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Thread: Taps For Funeral Service

  1. Taps For Funeral Service

    I wasn't quite sure where to start this thread, so my apologies if this is in the wrong sub-forum.

    Recently I was offered the opportunity to perform Taps for my grandfather's funeral late next month. (He passed away early January and served during the early 1950s, though we're unsure if he deployed to Korea, as he never talked about it with my family.)

    I have looked around at several websites but I was wondering if anyone here has experience with this? I'm not entirely sure what procedures/dress (beyond a formal black suit) would be appropriate or required. I have access to a piston-rotor G-Bugle, which I plan to use as my trumpet chops are not where I would want them to be for this sort of performance.

    Thank you very much for your time and suggestions. I recognize the solemnity of this performance and want to make sure I do this with the utmost respect and care.
    Willson 2900 TA-1 Euphonium - Denis Wick 4AM
    Yamaha YSL-643 Trombone - Bob Reeves BrassArk 5G "Gladstone"
    Yamaha YSL-8440 Trombone - Denis Wick 5BS
    VMI 3301S BBb Tuba - Schilke Helleberg

    Past:
    York Preference 3067 Euphonium - Denis Wick 4AL
    Benge 165F Trombone - Benge Marcellus
    Wessex BR140 Baritone - Denis Wick 6BS
    F.E. Olds Special Trombone (ca. 1941)

  2. #2
    I've never done this myself, but of course I have been present at many funerals where taps are used. But most times there is a more elaborate ceremonial piece involved, so I'll have to opine somewhat out of ignorance.

    This is a job of honor, so your instincts should come into play. You already figured out the "dress code" the same way I would have. I'm sure you have heard it played at funerals, so you probably have a sense of tempo and feel already. I'd say the main piece is to be somewhat "military" in your behavior. So stand erect and still without looking uncomfortable. Have the horn emptied of water thoroughly at the end of whatever warmup you do. I suspect you will not have any more water accumulating while you are standing (or sitting) and waiting, so I would hope to not need to empty the horn just as I was about to play.

    Also, if it were me, I'd want to make sure I'm not "center stage" when I play. I would think off to the side, and pointed (or distanced) in a way that no one will flinch at the volume. Again IMHO I would stand in a way that does not distract the view - I would think attendees may want to look at the casket (or whatever) and meditate or remember as you play.

    Let's hope some of our other members have more specific advice based on personal experience.
    Dave Werden (ASCAP)
    Euphonium Soloist, U.S. Coast Guard Band, retired
    Adams Artist (Adams E3)
    Alliance Mouthpiece (DC3)
    YouTube: dwerden
    Facebook: davewerden
    Twitter: davewerden
    Instagram: davewerdeneuphonium

  3. #3
    Join Date
    Jan 2006
    Location
    West Palm Beach, FL
    Posts
    3,853
    This is an honor for sure. I played taps for my grandfather over 50 yrs ago when I still played trumpet. As Dave suggested, I was way off to the side or actually behind those in attendance so as not to sound too loud. This was at the grave site so outside which I suspect may be your case. Good luck and good for you to do this.
    Rick Floyd
    Miraphone 5050 - Warburton BJ / RF mpc
    YEP-641S (recently sold)
    Doug Elliott - 102 rim; I-cup; I-9 shank


    "Always play with a good tone, never louder than lovely, never softer than supported." - author unknown.
    Symphonic Band of the Palm Beaches
    El Cumbanchero (Raphael Hernandez, arr. Naohiro Iwai)
    Chorale and Shaker Dance
    (John Zdechlik)

  4. #4
    A friend of mine (tuba) has been practising her trumpet and has volunteered for this program. i am considering it, i have to get my trumpet chops in shape first though. there's an audition, dress code, conduct code, etc...

    http://www.buglesacrossamerica.org/

  5. #5
    [QUOTE=Fujiifilm;144679]
    I have access to a piston-rotor G-Bugle, which I plan to use as my trumpet chops are not where I would want them to be for this sort of performance.

    I am curious. Since a trumpet and a bugle's mouthpiece appear to be the same animal, why would a bugle be any easier to play?

    On many occasion I have used my euphonium to sound bugle calls, including taps, and the "audience" doesn't seem to notice the difference!
    Yamaha YEP 321 and Schilke 51D

  6. #6
    Early in my Army bandsman career, the band I was stationed at (18th Army Band at Ft. Devens, MA) had very few trumpet players, and those that were there traveled extensively throughout New England playing bugle jobs.

    December 1978 and the band's "block leave" time frame came. The trumpet players needed a much deserved break, so I volunteered to play whatever bugle jobs came up while they were on leave.

    I wound up playing two of them. The first was for a veteran who had passed on and the second was for an active duty soldier killed in a car accident.

    I didn't have a bugle. I had signed out a Bb trumpet, and as I was/am a dedicated low brass player (meaning lots of air at slower speeds), I had to build chop strength for that horn, which I began building in November.

    The first gig - outdoors in the cold/snow - went well. I actually managed to play Taps in Bb - the normal key. But still I struggled with the top G. So for the second gig, which occurred inside the Post Chapel, I had to use a mute and stick the bell of my horn out of the door to keep from blasting the walls down.

    I played a couple more gigs on 3rd trumpet, but I was terrible at it and went back to euph/trombone for the rest of my career.

    Be that as it may, a bugle in G - pitched a minor 3rd below Bb - would be a little less difficult than playing Taps in Bb. Then one could, of course with a valved instrument, play Taps in F by using 1-3 rather than the open horn. That's easier still.

