29-20

o , •

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-Bells GREAT ESCAPEPart C

i -

D.C. al Coda

Page 29-21

ABC000001564


GREAT ESCAPE

Percussion

i

I

To Coda. IB_

D.C. al Coda

,. Coda

Page 29-22

ABC000001565

Air Cadet March Book Hey Look Me Over

ilIHey Look Me Over .,_ _ ..

Page 30-1

ABC000001566


HEY LOOK ME OVER

QUICK MARCH

Bb Conductor [_

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Air Cadet March Book Hey Look Me Over •


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Air Cadet March Book High Flight

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The original poem "High Flight" was written by Pilot Officer John Gillespie Jr.. Thewords came to him while flying at 30, 000 feet. The melody was written by Robert Fleming,January, 1951. Pilot Officer John Gillespie served in the Royal Canadian Air Force fromSeptember 1940 until December 11, 1941 when he was killed in active service. This chapterdoes not include the music, just the poem "High Flight".

JHIGH FLIGHT

Oh, I have slipped the surly bonds of earthand danced the skies on laughter-silvered wing;

Sunward I've climbed, and joined the tumbling mirthOf sun-split clouds - and done a hundred things

You have not dreamed of- wheeled andsoared and swung

High in the sunlit silence. Hov'ring thereI've chased the shouting wind along, and flung

My eager craft through footless halls of air.Up, up the long delirious, burning blueI've topped the windswept heights with

easy graceWhere never lark, or even eagle flew.

And, while with silent, lifting mind I've trodThe high untrespassed sanctity of space,

Put out my hand, and touched the faceof God.

X_ Pilot Officer J.G. Magee, Jr. RCAF

Page 31-1

ABC000001590

Air Cadet March Book Hogan's Heroes

Hogan s Heroes

Hogan's Heroes was a television series first released in the 1960's depicting theimprisonment of several allied personnel during World War I1. In this comedy series, "Hogan"was the ring leader of a group of prisoners who had built an escape tunnel through which theycame and went as they pleased. The ironic part of the series was the fact that "Hogan'sHeroes" did not actually escape from the prison camp as they always returned after "takingcare of business". Their business sometimes included reconnaissance missions, sendinginformation over a radio to the allies and picking up necessary supplies for the prisoners."Hogan's Heroes March" was written by Jerry Fielding and copyrighted in 1966. This march isand excellent quick march that gives the percussionists several solo sections to play.

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Air Cadet March Book I Was Chasing One-Elevens

I Was Chasing One-Elevens =.,,

A He/nke/He111 (one-e/even)was a twin engined medium bomber flown by theLuftwaffe in World War II. The plane had seven machine guns and 5,500 pounds of bombs.An Angelis a radio code word for height. Each Ange/is 1,000 feet. To escape detection,aircraft on photo-reconnaissance flew alone and very high. To get extra height, everythingheavy, such as guns and ammunition were removed. The Junkers Ju88'swere also twinengined bombers flown by the Luftwaffe.

/ (Sung to the tune of Battle Hymn of the Repub//c)

1. I was chasing One-Elevens up at Angels 23,I was chasing One-Elevens up at Angels 23,I was chasing One-Elevens up at Angels 23,With my canopy so frosted that l couldn't bloody see.

Chorus

Glory, glory, what a heck of a way to die,Glory, glory, what a heck of a way to die,Glory, glory, what a heck of a way to die,With my canopy so frosted that I couldn't bloody fly.

2. I was solo on a recce up at Angels 41,I was solo on a recce up at Angels 41,I was solo on a recce up at Angels 41,When a flight of German Messerschmitts came gunning

from the sun.

Chorus

Glory, glory, what a heck of a way to die,Glory, glory, what a heck of a way to die,Glory, glory, what a heck of a way to die,And all I got was pictures as the Messerschmitts went by.

3. I was flying over London up at Twenty thousand feet,I was flying over London up at Twenty thousand feet,I was flying over London up at Twenty thousand feet,

When the trigger-happy gunners tried to use me as a skeet.

Page 33-1

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Air Cadet March Book I Was Chasing One-Elevens

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Glory, glory, what a heck of a way to die,Glory, glory, what a heck of a way to die,With all the flak in London in that dirty piece of sky.

4. I was dodging bloody debris just above the Zuider Zee,I was dodging bloody debds just above the Zuider Zee,I was dodging bloody debds just above the Zuider Zee,When the bloody Hun exploded dght in front of bloody me.

