WWait For the Wagon(TheTrek Song)Gurkha Transport Regiment / Royal Army Service Corps / Royal Canadian Service Corps

In 1875, at a review of troops in Aldershot in honor of the Sultan of Zanzibar, each regiment on parade had its own regimental march played as it passed by the saluting base. The Army Service Corps had not previously been invited to march past on such occasions as its small contribution would have lacked the spectacle that the colorful cavalry regiments provided. On this occasion however, The Duke of Cambridge, the Commander-in-Chief, ordered that the Corps should march past. He inquired what tune they would play and was told that no special march was available. He ordered that they play Wait for the Wagon.

Between the time of that most significant parade and 1908, the march appears to have been developed to consist of a combination of Wait for the Wagon and Begone Dull Care. The Royal Artillery Band at Woolwich played the Army Service Corps contingent of that garrison past on church parades to this arrangement. At that time the Royal Artillery had the largest and probably the best military band in the Army. The Army Service Corps Mounted Depot and Horse Transport unit in Woolwich were numerous and for church parades would muster two or three companies to march past. The repetition of Wait for the Wagon, by itself, would have been boring, particularly to the musicians when the music was not of their own regiment. An astute bandmaster of the Royal Artillery improvised and added a topical tune of the day to commend and present the versatility of his bandsmen. The new arrangement accompanying Wait for the Wagon remained in question until 1946 when Captain H. Cowan of the Corps wrote to the editor of the Corps Journal: Up to the beginning of the South African War of 1899-1902 the Corps march consisted of the regimental call followed by 16 bars of Wait for the Wagon. I do not know when this combination changed or why. It was tuneful and quite good.”

In a reply W.H. Cobb, late Army Service Corps stated: “Captain Cowan’s letter, published in the January issue of the Journal reveals the interesting fact that up to the time of the South African War the Corps march consisted of a combination of the regimental call, Begone Dull Care and Wait for the Wagon. To this I would like to ad that the same combination was still used at Woolwich in 1908 (and maybe later) by the Royal artillery band when playing the Corps past on church parade each Sunday although the Corps band from Aldershot visiting Woolwich strictly kept Wait for the Wagon, plain and unadorned. The Royal Artillery Band, on parade with them appeared to listen politely, but still remained

unconverted!.The existence and use of the two versions at the same period were always a puzzle to me for I felt that the Royal Artillery Band would hardly be likely to take liberties with another regiment’s band and must have had good grounds for sticking to their version. Captain Cowan’s disclosure now tends to confirm this view. But why didn’t the Corps band play it? As Captain Cowan rightly says, it was tuneful and quite good. In fact it was quite a spirited march, comparing well with the majority of regimental marches and by reason of its contrasting melodies was anything but monotonous, which seems to be the chief complaint leveled at Wait for the Wagon...It would be interesting to known the reason, if somebody could supply it, why two different renderings were in use for so long seemingly unchallenged.”

Although the song has enjoyed occasional revivals and parodies through the years, its basic simplicity and catchy melody has real folk appeal for most people and was even featured in the 1943 movie ‘Black Market Rustlers.’

When Major General D.H.V. Buckle, an ex Corps member who settled in South Africa, wrote in 1974 that he was surprised to discover an historical South African connection to this song. In 1860s young Afrikaners used the song in their own language about the visit of the President of the Orange Free State to negotiate problems concerning the diamonds mines. The English translation included Oh wait a little, yes wait a little, just wait a little and all will come right and when negotiations were successful, the words were altered to now we have waited and all has come right.

In 1944 the possibility of combining Wait for the Wagon with a second tune, which was musically suitable and traditionally relative to the history of the Corps, was among other factors examined. The committee, set up by the Director of Supplies and Transport, Major General Sir Reginald Kerr included the Bandmaster Warrant Officer Class 1 J.F. Dean (later Major, Director of Music RASC).

There appeared two courses of action open. The first was to increase the length of the current tune by composing on to it. This was not advised by the Royal Military School of Music, as it would be very difficult for a composer to add to a melody, not only complete in itself but of respected age, without spoiling it. The other course of action was to select an additional tune that could be played in conjunction with Wait for the Wagon, either before or after thus creating a new march. This was the course of recommended by the School. The final selection of a tune related directly to the significant contribution of the Corps during the South African War of 1899-1902. The new arrangement would open with an introduction to the old tune that contains the regimental call then be followed by the Trek Song and finally Wait for the Wagon. This was considered the best course of action and gave prominence to the old Corps march.

