Military Music

of the Infantry of the

Dutch Republic
during the Dutch Revolt

M.E. Geerdink--Schaftenaar me fecit AO. MMXV

1

 Wassenbergh society for Re-enactment and Living History / Marc Geerdink-Schaftenaar, 2015 2016.
The distribution of this document is wholeheartedly encouraged. If you would like to publish (parts of) the content
of this document, please do so with a reference of your source.

Military Music
of the Infantry of the
Dutch Republic
during the Dutch revolt
3rd expanded and revised edition

Marc Geerdink-Schaftenaar

DISCLAIMER
All marches and signals for the army of the Dutch Republic are reconstruction, based on the
very little information that is available. This document and the musical pieces in it are
therefore NOT a historical source, unless specified. I urge everyone not to mention these
pieces as authentic and/or historical. To be honest: its all just guesswork. I am, despite my
vast historical knowledge, no expert in the field of military music, nor claim to be one. I just
hope that one day, somewhere, someone finds a contemporary source with a good
description of the marches and signals used by the army of the Dutch Republic during the
Dutch Revolt, which would make this book totally obsolete. Until then, this is probably the
closest that youll find about military music of that time.

The author.

Front: German picture of a drummer, 2

nd

th

quarter of the 17 century.

Page. 3, above: decorative print with musicians, from Deuteromelia by Thomas Ravenscroft, 1609; below:
decoration from the second book of the Syntagma Musicum by Michael Praetorius, 1619.
Page. 5: etching of a drummer by Hendrick Goltzius and Jacob de Gheyn, 1587.
Page 8: decoration from the second book of the Syntagma Musicum.
th

Page 9: Several drums and kettledrums (herpauk, from: heer, army), as used by the armies of the 16 and 17
th
centuries. German print, second half of the 16 century.

th

Introduction
One thing we do know about the military music of the time of the Dutch Revolt, - in the
Netherlands better known as the Eighty-Years War (1568 - 1648), is that about every
regiment had their own signals and marches. Remarkably enough, almost nothing of that has
been preserved. For decades now, British re-enactment groups play marches and signals
from the English Civil Wars (1642 1651) at events. They have found these and
reconstructed them, based on the few resources they have. But they also have written some
marches and signals as well, in lieu of original material.
The only piece that has been extensively described is the Wilhelmus, which became known
throughout Europe and beyond,- as the march of the new Republic of the United
Netherlands. This march is a quicker, livelier version of the current national anthem of the
Kingdom of the Netherlands. Other marches and signals are virtually unknown. No clear
descriptions or sheet music have been preserved. I have not found much more, other than
the remark that mostly well-known melodies were played. Due to lack of any contemporary
Dutch music, most Dutch re-enactors play the English music, or beat generic marching
cadences.
The Company of Foot of the Dutch Republic of the re-enactment society MARS was looking
for military music for their portrayal. They did not want to use English signals. Miraculously, I
stumbled upon a music piece of the composer Jacob van Eyck: the Batali, published in his
book Der Fluyten Lust-Hof from 1654. A Batali is a music piece that is based on military
music. The performers of the group Camerata Trajectina wrote in a comment regarding their
performance of the piece that some signals had been identified such as La Charge and
Boute-selle (mount up). Specifically mentioned in the pieces by Van Eyck are the Alarm
(though described as being a piece used in plays), a soldiers song called Ick wou wel dat
den Krygh an ginck ( I wish the war would begin) and of course the Wilhelmus.
With this, and other contemporary music, I have made reconstructions, hoping to create a
series of marches and signals that could be used by the Company of MARS and other reenactment groups. This resulted into a first version of this document with military music. In
due time, I have found more music and sources, from which I could work further, and thus
expanded this document.
Finally, I want to mention that I wrote the music using the programme MuseScore.

Marc Geerdink-Schaftenaar
Julianadorp, January November 2015.

Warumb Spielleuth geht vorn an,

Wann Fechter wllen Schulen han,
Drum, das sie ihn machen ein Muth,
So einer mit andern fechten thut,
Um Gelt, oder ein schnes Krnsslein,
Wie der Knab tregt am Schwerdte feyn.
In dem Fechter Gelt nemmen ein,
Under dens trincken wir gern Wein,
Fordern dazu auch unzern Lohn,
Lahn sorgen, wo sie er her an,
Derowegen ohn Lohn und Trunck,
Wir ihn spielen selten genung.
A musician probably a drum major? holding an early version of a Jingling Johnny, with a fifer and a drummer
by his side. Illustration and poem from the Neu Knstliches Fechtbuch by Jacob Sutor von Baden, published by
Johann Bringern, Frankfrt am Main, 1612.

Content
PART 1.
I.

A short history of military music

Page. 10

II.

The six signals

14

III.

Some marches

22

IV.

Marches and music from other countries

28

42

Closing remarks

84

Sources

85

PART 2.
V.

Popular melodies

PART 1.

I. A short history of military music

Music has been used practically everywhere to accompany soldiers. Many different types of
wind instruments were used, like the carnyx1 of the Celts, or the flutes of the Greeks. The
Romans introduced the bagpipes in Europe. The Chinese were the first to use drummers in
their armies. Through the Middle East, this custom also reached Europe, where percussion
was known as Turkish music, after the music of the Ottoman Mehterhane. From them the
Europeans later also adopted other exotic instruments like cymbals and Jingling
Johnnies.

Drummer and fifer of the Landsknechte, around 1500-1530.

The drums that were carried grew in size over time; different ways of carrying these were
possible, but many prints show that the large drum was carried and played under the left
arm. In the army of the Dutch Republic, every company had two drummers. All drummers of
the companies were lead by a tamboerijn-majoor (drum-major), who was part of the staff of
the regiment.
The Swiss and German mercenary armies of the 15th and 16th centuries had drummers and
fifers. The short fife, then known as the Schweitzerpfeiff or Feldpfeiff2, became well known
1

A long horn, of which the beaker is shaped like the head of an animal.

Michael Praetorius, Syntagmatis Musici, 2

nd

part De Organographia. 1619.

10

throughout Europe; the fifer and drummer together formed das Spiel which was placed near
the colours. Different prints show flutes of different lengths. The flutes were carried in a tube
of wood or leather. Many prints show fifers carrying multiple flutes, also of different lengths.
The English and Dutch armies officially had no fifers. It is however very plausible that they
were present, albeit that they were hired personally by the regimental commanders, and
therefore not officially enlisted in the payment rolls. Later in the 17th century, the popularity of
the fife declined. In the 18th century however, it made a glorious return, especially in Great
Britain and the United States. The latter only abolished the fife and drums for the infantry in
1917. Today, it is mostly an instrument for the Navy; in the Netherlands, we have the fifers
and drummers of the Royal Marine Corps.
Drummers had an important function in the armies of the 16th and 17th centuries: besides
their task as a musician to beat the marching cadences and orders, they had a diplomatic
function. In rank and payment they were equal to a non-commissioned officer, which was
expressed by their clothing, often decorated with gold or silver lace. As a diplomat, they had
to be able to speak several different languages, as well as know the music of other armies.
Bonaventura Pistofilo describes in his book Il Torneo3 what a drummer should be able to
do:
In general, the drummer has to be witty, lively, practical and experienced. He
must be able to play in the style of all nations, and must be acquaint with all
different signals [sonate] which are used in war, such as the Reveille, Gathering,
The Uplifting [here it means the drawing of the sword, red.], Halt, March,
Changing [of formation?], Dismissal, Ordinance[?], To Arms, Skirmish [fight in
open order, red.], Opening of the Ranks, Closing the Ranks, Engaging the
Enemy, Inviting the Enemy to Battle, Answering of Calls, Right About Turn[?],
Trot, Gallop, Walk [Step?], Charge, Retreat, [?], Till Death, Salute, To Work,
Burying the Dead, 4 []
Because the knights can originate from different countries, and the mercenaries
usually follow different exercises, it happens that they enter the field in a great
variation of formations, each in their own manner, which they use in war, like [],
crosses, triangles, [], half moons, [], squadrons in different formations, and
others, so the Drummer must be adequate in all signals [], and second, with the
[musical] styles of all prominent Nations, like the Italian, the Spanish, French,
from Wallonia, Germany, Poland, and the Turkish [].
The image we have now of the little drummer boy, which sadly also is popular at reenactments, is certainly incorrect. The drum was of such a size that a drummer had to be
physically strong, and his diplomatic function demanded a certain level of intelligence and
education. Although there was a chance that he could be wounded in battle by a bullet, it
was considered unfair to deliberately kill a drummer, -even though his role as a diplomat
would also be not without risk: one case is known of a drummer who did not survive his
mission; his body was returned to his own lines, neatly stuffed inside his drum.

The chapter De Tamburi e di simili voci di Strumenti da Guerra from: Il Torneo di Bonaventura Pistofilo Nobile
Ferrarese dottor di legge e cavaliere. Nel Teatro di Pallade dell ordine Militare, et Accademico..., Bologna, 1627,
Presso Clemente Ferrone.
4

[] La Diana, la Raccolta, Il far alto, il Fermarsi, Marciare, Cambiare, Bandire, lOrdinanza, fora fora Capitano,
Dar all armi, Scaramucciare, Serra battaglia, Allarga battaglia, Star in battaglia, Invitar il nemico a battaglia,
Rispondere alle chiamate, Volta faccia, Trottare, Galoppare, Correre, Chiamare, la Battaglia, la Ritirata, a
Vituperio, a Morte, lAllegrezza, Far fassine, e Sepelire i Morti, percio che la maggior parte delle dette sonate,
converr ancora toccare in questa occasione della Barriera, come si dir, e molte si practicheranno in riguardo
delle Inventioni. Il Torneo, page 111. The number of different signals mentioned here by Pistofilo is
interesting, especially in comparison with what is later described by Henri Hexham, or the six Calls of War by
Charles I.

11

Most likely, the melodies on the flute existed before the drum parts: someone plays a popular
tune on the fife, and the drummer plays along. This is how military music, with marches and
signals to communicate orders, must have developed in time. The work of Thoinot Arbeau,
which will be discussed later in detail, gives a first description of military music and its
function. Playing from sheet music was usually not done; they played from hearing, and thus
passed on the melodies. The quote that not one in ten thousand drummers can read music
was perhaps a bit exaggerated, but there was some truth in it5. It explains how there can be
many variations to some melodies.
I can imagine that in the 16th and 17th centuries, popular tunes were chosen to write the
signals, on one hand to make it easier to recognize for the soldiers, and on the other, to
make it easier for the musicians to play. Based on this theory, I have reconstructed the
signals in this document.

William Tansur, The Elements of Musick Displayd. Londen, 1772, printed for Stanley Crowder, sold by the
author and his son.

12

Woodcut of military instruments: kettle drums, drums and fifes. The drums have tension ropes underneath.
nd
Illustration from: Michael Praetorius, Syntagmatis Musici, 2 part De Organographia. 1619.

13

II. The six signals

In 1632, Charles I of
or Points of War:
Call
Preparative
Troop
March
Battallia

Retreat

England had six signals written down for his armies, the Calls of War
: all troops assemble and take up positions;
: the troops close the files and await their first orders;
: the troops line up for battle;
: (the English March;) is played to make the soldiers march in time;
: the troops engage the enemy: the pikemen level their pikes, the
musketeers load and fire their muskets;
: the troops make an orderly retreat.

Before these commands, a warning signal was given, i.e. the Voluntary. Different writers of
the time described several other signals; Thomas Fisher, a veteran who had fought in the
Low Countries for 26 years, mentions in his book Warlike directions6 also A gathering, A
Charge, A Reliefe, A Battery and A Call for proclamation, alas without music notations.
Pistofilo describes no less than 18 different signals again, without music notations. Several
British re-enactmentgroups portraying a regiment from the English Civil War, use also other
signals like Reveille, Tattoo and Make Ready, a signal for loading. They also wrote their own
pieces in lieu of original signals.
Henri Hexham describes in his book regarding the exercise of the Army of the States
General7 that the drummers must know how to play the following:
Reveille
: the signal for the soldiers to wake up;
Vergadering : the Call;
Charge
: the Battallia;
Retraite
: the Retreat;
Een Langzame mars [a slow march]
Een Haestige mars [a quick march]
Following the wishes of the group, I have composed six signals, based on contemporary
music, mostly using the Batali by Jacob van Eyck. These signals are:
1. Reveille
2. Assembly
3. Preparative
4. Charge
5. Retreat
6. Tattoo
These signals can be used for several different occasions, as I will discuss further in the
accompanying descriptions. There is no warning signal. Some signals are based on
contemporary melodies. This will be described with every signal.

Warlike Directions: OR THE SOVLDIERS PRACTICE. Set forth for the benefit of all such as are, or will be
Scholars of Martiall DISCIPLINE. But especially for all such Officers as are not yet setled, or rightly grounded in
the Arte of WARRE. By a Practitioner in the same Art, T. F. The second EDITION, corrected and amended,
1643.
7

Principij ofte De Eerste Gronden van de Oorloghs-Konste Ghelijckse in dese vereenichde Nederlanden
gepractiseert wort, onder het Gouvernement van sijne Hoogheyt, mijn heer den Prince van Orangien, 1642.

