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DEDICATION
For 150 years Americans have heard the somber 24 notes of “Taps,” our national song of remembrance, and the call holds a special place in our American heritage. At summer camps and scouting events, during basic training, at Memorial Day and Veterans Day services, and at all military funerals, it is the one piece of music easily recognized for its powerful and emotional message. From the banks of the James River in Virginia to the beaches at Normandy, to the Punchbowl in Hawaii, to the lawn at the White House, to distant lands in the Middle East, to Arlington National Cemetery, “Taps” is the one call that unites all Americans in tribute, honor, and remembrance. It is a uniquely American piece of music born on a battlefield and sounded at some of our country’s most sacred locations.
Originally conceived as a replacement signal to order lights out at the end of the day in the military, the call has transformed into the funeral honors accorded all uniformed personnel who have faithfully served our nation. While still sounded every evening at military bases to signal “day is done,” the notes of “Taps” have become part of our national conscience. In times of peace and war the 24 notes of this familiar melody have been performed each day in virtually every part of our nation. As Oliver Willcox Norton, the first bugler ever to sound the call, wrote, “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.” “Taps” beckons us to remember the patriots who served our country with honor and valor. It is the most familiar of calls and one that reaches our deepest emotions, and we cannot listen to it without our souls stirring. Its plaintive notes are a prayer in music—of hope, of peace, of grief, and of rest.
It is to all the men and women who have answered the clarion call to duty that this CD is respectfully dedicated.
INTRODUCTION
Commemorating the 150th anniversary of America’s most famous bugle call, this album contains a variety of performances of the bugle call “Taps,” related bugle calls, and over 15 orchestrations and musical settings inspired by “Taps.”
The album is divided into several sections, each focused on a particular aspect relating to “Taps.” We begin with a selection of bugle calls from the early to mid 19th century that demonstrate the usage and evolution of the military bugle calls that signal the day’s end. Later you will hear a series of performances of “Taps” itself, including a version in the key of G, a harmonized setting, and the historic recording of the famous “broken note” from the funeral of President John F. Kennedy. The final group of bugle calls on the album features calls that are sounded in other nations to fulfill the same function as “Taps,” such as “The Last Post,” “Aux Morts,” and “Il Silenzio.”
Interspersed with the groups of bugle calls you will hear a wide variety of musical selections based on or inspired by “Taps.” These include both vocal and instrumental compositions and arrangements ranging in style from hymn settings to marches to jazz. Two of the selections, by Steven Behnke and Douglas Hedwig, were composed specifically for this occasion.
Bugle and trumpet soloists include Mike Bogart, Kevin Burns, Woodrow English, Wayne Naus, George Rabbai, Jari Villanueva, and Walter White.
PROGRAM NOTES
1. Prelude to Taps..............................................................................................................2:34 Narration and solo bugle call performed by Jari Villanueva.
CIVIL WAR BUGLE CALLS
2. Tattoo (1861)....................................................................................................................1:33“Tattoo” may have originated during the Thirty Years War (1618–48) or during the wars of King William III during the 1690s. The word tattoo in this usage is said to be derived from the Dutch “taptoe” (“tap” or faucet and “toe,” meaning to cut off). It was used to signal the last formation and roll call of the day. When it was time to cease drinking for the evening and return to the post, the Provost or Officer of the Day would go through the town accompanied by a sergeant and a drummer beating out the signal. Innkeepers were required to “doe den tap toe,” or “turn off the taps,” lest they be closed down. In the military regulations there was a prescribed roll call to be taken “at Taptoe time” to ensure that all the troops had returned to their billets.
In the United States military, there have been several versions of the call “Tattoo.” Early versions, such as the one found in A Handbook for Riflemen by William Duane (1760–1835), published in 1812, were based on the British call “The Last Post.” Winfield Scott (1786–1866) published an infantry manual in 1835 that included a new version of “Tattoo,” but this call went out of use by the Civil War (see Track 5 for more about the “Scott Tattoo”). In 1861 another new “Tattoo” came into use by the US military, although to confuse matters, the cavalry “Tattoo” at the time was the same call as “To Extinguish Lights” in the infantry. After the Civil War, yet another version of “Tattoo” entered the manuals. That call, which combines the Civil War cavalry “Tattoo” and parts of “The Last Post,” is the one still used today.
Although the call “Tattoo” is still sounded at military bases, the term Tattoo is also used today to describe a ceremony providing a venue for military bands and drill teams to perform before large audiences. These Tattoo performances are popular in Europe and showcase the talents of various military, civilian, and paramilitary musical groups and the precision of military drill teams. The most famous of these Tattoos is the one held in Edinburgh, Scotland, every August. The “Tattoo” call performed here by Jari Villanueva on an original Civil War clairon (bugle) is the call that was in use at the time of the Civil War, which differs from the modern “Tattoo” call used by the US military today. As in most “Tattoo” calls, one can hear the notes actually singing out “Tat-too, Tat-too.”
