A4, Score (40) & parts (16x3=48, plus drums (3), piano (5) and bass (3), total=59)
Horns
16
Additional Equipment
Straight mutes
Others
3
Other Instruments
Drum kit, piano, bass
Difficulty
2
Duration
4
Structure / Movements
One movement.
Driving (swung eights)
Clefs
Treble, bass
Meters
2/2
Key signatures
4b, 2b
Range
Horn 1: c1 - d3
Horn 2: c1 - d3
Horn 3: bb - a2
Horn 4: bb - a2
Horn 5: c1 - d3
Horn 6: c1 - d3
Horn 7: f - ab2
Horn 8: f - ab2
Horn 9: g - d3
Horn 10: g - d3
Horn 11: e - ab2
Horn 12: e - ab2
Horn 13: G - f#2
Horn 14: G - f#2
Horn 15: Gb - b1
Horn 16: Gb - b1
Creator's Comments
Performance Notes
16 horns. Wow. Bissill’s arrangement of Caravan asks for pretty much the largest horn ensemble forces there are (without it getting ridiculous), plus an added rhythm section (drum kit, piano and bass). A first look at the score however reveals that the actual number of simultaneous voices barely reaches eight, which means this version could technically be played by eight people only.
The parts are in groups of two (1+2, 3+4, etc.) playing almost exactly the same throughout, with doubling on occasion (like at the beginning, when “sections” 5-6 and 7-8 start the piece off). There is no absolutely clear distinction in larger sections, even though sometimes it looks as if the first eight horns are contrasted with the second eight. It is also apparent that horns 1-2 and 9-10 are the main leading voices, while horns 7-8 and 15-16 form the bass. Other than that there is a lot of swapping around, and pretty much every voice gets their moment of glory.
With a performance time o approximately 4:30, a tempo of minim (half note) equals 136, and 289 bars, there are a lot of notes to play. Fortunately the grooves are not written out (instead there is an indication saying swung eights), and there also is a recording (The London Horn Sound ) to play along with. Another difficulty comes in form of four flats for the most part of the piece, changing to two flats once all the top D’s start. And of course there is the jazz horn solo improvisation bit (hint: avoid part 11), and the optional top A à la Pip Eastop.
Leaving the optional parts aside, the range spans from pedal G flat to top D (and there are quite a few of those). It’s such great fun to play though, and with some small oversights, all the parts are quite doable, which is probably why this arrangement was and is such a hit, and has played a large part in the genesis of the new Give It One CD.