Fanfare

Background Note

Fanfare was written in the style of Copland’s, Fanfare for the Common Man. It is also inspired by many other fanfare works such as Dvorak’s Symphony No. 9, John William’s Olympic Fanfare, and Igor Stravinsky’s The Firebird. This fanfare was written to show off the abilities of a trombone choir - i.e. speed, articulation, range, and stylistic playing. This is a great piece for an introduction, ceremony, or festival as it has high energy and a memorable melody.

Program Note

Fanfare opens with two bass trombones playing a persistent drum that is to be playing as if far away. Then the bugles start signaling the start of the fanfare. It is important to note that the sixteenth notes are to be played crisply and in the correct rhythm, avoid compressing them. The bugles echo each other and once they meet up the ensemble comes with full strength. While the main melody is still not played yet, the piece continues to build up, both rhythmically and harmonically. Going into “B,” the dotted quarters should be long, while the eight notes are short - push through the harmony and move together, it should be full. The energy keeps driving until you reach the final Eb chord, thus ending the introduction of the piece. The next section brings back the distant drum, and the melody finally takes hold. Play this melody as tunefully as possible, thinking of it like a ballad - nothing should be heavy or disconnected. (unless noted otherwise) When the melody repeats, a countermelody joins in. Play this countermelody strong and out, but still connected. The upper parts join the countermelody just after a few measures from when it starts, and end up continuing their own iteration of the melody. Everything begins to die back down, but the middle voices bring back the intro theme. The pieces now shifts back to its staccato stylistic fanfare. Upon modulating to C, the bass voices have a very heavy motif - inspired by John Williams. This should be full, and dark, playing a full beat 1 and short sixteenth notes. The ballad melody continues in its song-like style, but the fanfare has exploded it into a much bigger theme. Between call and response, and more syncopated rhythms - keep the melody heard! Going into H, the piece moves into an all-together chorale and should be played full and connected. The piece then closes with how it started, as an epic fanfare!