Appalachian Spring

Question 1

What are the figure numbers for the 1st movement?

Answer 1

x - 6

Very slowly

Question 2

What are the figure numbers for the 2nd movement?

Answer 2

6/9 - 16

Question 3

What are the figure numbers for the 3rd movement?

Answer 3

16 - 23

Moderato

Question 4

What are the figure numbers for the 4th movement?

Answer 4

23 - 35

Fast

Question 5

What are the figure numbers for the 5th movement?

Answer 5

35 - 53

sub. Allegro

Question 6

What are the figure numbers for the 6th movement?

Answer 6

53 - 55

As at first (slowly)

Question 7

What are the figure numbers for the 7th movement?

Answer 7

55 - 67

Doppio movimento

Question 8

what are key features of the introduction?

Answer 8

(Very Slowly)
Superimposed triads (I/V and IV/I) are used, (4-6, 11-12, 13-14).
It is triadic and creates an expansive feel (open 4ths/5ths).
it has a rising and uplifting feel (major & 1st + 2nd inversions).
The piece is slowly building up.

Question 9

what are key features of all of mvmnt 1?

Answer 9

overlapping harmonies (e.g. at fig.2)
diatonic major chords
rising 3rds and 4ths - uplifting and optimistic.
relentlessly triadic - but triads treated in original ways.
expansive feel created by inversions. (eg. fig 2 and 3).
use of plagal cadences (not exclusively) is soft (e.g. before fig.2).
gentle dissonance of a 2nd. (e.g. at fig. 3)
‘unsupportive’ bass - e.g. fig.2 when suspended note, then bass moves up and still clashes. this creates a suspended feel.
Tonic pedal at opening and end. unison tonic and clarinet filling in other notes of the triad.

Question 10

describe the rhythm in the first movement?

Answer 10

free - ambiguous where the first beat of the bar is.
creates a sense of possibility and openness.
Changes of metre - removes sense of rhythmic rigidity.
influences of Stravinsky’s rite of spring, which also uses free time.
freedom and openness.

Question 11

what is the key theme of movement 2?

Answer 11

mvmnt 2 combines the string ‘elation’ theme with the psalm theme in the brass. fig. 9. Both sound in different metres.

Question 12

what are the harmonic features of mvmnt 2?

Answer 12

quartal harmony outlined e.g. at fig. 8 and before fig. 10
quartal trichords e.g. 8 after fig. 13
Pandiatonic - diatonic, but not functional. e.g. 8 after fig. 6
superimposed chords e.g. 3 before fig. 12 in clarinet and harp.

Question 13

what are the rhythmic features of mvmnt 2?

Answer 13

stravinskian rhythms
changing metres (fig.13-14)
rhythmic displacement - 8 after fig. 13.
rhythmic compression/ diminution - 6 after fig. 12
additive rhythms and cross rhythms - 3 after fig. 13
hemiola e.g. 5 after fig. 13
(also largely homophonic)

Question 14

what is a key contrast between mvt 1 and 2?

Answer 14

bright timbre with xylophone and piano after mellow first section (this transition happens at fig. 6)

Question 15

what is the main theme of movement 3?

Answer 15

there are two contrasting themes: interaction between man and wife. One theme is variation on previous theme. opens with an um-cha rhythm that creates a more grounded feel. uses dissonances and accidentals to create tensions.

Question 16

how do we see the psalm theme in movement 3?

Answer 16

occurrence of the psalm theme at fig. 17 (Cl.) and at fig. 18 (oboe) - both are fragmented.
psalm theme occurs again 3 after 21 - slower, still fragmented.

Question 17

what are some features of movement 3?

Answer 17

changing metres
dissonances between parts 2 after fig.19
angular intervals in strings - fig. 19 (+20)
sinister, dissonant, atonal strings - fig. 19-21 (marcato and harsh)
contrapuntal strings 5 after fig. 20

Question 18

how can movement IV be described?

Answer 18

a medley of folk tunes // pastoral precedents.

Question 19

What are key features of movement IV?

Answer 19

accented off beats throughout - e.g. fig. 29 in brass and percussion,
use of folky tunes - e.g. barn-dance theme fig. 29 - trumpets, light, dance rhythms. syncopated rhythms with percussion. off-beat accents - feels vital and fresh
modal
rhythmically vital - e.g. fig. 27
syncopation - e.g. Snare drum at fig. 26
chordal and homophonic accompaniment.
changing metre - e.g. 31

Question 20

what are aspects of the music that make it folk - like?

Answer 20

catchy melody
dance-rhythms 
changing rhythms - give energy
syncopation
staccato
homophonic 
strings tuning up 
off-beat percussion
use of strings 
repetitive 
singable melody
rhythmic ostinato
modal harmonies 
pedal notes/ drones

Question 21

folk themes at fig. 23

Answer 21

lively dance rhythms, fiddles, staccato/pizz, strong tonality and metre, call and response

Question 22

folk themes at fig. 25

Answer 22

scalic melodies, contrary motion in wind, folk fiddle,

Question 23

folk themes at fig. 26

Answer 23

syncopated snare drum ostinato (horse ‘gallop’?)

Question 24

folk themes at fig. 28

more deliberate

Answer 24

4ths and 5ths outlined in strings. barn-dance-like ‘tuning up’ effect.

Question 25

folk themes at fig. 29

Answer 25

um-cha accompaniment in the strings. Dance tune first in wind, then taken up by strings at fig. 30.

Question 26

themes at figure 31.

Answer 26

jazz influence of uneven metres. (5 and 7)

Question 27

themes at figure 33.

