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Jeff Ausdemore’s Fanfare Triumvirate is a grand work for percussion orchestra, exploding out of the gate with vibrant colors and an intricate, rhythmically driven theme in 7/8 time. The through-composed, asymmetrical nature of the piece takes the listener on a journey across diverse landscapes, propelled forward by numerous meter changes that create a sense of “falling forward.”
Scored for fourteen percussionists and one pianist, the piece demands full engagement from all performers, keeping them on their musical toes throughout. The steady high energy and relatively tight performance duration make it a great contender for either a concert opener or closer.
Use of this product is governed by the license terms outlined here.
Crotales (both octaves)
Glockenspiel
2 Vibraphones
Chimes
Xylophone
4 Marimbas — (2) 4-octave, (2) low A*
Piano
5 Timpani
Drums — bongos, 2 concert bass drums, 5 concert toms, doumbek (or small djembe), kick drum (mounted), snare drum, taiko drum (or mounted kick drum)
Cymbals and gongs — China cymbal, dry ride cymbal, hand cymbals, hi-hat, sizzle cymbal, 3 suspended cymbals, tam-tam
Accessories — bell plate, finger cymbals, log drums (4 pitches), mark tree, ribbon crasher, shaker, 2 triangles, 3 woodblocks (high, medium, low)
*An alternate 5-octave part is included (not shown in score) to replace one low A part, if a 5-octave marimba is available.
This four-minute showpiece for a large percussion ensemble is sure to leave a lasting impression on the performers and audience. Composed for the Trinity High School Percussion Ensemble’s performance at PASIC 2022, it could easily serve as a flashy opener on an intermediate–advanced college percussion ensemble concert. The writing is colorful, and I found many of the tonalities reminiscent of Pat Metheny, with voicings and orchestration similar to those heard in the marching percussion idiom.
Despite the quick tempo of 176 bpm and the aural complexity evoked by overlapping lines in odd meters, a quick scan of the individual parts shows close care for idiomatic writing that falls easily in the hands. Four-mallet scoring consists of intuitively voiced chords, quick inner-mallet work, and occasional permutations. The piano part will require a performer with some experience but not a virtuosic player. The most complex part is perhaps the timpani, as numerous tuning changes occur but are not indicated in the score and must be navigated by an advanced player. Due to the sheer size of the orchestration, “families” of instruments often play in unison groupings, aiding in ensemble confidence. Another notable challenge is the requirement to perform hemiola figures and occasional polyrhythms in odd meters, such as 4:7 in 7/8 time.
While “Fanfare Triumvirate” may exclude some school programs based on the sheer number of instruments required, it serves a unique role in the percussion orchestra genre. I hope to see it performed continually in the coming years and congratulate the Trinity High School students for bringing such a challenging and intelligently scored work to life.
—Jason Baker
Percussive Notes
Vol. 62, No. 2, April 2024
Jeff Ausdemore’s Fanfare Triumvirate is a grand work for percussion orchestra, exploding out of the gate with vibrant colors and an intricate, rhythmically driven theme in 7/8 time. The through-composed, asymmetrical nature of the piece takes the listener on a journey across diverse landscapes, propelled forward by numerous meter changes that create a sense of “falling forward.”
Scored for fourteen percussionists and one pianist, the piece demands full engagement from all performers, keeping them on their musical toes throughout. The steady high energy and relatively tight performance duration make it a great contender for either a concert opener or closer.
Use of this product is governed by the license terms outlined here.
Crotales (both octaves)
Glockenspiel
2 Vibraphones
Chimes
Xylophone
4 Marimbas — (2) 4-octave, (2) low A*
Piano
5 Timpani
Drums — bongos, 2 concert bass drums, 5 concert toms, doumbek (or small djembe), kick drum (mounted), snare drum, taiko drum (or mounted kick drum)
Cymbals and gongs — China cymbal, dry ride cymbal, hand cymbals, hi-hat, sizzle cymbal, 3 suspended cymbals, tam-tam
Accessories — bell plate, finger cymbals, log drums (4 pitches), mark tree, ribbon crasher, shaker, 2 triangles, 3 woodblocks (high, medium, low)
*An alternate 5-octave part is included (not shown in score) to replace one low A part, if a 5-octave marimba is available.
This four-minute showpiece for a large percussion ensemble is sure to leave a lasting impression on the performers and audience. Composed for the Trinity High School Percussion Ensemble’s performance at PASIC 2022, it could easily serve as a flashy opener on an intermediate–advanced college percussion ensemble concert. The writing is colorful, and I found many of the tonalities reminiscent of Pat Metheny, with voicings and orchestration similar to those heard in the marching percussion idiom.
Despite the quick tempo of 176 bpm and the aural complexity evoked by overlapping lines in odd meters, a quick scan of the individual parts shows close care for idiomatic writing that falls easily in the hands. Four-mallet scoring consists of intuitively voiced chords, quick inner-mallet work, and occasional permutations. The piano part will require a performer with some experience but not a virtuosic player. The most complex part is perhaps the timpani, as numerous tuning changes occur but are not indicated in the score and must be navigated by an advanced player. Due to the sheer size of the orchestration, “families” of instruments often play in unison groupings, aiding in ensemble confidence. Another notable challenge is the requirement to perform hemiola figures and occasional polyrhythms in odd meters, such as 4:7 in 7/8 time.
While “Fanfare Triumvirate” may exclude some school programs based on the sheer number of instruments required, it serves a unique role in the percussion orchestra genre. I hope to see it performed continually in the coming years and congratulate the Trinity High School students for bringing such a challenging and intelligently scored work to life.
—Jason Baker
Percussive Notes
Vol. 62, No. 2, April 2024
