Star Spangled Banner Learning Tracks? Top 99 Best Answers

The Stars and Stripes

The national anthem of the United States of America

by Francis Scott Key, 1814

Oh say, can you see in the early light of dawn?

What did we celebrate so proudly at the last gleam of dawn?

Whose wide streaks and bright stars through the dangerous struggle,

Over the ramparts we saw they poured so gallantly?

And the rocket’s red glow, the bombs bursting in the air

Proved all night that our flag was still there.

Tell me, does that star-studded banner still fly?

About the land of the free and home of the brave?

On the shore seen faintly through the mists of the deep,

Where the enemy’s arrogant army rests in anxious stillness,

What is that, what the breeze over the towering escarpment

How it blows restlessly, half hidden, half revealed?

Now it catches the glow of the first morning ray,

Mirrored in full splendor now shines in the stream:

This is the Stars and Stripes! O long may it wave

About the land of the free and home of the brave!

And where is this gang that swore so proudly?

That the ravages of war and the confusion of battle,

A homeland and a country should never leave us again!

Their blood has washed away the pollution of their filthy footsteps.

No refuge could save the mercenaries and slaves

Of the terror of flight or the darkness of the grave:

And the starry banner waves in triumph

About the land of the free and home of the brave!

Oh! so be it always when free men stand

Between her beloved homeland and the devastation of war!

Blessed with victory and peace, may heaven saved land

Praise the power that made and kept us a nation.

Then we must conquer if our cause is just,

And this is our motto: “We trust in God.”

And the starry banner will wave in triumph

About the land of the free and home of the brave!

Note: You don’t need to memorize the entire national anthem. You only need to know the name and the author for the US citizenship check.

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A performance of “The Star-Spangled Banner” can be a powerful musical experience when done right and a national embarrassment when things go wrong. Heed this counsel if you are ever called to it.

“The Star-Spangled Banner” is a notoriously difficult song to sing. It requires a decent vocal range, even if sung without pyrotechnic flourishes; it features numerous clumsy leaps up and down; and it has lyrics that are notoriously hard to remember.

Add to that the pressure: singers perform to large, sometimes global audiences — an audience that’s quick to turn hostile, especially when you forget the lyrics — and in the internet age, failures are sure to go viral. Fergie, Christina Aguilera, Steven Tyler and Michael Bolton were all humiliated after poorly recording the song. It is so difficult to sing that many professionals refuse to perform it.

On the other hand, when done right, it can be an incredibly powerful musical experience. The same audience members who are so quick to boo often start cheering and cheering during a rousing performance, adding to the emotional impact and helping to create a truly memorable moment. It can turn previously unknown singers into stars, and it can lead people to show respect to artists they previously dismissed.

If you’re ever asked to sing the national anthem, how do you do it right?

In preparing for this article, I listened to 100 versions of this song, no exaggeration. I’ve listened to professional singers, police officers, soldiers, actors, kids… you name it. That I have learned.

Find the lyrics right

Many people consider this song almost sacred. So unless you’re a little kid, expect a barrage of boos the moment you botch a line. I’m sure you think you know the lyrics, but don’t let that fool you just because you screwed it up in the last game you played. Crowd singing can give you a false sense of security: we often pick up on the lyrical cues of those around us. There are dozens of videos of famous singers screwing up the lines of this song. And the crowd murders them promptly.

I think most people misunderstand the lyrics because we’ve never really taught them, we just absorb them by osmosis. And that’s a difficult way to learn the words because it’s confusing thanks to its old-fashioned poetic way of throwing in one interrupting sentence after the other (see lines three and four). Also, the prosody in The Star-Spangled Banner is pretty bad. Prosody is the art of putting words to music so that we can pronounce the words the way we do when we speak. The national anthem makes us sing the words “shining,” “flowing,” and “dangerous” in an unnatural way.

To be honest, I don’t think people ever learn the words (or the meaning of those words) as much as they learn the sound of the words. No wonder, then, that they tend to forget them.

There are four stanzas to The Star-Spangled Banner. We always sing the first one, which is kind of nice because, as Laurie Anderson once remarked, it’s just a bunch of questions. Unlike other national anthems, which all say, “We’re number one!” ours is simply, “Can you see the flag? We saw it yesterday during that battle and I was able to see it last night thanks to the light from all those explosions. Now that it’s finally morning, is the flag still there?” It is. We never sing the answer. (That comes in the next stanza.)

Here are the lyrics. mark them. Unpack them so you understand what’s happening. Get your mom to fact check you. An audience will forgive you for getting a bad grade or three, but they’ll roast you if you screw up the lyrics.

Oh say can you see in the early light of dawn

What we so proudly hailed in the last gleam of dawn,

Whose wide stripes and shining stars through the dangerous struggle

Over the ramparts we watched did they stream so gallantly?

And the red glow of the rockets, the bombs bursting in the air

Proved all night that our flag was still there.

Oh say, does that starry banner still fly?

About the land of the free and home of the brave?

(As much as I love the image of only being able to see the flag thanks to the light from the explosions, the song would make a lot more sense if we deleted lines 5-8 in the first verse and replaced them with lines 5- 8 from the second:

Now it catches the glow of the first morning ray,

The river is now reflected in all its splendor,

It is the starry banner – long may it wave

About the land of the free and home of the brave!

But I digress.)

Choose the right starting note

One of the mistakes many performers make is starting the song too high. The national anthem spans an octave and a half, and you must sing a long “ee” note on the highest note. That can weigh on any voice. (The words “glare” and “free” are actually sung on the same note. Notice how much easier it is to sing “glare” than “free”.)

The song was written in the key of C, but today it is usually sung in B flat thanks to its range. This means that the first note you sing is an F, your lowest note is a fifth below (Bb), and your highest note is an F, an octave higher than your starting note.

Bb may not work for your voice. That’s okay. Choose one that does this. A good rule of thumb is to hum the lowest note. That’s your “word” on the opening line, and that gives you plenty of room to hit “free” at the end. It’s also a good thing to keep in mind when hitting the road without a pitch pipe. Just hum that low note first and you should be good to go. If you’re not singing it a cappella, make sure the musicians know what key to play in.

Check out these tricky notes

In fact, the highest notes are not the hardest to hit on pitch. This song contains a lot of jumps. (A jump occurs whenever the melody moves more than a whole step.) Jumps are harder to sing than steps. The first seven notes of the national anthem are all jumps, and you can often hear people struggling with them. The passage ‘dawn’s early light’ is particularly challenging because it has a sixth jump down – from Bb (‘dawn’s’) to D (‘ear-‘) – and the ‘ly’ part of ‘early’ is sung on an E of course, which isn’t in the key of Bb (it’s actually the tritone). Practice this line on a piano.

Most singers tend to slide into the higher notes (like the “by” in “by the dawn’s early light”). It’s certainly easier and no one will blame you for it, but the most powerful versions are the ones where the singers just plain hit the notes.

Ear plug!

Chances are you’re not singing with a monitor. In addition, stadiums and performance halls are notoriously bad places to sing due to the echo effect. (If you’ve ever spoken on a phone where you hear your own voice echoing back to you with a half-second delay, you know how confusing it can be.) These two factors have stumped many singers. do yourself a favor Get a pair of earplugs. Practice singing with them. Problem solved.

record yourself

Practice makes perfect, of course, but there’s no point in practicing if you don’t have a reference. Use your phone or your computer. Don’t worry about the audio quality, just listen to make sure you hit those notes.

Accompaniment or a cappella?

If you need music to back you up, that’s totally fine, although I’ve found that with few exceptions, it’s best to do it a cappella. It’s harder this way, but if you do it right, it’s a home run every time.

style

OK, so you’ve got the words and the notes down. Now: How will you sing it?

Given how challenging the song is, it’s amazing how many performers try to show their stuff with it. Sometimes it works, often it just sounds like someone is showing off, and of course, other times it can lead to humiliating, viral failure.

“The Star-Spangled Banner” is a powerful, dramatic song. You don’t have to do anything to make people cheer. And frankly, the more flourishes you add, the less powerful it becomes.

If you think singing it straight can’t give people goosebumps, I refer you to Diana Ross’ 1982 Super Bowl masterpiece. Pure, clear notes. Not a single flourish. No theatrics. No emotional breathing. Nothing but glorious perfection.

If you want to tear yourself away, be careful because this song can eat you alive. But there’s another thing: After listening to a hundred versions of the song, I’ve noticed that all of the post-Whitney melismatic singers (Ariana Grande, Jennifer Hudson, Demi Lovato, Kelly Clarkson, etc.) essentially all tend to do this same thing. They all embellish the same words (“hello” is a favorite) in essentially the same way. Also, all of this embellishment seems to relate more to the singer than to the song.