14

The description of the duties of a drummer [Dutch: Tamborijn or Tromslager], and of the drum-major [Tambourijn
Major], from: Henri Hexham, Principij ofte De Eerste Gronden van de Oorloghs-Konste Ghelijckse in dese
vereenichde Nederlanden gepractiseert wort, onder het Gouvernement van sijne Hoogheyt, mijn heer den Prince
van Orangien, 1642, page 2.

Soldiers of the Wrttemberg militia at the Siege of Vilingen, 1633

15

1. Reveille
The Reveille is a signal to wake up the soldiers. It is played in the morning at a time given by
the commander. After the signal, the men make themselves ready.
The composition for the Reveille is based on a very old and well known song Nu Daghet in
den Oosten [Now morning breaks]. The melody itself is quite tricky, but when simplified, it
is easily converted to a military signal. A song about dawn seemed fitting for this
reconstruction.

2. Assembly
The Assembly is played to gather the soldiers when there were messages to be read to
them. It was also played when a drummer was sent to the enemy for negotiations.
The Assembly is based on the first lines of a well known song: De Zingende SchaareSlyper, better known as Komt Vrienden in den Ronde [The singing knife grinder or Come
friends and gather round]. Here I also chose a song that fitted the signal, that could be
simplified to a signal. Although someone once told me it was played during marches, I have
not found any reference of it earlier than the late 18th century; however, there are many other
songs that have the same first line, and know the same cadence and rhythm.

Assembly

16

3. Preparative
With this signal, the soldiers are ordered to break up camp, and/or prepare to march. Also, it
can be used to prepare the soldiers for receiving orders.
The signal is based on the first lines of the Batali by Jacob van Eyck. It seemed fitting that
Van Eyck used this as the beginning of his piece. Also its simplicity makes it very useful.

Preparative

4. Charge
The Charge is a signal used in battle, that warns the soldiers that they will soon engage the
enemy. The files close, the muskets are loaded, and the pikes are levelled. It can also be
played to have the men regroup after an engagement.
This signal is based on further lines from the Batali by Van Eyck; the beginning is
somewhat the same (three short notes, one long, but now only played twice), but then
followed by a series of quick beatings. It is played to encourage the soldiers.

17

5. Retreat
This is played when the unit disengages from the fight, and needs to retreat in an orderly
fashion, i.e. to regroup. The English retreats I have found are played slowly. This piece is
based on a slow piece for flute by Van Eyck, the Courante Mars, this is also reduced to a
simple form.

Retreat

6. Tattoo
The most well known signal is the Tattoo. It is derived from the order to the innkeepers and
owners of drinking houses Doe den tap toe [Turn off the tap, Stop serving drinks]. The
watch went around the town or the village to gather the soldiers, who had to return to their
quarters after this signal was given, and were not longer allowed to walk the streets. The
term Taptoe was taken to England by the English troops in Dutch service, from which the
word Tattoo is derived. Later, the tattoo became the signal for ceasing all activities and the
end of the working day8.
Because the working day ends with this signal, I have used a dance tune, an allemande9
named Wat sal men in den avond doen [What shall one do in the evening], also known as
the allemande Slapen gaan [Going to sleep] (see also page 71). This allemande is the
first part of the signal, and can be played by a fifer and a drummer.
The second part is a drum signal, based on the last lines of the Batali by Van Eyck, the
slow finale with which the piece and the day in the life of the soldier are brought to an end.

The German word for Tattooe, Zapfenstreich, has the same origin: when the inn keeperhad to close the cask
with a bung (der Zapfen), the officier would draw a line in chalk (der Streich) over it, in order to check if the
cask had not been opened after closing time. Another explanation would be that a stroke (Streich) with the
sword would be given on the bung, signalling that the distribution of drinks should cease.
9

An allemande (from: allemagne [Germany],also: almand, almaine, almand; several ways of spelling in different
languages are possible) is a form of dance that originated in Germany. It went into decline there after 1600, but
gained popularity in France and England, and via these countries, it was again introduced back in Germany. It is a
slow step in quadruple time.

18

Tattoo

19

7. Signals of the Sealed Knot

The Royalist Regiments that are part of the Sealed Knot10 have developed signals during the
years, in order to use military music to communicate orders. A number of these signals are
written down here, that is the Preparative (make ready to receive orders), Make ready
(loading of the muskets) and the March11. These are also not original signals, but modern
interpretations, just like the aforementioned signals.

10

The Sealed Knot was founded in 1968 and is thus the oldest re-enactment society in Great Britain portraying
the English Civil War. With thousands of members, it is now also the largest re-enactment society in Europe.
Besides battle re-enactments and historical displays, they also do historical research of the period, and develope
educational material. The Sealed Knot is a registered charity. Official website: http://www.thesealedknot.org.uk/.
11

SK Royalist Drum Calls, https://www.youtube.com/watch?v=njMKkbtfn1k. Thanks to Rachel Perkins.

20

Frontispiece of the book Orchesogaphie by Thoinot Arbeau, published in France in 1589, privileged by King
Henry IV. The book was reprinted many times and is one of the most famous books on dance and music from the
16th and 17th centuries. Besides discourses about dance and music, as well as about etiquette for young
gentlemen, it also contained descriptions of military music. The book is written in the form of a dialogue between a
dancing master, Arbeau, and his pupil, Capriol.

21

III. Several marches

Drums were also used when on the march, although a specific speed or steps per minute is
never given (other than perhaps slow or fast), as in later infantry manuals. The sound of
one or more drums however is quite inspirational, one immediately starts to step up in time to
the beat. When entering a town, the command certainly would have been given to strike up
the drums, in order to have the men, marching in time with the weapons shouldered, make a
very martial appearance.
Thoinot Arbeau a pseudonym of Jehan Tabourot (1519 1595) describes in his book
Orchesographie12 the purpose of marching, and how music can aid in that: it prevents the
soldiers of getting confused, and it makes them walk faster. He describes how one would
always start marching with the left foot, as we still do today, since the left foot is weaker.
The steps are given by the drum, and the beats emphasise when the soldier must take a
step with the left foot. Arbeau gives examples of the French and Swiss manner of drumming.
It is one of the earliest mentions of military music. I will address more on this book later.
What is quite annoying is that we know that there were Dutch marches as well: Marin
Mersenne describes in 1636 English, German, Spanish and Dutch marches. But he doesnt
give any musical notations. He does confirm what Arbeau says about French and Swiss
marches13.
Songs were played as well as steps to which could be marched. The next marches are
based on well known songs of the period. Many descriptions are given how the drums must
follow the melodies played by the flutes, and this is how the marches are also composed.
NB: All melodies are written for the fife in b-flat, of which below is given the range of notes:

12

ORCHESOGRAPHIE ET TRAICTE EN FORME DE DIALOGUE, PAR LEQUEL TOUTES PERSONNES

PEUVENT facilement apprendre & practiquer l'honneste exercice des dances. Par Thoinot Arbeau demeurant a
Langres. Imprim au dit Langres par Jehan des Preyz Imprimeur & Libraire, tenant sa boutique proche l'Eglise
Sainct Mammes dudit Langres. 1589.
13

Marin Mersenne, Harmonie Universelle, contenant la Theorie et la Pratique de la Musique []. Vol. 3,
Proposition XXVIII. Parijs, 1636, Sebastien Cramisoy, Imprimeur ordinaire du Roy, rue Saint Jacques, au
Cicognes.

22

In times of peace, I change this fife into a flageolet, or I sing melodious tunes on it;
But when war comes, I will mix the accords with the drums to much more harmony.
st

th

A French depiction of a fifer, 1 half of the 17 century.

Depiction of a fife with an explanation of the fingering, from: Der FLUYTEN LUST-HOF, Vol Psalmen, Paduanen,
Allemanden, Couranten, Baletten, Airs, &c. by Jacob van Eyck.

23

1. March Wilhelmus
The Wilhelmus as we know it now [as the national anthem of the Netherlands] is the melody
written by Valerius. The melody is derived from the French soldiers song Autre chanson de
la ville de Chartres assiegee par le Prince de Cond, sur un chant nouveau or: Au la folle
enterprise du Prince de Cond, a song about the failed siege of Chartres in 1568. This
melody is livelier and was, in different settings, a popular melody to which many lyrics were
written until far into the 19th century. The melody was well known everywhere, and was
regarded as the national march of the Dutch Republic.
Here are two versions: the first is a slow version as written by Valerius, not so much a march,
but a more solemn tune to be played at ceremonies; the melody by the flutes can be
accompanied by a long drum roll. The second, here as March Wilhelmus, is a jolly
quickstep to be played when marching.

24

2. March Waer dat men sich al keerd of wend

The title is from the song Loflied op den Hollanders en den Zeeuw [Ode to the Hollanders
and the Zeelanders] from the Nederlandtsche Gedenck-clank [Netherlands Remembrance
melodies] by Valerius. The melody itself is older and known as Pots hondert duysent
slapperment. This popular melody is used among others by Bredero for his songs O
Jannetje, mijn soete beck and Nu Heereman, nu Jong gesel, but there are dozens of lyrics
written to it.

3. March Ick wou wel dat den Krijgh an ginck

This song is part of the Batali by Van Eijk; it is an old soldiers song of which the lyrics sadly
have been lost. It literally means: I wish the war would begin. The melody is also known as
Van den Kryg [Of War] in part two of Oude en nieuwe Hollantse boeren lieties en
contredansen [Old and new Dutch peasants songs and contredances].

25

4. March Slaet op den Trommele

This song comes from Een nieu Geusen Liedtboeck [A new Sea-beggars song book] and
can be found in several song books until today, which says enough about its popularity. The
melody is a bit tricky, but it is very pleasant in two voices.

26

Frontispiece of Il Torneo by Bonaventura Pistofilo, 1627. The book is a manual for the knight for the tournament
and for war. It holds manuals for the pike, halberd, several other weapons and the musket. Many of the texts
regarding military music are copied from the book Oplomachia which was written by Pistofilo six years earlier.

27

IV. Marches and music from other countries

Drummers had a special status in the 17th century, because they also acted as diplomats. A
drummer had to know the marches and music from other countries as well. As I mentioned
before, there were several national marches, and just as today we know the national
anthems of other countries, so did they know the national marches of the time of other
nations. Gawen Smithe solicited in 1587 for the job of drummer, and listed the twelve
different national marches he knew:
Thenlishe Marche, Thallmaigne Marche, The Flemish Marche, The French
Marche, The Pyemonnt Marche, The highe Allmaigne, The Gascoigne Marche,
The Spanish Marche, Themperours Marche, The Italian in postr.,The Battery,
The Italian at length, Besides all manner of Dannces and songes to be sownded
on the Drume wth the fyffe.

Cadences
The aforementioned Thoinot Arbeau describes in his book a cadence used by the French
troops. It is of eight counts, of which the first five are beaten; one steps with the left foot on
every first and fifth beat, and with the right foot on every third and seventh beat. This is not a
national march, but a common step used by the French troops in that period. Arbeau then
gives examples of variations of these beats, of which the basis, - beats on the first five
counts,- remains the same:

28

Arbeau emphasises that here should be no drumbeats on every count, in order to prevent
the soldiers stepping on the wrong beats. As an example he mentions the Swiss drummers,
who give a rest on every fourth beat, and three counts of rest after the fifth:

[Arbeau: The drummer of the Swiss gives a rest after the third count and three
counts of rest at the end; but it comes down to the same, because the foot is
always put down on the first and fifth count.
Capriol: this manner of marching to the drum looks very good when executed
properly.]

In a modern transcription, these cadences are written down as followed:

French March

Swiss March

29

2. Ordinances from Oplomachia and Il Torneo

The books by Bonaventura Pistofilo appeared 32 and 38 years respectively after the first
edition of the Orchesographie. In Oplomachia, he describes the benefit and purpose of
military music. The French cadence of five beats, as described by Arbeau, are also
mentioned as a cadence to march to. Instead of a musical notation, he gives a phonetic
notation, as in ta pa ta pa ta. These five beats can also be used for executing the different
manuals of arms in three movements, executing each movement on the 1st, 3rd and 5th beat.

A part of the chapter Dell osservatione del tempo del tamburo, page 52 and 53; and illustrations nrs. 6, 7 and 8
(page 61), from Pistofilos Oplomachia. The illustrations show the movements with the pike, executed in three
steps. In order to have the soldiers execute the order in unison, the drum is beaten to signal the movements. The
st
rd
th
three movements are executed on the 1 , 3 and 5 beat.