Chorus

Glory, glory, what a heck of a way to die,Glory, glory, what a heck of a way to die,Glory, glory, what a heck of a way to die,His liberated engine nearly made the fight a tie.

5. I was chasing Ju 88's at Angles 38,I was chasing Ju 88's at Angles 38,I was chasing Ju 88's at Angles 38,When I lost my bloody booster pump beside the Pearly Gate.

Chorus

"May Day, May Day!"What a heck of a way to die,"May Day, May Day!"What a heck of a way to die,"May Day, May Day!"What a heck of a way to die,Stooging 'round a cripple in a Hun infested Sky.

The music for "1Was Chasing One-Elevens" can be found in Chapter 26 of this book under"Flying Fortress". Both Flying Fortress and I Was Chasing One-Elevens uses the tune "BattleHymn of the Republic".

Page 33-2

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Air Cadet March Book In The Mood

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The Big Band sound became very popular during World War II. No other piece reallyrepresented the style of WWll better than "In The Mood". It soon became everybody'sfavourite number. It was originally written as a light instrumental piece for Artie Shaw, whofrequently performed it. The initial piece ran for eight minutes which was too long for astandard 78 recording at the time. After Shaw dropped it from his repertoire, Joe Garlandoffered it to Glenn Miller in a reduced four minute form. It took only one recording by Miller tomake In The Mood the greatest standard of all time.

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Air Cadet March Book Kiss Me Goodnight Sergeant Major

Kiss Me Goodnight Sergeant Major

Although Sergeant-Majors have always been the backbone of the army, they are oftenlooked upon as filling a motherly role. The Sergeant-Major will tell the men when to get up,when to eat, what chores are to be done and how to dress, much as a mother would tell herchildren.

f

Private Jones came in one night,Full of cheer and very bright.He'd been out all day upon the spree.He bumped into Sergeant Smeck,Put his arms around his neck,And in his ear he whispered tenderly.

Chorus

Kiss me good-night, Sergeant-Major,Tuck me in my little wooden bed.We all love you, Sergeant-Major,When we hear your bawling, "Show a leg."Don't forget to wake me in the morning,And bring me round a nice hot cup of tea.Kiss me good-night, Sergeant-Major,Sergeant-Major, be a mother to me.

Page 35-1

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Clarinet (low) KISS ME GOODNIG_,Baritone T.C. SERGEANT MAJORPart B _

I1. 112. IIi

I t 1 :11_ i ; _ - _,

I

Page 35-14

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T_rumpet KISS ME GOODNIGHT,Clarinet (low) SERGEANT MAJORBaritone T.C.

Part C

I-s -------_ l-gl

Ij _ j Ij J tO"

Trumpet

Clarinet 0ow) KISS ME GOODNIGHT.Baritone T.C. SERGEANT MAJORPart D

!j _ ,, Io tI

J _ IJ J I_ J t

'_ J J ,. J to I"'_" _ 1-_

,, _ _ J !.] J t, JJ !

Pa.qe 35-15

ABC000001654


Trombone

Ba-ritone B.C. KISS ME GOODNIGHT,Bassoon__ SERGEANT MAJORPart A LA_J

1. 112. I

1::-:.o :+,_

Page 35-16

,_ ii + '

+ , .

ABC000001655


Trombone KISS ME GOODNIGHT,Baritone B.C. SERGEANT MAJORBassoon

Part C _-_I

" Io

_.S '-'__

L?:_:JJ lo I©

I-_:, {,

Page 35-17

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It. 112. I :,I!L vjrel _ /[ _I " -_ -=* :

j III v

Page 35-18

=

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"£uba KISS ME GOODNIGHT,SERGEANTMAJORPartc FX-]

I I

• [o"¢'-.t"

Tuba KISS ME GOODNIGHT.

PartD I-A-] SERGEANTMAJOR1

Page 35-19

ABC000001658

Air Cadet March Book Kiss Me Goodnight Sergeant MajorI

- KISS ME GOODNIGHT,Bells SERGEANT MAJORPartA

=0,1, l,1._" _ J" !o

I J ; t.