I’m not saying everyone just has to sing the notes that are written, but if you want to embellish something, choose your moments wisely and make them count. Keyword Martina McBride:

Oh, and don’t do the emotional breathing, a la Ariana Grande. Simply not.

Male singers who play it straight often do a workmanlike, patriotic rendition, usually at a fast tempo (e.g. Mike Rowe). Every ballpark in America has their old-school favorite—often a cop or opera singer—doing a rousing version (eg, Robert Merrill, Yankee Stadium). And if you’re going to go that route, it’s always a safe, albeit unforgettable, bet.

But slowing it down a bit really brings out the emotion. Kelsey Grammer did a great, no-frills version at the 1996 MLB All-Star Game. But I will post an updated version by Aaron Tveit who just gets straight to the point. A few tiny flourishes here and there, but mostly just pure sound, straight from the heart.

This advice to play it straight isn’t just limited to solo artists.

‘N Sync did one of my favorite versions of the song. I remember watching this game. I think I even groaned when the band was announced. Then they started singing.

Notice how relatively straight forward their performance is. The lead singer does a few tiny flourishes here and there, but these are mostly masked by the band and they serve to enhance the harmony. Rather than throwing in tons of runs, ‘N Sync chose the way they put their stamp on the song by singing a few carefully placed, gorgeous substitution chords. And her version of “free” — though the lead singer goes for that extra high note everyone has to hit — feels fresh thanks to her arrangement. It’s a clean and beautiful performance.

Compare that to one the Backstreet Boys did just two years earlier. Yours is certainly competent; but their lead singer’s flourishes do nothing to support the lyrics, and the arrangement is incoherent and meaningless.

I’ve actually seen quite a few Backstreet Boys versions. To their credit, they do it differently every time, and some of them are pretty nice, so I’m being a bit mean in choosing this example as an example of how not to do it.

For another great, heartfelt group effort, check out 1993’s Grateful Dead.

Would you like to try something new? Fasten your seatbetls

All of the above examples show traditional approaches to the song. There are of course more “out there” versions, and some of them are fantastic. If you’re thinking of reinterpreting the anthem, be warned: most different versions are initially poorly received, and you can face a lot of criticism. Americans hate it when you play around with their song.

Case in point: Jose Feliciano’s 1968 World Series rendition, which was the first truly different version of the song, outraged the nation, and he was basically blacklisted from radio. Listening to it today, it’s hard to believe that this beautiful, soulful version could evoke such a strong, negative reaction. But it did.

Back in 1983, Marvin Gaye turned the anthem into a smooth R&B ballad. He did it, even though it could easily have gone wrong. That divided the public at the time. Traditionalists hated it and considered it a disgrace. If ever there was a “make love, not war” version of the anthem, it’s this one:

fergie

Which brings us to Fergie’s 2018 anthem fail, as I think her version must have been inspired by Gayes.

For all the grief she gets over it, her performance could have been good, which I think makes her all the more terrifying. She understands the lyrics and most of the music correctly. It’s just that she throws in these weird, jazzy things that just don’t work. And she keeps changing her accent. Or so. Honestly, the main issue with her performance is that it’s not clear what she’s up to or who she’s trying to be. Gaye’s version, on the other hand, is coherent. It’s immediately clear what he’s doing and he sticks to that concept throughout.

By the way, Fergie is quite capable of singing the national anthem. She did a decent version at a Miami Dolphins game in 2011. she can sing (Although even in this performance she tried to be something she is not. She’s not a belter. She shouldn’t be trying to be.)

So if you’re asked to sing the national anthem, remember: you don’t have to be technically perfect to deliver a winner. Just find the right words, sing from the heart and you will crush it.

Play ball!

The Stars and Stripes

O say can you see, in the early light of dawn

What we so proudly hailed in the last gleam of dawn,

Whose wide streaks and bright stars through the dangerous struggle,

Over the ramparts we watched did they stream so gallantly?

And the red glow of the rockets, the bombs bursting in the air

Proved all night that our flag was still there;

Oh say, does that starry banner still wave?

About the land of the free and home of the brave?

On the shore seen vaguely through the mists of the deep,

Where the enemy’s arrogant army rests in anxious stillness,

What is that, what the breeze over the towering escarpment

How it blows restlessly, half hidden, half revealed?

Now it catches the glow of the first morning ray,

Mirrored in full splendor now shines in the stream:

It is the starry banner, long may it wave

About the land of the free and the home of the brave.

And where is this gang that swore so proudly?

That the ravages of war and the confusion of battle,

A homeland and a country shouldn’t leave us anymore?

Their blood has washed away the pollution of their filthy footsteps.

No refuge could save the mercenaries and slaves

Of the terror of flight or the darkness of the grave:

And the star-studded banner waves in triumph,

About the land of the free and the home of the brave.

O so be it always, when the free shall stand

Between her beloved homeland and the devastation of war.

Blessed with victory and peace, may heaven saved land

Praise the power that has made and preserved us as a nation!

Then we must conquer if our cause is just,

And this is our motto: “We trust in God.”

And the starry banner will wave in triumph

About the land of the free and home of the brave!

Back to the text.

Scott McCormick is a musician and author of the series Mr. Pants” with graphic novels for children. He also does storybook editing and offers development editing for authors.

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Tip #1 – Think about the words

Most of us have heard our American national anthem since we were little kids. Perhaps we know the words so well that we no longer pay attention to what they mean? This is important because the Stars and Stripes is the only song a singer is most likely to be asked to sing. Here’s the good news and the bad news.

The good news is that the popularity of the American national anthem offers singers the opportunity to perform in public, often before thousands of people at civic or sporting events.

The bad news is that the Star Spangled Banner is fiendishly difficult to perform. Oh, and we’re usually expected to sing it a cappella – no instruments!

But everything starts with the words. Many singers sing the Stars and Stripes with little or no emotion. In other words, without thinking much about the words and the story behind the song. If you want to make a strong impression with the national anthem, think about the words and find out what they really mean to you.

Do some homework and recall what happened during the War of 1812 when Francis Scott Key put pen to paper and wrote those words. The Star Spangled Banner is about a fierce night battle during the War of 1812 and expresses the author’s concern as to whether our flag was still flying over our fortress at dawn.

Frances Scott Key

You have to think about the words and what they stand for if you want our national anthem to get the attention it deserves. How lucky we are to live in this great country. We have our freedom thanks to millions of brave men and women who are fighting to keep that freedom. This song honors her.

In the United States, people are asked to place their right hand on their heart as a sign of respect during the Pledge of Allegiance. As it turns out, this gesture can be more than just a symbol of dignity and honor. According to new research, we tend to be more honest with others when we put our hands on our hearts.

To arrive at this result, the researchers conducted a series of experiments with volunteer Polish students. For example, they asked both male and female students to look at a series of photos of women and rate how attractive they found each of those women. The researchers had selected photos of women who received particularly low ratings or were classified as moderately attractive on a German website similar to “Hot or Not”.

At the same time, the researchers asked the students to either put their hand on their hips or their hearts when answering. The researchers’ cover story was that they wanted to test the effect of “cognitive load on appearance judgments” by assigning them a second simultaneous task.

When it came to judging the unattractive women, those who put their hands on their hearts were more honest than those who put them on their hips. On the other hand, there was no difference between the attractive women’s hip and heart ratings, presumably because there was no reason to lie in this situation. “Thus, given the opportunity to lie about someone’s appearance, people who put their hands on their hearts remained more honest, even if it meant being rude,” the researchers write.

In another experiment, they found that people also have an unconscious expectation that others who put their hand on their heart are actually more honest. Other student volunteers viewed a photo of a woman either with her hand on her heart or behind her back, while a shot purportedly taken by the woman in the photo said things like, “I’m never late for dinner.” work came” said. I always keep my promises’, ‘I’m nice to everyone’ and ‘I’ve never cheated on anyone’. The volunteers then rated how credible they found these statements. As predicted, the students rated her statements as significantly more credible when the woman had her hand on her heart.

Something as simple as putting our hand over our heart, the researchers conclude, can prompt us to behave in a more moral manner. But at the same time, experienced liars could use this simple cue to manipulate others into believing that what they are saying is the truth being laid on their hearts.

Visitors participate in a flag-folding demonstration at the Concord Point Lighthouse in Havre de Grace, Maryland. At 30 feet by 42 feet, the flag is the same dimensions as the original Star-Spangled Banner that flew over Fort McHenry and is now on display at the National Museum of American History. The War of 1812 produced symbols and stories that became part of American popular culture and shaped people’s sense of national identity. These objects, songs, characters, and images—many of which originated in the Chesapeake Bay area—helped foster a sense of collective experience and offered Americans new ways to express their patriotism.