30

In Il Torneo, he compares the different styles of different countries. He describes how every
cadence to which the knight or soldier marches (which he calls ordinanza, - ordinance or
order,) consists of a number of steps. The Spanish order is in five or seven steps, whilst the
Italian is in four. The steps in the Spanish, French, Neapolitan, Italian and German styles
consist of five beats, the Swiss of four. After every series of beats, the drummer pauses or a
number of beats (Spanish and Neapolitan), or the drummer strikes an extra beat (Italian).
Here also, it is given that a step is taken on every 1st, 3rd and 5th count. According to Pistofilo,
the French and Swiss styles are quicker than the Italian and German styles. He further
describes that the Spanish and Neapolitan styles are quite similar, though the first uses
much more elaborate strikes like double beats and quick short beats (trillos).
Unfortunately, Pistofilo keeps it short, and only gives a further comparison to Italian and
Spanish ordinances, because these are quite similar to each other anyway (although he says
that anyone my correct him on this if this would not be the case). He distinguishes between
ordinances in two measures and four measures. He points out with each ordinance how
many steps a soldier must take, and when to make the step. Below, each ordinance is
written down twice as a cadence; the upbeat is a warning signal for the soldier, used to give
the soldier time to lift up his foot. [Note: maat means measure, red.]

Italian ordinances in two measures

Spanish ordinance in two measures

31

The Spanish Ordinance in four measures, from Il Torneo, page 122.

The ordinance is written down twice; the first ordinance is like it should be played, as an explanation, the
phonetic notation (ta, pa and ra) is also given; with the second, the numbers are given when the soldier is
supposed to take a step. The symbol
below the first notes signals the upbeat to which the soldier lifts up his
foot, so that he can place it sown on 1. The stems on the notes signify if the beat should be struck with the left- or
right drum stick. The double notes signify a double stroke, at which one beat should be given slightly before the
nd
th
other. The 3 above the notes signify a trillo, a short series of three strokes (two 1/32 and a 1/16 beat).
Finally, the dot above the note signifies that this beat should be struck louder.

32

Italian ordinance in four measures

Spanish ordinance in four measures

With the Ordinances in four measures, we see with the Spanish ordinance some symbols,
these being the double stroke (with the first notes) and a trillo, a series of three quick beats
(two 1/32nd beats and one 1/16th beat). According to Pistofilo, the knights must pause after
every four or five steps (after which they can decide to start with the right foot instead of the
left with the next series of beats), the common soldier must keep marching.
Pistofilo was hoping that some day, a universal military march would be developed which
would be used by all knights. However, his intentions were better than the ordinances he
wrote.

33

3. The English March

What is truly a national march is the English March. This march was established by King
Charles I of England, but is much older, presumably even from the 15th century. Charles
hated it that drummers played several variations to it, and opposed these frivolities as much
as possible. With this warrant, every drummer was expected to play the same.
Thomas Fisher describes in his book Warlike Directions the necessity of the soldiers to
know the march, and for the drummers to play in unison:
I have thought meete for the benefit of each Drummer which is not yet perfect in
the March, to prick downe the old English March newly revived in the plainest
forme I could invent. Wishing that all Drummers would leave off other forms
invented, either by themselves, or others herein unskilfull, that there may be an
uniformitie in this Kingdome, as in all other Nations.
The march is preceded by the Voluntary, a warning signal for the troops.

34

Above:
An example of the warrant of 1632, with
which the English March was established by
King Charles I. Copies of this warrant were
sent to all districts, in order for all the
drummers to learn it. This copy was sent to
William Stanley count of Derby, and his son.
Right:
The English March, from the library of
Samuel Pepys ( 23 February 1633 26 May
1703).

35

4. English signals
Besides the March and the Voluntary, there were five other signals, as mentioned earlier, the
so-called Calls of War. These have been included here for the sake of completeness.

36

5. The Scots March

Scotland, as an independent nation, also had its own march. The Scottish troops in service
of the Dutch Republic will certainly have brought this march with them. We know from the
memoirs of the Scottish officer Robert Monro, who served in the Swedish army, that the
Dutch troops knew this march as well; he writes about an action on March 24th 1632:
[] his Excellence the Rex-chancellor caused the Dutch Regiments marching
towards the enemy, to beate the Scots march, thinking thereby to affright the
enemy; but it fell out contrary; the Dutch that marched in the Van with the Scots
march being charged by the enemy, made a base retreate, []14

14

Robert Monro, MONRO, HIS EXPEDITION WITH THE WORTHY SCOTS REGIMENT (CALLED Mac-Keys
Regiment) [], Part II, page 113.

37

6. Marche de Henri IV
This march, also known as Vive Henri IV or Vive
le Roi Henri, is a very well known song in honour
of the popular king Henri IV of France (13
December 1553 14 May 1610). The melody
comes from Toinot Arbeau; it is the dance
Cassandre, a Branle Coupp from the
Orchesographie.
The lyrics were written not much later on a variant
of the melody. The song became very popular and
was regarded as the national anthem of France.
During the Restoration of the Bourbon dynasty
after the Napoleonic era, new lyrics were written to
the melody, which were thought to be more
dignified and suitable for royalty, instead of the
original, more bawdy lyrics (see page 68).

Left: the original melody of the dance Cassandre from the

Orchesographie.

38

7. Ottoman music
What many drummers play nowadays is a simple cadence that followed the steps of the
soldiers: left left left right left.... It is not completely unauthentic, because it is
Ottoman, and forms the basis for a lot of Ottoman military music. In a modern transcription, it
looks like this:

Ottoman march

This cadence can be heard in the Turkish music by among others Mozart and Beethoven.
Although Ottoman music was not unknown in Europe, and many percussion instruments
were introduced in military bands (called Turkish music), it is unlikely that Turkish marches
would be played. Only in the 18th century, Ottoman musicians were brought over to teach
European musicians to play Turkish music.

Page 40: Three prints form the series Les Misres et Les Malheurs de la Guerre by Jacques Callot, 1633,
printed with the Kings privilege. This series of 18 prints (including a frontispiece) show the horrors of war.
Soldiers plunder villages, are executed by hanging, burning or at the stake for several offenses, are wounded or
get killed in battle, and those who survive are murdered by vengeful peasants.
Top: plate 2, Lenrlement des Troupes; when enlisting new recruits, the drum is uses as a table for writing.
Middle: plate 11, La Pendaison; beneath a tree, where soldiers are hanged, soldiers are throwing dice on a
drum to gamble for the possessions of the convicts, as the Roman soldiers did under the cross on which Jesus
Christ was crossed (Matthew 27:35, Luke 23:34).
Bottom: plate 17, La Revanche des Paysans; peasants ambush soldiers and take revenge for the years of
plundering. A drum lies torn in the background.

39

40

PART 2.

41

V. Popular melodies
As said earlier, military music developed out of popular melodies. Since the forming of
professional military units, soldiers developed their own songs, which found their way back
into society. An example are the songs of the Landsknechten and Reislufer, the German
and Swiss mercenaries of the 15th and 16th centuries, who developed their own culture in
regards of clothing, habits and music. These songs tell of the harsh life of the soldier, which
is always precarious: sometimes things go well, theres enough food and drink and the
comfort of a beautiful woman, but more often times are bad and there is want of everything.
These songs were, together with lots of other material, reprinted regularly in songbooks.
During the 17th, 18th and 19th centuries, several editions were printed of song books, which
preserved many songs. For a long time, these were regarded as common, but these books
gained a renewed popularity in the 19th and 20th centuries. Many songs were rediscovered;
they were mentioned and played again, whereby it was not uncommon to write more modern
versions.
A number of songs and melodies are gathered here from original sources or later editions.
Together, they give a good example of music from the 16th and 17th centuries. These songs
have been chosen mostly because they are soldiers or drinking songs, and because many
of the melodies came from abroad to the Netherlands, to which new lyrics were written; one
example is the song about the siege of Grol, which originally was a Christmas song from
Catalonia.

Above: Delft blue tile, showing a drummer from the rear.

Page 41: Drummer and Fifer, etching by Rudolph Meyer (1605 1638).

42

Neemt mij in der hand,

Hoort in t kort verklaren
Wat ons hier in t land
Al is wedervaren.

This round for four voices is the opening tune of the Neder-landtsche Gedenck-Clanck
[Dutch Remembrance Melody] by Valerius, which tells of the history of the Dutch Revolt up
to then, in several songs.

43

1.

Wilhelmus van Nassouwe,

Ben ick van duytschen bloet,
Het Vaderlant getrouwe,
Blijf ick tot 'sLants behoet,
Een Prince van Oranjen
Ben ick vry onverveert,
Den Coninck van Hispanjen
Ick altyt hebb' ge-eert.
2.
In Godes vrees te leven
Heb ick altyts getracht;
Daerom ben ick verdreven,
Van Lant en goet gebracht,
Maer God sal my regeeren,
Als een goet instrument,
Dat ick sal wederkeeren,
Noch in mijn regiment

5.

3.
Lyd' u myn ondersaten,
Die oprecht syt van aerd,
God sal u niet verlaten,
Al syd' ghy nu beswaert,
Die vroom begeert te leven,
Die bidde nacht en dag,
Dat God my kracht wil geven
Dat ick u helpen mach.

6.

4.
Lyf, goet, en al te samen
Heb ick u niet verschoont
Myn broeders hoog van namen,
Die hebben't oock betoont.
Graef Adolf is gebleven
Te Vrieslant inden slag
Syn siel, in 'teeuwig leven,
Verwacht den jongsten dag.

7.

Een edel Prins geboren

Van Keyserlick geslacht
Een Vorst des rijcx verkoren
Ick altydt ben geacht.
Voor Godes woord en leere
Heb ick vry onversaegt,
Gelyck een held met eere
Myn edel bloet gewaegt.

Mijn schilt en myn betrouwen

Zyt ghy (o God myn Heer!)
Op u soo wil ick bouwen;
Verlaet my nemmermeer:
Op dat ick vroom mach blyven,
U Dienaer t'aller tyt,
De tyranny verdryven,
Die menigh hert doorsnyt.

Voor al die my beswaren

En myn vervolgers zijn,
Wil my (o God!) bewaren
In desen droeven schyn.
Dat sy my niet verrasschen
In haren boosen moet,
Haer handen niet en wasschen,
In myn ontschuldig bloet.

44

8.

12.
Soo het de wil des Heeren
Had op die tydt geweest
Ick had wel willen keeren
Van u dit swaer tempeest
Maer d'Heere van hier boven
Die alle ding regeert,
En die elck een moet loven,
En heeft het niet begeert.

Als David moste vluchten

Voor Sal den tyran;
Soo heb ick moeten suchten
Met menig Edelman:
Maer God heeft hem verheven,
Verlost uyt aller noot,
Een Coninckryck gegeven
In Israel seer groot.
9.
Van God den Heer oock 'tsoet.
Waer kan meer na verlangen
Myn Vorstelick gemoet,
Dan dat ick hier mach sterven
Met eeren in het veld,
En't eeuwig ryck beerven,
Als een getrouwen held?

13.
Seer Christlick was gedreven
Myn Princelyck gemoet,
Stantvastich is gebleven
Myn hert in tegenspoet.
Den Heer heb ick gebeden
Uyt mynes herten gront,
Dat hy myn saeck en reden
Uytvoere t'aller stont.

10.
Niet doet my meer erbarmen
In mijn swaer ongeval
Dan datmen siet verarmen
Des Conincx Landen al.
Dat u de Spanjaerts krencken
O edel Nederlant!
Als ick dat gae bedencken,
Myn edel harte brant.

14.
Oorlof mijn arme schapen,
Die zijt in grooten noot,
U Herder sal niet slapen,
Al lijdt ghy veel aenstoot.
Tot God wilt u begeven,
Syn heylsaem woord neemt aen,
En een vroom Christen leven:
Want 'tis hier haest gedaen.

11.
Als een Prins opgeseten
Blyf ic met myn heyrkracht
Vanden tyran vermeten,
Heb ick den slag verwacht,
Die by Maestricht begraven
Zeer vreesde myn gewelt,
Myn ruyters sachmen draven
Zeer moedig door het velt.

15.
Voor God wil ick belijden
En voor zijn groote macht,
Dat ick tot geenen tijden
Den Coning heb veracht;
Dan dat ick Godes eere
Most voorstaen aldereest,
Gehoorsaemheyt den Heere
Bewysen moste meest.

Nae 'tsuer sal ick ontfangen,

This song is an acrostic: the first letters together form the name WILLEM VAN NASSOV.
More lyrics were written to this melody; there are several in the Een nieu Guese Liede
Boecxken [A new Beggars Song Book] like Hoe die Spaensche Hoeren comen claghen,
om datmen de Spaengiaerts wil verjaghen [The Lamentation of the Spanish Whores about
the Spaniards being driven away]15, Van die incoemste van de Princersse [The Princess
Entry]16 en Een Claechliedt over de vermaerde Coopstadt van Antwerpen [Lamentation
over the commercial town of Antwerp]17.
15

Folia f98r, song nr. 70.

16

Folia 106v, song nr. 69.

