Children can invent two different short motifs to represent the hunter and the hunted: humandeer; catmouse; lion zebra. These can be played and repeated at varying speeds and with sudden pauses to imitate the movements of stalking and the chase. If final phrases coincides on the same note, the prey has been caught, but if they diverge the hunter has lost and must try again.
Listen to two uses of hunting horn calls - the finale of Mozart's "Third Horn Concerto in E-flat" (K447) and the allegro finale of Brahms's "Horn Trio in E-flat" (Op 40). How do the composers develop the jaunty 68 rhythm? Is there a contrast between a "classical" and a "romantic" treatment?