Learn more about these symbols and stories:

• The flag

• The National anthem

• The First Lady

• Uncle Sam The War of 1812 produced symbols and stories that became part of American popular culture and shaped people’s sense of national identity. These objects, songs, characters, and images—many of which originated in the Chesapeake Bay area—helped foster a sense of collective experience and offered Americans new ways to express their patriotism. Learn more about these symbols and stories: The original Star-Spangled Banner is on display at the National Museum of American History in Washington, DC. Several feet of the flag’s flying end and a star are missing. In the 19th century, pieces of the banner were cut and given away as souvenirs. Courtesy of the Smithsonian Institution The Flag

The War of 1812 made the American flag iconic. Before the war, Americans rarely used the flag to express patriotism. But the appearance of the flag over Fort McHenry during the Battle of Baltimore and Francis Scott Key’s poem “The Star-Spangled Banner” inspired the public. After the war, the flag was often displayed as a symbol of national pride and unity.

Major George Armistead wanted to show the British that Fort McHenry was ready to fight. “We, sir, are ready at Fort McHenry to defend Baltimore against the enemy’s invasion,” he told American General Samuel Smith, who commanded all forces in and around the city. “That means we are ready, except we don’t have a suitable flag to display over the star fort and it is my wish to have a flag big enough for the British to see easily from afar .”

In the summer of 1813, Armistead commissioned Mary Pickersgill, a second-generation flagmaker, to make an “American flag 30 feet by 42 feet” from “first quality flag.” When Fort McHenry held back the British Navy during the Battle of Baltimore in September 1814, Pickersgill’s flag was flown triumphantly over the fort.

After a long journey from family memento to national treasure, the Fort McHenry flag found a home

An American flag flies overhead

The War of 1812 made the American flag iconic. Before the war, Americans rarely used the flag to express patriotism. But the appearance of the flag over Fort McHenry during the Battle of Baltimore and Francis Scott Key’s poem “The Star-Spangled Banner” inspired the public. After the war, the flag was often displayed as a symbol of national pride and unity. Major George Armistead wanted to show the British that Fort McHenry was battle-ready. “We, sir, are ready at Fort McHenry to defend Baltimore against the enemy’s invasion,” he told American General Samuel Smith, who commanded all forces in and around the city. “That means we are ready, except we don’t have a suitable flag to display over the Star Fort and it is my wish to have a flag big enough for the British to see easily from a distance In the summer of 1813, Armistead commissioned Mary Pickersgill, a second-generation flagmaker, to make an “American flag 30 feet by 42 feet” of “first quality.” When Fort McHenry held back the British Navy during the Battle of Baltimore in September 1814, Pickersgill’s flag was flown in triumph over the fort. After a long journey from family keepsake to national treasure, the Fort McHenry flag found a home at the Smithsonian’s National Museum of American History An American flag flies 24 hours a day, 7 days a week over the Fort McHenry National Monument and Historic Shrine, a memory of the iconic flag that inspired the words of the national anthem of the United States of America. Visitors learn about the history of the flag through exhibits and ranger-led programs. The National anthem

The War of 1812 also produced the national anthem of the United States of America. Francis Scott Key was inspired to write The Star-Spangled Banner after seeing Fort McHenry survive the British bombardment.

Key’s new lyrics to a popular tune of the day gained instant popularity in the days following the Battle of Baltimore, but did not become the official national anthem for more than 100 years. It was regularly played by bands during the Civil War. The US Navy made it an official part of its flag ceremonies in 1889, and President Woodrow Wilson ordered it played for military ceremonies during World War I.

1929 the popular newspaper cartoon series

The War of 1812 also produced the national anthem of the United States of America. Francis Scott Key was inspired to write The Star-Spangled Banner after seeing Fort McHenry survive the British bombardment. Key’s new lyrics to a popular tune of the day gained instant popularity in the days after the Battle of Baltimore, but it hasn’t become the official national anthem for more than 100 years. It was regularly played by bands during the Civil War. The US Navy made it an official part of its flag ceremonies in 1889, and President Woodrow Wilson ordered it to be played at military ceremonies during World War I. ‘ noted that the country had no national anthem. Noted composer John Philip Sousa publicized his support for Francis Scott Key’s “soul-moving” lyrics, and a public campaign to promote “The Star-Spangled Banner” began. President Herbert Hoover eventually signed legislation into law on March 3, 1931 to make Key’s song the official national anthem. Dolley Madison, as painted by Gilbert Stuart, helped define the role of America’s First Ladies. Courtesy Library of Congress The First Lady The First Lady’s role rose to prominence during the War of 1812 thanks to the gregarious, charming, and fashionable Dolley Madison. According to legend, she was the first to be called “First Lady” when President Zachary Taylor delivered her eulogy in 1849. Dolley set a standard that many future first ladies would aspire to.

The consummate hostess of the White House (then known as the “House of the President”), Dolley brought sophistication to the capital. During her husband’s presidency, Washington was still a small city and not very cosmopolitan. In the words of Attorney General Richard Rush, it was “a poor village, a place with a few bad houses and extensive swamps.”

President James Madison was an awkward, grumpy man. In contrast, his wife was warm and welcoming, and she took the lead by hosting political figures and events.

Dolley’s fame rose after the fire in Washington. In August 1814, with the British only a few miles away, she was still at the White House trying to salvage as many of the nation’s documents and treasures as possible.

Returning to Washington after the British occupation, Dolley re-established her Wednesday night “salons” (receptions), popular with politicians, diplomats, and other Washingtonians.

Dolley Madison helped shape the role of first ladies in public service. She was the first to officially support a public project when she helped found a home for orphaned girls in Washington.

The First Lady’s role gained visibility during the War of 1812 thanks to the gregarious, charming, and fashionable Dolley Madison. According to legend, she was the first to be called “First Lady” when President Zachary Taylor delivered her eulogy in 1849. Dolley set a standard that many future first ladies would aspire to. ) Hostess brought Dolley sophistication to the capital. During her husband’s presidency, Washington was still a small city and not very cosmopolitan. In the words of Attorney General Richard Rush, it was “a barren village, a place with a few bad houses and extensive swamps.” President James Madison was an awkward, sullen man. In contrast, his wife was warm and welcoming, and she took the lead in hosting political figures and events. Dolley’s fame increased after the fire in Washington. In August 1814, with the British only miles away, she was still at the White House trying to salvage as many of the nation’s documents and treasures as possible. When she returned to Washington after the British occupation, Dolley restored her Wednesday evenings. Salons” (receptions) that were popular with politicians, diplomats, and other Washingtonians. Dolley Madison helped shape the role of first ladies in the civil service. She was the first to officially endorse a public project when she helped create a to establish homes for orphaned girls in Washington.Images of Uncle Sam have evolved over the years.This well-known depiction of James Montgomery Flagg appeared on a 1917 Army recruiting poster, but ‘Uncle Sam’ originated in the War of 1812. Courtesy Library of Congress Uncle Sam War of 1812, his successor – “Uncle Sam” – was invented.

The nickname “Uncle Sam” was probably coined in reference to businessman Sam Wilson, who supplied American troops with barrels of meat stamped “U.S.” along the Canadian border. That stood for “United States,” of course, but soldiers joked that the rations came from “Uncle Sam.” The term became popular in relation to government supplies or gifts, but it was just a name.

A visual representation of Uncle Sam did not appear until 1832. His image evolved over the next 30 years. Uncle Sam and Brother Jonathan were both popular icons during the Civil War, but eventually Uncle Sam absorbed traits from Brother Jonathan – and President Abraham Lincoln – to become the dominant icon. In the late 1850s, Americans knew Uncle Sam as a serious, grandfatherly man with a white beard, dressed in red, white, and blue stripes and a top hat.

The most famous portrait of Uncle Sam appeared on World War I recruiting posters, where he pointed his finger directly at young men and said, “I want you.”

The character “Brother Jonathan” embodied the United States during the Revolutionary War, but during the War of 1812 his successor – “Uncle Sam” – was invented. The nickname “Uncle Sam” was probably coined in reference to businessman Sam Wilson, who supplied meat kegs to American troops along the Canadian border marked “U.S.” That stood for “United States,” of course, but soldiers joked that the rations of “Uncle Sam” came from. The term became popular in relation to government supplies or gifts, but it was just a name. A visual depiction of Uncle Sam did not appear until 1832. His image evolved over the next 30 years. Uncle Sam and Brother Jonathan were both popular icons during the Civil War, but eventually Uncle Sam absorbed traits from Brother Jonathan – and President Abraham Lincoln – to become the dominant icon. In the late 1850s, Americans knew Uncle Sam as a serious, grandfatherly man with a white beard, dressed in red, white, and blue stripes and a top hat. The most famous portrait of Uncle Sam appeared on World War I military recruiting posters, in which he pointed his finger directly at young men and said, “I want you.”

The original Star-Spangled Banner, the flag that inspired Francis Scott Key to write the song that would become our national anthem, is among the most prized artifacts in the collections of the Smithsonian’s National Museum of American History in Washington, D.C.