The origins of Trek Song are clear as General Buckle found when he visited the Institute of Folk Music in Stellenbosch University Principal, Doctor Jan Bouwer. Dr. Bouwer said he was convinced that the words and music were written and composed in the Eastern Cape about 1870. Contact had been made at this time with Mrs. Bouwer who had definite proof that her mother, then Miss Ada Van Aardt wrote the words and her governess, Mrs. Maloney, composed the music. It was sung at home to discourage a persistent but unwanted lame suitor, Johnny Ferreira, son a rich farmer. The song spread all over South Africa in the 1870s with several versions coming out later. Ferreira according to one source was a garrulous bandy legged hawker who annoyed an auctioneer at the weekly auctions on the parade in Cape Town by his endless chatter and obstruction and was told to pack your things and get out. The other version relates the name to the unpopular 19th century British Governor of the Cape, Sir Bartle Frere, who limped from a leg wound and when the Governor rode out about the color people would sing the song and imitate him. It is ascribed as the most famous of all Cape Town songs.

Boer Commandos used the words for a drinking song in the early days of the South African War, whereas the melody had been previously used for the Song of the Bells in Cape Town performances of the French operetta Les Cloches de Corneville in the 1880’s.

The new proposed march for the Royal Army Service Corps was approved by the Royal Military College of Music. On VJ Day, 15th August 1945, at the old RASC barracks at Church Street, Kensington, the Corps band played the new march for the first time in public and was unanimously acclaimed. The best part was the repetition of Wait for the Wagon was gone but he title had been preserved. The Colonel-in-Chief, HRH The Duke of Gloucester, was at the time, Governor-General of Australia and the music of the march had be sent to him for approval. That was given through Army Order 43, 1946. The Gurkha Transport Regiment and the Royal Canadian Service Corps adopted the march through their alliance with the British Corps. During the 1967 unification of the Canadian Forces the Corps was lost to history along with many customs and traditions.

Waltzing MatildaThe Royal Tank Regiment / Elgin Regiment (RCAC) / 31 Combat Engineer Regiment

The tune Take the King’s Shilling was sung to the tune O Bonnie Wood O’ Craigielee or Craihielee with word of Who’ll Be Soldier that dates back to 1715. This song was also known as Who’ll Be a Soldier with Marlboro and Me? Other titles and words included The Bold Fusiliers and Marching through Rochester. The version included in the section of words dates from 1814 and sung as Who’ll Come

to Spain with Wellington and Me? In 1894 a young Australian woman named Christina Macpherson heard the song and played it for AB Patterson who would later write the words we know today.

The song is commonly refereed to as Australia's second national anthem. Written over a hundred years ago in 1895, the song’s historic and philosophical origins are still in question although the song has significance to all Australians.

In 1994 the town of Kynuna called the song it’s own for several reasons. According their local historian, the town is nearest to the bilaboug and has (so it’s believed) the gravesite swagman mentioned in the song. However, 160 kilometers down the Mitilda Highway, the town of Winton ran a grand ceremony the following year. The ceremony started on the centenary date of the song, 6 April 1995. Dispite the differences there are some facts that both towns share.

It is known for certain that the bush bard scribbled down the words for the song in late January 1895. At the time he and his fiancee, Sarah Riley, were staying with the Macpherson family at Dagworth sheep station. He wrote the poem as Christina Macpherson played her version of a Scottish tune Craigielee - which she had heard the year before at the Warrnambool Races.

Paterson had become intrigued with the continuing 1894 shearers strike while staying at Dagworth, both as a writer and a bush solicitor. The Wintom region was the last place in Australia where the strike lingered and the last shed was burnt to the ground. During a picnic at the Combo billabong on the Dagworth River he learned of two mysterious deaths. One happened when a swagman shot himself on the banks of the billabong the day after the fire at Dagworth. The other had occurred four years earlier in 1891 when Dagwoth manager found four of his wollshed hands drowned in a waterhole. Beyond these facts lie the myths are scrambled by time.

Dr. Fitzgerald, an associate professor at Australia’s Griffon University, believes that the song is really Paterson’s call for a new way of life in the country. He notes that it was written during the same period when Henry Lawson composed his radical poem Freedom on the Wallaby. The poem called for an uprising against England and the republic in which it had the prediction that ‘blood shall stain the wattle’.

Some believe that Paterson never referred to a ‘jolly’ swagman in his original version of the poem. It may have been added in 1922 when change d for a radio advertisement for billy tea. Presently there is movement going on to have the song returned to its original state. In counter to this, Australia foremost authority on the subject retire professor Colin Roderick states that other facts must be taken into account. Waltzing Matilda was a popular jingle that Paterson knocked out at Dagwoth, refined at Winton and later approved the amendment of it in 1902. Paterson accepted the 1902 Tea jingle and that means (in a literary sense) that it

became his authentic version - which proves that he never thought much of it. Paterson got the shock of his life when it became a popular song. It wasn’t tremendously significant to him to try to claim that it is a symbol of democracy or create an equivalent to Freedom on the Wallaby.