17

Folia 135v, song nr. 86

45

46

47

Ein schn Lied, zun ehren gemacht dem Prinzen von Uranien.
Im Thon wie der Graff zu Rom. (1582)
1.
Wilhelmus von Nassawe
bin ich von teutschem blut,
dem vaterland getrawe,
bleib ich bis in den todt,
Ein printze von Uranien
bin ich frey unerfehrt,
den knig von Hispanien
hab ich allzeit geehrt.

6.
Mein schild und mein vertrawen,
bistu o Gott mein herr,
auff dich so wil ich bawen,
verlas mich nimmer mehr,
Das ich doch from mag bleiben,
dir dienen zu aller stund,
die tyranney vertreiben,
die mir mein hertz durchwund.

2.
In Gottes forcht zu leben,
hab ich alzeit betracht,
darumb bin ich vertrieben,
um land und leut gebracht,
Aber Got sol mich regieren,
als ein gut instrument,
das ich mag widerkehren,
wol in mein regiment.

7.
Von allen die mich beschweren,
und mein verfolger sein,
mein Gott wlst doch bewaren,
den trewen diener dein,
Das sie mich nit verraschen,
in jhrem bsen mut,
jr hende nit thun waschen,
in meim unschligen blut.

3.
Leid euch mein untersassen
die auffrecht sein von art,
Gott wird euch nicht verlassen,
all seit jhr nun beschwert,
Wer from begert zu leben,
der bitt gott nacht und tag,
das er mir krafft wll geben,
das ich euch helffen mag.

8.
Als David muste fliehen,
for Saulo dem tyrann,
so hab ich mssen weichen,
mit manchem edelman,
Aber Gott thet jhn erheben,
erlsen aus aller not,
ein knigreich gegeben,
in Israel sehr gros.

4.
Leib und gut als zusammen,
habe ich nit gespart,
mein brder hoch mit namen,
haben euch auch verwart,
Graff Adolff ist geblieben,
in Friesland in der schlacht,
sein seel im ewigen leben,
erwardt den jngsten tag.

9.
Noch sawr werd ich empfangen,
von Gott meim herren das s,
darnach so thut verlangen,
mein frstlich gemt,
Das ich doch mge sterben,
mit ehren in dem feld,
ein ewigs reich erwerben,
als ein (so) getrewer heldt.

5.
Edel und hochgeboren,
von keyserlichem stamm,
ein frst des reichs erkoren,
als ein from christenman,
Fr Gottes wort geprisen,
hab ich frey unverzagt,
als ein held ohne furcht
mein edel blut gewagt.

10.
Nichts thut mich mehr erbarmen,
in meinem widersput,
denn das man sicht verarmen,
des knigs landen gut,
Das euch die Spanier krencken,
o edel Niderland gut,
wenn ich daran gedencken,
mein edel hertz das blut.

Pages 46-47: The oldest publication of the Wilhelmus, from the Brussels Manuscript, around 1570. On the right
page is written: Composed and Written by Master Philips van Marnicx van Sinte Aldegonde excellent poet. The
illustration show horsemen from Captain Bexkens Company who showed the enemy inhumane conduct.

48

11.
Als eim printz auffgesessen,
mit meiner heereskrafft,
wol von dem feind vermessen,
hab ich die schlacht verwacht,
Der bey Mastrich lag vergraben,
befrchtet mein gewalt,
mein reuter sach man traben,
sehr mutig durch das feld.

13,
Sehr christlich war getrieben,
mein frstelich gemt,
standhafftig ist geblieben,
mein hertz in widerspt,
Den herrn hab ich gebeten,
aus meines hertzen grundt,
das er mein sach wll richten,
mein unschuld machen kundt.

12.
So es der wil des herren,
auff die zeit wer gewest,
het ich gern wllen kehren,
von euch dis schwere tempest,
Aber der herr dort oben,
der alle ding regiert,
den man alzeit mus loben,
der hat es nit begert.

14.
Urlaub mein armen schaffen,
die sein in grosser not,
ewer hirt der sol nit schlaffen,
und seid jhr nun verstrewt,
Zu Gott wlt euch begeben,
sein heilsam wort nempt an,
als fromme christen leben,
sol hie bald sein gethan.
15.
Vor Gott wil ich bekennen,
und seiner grossen macht,
das ich zu keinen zeiten,
den knig hab veracht,
Dann das ich gott den herren,
der hchsten maiestet,
hab mssen obedieren,
in der gerechtigkeit.

Here, the acrostic form the name WILLEM VON NASSUV; another German version spell out the name as
WILLEM VON NASSAUW .
From: Lieder-Bchlein, Darinn begriffen sind Zwei hundret und sechtzig Allerhand schner weltlicher Lieder,
allen Jungen Gesellen und zchtigen Jungfrawen zum newen Jahr, in Druck verfertiget [Das Ambraser
Liederbuch], 1582. Reprinted in 1845 by Joseph Bergmann.

49

Chanson composee la loange et hoeur de Monseigneur le Prince d'Orange: Selon le

translateur Flameng, dont la lettre capitalle de chacun vers porte le n de son Excellce.
Et se chante sur la mesme vois.
A savoir de Chartre. (1582)
1.
Guillelmus lon m'appelle
de Nassau sans remord;
la patrie fidelle
seray iusqu' la mort;
ie suis Prince d'Orange
francq et sans nulle peur,
i'ay faict au Roy d'Espaigne
toute ma vie honneur.

7.
Enten moy et me garde,
mon Dieu, encontre tous
qui apres moy font garde,
car ie suis ton serf dous;
garde moy de l'outrage
des tirants inhumains,
et qu'en mon sang leur rage
ne lavent, et leur mains.

2.
Vivant en bonne crainte,
Dieu suivre fay debvoir;
pourtant faut par contrainte
hors mon pays me voir;
mais Dieu par me conduire
comme un bon instrument,
me fera tout reduire
en mon gouvernement.

8.
David fut mis en fuite
par Saul le tirant;
aussi ay-je eu poursuite,
du danger me tirant
avec maint gentil-homme;
mais Dieu l'a relev,
luy donnant le royaume
d'Israel eslev.

3.
Instamment en souffrance
ne serez peuples miens;
ayez donc esperance
en Dieu gardant les siens;
et qui luy s'adonne,
le prie nuict et iours,
que sa force il me donne
pour estre leur secours.

9.
Estant d'angoisses quitte,
recevray la vigueur
de mon Dieu, qui m'aquite
de misere et langueur;
voila pourquoy desire,
comme un bon campion,
de mon corps au camp gire
pour regner en Sion.

4.
L'Eternel peult cognoistre
si de mon bien et corps
ne vous ay faict paroistre
iusqu' mes freres forts:
le Conte Adolf en Frise
mourut en combatant,
son ame s cieux transmise
le dernier jour attent.

10.
N'estoit que ie vous aime
o noble Pays bas,
pas ne feroy d'estime
de vous voir mis au bas;
mais l'Espagnol vous gaste
o bon pays du Roy,
o nations ingratte,
mon coeur pleure d'esmoy.

5.
Ayant ma progenie
des grands nobles empereurs,
suis de la Germanie
un des esleu seigneurs;
parquoy sans crainte ou doute
de Dieu tiendray la loy,
voire tant qu'auray goute
de noble sang en moy.

11.
Attendant la bataille
comme un prince romain,
mes gents en plain camp baille
pres Mastrecht, ou soudain
le tirant, par grand crainte,
son camp a remparez,
ou mes reytres emprainte
trotter en plain terrez.

6.
Mon bouclier et defence
c'est toy, mon Seigneur Dieu,
sur toy i'ay esperance,
conduis moy en ce lieu,
a fin qu'en ton service
ie demeure constant,
et dechasse le vice
du cruel inconstant.

12.
S'il eust est l'heure
de Dieu la volont,
sans plus longue demeure
du joug vous eusse ost;
mais le Dieu debonnaire
qui tout ordonn,
ne vous voulut complaire;
gloire luy soit donn.

50

13.
Si comme un noble Prince
tousiours estois poussez,
or qu'angoisse m'advince
nen futz oncq repoussez;
mais prenant patience
i'ay pri l'ternel,
faire innocence,
cognoistre que suis tel.

14.
Adieu mes brebiettes,
ne vueilles sommeiller;
combien qu'esparses Estes
le pasteur veut veiller;
vueilles donc tout ensuivre
Iesus Christ le parfaict;
des paines d'icy vivre
tantost serons deffaict.

15.
Un jour devant la face
de Dieu feray paroir
que ie n'ay par audace
rien faict de mon voloir;
mais mon Dieu me commande
d'executer sa loy,
voila pourquoy me bande,
ne mesprisant le Roy.

GVILAME DE NASSAV

Song on a loose leaflet in the collection of the Royal Library in The Hague.
From: Fl. van Duyse, Het Oude Nederlandse Lied Wereldlijke en geestelijke liederen uit vroegeren tijd,
Volume 2, 1905.
.

51

1.
Slaet op den trommele van dirredomdeine,
slaet op den trommele van dirredomdoes,
slaet op den trommele van dirredomdeine,
Vive le Geus is nu de loes.
2.
De Spaensche pocken, licht als sneeuw vlocken,
de Spaensche pocken, loos ende boos,
de Spaensche pocken, onder s Paus rocken,
de Spaensche pocken groeyen altoos.
3.
De Spaensche Inquisitie, voor Godt malitie,
de Spaensche Inquisitie, als draecx bloet fel,
de Spaensche Inquisitie ghevoelt punitie,
de Spaensche Inquisitie ontvalt haer spel.
4.
Vive le Geus! wilt christelick leven,
Vive le Geus! houdt fraye moet;
Vive le Geus! Godt behoed u voor sneven,
Vive le Geus! edel christen bloet.
5.
De Paus en Papisten, Godts handt doet beven,
de Paus en Papisten, zijn teynden haer raet;
de Paus en Papisten, wreet boven schreven,
ghy Paus en Papisten soect nu oflaet.
52

6.
Oflaet in tijts noch, Godts woort te krencken,
oflaet in tijts noch, u godtloos spel;
oflaet in tijts, och wilt u bedencken
oflaet in tijts, en valt Godt niet rebel.
7.
Tswaert is getrocken, certeyn Godts wraec naect,
tswaert is ghetrocken, daer Joannes aff schrijft;
tswaert is ghetrocken, dat Apocalipsis maect naect,
tswaert is ghetrocken, ghy wert nu ontlijft.
8.
Tonschuldich bloet, dat ghy hebt verghoten,
tonschuldich bloet roept over u wraeck;
tonschuldich bloet te storten heeft u niet verdrooten,
tonschuldich bloet, dat dronct ghy met den Draeck.
Granvelle
9.
U vleyschen arm, daer ghy op betroude,
u vleyschen arm beswijckt u nou;
u vleyschen arm, die u huys boude,
u vleyschen arm wijckt van u schou.
Prince
10.
Princen der princelijcker Geusen Prince,
princelick met u gheest haer doch regeert;
princelick drijvense u eer, aldus bemintse,
princelick wert u rijck alsdan vermeert.

53

1.
Merck toch, hoe sterck nu int werck sich al steld,
Die t allen tij soo ons vrijheit heeft bestreden.
Siet hoe hij slaeft, graeft en draeft met geweld
Om onse goet en ons bloet en onse steden.
Hoor de Spaensche trommels slaen!
Hoor Maraens trompetten!
Siet hoe komt hij trecken aen
Bergen te besetten.
Berg op Zoom, hout u vroom,
Stut de Spaensche scharen;
Laet s Lands boom end sijn stroom
Trouwelijk toch bewaren.
2.
t Moedige, bloedige, woedige swaerd
Blonck en het klonck dat de voncken daeruijt vlogen.
Beving en leving, opgeving der aerd,
Wonder gedonder nu onder was, nu boven;
Door al t mijnen en t geschut,
Dat men daeglijcx hoorde.
Menig Spanjaert in sijn hut
In sijn bloet versmoorde.
Berg op Zoom hout sich vroom,
t Stut de Spaensche scharen
t Heeft s Lands boom end sijn stroom
Trouwelijck doen bewaren.
3.
Die van Oranjen quam Spanjen aan boord;
Om uijt het velt als een helt t gewelt te weeren;
Maer also dra Spinola t heeft geen gehoord,
Treckt hij flox heen op de been met al sijn heeren.
Cordua kruijd spoedig voort,
Sach daer niet te winnen.
Don Velasco liep gestoort:
t Vlas was niet te spinnen!
Berg op Zoom hout sich vroom,
t Stut de Spaensche scharen
t Heeft s Lands boom end sijn stroom
Trouwelijck doen bewaren.

54

1.
Waer datmen sich al keert of wend,
End waermen loopt of staet;
Waer datmen reijst of rotst, of rend,
End waermen henen gaeet.
Daer vintmen, tsij oock op wat Ree,
DHollander endde Zeeuw,
Sij loopen door de woeste Zee,
Als door het bosch de Leeuw.