Fast facts on the Star-Spangled Banner Flag

Manufactured in Baltimore, Maryland, July-August 1813 by flag maker Mary Pickersgill

Commissioned by Major George Armistead, Commander of Fort McHenry

Original size: 30 feet by 42 feet

Current size: 30 feet by 34 feet

Fifteen Stars and Fifteen Stripes (one star has been cut out)

Raised over Fort McHenry on the morning of September 14, 1814 to signal American victory over the British at the Battle of Baltimore; the sight inspired Francis Scott Key to write The Star-Spangled Banner

Kept by the Armistead family as a memento of the battle

First loaned to the Smithsonian Institution in 1907; Converted into permanent gift in 1912

On display at the National Museum of American History since 1964

Major, multi-year conservation effort started in 1998

Plans for a new permanent exhibition gallery are now underway

Making the Stars and Stripes

In June 1813, Major George Armistead arrived in Baltimore, Maryland, to assume command of Fort McHenry, which was built to guard the city’s water entrance. Armistead hired Mary Pickersgill, a Baltimore flag maker, to sew two flags for the fort: a smaller storm flag (17 feet by 25 feet) and a larger garrison flag (30 feet by 42 feet). Hired on a government contract, she was supported by her daughter, two nieces, and an indentured African-American girl.

The larger of these two flags became known as the “Star-Spangled Banner”. Pickersgill sewed it from a combination of dyed English wool flag (red and white stripes and blue waistband) and white cotton (stars). Each star is about two feet in diameter, each stripe is about 24 inches wide. The Stars and Stripes’ impressive size (about a quarter the size of a modern basketball court) reflects its purpose as a garrison flag. It should fly from a flagpole about 30 meters high and be visible from a long distance. With its original dimensions of 30 feet by 42 feet, it was larger than the modern garrison flag used by the US Army today, which has a standard size of 20 feet by 38 feet.

The first flag law, passed on June 14, 1777, created the original flag of the United States with thirteen stars and thirteen stripes. The Stars and Stripes has fifteen stars and fifteen stripes, as provided for in the Second Flag Act approved by Congress on January 13, 1794. The additional stars and stripes represent that Vermont (1791) and Kentucky (1792) joined the Union. (The Third Flag Act, passed April 4, 1818, reduced the number of stripes to thirteen to honor the original thirteen colonies, and provided for one star for each state—a new star dedicated to the flag on July 4th was to be added after the admission of each new state.) Pickersgill spent between six and eight weeks making the flags, and they were delivered to Fort McHenry on August 19, 1813. The government paid $405.90 for the garrison flag and $168.54 for the assault flag. The garrison flag would be flown at Fort McHenry soon after, and would eventually find a permanent home at the Smithsonian Institution’s National Museum of American History. The whereabouts of the Storm Flag are unknown.

The War of 1812 and the Fire of Washington

Though its events inspired one of our most famous national songs, the War of 1812 itself is a relatively little-known war in American history. Despite its complicated causes and inconclusive outcome, the conflict helped bolster the credibility of the fledgling United States among other nations. It also fostered a strong sense of national pride among the American people, and those patriotic feelings are reflected and preserved in the song we know today as our national anthem.

Britain’s defeat at the Battle of Yorktown in 1781 marked the conclusion of the American Revolution and the beginning of new challenges for a new nation. Less than three decades after the signing of the Treaty of Paris, which formalized Britain’s recognition of the United States of America, the two countries were once again at odds. Resentment at Britain’s interference in American international trade and its influencing of American sailors, coupled with American visions of expansion, led Congress to declare war on Britain on June 18, 1812.

In the early stages of the war, the American Navy scored victories in the Atlantic and Lake Erie, while Britain focused its military efforts on its ongoing war with France. But with the defeat of Napoleon’s armies in April 1814, Britain turned its full attention to war against the ill-prepared United States. Admiral Alexander Cochrane, the British naval commander, prepared to attack US coastal areas, and General Robert Ross attempted to seize towns along the east coast to create diversion while British forces attacked along the northern borders of the United States.

In August 1814, General Ross and his experienced troops landed near the nation’s capital. On August 24, at Bladensburg, Maryland, about 30 miles from Washington, his five-thousand-man British force defeated an American army twice his size. British troops entered Washington that same night. They set fire to the United States Capitol, the President’s Mansion, and other public buildings. Local militia fled, and President James Madison and his wife Dolley narrowly escaped.

The Battle of Baltimore

With Washington in ruins, the British turned their next attention to Baltimore, then America’s third largest city. Moving up the Chesapeake Bay to the mouth of the Patapsco River, they planned a joint attack on Baltimore by land and sea. On the morning of September 12, General Ross’ troops landed at North Point, Maryland, and advanced on the town. They soon encountered the American front line, part of an extensive network of defenses being built around Baltimore in anticipation of the British attack. During a skirmish with American troops, General Ross, who was so successful in attacking Washington, was killed by a sniper. Surprised by the strength of the American defenses, British forces encamped on the battlefield, waiting for nightfall on September 13 to attempt another attack under cover of darkness.

Meanwhile, British naval forces, bolstered by their earlier successful attack on Alexandria, Virginia, were ready to attack Fort McHenry and enter the port of Baltimore. At 6:30 a.m. on September 13, 1814, Admiral Cochrane’s ships began a 25-hour bombardment of the fort. Rockets whistled through the air, bursting into flames wherever they landed. Mortars fired 10- and 13-inch bombs that exploded overhead in a shower of fiery fragments. Major Armistead, commander of Fort McHenry and his defensive force of a thousand soldiers, ordered his men to return fire, but their guns could not reach the enemy ships. However, as British ships advanced on the afternoon of the 13th, they were badly damaged by American gunners, forcing them to retreat out of range. Throughout the night, Armistead’s men continued to hold the fort and refused to surrender. British attempts at a diversionary attack that night also failed, and by dawn they had given up hope of taking the city. At 7:30 a.m. on the morning of September 14, Admiral Cochrane ended the bombardment and the British fleet withdrew. The successful defense of Baltimore marked a turning point in the War of 1812. Three months later, on December 24, 1814, the Treaty of Ghent formally ended the war.

With the British attack coinciding with a heavy rainstorm, Fort McHenry had flown its smaller assault flag throughout the battle. But at dawn, as the British began to retreat, Major Armistead ordered his men to lower the assault flag and replace it with the large garrison flag. As they raised the flag, the troops fired their guns and played “Yankee Doodle” in celebration of their victory. The banner flew proudly above the fort and could be seen for miles – right down to a ship anchored eight miles downriver, where an American lawyer named Francis Scott Key had spent an anxious night watching the town and looking for a sign to hope – and the nation – could be saved.

The Inspiration of Francis Scott Key: From Poem to Hymn

Before leaving devastated Washington, British soldiers had Dr. William Beanes of Upper Marlboro, Maryland, arrested on charges that he was responsible for the arrest of British stragglers and deserters during the campaign to attack the nation’s capital. They then imprisoned him on a British warship.

friends of dr Beanes asked Georgetown attorney Francis Scott Key to join John S. Skinner, the US government’s agent for dealing with British forces in Chesapeake, and help secure the release of the civilian prisoner. They were successful; The British, however, feared that Key and Skinner would reveal their plans to attack Baltimore, so they kept the two men aboard a truce ship for the duration of the battle. Key thus witnessed the bombing of Fort McHenry.

When he saw the American flag flying over the fort “in the early light of dawn” on September 14, 1814, Key knew Fort McHenry had not surrendered. Moved by the sight, he began to compose a poem on the back of a letter he was carrying. On September 16, Key and his companions were returned to Baltimore and released. Key checked into the Indian Queen Hotel and spent the night revising and transcribing the four verses he had written about America’s victory. The next day he showed the poem to his wife’s brother-in-law, Judge Joseph Nicholson, who had commanded a volunteer company at Fort McHenry. Nicholson responded enthusiastically, urging Key to have the poem printed. Originally titled “The Defense of Fort McHenry,” the broadside contained instructions for it to be sung to the 18th-century British tune “Anacreon in Heaven”—a tune Key had in mind when he wrote his poem. Copies of the song were distributed to every man in the fort and in the Baltimore area. The first documented public performance of lyrics and music together was on October 19, 1814 at Baltimore’s Holliday Street Theater. A music store then released lyrics and music under the title “The Star-Spangled Banner”.

In the 19th century, “The Star-Spangled Banner” became one of the nation’s most popular patriotic songs. It gained particular prominence during the Civil War, a time when many Americans turned to music to express their feelings about the flag and the ideals and values ​​it represented. By the 1890s, the military had adopted the song for ceremonial purposes and required it to be played as the colors were raised and lowered. In 1917, both the Army and Navy referred to the song as the “national anthem” for ceremonial purposes. Meanwhile, patriotic organizations had launched a campaign to get Congress to recognize “The Star-Spangled Banner” as the US national anthem. Finally, after decades of trying, a bill making “The Star-Spangled Banner” our official national anthem was passed by Congress and signed into law by President Herbert Hoover on March 3, 1931.