The Royal Tank Regiment used it as a slow march along with My Boy Willie under the title The Royal Tank Regiment. The Elgin Regiment used it for their trumpet band and was retained by the 31 Combat Engineer Regiment in 1997 when the regiment converted to that role.

War March of Brian BoruThe Royal Irish Regiment

Prior to the major changes in army marches of 1881 the 1st Bn Royal Irish Regiment used St. Patrick’s Day while the 2nd Battalion used The War March of Brian Boru. This piece survived within the regiment and was played together with Garry Owen at the conclusion of St. Patrick’s Day festivities.

War March of the Men of Glamorgan(Forth to the Fight)Welsh Guards / Royal Welch Fusiliers

One the best known Welsh martial airs dates back to the taxes levied by King Edward 1 to defraying costs of his wars in Germany. An insurrection took place throughout Wales in 1294. Lead by Morgan (Chieftain of Morganwg) in Cwmry drove out the Earl of Gloucester and gained possession of the territory. This war song was selected by Morgan to animate the March of his followers. The Welsh Guards have used the tune as a slow march as did the Royal Welch Fusiliers under the title Forth in the Battle.

Warwickshire Lads6th Regiment of Foot / Royal Warwickshire Regiment / South Saskatchewan Regiment / South Wales Borderers / Warwickshire Militia / Westminster Regiment

David Garrick wrote the words while the tune was written in honour of Shakespeare and may have been sung by Charles Dibden at the Shakespeare Centenary celebrations in 1769 at Stratford-on-Avon. The tune became popular and was played by the by the Warwickshire Militia Fife and Drums and adopted by the county. Later it was used for recruiting by county regiments and adopted by the 6th Regiment of Foot. The 6th became the Royal Warwickshie Regiment later Fusiliers but throughout the name changed always retained the march. This ended

during the 1968 amalgamation forming the 2nd Battalion, The Royal Regiment of Fusiliers. Prior to this old tune had been altered to make it conform to the stereotyped form of regimental marches, which normally had only eight bars in each part. Ye Warwickshire Lads has ten bars in the first and eight in the second, and Kneller Hall declined it. About 1890, an eight-bar variation of the old march was authorized, but whenever the too-official ear was not listening the original tune was used. The reversion to the old form taken up by General Sir Robert Whigham, Colonel of the Regiment and Mr. E. R. Stebbing, a former bandmaster along with a few others. When the original composition was finally officially recognized and played with great success as the regimental march of The Royal Warwickshire Regiment.

In 1881 the 24th Foot were renamed The South Wales Borderers adopting Men of Harlech. In Canada the South Saskatchewan Regiment adopted it during their 1920 formation until they were placed on the 1968 Supplementary Order of Battle. The Westminster Regiment used it until the 1966 amalgamation becoming the Royal Westminster Regiment that adopted The Maple Leaf Forever.

Washington Post MarchRoyal Army Medical Corps

John Philip Sousa wrote this march to promote an essay contest sponsored by the Washington Post newspaper. It is interesting to note that the march brought Sousa only $35 although it was published in other countries under the titles of Unser Pasa and No Surrender. In 1910 the new Edison invention, the cylinder record, was issued to the public and the Amberoi cylinder No. 325 gave two of Sousa’s marches on it, Washington Post March and High School Cadets.

The Washington Post began publication December 6 1897 with a four-page edition that sold for 3¢ and grew into one of the nations most respected newspapers. Just before their writing competition the Marine was playing at the Smithsonian when Post co-publisher Frank Hatton met up with Sousa asking him to compose a march for the occasion. The composer agreed and dedicated his new work in The Post's honor. This venture was very popular and attracted 25000 people with the music of Marine Band playing this new march written for the occasion.

Surprising enough this march was the first Regimental March of the Royal Army Medical Corps. In 1914 it was replaced by Her Bright Smile Haunts Me Still and again in 1923 with Bonnie Nell until 1948 when a competition was held to final find a suitable march for the Corps. Directors of Music, Bandmasters of the Army and Kneller Hall students bandmasters where offered the challange. The winning entry was the arrangement of the 17th Century song Here’s A Health Unto

His Majesty followed by a trio section in Elgar style was written by Major JA Thornburrow, Director of Music of the Royal Horse Guards.