4.
't Vereenigd' vry-gevochten volck
maeckt Spanjen d' oorlog' moe,
sulcx dat hy zynen vreden tolck
dit land moet senden toe;
wie soud' oyt hebben dit gedacht,
dat d' hoogmoet van Papou,
dat soo een groote, trotse macht
so buygsaem worden sou?

2.
In koud en heete Landen al,
Gelegen Zuijd of Noord,
Of Oost, of West, op berg n dal,
Men van haer spreecken hoort.
Sij krijgen menig Schip en Boot
Wt t Indiaensche Rijck.
Daer zijn geen Volcken, oock hoe groot,
In veelen haers gelijkck.

5.
Venetiaen en Savoyard,
met and're volck'ren veel,
hadd' Spanjen oock al me verward
en sat haer op de keel;
hy meynd', hy soud'se slocken op,
gantsch dempen en verslaen:
maer 't Staten volck op Spanjaerts kop
daer self haest heeft gegaen.

3.
Het drijft haer alles op de hand.
Hoe menig Schip en Schuijt
Beseijlter wel dit soete Land?
Of tijdvan hier oocl uijt?
Wat vaerter menig of en an?
Wat komt haer al niet voor?
Daer met shaer handel drijven dan
De heele Werelt door.

6.
O Neerland! so ghij maer en bout
Op God den Heer altijdt,
V pijlen tsaem gebonden hout,
End tsaem eendrachtig zijt;
So kan u Duijvel, Hel noch Doot,
Niet krencken noch vertreen,
Al waer oock Spanjen noch so groot,
In s werelts machten een.

55

Een Nieu Liedeken vande Berchse soldaten,

hoe sy de stadt aen Parma vercochten. (1589)
Tune: Tedesca, also known as: Bruinsmadelijn

1.
Seght, ghy Bergsche soldaten,
hoe waert ghy so gesint,
dat ghy hebt gaen verlaten
't welck u wel had gedient?
Moet ghy nu niet met my bekinnen,
dat ghy waert berooft van sinnen
end' oock al siende blindt?
2.
Had ghy niet be[s]t ghebleven
vereenicht met Hollant,
want het was u vergeven
al u groot onverstant;
ghy moet nu be[s]t u cragen wagen,
en daer toe meer slaghen dragen,
nu ghy diendt den vyant.

5.
Mager Heyn, wilt hooren,
was edel van persoon,
een papen kint geboren,
daer toe een hoeren soon;
alsulck ghespuys was daer den adel,
saten als graven inden sadel,
blinckten van goude schoon.

3.
U weelde gaet verkeeren,
ghy meucht wel wesen gram,
ten Bergh waert ghy als heeren,
elck hoer scheen een madam;
Neus en Leckerbeet vileyne,
langhen Floor en magher Heyne
was daer den hoogen stam.

6.
Vyerslot had oock besteken
een Judas spel seer vals,
te Bergen ist gebleken,
daer van is veel geschals;
dits oock een boer van zijnen vader,
en daer toe een lant-verrader,
hy can Spaens ende Wals.

4.
Dit waren d' Edelmannen
die daer hadden bevel;
Jan van Maestricht gebannen,
ook Spillebeen kent men wel,
oock Lenaert Spronck en Houte Pen,
alsulcken volck vreesde men;
wat docht u van dat spel?

7.
Eerst waerdy als Romeynen
geacht en oock befaemt,
maer nu zydy vileynen
van alle man genaemt,
om dat ghy ginckt den Bergh vercoopen
ende zijt daer uyt gheloopen
als schelmen onbeschaemt.

56

8.
Daer toe oock al u daden,
die ghy daer hebt ghedaen,
gaet ghy nu selfs versmaden,
den Spaengiaert hangen aen;
ghy moet nu nae haer pijpen danssen,
't sy voor steden oft voor schanssen;
u loon suldy ontfaen.

14.
Ghy kreeght wel uwen wille,
beloften schoon van als,
maer swegen al stille,
haer hert docht binnen vals;
ghy hebt aen haer veel trots bedreven,
dat en sullen sy niet vergeven,
maer brengen u om den hals

9.
Moetwilligh waerdy seere
tegen reden en recht,
ghy woudt selfs blijven heere,
nochtans waerdy maer knecht;
den heere die ghy hadt ghesworen,
die en woudy geensins hooren,
u saecken stonden slecht.

15.
Sy sullen daer op toeleggen
om te corten uwen steert;
men salt 't noch hooren segghen,
want ghy zijt straffens weert;
ten Bergh en waerdy niet om dwinghen,
sy sullen u hier en daer voortbringhen
te voet en oock te peert.

10.
Die u mosten betalen,
stont ghy ten dienste niet,
dus zydy sonder falen
wel weert wat u geschiet;
God en wil dat niet gehingen
dat den knecht zijn heer sal dwingen;
dus naeckt u swaer verdriet.

16.
Ghy sult nu singhen hooren,
in een Latijns beduyt,
van eenen Paep geschooren
sijn snorcken overluyt;
ghy sult nu leeren nijgen en stuypen,
smorgens vroegh een misken suypen
al eer ghy rijt om buyt.

11.
Waerom woudy niet hooren
nae de heeren valjant
van Dordrecht uytvercooren,
die daer stelden te pant
haer lijf en goet tot een verstijven,
dat ghy soudt daer binnen blijven,
betalen u contant.

17.
Ghy hebt veel quaets bedreven
aen man, vrou ende kint,
die ghy brocht om haer leven,
't was vyant ofte vrient;
u leven dat ginck Godt verdrieten,
ghy sult comen al te nieten,
u straffe die begint.

12.
Cornels en capiteynen
hebben getekent daer,
die 't metter herten meynen
als dat ghy sout voorwaer
tot alder tijt de stadt bewaren,
soo ghy deedt voorleden jaren;
maer ghy zijt nu onclaer.

18.
Ghy zijt nu wel bedegen
met den duyvel van Dort,
nu ghy hem hebt gecreghen
die zijn leven vercort;
men sach hem binden ende smijten,
hy moet zijnen doot stront schijten
als hy gevangen wort.

13.
Den Spangiaert sal u trouwen
met woorden wel bedocht,
denct oft u is berouwen,
dat ghyse hebt aengesocht;
u hoogen moet en mach niet baten;
nu ghy hebt de stadt verlaten,
sydy oock al verkocht.

19.
Oorlof int concluderen,
dit dient oock wel verhaelt,
dat sy nu vast mineren
die ten Bergh zijn betaelt;
hier of daer wort d'een ghevanghen,
en de rest mach worden ghehangen,
verdienste niet en faelt.

57

20.
Ick bid u, trou soldaten,
betracht altijt u eer,
en wilt oock niet verlaten
den dienst van uwen heer;
al quam u schoon den vyant terghen,
't sy voor Heusden of voor Bergen,
end' ander steden meer.

21.
Hout u cloeck als Romeynen,
getrou tot inder doot;
en slacht niet de vileynen,
en vreest geenen aenstoot;
fy hen! alle die overloopers
ende oock die stee vercoopers,
haer schanden die is groot.

22.
Prince, Heer en Godt almachtich,
eeuwich ghebenedijt.
u stercke hant seer crachtigh
voert voor ons uyt den strijdt;
al 't voornemen van ons vyanden
wilt dat maken heel ter schanden,
want ghy ons heylant zijt.

This melody is the Danza Tedesca (German dance) by the Italian composer Giorgio
Mainerio (around 1635-1582) from his Il primo libro de balli18. The next melody also comes
from this book, the Danza Ungaresca or Hungarian Dance19.

18

Giorgio Mainerio, Il primo libro de balli accomodati per cantar et sonar d'ogni sorte de instromenti di Giorgio
Mainerio Parmeggiano Maestro di Capella della S. Chiesa d'Aquilegia. Venice, 1578, Angelo Gardano.
19

Hungarian lyrics to this melody first appeared in the Vsrhelyi Dalosknyv, a Hungarian book with songs and
dances from 1672.

58

Tune: Finche avro vita

1.
Als wy soldaeten t'saem te velde gaen,
trompetten, trommelen seer lustigh slaen,
den boer geeft ons den wijn,
al ist hem pyn.
[:Gheen blyder tocht;
dat 'taltydt dueren mocht.:]
2.
Maer als wy liggen in 's vyandts gewest,
om ons te moorden ieder doet syn best;
windt, reghen, hitt' en vorst,
hongher en dorst.
[:Zelden genucht,
die niet en wordt besucht.:]

59

Gebedt voor de belegeringe van 's Hertogen-bos

Tune: Te rogamus audi nos, from the Litaniae Omnium Sanctorum.

1.
Ghy die in den Hemel woont
En van daer de Vorsten croont
Die hier wagen goet en leven
Om den vyant te doen beven
Die vertredet uwe eer.
Wilt ons horen lieve Heer.

5.
Weest gestadich aen sijn sy
Als hy op de batery
Spelet met zijn grove ballen.
Laet de muyren voor hem vallen,
De rondelen storten neer.
Wilt ons horen lieve Heer.

2.
Gevet den Nassouschen helt,
Die getogen is te velt
En, versien met cloecke mannen,
Heeft zijn tenten wtgespannen
Voor den Bos, al sijn begeer.
Wilt ons horen lieve Heer.

6.
Neemt den vyant zijnen moet,
Neemt hem wijsheyt ende spoet,
Neemt hem coren ende haver,
Neemt hem crijger ende graver,
Neemt hem harnas en geweer.
Wilt ons horen lieve Heer.

3.
Geeft hem wijsheyt ende cracht,
Deckt hem met u trouwe wacht,
Laet getroost sijn ruyters draven,
Laet gerust zijn knechten graven,
Geeft hem gunstich wint en weer.
Wilt ons horen lieve Heer.

7.
Maeckt vertsaechtheyt inde stat,
Maeckt de wakers moe en mat,
Maeckt onveylich hare straten,
Maeckt onwillich haer soldaten,
Seeg' en segen van haer keer.
Wilt ons horen lieve Heer.

4.
Sendet uwen Engel wt
Dat hy onsen leger sluyt
Met sijn bulderende raders.
Hoedt den Prince voor verraders,
Dat geen aenslach hem en deer.
Wilt ons horen lieve Heer.

8.
Maeckt den oversten veracht,
Doet verdwijnen sijne macht,
Maket dat de borgerye
Weygere sijn heerschappye
En de Staten hulde sweer.
Wilt ons horen lieve Heer.

60

9.
Comt den Spaignaert voor den dach
Om ons heyr te bieden slach
Of de stede te ontsetten,
Uwen adem moet hem pletten
En wech-blasen als een veer.
Wilt ons horen lieve Heer.

15.
Brenget weer den gulden tijdt,
Maeckt ons dit verwoesten quijt,
Slaet u cudde weder gade,
Dat den dief haer niet en schade
Noch den huyrlinck niet en scheer.
Wilt ons horen lieve Heer.

10.
Sent hy hen in haren noot
Wijn of voeder, cruyt of loot,
Latet blijven onderwegen,
Latet van ons zijn gecregen,
Smijt sijn wagenen om-veer.
Wilt ons horen lieve Heer.

16.
Geeft dat yder soet en stil
Mach na-leven uwen wil,
Dat de groote mette cleyne
Niemant dien als u alleyne,
En hem redelijck geneer.
Wilt ons horen lieve Heer.

11.
Laet Philips van sijnen schat
Niet ontfangen dit noch dat,
Geeft dat hy na lange hopen
In zijn eygen nest gecropen
Suyg' zijn poten als een beer.
Wilt ons horen lieve Heer.

17.
Geeft den bouwer op het lant
Vruchten van het geen hy plant,
Geeft de poorters inde steden
Vele heyls en vele vreden,
Datse winnen cost en cleer.
Wilt ons horen lieve Heer.

12.
Maket zijnen buydel leck,
Sent hem dierte en gebreck,
Dat zijn crijchsvolck onbetalet
Haren schaed' aen hem verhalet
Die nu teren op haer smeer.
Wilt ons horen lieve Heer.

18.
Legget onder onsen voet
Die soo dorst na onse bloet.
Dat hem alle menschen haten,
Dat zijn vrienden hem verlaten,
Dat hem sellef hy verteer.
Wilt ons horen lieve Heer.

13.
Jaget eenmael' wt den Bos
Beyde wollef ende vos,
Schickt daer uwe trouwe knapen,
Weydet de verdoolde schapen
Met u goddelijcke leer.
Wilt ons horen lieve Heer.

19.
Geeft de Vaticaensche pry
Dubbelt voor haer moordery,
Smacktse schiedelijck her-onder
Dat den Hemel sich verwonder,
Want zy pralet veel te seer.
Wilt ons horen lieve Heer.

14.
Wilt de palen van ons lant
Schutten met u hoge hant,
Hoedtse voor bedeckte lagen
En voor onvoorsiene slagen,
En verlaetse nimmermeer.
Wilt ons horen lieve Heer.

20.
Ghy sijt die de crijgen vuert,
Ghy sijt die de machten stuert,
Ghy cont wonderlijck behouwen,
Op u jonste wy vertrouwen,
Niet op ruyter ofte speer.
Wilt ons horen lieve Heer.

