A Deep Dive Into Writing Fanfares
Here at Deer Park Studios we are being approached more and more to produce Ceremonial music and it is becoming one of our favourite areas of scoring. We are now covering all manner of cues for TV, whether it be National Anthems, British charm/grace, comedic fanfares, or tense and powerful epic builds. We also write bespoke wedding music and provide a large amount of new music for high end live events working closely with the height of British pageantry, The London Fanfare Trumpets.
As a result we are beginning to establish a bit of a specialism in writing ceremonial music, covering formal British grace to full on heroic fanfares. Our article this month gives an insight into how we approach writing our fanfares.
How we write a Fanfare
Research & Purpose
- All projects are different and immersion into the world of the client is a must. Every time!
Fanfare for a TV game show is a world apart from a University graduation, or the winners’ circle at Royal Ascot. Treat each client’s world as the pitch deck for your compositional parameters, and find out what matters most to them and use this to define what you write.
For example, the pitch deck for our Ascot fanfares (3 x Fanfare Trumpets in Bb) looked something like this:
Main Features
Horse Race. Must have a horse related theme.
Monarchy founded in 1711 (1951 first race of the King George event). Gives reference tropes to include.
The race attracts some of the best middle-distance horses in Europe and is an important test of speed, stamina and tactical ability.
The race is traditionally held in July as part of the King George VI Weekend. Warm weather = less restrictive for idiomatic writing. For an outside event cold weather makes brass instruments harder to play so would require more simplistic writing.
Ascot Racecourse is one of Britain’s most famous horse-racing venues, located in Ascot, Berkshire.
Proud heritage with a refined focus. Modern, high class, and elegant aesthetics.
Celebratory atmosphere. A day at the races is part entertainment and part competition.
This would go on to identify as many aspects to incorporate as possible. After a bit of practice the research side of things can be a quick process but it is so important to get right as this is the way to make sure you hit the brief. The music can be excellent but if it doesn’t meet the client’s needs it is not fit for purpose.
Titling & Parameters
James chose to identify key moments of the day to base a collection of fanfares around such as The Winners’ Circle, Racing Colours, Arrival At The Gates, and of course a theme for the racecourse itself for the Ascot Fanfares.
These titles and subsequent descriptors now define quite a few key elements such as tempo, momentum, tonality and stylistic choices. In addition to this the performance requirements from the client all set out what it going to be in the musical content of the score.
A fanfare is a call to attention so naturally attention needs to be given to each and every note when writing. The reasons behind performing a particular fanfare also need to be considered here. A winning announcement can be as short as 10-15 seconds, however, a closing or opening ceremony fanfare would be considerably longer as it is more of a concert work.
I’d recommend setting up your score at this point to your specifications. It is easier to set the page setup, look and layout first rather than sort out duplicated problems later on. Fanfares are most commonly performed by instruments using lyres so A5 parts are required and a test print at the end is a good recommended check for sizing and legibility.
Write The Core Theme, Motif, Hook
This is the most important aspect to pin down what you are trying to evoke. This sets the context for the whole fanfare. Spend time considering the usual elements of thematic construction but also focus upon:
Setting the key hook by picking out features of the predetermined parameters identified in your research. i.e., if it is uplifting and positive, write in a major key and ascend in pitch. If you require a regal, set a steady tempo and move in homophonic stepwise motion or maintain a static pitch with rhythmic triplets landing on strong beats. (Obviously these are not the only tropes just examples).
Aim for a 2-4 bar phrase to start and note whether it is balanced or unbalanced. Fanfares are often stronger with balanced phrases and super simple content. Simple = easier for the performers to create a powerful presence. Nobody wins prizes for complex writing, winning is doing one thing incredibly well.
A good core theme should be easy to recognise, be rhythmically strong, and capable of repetition without the listener becoming bored. The opening and the close of a theme should compliment each other.
Structure
I’m a huge fan of clear structures and order throughout a score. Keeping this tight and transparent makes a fanfare easy to digest and also a simple process to write. This is setting your systems for writing multiple short form fanfares. If you don’t have these in place your writing won’t be efficient.
For example, The Royal Ascot Fanfare works well as the simple A, A, B, A1 binary structure is just 2 bars for each A section, with the B section being an expansion of the material in the second half of the A section. The emphasis is clearly on the strong natural beat 1 for the A section, shifting to beat 3 for the B section and back to beat 1 to close.
The rhythmic structure is also noticeable in this particular track. For the A section we have one bar of a sustained note followed by triplet semiquavers, then the second bar is focused on a dotted quaver semiquaver rhythm. This in essence is the same each time but reversed for the B section.
The first bar references the regal pacing with a strong presence, and the second bar of the phrases gives pace with the dotted rhythms emulating the rhythm of horse hoves. The increasing momentum and rhythmical pacing increases as the fanfare progresses encourages excitement in the listener in preparation for what is to come next. This is an introductory fanfare so excitement needs to build rather than settle.
Rhythmic Drive
Use of rhythm is a particularly important factor in approaching fanfare writing, it can create, build or reduce a number of important outcomes such as momentum, excitement, and intensity. It can also give poise or reflect a setting; such as horses as described in the dotted quaver-semi quaver nature of the theme building above.
On beat rhythms give a grounded, resolute purpose to the feel of a fanfare whereas syncopation, especially with accents, can emanate jollity, spriteful bounciness, and a focal point for interest.