WatchtowerRoyal Military Police / Corps of Royal Military Police

The first recorded Provost Marshal in English history was Sir Henry Guylford in 1511. The Provost Marshal was responsible for maintaining discipline within the English armies and the early forbears of today’s military police and military provost staff. General Sir Myles Dempsey paid the following tribute: 'The Military Policeman became such a well-known figure on every road to the battlefield that his presence became taken for granted. Few soldiers as they hurried over a bridge which was a regular target for the enemy, gave much thought to the man who's duty it was to stand there for hours on end, directing the traffic and ensuring its rapid passage.' In 1914 composer Rudolf Herzer titled the march Hoch Heideckburg that was adopted by the Royal Corps of Military Police and later by the Royal Military Police.

We Lead Others FollowAlgonquin Regiment

The Algonquin Regiment retained this march from the Algonquin Rifles formed in 1900. The composer, Captain Paul A. Mayer, was an officer in the regiment during World War Two and took the title from the cap badge motto "NE-KAH-NE-TAH" the Algonkian Indian translation. The Algonquin Indians were the pathfinders and navigators for the early explorers in Canada's early years. The Regiment's name and motto are fitting to this unique Indian tribe and the heritage they gave to Canada.

Wearing of the Green5th Royal Irish Lancers

The version we know today is a folk song with the melody an adaptation of The Tulip composed by a Scotsman James Oswald in 1757. The words are credited to a French-Irish-American playwright Dion Boucicault who wrote them in 1865 for the song of Shaun The Post for his successful play Arrah-Na-Pogue’. Although not an official march of the 5th Royal Irish Lancers it was played by all Irish regiments after the South African War to mark their gallantry in that war. The 5th Royal Irish Lancers were formed in 1689 as Owen Wynne's Dragoons then renamed the 5th Royal Irish Dragoons until their 1799 disbandment. Reformed in 1858 as a lancer

regiment until the 1922 amalgamation with the 16th The Queen's Lancers becoming 16th/5th Queen's Royal Lancers. They were again amalgamated in 1993 forming the Queen's Royal Lancers.

We'll Gang Nae Mair to yon Toun'67th Regiment of Foot / Essex Regiment / 2nd Bn Queen’s Royal Regiment (West Surrey) / Royal Hampshire Regiment

The Birmingham Weekly Post in 1924 stated the song first appeared in Oswalds Caledonian Pockek Companion printed in Edinburgh about 1750. The composer could be Oswald, but unconfirmed, however the words are claimed to be from a Burns ballad.

The Queen’s Royal Regiment (West Surrey) adopted the march in respect to General Bruce who raised the battalion in 1857. From 1881 to 1883 it was used by both battalions and even after the adoption of Braganza remained a secondary march. The 2nd Battalion the Queen’s Regiment used it until amalgamation into the Princess of Wales’s Royal Regiment using Soldiers of the Queen.

The 1st Battalion, Essex Regiment used it until amalgamation into the Royal Anglian Regiment when The Devonshire Rose was adopted. The 67th Regiment had used the tune from 1850 to 1881 until amalgamated with the 37 th Foot forming the Hampshire Regiment. The march was not retained in favour of The Highland Piper that was renamed The Hampshire.

Wellesley33rd (Duke of Wellington’s) Regiment of Foot / 33rd Regiment of Foot / Duke of Wellington’s Regiment (West Riding) The Duke of Wellington's Regiment and this march are named after the famous British general. Queen Victoria commanded that his old regiment should be renamed The Duke of Wellington’s in his remembrance, bearing his badge, crest and motto. Arthur Wellesley was born on May 1, 1769, in Dublin and educated at Eton College and the Military Academy of Angers in France. He was commissioned as ensign in the British army in 1787 and would become one of England’s most brilliant commanders. He died at Walmer Castle, Kent, on September 14, 1852 and was buried in Saint Paul's Cathedral in London. He will be best known for his victory over Napoleon in the Battle of Waterloo. His connection to the regiment began in his early years and in 1793 would become a major in the 33rd Foot assuming command of the Regiment later that year.

The Wellesley is a short and stirring march with a Spanish flavour reflecting the Dukes service in Spain. The quickstep was named in honour of the Duke of

Wellington though not written for him. The march was discovered among his papers after his death although the origin is believed to be an adaptation of a Danish quadrille, the tune being picked up from the French at Waterloo. The 33rd, raised in 1702 as the Colonel The Earl of Huntingdon’s Regiment of Foot, had their title changed several time until 1853 when it became the 33rd (Duke of Wellington’s) Regiment of Foot. In 1881 the 33rd and 76th Regiments of Foot were amalgamated to form the Duke of Wellington’s Regiment (West Riding). During another amalgamation in 1948 the Colonel of the Regiment decided that in addition to this authorized march other marches should be played in the following order Ilkla Moor, I’m Niniety-Five and Scotland the Brave.