61

Tune: Baise-moi, ma Jeanneton / El desembre congelat

1.
Fred'rick Hendrick van Nassou,
prince van Orangien,
dien' mijn vader-land getrou
tegen 't machtigh Spangien;
dies ick 't Bataviers ghemoed
wil betuyghen door mijn bloed,
en mijn frissche leven
voor haer vryheyd geven.

4.
Krijghsluy, ghy sult tuygen zijn
van mijn vrome daden,
hoe dat swarigheydt noch pijn
my kon overladen;
hoe dat donder noch geschut
heeft mijn dapperheyd ghestut,
en hoe vorst noch regen
kon mijn siel bewegen.

2.
Die my altijd in het veld
en in sware tochten
hebb' voor in de spits gestelt,
ridderlijck ghevochten;
of ick schoon was, jongh en teer,
'k socht mijn vromigheyd en eer
in u dienst te leeren,
't vaderlant ter eeren.

5.
Voor de vryheyd en Gods woord,
voor de rust der vromen,
ben ick een metale poort,
niemand hoeft te schromen;
wie sich voor de wetten stelt,
dien ben ick een trouwer helt,
en ick sal hem kroonen
en met deughd' beloonen.

3.
Als ick eerst reed in den slagh
aen mijn broeders zijde,
daer betoond' ick als de dagh,
dat ick socht te strijden,
en dat ick, met bus en swaerdt,
onverschrickt en onvervaert,
wou mijn leven waghen
in mijn jonghe daghen.

6.
Noch de vyand, noch de nijd
my het hert benouwen,
want ick, midden in den strijd,
met een vast betrouwen,
sie, hoe God my uyt gevaer
heeft verlost soo menigh jaer,
die my in dees tyden
noch wel sal bevryden.

62

7.
Wildy dat ick voor u tree?
volght dan oock mijn gangen;
want tot onderlinge vree,
streckt al mijn verlangen;
burgers, drijft wech twist en haet,
die ons land soo dapper schaet,
en vlecht al u sinnen
met den band van minnen

9.
Vaert doch wel vereenight Land,
en ghy Heeren Staten!
strengelt vast des eendrachts band
en wilt d' ondersaten
stieren, dat ons driftigh schip
mag door menigh banck en klip,
door u wijse peylen,
al 't gevaer ontseylen.

8.
Ick ben een recht Hollands hert
in u siel geboren,
och! wat waert my groote smert,
als gij ginght verloren;
mijn Heer Vaders wyse raed
en mijns broeders vrome daed
suldy in mijn wercken
trouwelijck bemercken.

10.
Dan so sal Godts zegen staen
als een hof te bloeyen,
en sal blincken als de maen
en in voorspoet groeyen:
heb' ick dan by u verdient,
dat ick ben der Landen vriend,
vlecht dan oock mijn daden
aen u lauwer-bladen.

This tune was known under a French and Spanish name; the melody found its way to the
Netherlands through France. It was used in the 20th century for the now popular Dutch
Christmas carol Midden in de Winternacht.

63

Le Berger et la Bergre

1.
Le berger et la bergre
Sont lombre dun boisson,
Et sont si prs, lun de lautre
Qu grand peine les voit-on.
Chorus:
Tu ne lentens pa, lirlon lirlette,
Tu ne lentens pa, lirlon lirl.
2.
Et sont si prs, lun de lautre
Qu grand peine les voit-on,
Le berger print la bergre,
Si le rue recullon.

5.
Et quoy! baise-t-on les filles,
En ton pays la faon?
Excusez-moy, ma maistresse,
Cest la grand affection.

3.
Le berger print la bergre,
Si le rue recullon:
Hol! Hol! dit la bergre,
Hol! mon petit mignon.

6.
Excusez-moy, ma maistresse,
Cest la grand affection
Qui me poinct et me commande
De vous baiser de la faon.

4.
Hol! Hol! dit la bergre,
Hol! mon petit mignon.
Et quoy! baise-t-on les filles,
En ton pays la faon?

7.
Qui me poinct et me commande
De vous baiser de la faon.
Laissez-moy faire, friande,
Seyez-vous sur mon giron.
8.
Mettez vos lvres dclose,
Seyez-vous sur mon giron;
Il faut fairede toute chose
Le profit la saison.

From: Anonymous, LA FLEUR des CHANSONS AMOUREUSES ou sont comprins tous les
airs du court. Recueillis aux cabinets des plus rares potes de ce temps. Rouen, 1600,
Adrien de Launay, devant le palais Au Compas dor. Avec Privilge de Roy. Reprinted,
Brussels, 1866, Imprimerie de A. Mertens et fils, Rue dEscalier, 22.

64

The tune came to the Netherlands and became known as Lijntjes Oven is Bestoven or Hout u kanneke. Many
lyrics to this tune are of a quite bawdy and sexual nature, like this one: a wife of a dim-witted husband has two
lovers coming to her house, one short after another. When her husband arrives early, there is quite a scene: the
first lover points at the second and hastily makes his escape.

1.
Hout al aen, laet ons vrolic springen!
Ick sal ons singhen een nieu liet
En met genuechte wat voort gaen bringen,
Van dat nu cortelinghe is gheschiet:
Al van een vrouwe die quam in rouwe
En moeste lijden groot verdriet.

6.
Smorghens vroech al voor den daghe,
Dat vrouken gheliet haer seer cranck,
Maer lacen, wat haer Hanneken vraechde:
Twas 'Neemt te werckewaert uwen ganck
En laet mi rusten, met cleender lusten;
die siecte mach vergaen, Goddanck!'

2.
Dit vrouken gent seer fray van leden,
Tgaet so gheerne moy en fris,
En Hanneken is so wel te vreden
Mach hi sitten aenden dis.
Eten en drincken gheen achterdincken,
Van waer dat haer ghecomen is.

7.
Te clocke acht quam den eersten
En speelde totten thienen zijn spel.
Met dien so quam daer ooc den tweesten
En clopte metten rinck seer snel.
Den vrijer opspranck teghen zijnen danck:
'Het is u man en niemant el!'

3.
Twee jongers hebben dit vernomen:
Elck leyde haer vanden sijnen voort
En begheerden thuerent thuys te comen
En seyden mijn liefste lieveken hoort:
'Ick sal u gheven, sonder sneven,
Een roy cuers met een trijpen boort!'

8.
Dat vrouken was seer haest beraden
En heeft hem op den solder ghestelt.
Den anderen ghinc zijn pack ontladen,
Den eersten was alle zijn vruecht ghevelt:
'Ras nu, met liste, in dees kiste!
Mijn man coemt, ick hebt twaelf ghetelt!'

4.
Die ander sprack al sonder quelen:
'Ghi sijt die liefste dien ick weet.
Laet mi eens in u craemken spelen;
Ick sal u gheven een nieu hooftcleet!'
Dat vrouken seyde ras, sonder beyden:
'Weest morghen te clocke acht bereet!'

9.
Die man quam thuys en meende gaen eten,
Daer en was niet met allen bereet...
Ras heeft hi daer zijn wijf gesmeten
En seyde: 'Ghi vuyle hoere wreet!
Hi salt betalen, rasch sonder falen
Dier boven is; den Heere weet!'

5.
Dat vrouken ras dat ginc zijn gangen,
Haer tweeste boelken die quam daer,
Si seyde: 'Mijn liefste, sonder verlanghen,
Coemt morghen ten thienen, sonder vaer.
Clopt tuwer bate, ick sal u in laten
En acht op mijn man niet een haer!'

10.
Den ruyter van boven sprack met liste:
'Hi moet gheven den helft van dien,
Die daer licht al in die kiste,
Hi heeft haer uryne besien!
Ic hebber ghelaten thaerden bate
Om haer ghesontheyt! Adieu, wi vlien!'

11.
Oorlof wi nemen int ghemeene
En bidden elck wie dat ghi sijt,
Oudt, jonck, groot en cleene,
Dat ghi u van sulcke meesters bevrijt.
Die vroukens bedriegen haer mans en liegen
En makense hannekens breedt en wijt.

65

A variation on this tune was produced by the Belgian folk group Las under the name (Houd uw) Kanneke on
their album Dorothea (2000, Virgin Music). The lyrics are about a girl who falls victim to rape. A German version
is about a girl who desperately wants a man to chase away boredom, which she already did earlier with the farm
hand.

1.
Tsou een meisken gaen om wijn
Hout u canneken vaste,
savons inde maneschijn
By nachte, by nachte
Hout u canneken, proper Dianneken
hout u canneken vaste.

1.
Es hett ein Schwab ein Tchterlein
Halt die Kanne feste,
Es wolt nicht lenger ein Megdlein sein,
Bei Nachte, fein Sachte,
Halt die Kanna, schne bas Anna,
Halt die Kanna feste.

2.
Wat vants in hare weghen staen
Hout u, enz.
Een fijn gesel en dat was waer
By nachte, enz.
Hout u canneken, enz.

2.
Sie woll doch haben einen Man,
Halt die, enz.
Der ihr die Weil vertreiben kan.
Bei Nachte, enz.
Halt die Kanna, enz.

3.
Den ruyter sprac dat meysken toe
Oft sij sijnen wille wou doen

3.
Ach Mutter gib mir einen Man
Der mir die Weil vertreiben kan.

4.
Hoe weygerich dat dat meysken was,
Hy swanckse neder int groene gras

4.
Ach Tochter, du bist viel zu klein,
Du schleffst noch wol ein Jar allein.

5.
Doen hy sijn willeken hadde gedaen,
Schoon lief ghij moecht wel thuyswaerts gaen

5.
Ach Mutter, ich bin eben gerecht,
Ich habs versucht mit unserm Knecht.

6.
Die ons dit lideken eerstmael sanck
Syn bellekens en gaven geen geclanck.

6.
Hast dus versucht mit unserm Knecht,
So bistu Pfaffen und Mnchen gerecht.
7.
Das Annalein hat ein roten Rock,
Darunter steht ein Zimmerstock.
8.
We rist der uns dis Liedlein sang,
Ein freyer Hoffman ist ers genant.
9.
Er singt uns das und noch wol mehr,
Gott beht alle zarten Jungfrawen ihr Ehr.

66

Drinck-Liedt, op de peeckel-haringh
Tune: Qu'il est bon bon bon

1.
Haringh is so bon, bon, bon,
Om eens op te drincken:
Sa, ontsteeckt de ton, ton, ton,
Laet de Bekers klincken:
Daer, daer, daer heb-je van het Nat;
[:Drinckt vry, daer is noch meer in t Vat.:]

3.
Daer was drooghte, ja, ja, ja,
Geef jy t sulcken neepje?
Schenker kom, kom, dra, dra, dra,
Brenght ons vocht uyt t Scheepje;
Soo, soo, soo, wel bekomje dat:
[:Drinckt vry, daer is noch meer in t vat.:]

2.
Maetje dat geldt jou, jou, jou,
Soo ien proper teuchje:
Wiljer tweetjes nou, nou, nou,
Elck die drinck sen meuchje:
Drie, drie, drie maeckt een Claver-blat:
[:Drinckt vry, daer is noch meer int vat.:]

4.
t Steeltje moeter by, by, by,
Sel te beter klemmen:
Peeckel-haringh, wy, wy, wy
Doen jou lustigh swemmen.
Sa, sa, sa Vrienden haestje wat:
[:Drinckt vry, en laet geen Bier in t vat.:]

5.
t Vaetje rommelt, och, och, och!
t Kraentje wil niet loopen.
Heeft de Brouster noch, noch, noch?
Jaese, sou ick hoopen.
Wy, wy, wy singhen overluyt:
[:Ons Paters-vaetje dat is uyt.:]

67

This dance comes from the Orchesographie by Toinot Arbeau. In Great Britain it is known
as the Christmas carol Ding dong, merrily on high.

Vive Henri quatre, vive ce Roi vaillant,

Vive Henri quatre, vive ce Roi vaillant,
Ce diable quatre a le triple talent,
De boire et de battre, et d'tre un vers galant,
De boire et de battre, et d'tre un vers galant.

There are more verses to this song, but those are written in the 18th and 19th centuries, and
therefore not included here.

68

Original verses (1548):

1.
So treiben wir den Winter aus
durch unsre Stadt zum Tor hinaus
mit sein Betrug und Listen,
den rechten Antichristen.

2.
Wir strzen ihn von Berg zu Tal,
damit er sich zu Tode fall';
wir jagen ihn ber die Heiden,
da er den Tod mu leiden.

3.
Nun hab'n wir den Winter ausgetrieben,
so bringen wir den Sommer herwied'r,
den Sommer und den Maien,
die Blmlein mancherleien.

69

Nun treiben wir den Pabst heraus

Nu drijven wy den Paus heraus

1.
Nun treiben wir den Bapst hinaus
Aus Christi Kirch und Gottes Haus,
darinn er mrdlich hat regiert,
unzhlich viel Seeln verfhrt.

