| Taps Performance Guidelines, Page 2 |
The Correct Performance of Taps
The exact way to perform Taps shares some of the same uncertainty as the origin of the call. The most obvious error is the rhythmic figure found in
the seventh, eighth, tenth, eleventh, thirteenth, and fourteenth notes. The rhythm for those notes should be:
The exact way to perform Taps shares some of the same uncertainty as the origin of the call. The most obvious error is the rhythmic figure found in
the seventh, eighth, tenth, eleventh, thirteenth, and fourteenth notes. The rhythm for those notes should be:
However, most trumpeters perform those notes this way:
I have heard this on many recordings, in movies, at live performances, and for much of my life that was how I performed it. The correct way should be
the straight eighth note, not the dotted eighth and sixteenth note rhythm.
As a trumpet player schooled by teachers well versed in orchestral and solo literature, I was taught that certain solo pieces and orchestral trumpet
excerpts are to be performed in a definite fashion. I feel the same about Taps. Think perhaps of changing the rhythm of Beethoven's offstage
"Leonore" call, or maybe the solo in the Lieutenant Kije suite of Prokofieff, because you want to subject it to your own "interpretation." It just isn't
done, and Taps should be treated the same way.
The sounding of Taps can be open to interpretation in deciding how long to hold the fermata over the third, sixth, fifteenth, and twenty-fourth
notes. However, there should be no question of the rhythm as mentioned above. When you examine the printed music, you will see that most bugle
manuals contain the straight eighth note rhythm.
As my foundation for the correct rhythm to perform in Taps I'll cite the following:
the straight eighth note, not the dotted eighth and sixteenth note rhythm.
As a trumpet player schooled by teachers well versed in orchestral and solo literature, I was taught that certain solo pieces and orchestral trumpet
excerpts are to be performed in a definite fashion. I feel the same about Taps. Think perhaps of changing the rhythm of Beethoven's offstage
"Leonore" call, or maybe the solo in the Lieutenant Kije suite of Prokofieff, because you want to subject it to your own "interpretation." It just isn't
done, and Taps should be treated the same way.
The sounding of Taps can be open to interpretation in deciding how long to hold the fermata over the third, sixth, fifteenth, and twenty-fourth
notes. However, there should be no question of the rhythm as mentioned above. When you examine the printed music, you will see that most bugle
manuals contain the straight eighth note rhythm.
As my foundation for the correct rhythm to perform in Taps I'll cite the following:
A. The most important basis for my thesis is the many bugle, drill and tactical manuals that print the call. In most manuals,
the call is written with the straight eighth notes. The most notable example of the dotted eighth and sixteenth note
rhythm is John Philip Sousa's book, The Trumpet and Drum. Sousa lists the call as "Extinguish Lights" and has a drum part
written to accompany the call. The correct rhythm to Taps can be found in virtually every other manual. Sousa probably
titled it "Extinguish Lights" because that was (at the time) the official designation.
the call is written with the straight eighth notes. The most notable example of the dotted eighth and sixteenth note
rhythm is John Philip Sousa's book, The Trumpet and Drum. Sousa lists the call as "Extinguish Lights" and has a drum part
written to accompany the call. The correct rhythm to Taps can be found in virtually every other manual. Sousa probably
titled it "Extinguish Lights" because that was (at the time) the official designation.
B. The best evidence for the straight eighth note rhythm comes from four sources:
1. The original 1835 call of Tattoo from which Taps was derived. An examination of the notes that correspond with
the present-day Taps shows an even rhythmic figure.
2. The biography of General Butterfield, A Biographical Memorial of General Daniel Butterfield Including Many
Addresses and Military Writings, edited by Julia Lorillard Butterfield (his wife), shows the call printed on p. 49 with
the straight eighth note figure.
3. Oliver Willcox Norton published a pamphlet in 1903 entitled Two Bugle Calls, in which he reminisces about his Civil
War days and discusses calls written by General Butterfield. The call is printed on the last page.
4. The 1874 revised Upton's Infantry Tactics shows the first version of the present-day Taps in a U.S. Army book.
These are extremely reliable sources in that Butterfield is credited with the call and Norton was the first to play it.
1. The original 1835 call of Tattoo from which Taps was derived. An examination of the notes that correspond with
the present-day Taps shows an even rhythmic figure.
2. The biography of General Butterfield, A Biographical Memorial of General Daniel Butterfield Including Many
Addresses and Military Writings, edited by Julia Lorillard Butterfield (his wife), shows the call printed on p. 49 with
the straight eighth note figure.
3. Oliver Willcox Norton published a pamphlet in 1903 entitled Two Bugle Calls, in which he reminisces about his Civil
War days and discusses calls written by General Butterfield. The call is printed on the last page.
4. The 1874 revised Upton's Infantry Tactics shows the first version of the present-day Taps in a U.S. Army book.
These are extremely reliable sources in that Butterfield is credited with the call and Norton was the first to play it.
C. It is the way it is sounded by all armed services at Arlington National Cemetery for funerals, wreath-laying ceremonies,
and memorial services and at The Tomb of the Unknowns.
and memorial services and at The Tomb of the Unknowns.
Why then, is it so frequently performed wrong? I believe that the call has often been passed around by rote, with few buglers checking the
manuals. Also, it has been performed in that manner in many Hollywood movies.
Why care? As musicians and performers, trumpeters should strive to play with the utmost perfection.
manuals. Also, it has been performed in that manner in many Hollywood movies.
Why care? As musicians and performers, trumpeters should strive to play with the utmost perfection.
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