Why is it called "TAPS"?

[KevinP73]

Just wondering and while we're at it what is the significance of "21" in military ceremony?

[Nostril Cheese]

http://en.wikipedia.org/wiki/Taps

wikipedia is your friend

[fingpilot]

From the 'West Point Graduate' monthly

Of all the military bugle calls, none is so easily recognized or more apt to render emotion than the call Taps. The melody is both eloquent and haunting and the history of its origin is interesting and somewhat clouded in controversy. In the British Army, a similar call known as Last Post has been sounded over soldiers' graves since 1885, but the use of Taps is unique with the United States military, since the call is sounded at funerals, wreath-laying and memorial services.

Taps began as a revision to the signal for Extinguish Lights (Lights Out) at the end of the day. Up until the Civil War, the infantry call for Extinguish Lights was the one set down in Silas Casey's (1801-1882) Tactics, which had been borrowed from the French. The music for Taps was adapted by Union General Daniel Butterfield for his brigade (Third Brigade, First Division, Fifth Army Corps, Army of the Potomac) in July, 1862.

Daniel Adams Butterfield (31 October 1831-17 July 1901) was born in Utica, New York and graduated from Union College at Schenectady. He was the eastern superintendent of the American Express Company in New York when the Civil War broke out. Despite his lack of military experience, he rose quickly in rank. A Colonel in the 12th Regiment of the New York State Militia, he was promoted to Brigadier General and given command of a brigade of the V Corps of the Army of the Potomac. The 12th served in the Shenandoah Valley during the the Bull Run Campaign. During the Peninsular Campaign Butterfield served prominently when during the Battle of Gaines Mill, despite an injury, he seized the colors of the 83rd Pennsylvania and rallied the regiment at a critical time in the battle. Years later, he was awarded the Medal of Honor for that act of heroism.

As the story goes, General Butterfield was not pleased with the call for Extinguish Lights feeling that the call was too formal to signal the days end and with the help of the brigade bugler, Oliver Willcox Norton, wrote Taps to honor his men while in camp at Harrison's Landing, Virginia, following the Seven Day's battle. These battles took place during the Peninsular Campaign of 1862. The call, sounded that night in July, 1862, soon spread to other units of the Union Army and was even used by the Confederates. Taps was made an official bugle call after the war.

The highly romantic account of how Butterfield composed the call surfaced in 1898 following a magazine article written that summer. The August, 1898 issue of Century Magazine contained an article called The Trumpet in Camp and Battle, by Gustav Kobbe, a music historian and critic. He was writing about the origin of bugle calls in the Civil War and in reference to Taps, wrote:

In speaking of our trumpet calls I purposely omitted one with which it seemed most appropriate to close this article, for it is the call which closes the soldier's day. . . . Lights Out. I have not been able to trace this call to any other service. If it seems probable, it was original with Major Seymour, he has given our army the most beautiful of all trumpet-calls.

Kobbe was using as an authority the Army drill manual on infantry tactics prepared by Major General Emory Upton in 1867 (revised in 1874). The bugle calls in the manual were compiled by Major (later General) Truman Seymour of the 5th U.S. Artillery. Taps was called Extinguish Lights in these manuals since it was to replace the Lights Out call disliked by Butterfield. The title of the call was not changed until later, although other manuals started calling it Taps because most soldiers knew it by that name. Since Seymour was responsible for the music in the Army manual, Kobbe assumed that he had written the call. Kobbe s inability to find the origin of Extinguish Lights (Taps) prompted a letter from Oliver W. Norton in Chicago who claimed he knew how the call came about and that he was the first to perform it.