The Stars and Stripes and the Smithsonian

Shortly before his death in 1818, Lieutenant Colonel George Armistead acquired the flag, immortalized in Key’s poem as the “Star-Spangled Banner.” Although there is no documented evidence of how Armistead came into possession of the flag, it is widely believed that he simply kept it as a reminder of the triumphant battle.

On the death of Armistead’s widow in 1861, the Star-Spangled Banner was bequeathed to his daughter, Georgiana Armistead Appleton, who recognized that it had both national and family significance. As the owner, she repeatedly allowed the flag to be displayed publicly. Eben Appleton, Armistead’s grandson, inherited the flag from his mother in 1878. With increasing public curiosity about the Star-Spangled Banner, he began searching for a suitable place to keep it. In 1907 Appleton presented the historical flag to the Smithsonian Institution, and in 1912 he offered the nation’s flag as a permanent gift. He later wrote: “It always gives me great satisfaction to feel that the flag is exactly where it is, possessed of the very best keeper for all time, beautifully displayed and in the comfort of so many people can be seen. ”

Excerpts from the Star-Spangled Banner

By the late 1800s, souvenirs or relics of important events and people in American history became highly prized and collectible items. The Star-Spangled Banner, historic and celebrated, underwent this practice.

The Armistead family received frequent requests for portions of their flag, but reserved the prized fragments for veterans, government officials, and other honored citizens. As Georgiana Armistead Appleton observed, “Had we given all that was pressed upon us, little would be left to display.” Despite efforts to curtail the practice, over two hundred square meters of the Stars and Stripes were eventually given away, including one of the stars.

By giving away scraps, the Armisteads were able to share the Star-Spangled Banner with others who loved the flag. The citizens who received these memorabilia treated them with reverence and pride. Some framed these pieces of history and displayed them in their homes; others donated them to museums. Today, the Smithsonian National Museum of American History has thirteen Star-Spangled Banner fragments in its collections. Because conservators and curators are unsure of which part of the flag these fragments came from, the pieces cannot be reintegrated into the flag. However, they can be analyzed, allowing restorers to document changes in the condition of the flag’s fibers and better understand how time and exposure to light and dirt have affected the flag.

1914 preservation

When it arrived at the Smithsonian in 1907, the Star-Spangled Banner was already in a fragile and tattered state. In 1914, the Smithsonian commissioned Amelia Fowler, a noted flag restorer and embroidery instructor, to “revive” the flag. Working with a team of ten needlewomen, Fowler first removed a canvas backing that had been attached to the flag in 1873 when it was first displayed and photographed by Admiral George Preble at the Boston Navy Yard. The women then attached the flag to a new canvas backing and sewed about 1.7 million interlocking stitches to form a honeycomb-like web across the flag’s surface. Fowler’s work lasted eight weeks (mid-May to mid-July 1914), and she charged the Smithsonian $1,243: $243 for materials, $500 for herself, and $500 divided among her ten needlewomen.

The flag was then displayed in a display case in the Smithsonian’s Arts and Industries Building. It remained on display there for nearly 50 years, except for two years during World War II when it was housed in a government warehouse in Virginia to protect against possible bombing raids on the nation’s capital. In 1964, the flag was moved to the new National Museum of History and Technology (now the National Museum of American History), where it was displayed in the central hall on the second floor.

1998-2006 Conservation

During the time that the Star-Spangled Banner was displayed in the Flag Hall, museum staff realized that volatile temperatures and humidity levels, as well as high lighting levels, had adversely affected the flag. In 1981, the Smithsonian began a two-year conservation effort: employees vacuumed the flag to reduce accumulated dust, installed new lighting and ventilation systems, and mounted a screen in front of the flag to protect it from light and harmful airborne particles.

In 1994, museum officials recognized the need for further conservation, and in 1996 they began developing a plan to preserve the Stars and Stripes using modern, scientific conservation techniques. This latest conservation effort was officially launched in 1998 when the flag was included in Save America’s Treasures, a wide-ranging millennium conservation project initiated by First Lady Hillary Rodham Clinton. At this point the flag was taken down from the wall on which it had hung since 1964; In 1999 it was moved to the climate and light controlled preservation laboratory where it is located today.

It took restorers nearly two years to remove Fowler’s stitching and linen underlay. This allowed them to see the true state of the flag and learn more about its construction. They examined the colors and fibers of the flag. They measured stains, holes and patches and removed those patches that stressed the fibers. The next step was to remove harmful materials from the flag. Conservators used dry cosmetic sponges to dab the flag and remove much of the surface dirt; its composition offered insights into the history of the flag. After extensive research and analysis, restorers used an acetone/water solution to remove the most damaging contaminants.

In the final phase, to prepare the Star-Spangled Banner for reinstallation in a permanent display gallery, conservators attached a lightweight polyester fabric called Stabiltex to one side. This provides enough support to hold the flag together and display it.

The conservation goal was not to “restor” or “fix” the flag, but to prevent further deterioration.

A new home

Conservators and curators worked with architects and engineers to develop a long-term preservation plan for the Star-Spangled Banner. This involved building a state-of-the-art flag chamber with a climate-controlled environment and low light levels, and displaying the flag at a shallow angle. All of these features will help preserve the flag for future generations. The state-of-the-art gallery opened on November 21, 2008.

online exhibition

Star-Spangled Banner website (http://amhistory.si.edu/starspangledbanner/).

Star-Spangled Banner Flickr page

Founding Fragments: Star-Spangled Souvenirs

For further reading

For detailed and illustrated stories about the British attack on Baltimore, the bombing of Fort McHenry, and the writing of The Star-Spangled Banner, we recommend the following:

Walter Lord, The Dawn’s Early Light (New York, NY: W.W. Norton & Co., Inc., 1992)

Scott S. Sheads, Fort McHenry (Santa Barbara, CA: Sequoia Press, 1989)

Scott S. Sheads, The Rockets’ Red Glare: The Maritime Defense of Baltimore 1814 (Centerville, MD: Tidewater Publishers, 1986)

Lonn Taylor, The Star-Spangled Banner: The Flag That Inspired the National Anthem (New York, NY: Harry N. Abrams, Inc., 2000)

Prepared by:

The Stars and Stripes Project

National Museum of American History, Behring Center

In collaboration with Public Inquiry Services, Smithsonian Institution

A few weeks ago, a young Mexican named Sebastian De La Cruz ripped through the airwaves as he sang the national anthem in his charro suit at the 2013 NBA Finals in San Antonio. Marc Anthony was also criticized for singing God Bless America during the 2013 MLB All-Star game.

Rather than being lauded for their bravery and love for the United States, Sebastian and Marc were criticized by political pundits for Sebastian’s smart attire and belief that Marc Anthony is not from the United States, wearing a specific race or wearing a specific outfit to the national anthem or sing God Bless America?

Sebastian didn’t let the criticism get to him because it made him even more famous as the American media began showcasing the new face of Hispanic Americans — being a proud American while also being proud of your heritage.

Sebastian was also a favorite among the Hispanic media, which made him a star, asking him to come on shows to talk about the situation, how he overcame criticism and even perform some songs.

The political pundits couldn’t get enough, even ripping Marc Anthony apart for singing God Bless America at the 2013 MLB All-Star game because pundits thought Marc wasn’t born in the United States.

Anthony had to make it clear to these experts that he was born in New York City to parents of Puerto Rican descent. When will the pundits ever realize that not every single Hispanic was born outside the US? The majority of young Hispanics in the United States are natural born citizens who were raised in American culture, which still ties them to their parents’ roots.

When it comes to singing the national anthem or God Bless America, there is no constitutional law that says only one specific race may sing national American songs. Nor is anyone barred from singing the national anthem in attire that they believe makes America proud. Anyone who sings the national anthem does so with pride and joy, and that should be what matters, not the color of their skin or what they are wearing.

The US is a cultural melting pot that political pundits must recognize will affect US culture and the way each ethnic group shows its pride. Young Hispanics, for the most part, will keep their alliance with the US and keep their roots in their respective Latin American countries.

The Constitution expressly states that every citizen has the right to freedom of expression. Shouldn’t Sebastian De La Cruz and Marc Anthony be given the same rights as US-born citizens to sing the national anthem and “God Bless America” ​​regardless of their race or cultural heritage?