3. To Extinguish Lights (L’Extinction des Feux) (1804).............................................0:24This call, attributed to David Buhl (1781–1829), has been used by the French since 1804 and was Napoleon’s favorite bugle call. It is found in Ordonnance Provisoire sur L’Exercice et les Manoevres de la Cavallerie, printed in 1804, and also on p. 17 of Manuel Général de Musique Militaire a L’Usage des Armées Françaises (General Manual of Military Music) by Georges Kastner, published in 1848. “Sonnerie favorite de l’Empereur” (“Favorite song of the Emperor”) is written under the title. Both the 1835 US Infantry Manual (Scott’s) and the 1836 Manual (Cooper’s) include this call, and both copy virtually the entire section of bugle calls from the French 1832 Infantry Manual, note for note. During the American Civil War, this call was used as the final infantry call of the day and, as the name implies, was the signal to extinguish all fires and lights. “To Extinguish Lights” is performed by George Rabbai on an original Civil War clairon.
4. Three Drum Taps..........................................................................................................0:13 Following the call “Tattoo,” three single drum strokes were beat at four-count intervals. On p. 42 of The Drummers’ and Fifers’ Guide, published in 1862 by George B. Bruce and Daniel D. Emmett (1815–1904), it states: “Fifteen minutes after [The Tattoo], the drummer of the Guard will give three distinct Taps on the parade-ground as a signal for putting out the lights.” These are known as “The Taps.” The actual music for the “The Taps” can be found on p. 52 of Gardiner A. Strube’s manual Fife and Drum, published in 1869. Thus the drum beat “To Extinguish Lights” came to be called “Taps” by the common soldiers. Since the name “Taps” was borrowed from a drummer’s beat, as the bugle call came to replace the drum beat it assumed its name as well.
5. The Scott Tattoo (1835)..................................................................................................1:25 The 1835 “Tattoo,” also known as the “[Winfield] Scott Tattoo,” is a leftover from the old trumpet notation. In that notation, which is one full octave lower than bugle notation, the notes of middle C and the first line E are common, and the calls of this era were sounded on cavalry trumpets in D and E flat. Because of the octave displacement, the first two measures of this call would be unplayable on a bugle, thus soloist George Rabbai sounds the “Scott Tattoo” on a flugelhorn. In the last five and one-quarter measures there is a marked crescendo/decrescendo over the dotted half and whole notes. This is similar in playing style to today’s interpretation of “Taps,” which is derived from these same final measures of the 1835 “Scott Tattoo.”
6. Taps (1862).......................................................................................................................1:02 Sounded on an original Civil War clairon by Jari Villanueva.
MUSICAL SETTINGS INSPIRED BY TAPS—PART 1
7. Tenting Tonight on the Old Camp Ground–Taps (1863)......................................3:58 Walter Kittredge (1834–1905), arr. Jari Villanueva (b. 1955)This beautiful and haunting song was first performed in 1863 by the Hutchinson Family Singers and became one of the most beloved songs of the Civil War.
We’re tenting tonight on the old camp ground. Give us a song to cheer Our weary hearts; A song of home And friends we love so dear.
Many are the hearts that are weary tonight, Wishing for the war to cease; Many are the hearts looking for the right To see the dawn of peace.
“Taps” was already in use as the “Go to sleep” when this song was written, and it seems a fitting conclusion to this arrangement for concert band by Jari Villanueva. The cornet solo and bugle call are performed by George Rabbai.
8. Lights Out March (1905)...............................................................................................2:58 Earl Elleson McCoy (1884–1934) The son of a Texas pioneer, McCoy wrote this march at the age of 18 and had it published while he was a student at the University of Illinois. The trio section is used as the college fight song “Fight for California” (University of California at Berkeley). The march incorporates “Taps” in the breakup strain.
9. Taps–Eternal Father (1997)............................................................................................2:47 Arr. Captain Kenneth R. Force, USMS (b. 1940)This arrangement by Captain Kenneth Force, Director of the US Merchant Marine Academy Band, uses “Taps” along with the hymn “Eternal Father, Strong To Save,” which is the official hymn of the US Navy, the Royal Navy, and other naval services around the world. The hymn tune is “Melita,” composed by Willam Dykes (1823–76), and the words were written by William Whiting (1825–78). The arrangement was edited by Nicholas Contorno and published by Global Musical Interests, Inc. Bugle soloist is Woodrow English.
10. Taps: Part-song for Memorial Day (1910)...............................................................2:55 Arthur F. M. Custance, arr. John Philip Sousa (1854–1932) Words by H. S. Spencer, USN“Taps: Part-song for Memorial Day” was originally written for solo bugle, soprano, and mixed voices with piano accompaniment. The dedication on the title page reads, “To the Veterans of America.” This unpublished setting incorporating brass ensemble and drum was made by John Philip Sousa, and copies of the original manuscript parts in Sousa’s hand were obtained from the University of Illinois. Soprano soloist is Heather Faust, bugler is Jari Villanueva, and drummer is Brett M. Schaffer.
Out of night a bugle blows, Soft and clear the cadence flows; Sweeter, stronger still it grows: “Taps” is sounding.
Sobbing low the last note goes; Now no more the tent-light glows. Soldier’s day is at its close. “Taps” has sounded.
