Fanfare for the Kennedy Center: Brass Ensemble, Score and Parts

Nelson understands brass ensemble writing at its core: this fanfare sits squarely in the sweet spot where technical demands meet genuine musical reward. The mix of metered and unmetered sections keeps players engaged and listening, and the flexible trumpet voicing means you can program it regardless of whether your section reads C or Bb clefs.

A ceremonial opening unfolds with the grandeur befitting its Kennedy Center heritage, built on layers of brass color that shift between precise rhythmic unison and free, expressive writing. The alternating metered and unmetered sections create an arc of formal elegance punctuated by moments of floating, almost suspended harmony.

This is written for advanced middle school or high school brass ensembles with reliable percussion section depth. Groups at Grade 4 with confidence in sight-reading and secure intonation will find the unmetered writing most rewarding, as it demands both individual musicianship and collective listening.

• Rehearse the metered and unmetered transitions separately before combining them. Mark the conductor's cues clearly so the ensemble can anticipate the shift in rhythmic feel.
• Balance the four trumpet parts carefully in the opening fanfare section; these lines should blend as one voice rather than competing for dominance.
• Use the four-part horn writing to anchor harmonic foundation, especially during unmetered passages where rhythmic clarity comes from other voices.
• Invest rehearsal time in the percussion parts early. Timpani, vibraphone, marimba, and crash cymbals must lock with brass entries, particularly in transitions.

Pair this with other contemporary American brass literature for a concert spotlighting modern fanfare traditions, or use it as a formal opening work for a festival or concert finale. The ceremonial nature makes it equally effective as a concert opener or closing statement for an all-brass program.

• Reading and sustaining rhythm in metered sections while maintaining pulse
• Listening and responding to visual cues during unmetered passages
• Balancing independent lines within a multi-part brass texture
• Coordinating brass entrances with four-part percussion accompaniment
• Adapting trumpet parts between C and Bb voicing options