[fingpilot]

Norton wrote:

Chicago, August 8, 1898

I was much interested in reading the article by Mr. Gustav Kobbe, on the Trumpet and Bugle Calls, in the August Century. Mr. Kobbe says that he has been unable to trace the origin of the call now used for Taps, or the Go to sleep , as it is generally called by the soldiers. As I am unable to give the origin of this call, I think the following statement may be of interest to Mr. Kobbe and your readers.. .. During the early part of the Civil War I was bugler at the Headquarters of Butterfield s Brigade, Morell s Division, Fitz-John Porter s Corp, Army of the Potomac. Up to July, 1862, the Infantry call for Taps was that set down in Casey s Tactics, which Mr. Kobbe says was borrowed from the French. One day, soon after the seven days battles on the Peninsular, when the Army of the Potomac was lying in camp at Harrison's Landing, General Daniel Butterfield, then commanding our Brigade, sent for me, and showing me some notes on a staff written in pencil on the back of an envelope, asked me to 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, he 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. I think no general order was issued from army headquarters authorizing the substitution of this for the regulation call, but as each brigade commander exercised his own discretion in such minor matters, the call was gradually taken up through the Army of the Potomac. I have been told that it was carried to the Western Armies by the 11th and 12th Corps, when they went to Chattanooga in the fall of 1863, and rapidly made it s way through those armies. I did not presume to question General Butterfield at the time, but from the manner in which the call was given to me, I have no doubt he composed it in his tent at Harrison s Landing. I think General Butterfield is living at Cold Spring, New York. If you think the matter of sufficient interest, and care to write him on the subject, I have no doubt he will confirm my statement. -Oliver W. Norton

The editor did write to Butterfield as suggested by Norton. In answer to the inquiry from the editor of the Century, General Butterfield writing from Gragside, Cold Spring, under the date of August 31, 1898 wrote:

I recall, in my dim memory, the substantial truth of the statement made by Norton, of the 83rd Pa., about bugle calls. His letter gives the impression that I personally wrote the notes for the call. The facts are, that at the time I could sound calls on the bugle as a necessary part of military knowledge and instruction for an officer commanding a regiment or brigade. I had acquired this as a regimental commander. I had composed a call for my brigade, to precede any calls, indicating that such were calls, or orders, for my brigade alone. This was of very great use and effect on the march and in battle. It enabled me to cause my whole command, at times, in march, covering over a mile on the road, all to halt instantly, and lie down, and all arise and start at the same moment; to forward in line of battle, simultaneously, in action and charge etc. It saves fatigue. The men rather liked their call, and began to sing my name to it. It was three notes and a catch. I can not write a note of music, but have gotten my wife to write it from my whistling it to her, and enclose it. The men would sing , Dan, Dan, Dan, Butterfield, Butterfield to the notes when a call came. Later, in battle, or in some trying circumstances or an advance of difficulties, they sometimes sang, Damn, Damn, Damn, Butterfield, Butterfield.

The call of Taps did not seem to be as smooth, melodious and musical as it should be, and I called in some one who could write music, and practiced a change in the call of Taps until I had it suit my ear, and then, as Norton writes, got it to my taste without being able to write music or knowing the technical name of any note, but, simply by ear, arranged it as Norton describes. I did not recall him in connection with it, but his story is substantially correct. Will you do me the favor to send Norton a copy of this letter by your typewriter? I have none. -Daniel Butterfield

On the surface, this seems to be the true history of the origin of Taps. Indeed, the many articles written about Taps cite this story as the beginning of Butterfield's association with the call. Certainly, Butterfield never went out of his way to claim credit for its composition and it wasn't until the Century article that the origin came to light.

There are however, significant differences in Butterfield's and Norton's stories. Norton says that the music given to him by Butterfield that night was written down on an envelope while Butterfield wrote that he could not read or write music! Also Butterfield's words seem to suggest that he was not composing a melody in Norton s presence, but actually arranging or revising an existing one. As a commander of a brigade, he knew of the bugle calls needed to relay troop commands. All officers of the time were required to know the calls and were expected to be able to play the bugle. Butterfield was no different-he could play the bugle but could not read music. As a colonel of the 12th N.Y. Regiment, before the war, he had ordered his men to be thoroughly familiar with calls and drills.

