Fanfare for horn octet (plus tuba with optional percussion) op.31
Hake, Ardell B.
Type of Arrangement
Sheet Music Format
A4, Score (20) & parts (8x2 = 16, plus tuba, timpani, percussion 1, 2x percussion 2, 5x2 = 10, total = 26)
Tuba, timpani, percussion (2)
Structure / Movements
4/4, 5/4, 3/4
Horn 1: c#1 - c3
Horn 2: c#1 - c3
Horn 3: ab - a2
Horn 4: ab - g#2
Horn 5: g - f#2
Horn 6: g - f2
Horn 7: e - d2
Horn 8: A - d2
The first section of the Fanfare marked Allegro opens with an introduction section that uses the first five tones of a twelve-note series. The remaining seven tones provide the material for the theme of the composition.
This piece is not atonal which the previous description may imply. On the contrary, it is tonal to the degree that it does travel around to different tonal areas and uses harmonies that may be described as “jazz” structures. A more appropriate word would be polytonal, thereby utilizing the overtone series to its fullest degree.
The section marked Presto uses interval couplings shifted over three octaves. This provides the material for the conversations that occur between the different sections of the group.
The third section marked Moderato restates the theme (first five notes) and develops into strict caon followed by a restatement of the theme with a short climax to its conclusion.
This composition is written for Horn Octet plus Tuba. The percussion parts are optional. The Horn parts are in F and the bass clef is new notation.
There is little to add to the composer’s description of the piece itself. It should be noted that most of the time the parts are doubled, resulting in 4-part harmony rather than 8-part. The tuba part is soloistic at the beginning, and only rarely provides the bass. And even though the percussion parts are optional, they add a distinctive flavour to the mix, making the piece even more exciting than it is with brass alone.