11. The Golden Star (A Memorial March) (1919)........................................................4:20 John Philip Sousa (1854–1932)On the cover of the original score is written, “Dedicated to Mrs. Theodore Roosevelt, In Memory of the brave who gave their lives that liberty shall not perish.” This march, in the style of a funeral dirge, was composed in memory of the former president who died in 1919 and his son Lt. Quentin Roosevelt, a pilot who perished in combat in France in 1918. The inclusion of “Taps” in the piece evoked much sorrow from audiences who first heard it. Sousa was no stranger to bugle calls, having served as the director of The US Marine Band from 1880–92, and his Manual for Trumpet and Drum was published in 1886. The “Golden Star” of the title is a reference to the Gold Star displayed by those who have lost a loved one in the military service, a tradition that began in World War I. During the early days of WWI, a Blue Star was used to represent each person in the military service of the United States. As the war progressed and men were killed in combat, while others died of their wounds or disease, the Gold Star came into accepted usage. Today’s service flags have a deep Blue Star for each living family member in the service and a Gold Star for each member who has died.
TAPS
12. Taps in G....................................................... . . .............................................................0:41 Performed by BAA BuglersThis recording of “Taps” is by members of Bugles Across America (BAA), an organization dedicated to providing live buglers for veterans’ funerals throughout the United States. The massed unison sounding is set in the key of G. Bugles in Bb or C were used during the Civil War and Bb is still the most common today. However, bugles in G gained popularity in the early 20th century with the advent of the drum and bugle corps, and “Taps” is often sounded in G by performers who find the lower key easier to play. Sixteen buglers from eight different states joined together to sound the call in unison.
13. Taps as sounded at Arlington National Cemetery..............................................0:55The signal to extinguish all lights and cease talking, “Taps” is used today as the final call of the day on US military bases world-wide, and as honors at funerals, memorial services, and wreath-laying ceremonies. When “Taps” is sounded at a funeral or memorial service, military members should render the hand salute and civilians should place their right hand over their heart. This is the call as it is sounded at Arlington National Cemetery. Soloist is Woodrow English, performing on a Bach Stradivarius field trumpet, as used by The United States Army Band.
14. Taps at the funeral of John F. Kennedy—“The Broken Note” (1963)..............1:25Keith Clark (1928–2002) was the principal bugler for The US Army Band at the time when President Kennedy was assassinated. He had played for hundreds of funerals and ceremonies at Arlington, including a wreath-laying ceremony attended by Kennedy only two weeks before. Upon hearing the news of the president’s death, he immediately went to a barber shop for a haircut in preparation should he be called upon to sound “Taps.” On Monday, November 25, 1963, after standing in the cold for three hours waiting for the funeral procession to arrive, Clark performed the final musical honors for his late commander-in-chief before a worldwide television audience of millions. His 6th note cracked and would forever be thought of as a musical outpouring of sorrow from the nation expressed through his horn. The complete story of “The Broken Note” can be found at www.tapsbugler.com.
15. Harmonized Taps..................................... . . ................................................................0:44 Performed by BAA BuglersThis setting of “Taps” for trumpets in 4-part harmony was recorded by members of Bugles Across America especially for this album. It is reminiscent of “Silver Taps” (ca. 1924), another simple harmonized version of “Taps” that is traditionally played for a student who passes away while enrolled at Texas A&M University.
MUSICAL SETTINGS INSPIRED BY TAPS—PART 2
16. Taps Prologue and............................................................................................ . . .........1:4317. Taps, performed by Music K-8................................................................................1:50 Arr. Teresa Jennings (b. 1956) Used by permissionThough brief and simple, the haunting melody of “Taps” moves us easily, often to tears, and helps us remember the patriots who have served our country with honor. These recordings from Music K-8 give an example of how “Taps” can be performed in an arrangement for school children. “Taps Prologue” features historic quotations regarding patriots who have given their lives for their country. In the setting of “Taps” itself the best-known version of the lyrics, which many of us learned when we were kids in the Scouts, is used. For more information about Music K-8 or these settings of “Taps,” please visit www.musick8.com or contact 1-800-437-0832.
18. A Bugler’s Fantasy (1999)............................................................................................5:51 Wilford (Bill) Holcombe (1924–2010) This unique setting of traditional bugle calls for four trumpets was written for and first performed at the opening of the Taps exhibit at Arlington National Cemetery on May 28, 1999. It includes “First Call,” “To the Color,” “Mess Call,” “Reveille,” “Church Call,” “Assembly,” “Adjutant’s Call,” “Retreat,” “Tattoo,” “Call To Quarters,” and “Taps.” This recording features trumpeters John Pursell, Stan Modjesky, and Keith DeFontes, buglers with the Maryland National Guard Honor Guard, along with Kevin Burns. Sheet music is available from Musicians Publications, www.billholcombe.com.
19. Taps (for Maynard) (2006)..........................................................................................1:47 Arranged and performed by Walter White (b. 1963) Used by permissionWalter White wrote and recorded “Taps (for Maynard)” in 2006 after reading about Maynard Ferguson playing “Taps” at his home for the laying to rest of his dearly departed cat, only days before his own passing. On his website he says, “Taps was the first tune I learned to play on my brother’s Boy Scout bugle when I was 5. I played it later as a Boy Scout and as a camper at Interlochen National Music Camp. Since then, I've been called on to play Taps for numerous ceremonies and at memorial services for friends, colleagues, and family, which, as any trumpet player can attest, is never easy. Compositionally, I always thought Taps was a beautiful melody and have grown accustomed to playing it, like MF, slow, with a full sound and a long diminuendo on the last note. I added the high Maynard-esque part last, as a very conscious tribute to the man I called a mentor, friend, and inspiration.”