What could account for the variation in stories? My research shows that Butterfield did not compose Taps but actually revised an earlier bugle call. This sounds blasphemous to many, but the fact is that Taps existed in an early version of the call Tattoo. As a signal for end of the day, armies have used Tattoo to signal troops to prepare them for bedtime roll call. The call was used to notify the soldiers to cease the evening's drinking and return to their garrisons. It was sounded an hour before the final call of the day to extinguish all fires and lights. This early version is found in three manuals the Winfield Scott (1786 -1866 ) manual of 1835, the Samuel Cooper (1798-1876) manual of 1836 and the William Gilham (1819?-1872) manual of 1861. This call referred to as the Scott Tattoo was in use from 1835-1860. A second version of Tattoo came into use just before the Civil War and was in use throughout the war replacing the Scott Tattoo.

The fact that Norton says that Butterfield composed Taps cannot be questioned. He was relaying the facts as he remembered them. His conclusion that Butterfield wrote Taps can be explained by the presence of the second Tattoo. It was most likely that the second Tattoo, followed by Extinguish Lights (the first eight measures of today's Tattoo), was sounded by Norton during the course of the war.

It seems possible that these two calls were sounded to end the soldier's day on both sides during the war. It must therefore be evident that Norton did not know the early Tattoo or he would have immediately recognized it that evening in Butterfield's tent. If you review the events of that evening, Norton came into Butterfield's tent and played notes that were already written down on an envelope. Then Butterfield changed it somewhat, lengthening some notes and shortening others, but retaining the melody as he first gave it to me. If you compare that statement while looking at the present day Taps, you will see that this is exactly what happened to turn the early (Scott) Tattoo in Taps. Butterfield as stated above, was a Colonel before the War and in General Order No. 1 issued by him on December 7, 1859 had the order: The Officers and non-commissioned Officers are expected to be thoroughly familiar with the first thirty pages, Vol. 1, Scott's Tactics, and ready to answer any questions in regard to the same previous to the drill above ordered Scott's Tactics include the bugle calls that Butterfield must have known and used.

If Butterfield was using Scott's Tactics for drills, then it is feasible that he would have used the calls as set in the manual. Lastly, it is hard to believe that Butterfield could have composed anything that July in the aftermath of the Seven Days battles which saw the Union Army of the Potomac mangled by Lee's Army of Northern Virginia. Over twenty six thousand casualties were suffered on both sides. Butterfield had lost over 600 of his men on June 27th at the battle of Gaines Mill and had himself been wounded. In the midst of the heat, humidity, mud, mosquitoes, dysentery, typhoid and general wretchedness of camp life in that early July, it is hard to imagine being able to write anything.

[fingpilot]

In the interest of historical accuracy, it should be noted that it is not General Butterfield who composed Taps, rather that he revised an earlier call into the present day bugle call we know as Taps. This is not meant to take credit away from him. It is only to put things in a correct historic manner. Following the Peninsular Campaign, Butterfield served at 2nd Bull Run, Antietam and at Marye's Heights in the Battle of Fredericksburg. Through political connections and his ability for administration, he became a Major General and served as chief of staff of the Union Army of the Potomac under Generals Joseph Hooker and George Meade. He was wounded at Gettysburg and then reassigned to the Western Theater. By war's end, he was breveted a brigadier general and stayed in the army after the Civil War, serving as superintendent of the army's recruiting service in New York City and colonel of the 5th Infantry. In 1870, after resigning from the military, Butterfield went back to work with the American Express Company. He was in charge of a number of special public ceremonies, including General William Tecumseh Sherman's funeral in 1891. Besides his association with Taps, Butterfield also designed the system of Corps Badges which were distinctive shapes of color cloth sewn on to uniforms to distinguish units.

Butterfield died in 1901. His tomb is the most ornate in the cemetery at West Point despite the fact that he never attended. There is also a monument to Butterfield in New York City near Grant's Tomb. There is nothing on either monument that mentions Taps or Butterfield's association with the call. Taps was sounded at his funeral.

