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Fanfare and Interlude: Trumpet & Strings Part(s)

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Fanfare and Interlude Cover Image

Fanfare and Interlude: Trumpet & Strings Part(s)

By Mathew Whitham

Level: Difficult

Item: 81-ST961

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Description
The piece, for trumpet and strings, is comprised of two main themes nestled into a large scale ternary form (ABA). The first and third sections are based on a hexachord, a technique frequently employed by Schoenberg. The middle section uses whole tone scales to transition between the two outside portions. This work was premiered by Paul Otway and a string ensemble from the University of Western Ontario.

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Additional Details
Series: Eighth Note Publications
Publisher: Eighth Note Publications
UPC: 685462008643
SKU: 81-ST961
Instrumentation: Trumpet & Strings

More about this title

Why we love this

Whitham's use of hexachordal and whole tone techniques gives this work serious compositional weight without sacrificing clarity or musical narrative. The ternary architecture keeps the form intelligible even as the harmonic language pushes listeners forward, making it an excellent choice for festivals where you want to program something genuinely contemporary and intellectually substantial.

What to expect

The work opens with ceremonial confidence before shifting into unmoored, exploratory territory where familiar harmonic landmarks disappear. The return to the opening material feels like a resolution even though the harmonic language remains modern and unsettled, creating a satisfying formal closure without resorting to conventional cadences.

Who it's for

Advanced trumpet players preparing for competitions or solo recitals who thrive on challenging harmonic language and want to perform work that engages with serious twentieth-century compositional techniques. This is repertoire for musicians confident enough to advocate for contemporary concert music.

How to get the most out of it

  • Study the hexachordal themes in the outer sections separately from the whole tone material in the middle. Understanding how each harmonic system functions will help you shape the transitions with precision rather than treating them as arbitrary shifts.
  • Balance your sound with the strings carefully during the opening fanfare. The trumpet needs to project authority without drowning out the ensemble support underneath.
  • The whole tone section in the middle demands especially clean articulation and intonation. Without the gravitational pull of traditional tonality, any pitch imprecision becomes noticeable immediately.
  • Mark your breath points well in advance. The length of the outer sections and the intensity required will demand strategic planning around the orchestration.

How to use it

Program this as a centerpiece for a chamber or solo recital where you're building a narrative around contemporary music or twentieth-century techniques. The ternary structure and contrasting harmonic worlds make it an ideal pairing with more tonal repertoire on either side, allowing audiences to hear the contrast clearly.

Skills your students will build

  • Reading and interpreting hexachordal harmony and whole tone scales
  • Maintaining intonation and articulation clarity without tonal anchors
  • Balancing solo projection with chamber ensemble blend
  • Understanding large-scale ternary form and harmonic transformation
  • Navigating contemporary concert music with confidence and musicality

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