It was an honor to sing the opening anthem of the Canadian National Inter-University Curling Championships in Kelowna. March 20, 2016. Singing a cappella and alone is perhaps one of the greatest challenges a singer can face. There is no band to hide behind, no group harmonies to blend into, no beat to groove to and into a song like the national anthem, no character to immerse yourself in. There is only you – raw and naked. The arena has the longest sound delay I’ve ever experienced “over 12 seconds – twice as bad as Prospera Place,” the arena director smirked at the sound check. Oops!

Here are a few things I’ve learned that might help you if you find yourself singing the anthem at some point:

1) Choose a key that suits YOUR voice. Luckily, the Canadian anthem has a relatively narrow pitch range, but make sure the highest note, which is the song’s climax, is in a comfortable spot in your voice. Starting too high is a fatal mistake!

2) Focus 100% on the inner ear melody of the song – turn off the feedback delay.

3) Think “up and down” on each note to keep your pitch elevated and prevent it from slipping in pitch.

4) Watch your pace. Go for a relaxed and easy pace; Avoid rushing, but be careful not to slow down too much or try for too long to embellish the notes at the end of the phrase. People want to sing along. Make sure your embellishments don’t get messed up with the tempo.

5) Add meaning to your words. Find the most important words in each sentence and really visualize them.

6) Make eye contact with the few people in the audience from different distances. When you look at a few people, the entire audience feels connected to you.

7) Smile. This is a happy event for everyone here and a smile puts everyone at ease and makes them enjoy the moment.

During this morning’s sound check, I made sure to fully immerse myself in the voice of “inner imagination,” which I encourage my students to use when we sing rounds. You must allow your ears to hear and accept the forces being pulled on them without succumbing to their influence. You need to give your 100% attention to where the song needs to go and hear the pitch before you sing it. You have to be 100% focused. This while still adding meaning to the words you sing and visually connecting with your audience. Oh, and did I mention I had to do half English and half French? It’s harder than it looks!

Overall I think it went well and I would love to do it again sometime. Click HERE to watch the video.

Celebrating a star-studded anthem… That’s really hard to sing

Enlarge this image Toggle caption Scott Cunningham/Getty Images Scott Cunningham/Getty Images

It has been almost 200 years since Francis Scott Key wrote the words of “The Star-Spangled Banner” upon seeing America’s flag waved over Fort McHenry during the War of 1812. Set to the tune of a popular English tune, it officially became the national anthem in 1931.

But America’s national song spans an octave and a half and is terribly difficult for the average person to sing. So NPR went to the National Mall on Flag Day and asked people to do their best (without looking up the lyrics, mind you!)

Many people declined, but a few brave souls rose to the challenge. Click the play button above to hear from: Elizabeth Peppercorn, Sue Krantz, Lorraine Rogina, Elaine and Griffin Ferrara, Rebecca and Richard McAlpin, Ryan and Jordan Hurt, Natalie Beckford, Rian Gaskins, Kevin Amon, Georgie Bauer, Suzanne Kalfus , Allie Cohen , Rome Haskett, Adrian Matthews, Paul Young, Rashaha Jones and Sean Peacock.

National Anthem of the Philippines

“Lupang Hinirang” English: “Chosen Land” Sheet music from “Lupang Hinirang” National Anthem of the Philippines Also known as “Marcha Nacional Filipina” (original title of the march composed by Julián Felipe

“Filipinas” (Original title of poem written by José Palma Lyrics José Palma (original Spanish lyrics) , 1899 music Julián Felipe, 1898 Adopted 12 June 1898 (music)

1899 (Spanish text)

May 26, 1958 (Tagalog texts)

February 12, 1998 (Codification of 1956 Filipino Lyrics[1]) Audio Sample Orchestral Instrumental Recording File

Help

“Lupang Hinirang” (“Chosen Land”), originally titled “Marcha Nacional Filipina” (“Philippine National March”) in Spanish and commonly known by the incipit “Bayang Magiliw” (“Beloved Land”), is the national anthem of the Philippines. Its music was composed by Julián Felipe in 1898 and the lyrics were adapted from the Spanish poem “Filipinas” written by José Palma in 1899.[2]

The composition known as “Lupang Hinirang” was commissioned on June 5, 1898 by Emilio Aguinaldo, head of the dictatorial government of the Philippines[2] as a ceremonial and instrumental national march without lyrics, similar to the status of “Marcha”. Real” in Spain. It was first performed publicly during the proclamation of Philippine independence on June 12, 1898, at Aguinaldo’s residence in Kawit, Cavite. It was re-adopted in 1899 as the national march of the Philippine Republic (Spanish: República Filipina).

After the defeat of the First Republic in the Philippine-American War and subsequent colonial rule by the United States, the Flag Act of 1907 prohibited the public display of any flag, banner, emblem, or device used by the Philippine Republican Army during the war.[1 ] According to the flag law, the public performance of the national march was forbidden.[3] After the repeal of the flag law in 1919, the national march regained its popular status as the national anthem of the Philippines. After the establishment of self-government under the Commonwealth of the Philippines, Commonwealth Act No. 382, ​​approved on September 5, 1938, officially adopted the musical arrangement and composition of Julián Felipe as the national anthem.[4]

In the years following the revolution, the poem Filipinas, written by nationalist José Palma in 1899, gained widespread popularity as the unofficial Spanish text of the anthem. The Spanish lyrics were translated into English and, from the 1940s, into the local language. The current Filipino lyrics, written in 1956, were adopted and underwent a slight revision in the 1960s. On February 12, 1998, Republic Act No. 8491 was passed, codifying the 1956 Philippine texts into law.[1]

history [edit]

“Lupang Hinirang” began as incidental music commissioned by President Emilio Aguinaldo to proclaim Philippine independence from Spain. This task was given to Julián Felipe and was intended to replace a march that Aguinaldo had found unsatisfactory. The original title of this new march was “Marcha Filipina-Magdalo” (Philippine Magdalo March) and was later changed to “Marcha Nacional Filipina” (Philippine National March) after its adoption as the national anthem of the First Philippine Republic in June November 1898, one day before the declaration of independence.[5] Felipe said he based his composition on three other pieces of music: the “Marcha Real,” the current Spanish national anthem; the “Great March” from Giuseppe Verdi’s Aida; and the French national anthem “La Marseillaise”.[6] It was played by the Banda San Francisco de Malabón (now called Banda Matanda, from today’s General Trias) during the June 12 Proclamation rites.

In August 1899, soldier and writer José Palma composed the Spanish poem Filipinas, which in turn was derived from a Kapampangan poem called Labuad Mapalad by Mariano Proceso Pabalan of Bacolor, Pampanga, written in September 1898 while staying at the Casa Hacienda in Bautista was written, Pangasinan. The poem was first published on the first anniversary of the newspaper La Independencia on September 3, 1899 and was then set to the melody of the “Marcha Nacional Filipina”.[8][9]

The Flag Act of 1907 briefly banned the use of the anthem and other Philippine Revolutionary and Katipunan symbols. When it was repealed in 1919, the island government decided to translate the anthem from its original Spanish version to the English version. The first translation was written around this time by the famous poet Paz Márquez Benítez of the University of the Philippines. The most popular translation, called the “Philippine Hymn”, was written by Senator Camilo Osías and an American, Mary A. Lane. In the 1920s the performance time signature was changed from 2/4 to 4/4 for ease of singing, and the key was changed from the original C major to G.[10] However, this change was not codified into law. The anthem was played along with the US anthem, “The Star-Spangled Banner”, which was adopted in 1931. It was played side by side until the country’s final independence in 1946.

Tagalog translations began in the 1940s with the first known one entitled “Diwa ng Bayan” (Spirit of the Land) sung during the Japanese occupation of the Philippines. The second most popular was “O Sintang Lupa” (O Beloved Country) by Julián Cruz Balmaceda, Ildefonso Santos and Francisco Caballo; This was adopted as the official version in 1948. When accepting “Diwa ng Bayan”, the song “Awit sa Paglikha ng Bagong Pilipinas” and the Japanese national anthem “Kimigayo” were replaced.

During President Ramon Magsaysay’s tenure, Education Minister Gregorio Hernández formed a commission to revise the texts. On May 26, 1956, the Tagalog translation “Lupang Hinirang” was sung for the first time. Minor revisions were made in the 1960s and it is this version by Felipe Padilla de León that is currently in use.

During the years of martial law from 1972 to 1981 during Ferdinand Marcos’ second term in office until the EDSA revolution of 1986, the national anthem was used as the opening protest song by some political parties, activist organizations and trade union groups, accompanied by the use of the “raised clenched fist” salute instead the traditional hand-to-heart greeting. This has been done in particular by opposition political parties and activists.