    It sounds to me like you've got the right vision in terms of the solemnity of the occasion, and Dave nailed it when he said the key thing for the bugler is to be unobtrusive. It isn't the bugler that's the center of attention, it's the memory of the veteran who has passed on.
    U.S. Army, Retired (built mid-1950s)
    Adams E2 Euph (built 2017)
    Boosey & Co. Imperial Euph (built 1941)
    Edwards B454 Bass Trombone (built 2012)
    Boosey & Hawkes Imperial Eb tuba (built 1958)
    Kanstul 33-T lBBb tuba (built 2010)

  7. #7
    I've been meaning to comment on this for the last few days as I've played Taps at a lot of funerals over the years. There's been some great advice here already, especially about being off to the side. With that said, here are my additional pointers:

    Find a place to look: When you're warming up, scope out the spot you'll be standing. Find a place to look where you won't be looking anyone directly in the face. A spot on a wall or a tree (if outdoors) a little above the tops of people's heads is ideal. It keeps you standing straight and it keeps you making eye contact with the mourners.

    Why this is important: Hearing Taps at a funeral is hugely emotional for a lot of people. Taps is also an extremely exposed melody that requires steadiness. If you get caught up in the emotions of the people around you, staying steady and in control becomes that much harder.

    Learn how to empty the water key silently and discreetly: Even if you empty the horn out thoroughly at the end of the warm up, count on water condensing as the horn cools while you're holding it during the service. Trumpets will start to gurgle with a minimal amount of water, so it's a given that you'll need to empty within a few minutes of playing.

    With the instrument you're going to play, figure out the angle at which the water will fall out of the water key on its own. Practice having a handkerchief in hand to absorb the water as well. It doesn't need to be a perfect empty since Taps is short, just enough to prevent a gurgle.

    Also, plan on doing this when someone else is speaking. Even if you're in view, the audience's attention will be on the speaker. Which brings me to the last pointer...

    Make sure you know the order of events the service: Talk to the minister or officiant in advance and make sure you and he are perfectly clear as to when Taps is to be sounded. Track the service carefully as it progresses, but always be prepared for a surprise cue if the officiant gets confused. (It has happened to me more than once!)

    Finally, one musical exercise that is good to do while getting your chops in shape for taps: starting the note with air. I'm not suggesting you do this when actually starting Taps (you'll want to use a legato tongue), but it's a great way to internalize the point at which your chops will start buzzing on the bugle mouthpiece.
    Adrian L. Quince
    Composer, Conductor, Euphoniumist
    www.adrianquince.com

    Kanstul 976 - SM4U

  8. #8
    Join Date
    Aug 2015
    Location
    Rochester NY, USA
    Posts
    25
    I've played Taps many times as part of my Army reserve duties (even though I was a Euphonium and Trombone player), and as a member of the American Legion, and VFW. As long as you dress neatly, a dark colored suit would be perfectly acceptable for playing for a family member as you describe. If I'm playing with an honor guard I will try to match them as best I can usually black or Navy blue pants and white shirt, and a dark tie, and my legion or VFW cap. If there is a firing squad you will stand off to the side of them facing the flag draped casket (or Urn with the folded flag in front of it) and play to the flag. The big thing about Taps is it's for the deceased and you want to be as inconspicuous as possible. You want to be a little bit distanced from the the crowd you don't want the sound to overpower people. If there isn't a firing detail then you'll just follow the program as to when to play or take a cue from the funeral director or minister, get there a little early to get the lay of the land, and talk to the color guard sergeant or Minister / funeral director. If I'm playing taps in the funeral home or a crowded church I will often do it from the hallway or vestibule playing into the open door of the room so I'm not playing into someone ears.

  9. I should have clarified, my apologies. What I have is a Baritone bugle, so it takes a small shank trombone mouthpiece. I was thinking it might be a little more suitable for the ceremony as opposed to my concert euphonium.

    Here's a PDF of an old brochure by Olds that shows the horn in question: http://www.itsabear.com/Olds_Docs/OldsBugle1970.pdf
    Willson 2900 TA-1 Euphonium - Denis Wick 4AM
    Yamaha YSL-643 Trombone - Bob Reeves BrassArk 5G "Gladstone"
    Yamaha YSL-8440 Trombone - Denis Wick 5BS
    VMI 3301S BBb Tuba - Schilke Helleberg

    Past:
    York Preference 3067 Euphonium - Denis Wick 4AL
    Benge 165F Trombone - Benge Marcellus
    Wessex BR140 Baritone - Denis Wick 6BS
    F.E. Olds Special Trombone (ca. 1941)

  10. Thank you everyone for the responses, I am very humbled and honored to be given the opportunity to do this for my grandfather so I really do appreciate the advice you've all provided. (The other option it sounded like was a recording of Taps played over a speaker, which didn't sit well with me.)

    I'm working on finding out the details of what will be involved at the ceremony, whether there will be an honor guard, firing squad, where to stand, etc. It sounds like it will be fairly short (about 30 minutes) I'm not sure if that's typical or not.
    Willson 2900 TA-1 Euphonium - Denis Wick 4AM
    Yamaha YSL-643 Trombone - Bob Reeves BrassArk 5G "Gladstone"
    Yamaha YSL-8440 Trombone - Denis Wick 5BS
    VMI 3301S BBb Tuba - Schilke Helleberg

    Past:
    York Preference 3067 Euphonium - Denis Wick 4AL
    Benge 165F Trombone - Benge Marcellus
    Wessex BR140 Baritone - Denis Wick 6BS
    F.E. Olds Special Trombone (ca. 1941)

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