20. Taps for the Fallen Brave (ca. 1960s).........................................................................3:26 Transcription by Robert Thurston (b. 1959)This stylized pop setting of “Taps” by an unknown composer/arranger was originally performed by the 101 Strings Orchestra. It was transcribed for concert band for TAPS 150 by Robert Thurston, Chief Arranger for The US Air Force Band. It includes only the first 12 notes of the actual call, but, as the title indicates, it was clearly inspired to commemorate the sacrifice of those who have fallen in service to their country. Trumpet soloist is Kevin Burns.
21. Taps from Touch the Spirit (2009)..............................................................................2:41 Arranged and performed by Wayne Naus (b. 1948) Used by permissionA US Navy veteran, Wayne Naus has a strong love of his country that led him to record his settings of several spiritual and patriotic songs for trumpet and symphony orchestra. This particular arrangement of “Taps” is featured on his 2009 CD Touch the Spirit, a collection of patriotic and spiritual music for Bb, Eb, C, and bass clef instruments, which includes play-along background tracks and printed music. The recording was re-mastered for this release and features narration by Carl Beane, also known as the “Voice of Fenway Park.”
22. The Bugler’s Lament (1955) .......................................................................................2:59 Robert Hammack (1922–90) and Loring “Red” Nichols (1905–65), arr. Wilfred Roberts Robert Hammack was a composer and orchestrator for Walt Disney’s Wonderful World of Color. Red Nichols played jazz cornet and was a bandleader. Listening to this jazz-flavored piece one might think it features an instrument with valves, but the arrangement actually utilizes the bugle as a solo instrument with the band. Soloist is Jari Villanueva.
LIGHTS OUT AND FUNERAL CALLS FROM AROUND THE WORLD
The custom of honoring the dead at burials and memorial services with trumpet or bugle calls dates back to Biblical times. Ancient trumpets were used at religious ceremonies and were associated with magical rites. Burials, circumcisions, and sunset rites (to ensure the sun would return) were a few of the early rituals in which the trumpet was used. Our modern tradition of playing at sunrise (“Reveille”), sunset (“Retreat”), and at burials (“Taps”) may have evolved from these ancient services. According to Curt Sachs in his book The History of Musical Instruments, long wooden trumpets are blown at Rumanian funerals, and in Switzerland, the Alphorn sounds at sunset at the same time that the evening prayer is sung into a megaphone. The sounding of the Ram’s Horn (Shofar) on the occasion of the Jewish New Year is a rite that continues to this day. In Scotland and England during the 16th and 17th centuries, trumpeters accompanied funeral processions for the nobility and those who held high rank. The musicians were dressed in black and also carried drums draped in black cloth. Countries all around the world have developed funeral ceremonies in which music is performed. In the militaries of many nations it is customary that a bugle sound the last call.
23. The Last Post (1798) and................................................................... ..... ......................1:39 24. The Rouse (1798)...........................................................................................................0:39 Sounded by Jari VillanuevaIn England and in all countries that have been under her rule, the bugle call used for funerals and solemn occasions is “The Last Post.” The music for this call can be found as early as 1798 in Sounds for the Duty and Exercise.
At funerals, “The Last Post” is followed by one minute of silence and then the call “Reveille” (“The Rouse”). The idea of having a “wake up” call following a somber sounding dates back many years. Stephen Graham wrote two centuries ago, “The Last Post is the Nunc Dimittis [the promise of salvation as found in Luke 2:29–32] of the dead soldier. It is the last bugle call…but it gives promise of reveille…”
25. Aux Morts (1932)...........................................................................................................0:56 Sounded by George Rabbai and Jari Villanueva Drummers Greg Herron and Joshua Mark SamuelsIn France, the bugle call “Aux Morts” is sounded at military funerals. This call is interesting because it was composed for use by the French in 1932, making it a relatively new call. During World War I, “Taps” had been heard in camps and at funeral ceremonies in France, and this inspired French military leaders to commission their own bugle call for use instead of “Taps.” It has been erroneously reported that the
French adopted “Taps” in the 1930s, when in fact they had adopted “Aux Morts.” There are some similarities between the two calls as both are twenty-four notes in length, both are sounded slowly, both soar to a high G in their musical climax, and both are played at funerals.
26. Ich Hatt’ einen Kameraden (1825)...................... ... ...................................................0:44 Performed by Jari VillanuevaIn Germany, no bugle calls are sounded at funerals. Musical support can consist of a band or three drummers and one trumpet player. Funeral ceremonies take place at regular cemeteries, as there are no national or military cemeteries. At the end of the ceremony, the band plays the chorale “Ich Hatt’ einen Kameraden” (“I Had a Comrade,” also known as “The Good Comrade”). If there is no full band available, this hymn is played by one trumpeter only.
