NATIONALISM: FOLK SONGS
1-30
This section incorporates the folk song “Great Grand-dad”. This folk song, enhancing nationalism into the piece, is initially played in a carefree manner by the piccolo, with the clarinet and pizzicato violins joining at bar 16. In bar 19, the music is interrupted by a harsh oboe and muted trumpet, introducing a snippet of the folk song ‘ Dogie Song’.
31 – 43
The entire ‘Dogie Song’ is now played by bassoon, muted horn, violas and cellos. In this section, a harsh effect is created through the use of dissonant chords. These dissonant chords are produced by instruments playing a semitone apart from each other.
Many instruments join this clashing idea at the up beat to bar 36.
44-69
‘Great Grand-dad’ returns, played by piccolo, flute, clarinet, and staccato piano with a light, dancelike accompaniment provided by the strings. Violins and violas have off-beat notes ornamented with acciaccaturas. In bar 57, the strings take over the melody with a three-beat cross-rhythm accompaniment on bassoons and horns. At bar 60 the first trombone interrupts this melody with the ‘Dogie Song’.
70 – 107
When ‘Dogie Song’ is re-introduced, it is varied through the use of underlying mixed meters in the accompaniment (indicated in the score by dotted lines). This theme gradually fragments as the texture becomes thinner and the volume becomes softer.
108 – 118
The mood changes with a harsh, fanfarelike transition passage.
118 – 138
A new folk song is introduced, entitled ‘Old Chisholm Trail’. This folk song is played vigorously by the violins, at a rushing pace, accompanied by offbeat chords that are played by the horns and accentuated by the woodblock. This idea is interrupted at bar 129 by a harmonized triplet melody played by the trombones.
139 – 148
‘Dogie Song’ is re-introduced into the piece, played by the oboes and muted trumpet. This folk song is unaccompanied for the first four bars, with the clarinets and muted horn joining at bar 143. At bar 145, the violins and violas are introduced into this section.
149 – 156
‘Great Grand-dad’ is re-introduced into this section. The piccolo plays the melodic line, with the clarinet in harmony. The string and piano accompaniment is a variation of the accompaniment heard at bar 44 with added harmonics, creating a screeching effect. The sleigh bells used add extra color.
157 – 164
These bars are used as a transition section, featuring dialogue between the horns and first trombone. The accompaniment consists of quaver and semiquaver notes played by the high woodwinds and strings over a low D pedal note.
165 – 212
A new folk song, ‘Jarabe’, is introduced. This folk song is an elegant circling dance from Mexico with mixed meters. The first trumpet plays the main melody with the accompaniment provided initially by bassoon, muted horns, trumpets 2 and 3, and tuba. Percussive sounds are produced by the woodblock and gourd. The composer varies the accompaniment throughout this section, changing both the texture and instrumental timbre.
213 – 289
The final folk song incorporated in this piece is ‘Old Paint’. This tune is heard by the first violins, with the accompaniment played by the other strings, flute, clarinets and horns. This smooth-flowing, relaxed melody creates a tranquil mood in contrast to that of the previous section. Violins are the main focus in this final section, often interrupted by (or joined by) other instruments playing parts or variations of the theme. The texture and volume gradually grows as more instruments are added to the score, including a number of effective percussion instruments. From bar 265, an insistent syncopated rhythm begins on tuba, timpani and lower strings and is later intensified through the addition of trombone, bass drum and bassoons. This rhythm helps to drive the music to its exciting climax.