I

Page 35-20

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- KISS ME GOODNIGHT,Be_s SERGEANTMAJORPart C

I1. 112. ,_ I[p, J .11...- l-.

ql v L I • " t,I |

KISS ME GOODNIGHT.Bells SERGEANT MAJORPart D

IJ J I_ J Jd J 1I . o

_ " [-D-]

Page 35-21

ABC000001660


KISS ME GOODNIGHT,Percussion SERGEANT MAJOR

. !Ille.I I • IFe • • I I__ £:_" I .• le / ee

,, ,_ ,,.x ,), I_ _ It_ I_II () I 4[)

=f'f !

NI Ill .... , I II, , , _-,LJ, , I.o Id_ jr .11 .e elf • I iF eel_. lip I .• fe lef I • •

I! x I

n_b [1 I Irlll,10,,, J..... ,..............IJ ,JJ_ _j..rj..,jj,[" _ 1_ 16 Ib _ I_ t,_, I

I

Page 35-22

ABC000001661

Air Cadet March Book La feuille d'erable

La feuille d'erable has been adopted as the official marchpast of the Cadet InstructorCadre. CIC officers are reserve officers that fill positions such as Administration Officer,Supply Officer, Training Officer and Commanding Officer in cadet units across Canada. Theofficers are not only trained to fill their respective positions, but trained to instruct cadets invarious subjects and assist the cadets in becoming better leaders and instructors. Most of thework done by CIC officers is done on a volunteer basis by dedicated individuals who know thevalue of the largest youth organization in Canada. Included in this chapter is the vocal versionof La feuille d'erable.

Page 36-1

ABC000001662


LA FEUILLE D'ERAB LE

VOCAL SCORE _] MARCH TEMPO

-j iJJij --Zj1. On one fine day the good cre- a- tor said to

2. On the ap- poin- ted day in hea- yen the en-3. When the Can- a- di- an arrived bun- dled up

4. But Je- sus who had not been seen stepped forth with

,u,,I J J ' ? I,#_ h I

people of the earth, "Let each of

voys had gath- ered there. France chose thein his coat of fur, a- has, a-

gen- er- os- i- ty. The Lord He

you go choose a flo- wer and then send an e- mis-

Li- ly and the Car- na- tion was chosen by thelas aU that re- mained there were just left some leaves and

dug in- to the pile and off- ered them a ma- pie

,-,,,_L, ._ J J J. _J ..I I .i

sar- y. Make sure that they are all on

En- glish. The Spa- nish got a morning

boughs. St. Pe- ter was full of re-leaf. And e- vet since that glo- rious

Page 36-2

ii i

ABC000001663


_1

time. Each take a flow- er that he loves.

glory the A- mer- i- cans pink Dahlia.gret and as he stroked his long white beard,

day here, there in the country side,

,,..

And that flow'r fox" ev- er be a

The I- tal- iarts chose a rose for

"AU I have left are these old

on the plains and hi_ up in the

sym- bol of the Love, thetheir flow'r and Ger- main, the

bran- ches. Go back to, back

mountain, the maple grows, it

l-I-lJ

J"e

Love I have for you."Ger- mans chose a thistle.

to your for- est home."grows in Can- a- da

La Feuille D'erable Page 2

Page 36-3

ABC000001664


LA FEUILLE D'ERAB LE


A _' "-" 1 - 1 i t ,, , ,..,_ I J .I _ ff L

,o f,> >>_._ > > _.;. ,..__¢"O, .7, _'-],._. . _ _-- ,.., j j

C )-2 "-

> >>.j_ > j j° U. .m'_..m._ _.r-_j-_ .m..m. r"-_mPERC ' -",' "-- "

1I

Page 36-4

ABC000001665


Page 36-5

ABC000001666


Flute LA FEUILLE D'ERABLEOboe

PartA f > > >_ _ _-]f -"- -if- " , 1-- ,I ,I _, _ I o t/ ,.., _ i ,""mr I I ,'-"J I m i _"l I I

I ,4_ _-Lp f---.- I I I _ • .,"" i .. i I nlol I I I I ,.,,I i i i I Ifp_ h I I I'" I I i" : I alol I I I I i'll I _--_ ,--n I"-J: _---- I I n i i / _ ml _ I 1_ I w -" I

i t4 i _, / i i i-- i i i i 1"- t i t t _ t-- i m m i i i I I ii r4_ _- i 1 i i I I I I I I I l Ii _t I I I I I I I Ik w _ I I I I I I Iil d I_ I l I _ I /I 1,,,.I

,_, , ,,-- ,, ,, ,,, I" I il I-,,,I,_,''-L,'_" _ ' ' ', ,"-"- -- -- _ l' _m" -----------S

- _ I II,_ Itlrll _ rrt_" ''"-"° li" "_i II, -, _-,, --. I 1 -,,II -II i I.-'_ "IrPi,_" g I I I _ I i-" II'R',I i" I_ I I I J'l I oll I T i.