27. Il Silenzio......................................................................................................................1:04 Sounded by Jari VillanuevaIn Italy, the final bugle call is known as “Il Silenzio” (“The Silence”) and there are two versions. Like “Taps,” “Silenzio d’Ordinanza” (“The Ordinance”) is sounded at night when soldiers have to gone to sleep and at military funeral services. The other version, “Silenzio Fuori Ordinanza” (“Out of Ordinance”), is three minutes long and is played to celebrate the last night of the twelve-month-long mandatory military service. The longer version, played on a trumpet, was a big hit on the Italian pop list in the 1960s, and it was made popular by the trumpeter Nino Rossi. The shorter version of the call is the one featured here.
28. Pahingalay............................................................................................................ . .......0:45 Sounded by Jari VillanuevaThe bugle call “Pahingalay” is sounded at funerals and ceremonies in the Philippines. The name of the call may derive from an archaic Tagalog term denoting a deep state of restfulness, where mind, body, and spirit become one.
MUSICAL SETTINGS INSPIRED BY TAPS—PART 3
29. The Call Has Come: Apotheosis on Taps (2010)..................................................3:09 Wilford (Bill) Holcombe (1924–2010) and Jari Villanueva (b. 1955)This arrangement of “Taps” was originally set by Bill Holcombe for choir with brass and was reworked for band by Jari Villanueva. Jari was a longtime student of Holcombe, the prolific arranger who passed away in 2010. This was the last piece they had discussed working on as a revised work for concert band with solo trumpet. It was completed by Jari after Holcombe’s death and features Mike Bogart as the soloist.
30. Day is Done (2011).......................................................................................................2:12 Arr. for SATB voices by Jari VillanuevaThere are no official lyrics to “Taps,” but this original setting for unaccompanied voices features three of the more well-known verses. Vocalists are Janice Carl, Amy Statz Dolan, Robert Harrelson, and Joseph Haughton.
Day is done, gone the sun From the lake, from the hills, from the sky; All is well, safely rest, God is nigh.
Thanks and praise for our days, ’Neath the sun, ’neath the stars, ’neath the sky; As we go, this we know: God is nigh.
Then good night, peaceful night, Till the light of the dawn shineth bright. God is near, do not fear; Friend, good night.
31. Honoring Veterans (2010)...........................................................................................5:38 Steven Behnke (b. 1984) Arranged for band by Jari Villanueva This work was originally conceived for the Patriot Brass Ensemble and appears on their 2010 CD in that brass quintet format. This expanded setting is for brass quintet, band, and solo bugle. The piece uses “Amazing Grace” and “Taps” as thematic material along with quotes from the service songs of all five armed services of the United States. Members of the Patriot Brass Ensemble are featured as the solo brass quintet in this performance, with Jari Villanueva on bugle.
32. Tone Poem on Taps (2010)..........................................................................................4:16 Douglas Hedwig (b. 1952) Orchestrated by Jari VillanuevaComposed in honor of the 150th anniversary of the bugle call “Taps,” “Tone Poem on Taps” evokes the spirit, emotion, and meaning of “Taps” within a contemporary setting. Though entirely original, the noble, spare, and elegiac opening theme is inspired by the phrasing and rhythm of “Taps.” The lyrical and yearning second theme is first presented in the solo oboe, while the contrasting, fanfare-like third theme harkens back to the battlefield origins of “Taps” during the Civil War. The counterpoint in the following section combines the lyrical secondary theme with a rhythmically-augmented statement of the original “Taps” melody in the upper woodwinds. The opening theme then recurs in the solo trumpet and euphonium as the work concludes with a final echo of glory past and future in the three-note motif in the solo bass drum, leading into the final chord.
33. Taps for Band...............................................................................................................0:47 Setting by Thomas Knox (1938–2004)Thomas Knox was a staff arranger for The United States Marine Band, and his compositions and arrange-ments have been performed at the White House and throughout the Washington, DC area. This simple and lovely setting of “Taps” was originally written for brass ensemble and was later expanded for full band. Soloist is Woodrow English.