We've Lived and We've Loved TogetherThe Devonshire Regiment / TheDevonshire and Dorset Regiment

Composed by an Austrian bandmaster in 1809 it was adopted in 1812 by the Devonshire Regiment. There are two stories about the adoption – the first states that the regiment was marching toward a battle site when they found themselves parallel to a French regiment. Neither stopped to engage in battle so the officers exchanged salutes while the ranks exchanged other remarks. Well known to Englishmen and considered appropriate to the occasion the band was ordered play the air while both regiments departed the field. Another story was the colonel’s wife of the 2nd Battalion suggested it for adoption as the tune was quite popular and had had a good march cadence. She took the march in the name of the regiment resulting in an uncommon association not given up easily. During the 1958 amalgamation forming the Devonshire and Dorset Regiment it was combined with Widdicombe Fair and Maid of Glencounnel.

Wha Sae the 42nd

The Black Watch (Royal Highland Regiment)

The tune is also known as the Jacobite song Wha Wadna Fecht for Charlie however the melody is possibly older. It is also associated with a Glasgow Street song: Wha saw the forty-second? / Wha saw them gang awa? / Wha saw the forty-second / Marchin’ tae the Broomielaw? The Broomielaw was the Glasgow dock from which troopships sailed. The title refers to the 42nd Regiment (1st Battalion Black Watch) and has been employed for a number of uses including a polka step in the North-West (England) and an Irish polka Din Tarrant’s.

Glasgow street song - Wha saw the 42nd

Wha saw the Forty-Second,Wha saw them gang awa?Wha saw the Forty-Second,Marching doon the BroomielawSome of them had kilts and bunnets,Some o’ them had nane ava’,Some o’ them had tartan troosersMarchin’ tae the Broomielaw! 

David Murray (Music of the Scottish Regiments, Edinburgh, 1994) stated the song might refer to the irregular dress of replacement troops who had little notice before leaving for overseas. He says the regiment adopted the tune the tune when leaving a station and was played on departure for the Korean War.

Wha’ Wadna Fecht for CharlieThe Cheshire Regiment / The Mercian Regiment

This Jacobite air is not a Scottish regimental march but one of the Cheshire Regiment. The title refers to a former commanding officer General Sir Charles Napierand was selected as a tribute to him with several rearrangements by W.J. Adams and Major D. E. Price.

The title comes from a song by and unknown author to the melody "Will you go and marry Katie." "Wha Widna..." is one of the tunes sometimes used to accompany the dance Seann Triubhas along with the more employed "Whistle o'er the lave o't". In Ireland the tune is rendered as a polka that goes by the titles “Din Tarrant , “Jim O’Keeffe’,” “O’Keeffe’s (Polka)"[1] and  “Mert Plunkett’s.” A Scottish street song to the tune is called “Wha saw the 42nd?” English morris dancers employ the tune as an accompaniment, calling it “March Past,” which in fact, “Wha’ Wadna Fecht” is the official march-past tune of the 22nd Cheshire Regiment, the last surviving English County Regiment of the Line, which adopted it in 1881. Despite the Jacobite-sounding title, David Murray (Music of the Scottish Regiments, Edinburgh, 1994, pg. 207) states the tune (at least as employed by the British army) commemorates the conquest of the province Sind, part of the Indian subcontinent and now part of Pakistan. The 22nd Cheshire’s were the only British unit involved in the fighting, a hard-fought campaign, that also included Indian forces of the East India Company’s Bombay army. The combined force was commanded by Sir Charles Napier, explains Murry, who, when he became Colonel of the 22nd in 1850 presented the regiment with new colours at Dagshai, near Simla, in the Himalayan foothills. Napier defeated the army of the Baluchis, some 30,000

men, with a force of just 2,800 of his own at the battle of Miani, and went on to become one of the most famous British Victorian era military figures.

The Merican Regiment retained the march combined with Under the Double Eagle on its 2007 formation from the amalgamation of the 22nd (Cheshire) Regiment, The Worcestershire and Sherwood Foresters Regiment (29th/45th Foot) and The Staffordshire Regiment.