,,,,fFl.ute

Oboe [,A _LT[[.,LE D'E]:t_B[.,EPart B >. IX]

! I t_, "II I 1 0 1 _-- __ 111> _ ' /'_'ll "l i._ ml _I i I I Qml

-- i t'_ I I I!'1 I 1 I t t_I I 1 I I 1 1 I[ _k,_..._, _ l I I 1 1 t I I 1_ III J I i I I I I 1 1 t_ _-,-- I I

,,f __ _ _ __ - __.f

,,_'_.._ ,, ,, ,, ,,_ _t_, TIFF IT u_L

,--_o o o • oo• .. _ _'_ __._ o.o_.I 14' I _ l t -,.. I 1 I I t I I t" i" iI-lll ._ I '.,- / I I I l J 1 1 I tw" iF I

.

!.# i hi. , ,1, r" 1 t r .. i _.__ 1_.. It'll _------I.,,.. .t. ii4P_ k- I i" I I I I l I -, q_ -, _" I _ |'m''_J loll _ I '-- # I.r '_'-_ i n i I I III I l I I_I II I I " I.

p.l

Page 36-6

ABC000001667


Flute

Oboe LA FEUILLE D'ERABLEPart D > > r-_

>. >.>. LL3> o #-_9. > ,-fl L,_,_,., _ , _ ,, , , ,.,o. ., ._, ,.o. ,I,_ _t -- t I / ILl I /lJ # mio i _t m -., I -_i fill _- D#_ l I l [ "q_i [ t I I _ ml* _ i _ t" Ii _k__t,# "l, I t 1 '-'m_l I I -- II ! I t I I 1 t I I

'J f _S ' 'i -

-r.IIft '" '"'" -""_ bl 1 • I t I I t . I#l I •_ ' 1 I l t'1 , i i ill',,._7 I i I I I 1 I "

;plii!;! I LJtl- F, I-'__ I1. 112.

h i I-i i I # I u • .. i ...... i i ,- II_"'i i • .ira i .-, Ii,r [,# ill! I I

, t " 11 i /I I I I " Im,Jt ," ti I ,-iFF".. it Ftt t' " "" , Ftl _: I1

s mS a

Page 36-7

ABC000001668


Tenor Saxophone LA FEUILLE D'ERABLEClarinet (h]gh)

Part B _I "" -:_ _,bO I 1'=" t'='l 11 _,w i_" I _ liO I P'I P" I

• ff i 1 I II'l I I l I P" I ff"l I I I I "1 I'l I I I ' ' ' .,- ,, ,, ',M i-J I

_j I>> >.f _.f

i _# _ i i i .. i i , i i t"i i a.,="! ! ! t" !",i I f Fh i i i i

,,,,,. 1 II rtJ III 11 11/ L-J Itl _ ? '" ° I il , l ,

..__ D ...,..I _ I "IT • i 1 1 fit" _ [ i I J l--1 Im_ll1 ill h I I I 1 I 1 1 I t I I I I I I ,a---, I i- i I L, I I 11F_r#'_ ," 1 1 ,.---, ,.,,---, i t _ i I l I I t t" t" i 1 I\ 1 i.ll ..,.t-/I;_.''; " " iJ " i i..._l 1.,,,.,t i 1 I I f 1 1 IJ I _ I I

i 1

_:_' ",t J_' ,, . , r _. ,., ,, r .r" ,..,'-_.',_ '" "" "" " i if_ if"i""_""° " " I"I " _ • i I /I \ I 1 , _11 ] _ =I I I I '_ 1 IJ l 11 [ " =

Page 36-8

ABC000001669


Tenor Saxophone LA FEUILLE D'ERABLEClarinet (high)

Part D [-_

I I I I ill]t "'-''-I I 1'_ I ..I I , lie[ t ] t 1 I0 1 > .1 1 I I" I I " II ' l i I _

_' F"tA t 1 I I t 11 it ill 1_ 1 , "r#_% _" _" ,mt t I 1 i I t 1 1 t l ill

''" t I t 1 t_ f tt

_ _ S

- e I I1,I.. r._?Ir'i.lI7._' Fi 1;[ Ill k -,, I" /I I #I I t" i

_#'l'li b, /"" I I I I'_I ! / /I t _ ,II I 1 I 1 I / iI, I-t _',_ I I_ I " L _ _ I1 I 1 i I 11 1, " tl ' I I 1 I' " i-