The 1956 Philippine texts were endorsed in 1958 by Republic Act No. 8491 (the “Flag and Coat of Arms Code of the Philippines”) in 1998, abandoning the use of the Spanish and English versions. Philippine law requires that the anthem always be played in accordance with Felipe’s original musical arrangement and composition, but the original hologram cannot be located.[1][10]

Historian Ambeth Ocampo noted in 2006 that the Spanish lyrics, which were not intended to be sung when composed, do not flow very well with the music compared to later English and Tagalog versions, which are smoother. Also, some of the original meanings in “Filipinas” have been lost in translation; For example, “hija del sol de oriente” (daughter of the oriental (eastern) sun) in the original Spanish version became “child of the returning sun” in the Philippine hymn and “perlas ng silanganan” (pearl of the orient) in the current (official ) version.[12] In 2011, Senator Bong Revilla introduced a bill that, among other things, would have removed the requirement that the anthem be sung “in its original Filipino lyrics and marching tempo,” but this was not signed into law.[13]

Other hymns[ edit ]

“Lupang Hinirang” was not the first Philippine national anthem ever conceived. Composer and revolutionary Julio Nakpil composed “Marangal na Dalit ng Katagalugan” (Honourable Hymn of the Tagalog Nation/People) at the request of Andrés Bonifacio, leader of the Katipunan, the secret society that led the revolution.[14][14] ][14] 6][15] Bonifacio had transformed the organization into a revolutionary government – with himself as President – known as the Tagalog Republic shortly before the outbreak of hostilities. The term “Katagalugan” in Bonifacio usage referred to the Philippines and its people as a whole; not just ethnic Tagalogs, but all Filipinos.[16][15] Nakpil composed his national anthem for Bonifacio in Balara (part of modern Quezon City) in November 1896, and Bonifacio later promoted its use in Cavite, where it was still known in 1898. But after Bonifacio’s Katipunan and Republika ng Katagalugan were succeeded by a series of different governments led by Aguinaldo from 1897, Nakpil’s anthem was never officially adopted by them.

Some sources claim that an English version written by Mary A. Lane and Camilo Osías was legalized by Commonwealth Act No. 382.[17][18] However, the act only deals with the instrumental composition by Julián Felipe.[19]

During World War II, Felipe Padilla de León composed “Awit sa Paglikha ng Bagong Pilipinas”, which was commissioned by the Japanese-sponsored Second Philippine Republic as a substitute anthem. It was later adapted into the patriotic song entitled “Hymn of the New Society”, not to be confused with the “March of the New Society”, during the Martial Law era under President Ferdinand Marcos.

Lyrics[edit]

Official lyrics[edit]

The following Spanish, English, and Tagalog versions of the national anthem have received official status throughout Philippine history. However, only the current Filipino version is officially recognized by the Flag and Heraldic Code approved on February 12, 1998, which states: “The national anthem must always be sung in the ‘national language’ inside or outside the country; Violation of the law is punishable by a fine and imprisonment.” [1] Several bills were introduced to amend the Code of Flags and Heraldry to emphasize the importance of observing, complying with, and complying with the standard expression required by law, but none was enacted into law .[20][21]

Official Filipino version Filipino IPA transcription Earlier Spanish version Earlier English version Bayang magiliw,

pearls of silangan,

Alab ng Puso

Sa dibdib mo’y buhay.

lupang hinirang,

Duyan can say

Sa manlupi

Di ka pasisiil.

Sa dagat at bundok,

Sa simoy and sa langit mong bughaw,

Mai dilag ang tula

At awit sa paglayang minamahal.

The kislap ng watawat mo’y

Tagumpay na nagnining;

Ang bituin and araw niya,

Kailan pa ma’y di magdidilim.

Lupa ng araw, ng luwalhati’t pagsinta,

Buhay ay langit sa stack mo;

Aming ligaya na ‘pag can mang-aapi,

Ang Mamay nang dahil sa ‘yo. [ˈba.jɐŋ mɐ.ˈɡi.lɪʊ̯] [ˈpeɾ.lɐs nɐŋ sɪ.lɐ.ˈŋa.nɐn] [ˈa.lɐb nɐŋ ˈpu.so(ʔ)] [sa dɪb.ˈdib moɪ̯ ˈbu.haɪ̯] [ˈlu.pɐŋ hɪ.ˈni.ɾɐŋ] [ˈdu.jɐn k(x)ɐ nɐŋ mɐ.ˈɡi.tɪŋ] [sa mɐn.lʊ.ˈlu.pɪg] [ˈdi(ʔ) k(x)ɐ pɐ.sɪ.sɪ.ˈʔil] [sa ˈda.gɐt ʔɐt bʊn.ˈdok] [sa ˈsi.moj ʔɐt sa ˈla.ŋɪt moŋ bʊɡ.ˈhaʊ̯] [maj dɪ.ˈlaɡ ˈʔaŋ tʊ.ˈla] [ʔɐt ˈʔa.wɪt sa pɐ.gla.jɐŋ mɪ.nɐ.mɐ.ˈhal] [ˈʔaŋ kɪs.ˈlap nɐŋ wɐ.ˈta.wɐt moɪ̯] [tɐ.ˈgum.pɐj na nɐg.nɪ.nɪŋ.ˈniŋ] [ˈʔaŋ bɪ.tʊ.ˈ(ʔ)in ʔɐt ˈʔa.ɾɐʊ̯ ɲa] [k(x)ɐɪ̯.ˈlan pɐ maɪ̯ ˈdi(ʔ) mɐg.dɪ.dɪ.ˈlim] [ˈlu.pɐ(ʔ) nɐŋ ˈʔa.ɾɐʊ̯ nɐŋ lwɐl.ˈha.tɪt pɐɡ.ˈsin.tɐ] [ˈbu.haɪ̯ (ʔ)aɪ̯ ˈla.ŋɪt sa ˈpi.lɪŋ mɔ] [ʔɐ.ˈmiŋ lɪ.ˈga.jɐ na pɐɡ maj mɐŋ ʔɐ.ʔɐ.ˈpi] [ˈʔaŋ mɐ.mɐ.ˈtaj nɐŋ ˈda.hɪl sa jɔ] Tierra adorada,

Hija del sol de Oriente,

Su fuego ardiente

En ti latiendo esta.

tierra de amores,

Del heroísmo cuna,

go invaders,

No te hollarán jamás.

En tu azul cielo, en tus auras,

En tus montes y en tu mar,

Esplende y late el poeta

De tu amada libertad.

Tu pabellón, que en las lides,

La Victoria Illumino,

No vera nunca apagados

Sus estrellas y su sol.

Tierra de dichas, de sol y amores,

En tu regazo dulce es vivir.

Es una gloria para tus hijos,

Cuando te ofenden, port ti morir. land of morning,

child of the returning sun,

With burning fervor

Our souls worship you.

land dear and holy,

cradle of noble heroes,

Never invaders

Tramp your sacred shores.

Always within your sky and through your clouds,

And over your hills and seas,

We see the radiance, we feel the throbbing

Of glorious freedom.

Your banner, dear to all our hearts,

His sun and stars shine

Oh, never will its shining fields

Let the tyrant’s power cloud you!

Beautiful land of love, o land of light,

In your embrace it’s a delight to lie

But it’s always glory when you’re wronged

For us, your sons, to suffer and die. [1] Source: [22][23] Source: [a] [25] Source:

Other historical texts[ edit ]

Original lyrics by Kapampangan

( Dalit ning Lahi ) Japanese era Tagalog version

(Diwa ng Bayan) Tagalog version after World War II

(O Sintang Lupa) Labuad a Mapalad

Mutya nang lalu sampat

Ning dayat-malat

A Queca Misapuac.

Budding sultanas

Guinu na Ning Malaysia

Pemalena’na

Ning tapat a sinta.

Caring bunduc mu and caqueuan

Batis, ulu’t pulung cacal

Bitasang Macalimbagan

Ing quecang catimauan.

Qng bandila mung maningning

A tecutan da ring tacsil

Capilan man e culimlim

Ing Aldo na at batuin.

Labuad ning aldo, sinta’t tepangan

Mayumung diling queque ca mie

Ing queca que ngan paimate. Lupang Mapalad,

Na mutya ng Silangan;

Bayang Kasuyo,

Ng sangkalikasan.

Buhay at Yaman,

Ng Kapilipinuhan;

Kuha’t bawi,

Sa banyagang kamay.

Sa Iyong Langit, Bundok,

batis, dagat na pinalupig;

Nailibing na karimlan,

Ng kahapong pagtitiis.

Sakit at luha, hirap,

Sisa and sumpa sa pag-amis;

ay wala nang lahat at naligtas,

Sa ibig manlupit.

Hayo’t magdiwang lahi kong minamahal,

Iyong watawat ang siyang tanglaw;

At kung sakaling ikaw ay muling pagbantaan,

Aming bangkay ang siyang hahadlang. O sintang lupa,

Perlas ng Silanganan,

Diwang Apoy Kang

Sa araw nagmula.

Lupang Magiliw,

pugad ng kagitingan,

Sa manlupi

Di ka papaslang.