Compound rhythms or triplet groupings can present increased urgency, emphasis on key moments, textural variety breaking up repetitive rhythms, or at steady tempi, a regal or serious setting. A rhythm such as a crotchet (1/4th note) followed by a quaver (1/8th note) can give the music that typical galloping feel.
Sustained rhythms are popular to build tension before harmonic release, these are often coupled with past-paced rhythmic flourishes leading into the sustained notes.
Pitch, Harmony & Intervals
This again is kept relatively simple. If the voice leading is where the performer expects the note to move then you can guarantee an effective performance; something worth keeping in mind when no/little rehearsal time is available.
Pitch
Again, relating to the Ascot Fanfares, we have 3 x trumpets in Bb (note they are transposing instruments) so we need to choose a comfortable transposed key that gives the sound we are looking for. High in pitch can be piercing and low down raspy. The higher in range you go the harder it is to produce and endure for the trumpeter. Give them music that is as comfortable as possible without compromising on the content you want. Look after your musicians and they will look after your music.
Key & Harmony
Major keys are often appropriate because they can produce a bright and positive sound. Couple this with the trumpet and you can achieve a truly uplifting, rousing and triumphant sound. Minor keys are naturally more serious and can be rather dark in character. Modal keys and chromatic movement can create a great deal of interest. Feel free to use what you like, if it sounds good and it functions appropriately then go right ahead.
Again looking at the Ascot Fanfare, the harmony and tonality is super simple. The A section starts on the tonic of A major bar 2 briefly moves to chord IV and then back to I. This repeats and touches on moving to a dominant chord (V) before we see some interest from a secondary dominant (chord V of V, or major chord II), this is the climactic interest before we go back to alternating between the tonic and chord IV again. Super simple!
Harmony and harmonic progressions can be a mind-boggling bag of cats at times, but it really doesn’t need to be complex. The priority should always be focused around the motif and rhythm, its colour and its effectiveness in hitting the brief.
Intervals
Typical tropes of writing fanfares include;
numerous repeated notes of the same pitch
Triadic movement
One maintained pitch whilst others move in stepwise motion around this (ascending or descending)
Unison or octave parallel motion
Ascending lines give the impression of rising energy. Descending can show poise and strength but also settle.
Leaps of 4ths and 5ths create a heroic strong sound.
Stepwise motion is commonplace, use large leaps with care, and not too frequently without careful consideration.
In the Ascot Fanfare, all instruments start on the same note. This is strength and solidarity in action. Part 3 stays the same and the upper 2 parts ascend in triadic motion, this gives a strong foundation, sets out a positive tonality, and the harmonic movement from I-IV-I is the equivalent of a warm hug. It is secure, welcoming, and nothing but positive. Repetition is further security before the intrigue of the secondary dominant, promoting exciting interest, before the rhythmic drive repeats the harmonic movement with increasing intensity. Again, simple but super effective!
Textures
Homoponic movement is so frequent in fanfare writing it is one of those automatic tendencies for a composer. But it doesn’t have to be.
For a small ensemble playing together in homophonic movement gives security, they have a reliance on the sound around them that gives reassurance and at the same time the sound instantly emanates strength and unity.
With a practical eye in a fast paced industry, if there is limited rehearsal time before performing a new work, homophonic movement is useful in ensuring this security.The smaller the number of performers available the harder it also is to create a big powerful presence so moving together gives the best chance of creating this.
For larger ensembles it is easier to use Polyphonic and Antiphonal textures, and these can also create interest, space, and build excitement. There is also nothing like a busy high polyphonic texture suddenly underpinned by a powerful bass line moving in octaves
The Universal Studio Logo cue is such a great example of this:
Register
Being aware of the instruments register, and ease of performance within those registers, is definitely something to be aware of. In regards to Trumpets, the upper registers can be intense, give brilliance, and make passages exciting. It can also be piercing and shrill if not controlled or the composer asks too much of the performer. The middle register is the go to for melodic writing, harmony and supporting voices. The lower register gives weight, a foundation that is stable and power, especially at full force. When overblown the lower register can sound raspy.
Contrast within short form works
When writing for an ensemble of the same instrument, be aware of voicings and forcing parts to play consistently in extremes of registers. Writing consistently high removes the ability to create climactic moments and always using full chords removes contrast in textures.
Whilst you are trying to evoke a clear and focused mood in a short space of time, a fanfare should never be static in musical choices throughout. Varying the basic elements creates interest and a dynamic performance. This is one of those points that is either done to extremes or missed, so like any fashionable choice, be tasteful in your decision making.
Keep. It. Simple.
I have mentioned this a number of times but the internal urge to throw everything at a fanfare to show boldness, power, strength, or to achieve whatever the outcome, needs to get in the bin. Restraint and careful consideration of each element, including the implied associations of these components, must be considered thoroughly.
The majority of fanfares are under a minute of music and to be successful must have every element building to more than the sum of its components. Fanfares can easily go wrong both in performance and in their construction. One misplaced note and it isn’t a blip in a musical piece to be absorbed into a wider performance, it is one misplaced note that makes or breaks the whole performance. Considering the fanfares are designed to capture attention the emphasis of avoiding unnecessary complexity out of the way cannot be emphasised enough.