How did it become associated with funerals? The earliest official reference to the mandatory use of Taps at military funeral ceremonies is found in the U.S. Army Infantry Drill Regulations for 1891, although it had doubtless been used unofficially long before that time, under its former designation Extinguish Lights.

The first use of Taps at a funeral during the Peninsular Campaign in Virginia. Captain John C. Tidball of Battery A, 2nd Artillery ordered it played for the burial of a cannoneer killed in action. Since the enemy was close, he worried that the traditional 3 volleys would renew fighting.

During the Peninsular Campaign in 1862, a soldier of Tidball's Battery - A of the 2nd Artillery - was buried at a time when the battery occupied an advanced position, concealed in the woods. It was unsafe to fire the customary three volleys over the grave on account of the proximity of the enemy, and it occurred to Captain Tidball that the sounding of Taps would be the most ceremony that would be substituted. The custom, thus originated, was taken up throughout the Army of the Potomac, and finally confirmed by orders. Colonel James A. Moss Officer's Manual Pub. George Banta Publishing Co. Menasha Wisconsin 1913 Elbridge Coby in Army Talk (Princeton, 1942), p.208 states that it was B Battery of the Third Artillery that first used Taps at a military funeral.

This first sounding of Taps at a military funeral is commemorated in a stained glass window at The Chapel of the Centurion (The Old Post Chapel) at Fort Monroe, Virginia. The window, made by R. Geissler of New York and based on a painting by Sidney King, was dedicated in 1958 and shows a bugler and a flag at half staff. In that picture a drummer boy stands beside the bugler. The grandson of that drummer boy purchased Berkeley Plantation where Harrisons Landing is located. The site where Taps was born is also commemorated. In this case, by a monument located on the grounds of Berkeley Plantation. This monument to Taps was erected by the Virginia American Legion and dedicated on July 4, 1969. The site is also rich in history, for the Harrisons of Berkeley Plantation included Benjamin Harrison and William Henry Harrison, both presidents of the United States as well as Benjamin Harrison (father and Great grandfather of future presidents), a signer of the Declaration of Independence.

It must be pointed out that other stories of the origin of Taps exist. A popular one is that of a Northern boy who was killed fighting for the south. His father, Robert Ellicombe a Captain in the Union Army, came upon his son's body on the battlefield and found the notes to Taps in a pocket of the dead boy's Confederate uniform. When Union General Daniel Sickles heard the story, he had the notes sounded at the boy's funeral. There is no evidence to back up the story or the existence of Captain Ellicombe. As with many other customs, this solemn tradition continues today. Although Butterfield merely revised an earlier bugle call, his role in producing those 24 notes gives him a place in the history of music as well as the history of war.

As soon as Taps was sounded that night in July 1862, words were put with the music. The first were, "Go To Sleep, Go to Sleep." As the years went on many more versions were created. There are no official words to the music but here are some of the more popular verses:

Day is done, gone the sun,
From the hills, from the lake,
From the sky.
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.

[fingpilot]

I don't know the first fing thing about '21'......

and aren't you glad?

[KevinP73]

yea thats what I thought..........now about the significance of "21".

[fingpilot]

The use of gun salutes for military occasions is traced to early warriors who demonstrated their peaceful intentions by placing their weapons in a position that rendered them ineffective. Apparently this custom was universal, with the specific act varying with time and place, depending on the weapons being used. A North African tribe, for example, trailed the points of their spears on the ground to indicate that they did not mean to be hostile.

The tradition of rendering a salute by cannon originated in the 14th century as firearms and cannons came into use. Since these early devices contained only one projectile, discharging them once rendered them ineffective. Originally warships fired seven-gun salutes--the number seven probably selected because of its astrological and Biblical significance. Seven planets had been identified and the phases of the moon changed every seven days. The Bible states that God rested on the seventh day after Creation, that every seventh year was sabbatical and that the seven times seventh year ushered in the Jubilee year.