Conductor...................................... Jari Villanueva, Baltimore, MD *
Piccolo........................................... Barbara Kanner, Pound Ridge, NY
Flute.............................................. Samantha Jones, Forest Hill, MD * Kate Kelly, Nottingham, MD * Cara Shaffer, Cockeysville, MD *
Oboe............................................. Ron Erler, Ft. Washington, MD
Clarinet......................................... A. L. Bundy, Hanover, PA * Jessie Bykowski, Edgewater, MD * Sue Kinne, Woodsville, NH Alice Lee, New York, NY * Cathy A. Ogram, Norfolk, VA Jane Ohlmacher, West Friendship, MD * Marianne Zic, Red Hook, NY
Alto Clarinet................................... Clinton Nichols, Gwynn Oak, MD
Bass Clarinet................................... Jack Zinn, Florida, NY
Saxophone..................................... Rich Burns, Baltimore, MD Brian Endlein, Port Penn, DE Mark Pedersen, Middletown, MD * Adrian Tenney, Essex, MD
Trumpet......................................... James P. Conant, Bellvale, NY Paul DeLuca, Belcamp, MD Millard Haines, Jefferson, MD * Brian Kanner, Pound Ridge, NY Bill Kooser, Baltimore, MD * JoAnn Lamolino, New York, NY + Jorge Lopez, Whitestone, NY Stan Modjesky, Baltimore, MD * Lindsey Moran, Pikesville, MD * Ron Pamposa, New York, NY + James Scheddel, Laurel, MD *
French Horn................................... Steven Behnke, New York, NY + Ron Friedman, Cockeysville, MD Paul Swenson, Greenbelt, MD * Alan White, Ellicott City, MD
Trombone...................................... Alaina Alster, New York, NY + Thomas Davis, Cumberland, MD * Rob Mesite, Springfield, VA * Kyle Russell, Leonardtown, MD *
Bass Trombone................................ Bernard Robier, Baltimore, MD
Euphonium.................................... Meaghan Schober, Newark, DE * Dana Schoppert, Falling Waters, WV
PERFORMERS
Tuba.............................................. Daniel Appleby, Baltimore, MD * Roy Coates, Hopewell Jct., NY Steven Lakawicz, Mahwah, NJ + Jay Norris, Glen Burnie, MD Neal Sipe, Baltimore, MD *
Bass............................................... Rick Barnes, Pasadena, MD
Percussion...................................... Matt Basch, Columbia, MD * John Ohlmacher, West Friendship, MD * Robert Sacks, Yonkers, NY Joshua Mark Samuels, New York, NY + Brett M. Schaffer, Baltimore, MD * Lauren Stallings, Westminster, MD
Tympani......................................... Greg Herron, Nottingham, MD
Keyboard........................................ Rich Collier, Baltimore, MD
Harp.............................................. Jan Holland, Taylor, MI
Vocalists......................................... Janice Carl, Parsippany, NJ Amy Statz Dolan, Sauk City, WI Heather Faust, Oakdale, CA * Robert Harrelson, Boiling Springs, NC Joseph Haughton, Philadelphia, PA
Bugles Across America Buglers........... Michael A. Brinton, Lewistown, PA Lori D. Crandall, Arlington, VA Zachary Dell, Hampstead, MD Paul DeLuca, Belcamp, MD John DiLutis, Harford County, MD Larry DuPree, Cincinnati, OH Tim Everleigh, McLean, VA Timothy Foley, Arlington, VA Ronald R. Glazer, Sr., Clear Spring, MD Pete D. Long, Hanover, PA Paul McMillin, Carlisle, PA Shannon Morken, Wilmington, DE Ricardo Rosales, San Antonio, TX Corey Stevick, Southern MD John R. Thomas, Bangor, ME Alan Tolbert, Shippensburg, PA Johnathan Worley, Glastonbury, CT
* Maryland Defense Force Band
+ Patriot Brass Ensemble
ABOUT THE ARTISTS
Steven Behnke is a 2010 graduate of the Manhattan School of Music who has performed extensively in the New York City area, including appearances at Carnegie Hall and Lincoln Center’s Avery Fisher Hall. A horn player of diverse experience, he has also been featured on WQXR and has won numerous concerto competitions. He became a member of the Wholly Brass Quintet in 2008 and has completed sev-eral national tours with the group. He was a member of the Brass Quintet in Residence at the 2010 Vail Festival. In 2009 Steven founded the Patriot Brass Ensemble, a groundbreaking, non-profit brass group that performs for veterans of the United States military.
Mike Bogart graduated from Interlochen Arts Academy and attended the University of Miami (FL) as an orchestral performance major before being accepted into the US Navy Music Program and attend-ing the Armed Forces School of Music. From 1989 to 1992 he served in Navy Band Guam, and he then transferred to the 7th Fleet Band in Yokosuka, Japan, where he served for five years. In 1997 he transferred back to the United States, reporting to Navy Band San Diego (now Navy Band South West). In 1998 Mike separated from the Navy to accept the Jazz/Feature Soloist position in the band of jazz great, Maynard Ferguson. Then, in 2000, the renowned funk/soul band Tower of Power invited him to join as lead trum-pet, a position he held for nine years. In 2009, he auditioned and was accepted for a trumpet position with the US Naval Academy Band, reporting for duty in October of that year.
Kevin Burns is the split lead trumpet with the Airmen of Note, the premier jazz ensemble of the United States Air Force. He also maintains an active freelance schedule. Prior to joining The USAF Band in Washington, DC, he served as the lead trumpet for the Falconaires, the jazz ensemble of The USAF Academy Band in Colorado Springs, CO. He spent his first Air Force assignment with The USAF Band of the West in San Antonio, TX, where he served as founding music director and lead trumpet for the jazz group Nighthawk.
Woodrow English retired in 2010 after 34 years with The US Army Band, “Pershing’s Own,” where he served as Senior Trumpet Soloist and Special Bugler. During his distinguished career with The US Army Band in Washington, DC, Sergeant Major English was often spotlighted in public concerts, official military functions, and ceremonies in Arlington National Cemetery, including sounding “Taps” for the funerals of President Ronald Reagan and Senator Edward Kennedy. The US Army Brass Quintet, of which English was a member for over two decades, has performed in 46 states and seven foreign coun-tries. English has served as principal trumpet with the Alexandria Symphony, and he has been solo cornetist with the popular Brass Band of Battle Creek since 1996. He is a sought-after soloist in the Wash-ington area and has performed with the National Symphony Orchestra, the Washington Opera, and countless chamber ensembles. English also serves on the Board of Directors of TAPS 150.
