Song analysis and interpretation

Music

Were it not for the title of the song, it would not be difficult to envision what Aaron Copeland had in mind when he wrote "Fanfare for the Common Man." With medieval trumpet calls and grand gongs permeating the composition, it is certainly a "fanfare." However, most fanfares culminate in the arrival of some dignitary like a king or queen. The pace of the music would change upon that individual's arrival, signifying his or her superiority over the rest of humanity. When listening to "Fanfare for the Common Man," I expect that dignitary to arrive. When the three minutes are over and the nobility hasn't shown up, the title of Copeland's piece becomes outstandingly clear and makes "Fanfare for the Common Man" a masterpiece. Copeland managed to take a fanfare and make it subtle and subdued, bringing out the dignity in the common person without falling into either a sense of inferiority or superiority. The piece becomes surprisingly emotional as a result, as if it actually is a celebration of all that is dignified in the human spirit.

The title of the piece therefore illuminates one of the composition's noticeable features: the lack of a traditional crescendo. While the piece does intensify, it does not reach a specific point of climax. This is not to say the "Fanfare" doesn't go anywhere because it does progress through several stages including key changes. Moreover, Copeland adds layer upon layer to the basic structure of the song until ends. If this piece were a fanfare for an uncommon man, Copeland would have had the piece progress through stages that offered a more distinct climax and denouement. The piece might have changed in character or tone entirely: perhaps shifting away from the core set of triplets and involving an entire orchestra's input.

As it is, "Fanfare for the Common Man" can be divided into several stages, becoming increasingly more dramatic with time. 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. 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.