NEW
Taps
“All Gave Some, Some Gave All”
by Pamela Harr
The soldier is 12” tall. Overall height 33” ED 200 $3,600
This is the model for the Northeastern Montana Veterans Memorial at Ft. Peck, MT. For details about the memorial and progress reports visit www.veteransmt.org. The same size sculpture can also be ordered as a soldier in dress uniform.
The first casting has been installed in Harr Hall, Ft. Benning, Georgia
A tribute to the 150 Year Celebration of its origin during the Civil War
Soldier 6” high Ed 500 $995
Visit these interesting sites for the history of “Taps”
Music in History– Blowing Taps
The Origin of Taps
TAPS – All Gave Some, Some Gave All. A Legacy of American Warriors
Before the advent of the field radio, the bugler was one of the most important members of a fighting force since battlefield maneuvers were relayed by bugle calls. “Taps,” one of the most beautiful and haunting bugle calls, is recognized throughout the world as one of the most uniquely American melodies.
Its history dates back to the Civil War where it began as a revision by Union General Daniel Butterfield to the borrowed 1809 French bugle call for “Extinguish Lights” at the end of the day. In the summer heat of July 1862 at the end of the Seven Day’s Battle at Harrison’s Landing near Richmond, Virginia, men were recovering while more than 29,000 soldiers lay wounded or dead. Desiring something more melodious to honor his men and with the help of his brigade bugler, 22 year old Oliver Willcox Norton, Butterfield adapted the 1835 Scott’s Tatou for “Return to Quarters” into the somber 24 notes that we recognize today as “Taps.” The notes are much longer, drawn out and the bottom note was taken out. “Taps,” a signal for the troops to end the day and begin rest, spread quickly to other units throughout the army and was even used by the Confederates.
The decision to use Taps in a burial service arose out of necessity. Artillery company Captain John Tibbel had a burial ceremony for one of his cannoneers. He was afraid of having the three traditional volleys fired at the funeral for fear that others would think renewed fighting had started so instead he decided to have a bugler sound the notes to “Taps.” This was the first official record that “Taps” was sounded at funerals.
After the Civil War, Taps was played all the time at military funerals but it wasn’t until 1891 that it was officially recognized in the manuals as being part of a military funeral.
Air Force Master Sargent Jari Villanueva, former Arlington National Cemetery ceremonial bugler, sums up its significance: “ Its echos linger in the heart long after its tones cease to vibrate in the air. The same can be said of those who made the ultimate sacrifice; their legacy lingers and their bravery is not forgotten.”
TAPS
Day is done. Gone the Sun,
from the lake, from the hills, from the sky.
All is well. Safely rest. God is nigh.
Note: The first casting of the bronze sculpture titled “Taps” a bugler by Pamela Harr is in the Harr Hall display, Ft. Benning, Georgia in memory of Captain Gerry Harr, killed in action, July 3rd 1971, while serving with C Company, 1st Battalion, 46th Infantry Regiment, during the Vietnam War.
“Taps” is sounded during each of the 2500 military wreath ceremonies conducted at the Tomb of the Unknowns every year, including the ones held on Memorial Day. “Taps” is also played nightly at 10 PM (2200 hrs) in military installations at non-deployed locations to indicate that it is “lights out.” When “Taps” is played, it is customary to salute if in uniform, or to place the right hand over the heart if out of uniform. After “Taps” is played, it is disrespectful to clap.