Douglas Hedwig is Professor of Music at The City University of New York–Brooklyn and previ-ously served on the faculty of The Juilliard School. He was a trumpeter with The Metropolitan Opera Orchestra (NYC) from 1973 to 2000, and he served as Civilian Bugler with the FDNY in the months following the events of 9/11/2001. Dr. Hedwig was awarded the Doctor of Musical Arts degree from The Juilliard School in 1986, and he is the recipient of awards and honors from the US Department of Veterans Affairs, the J. William Fulbright Foundation, the US Department of State, and the New York City Council. He has composed works for concert band and brass ensemble, including the Official March of the New York Naval Militia. Douglas Hedwig received his commission as an officer in the New York Guard (NYG) in 2007 and has since served as Commander and Conductor of the 89th Army Band, NYG.
Wayne Naus is a veteran of US Navy bands and holds his BA in Music Education from the Berklee College of Music, where he is an Associate Professor in the Harmony Department and leads the Berklee Tower of Power ensemble, which he founded in 2000. He is also the leader of the Latin jazz octet Heart & Fire and the Berklee faculty group Moksha. A veteran of numerous international television and concert appearances, he has performed and toured with many of the leading names in music, including Buddy Rich, Maynard Ferguson, and Lionel Hampton. Wayne is also the author of Beyond Functional Har-mony, published by Advance Music. For more information about Wayne or his Touch the Spirit CD, please visit www.waynenaus.com.
George Rabbai is known in the Civil War reenacting community as an authority on Civil War bugle calls, but to the rest of the world he is recognized for his performances as a jazz soloist with artists such as Tony Bennett, Rosemary Clooney, Michael Feinstein, Margaret Whiting, and the Woody Herman Orchestra and Woody Herman All-Stars. George’s lyrical trumpet sound is featured in the soundtrack of Baseball, a film by Ken Burns, as well as in Burns’ epic documentary The West. He has performed at Carnegie Hall, Boston Symphony Hall, and the famed Rainbow Room, as well as at European jazz festi-vals and many East Coast jazz clubs. George has recorded with many vocalists and jazz greats and has also released three solo albums. He is currently on the faculties of Philadelphia’s University of the Arts and Rowan University in Glassboro, NJ, and he makes frequent appearances as a jazz clinician, festival adjudicator, and featured artist.
Jari Villanueva holds degrees from The Peabody Conservatory of Music of The Johns Hopkins Uni-versity and Kent State University. He is retired from the United States Air Force where he served 23 years as a ceremonial trumpeter, drum major, and staff arranger with The United States Air Force Band in Washington, DC and sounded “Taps” over 3,000 times at Arlington National Cemetery and other cem-eteries as a military bugler. In 2008 Jari received his commission as a Major in the Maryland Defense Force where he serves as Commander and Conductor of the Maryland Defense Force Band. He was Director of Bands at UMBC from 1998–2010 and was Director of the Johns Hopkins University Band from 2008–10. Since February 2008 Jari has served the State of Maryland as Director of the Maryland National Guard Honor Guard, which provides military funeral honors for Maryland veterans. He is also the President of TAPS 150, an organization formed to commemorate the 150th anniversary of the bugle call “Taps,” which will take place in 2012. Considered the country’s foremost authority on US military bugle calls and the bugle call “Taps,” Jari is the author of Twenty-four Notes That Tap Deep Emotions: The Story of America’s Most Famous Bugle Call, the definitive book on the origin and history of “Taps.” This 68-page book, along with much additional information on “Taps,” bugles, and buglers throughout history, can be found on his website at www.tapsbugler.com. Copies of many of Jari’s arrangements that appear on this album are available through www.jvmusic.net.
Walter White grew up in a musical family near Detroit, MI, and was inspired at an early age by the music of Beethoven and Louis Armstrong. Starting on his brother’s Boy Scout bugle at age five, he learned to play baritone and tuba before settling on trumpet by age nine. Trained at Interlochen Center for the Arts, The Juilliard School, the University of Miami, and The Banff Centre, Walter has worked with
many of the top names in music. During the early 1990's, Walter toured and recorded with his boyhood hero, trumpeter Maynard Ferguson, to whom “Taps (for Maynard)” is dedicated. His dynamic trumpet playing has graced movie and television sound tracks, and, as a recording studio owner, he also produces records and music for television and film. He authored the Walter White Long-tone Accompaniment, a play-along CD for music practice, which has garnered worldwide acclaim. Walter has composed over forty original works for large jazz ensembles and has been commissioned to write for choirs, woodwind and brass ensembles, and symphonic orchestra. He is a Yamaha Performing Artist and Clinician. More information and sheet music is available at www.walterwhite.com.
Bugles Across America was founded by Tom Day in 2000 to honor the service of military veterans by providing a performance of “Taps” played by a live bugler, rather than on a CD player, for military funerals and memorial services. BAA now has over 7,500 bugler volunteers located in all 50 states and overseas. Since the US Department of Veterans Affairs is expecting more than 1/2 million veterans to pass every year for the next 7 years, BAA is always recruiting new volunteers. Bugler volunteers may be male or female. They can play a traditional bugle with no valves, or they can perform the ceremony on a trumpet, cornet, flugelhorn, or a 1-, 2-, or 3-valved bugle. Buglers may be of any age as long as they can play the 24 notes of “Taps” with an ease and style that will do honor to the veterans, their families, and the burial detail performing the service. For more information about Bugles Across America, visit www.buglesacrossamerica.org.