1.
Nu drijven wy den Paus heraus
Uut Cristus kerck en Godes huys
Daer in hy moordelijc heeft geregeert
En ontellijck veel sielen vervoert.

2.
Troll dich aus, du verdammter Sohn,
du rote Braut von Babylon,
du bist der Greul und Antichrist,
voll Lgens, Mords, und arge List.

2.
Haest u hier uut ghy verdoemde zoon
Ghy roode Bruyt van Babilon
Ghy zijt den grouwel, en Antecrist
Vol lueghenen moort, en erghelist.

3.
Dein Ablabrief, Bull und Decret
liegt nun versiegelt im Sekret,
damit stahlstu der Welt ihr Gut,
und schndst dadurch auch Christi Blut.

3.
Dijnen aflaets brief bullen en decreet
Leyt nu verseghelt int secreet
Daer mede staelt ghy der weerelt haer

4.
Der Rmisch Gtz ist ausgethan,
den rechten Bapst wir nehmen an,
das ist Gotts Sohn, der Fels und Christ,
auf dem sein Kirch erbauet ist.

4.
Den Roomschen Godt is uut ghedaen
Den rechten Paus wy nemen aen
Dat is Gods schoon den steen en crist
Op dien dat zijn kerck ghetimmert ist.

5.
Er ist der hchste Priester zart,
vom Kreuz er aufgeopfert ward,
Sein Blut fr unser Snd vergo,
recht Abla aus sein Wunden flo.

5.
Hy is den hooghsten priester saert
Aenden cruyce dat hy gheoffert wart
Sijn bloet voor onsen sonden vergoot
Rechten aflaet uut sinen wonden vloot.

6.
Sein Kirch er durch sein Wort regiert,
Gott Vater selbst ihn investiert,
er ist das Haupt der Christenheit,
dem sei Lob, Preis in Ewigkeit.

6.
Sijn kerck hy door zijn woort regeert
Godt vader selfs ons instruweert
Hy is dat hooft der Cristenheyt
Hem si lof prijs inder eewicheyt.

7.
Es geht ein frischer Sommr herzu,
verleih uns, Christus, Fried und Ruh,
bescheer uns, Herr, ein seligs Jahr,
vorm Bapst und Trken uns bewahr.

7.
Ons compt eenen fraeyen somer toe
Verleen ons Christus vrede en verhou
Verleent ons Heere een salich jaer
Voor Paus en Torcken ons bewaer.

goet
En schendet daer duer oock Cristus bloet.

Martin Luther wrote to the song So treiben wir den Winter aus [Thus we drive out Winter]
the parody above: this time it is not the antichrist (in the form of Winter) that is driven out, but
the pope. The Dutch translation appeared soon halfway into the 16th century. The other three
variations to this tune came from different sources.

70

Was wolln wir auf den Abend tun,

Slawen wollen wir gahn
Schnst Jungfrau wollt Ihr mit mir gahn
Slawen wollen wir gahn
Slaven gahn ist wohl getan
Mond und Stern am Himmel stahn
Slaven wollen wir gahn

Unser liebe Fraue

Vom kalten Bronnen,
Bescher' uns armen Landsknecht
Ein' warme Sonnen !
Last uns nicht erfrieren,
Wohl in des Wirtes Haus
Ziehen wir mit vollem Sckel,
Und leerem wieder aus. [bis]

This song from the 15th century was rediscovered in the 19th century, and new verses were
added. More verses were added in the 20th century, as well as a chorus; several up-tempo
performances were produced on albums. Only the original verse is written here.
71

Ein feste Burg ist unser Gott

Vr Gud r oss en vldig borg

1.
Ein feste Burg ist unser Gott,
ein gute Wehr und Waffen.
Er hilft uns frei aus aller Not,
die uns jetzt hat betroffen.
Der alt bse Feind
mit Ernst ers jetzt meint,
gro Macht und viel List
sein grausam Rstung ist,
auf Erd ist nicht seinsgleichen.

1.
Vr Gud r oss en vldig borg,
han r vr skld och vrja.
Han hjlper oss ur nd och sorg
och allt som vill oss snrja.
Nu mrkrets furste vred
han vill oss trampa ned.
Stor makt och mycken list
hans rustning r frvisst.
Likvl vi m ej frukta.

2.
Mit unsrer Macht ist nichts getan,
wir sind gar bald verloren;
es streit fr uns der rechte Mann,
den Gott hat selbst erkoren.
Fragst du, wer der ist?
Er heit Jesus Christ,
der Herr Zebaoth,
und ist kein andrer Gott,
das Feld muss er behalten.

2.
Vr egen kraft r hr fr svag,
vi vore snart nedgjorda,
men fr oss gr till strid och slag
vr hjlte, Herrens smorda.
Du frgar vem han r.
Han namnet Kristus br.
Vr Herre Sebaot,
vem kan st honom mot?
Han fltet skall behlla

3.
Und wenn die Welt voll Teufel war
und wollt uns gar verschlingen,
so frchten wir uns nicht so sehr,
es soll uns doch gelingen.
Der Frst dieser Welt,
wie saur er sich stellt,
tut er uns doch nicht;
das macht, er ist gericht:
ein Wrtlein kann ihn fllen.

3.
Och vore vrlden n s stor
och full av mrkrets hrar,
s lnge Gud ibland oss bor
alls intet oss frfrar.
M vrldens furste d
frgrymmad mot oss st.
Han skadar dock ej hr,
ty dmd han redan r.
Ett ord kan honom flla

4.
Das Wort sie sollen lassen stahn
und kein Dank dazu haben;
er ist bei uns wohl auf dem Plan
mit seinem Geist und Gaben.
Nehmen sie den Leib,
Gut, Ehr, Kind und Weib:
lass fahren dahin,
sie habens kein Gewinn,
das Reich muss uns doch bleiben.

4.
Guds ord de mste lta st,
det kan de ej frdrva.
Med oss skall Gud i striden g,
hans Ande gr oss djrva.
Vi fritt och glatt till mods
ger ra, liv och gods.
Det allt de taga m,
stor vinst de icke fr.
Guds rike vi behller.

72

This hymn was written by Martin Luther; it was soon translated into Swedish and English [A
mighty fortress is our God]. The story goes that the Swedish King Gustav Adolf was very
fond of this hymn, and that it was sung before every battle. A Dutch translation appeared
only in the 19th century. The melody is livelier than the version we know today.

Book of hymns from 1529, with an early version of Ein Feste Burcht ist Under Gott.

Also Scandinavian in origin is this march, of which the oldest known written version is from
1614. It is still one of the oldest marches that is in use in the Danish army, and is called very
suitably,- the Old Danish March.

73

1.
Der in den Krieg will ziehen,
Der soll gerstet sein,
Was soll er mit ihm fhren?
Ein schnes Fruwelein,
Ein langen Spie, ein kurzen Degn,
Ein Herren wlln wir suchen,
Ders Geld und Bscheid soll gebn.

4.
Und wird mir dann geschossen,
Ein Schenkel von meinem Leib,
So tu ichs nachher kriechen,
Es schadt mir nit ein Meit.
Ein hlzen Stecken ist mir gerecht,
Noch eh das Jahr herubekumt
Geb ichs ein Spittelknecht.

2.
Und geit er uns dann kein Gelde,
Leit uns nit viel daran,
So laufen wir durch die Wlde
Kein Hunger fasst uns nit an,
Der Hhn, der Gns habn wir so viel,
Das Wasser aus dem Brunnen
Trinkt der Landsknecht wann er will.

5.
Ei wird ichs dann erschossen,
Erschossen auf breiter Heid.
So trgt man mich auf Spieen
Ein Grab ist mir bereit.
So schlgt man mir den Pummerlein pum,
Der ist mir neunmal lieber
Als aller Pfaffen Gebrumm.

3.
Und wird mir dann geschossen
Ein Flgel von meinem Leib,
So darf ichs niemand klagen,
Es schadt mir nit ein Meit,
Und nit ein Kreuzer an meinem Leib,
Das Geld wlln wir verdmmen,
Das der Schweitzer vom Hndschuh geit.

6.
Der uns das Liedlein neus gesang
Von neuen gesungen hat
Das hat getan ein Landsknecht
Gott geb im ein fein gut Jar
Er singt uns das, er singt uns mehr
Er muss mich noch wol werden
Der mirs glag bezalen muss.

74

1.
Frisch auf, gut Gsell, lass rummer gan! Tummel dich, guts Weinlein!
Das Glslein soll nich stille stan, tummel dich!
Tummel dich, tummel dich, tummel dich, guts Weinlein!
Tummel dich, tummel dich, tummel dich, guts Weinlein!
Tummel dich, guts Weinlein!
2.
Er setzt das Glschen an den Mund, tummel dich, guts Weinlein!
Er trinks heraus bis auf den Grund, tummel dich!
Tummel dich, &c.
3.
Er hat sein Sachen recht gethan, tummel dich, guts Weinlein!
Das Glslein soll herummer gan, tummel dich!
Tummel dich, &c.
4.
Schenk ein, langs her, giebs diesem Herrn, tummel dich, guts Weinlein!
Er trinkt ihm auch gewisslich gern, tummel dich!
Tummel dich, &c.

75

1.
Ich gieng fr einer Fraw Wirtin Haus,
Man fraget mich, wer ich were,
Ich bin ein armer schwartzen Knab,
Ich e und trincke gerne.

5.
Und da ich in die Schewre kam,
Da fieng ich an zu nisten,
Da stachen mich die Hageldorn,
Dazu die rauhen Distel.

2.
Man fhrt mich in die Stuben hinein,
Da bot man mir zu trincken,
Mein uglein lies ich umbher gan,
Den Becher lies ich sinken.

6.
Da ich des Morgens fr auffstund,
Der Reiff lag auff dem Dache,
Da mut ich armer schwartzen Knab
Meins Unglcks selber lachen.

3.
Man satzt mich oben an den Tisch,
Als ich ein Kauffman were,
Und da es an ein Zahlen gieng,
Mein Seckel der war leere

7.
Ich nam mein Schwert wol in die Hand,
Ich grts wol an die Seiten,
Da ich kein Geld im Seckel hett,
Zu Fussen must ich reiten.

4.
Und da man bu solt schlaffen gan,
Man wi mich wol in die Schewre,
Da stund ich armen schwartzen Knab,
Mein Lachen ward mir thewre.

8.
Ich macht mich auff, ich macht mich
darvon,
Ich macht mich wol auf die Straen,
Da begegnet mir ein Kaufmann gut,
Seine Tasch must er mir lassen.

Instead of Schwarzen Knab [Black boy], the word Schwartenhals [Black neck] is also
often used; the melody is known by that name. Schwartenhals (Black neck or Dirty neck)
was a nickname for poor folk, especially the Reislufer and Landsknechten. The soldiers
were named that because they left their necks uncovered, which was thus darkened by the
sun and by dirt.

76

This German march is named after Gottfried Heinrich, duke of Pappenheim (29 May 1594
7 November 1632), an Imperial Field Marshal during the Thirty Years War. He commanded a
unit of Cuirassiers, and played a major part in the fight against the Swedish armies. He was
deadly wounded, as was his adversary the Swedish King Gustav II Adolf, in the battle of
Ltzen (6 November 1632). The march was quite popular and was used by the German poet
Friedrich Schiller20 in 1799 as theatre music for his piece Wallensteins Tod [the Death of
Wallenstein]. He was also the author of Geschichte des Dreiigjhrigen Kriegs [History of
the Thirty Years War] and was set on not only having period correct costumes, but also the
use of contemporary marches instead of having new military music written for the play21.

20

Friedrich Schiller (from 1802 onwards Von Schiller), 10 November 1759 9 May 1805. German playwright,
philosofer and poet. He also wrote a first volume on a never published series of books on the Dutch Revolt,
Geschichte des Abfalls der vereinigten Niederlande von der Spanischen Regierung [History of the secession of
the United Netherlands from the Spanish government]. This book was published in 1788; an expanded version
appeared in 1801.
21

Ursula Kramer, Theater mit Musik: 400 Jahre Schauspielmusik im europischen Theater. Bielefeld, 2014,
transcript Verlag.

77

1.
Wir zogen in das Feld. [bis]
Da htten wir weder Sckl noch Geld, Strampede mi,
A la mi presente al vostra signori. [bis]
2.
Wir kamn vor Siebentod, [bis]
Da htten wir weder Wein noch Brot. Strampede mi &c.
3.
Wir kamen vor Friaul, [bis]
Da htten wir allesamt gro Maul. Strampede mi &c.
4.
Wir kamn vor Benevent, [bis]
Da htten wir uns die Hand verbrennt. Strampede mi &c.
5.
Wir kamen vor Triest [bis]
Da htten wir allesamt die Pest, Strampede mi &c.
6.
Wir kamen auch vor Rom, [bis]
da schossen wir den Papst vom Thron. Strampede mi &c.