Answer 27

wedding march - like. E major - expansive.. homophonic

Question 28

How can Movement 5 be labelled?

Answer 28

presentiment of motherhood

Question 29

What are key features of Movement 5 (that also contribute to the excited/dynamic feeling?)

Answer 29

subito allegro
staccato quavers - e.g. fig. 37
stravinskian rhythms
syncopation - e.g. 38
continuous quaver dominant pedal - e.g. fig. 37
contrapuntal - e.g. fig. 45
repetitive - e.g. fig. 37 x 44 x 48 (melody), 41 - 46 (quaver movement)
lots of modulations - reminiscent of development section of sonata
bitonality 4 before fig. 37 (G in Cor Anglais clashes with Gb of strings)
extreme and sudden dynamics - e.g. 4-7 after fig. 38
gentle dissonances - esp 2nd (4-6 after fig. 38)
unclear metre/ hemiola - fig. at 40 and 47
stravinskian crunchy, cluster chords - fig. 41. (apprehension, excitement - draw attention to Cs.) also off-beat accents create apprehension.
canon at fig. 44 adds to sense of action - phrases are unclear
- theme is played in fourths 6 after fig. 48
NB: the texture builds gradually, adding more layers to become increasingly complex with more cross rhythms.

Question 30

what is the theme of movement 6?

Answer 30

As at first (recycles original materials)

Question 31

what is the main feature of movement 7?

Answer 31

‘simple gifts’ - tune

variations on a shaker tune

Question 32

how does the shaker theme begin?

Answer 32

55 - (Ab major) clarinet melody, handing over to oboe and bassoon (in thirds) (57 a trifle faster - modulation to Gb major); flute and harp counter-melody; use of triangle. (58) clarinet is introduced again a little,

Question 33

how does the shaker theme develop at figure 59?

Answer 33

augmented melody played by viola and trombone; staccato quaver (and semiquaver) oom-pah accompaniment in other instruments, inc. harp and glockenspiel.
Adds canonic entries of melody in cor anglais and first violins on the upbeat to figure 60.

Question 34

how does the shaker theme develop at 62?

Answer 34

C major Trumpet and trombone counterpoint fanfare; string semiquaver runs.

Question 35

how does the shaker theme develop at 64?

Answer 35

lullaby-like. Counterpoint in woodwind is an adaptation of melody

Question 36

how does the shaker theme develop at 65?

Answer 36

strong C major; melody augmented in full orchestra - strings melody; plainchant-like (long notes which are close together in pitch and are sustained and unsupportive - do not play the roots of the chords they mark); timpani doubles the bass line; heavy percussion on downbeats

Question 37

how can movement 8 be described?

Answer 37

(fig. 67 - 71/X) Like a prayer /
attempts at chorale - (homophonic/ contrapuntal; crotchet movements; SATB-like arrangement; marked ‘like a prayer’; diatonic and functional; mostly close intervals; homogenous sound)

Question 38

what are features on movement 8?

Answer 38

homophonic; short phrases; keeps almost going to C but only cadences in C at the very end - melody delays resolution; psalm theme.

Question 39

Copland quotes

Answer 39

‘I don’t compose. I assemble materials.’

he considered composition ‘the product of the emotions’, which included ‘self-expression and self-discovery.’

Question 40

how did Copland write?

Answer 40

Copland’s method of composing was to write down fragments of musical ideas as they came to him. He didn’t work from beginning to end but worked on whole sections in no particular order and surmise their eventual sequence after all those parts were complete.

Question 41

what is the tonal argument of Appalachian spring?

Answer 41

fig. 41 - C major - cluster chords under C pedal
fig. 62 - C major - (Mvt VII - tr. trb. variation)
fig. 65 - C major - (full orchestra variation)
2 before fig. 67 (Mvt VIII) - unison C
fig. 67-71 - 3 attempts at chorale with perfect cadence in C (resolving to F, A then C) - Ambiguous harmony/unsupportive bass looking back on past tribulations.
Resting place of piece is in C.
Lots of modulations, but C keeps coming to foreshadow fig, 73 - sustained C pedal. This highlights the feeling of returning home as it is foreshadowed throughout and is the resting place.

Question 42

how does the music evoke the landscape of the frontier?

Answer 42

Triadic - clarity - simplicity
Open intervals (4ths/5ths) - open space
Long melodic lines postponing resolution - expansive and vast
Upward melodic motion - optimism, hope
Wide spacing of instrumental parts - sense of vastness
Gentle ‘organic’ sounding dissonance of a second

Question 43

how does Appalachian spring capture the American spirit?

Answer 43

Shakers - simplicity, optimism
depiction of landscape - harmony, simplicity
barn dance/ folk themes
liveliness
plot
religious aspect - chorale and psalm theme

Question 44

where does the psalm theme occur?

Answer 44

Mvt 2:
upbeat to figure 9 - melody in flute (combined with quaver/elation theme)
upbeat to figure 14 and 4 after it - melody in violas then violins (links mvt 2 and 3)

Mvt 3:
at figure 17 - clarinet
at figure 18 - oboe (both 17 and 18 are slightly different variations - the 3rd and 4th notes are a tone lower than the original psalm tune)

4 after 21 - oboe (links 3 and 4)

Mvt 4-5:
2 before figure 35 - oboe then flute (link)

Mvt V:
at figure 51 (links V and VI)

Mvt VII:
at figure 71 - first time on its own with no other material - bright C major

Generally hints of psalm tune in opening section with rising 3rds/4ths (more similar to version heard at 17/18)