MARCHING, one of the first necessities to distinguish a body of disciplined troops from a mere crowd of men, is a regular cadenced step, taken by every individual at the same time and with the same foot. The necessity of this for harmonious action is .obvious. The ancient Roman legions had military music to beat thue for their march. In the feudal ages, when infantry fell into disrepute, cadenced marching was unattended to, and seems only to haye been thoroughly revived by marshal Saxe. The best music for a march is found to be some simple tune, such as can readily be performed by drums and fifes. The music, besides preserving, the time, acts as a preventative of fatigue.
In the British service there are the slow march of 75 paces, each of 30 in.„in a minute —only used on parade; the quick march, of 110 paces, in which all evolutions are per iormed; and the double-quick, of 150 running paces, with the knees raised high. This
last cannot be sustained for any great distance, and is employed in a charge, or in sud denly occupying a hill or some commanding position, and in a few short internak move ments of regiments.
Countermarching is an evolution by which a body of men change front, and at the same time retain the same men in the front rank. The movement being represented by "right face, quick march, left wheel, forward, halt, front, dress." On the same prin .ciple, a whole army will sometimes change front. If after the countermarch the order "rear-face" be given, the same front will be preserved, with the rear-rank in front, and what was previously the right now serving as the left. A rear-rank may also become a front-rank by merely countermarching round the end of the latter, which remains stationary.