Land batteries, having a greater supply of gunpowder, were able to fire three guns for every shot fired afloat, hence the salute by shore batteries was 21 guns. The multiple of three probably was chosen because of the mystical significance of the number three in many ancient civilizations. Early gunpowder, composed mainly of sodium nitrate, spoiled easily at sea, but could be kept cooler and drier in land magazines. When potassium nitrate improved the quality of gunpowder, ships at sea adopted the salute of 21 guns.

The 21-gun salute became the highest honor a nation rendered. Varying customs among the maritime powers led to confusion in saluting and return of salutes. Great Britain, the world's preeminent seapower in the 18th and 19th centuries, compelled weaker nations to salute first, and for a time monarchies received more guns than did republics. Eventually, by agreement, the international salute was established at 21 guns, although the United States did not agree on this procedure until August 1875.

The gun salute system of the United States has changed considerably over the years. In 1810, the "national salute" was defined by the War Department as equal to the number of states in the Union--at that time 17. This salute was fired by all U.S. military installations at 1:00 p.m. (later at noon) on Independence Day. The President also received a salute equal to the number of states whenever he visited a military installation.

In 1842, the Presidential salute was formally established at 21 guns. In 1890, regulations designated the "national salute" as 21 guns and redesignated the traditional Independence Day salute, the "Salute to the Union," equal to the number of states. Fifty guns are also fired on all military installations equipped to do so at the close of the day of the funeral of a President, ex-President, or President-elect.

Today the national salute of 21 guns is fired in honor of a national flag, the sovereign or chief of state of a foreign nation, a member of a reigning royal family, and the President, ex-President and President-elect of the United States. It is also fired at noon of the day of the funeral of a President, ex-President, or President-elect.

Gun salutes are also rendered to other military and civilian leaders of this and other nations. The number of guns is based on their protocol rank. These salutes are always in odd numbers.

Source: Headquarters, Military District of Washington, FACT SHEET: GUN SALUTES, May 1969.

[KevinP73]

OK, I have visions of you sitting on the beach on Maui hammering away on your lap top while suntanned babes frolic about in front of you. It makes it hard to tolerate Van Nuys, overcast, with undocumented workers chasing pick up trucks down the street.
But I digress..... Whats the significance of the 21 steps taken by the guards to cross the "Tomb of the Unknowns" ( I believe formerly known as the "Tomb of the Unknown Soldier")?

[fingpilot]

Am actually back on the boat in Redondo. I see you are in the shop, putzing around. As soon as I get the fing DISH people to send me another DVR (lost two years of saved movies) I'll stop by...

[fingpilot]

The 3rd United States Infantry has served our Nation continuously since 1784, and today is the oldest active-duty infantry unit in the U.S. Army. Headquartered out of Fort Myer, Virginia, it is traditionally known as "The Old Guard", a proud nickname ascribed by General Winfield Scott during a victory parade at Mexico City in 1847.

Since World War II The Old Guard has been the Army's official HONOR GUARD. Among their duties, beyond providing security to our Nation's Capitol in time of national emergency or civil disturbance, are some of the most impressive displays of military ceremony.

Soldiers from The Old Guard escort the President, conduct military ceremonies at the White House, Pentagon, and national memorials in our Capitol City, including funeral details and other special ceremonies at Arlington National Cemeteries. One of their most recognized responsibilities is providing sentinels...Tomb Guards, at the Tomb of the Unknown Soldier.

Since April 6, 1948 the Tomb of the Unknown Soldier has been guarded 24 hours a day, 365 days a year, regardless of weather. Millions of Americans annually visit the Memorial Amphitheater to watch these dedicated soldiers of a new generation, dutifully pace 21 steps across a black mat on the west face of the Tomb. It is a time honored ritual, executed with great precision and filled with American pride.

