Music Were It Not for Term Paper

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It begins with grand bass drums and chilling gong, welcoming the sublime trumpet triplets. Closing my eyes I clearly see a royal procession: two rows of trumpeters flanking a red carpet. A steady stream of people of all ages, sizes, appearances, and cultures make their way forth, none of them standing out but shining together as a whole. The triplets continue, and as three notes of a chord feel whole and complete. Nothing is lacking. This basic skeleton of the piece remains the same throughout, repeating the sets of triplets that make "Fanfare" the distinctive piece it is.

A brief all-percussive interlude precedes a section in which horns a full range lower than the trumpets play the central riff of triplets. Even the bass drum joins in by playing the triplet in a lower range. Then a collection of brass and percussion instruments play a few bars before the whole horn section joins in, punctuated by the drums.

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No instrument is no better than any other, reflecting the central theme of humanity's collective strength. One of the only true structural changes in the fanfare draws attention to the common man's glory, too, when the orchestra plays two punches. At that moment it feels as if even the saddest of human beings is elevated to a regal status. The fanfare becomes absolutely uplifting and joyous in tone.

The first time I listened to the piece, I wondered when Copeland would change the time signature: do something to build the fanfare up with glory. Yet with each subsequent encounter, it becomes apparent that "Fanfare for the Common Man" celebrates the core of greatness in all human beings with a majestic sophistication. Because Copeland's fanfare is grand without being grandiose, it is an optimal celebration of humanity. A fanfare for the common man can be even more remarkable than one for an emperor......

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