Sa iyong langit, simoy, parang.

Dagat near Kabundukan,

Laganap tibok ng Puso

Sa paglayang walang hanggan.

Sagisag ng watawat mong mahal

Ningning at tagumpay;

Araw’t bituin niyang maalab

Ang s’yang lagi naming tanglaw.

Sa iyo, Lupa ng ligaya’t pagsinta,

Tamis mabuhay na yakap mo,

Datapwa’t langit ding kung ikaw ay apihin

Ay mamatay ng dahil sa ‘yo. [26][27] source: [28][better source needed] source: [29] source:

Lyrics in other regional languages ​​[ edit ]

Ilocano Version (Nailian a Dayyeng) Cebuano Version (Nasudnong Awit) Hiligaynon Version (Banwang Guinhalaran) Imnas nga ili

Baggak ti dumadaya

Day toy ayatmi

Ti sagutmi kenka

Dagat’kinasudi

Indayon ti nakired

Iti mangdadael

Haanka Pailugen

Iti tangatang, ulep ken pul-oy

Bambantai Ken Baybay

Addan dayag ti daniw ken dayyeng

Ti nasamit a wayam

Ti raniag ta wagaywaymo

Ket balligi a nasileng

Ti init ken dagiti bituenna

Dinto pulos aglidem

Nakaliblibnos unay a dagan’ ayat

Daytoy Biag Langit Dita Dennam

Ngem no ti dayawmot’ inda dadaesen

Inggat’ tanem sumalakankam Yutang tabunon

Mutya nga masilakon

set bahandi

Amo kang gimahal

Miting gisimba

Yutas mga bayani

Sa malupigon

Padagapigan ka

Ang bungtod mo ug lapyahan

Ang langit mong bughaw

Nagahulad sa awit, lamdag sa

Kaliwat Tang Gawas

Silaw sa adlaw ug bitoon

Sa Nasudnong Bandila

Nagatimaan nga buhion ta

Angatong pagkausa

Yutang maanyag, duyan ka sa pagmahal

Landong sa langit dughan mo;

Pakatam-ison namo kon maulipon ka

Ang kamatayon sa ngalan mo Banwang masinadyahon,

Perlas sang Nasidlangan,

Init sang tigpusuon,

Gakabuhi sa imo nga dughan.

Banwang Guinhalaran,

Payag ka sang Maisog,

Sa mga manugpigos,

Wala guid nagapadaog.

Sa dagat kag bukid,

Sa usbong kag sa dagway nga gabanaag,

Can idlak kag tibok ang dilambong,

Kag Amba sang Kahilwayan.

Ang idlak sang ayahay mo,

Isa ka matam-ist nga kadalag-an,

The bituon kag ang adlaw,

Nangin masanag sa katuban.

Dutang Nasambit sang Adlaw Kag Paghigugma,

Sa sabak mo matam-ist mabuhi,

Ginapakipagbato namon, nga kung can manungpanakop,

The Mapatay nahanungod in imo. [30] Source: [31] Source: [32] Source: Bicolano version (Rona Kang Mawili) Pangasinense version (Oh, Pilipinas dalin min kagal-galang) Tausug version (Bahasa Sūg) Bayang Inutang

Aki ka nin sirangan

Tingraw niyang malaad

Nasa Si Mong Daghan.

Rona Kang Mawili

Nagimatan Bayani

A Mansalakay

Dai ka babatayan.

Sa si-mong langit, bukid

Hayop kadagatan fathers a man

Nagkukutab nagbabanaag

A Si Mong Katalingkasan.

Simong bandera na nagkikintab

Sa hokbo naglayaw

Dai nanggad mapapara

A simong Bitoon Aldaw.

Dagang Nawilihan, Maogma, Maliwanag,

Sa limpoy mo hamis mabuhay

Minamarhay mi kun ika pagbasangan

A buhay mi si-mo idusay. Oh Philippines

Dalin min kagal galang

Musia na dayat,

Ed Dapit Letakan

Simpey Gayagan,

Panag-ugagepan day

Totoon Lapag,

Ed dapit-seslekan.

Saray anak mo agda

Kawananen ya ibagat ed sika’y

Dilin bilay da nr

Nakaukulay galang tan ka-inaoan

Diad palandey, lawak, taquel,

Dayat o no diaed lawang

Sugbaen Day Patey Ya Andi

Dua-rua no sikay pan-sengegan.

Diad silong na laylay mo mankaka-sakey

Tan diad sika man-lingkor tan mangi-agel

Bangta dia’d akualan mo aneng-neng day silew

Diad akualan mo muet akuen day patey. hula sin bangsa,

Filipinas paganganan

kalasahanta,

Mucha ha Subangan

Maharga katu

In mga kamaasan

Yasag in dugu

Ba’t hula b’yaugbugan

Dayn ha uttara sampay pa saytan

Dayn ha bud pa dagat

Kamahardikaan kakitaan

Baugbugan da sin rayat

Bituun-suga ha panji n’ya

In Sinag Pangdaugan

Bang man di’ maka’ in sahaya n’ya

Sampay pa kasaumulan

Malingkat ing hula ta iban limaya

Marayaw tuud paghulaan

Tantu, bang gubatun sin dugaing bangsa

Pa kamatay, subay baugbugan! [33] source: [34] source: [35] source:

Proposed textual revision [ edit ]

The last line of the national anthem, “ang mamatay nang dahil sa ‘yo” (literally: “to die for you [of the country]”, translated above as: “For us, your sons, to suffer and die.”) is subject to certain proposed ones Revisions for allegedly being defeatist.[36][37] In 2013, Filipino musician Joey Ayala manipulated the national anthem in a forum by changing the last line to “ang magmahal ng dahil sa ‘yo” (“to love for the country”) and arranging the time signature from 4/4 to 6/8, [38] with mixed reactions from the public.[39] [36 ] his proposal was not well received by Filipino netizens.[37]

Music and tempo[ edit ]

RA 8491 states that “Lupang Hinirang” when performed “must conform to the musical arrangement and composition of Julián Felipe.”[1] Literally, however, this means that the national anthem may only be performed by a pianist or by a brass band, as these were the only versions produced by Julián Felipe.[10] Also, the original version was composed in duple time (i.e., in a time signature of 2/4) compared to today’s four time (4/4). It cannot be sung from the original score because the music would be so fast that the singers would not be able to keep up.[10]

During televised boxing matches featuring Filipino boxer Manny Pacquiao, singers were both praised and criticized by the National Historical Institute (NHI) for singing too slowly or too fast.[40] The NHI says the proper tempo is 2/4 and 100 metronomes and that the anthem should be 53 seconds.[40]

usage [edit]

The anthem is usually played at public gatherings in the Philippines or abroad where Filipino audiences are sizeable. The code also provides that it may be played on other occasions when permitted by the National Historical Institute (now known as the National Historical Commission of the Philippines). It prohibits gambling or singing for mere recreation, amusement or entertainment except at international competitions where the Philippines is the host or has a representative; local competitions; during the “registration” and “deregistration” of radio and television stations in the country; and before the first and last screening of films and before the opening of theatrical performances.

Until 1999, the national anthem was played with four ruffles and flourishes, as the presidential salute honors music at the start of civil or military parades in Spanish and Taiwanese traditions, particularly on national holidays. As of this year, it is only played during the presentation of award winners at jubilee parades or after honoring the President.[41]

The national anthem is played each morning at early breakfast on GMA Network radio and television and at the sign-on and sign-off (replay of the recorded sign-on) of their broadcast for the day.

Regulation [ edit ]

Article XVI, Section 2 of the 1987 Constitution provides that “Congress may by law adopt a new name for the country, a national anthem, or a national seal commemorating the ideals, history and traditions of the people. Such a law comes into force only after its ratification by the people in a national referendum.”[42]

Flag and Heraldic Code of the Philippines [ edit ]

Republic Act No. 8491 (“The Flag and Heraldic Code of the Philippines”) regulates the use of the national anthem and contains the full text of “Lupang Hinirang”.[1] Enacted in 1998, it states that when performed, “Lupang Hinirang must always be sung in the local language” whether performed inside or outside the Philippines, and specifies that the singing should be “with fervor ” must take place.[1]

The Code establishes penalties for violations of its provisions. Section 48 provides for public censure and suspension of licenses and permits, Section 49 obliges the Ministry of Education and the Commission on Higher Education to ensure that all students memorize the national anthem, Section 50 provides for fines or imprisonment for violations. 1]

See also[edit]

Notes [edit]

^

Example:[24] the first line of the second stanza as “Patria de Amores”, which can be translated as “Beloved Homeland”.

the fourth line of the second stanza as “No te hallarán jamás”, which literally means “they will never find you”. Some sources present parts of it differently. For example:

References[edit]