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The Origin of Taps
Of all the military bugle calls, none is so easily recognized or more apt to
render emotion than "Taps". Up to the Civil War, the traditional call at day's
end was a tune borrowed from the French called "Lights Out". In July of 1862, in
the aftermath of the bloody Seven Days Battles, hard on the loss of 600 men and
wounded himself, Union General Douglas Adams Butterfield called the brigade
bugler to his tent. He though "Lights Out" was too formal and he wished to honor
his men. Oliver Wilcox Norton, the bugler, tells the story, ". . . showing me
some notes on a staff written in pencil on the back of envelop, he asked me
sound them on my bugle. I did this several times, playing the music as written.
He changed it somewhat, lengthening some notes and shortening others, but
retaining the melody as he first gave it to me. After getting it to his
satisfaction, h e directed me to sound that call for Taps thereafter in place of
the regulation call. The music was beautiful on that still summer night and was
heard far beyond the limits of our Brigade. The next day, I was visited by
several buglers from neighboring Brigades, asking for copies of the music, which
I gladly furnished. The call was gradually taken up through the Army of the
Potomac."
This more emotive and powerful Taps was soon adopted throughout the military. In
1874, it was officially recognied by the US Army. It became mandatory at
military funeral ceremonies in 1891. There is something singularly beautiful and
appropriate in the music of this wonderful call. It strains are melancholy, yet
full of rest and piece. It echoes linger in the heart long after its tones have
ceased to vibrate the air.
Another Version . . .
Author Unknown
In 1862, during the Civil War, when Union Army Captain 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
through 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 numb with shock. In the dim light, he
saw the face of the soldier. It was his 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 captain chose a 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.
Day is done, gone the sun,
From the hills, from the lake,
From the skies.
All is well, safely rest,
God is nigh.
Go to sleep, peaceful sleep,
May the soldier or sailor,
God keep.
On the land or the deep,
Safe in sleep.
Love, good night, Must thou go,
When the day, And the night
Need thee so?
All is well. Speedeth all
To their rest.
Fades the light; And afar
Goeth day, And the stars
Shineth bright,
Fare thee well; Day has gone,
Night is on.
Thanks and praise, For our days,
'Neath the sun, Neath the stars,
'Neath the sky,
As we go, This we know,
God is nigh.
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