The sentinel marches 21 steps across the black mat, past the final resting places of the Unknown Soldiers of World War I, World War II, Korea, and the crypt of the Unknown Soldier of the Vietnam War.
With a crisp turn, the sentinel turns 90 degrees to face east for 21 seconds.
The sentinel then turns a sharp 90 degrees again to face north for 21 seconds. A crisp "shoulder-arms" movement places the rifle on the shoulder nearest the visitors to signify that the sentinel stands between the tomb and any threat.
After the moment, the sentinel paces 21 steps north, turns and repeats the process.
The practiced cadence is timed so that the sentinel paces at a rate of 90 steps each minute.

The Sentinel's Creed

My dedication to this sacred duty
Is total and wholehearted-
In the responsibility bestowed on me
Never will I falter-
And with dignity and perseverance
My standard will remain perfection.
Through the years of diligence and praise
And the discomfort of the elements
I will walk my tour in humble reverence
The best of my ability.
It is he who commands the respect I protect
His bravery that made us so proud.
Surrounded by well meaning crowds by day,
Alone in the thoughtful peace of night,
This soldier in honored Glory rest
Under my eternal vigilance.



Appropriately, the men who march 21 steps south, turn and march 21 steps north, and then repeat the process minute-by-minute for up to an hour at a time day or night, are the very best of the Army's best. Whether under a blazing sun, unsheltered from driving rains, or in freezing snow, they perform their duty with great precision and military bearing. Each of them is a volunteer from the 3rd Infantry, eligible to apply for duty as a sentinel ONLY after they have already been ceremonially qualified in The Old Guard. Each soldier among them is physically fit for the demanding responsibility and between 5'10" and 6'4" tall with a proportionate weight and build.

Acceptance in The Old Guard's Company E does not assure a volunteer that he will become one of the fewer than 400 soldiers in the last 45 years to earn the distinctive Tomb Guard Badge. Before any soldier is allowed "a walk", he must memorize seven pages of history on Arlington National Cemetery and then recite it verbatim. If a soldier finishes this phase and is granted "a walk", he enters a new phase of training known as "new-soldier training". In addition to extensive training in the manual of arms, the guard change ceremony, and the intricacies of military ritual, the new-soldier is required to memorize additional information on Arlington, including the grave locations of nearly 300 veterans.

It may take months for a soldier to earn the right to TEST to wear the coveted silver Tomb Guard Identification badge, and even then, the award is temporary. Only after the sentinel has served at the Tomb of the Unknown Soldier for nine months does the award become permanent. One of the Army's rarest emblems, it features the inverted laurel and a replica of the East face of the tomb where Greek images represent the virtues of Victory, Valor, and Peace.

Each "walk" is a shift of one-half hour during daylight hours in the summer, one hour during daylight hours in the winter, and all night shifts are one-hour walks. Each walk concludes with the ceremonial Changing of the Guards...even when no audience is present.


The changing of the guard ceremony is conducted every hour in winter time, and every half hour during summer daylight hours to provide visitors ample opportunity to witness one of the Army's proudest traditions.

[KevinP73]

cool stop on by. I'll be here all day.

[svandamme]

Fingpilot , "Last Post" was originally a signal for the end of the day, started by British troops in Holland, where they have tap toe literally , close the (water- or maybe beer)tap, but not linked to "taps"

only later did it become a memorial/burial tune...

in my home town it's played every day under the Menin Gate, at 20h00, year in year out , sine 1928, only stopped briefly during WW2

http://www.lastpost.be

[Joeaksa]

Originally posted by fingpilot
Am actually back on the boat in Redondo. I see you are in the shop, putzing around. As soon as I get the fing DISH people to send me another DVR (lost two years of saved movies) I'll stop by...

Get a USB hard drive and copy (read backup) your movies on a second source. I am copying three videos to my computer right now while getting ready to head out.

This way when (its when, not if) the hard drive on the DVR pukes you will have the stuff saved.

[Flatbutt1]

Originally posted by KevinP73
yea thats what I thought..........now about the significance of "21".

still don't know

[Moses]

21 explained;

http://www.snopes.com/military/21gun.asp