3 3

Page 36-9

ABC000001670


LA FEUILLE D'ERAB LEBass Clarinet

Part B>

,Pt'_ - AI I • j I -..J lie t 1 t It I I I II Ill H. III w il If ...,ll I I I I --J 1 _ _ll_-L/ "It I

>- >- -4

"- f > - _.f_" ' '"],Jl JJlJl FiJ '{ " '' '',_ _ 1 I I _1 i I I II , I I I I

Flr_'k v ,e,.l I _,1 w t I 1 I I i I I I I"l l_",.u, '_" I w, ,_, I ,w_ i v I -.J i v 1 I i_ I I I I 1 I

tb

,_, ,,r-,,,I If,,,,,_,* . ...I j;_, i_,',I _ _ ., I I I II I I I II I I t w I -- ,,-,,it

,,., .ww _, 1 --vii l _ --_ / / I I 12 I I I

...L-----_-- 3 °

^ _ ._ I1. ..112. I, _, I I _ F_t I LII , I , ; I-I I .-,1 --: I '._ I II _ " _,1 I,i. J I I LF_"_ I -- I"'1 ," _ I I I / u _,_on _ _ u _. n-..... , ,,_, ,,,_ .,,, ,, ,, ,,, ,,. ,_'-_ ,_- I'1 '_ -_' - _ _ _

Page 36-10

ABC000001671


Bass Clarinet LA FEUILLE D'ERABLE

Part D

F I_ _ 1 , I t I\',,_ I i I 1 " I _ __

r,-°,,._,,. . .L'_I_t 1.}j t'' IIL 112. s I

"- , i,.,.i,, It i:j I _, ,|1 I._".t I I I " I _J" 1 '_ , _ __

_, -4 -41

Page 36-11

ABC000001672

Air Cadet March Book La feuille d'erableI I I

Alto Saxophone LA FEUILLE D'ERABLEBaritone Saxophone

Part B > > ]AI

I_2 o , , _ ,....,..._. ,.. _ r _,,,_ l _I I llel • _I I ¢_ i Ii

f ; , , ,-, ., I I l -I , .L_f

.,_ .._'_I "-- _. , -_ _, --_ , l I' ] l _m"."',

_, . .__ .._ .U._..u_. '_ _ .©

. ,.....,__ , ;; ," ",.. ,t" t" I I I\ I O"'i'm_ o i

1 3 _I I I I _ i _ii I _ I "-., I I I I I_ I I I _ _ I

' u_ _uu _UllF F _ " ' "''t_ I1 _ tl2. !_ r'-r- I r" .._ I kl - I 1 .,, I l I • i-

I'_ I I I / _" I t t _1)1 r" -.. i i I _ , i _iii f I / • I=Fr_r_ m.[ i I i I t I -_ /-J i / ?" I _ ! ._[ I t*ll I.I 1 ..,,,,Iam, l=

'_ ' '' '' ' _'- -'1 I ' ,L.___p _L,_" ;"----P-" '"

I

Page 36-12

ABC000001673


AltoSaxophone LA FEUILLE D'ERABLEBaritone Saxophone

PartD > > I_q

f _S- ., I., )

,'_ r-.t-t 1t" i 1 7 t, i_i _ "_-_,p_ , , , _ , _ - I i li i , l] "

N ©- --"t I'F I' "''' ""[ Ir,,l"ll I" ,w I l [ I _ I .,,,1 _ I t _"_"J I I l I _ t i I " " I i "

!_,_ . _ ,, . . - ,- - . -_o-Ii ._"I: -_--'.i ' "-

Page 36-13

ABC000001674


F_ench Horn LA FEUILLE D'ERABLEPart A

> IAI

_ _ [ r-" I I .,., i I 1 I i -J m,I il-_" _'l_" I _ API P"I i P"_" F, I / I I F'_ I I ..if I -'. _"! ilol I I [ I _ "" I I I I I

•.i , _ j i i i f -->,l>al I ml i I i i i i i I I I i I

d4Pl PI I I I I F" I J I _" I I m_" I I I _" _ i I .-- A I '..,,hP"_'r"fll_l i" I I I _ I I I I I I I I I I I I I I I 1 I P" P" I P"I I I

" I I_ I I I I II I I I I_v I II # I i II I I --+J II _ L_ _ '--' II I I _J'-'-- "_ _ r-_.

