Memorial Day – Taps

So this really isn’t a resource, but felt compelled to share on this Memorial Day.

Do you know the origin and meaning of Taps? I knew the words (thanks to high school choir), but was not fully aware of the origin and meaning. Upon researching today I came across this blog/website of Taps Bugler: Jari Villanueva. Mr. Villanueva strives to keep the honor of Taps alive by sharing this historical military tradition.

Shadow Taps: Josh Boyles and Jessica Tavenner

I attended a Memorial Day service yesterday where Shadow Taps was played by two wonderfully talented young musicians (and friends of mine), Josh B. and Jessica T. (volume up for this link) Below are two additional stories of Taps. The exact origin may not be perfectly clear, but the long tradition of honoring our men and women who have died in service to God and Country is very clear. Thank you for keeping my freedoms free.

Verse 1:Day is done,
Gone the sun,
From the lakes,
From the hills,
From the sky,
All is well,
Safely rest,
God is nigh.
Verse 2:Fading light,
Dims the sight,
And a star,
Gems the sky,
Gleaming bright,
From afar,
Drawing nigh,
Falls the night.

Verse 3:

Thanks and praise,
For our days,
Neath the sun,
Neath the stars,
Neath the sky,
As we go,
This we know,
God is nigh.

The Story Behind “TAPS”:

It all began in 1862 during the Civil War, when Union Army Robert Ellicombe was with his men near Harrison’s Landing in Virginia. The Confederate Army was on the other side of the narrow strip of land. During the night, Captain Ellicombe heard the moan of a soldier who lay mortally wounded on the field. Not knowing if it was a Union or Confederate soldier, the captain decided to risk his life and bring the stricken man back for medical attention. Crawling on his stomach the gunfire, the captain reached the stricken soldier and began pulling him toward his encampment. When the captain finally reached his own lines, he discovered it was actually a Confederate soldier, but the soldier was dead. The captain lit a lantern, suddenly he caught his breath and went white with shock. In the dim light, he saw the face of the soldier, it was his own son.

The boy had been studying music in the South when the war broke out. Without telling his father, he enlisted in the Confederate Army. The following morning, heartbroken, the father asked permission of his superiors to give his son a full military burial despite his enemy status. His request was partially granted. The captain had asked if he could have a group of Army band members play a funeral dirge for the son at the funeral. That request was turned down since the soldier was a Confederate. Out of respect for the father, they did say they could give him only one musician. The father chose the bugler. He asked the bugler to play a series of musical notes he had found on a piece of paper in the pocket of his dead son’s uniform. This wish was granted.

This music was the haunting melody we now know as “Taps” that is used at all military funerals. http://www.iboww.org/taps.htm

The following Version is from the
Military District of Washington, D.C. (archives):

ORIGIN OF “TAPS”

During the Civil War, in July 1862 when the Army of the Potomac was in camp, Brig. Gen. Daniel Butterfield summoned Pvt. Oliver Wilcox Norton, his brigade bugler, to his tent. Butterfield, who disliked the colorless “extinguish lights” call then in use, whistled a new tune and asked the bugler to sound it for him. After repeated trials and changing the time of some notes which were scribbled on the back of an envelope, the call was finally arranged to suit Gen. Butterfield and used for the first time that night. Pvt. Norton, who on several occasions, had sounded numerous new calls composed by his commander, recalled his experience of the origin of “Taps” years later:

“One day in July 1862 when the Army of the Potomac was in camp at Harrison’s Landing on the James River, Virginia, resting and recruiting from its losses in the seven days of battle before Richmond. Gen. Butterfield summoned the writer to his tent, and whistling some new tune, asked the bugler to sound it for him. This was done, not quite to his satisfaction at first, but after repeated trials, changing the time of some of the notes, which were scribbled on the back of an envelope, the call was finally arranged to suit the general.

“He then ordered that it should be substituted in his brigade for the regulation “Taps” (extinguish lights) which was printed in the Tactics and used by the whole army. This was done for the first time that night. The next day buglers from nearby brigades came over to the camp of Butterfield’s brigade to ask the meaning of this new call. They liked it, and copying the music, returned to their camps, but it was not until some time later, when generals of other commands had heard its melodious notes, that orders were issued, or permission given, to substitute it throughout the Army of the Potomac for the time-honored call which came down from West Point.

In the western armies the regulation call was in use until the autumn of 1863. At that time the XI and XII Corps were detached from the Army of the Potomac and sent under command of Gen. Hooker to reinforce the Union Army at Chattanooga, Tenn. Through its use in these corps it became known in the western armies and was adopted by them. From that time, it became and remains to this day the official call for “Taps.” It is printed in the present Tactics and is used throughout the U.S. Army, the National Guard, and all organizations of veteran soldiers.

Gen. Butterfield, in composing this call and directing that it be used for “Taps” in his brigade, could not have foreseen its popularity and the use for another purpose into which it would grow.

Today, whenever a man is buried with military honors anywhere in the United States, the ceremony is concluded by firing three volleys of musketry over the grave, and sounding with the trumpet or bugle “Put out the lights. Go to sleep”…There is something singularly beautiful and appropriate in the music of this wonderful call. Its strains are melancholy, yet full of rest and peace. Its echoes linger in the heart long after its tones have ceased to vibrate in the air.” http://www.iboww.org/taps.ht
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