Wha’s a’ the Steer2nd King’s Edwards VII’s Own Gurkha Rifles (The Sirmoor Rifles)

The 2nd King Edward VII's Own Gurkha Rifles (The Sirmoor Rifles) was an infantry regiment of the British Indian Army before being transferred to the British Army on India's independence in 1947. The 4th Battalion joined the Indian Army as the 5th Battalion, 8th Gurkha Rifles (Sirmoor Rifles), where it exists to this day. As part of the British Army, the regiment served in Malaya, Hong Kong and Brunei until 1994 when the regiment was amalgamated with the other three British Army Gurkha regiments to form the Royal Gurkha Rifles. It is the only Gurkha Regiment that did not have Khukuri on its cap badge. In the 1930 Indian Army List Regimental marches the 2nd King Edward Own Gurkha Rifles were assigned this march along with Kimmer. Later this changed to Lutzow’s Wild Hunt which had been the march past of the King’s Rifle Corps since the turn of the century.

When I, Good Friends, Was Call'd to the BarLegal Branch (CF)

The music is from the 1875 Gilbert and Sullivan’s opera ‘Trial by Jury.’ The opera was put together in three weeks and ran for 300 performances in two years. In the opera the setting is in a court of justice. Edwin, who has left Angelina at the altar, is being tired for breach of promise of marriage. Before the trails begin, he explains the reasons for his change of heart. The Judge enters, takes everyone into his confidence and tells the tale of his legal career. The trail commences. Angelina enters, still wearing her bridal gown and attended by bridesmaids. The counsel for the plaintiff pleads her case most effectively and opinion is roused against Edwin, who offers a compromise – he will marry Angelina that day and his new flame the next. Although all agree the counsel of the plaintiff points out that would bigamy and the trails takes a new turn. The Judge hits on a plan that saves the day and states that he will marry Angelina himself thus ending the trail. The march appealed to members of the Legal Branch of Canadian Forces and was adopted about 1982.

When Johnny Comes Marching Home54th Richmond Regiment / 11th Hussars

When Johnny Comes Marching Home was a popular American Civil War song that expressed people's longing for the return of their friends and relatives who were fighting in the war. The Irish antiwar song Johnny I Hardly Knew Ye and When Johnny Comes Marching Home share the same melodic material. This song was first published in 1863 and sang by both sides of the Civil War. The lyrics were written by Irish-American bandleader Patrick Gilmore and published under the pseudonym 'Louis Lambert'. The Johnny in the song was Gilmore's future brother in-law a Union Light Artillery Captain named John O'Rourke and was written for his sister Annie Gilmore that was hoping for the safe return of her fiancé from the Civil War.

In Canada the 54th Richmond Regiment had used the march until the1903 conversion to cavalry and renamed the 11th Hussars. The march was changed in 1936 when amalgamated into the 7th/11th Hussars using My Boy Willie.

When You Die From Our Loves (Quad Vous Morerrez de Nos Amouis)12e Regiment blinded du Canada / Le Regiment de trios Rivieres

The 12e Régiment blindé du Canada adopted this slow march that is from a French folk song linking them to the Trois Riviers area. The regiment started in 1968 when the Le Regiment de Trois Rivieres (RCAC) were renamed under the present title. At this time their old mach My Boy Willie was discontinued and this march adopted.

Whistle o'er the Lave o't2nd Battalion The Queen’s Royal Regiment / 71st Highland Light Infantry / Highland Light Infantry of Canada / Royal Highland Fusiliers

The composer was a Braemar violinist John Bruce with original words scarcely printable until 1870 when Robert Burns wrote a more printable version. The 71st

Highland Light Infantry first adopted then pasted to the 1st Bn The Highland Light Infantry until the 1959 amalgamation into the Royal Highland Fusiliers that combined it with British Grenadiers. The Highland Light Infantry of Canada adopted it for their military band.

White CockadeSuffolk Regiment

This became a Continental Army marching tune when fifers and drummers appropriated it from the British known as The Highland Laddie. The White cockade was a decorative ribbon in the Continental tri cornered hat. The Suffolk Regiment went through a series of marches including this one until deciding on The Duchess.

White Lancers17th Lancers (Duke of Cambridge’s Own) / 17th/21 Lancers

The 17th Lancers first march was Robert le Diable and later changed to this one composed by Bandmaster WH Richardson while serving in India prior to WW1. The Death or Glory Boys had white facings and a white plume, so it seemed quite appropriate. The march was retained in the 1922 amalgamation with the 21st Lancers however in the 1993 amalgamation with the 16th/5th Queen's Royal Lancers forming the Queen's Royal Lancers it was not adopted.

Widdicombe FairThe Devonshire Regiment / The Devonshire and Dorset Regiment

The Deveonshire Regiment played this tune combined with We’ve Lived and Loved Together. They may have adopted it as the men would sing the song as it was played before arrival in camp or barracks regardless of how tired the men they were. On the 1958 formation of the Devonshire and Dorset Regiment it was combined with We’ve Lived and Loved Together along with the Maid of Glencounnel to form the new regimental march..