U ,L; b.. ., -_,-_ D- -- ,_ ir" r- r / r"i',Jr-','---,I 4l( N -II I I I £"'1 1 I i'-Ii i P"" I I I I / / / I _---. II I /I I _ I

,- i1. il2. i

r fi'i¢ r-I _# [ I t ILl i • I ,,,---"' -t-,,i il IIt'- )

r_i " i'lil i ili i / '#' - P"i .il I.....,+. ,,, .,,. ,,,, ,,P IF e- |. ='

_.I L_ d

FrenchHorn LA FEUILLE D'ERABLEPart B

_ :'-'_-_r-- _ " -'1

p __¢,> u ii i i i .- il IIl'_--- .-i I i i II ,,..,r'r"_.-- i

I I -J I_ I _" " I II.P"" P'l _"'1 _ t,,,..I II r'l I _1" I__'_ 1 it i i'l_ "" ,....._ I I l I II I I 1 1 "1-- 1 I I I "1 I

,0,t, _, ., m,,,, ___,I 4_ _- D I i II _" I i I m, il .-- D I I -- .-- I II I I 1 P" P'P" II r."_ v 1 I i ... t 1 I l I _ t I i _" I I I P" i'llll l I I [ i 1 i[_._J.# 1 il i'l I 11 I I 1 I I 1 li 1 1 1 I!11 i I i i t i I

' 0 ' _ L-- li -- .... t i" i ' _r _" ' " _l" II b - _, ,...._ _t o i,,..1 _ tJII III ? I r I I _ ",+'% PP-! !! !! !!! !r'rl _ I./ l_] I ' ' I,,..,.,I I I I

It. ll. Ii i_l i _,,I I L I .i_ • I _ I_,.,, II I I ,, ,_

I,% _ ..t t II , ,, , , ,,,, .,, , i Lil-"i ,, . , -

Page 36-14

' ABC000001675


_rench Horn LA FEUILLE D'ERABLE

Part C

LA FEUILLE D'ERABLEFrench HornPart D > >

_f_'k_ - _I_- , ,r,, ,_,' I_F l,"r Ir r" le.J: I---.__,,

,O,b_ I ,__ , ,, tt 1 t_l ,t , ,',,_ .1 .I _ " " ". , , ,-" ._ I J

v "" ' ' _1 f

Page 36-15

ABC000001676

Air Cadet March Book La feuille d erable

Trumpet LA FEUILLE D'ERABLEClarinet (low)Bartitone T.C.

PartA > _ F_I IJl.I_1 t . • I -- I Ill I I I I I I •k Lr_ I I - I I II!. 1 I I!1 I • i .

fipif_i Ir l',a I • I I I / -JIIoil .-all I /_.V "t: I i Q I . I • I --ll -- 1 I i-- I I

jr > _j ..0 r r l m

L _'_ ; I / ,., m,/ -.,Ji I I .,- _ I I / / I I I I I //F_ I'" _ t " -a i I _ _i_l --JO _ I I _ i,._ II l/ I I • /_

i 1 v i i i I _ i I l ii _ i i I ,

I I I f •I._ _ .._ , ,.oo... I o _o o..1 r"o Ioo iw I" _ I I I_ w _i -al I I I i I w i I

,r_ ml-r'J l , ,,. _ --i l ,, , Jill)II I

112.4l_ 1_ w 1"" I " I I I _ I " I# t.., ,_;Ir_L ¢ i i .J.g i I i _ -- i..i t I i_ i. '"_"-L I I I" I I t }1 w, [ O I / i w, 11 I " |n

Trumpet

Clarinet(low) LA FEUILLE D'ERABLEBaritone T.C.

Part B _-_0 I'II -"_ll l_'l _ I1' _ -- -- _ ' rl_ rlll_lI,. _; - I I } r • il _

I_ _" /a I I 1 / l /I / I/ _ ll- LI L ! 1 1 / I II III,L III_ " I 1 0 I t _1 / If -- II ll_l t ! 1 I_t i _ll

Z >_ I _ 3 ii _ [ t mini r-- 1 1 _l _ , F'_ I 1 I I IN I I I I I I I II l I / -al I I I ! 1 , , I I I I

[_ _" ,,4 I ._ l...al I _ ...a i-al I I _ "1 1 I I l I I l l If I

_1 1 1\ I il.-. _-,.J _ _ll i I i II _ --J I II I I t" • "/ I

I1. f I1 . 12 i "'"_" '- r _ I l -,i , ,.W I 1 I w I I 11 " _ I 1

• I __ , -_- -_ -_. .-.I.

