Japanese Type 90 Bugle

The military bugle was one of the most important communication tools carried by armies for centuries. Long before field telephones and portable radios became commonplace, bugle calls relayed orders across battlefields, camps, and garrisons, directing troops to wake, assemble, advance, retreat, or retire for the evening. Its simple yet unmistakable tones could be heard over the noise of combat and allowed commanders to communicate quickly with large formations.

Japanese army bugler. Note that the bugle is played with the loops toward the left.

The Imperial Japanese Army adopted the bugle as an essential piece of military equipment during the Meiji era, drawing heavily from European military traditions as Japan modernized its armed forces. By the Second World War, buglers remained an integral part of infantry units, signaling everything from daily routines in camp to banzai charges. Today, surviving Japanese military bugles are a quite common element amoung private collections.

The first bugle adopted by the Japanese military was the Type 13, introduced in 1880. This bugle was slightly longer than its successor and featured two loops of brass tubing that formed an oval shape. Due to its greater overall length and two-loop design, it produced a higher pitch than later military bugles and required considerably more effort to play. The design demanded greater air pressure from the bugler to produce clear, consistent notes.

Type 13 bugle.

Among the many reforms and modernizations undertaken by the Japanese military during the early twentieth century was the adoption of a new bugle. The Type 90, introduced in 1930, incorporated several notable improvements over the earlier Type 13. Although slightly shorter in overall length, it featured three loops of brass tubing in its construction. This additional loop lowered the instrument's pitch and improved its playing characteristics. The redesigned bugle required less effort to play, allowing buglers to sound calls more quickly and with significantly less fatigue.

Type 90 bugle.

A Japanese sailor is depicted on a pre-war dated postcard playing a Type 13 bugle. Note that the navy played thier bugles with the loops facing down.

The Type 90 saw service in every theator of conflict that the Japanese army and navy went and served as a vital communication tool. The Japanese army in particular lacked man portable radio equipment, and field telephones must be wired together, making them semi-permanent. The bugle however was light, and its calls could be heard over long distances and break through the cacophany of combat to issue commands to troops in active combat. The bugle was even used to initiate banzai charges throughout the Pacific, most notibly against Marine Raiders on Makin island.

The Type 90 bugle is constructed of brass and measures approximately 11¾ inches (29.8 cm) in length, including the mouthpiece. The bell measures 4 inches (10.2 cm) in diameter. The instrument is formed from several sections of brass tubing bent into three distinct loops and joined together with solder.

The outward-facing sections of the tubing and loops are reinforced with raised ribs, while the rearmost loop features a large brass reinforcement plate soldered in place for additional protection. These reinforcing ribs and the protective plate help strengthen the soft brass, reducing the likelihood of damage from dents and impacts sustained during military service.

Reenforcing ribs on the front of the bugle loops.

The Type 90 bugle can be found with two different styles of mouthpiece. The most common is a turned steel mouthpiece mounted to a brass shank, similar in design to those used on modern brass instruments. The second, and much rarer, type is constructed from a combination of brass and Bakelite, an early thermosetting plastic. This version features a brass shank and inner cup, while the outer rim is

Brass and Bakelite mouthpiece.

made of Bakelite. Some sources suggest that the Bakelite mouthpiece was introduced for use in Manchuria, where the non-metallic rim would help prevent a bugler's lips from sticking to the mouthpiece in the extreme winter temperatures. While this explanation is certainly plausible, no contemporary Japanese military documentation has yet been identified to confirm that this was the intended purpose. Both types of mouthpiece are attached to the bugle by a length of brass chain to prevent loss, and are secured in place the a brass bolt and wing nut.

Japanese army Type 90 bugle with red infantry tassel.

Both the Imperial Japanese Army and the Imperial Japanese Navy issued the Type 90 bugle, although with several distinguishing features. The Navy held and played the bugle with the loops facing downward, while the Army played it with the loops oriented horizontally to the left. In addition, Army-issued bugles were fitted with a black wool or felt protective wrap around the upper loops and were often adorned with a colored tassel.

