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Tone Poem on "Taps"

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Douglas F. Hedwig

Douglas F. Hedwig (orch. Jari Villanueva)

General Info

Year: 2012 / 2014
Duration: c. 5:15
Difficulty: III (see Ratings for explanation)
Publisher: TRN Music Publisher
Cost: Score and Parts (print) - $60.00   |   Score Only (print) - $8.00


Full Score
C Piccolo
B-flat Soprano Clarinet I-II-III
E-flat Alto Clarinet
B-flat Bass Clarinet
E-flat Alto Saxophone
B-flat Tenor Saxophone
E-flat Baritone Saxophone
B-flat Cornet I-II-III
Horn in F I-II-III-IV
Trombone I-II
Bass Trombone
String Bass
Harp or Keyboard
Percussion, including:

  • Bass Drum
  • Crash Cymbals
  • Snare Drum


None discovered thus far.

Program Notes

Composed in 2012 in honor of the 150th Anniversary of Taps, Tone Poem on "Taps" evokes the spirit, the emotion, and meaning of America's most famous bugle call 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. Tone Poem on '"Taps" was premiered by the West Point Band, under the direction of the composer, on September 2, 2012.

- Program Note from publisher

Tone Poem on “Taps” by Douglas E Hedwig was composed to honor the 150th Anniversary of Taps, America’s most well-known bugle call. Scored in a slow meter, marked “Solemn and Noble, con espressivo,” this introspective work begins with a cornet and euphonium duet inspired by the phrasings and rhythms of Taps. A lyrical second theme features a solo oboe, while a contrasting third theme is fanfare-like in quality and begins with the cornets. The final section combines the lyrical second theme with an augmented statement of the original bugle call and leads to a quiet ending that restates the cornet and euphonium duet from the early bars. The otherwise standard instrumentation includes harp or keyboard, plus an optional clarinet part as a substitute for oboe.

- Program Note from The Instrumentalist, May 2014


State Ratings

None discovered thus far.


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Works for Winds by This Composer