This German song probably originated during the Imperial campaign against Rome in 1527,
in which German mercenaries were used. The Italian lyrics are a bastardisation of
"Strombette mit all'armi! Presente alle vostra signori", which roughly translates to The
trumpet calls me to arms! I am present, my Lord.
In the next English song by Thomas Ravenscroft (about 1588 1635) is a French lyric
included. This is from the time that English regiments fought in service of the Dutch Republic;
it means: Excuse me, can I help you with anything? Despite it being friendly, it was said
when one walked into someone on purpose in a pub, which made the other spill his drink. In
short, it was a way of picking a fight.

78

1.
We be souldiers three,
Pardona moi je vous an pree,
Lately come forth of the low country,
With never a penny of mony.
2.
Here, good fellow, I drink to thee,
Pardona moi je vous an pree,
To all good fellowes where ever they be,
With never a penny of mony.
3.
And he that will not pledge me this,
Pardona moi je vous an pree,
Pays for the shot, what ever it is,
With never a penny of mony.
4.
Charge it againe, boy, charge it again,
Pardona moi je vous an pree,
As long as there is any incke in thy pen,
With never a penny of mony.

79

1.
We be three poor mariners
Newly come from the seas;
We spend our lives in jeopardy
While others live at ease.
Shall we goe daunce the round,
the round, the round,
And shall we goe daunce the round,
the round, the round,
[: And he that is a bully boy
Come pledge me on the ground,
the ground, the ground. [bis]

2.
We care not for these martiall men
That doe our states disdaine;
But we care for those marchant men
Who doe our states maintaine.
To them we daunce this round,
a round, a round
To them we dance this round,
a round, a round
[: And he that is a bully boy
Come pledge me on this ground,
the ground, the ground.[bis]

80

Chorus:
When Cannons are roaring and Bullets are flying,
he that would honour win must not fear dying.
1.
Brave Mars begins to rouse,
and he does bend his browes
Borias bursts out in blowes,
great Etnaes fire.
He that may losse the field,
yet let him never yeeld
thogh thousands should be kilde
let Souldiers try it.

4.
Sojers with swords in hands,
to the walls comming,
Horse-men about the streets,
ryding and running,
Sentinells on the walls,
arme, arme, a crying,
Pittards against the ports,
wyld fire a flying.

2.
Though Constantin be dead,
Who left us honour,
And taught brave Christian Kings,
under his banner.
Paganes amazd stood,
in a great wonder,
To see brave Christians come,
like claps of Thunder.

5.
Trumpets on Turrets hye,
these are a sounding,
Drumes beating out alowd,
echoes resounding.
Larim-Bells in ilk place,
they are a ringing,
Women with stones in laps,
to the walls bringing.

3.
Raised are the worthies nine,
and now ascending,
Even by a power divyne,
now peace is ending,
So many Christian Kings,
with them to enter,
Against their feircest Foes,
that's brave adventure.

6.
Captains in open fields,
on their foes rushing,
Gentlemen seconds them,
with their Picks pushing.
Ingyniers in the Trench,
earth, earth up-rearing,
Gun-powder in the mynes,
Paganes up-blowing.

81

7.
Portculzies in the ports
they are down letting,
Burgers come flocking by,
too, their hands setting.
Ladders against the wall,
they are uprearing,
Women great timber loggs
to the walls bearing.

Robert Monro mentions the song in his book22. It was sung by English troops in Germany in
the 1620s.

22

Monro, Part I, page 65.

82

This well-known Turkish march was composed by the Polish composer Wojciech Bobowski
(or Albertus Bobovius), better known as Ali Ufqi Bey (1611 1675). He was captured and
sold as a slave as a young man. Because he could read and write music, he soon came to
the Ottoman court. It is there that he converted to Islam.
He developed into a gifted composer and translator; in the end, he spoke 16 languages,
including Polish, Turkish, Arabic, Hebrew, Latin, French and German. He translated the
Anglican catechism in Turkish, and wrote a guidebook on Islam in Latin, with the intention to
increase mutual understanding. He also translated the Genevan Book of Hymns, and
converted the music notations to the Turkish notation system. His bible translation in Turkish
is still used today. After 19 years he was declared a free man. He remained at court as a
dragoman, a translator and mediator at the Ottoman court.
This march is known today as the Hcum mar or assault march, a popular march often
played by Mehterhane ensembles all over the world.

Original transcription of the Nev-Ceng-i Harb.

83

Closing remarks
The search for more military music continues. Military music is unfortunately! - not a very
popular subject, not only in re-enactment, but also in historical studies. I hope that I have
made some contribution to this research with this document. It is my intention that this
document will keep expanding in due time; it is, in my opinion, still not complete. Ultimately, it
has to be brought into practice, where drummers of different groups will cooperate in the
field, thus creating a more uniform sound. In the mean time, all information, tips and tricks
are most certainly welcome. Anyone interested in making a contribution is hereby cordially
invited.

th

German drummers and fifers, first half of the 17 century.

84

Sources
I. Contempory sources
ARBEAU, Thoinot [Jehan Tabourot], ORCHESOGRAPHIE ET TRAICTE EN FORME DE
DIALOGUE, PAR LEQUEL TOUTES PERSONNES PEUVENT facilement apprendre &
practiquer l'honneste exercice des dances. Par Thoinot Arbeau demeurant a Langres.
Imprim au dit Langres par Jehan des Preyz Imprimeur & Libraire, tenant sa boutique proche
l'Eglise Sainct Mammes dudit Langres. 1589. Lengres, 1596, Johan des Preyz.
BARIFFE, Capt. William, MILITARY DISCIPLINE of the YOUNG ARTILLERY-MAN.
Wherein is Discoursed and Showne the Postures both of Musket and Pike the excact way
&c., third, revised edition. London, 1643, John Dawson, sold by Andrew Crooke (at the sign
of the Green Dragon in Pauls Church-yard).
EYCK, Jacob van, Der FLUYTEN LUST-HOF, Vol Psalmen, Paduanen, Allemanden,
Couranten, Baletten, Airs, &c., second revised edition. Amsterdam, 1654, in de Stoofsteegh, in t Muzyk-boek.
FISHER, Thomas, Warlike Directions: OR THE SOVLDIERS PRACTICE. Set forth for the
benefit of all such as are, or will be Scholars of Martiall DISCIPLINE. But especially for all
such Officers as are not yet setled, or rightly grounded in the Arte of WARRE. By a
Practitioner in the same Art, T. F. The second EDITION, corrected and amended. LONDON,
1643, Printed by Thomas Harper, and are to be sold at his House in Little Britaine.
HEXHAM, Henri, Principij ofte De Eerste Gronden van de Oorloghs-Konste Ghelijckse in
dese vereenichde Nederlanden gepractiseert wort, onder het Gouvernement van sijne
Hoogheyt, mijn heer den Prince van Orangien. The Hague, 1642, Aert Meurs, Boeckvercooper woonende inde Veen-straet.
MNESTRIER, Claude-Franois, Des Representations en Musique Anciennes et
Modernes. Paris, 1681, Ren Guignard, rue Saint Jacques, au grand saint Basile.
MONRO, Robert, MONRO, HIS EXPEDITION WITH THE WORTHY SCOTS REGIMENT
(CALLED Mac-Keys Regiment) levied in August 1626. London, 1637, William Jones in RedCrosse streete.
PISTOFILO, Bonaventura, Oplomachia di Bonaventura Pistofilo nobile Ferrarese. Dottore e
Cavaliere. Nelle quale con dottrina morale, politica e militare, e col mezzo delle figure si
stratta per via di teoriea, e di pratica del maneggio, e dell uso delle Armi. Distinta in tre
discorsi di Picca, dAllabarda, e di Moschetto. Siena, 1621, Hercole Gori.
PISTOFILO, Bonaventura, Il Torneo di Bonaventura Pistofilo Nobile Ferrarese dottor di
legge e cavaliere. Nel Teatro di Pallade dell ordine Militare, et Accademico. All Illustrissimo
Signor Michelangelo Baglioni Marchese di Morcone. Bologna, 1627, Presso Clemente
Ferrone.
RAVENSCROFT, Thomas, Deuteromelia. London, 1609, Thomas Adams, dwelling in
Paules Church-yard at the signe of the White Lion.
VALERIUS, Adrianus [Adriaen Valry], Neder-landtsche Gedenck-Clanck. Kortelick
openbarende de vornaemste geschiedenissen van de seventhien Neder-Landtsche
Provintien, t sedert den aenvang der Inlandsche beroerten ende troublen, tot den Iare 1625.
[] Veere, 1626, heirs to the author.
85

II. Secondary sources and facsimiles

BERGMANN, Joseph, Das Ambraser Liederbuch vom Jahre 1582. Stuttgart, 1845,
gedrckt auf kosten des Literarischen Verein bei K. Fr. Hering & Comp.
BRNARDIC, Vladimir, Men-at-Arms 457, Imperial Armies of the Thirty Years War (1)
Infantry and artillery. 2009, Osprey Publishing.
BYRNE, Maurice, The English March and Early Drum Notation, from: The Galpin Society
Journal, Vol 50 (March 1997), pages 43-80.
DUYSE, Fl. van, Het Oude Nederlandse Lied Wereldlijke en geestelijke liederen uit
vroegeren tijd, part 2. The Hague, 1905, Martinus Nijhoff / Antwerpen, 1905, De
Nederlandse Boekhandel.
GAUTHREAUX, Guy Gregoire, Orchestral Snare Drum Performance: a historical study.
Doctoral thesis, Louisiana State University and Mechanical College, May 1989.
GILES, Howard, Drumming in the English Civil War. 2000-2015, Eventplan ltd,
www.eventplan.co.uk.
JOHN, Eckhard, Dr. (editor), "Populre und traditionelle Lieder. Historisch-kritisches
Liederlexikon". Zentrums fr Populre Kultur und Musik der Albert-Ludwigs-Universitt
Freiburg, Breisgau. http://www.liederlexikon.de
KNAW / MEERTENS INSTITUUT, www.liederenbank.nl
KNUTSON, C en J. Nordin, Drums and Phifes Duetie, Scottish Music for Fife and Drum
(circa 1630). Minneapolis, 1993, Clan Tartan Historical Re-enactment.
LUMMEL, H.J. van, NIEUW GEUZENLIED-BOEK, waarin begrepen is den gantschen
handel der Nederlanden, beginnende anno 1564 uit alle oude Geuzenlied-boeken
verzameld. Utrecht, 1871, J.J.H. Kemmer.
POULIN, David, Renaissance Fife and Drum Book. 2006, Sociedad de la Entrada.
ROBERTS, Keith, Elite Series 25, Soldiers of the English Civil War (1) Infantry. 1989,
Osprey Publishing.
TAPPERT, Wilhelm, Deutsche Lieder aus dem 15., 16. Und 17. Jahrhundert fr eine
Singstimme mit begleitung des Pianoforte. Berlin, about 1870, C.A. Challier & Co.
WINSTOCK, Lewis, Songs and Music of the Redcoats: A History of the War Music of the
British Army 1642-1902. London, 1970, Leo Cooper ltd.

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III. Recordings
CAMERATE TRAJECTINA,
Bavianen en Slijkgeuzen Liederen van Remonstranten en Contra-remonstranten
uit het begin van de 17e eeuw (CD), 1995;
De Vrede van Mnster Politieke muziek uit de Tachtigjarige Oorlog (1568-1648)
(CD), 1998;
Peeckelharing Muziek rondom Frans Hals (CD), 2003.
Globe Records.
COLLEGIUM CANTORUM DER UNIVERSITT SAARBCKEN, Der Schwartenhals:
schne alte Landsknechtlieder (LP). Wedemark, 1984, Thorofon Schallplatten KG.
COLLEGIUM TERPSICHORE (o.l.v. Fritz Neumeyer) en ULSAMER COLLEGIUM (o.l.v.
Josef Ulsamer), Tanzmusik um 1600(CD). 1998, Eloquence.
MARQUESS OF WINCHESTERS REGIMENT, The, The Six Calls of War,
https://www.youtube.com/watch?v=8wS9fCt71hQ. Uploaded 11 December 2008, The
Marquess of Winchesters Regiment of the English Civil War Society (ECWS).
SINBAYASHI, Toshiya, Van Eyck Batali, https://www.youtube.com/watch?v=RibxpDeqjtE.
Uploaded 9 November 2014.
SPORNE, Blake, SK Royalist Drum Calls, https://www.youtube.com/watch?v=njMKkbtfn1k.
Uploaded 31 May 2013, The Sealed Knot.
TARLETONS JIG, For King and Parliament. Popular Music from the English Civil Wars
1640-1660 (LP). 1986, NMP Records.

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Marc Geerdink-Schaftenaar, Military Music of the Infantry of the Dutch Republic during the Dutch Revolt.
November 2015 September 2016.
Translated from Marsen en Signalen voor de infanterie tijdens de 80 Jarige Oorlog, V 3.3.9, September 2016.
This is a publication by Wassenbergh society for Re-enactment and Living History, www.wassenbergh.com

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