The protective wrap provided additional cushioning against dents and abrasions while also preventing prolonged contact between the player's hands and the polished brass, reducing tarnishing and the need for frequent cleaning. The colored tassel served to identify the bugler's branch of service. The most commonly encountered tassel is red, denoting the infantry, although yellow tassels representing the field artillery are also frequently found. Other branch colors were also used but are encountered less often today.

I recently aquired my first Type 90 bugle that was graciously gifted to me by a family friend. Despite its age, it remains in remarkably good condition, exhibiting only a few minor dings and dents along with a pleasing, naturally aged patina. This particular example also retains the rarer Bakelite style of mouthpiece.

Although the bugle was structurally sound, it was quite dirty and showed several small patches of verdigris, the green corrosion that forms on brass after exposure to moisture, and acidic contaminants. It is also missing its protective wrapping and any tassels, although this is not uncommon.

I always strive to preserve the historical integrity of items in my collection whenever it is appropriate and practical to do so. Because this bugle had accumulated dirt and several areas of active verdigris, I decided it would benefit from a careful cleaning and preservation treatment. My goal was simply to remove the dirt and active corrosion while protecting the brass; not to polish the instrument or remove its handsome patina.

My Type 90 bugle before cleaning. Note the small dents and dings along the side of the bell.

I began by disassembling the bugle. The mouthpiece was removed from its retaining chain, and the securing bolt and wing nut were taken off for separate cleaning. Next, I lightly brushed the entire instrument with a clean, soft paintbrush to remove loose dust and debris.

The most important step was washing the bugle. I filled my kitchen sink with hot, soapy water and allowed the instrument to soak for several minutes. The warm water helped soften any stubborn dirt, grime, and deposits of verdigris, making them easier to remove without the need for harsh chemicals or abrasive scrubbing.

The Bakelite mouthpiece was removed and the internal surfaces were cleaned with cotton patches and a pistol cleaning rod.

After soaking, I gently cleaned the exterior using a soft paintbrush and a small amount of mild dish soap. For tight or hard to reach areas, I used a firearm cleaning brush along with a small, stiff-bristled paintbrush. The interior of the bell was cleaned with a soft shop towel wrapped around a wooden dowel, allowing me to reach the inside surfaces without scratching the brass. To clean the mouthpiece, I used a 9mm pistol cleaning rod fitted with soft cotton cleaning patches. This allowed me to thoroughly clean the interior surfaces and remove the

accumulated verdigris while avoiding damage to the brass and Bakelite components.

Sometimes I need a reminder.

Once everything was washed, I blew off the instrument with my air compressor, ensureing that I thoughoutly dried the interior. I noticed however, that there was still some verdigris and grime left over after washing. To combat this, I chose to use mineral spirits to further clean the bugle. Mineral spirits are commonly used as a paint thinner, but is not as aggressive as other solvents. It would not remove or damage the patina and also wouldnt hard the Bakelite mouthpiece. I used a soft toothbrush soaked in mineral spirits to gently scrub stubborn spots and then went over the whole instrument with a paper towel and mineral spirits to further clean and degrease the bugle.

Once all of the components were completely dry, I applied a thin coat of Renaissance Wax to protect the brass. Renaissance Wax has long been used by museums, conservators, and collectors around the world to protect and preserve a wide variety of historic artifacts. It is a non-acidic, microcrystalline wax that is easily reversible and does not noticeably alter the appearance of an object's original finish when applied correctly. The thin protective coating acts as a barrier between the brass and the surrounding environment, helping to prevent moisture and airborne contaminants from reaching the metal and slowing the formation of new corrosion. It also reduces the accumulation of dust and fingerprints, making the bugle easier to maintain while on display without diminishing its natural patina.

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Before (left) and after (right) cleaning and wax application.

The Type 90 bugle represents an important piece of Japan's military history and serves as a tangible reminder of the men who carried and played these instruments in the field. This bugle will now have a place of honor in my collection, not only as an example of Japanese military craftsmanship, but also as a reminder of the history and experiences connected to the objects left behind by previous generations.