Composer’s Note:

Floating Fanfare is a brief work for solo E-flat alto horn, a relatively unrecognized instrument that I think deserves more attention. It is about three minutes long and exists in two versions. [It may also be performed by a more prevalent instrument, the Eb also saxophone.]

The first is as a standard solo unaccompanied work. Matters of rhythm and timing are very flexible; the indicated tempo and rhythmic groupings are only there to suggest phrase shape and overall flow. Fermatas and breath pauses should be interpreted according to the performers instinct, to create a satisfying whole. Dynamics are similarly flexible. The initial mf is only a start point, and the player should shape volume according to their interpretive instincts.

The second uses a piano to enhance the sound of the instrument. The hornist plays into the body of the instrument to create the resonance described below. Because of the shape of the horn, they may need to turn their back on the audience, and perhaps play up into the piano lid, which will be at full stick, to reflect the sound into the strings.

The pianist controls two aspects of the instrument: First, the pedal is depressed and released, according to indications in the score. Second, selected notes (after the pedal has been depressed) are held down silently. (These are indicated in the score as stemless noteheads; they should not be held in any particular order or rhythm.) When the pedal is released, these pitches should still remain as a ghostly aura, excited by the sympathetic vibrations of the horns sound. The pianist should follow the indications carefully for when to depress and release the pedal.

Because of the process of eliciting these auras, this version may last a little longer than the solo. It is suggested that if possible, these two versions can be performed on the two halves of a program. This work has been an unexpected joy to write. I am grateful to Peter Nelson-King for giving me the opportunity.