Music For Horns

Wiggins’ Fanfare starts off with the 2^nd section (B1-B4) in octave unison, playing the fanfare motif that defines the first section. The other two sections pick up the beginning of this motif, but then change the remainder. This also translates well visually, with the centre of the ensemble starting out, and the two flanks taking over after 8 bars. Wiggins continues this visual play for quite some time, until the more rhythmically varied, quiet 2^nd section commences. At that point the three sections alternate, introducing syncopation, quintuplets, triplets, and meter changes.

The ending is yet again a predominantly loud section, with an array of c3’s and fff. The initial motif returns in the 3^rd section, accompanied by syncopation in the 1^st.. The very end is loud, high and spectacular, pretty much like the whole piece.