Page 36-16

ABC000001677

!I I

Page 36-17

ABC000001678


Page 36-18

ABC000001679


Trombone

Baritone B.C. LA FEUILLE D'ERABLEBassoon

Part D>.

>.

"l.I _. = I i I I I t.- I • • il.I ,._ _ I I I of

fI1. 112.

•,, • I t2t •} [:

Page 36-19

ABC000001680

Air Cadet March Book La feuille d'erableII II

Tuba LA FEUILLE D'ERABLE

Part B r-_I _- l .'_ t _t I l _. mt f t _ =-- II " J- I _, _ I I I [' , [ I --- _ Ill- n. -_,I I l"_l l _'_ I[ _ 1,._I ,4 _ I .,,-.II [ '.wml I I _ l I ,lie :1 1 1"-tl ,...._ ,dnmll I I ! ! nI- _ [2 '_' _-lVl I l I I II I I [ l it I l I II l-'_ I It I_I_I. II

f >> > -¢-,,'>. >-w _ --> =f

,_..' --, , , ' ...._'l hi_'. II -!- I [7, I I r'ytl 1 I i II '" _ --1 ,I ,, -1 I . --_I ._ h I I I II I I [ 1 I I I | [ _ , ,v_" I 1 I I ql I

it. 112. I

I I II

Page 36-20

ABC000001681


Page 36-21

ABC000001682


- LA FEUILLE D'ERABLEBells

F _..,. ,_ .., ,,, ..., ,, ,, ,-,,_-_ _ _-"1 _ tr I1 , _:- "-" " '-' '>. >. 1 1

f ,_f:_ '_ ' ''-_ '-_' t J_''"-' "" " "1 I i ! FJJJ,,,,,_,,. , I , , ,, , ,, I IJ.II' ' ''

"_L v [7 F_..,# I'l I I...I I if ,,,.,If . I ,_1,,,,,.I Ik ,.]J lip liw" I "" I i v I ""wi l .,..i .,.J I ._ w.. '."lL 4- 1"

_.,0_L, i J_]i _LU F-_',.,---I-.__.__,-'___._F_,',_"_" _ ° ''°"' " ---'°''# "" IF FFi I 5 IFF °'# ',I _,,._/ " l-i I " I "q II '

- I L_ t" L_-i_f

I1. i11. IIr#",_ _ [7 l I 1 I ...I I I I L • , I a,_ .:1__,.',,.L/ I I I I. _ t I I_1 "" II ..4 I ..... _.i " l.. '

,m3.

Bells LA FEUILLE D'ERABLE

Part B

_.b f >..>- >.. 1 .,.> ,,,.ffl t _ --"it--i,

I _' t it. I I ___ _"_I _ _ _., I II -- I I r--

l,_._b I I ', I I'I LI I II FII_I I ', _', , ,I I'''II _.,.b, I "I II.,,lil I .,,if I ,.,,i .J I I I I I I I l

N [-cq"Jl.., i. _ I I I I_ i _ i I_ i I I I I -'"

I'P_ r,.- LP I,_.,.1 .,,.t i ..,.J1 .,,.1.,,t .,,.t.,,,t I I i 1 I I I I" i ?" _" I --J-.,.l I iX'_'L _-v- 11-"I .... I ii-J.,.JI l I I) l -- "wi°__'__1

^ I -, , [1. 112. I,,,-....,, .,.,., _] ,"/,.II I I _ ....... i ,

_ _._., i-"_ _ r_i i j _I ' I I--"" " ', -

-i-" -" -i L -ip L_ " -_ _ -'_ 1

Page 36-22

ABC000001683


Bells LA FEUILLLE D'ERABLE

Part C [-_>- l 1

_d I t). ,'_ I ] I'._ m ._ I I _ II | I I / l I_-I z., / _ I F I ,a I t ,IF lie I,.1 | i ,el ..i I

_'_" f _" I o I-1 t J I I I }_, I I I i ; I ; "

I1. ll2. II_ I I I I - _1 _I ' "

_,-_ I I i - _" Y " II _ I ,"..... I.