The Maryland Defense Force Band is a uniformed organization of volunteers that represents and provides musical support for the Maryland Defense Force (MDDF), provides backup support for the 229th Army Band, and provides supplemental professional musical support to the Maryland Military Department and the Maryland National Guard as required. The mission of the MDDF Band is to enhance community relations, general recruitment, and troop morale. Its goal is to communicate the mission of the MDDF and the duties it performs for the Maryland Military Department. In this capacity the MDDF Band provides music for military ceremonies, concerts, and other appropriate occasions and participates in special events and music programs designed to support the mission of the MDDF. Founded in 2009, the MDDF Band has performed over 50 volunteer missions in its first two years, including performing for the Adjutant General and the Governor of Maryland on numerous occasions. Information about joining the MDDF Band and a schedule of upcoming missions can be found at http://mddf.maryland.gov/band/.
The Patriot Brass Ensemble was established in 2009 to enrich the lives of veterans of the United States military through musical programs and services. Believing that every member of the military deserves the best music, without prejudice, and with passion and integrity, the PBE has established itself as the premier brass group that is dedicated to serving veterans across America. Based in Ridgefield, NJ, and made up of young conservatory-trained brass and percussion musicians, the ensemble has per-formed for veterans organizations and VA hospitals across the country and at private events for veterans at Fort Bragg, NC; San Diego, CA; West Point, NY; and elsewhere. Members of the PBE strive for the highest level of performance as they seek to honor, entertain, and inspire the veterans of the United States military. For more information or to contact the Patriot Brass Ensemble, please visit www.patriotbrass.org.
TAPS 150 was incorporated to commemorate the 150th anniversary of the origin of “Taps,” our national bugle call. Over the years, the notes of “Taps” have become part of our national conscience. In times of peace and war, the 24 notes of this familiar melody have been performed each day in virtually every part of our nation. As we approach the 150th anniversary of this famous call, TAPS 150 is planning commemorative activities, concerts, and special events that will culminate with ceremonies at national cemeteries in May 2012 and a re-enactment event in June 2012 at Berkeley Plantation, where “Taps” was born. With each special event and project planned by TAPS 150, we strive to emphasize the importance of this national treasure. For more information, or to order additional copies of this CD, please visit TAPS 150 at www.taps150.org.
CD PRODUCTION
SPECIAL ACKNOWLEDGEMENTS
Bugles Across America, Tom Day, Larry DuPree, Erika Faust, Ronald R. Glazer, Sr., Eddie Hui, The John F. Kennedy Presidential Library, The Maryland Defense Force Band, Gary Miconi,
Paul Swenson, TAPS 150, Alan Tolbert, Christine Tolbert
Recorded at Sheffield Recording Studio, Phoenix, MD, January 14–16 and March 27, 2011
“Taps” and “Taps Prologue” arr. by Teresa Jennings (ASCAP) © 2011 Plank Road Publishing, Inc. All rights reserved. Used by permission.
For more information about TAPS 150, visit the TAPS 150 website at www.taps150.org
or on Facebook at www.facebook.com/Taps150
Music Director................................... Jari Villanueva
Producer............................................ Heather Faust
Recording and Mix Engineer.............. Jake Mossman
Assistant Recording Engineer............ Zach Ruszala
Graphic Design................................. Karen Henry, Crescent Studio Design
Program Notes................................... Heather Faust, Jari Villanueva
Photo Credits..................................... Photos from the collection of Jari Villanueva
Staff Sgt. Frank Witchey sounding Taps, Mother's Day, 5/10/25, from the National Photo Company Collection (Library of Congress)
Sidney King painting of Daniel Butterfield and Oliver Willcox Norton used by permission of Berkeley Plantation
Cover photo: © The Washington Post/Getty Images
© 2011, TAPS 150, Inc.All rights reserved. Unauthorized duplication strictly prohibited. www.taps150.org
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1. Prelude to Taps....................
2. Tattoo (1861).........................
3. To Extinguish Lights (1804).....
4. Three Drum Taps................
5. The Scott Tattoo (1835).. .... .....
6. Taps (1862)............................
7. Tenting Tonight on the Old Camp Ground–Taps.....
8. Lights Out March.................
9. Taps–Eternal Father.............
10. Taps: Part-song for Memorial Day.....................
11. The Golden Star...................
12. Taps in G.............................
13. Taps as sounded at Arlington National Cemetery............................
14. Taps at the funeral of John F. Kennedy..................
15. Harmonized Taps................
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16. Taps Prologue....................
17. Taps by Music K-8..............
18. A Bugler’s Fantasy..............
19. Taps (for Maynard).............
20. Taps for the Fallen Brave.....
21. Taps from Touch the Spirit . ..
22. The Bugler’s Lament...........
23. The Last Post......................
24. The Rouse..........................
25. Aux Morts..........................
26. Ich Hatt’ einen Kameraden...
27. Il Silenzio...........................
28. Pahingalay.........................
29. The Call Has Come: Apotheosis on Taps............
30. Day is Done........................
31. Honoring Veterans.............
32. Tone Poem on Taps............
33. Taps for Band.....................
