Fair play - Volume 3 (Folk song settings for four equal horns)
Original Title
Composer
Various
Year
Editor
Arranger
Gogolak, Edward
Year Arranged
1996
Original Instrumentation
Type of Arrangement
3
Availability
1
Publisher
Hornists Nest
Year Published
1996
Catalogue Number
HN 75
Sheet Music Format
A4, Score (8) & parts (4x4=16)
Horns
4
Additional Equipment
Others
Other Instruments
Difficulty
1
Duration
7
Structure / Movements
4 songs:
I The coast of High Barbary (A sea shanty): Jaunty allegro
II Mrs. Bond (Oh, what have you got for dinner, Mrs. Bond? The geese in the meadow, the ducks in the pond. Dilly dilly, dilly, dilly, come and be killed, for you must be stuffed and our customers filled!): Giocoso
III Personent hodie (An old Latin hymn): Andante misterioso
IV A Sussex carol: Moderato - Joyful allegro - Allegretto - Allegro
Clefs
Treble, bass
Meters
6/8, 2/4, 2/2
Key signatures
4b, 1b, None, 2b
Range
Horn 1: F - g2
Horn 2: F - g2
Horn 3: G - a2
Horn 4: F - a2
Creator's Comments
The title FAIR PLAY refers to the method that I have used in scoring for the horn quartet in these arrangements. I have deliberately treated the four voiced as equal—each player must have technical facility throughout the range of the horn, and the parts offer each performance a chance to “star” from time to time. Theoretically, no player will be worn out from playing consistently in the high register. In these works, everyone wins—the performers by rising to the special challenge of the scoring, and the audience by being treated to a unique musical experience.
As in Volumes 1& 2, not only do the individual parts warrant close scrutiny, but there is also the challenge of getting four people to agree on numerous tampo and stylistic changes, rubato sections, and other pitfalls. Keep the score handy! “The Coast of High Barbary” is a rollicking sea shanty, to be done in a hearty manner. The various fowl mentioned in the lyrics to “Mrs. Bond” interrupt the proceedings and voice their displeasure through the use of stopped horns. The different treatments of “Personent Hodie” give the quartet a chance to set several contrasting moods, and while Ed has not given anybody the opportunity to feel overlooked in the “Sussex Carol”, the third part involves a particularly nimble passage.
Performance Notes
As noted above, quick register changes are required in these arrangements, as well as fast changes between treble and bass clef. What might otherwise have been a fairly average performing experience, like this becomes an exciting challenge, to see whether the mind is switched on and the technique is strong.