Page 36-23

ABC000001684


LA FEUILLE D'ERABLE

Percussion

i

I. , _ I _" ' "lip dip f| I I I I I I lioI II 1_ I',_ x

X , x X X IX ,,-I V _,,J: IBP • I E_ II

_1 I I [ ,,,.f

I1_ s ill 3 I

t_f

I

Page 36-24

• e

ABC000001685

Air Cadet March Book Last Post (orchestrated)

Last Post (orchestrated) J

At the end of the day in a Canadian Forces Base, the bugle call "Last Post" is soundedto indicate to personnel they should be within the protective walls of the garrison. In a ship atsea, the last post is only used for funerals. For more formal occasions, when a full band ispresent, the following, stirring arrangement is ideal.

Today, "Orchestrated Last Post" is used invariably during naval Sunset Ceremoniesand during the Ceremony of the Flags. The bugle call is more often used on its own duringRemembrance Day ceremonies, and as such it is recommended that if you intend to use thisarrangement for such a service, it be discussed with whomever is conducting the ceremony inadvance to obtain approval.

Page 37-1

ABC000001686


Bb Conductor LAST POST (ORCHESTRATED)

Page 37-2

ABC000001687


[ [ "3 I • I • • • m

> > fh >1----1/_

. . . ,, | ,,, _ (.JIrA

_J J ,JJJtJ i i '-

• _• , lk

i i

'" '" J.L.L.L.I.L; L_',t_ .J" j;_ "_ -,, _._

l'Jf> > .f >

JjlJ j.lJ - ,[l#i_EL-r ...... f .... ,,-.- "_

>

/. --.. d

A1

'" "' i" _II [_ .....;> :> ,7":>11

....• t l'i m• I • _ • i t "1 t I q • J J.. . i,, .-,,---.,., , I ,m ' ' ' ' ' ' "'''' " ' '

t..J i [r,_ I/ ii " " iml1 t-_ _} ....- 1," ' ...... I -t:'_J_I Ili_t 1 1"I"r

- _ _,_ _

• _

^ > ! /'_ _ _._/, /T_,:', : ! i I c_ _ ! ' -r_.: I -- :'m [ { _ -- I

1 1

15

LAST POSTPG 2

Page 37-3

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Air Cadet March Book Lilli Madene

'Lilli Marlene' was originally composed by Norbert Schultze of Germany with the originalGerman words penned by Hans Leip. Although the song is German in origin, it was quicklypicked up by British soldiers who heard the song being sung by German prisoners. The songquickly became popular and English lyrics were apparently commissioned by the BritishGovernment to prevent any hint of sympathy for the enemy that the song in German mightgenerate. The English lyrics were written by Tommie Connor.

_Lydcs:Underneath the lantern by the barrack gate,Darling I remember the way you used to wait;'Twas there that you whispered tenderly,That you loved me, yould always be,My Lilli of the lamplight,My own Lilli Marlene.

Time would come for roll call, time for us to part.Darling I'd caress you and press you to my heartAnd there 'neath that far off lantern light,I'd hold you tight, we'd kiss "Good-night",My Lilli of the lamplight,My own Lilli Marlene.

Orders came for sailing somewhere over there,All confined to barracks was more than I could bear;I knew you were waiting in the street,I heard your feet, But could not meet,My Lilli of the lamplight,My own Lilli Marlene.

Resting in a billet just behind the line,Even tho' we're parted your lips are close to mine;You wait where that lantern softley gleams,Your sweet face seems to haunt my dreams,My Lilli of the lamplight,My own Lilli Marlene.

Page 38-1

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LILI MARLENE

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Air Cadet March Book Lilli Marlene

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Air Cadet March Book The Longest Day

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"The Longest Day" has been adopted as the official Marchpast of both the CanadianAirborne Regiment and Le Regiment de la Chaudiere. Although the Canadian AirborneRegiment was comprised of army personnel, they were trained paratroopers. The Airborne nolonger exists as a seperate Regiment and the personnel attached to the Regiment now belongto their respective home units. The first Canadian Special Service Battalion was a joint forceof Canadians and Americans better known as "The Devils Brigade". "The Longest Day" wascomposed by Paul Anka, a Canadian pop singer and the official Canadian Armed Forcesarrangement was done by Mr. Shel Richardson of Victoria, BC.

Page 39-1

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Air Cadet March Book The Magnificent Seven

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air cadet march book table of contents table of contents % section one: drill and ceremonial...

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