Wiltshire / Wiltshire PoacherWiltshire Regiment (Duke of Edinburgh’s)For many years the 1st Battalion The Wiltshire Regiment used a version of ‘the Lincolnshire poacher’ as its Regimental March. The original tune is an old Lincolnshire folk song. It is the Regimental March of the Royal Lincolnshire Regiment, who not unnaturally were most jealous of its use by other regiments. At some point a ‘directive’ was issued that regiments unconnected with Lincolnshire should not use the march. However the Wiltshire’s had used the march for so long, albeit in a slightly different version, that a blind eye (or preferably a deaf ear) was turned toward its continued use. Poachers are not exactly unknown in Wiltshire, and the march was played by the regimental band and referred to as ‘The Wiltshire Poacher’. In 1932, the 1st Battalion came up against a problem, for they were stationed with the Royal Lincolnshire’s in Shanghai. It was obvious that both regiments could not use the same march past, so the only course open was for The

Wiltshire Regiment to gracefully relinquish, with many regrets, ‘The Lincolnshire Poacher’ and to be satisfied with our officially allotted ‘The Wiltshire’.

It was introduced to the regiment in 1835 when Lieutenant Colonel Thomas Reid took command. This march is based on the well-known Wiltshire folk tune The Vly be on the Turmots originally arranged by the Bandmaster of the Trowbridge Volunteer Band. In 1882 it was published as their official march under the titled The Wiltshire. The Wiltshire Regiment was formed in 1881 on the amalgamation of the 62nd (Wiltshire) Regiment of Foot and the 99th (The Duke of Edinburgh’s) Regiment of Foot with each Regiment becoming respectively the 1st and 2nd Battalions. In 1959 it was amalgamated into The Duke of Edinburgh's Royal Regiment (Berkshire and Wiltshire) and with further mergers the regiment is now The Rifles and the march was discontinued.

WingsCorps of Royal Canadian Engineers / Corps of Royal Engineers / Engineering 31 Combat Engineer Regiment / Military Engineering (CF) / Queen’s Gurkha Engineers / Royal Canadian Engineers

When General Sir T. Gallwey was appointed the Commandant of the School of Military Engineering in 1868, he noted that the march used by the Corps, was for the Rifle Brigade - I’m Ninety-Five. Considering this a poor tune, he ordered the Band committee to find a march that the Engineers could call their own. The bandmaster, Mr. Newstead, had been appointed in 1865, made the suggestion that the tune The Path Across The Hills be considered. The melody used as the second half of the march was composed by Ellen Dickson, a daughter of an Artillery Brigadier, using the name of Dolores. The song, published by Charles Jeffery of London, had words that were a translation of a poem written around 1823 by Frederich Ruckert done by Percy Boyd.

Newstead set about arranging the new march using both tunes with the approval of the Band Committee. One problem arose when men started to march to it when the music changed from the first to the second section, the cadence was hard to keep. Despite this the Corps excepted the march for use about 1870 and the General gave his approval thus making the tune officially Wings - the RE March.

For many years the credit for this song would go to a well-known singer of the time, Mrs. Charlotte Barnard, who sang under the name of Claribel. For some this confusion would remain and to complicate the situation when the military band arrangement of the Corps March was published in 1903 by Hawkes and Sons they incorrectly titled it WINGS (Claribel) WJ Newstead.

The Duke of Cambridge, head of the British Army, was concerned about the proper performance and activities of Military Bands. In 1889, he noted with disapproval that the Corps march was not the one to which the RE were entitled by tradition. This tradition being that regiments and corps that were entitled to wear the flaming cap badge should be using The British Grenadier. With this he ordered the Royal Engineers to cease with Wings and return to the original march which to say the least a little uproar was heard throughout the Corps.

Enter Lieutenant General Viscount Kitchener of Khartoum. This famous commander had led the first force against the Metis in Canada, distinguished himself in India, and commanded the British Army down the African Nile and retook Khartoum, then defeated the Boers in the South African War. When he returned to England the Corps asked his help in restoring Wings. He took the matter up with appropriate officers in the War Office, expressing his views on the matter. On the 14th October 1902, a letter was sent reinstating the march but only after the arrangement had been approved by the Commandant, Royal Military School of Music, Kneller Hall that came in 1903. Kitchener had succeeded in getting Wings restored as the official quick march that gave general satisfaction to the Corps. The march remains a special favourite of many engineers of all ranks.

The march was adopted by the Queen’s Gurkha Engineers when played by the band while in Canada it was used the Corps of Royal Canadian Engineers until 1964 when the unification of the Canadian Forces saw the title change to the Engineering Branch but the march was retained. In 1997 The Elgin Regiment (RCAC) was converted to the 31 Combat Engineer Regiment and adopted this march as tradition but retained I’m Ninety Five and Waltzing Matilda.

With Equal PaceCanadian Forces Base Gagetown Technical Services

In the mid 1970’s, CWO Jack Kopstein was a member of the Royal Canadian Regiment Band in CFB Gagetown, New Brunswick. He was approached by the Canadian Forces Base Gagetown Technical Services to compose a march for their unit. It was first performed during a special performance in the base theatre in 1977 and adopted shortly afterwards. The tune has a lively and easy march rhythm, making it a popular tune and quickstep.

With Jockey to the Fair2nd Battalion, York and Lancaster / 51st Regiment of Foot / King’s Own Yorkshire Light Infantry / Saskatoon Light Infantry (MG)

The tune first appeared in a collection called The Minstrelsy of England in the Early 17th Century, while the song itself appeared in print in the 18th century. The King’s Own Yorkshire Light Infantry’s march was this old tune. It was passed on from the 51st Regiment of Foot that had been using since 1873 when they were stationed in India and introduced by a former Sergeant-Major that was commissioned and later returned to the 51st as Quartermaster. Bandmaster Mining made the arrangement for the 2nd Battalion York and Lancaster when serving with the regiment between 1907 and 1919. The march was discontinued in 1968 when the regiment chose to be disbanded rather than amalgamated. In Canada The Saskatoon Light Infantry (MG) used the tune until 1955 when they were renamed the 2nd Battalion, North Saskatchewan Regiment.

Within a Mile of Edonboro TounThe Caneronians (Scottish Rifles)

Written by Thomas D'Urfey a famous English dramatist who published several volumes of work including Wit and Mirth: or, Pills to Purge Melancholy. These included his work and others as well as older airs and ballads. The words and music first appeared in Delicae Musicae in 1696. The words that appear in the word section of this book area "much altered" version of the original lyrics. The original words were Within a Furlong of Edinborough Town. The tune is sometimes attributed to Henry Purcell however it is believe to have been written by Jeremiah Clarke.

Shortly after the 1878 formation The Caneronians (Scottish Rifles) stationed in Edinburgh adopted the march as a result of being there at the time. In 1968 the march ceased to be used as the regiment chose to disbanded instead of amalgamated.

Won’t You Come Home to Bom-Bombay1st Battalion, Royal Munster Fusiliers

The 1st Battalion, Royal Munster Fusiliers spent 100 years in India and in memory of this historical achievement adopted this popular music hall song. An Irish Regiment raised and garrisoned in Ireland was originally formed in 1881 by the amalgamation of two regiments of the former East India Company – the 101st Regiment of Foot (Royal Bengal Fusiliers) and 104th Regiment of Foot (Bengal Fusiliers) and the Militia of Munster. Both the Fusilier regiments had originated as "European" regiments of the East India Company and transferred to the British Army in 1861. The first and second RMF battalions were the former Bengal

Fusilier regiments and served in India and the Great War however were disbanded in 1922 under the Anglo-Irish Treaty.

WRAC MarchWomen's Royal Army Corps College

The Women's Royal Army Corps (1949-1992) was the corps to which all women in the British Army belonged except medical, dental, veterinary officers, chaplains and Nurses. It was formed in 1949 as the successor to the 1938 Auxiliary Territorial Service (ATS). For much of its existence, its members performed administrative and other support tasks, but later they began to be attached to other corps, including the Royal Artillery and Royal Engineers. The Women's Royal Army Corps College used this march until they became part of the Royal Military College, Sandhurst in 1981. On 6 April 1992, the WRAC was disbanded and its members transferred to the appropriate corps of the army, signalling full integration of women into non-combat roles. Since a majority of its members had been administrative personnel the WRAC amalgamated into the new Adjutant General's Corps. Their official music was the quick march Lass of Richmond Hill/ Early One Morning and the slow march of Greensleeves.

WRNS MarchWomen’s Royal Naval Service

Richard Addinsell wrote this march in 1942 for the Women’s Royal Navy Service. The WRNS were first formed in 1916 and started by taking over the jobs of cooks, wireless operators, code experts and electricians. This was expanded during WW2 and by the end of 1944 the numbers of recruits had grown to 74,000 doing over 200 different jobs. This contribution to the Royal Navy was significant however during all this time they were not allowed to go to war on fighting ships and they did not receive the same status or pay as men. Although disbanded in 1993, women still serve in the Royal Navy on an equal footing with men server on many of the various ships. The only area that they are still excluded from is the submarine service.